When I first ventured abroad on a study abroad programme to a place in Ireland called Maynooth, I was enchanted by the spirit of adventure. I booked a flight that would arrive two days earlier than my semester abroad programme started so as to spend a couple of days experiencing all that Dublin, this capital city in foreign soil on which my feet had never tread, could offer. So I booked myself into Avalon House, a swanky hostel as far as hostels go, according to the Dublin Rough Guide in 1999, and probably still is today, I haven’t been back there in about 15 years. I do know from their website, they still seem to do a healthy business.
And it was a nice place. Sure, you still share rooms, but it was cosy and clean and had more in the way of amenities than my now better traveled self knows that some hostels have, which is not much, having stayed in hostels in other parts of Ireland and Spain since then. But the majority of you know what hostels are like. You’ve got to be careful in selecting them. This is where you rest your head for the night. This is where you go to seek respite from the hard day of globetrotting, of become more worldly wherever you are.
Which is all to say that I was ill prepared for a hostel as sleek, stylish and cool as the Generator Hostel here in London. I was fortunate enough to attend their relaunch party on Thursday evening and you can see that it was quite the happening atmosphere. If this is what hostels are like nowadays, I might have to revisit this mode of accommodation.
The night was buzzing with an atmosphere of bacchanalia and revelry. Bright young things lithely lounged in a comfy and welcoming atmosphere smoothly designed with an eye for detail. If Generator can make you feel this welcome on a launch night, think what they can do if you stay at their hostel.
Infused with a heavy rhythm provided by NTS Radio and Eglo records, the party was a sensory circus, complete with free photo booth, dance floor and chill out area.
So, if you find yourself in this fine capital and need a base from which to explore, Generator is a great bet. Rooms are reasonable and stylish. Service is friendly and accommodating. And hey, does a party like this not suggest something of the spirit of their hospitality?
Generator has eight hostels throughout Europe including Copenhagen and Venice. I didn’t ask about loyalty cards, but this is definitely a brand that inspires return custom.
Book rooms now at Generator London. Enjoy!
…The 5th of November. That’s the rhyme that the English use to get schoolchildren to remember that great precedent-setting event of Great Brrritish history: the foiling of a terrorist plot. That’s right. Guy Fawkes celebrates the war on terror, four hundred years old and still going strong.
Okay, okay. It doesn’t just celebrate the foiling of a terrorist plot.
It also celebrates burning Catholics.
So, get your marshmallows out. The fam and I made it out to a community celebration on Saturday to watch some fireworks lit off and what can I say? It was festive, as a lot of these celebrations are nowadays — no longer indelibly connected with morbid origins, they’re now just about getting together with your neighbour, reconnecting and lighting off some pyrotechnic displays, a bit like on the 4th of July, which, by the by, this is the closest the British have to, with mulled wine and flasks of coffee instead of brewskies and hot dogs.
If you’re still confused about what Guy Fawkes Day actually celebrates, have a look at the video below. It’s wildly hilarious and explains the occasion quite concisely while raising some interesting points of comparison with our contemporary political climate.
Enjoy that? Good. As you know from my last post, I’m doing Movember again this year. I’ve already raised £30 because of some very generous donations so far, but I’d like to hit £100 this week. Please click on the link below and donate a fiver to raising awareness of men’s health issues and to the greatness of my tache (it will be great by the end of the month, I tell you). Thanks!
“How can you be American and have got away this long without seeing Seven Brides for Seven Brothers?”
We are in the pub for the Great British tradition of The Sunday Roast. My friend S is incredulous. She has certain criteria that must be met by her Americans.
“Well, he’s not really American, is he?” My friend P “wittily” retorts.
Oh, touché. I do my best to stretch my face into indignation. It’s no good. I’m used to my muddled accent and my “Europeanism” attracting similar commentary. I’m a mutt by lifestyle now as well as birthright.
S is technically correct. Earlier in the week, I had been to see Seven Brides in The New Wimbledon Theatre in order to review it for The American Magazine. I had never heard of it, despite its unflinching, cliché-embracing Americanness. I had received the email from my editor, seen “press tickets” in the body of the missive, thought: opportunity, and replied in the affirmative.
I didn’t think it was going to be a musical. I thought it was possibly some mythical magical realist piece (seven repeated in the title?) or some Kung Fu romance (there is a lot of avant garde theater in London).
I was right about the mythologism, well, half-right. It is based on the Roman story of “The Sabine Women,” in which the early Romans abduct women from the neighboring tribe, the Sabines in order to marry them and propagate the species. The story was rewritten as a Twain-esque parody called “The Sobbin’ Women” by Stephen Vincent Benet. From there, it was made by MGM into a movie musical in the heyday of movie musicals, fated to become one of the most beloved films of its kind of all time.
Except by me of course, since I’d never heard of it. That, and I tend to hate musicals.
I can’t stress this last point enough. In order to give you some sense of scale, I hated Billy Elliott. With a passion. I despised it for two hours while my wife and our friend, A, sat spellbound in a West End Theatre marvelling from expensive seats, open-mouthed with amazement at the gravity-defying feats of acrobatic excellence taking place on stage while I kept thinking: this is Elton John’s way of getting us all under one roof to say, “Aw, look at the cutesy wootsy working cwass! They’re soooo adawable! The way they dance away their pwoblems with idiotic gwins! I love love love it! Le Sigh.” Pass. The. Bucket. I think the film was a masterpiece, but the stage show does its best to trivialise the struggles of the miners and the main character himself, captured with such beautiful conviction in the film.
So, not generally a musical guy. Which is why Seven Brides took some getting used to.
Because once you realised that Adam Pontipee was an unreconstructed Davy Crockett lookalike with a barely post magnon attitude towards women, who was only slightly more well-rounded and modified by curtain call, and further realised that the denouement of the whole narrative involves Adam’s “sassy” wife Milly finding his overt sexism really rather charming (bless his beautiful hide), you begin to wonder what there is to like about these rustic types. Suffice to say the two principle characters were not what held my interest in the end. No, I ended up enjoying myself in spite of myself and them.
Why? Because it is with the entrance of the seven brothers of the title that this big musical comes alive and is injected with some much needed vim. For it is their civilising, their reformation, and the edges that are left of them after that process of transformation that generates real interest in this story; the brothers on stage form a solid rousing chorus of toe-tapping unity, solidarity and at times, lament, that feels attractive, that envelopes you and lifts you along on a tide of rhythm and country charm.
And this brings me nicely and perhaps metaphorically back to national types. As I watched the brothers, I wasn’t convinced by their accents — which were inconsistent and sometimes pure Punch Magazine caricature — but by the flavo(u)r of their sentiments. I realised that the directors had made no attempt at authenticity or nuance in depicting America. This dancing, leaping pinwheel of colo(u)r is not really what the British think we are. This is what the world is nostalgic for and really want us to be: swaggering, confident, sometimes foolish, unerringly optimistic and larger than life in vibrant technicolo(u)r.
I stress, the West is not part of who I am as an ill traveled tristate boy, but this show made me wish that it was. There is still a mythical hold the American West has over the imagination, a place where one can still go to seize some space of one’s own, whether real or of the mind, and reinvent oneself as a prospecting, prosperous go getter, a rugged individualist with initiative, with getup and with gumption!
I’ve seen Seven Brides now. I can tick it off my cultural heritage list. And there are many beyond our shores who know enough to look past the stereotypes, and know that we are a diverse people full of cultural richness and intellectual depth. Although I’m critical of my country, it is because I love where I am from. Unlike Michael Moore, it personally annoys me when Americans blithely dismiss their compatriots in favour of a misty-eyed romanticisation of Europeans as though they are somehow innately better (just more civilised, that’s all). Nothing could be more false.
I will confess that I don’t always, as a Canadian friend recently put it, “give good American.” Upon my first meeting with my late grandmother-in-law in Dublin, her first comment to my wife-to-be once I’d left the room was, “Very quiet… for an American. Very quiet.” And it is probably important to bear in mind after the humbling last few weeks in which we’ve become the stereotypical belligerently drunk American frat boy at war with ourselves and unable to do anything productive or function stumbling around in our own corrosive bitterness exposing the very worst of ourselves, our partisanship, our literal mindedness, our refusal to see the wood from the trees, our insularity, that of the national stereotypes there is to choose from — Hollywood’s walk-on English baddie (preferably Alan Rickman), the stage Irish drunk, the humourless German hun, the snooty Frenchman — you could do worse than the uncouth American frontiersman, staring down the elements and adversity, still offering something to the stage that is the world and open to new possibilities and to change.
In case you didn’t catch Monday’s post, this blog is now featured on Expatsblog, an excellent website and directory for us expatriate bloggers. If you like what you see here at The American Londoner, please click here to leave a comment and rate/upvote my blog. As you do, you shall see me ascend the rankings like a craven X Factor hopeful or a prodigal premiership team. You shall receive my gratitude and your own warm feeling at having done someone a good turn. Much obliged.
‘Go West/ Paradise is there/ You’ll have all that you can eat/ Of milk and honey over there.’ Natalie Merchant, ‘San Andreas Fault’
Traveled out West on Thursday, West London that is. Leafy, clean and well-heeled, W postcodes are like a different country. People do things differently there. They bring dogs to pubs, they make contact when they kiss on both cheeks and they have comedy theatres with fairly famous comedians.
This last bit is what drove my wagon out West on The District Line to The Tabard Theatre in Turnham Green to see The Code Of The West by New York/London playwright Mark Giesser.
The play has at its centre the incredible historical figure of Joshua Abraham Norton, the eccentric, Englishman who became the self-proclaimed emperor of the United States, treated with all the fawning deference that one might afford any sovereign monarch, at least within the city limits of San Fransisco. I liked the concept of this story, partly because of the wonderfully quixotic nature of Norton’s story. It says a lot about our secret love of monarchy (oh we very much like to talk about our contempt for the irrelevance of an antiquated and pointless institution, but I saw the crowds gathered in front of big screens to watch Will ands Kate’s big day and if we want to talk about antiquated and irrelevant, what about the GOP, huh? Eh?), the ability for us as Americans to bluster through to great success and status based on immense confidence — a shoeshine and a handshake, as Arthur Miller put it in Death of a Salesman — without being questioned along the way, and our ability to make up the rules as we go along.
The code of the title is a seemingly random set of rules governing the conduct between two parties who seem to be at all sorts of impasses. Say what you will about a written constitution vs a constantly evolving one, there is something charming and wonderfully Californian about invoking a particular set of fictional, unwritten but strictly acknowledged rules that seem to allow characters to circumvent various imminent dangers and come out on top of very sticky situations involving other characters.
The nineteenth century American West is presented, in all its swinging door, stogie-smoking, player piano, patterned wallpaper splendor, as a place where anything is possible and an individual can set their bags down and reinvent themselves, with no judgement and no disadvantage, just as Joshua Norton did after his finances in the UK went belly up and just as a certain two ladies who claim to be connected to the house of Romanov do when they show up proposing a match for Norton.
It’s a fun night of theatre with some great lines that hold currency today. We laugh at an incredulously delivered, “What, borrow money from the Chinese?” and chortle knowingly at the casual declaration by an emissary of an alleged Russian noblewoman, “Oh we get no intelligence from Washington.”
I have to say though, despite his stage chops, David Janson’s Norton didn’t do much more than wander around winking slyly and making imperious declarations and negotiations. He certainly wasn’t the larger than Gordon Bennett presence that I expected and I felt like, marvelous though the historical character of Norton sounded, Giesser seemed to use him as a piece to play off of and a frame on which to hang the narrative and other more compelling scenes. No, the real stars of the show were Stephen Cavanagh as mischievous newspaper publisher Frank Tremont and Zoe Teverson as Claire Greenleaf, the supposed Russian Countess’ supposed emissary and general lady-in-waiting. That these two actors have performed together before is obvious from the chemistry between them that provides a sparkling frisson of energy whenever the two of the meet on stage. Their sparring is a delight to watch, culminating in a deliciously tense strip-poker scene (all a lot more chaste than it sounds). Cavanagh steals the show with a swagger and a magnetic charisma that makes us revel in his crackly, whiskeyed delivery.
The West is not part of the heritage of this ill traveled Northeastern boy who’s never seen the banks of the Mississippi, but I very much enjoyed this portrayal of it and have no doubt that it captures an atmosphere rich with renewal and grit and one that would well worth seeing especially if you’ve become as interested in American cultural identity as I have.
Go west. Good comedy is there.
The Code of The West is at The Tabard Theatre until 9 November to book: www.tabardweb.co.uk
In other news, I am now a featured blog on Expats Blog Directory. Click on the link and rate me positively and all sorts of wonderful things will happen purely due to good karma. Plus you’ll have that wonderfully smug satisfaction of having done someone a good turn. Pay it forward.
As I’ve said before, 2013 has officially been dubbed The Year of The Gathering, for the duration of which Ireland will play host to the whole diaspora of its sons and daughters come back to see the homeland, to reunite with family they didn’t even know they had, to disabuse themselves of illusions to do with leprechauns and to generally appreciate all about the land that disproportionately produces world-class poets such as Patrick Kavanagh, Yeats, Joyce, Beckett, Michael Longley, Louis Macneice, Paul Durcan, Paul Muldoon, Derek Mahon, Seamus Heaney (insert name of your favo(u)rite here) and many others besides.
But let’s face it. In order to see the best that Ireland has to offer, you need to rent a car. I don’t think I’ll be saying anything controversial or intensely debatable when I assert that Ireland’s public transport system is neither cheap nor efficient. Its urban rail system, the DART (Dublin Area Rapid Transit) is one of mechanized transportation’s great misnomers and I’ve taken train journeys down to Kerry that involved long and tedious connecting coaches from Mallow in Cork (I don’t know so don’t ask). But that is Ireland’s pace and part of its peculiar and particular charm.
But thanks to the Celtic tiger of the 90’s and noughties, Ireland’s road system has undergone some massive modernization, especially around the cities, and is a general pleasure to drive around, basking in the rural fields of green flanking either side of some fairly efficient, if a tad congested thoroughfares (I know those who have experienced them will take this as irony and I’ve been in the traffic jams too, but they’re not that bad).
And what rewards to be reaped from driving 10-15 minutes in any direction outside the capital, from Brittas Bay on the Wicklow coast to the passage graves of the Boyne Valley, from Bray Head south of Dublin to Howth Head to the North.
Such as this gem just 40 minutes south of Dublin as you whip round the quiet country roads, Glendalough (literally, “Glen of Two Lakes”). Glendalough is where the famed sixth century Irish ascetic, St. Kevin, sought refuge from his followers and is said to have slept in a bronze age cave at the edge of the mountain. Who can blame him for wanting to stay in this place? On a fair day, such as the one we visited on, views anywhere in Glendalough are stunning.
The gently rolling brooks and streams make for peaceful passing of a lovely day.
The rural splendor can only possibly elevate and inspire the soul.
And at the same time it is a place steeped in the spiritual heritage of this island, featuring several different stone churches near the hiking trail on the site, dating back as early as the 10th century. Oddly enough, there were marauding American tourists that were over for the Notre Dame vs. Navy taking place at the Aviva Stadium. My compatriots were a tad loud, brash and somewhat badly dressed, but generally pleasant. Just as I was feeling on the verge of an epiphany amidst the graves and medieval stone structures, I heard a voice, as if it ‘buzzeth in mine air’ from a rotund lady in sunglasses just to my left saying, ‘WHAT’S THAT, CHER? THAT’S RIGHT. MEET YOU BY THE CHURCH.’ Ah the high dulcet tones of the North Atlantic twang. That, as I have said many times before, is our charm. We don’t mind how much like sore thumbs we stick out; we will blunder confidently on in hopes of a miracle… or a little guidance.
Notwithstanding being surrounded by my countrymen, there is a blanket-like tranquility in the air, a permeating peace and beauty, that leaves no wonder as to why the Irish landscape has inspired such mysticism in its poets.
Well worth the day if you’re going to be in Ireland or could make a very good reason to make the trip.
For car rental, Enterprise’s Dun Laoghaire office just south of Dublin cuts right through all the minutia and hassle of holding insurance on cards and all that palaver. There are a couple nice pubs and restaurants in Glendalough, but you’d be better off following the signs north again towards Avoca in Kilmacanogue for a lovely plate of food and a soothing stroll along the grounds.
Go. Be inspired! Feel the rhythm of your feet along the ground informing your consciousness in verse. Come back and tell me about it!
I went to see the spine-chilling tale The Turn of the Screw Tuesday night in The Almeida Theatre in Islington, my review of which appears on The Hackney Hive soon to be followed by an interview with the famed director Lindsay Posner. It’s a deliciously indulgent and penetratingly haunting tale about a young governess trying to protect her charges from the corrupt influence of phantoms from the past. I could go into an interpretation that sees this as an analogy for the American condition, but like jokes, some figurative comparisons just write themselves.
But seeing The Turn of the Screw led me to thinking about Henry James, a man with whom I’ve always felt a bit of a kinship since he is American-born, but lived for so long in Merry Old England, like myself, negotiating the foggy obscurities of being a stranger in a strange land, always living as though his soul is split in half, a condition that seems perfectly reflected in the dense and difficult resistance a reader encounters in the language of say The Beast in the Jungle or Daisy Miller, the latter featuring an American character trying to find herself ‘on the continent’ and ending up doing the opposite.
But funnily enough, it took leaving America to appreciate American culture. It was only after I left, and especially after I started teaching in Ireland, that I started to appreciate the genius of Arthur Miller, Mark Twain, and Emily Dickinson to name but a few.
What has intrigued me for years though is the number of writers who’ve gone a bit further than their “tour of the continent”; those writers who, like James, left their homeland to find their own sense of belonging and in so doing carved out for themselves a new literary identity. Not to put too fine a pretentious point on it. Here are three of my favo(u)rites. A by no means exhaustive list, but certainly some good ones to start looking at writers who’ve traveled to find home.
1. Edgar Allan Poe
What do you mean Poe doesn’t count? He went to school in Chelsea and then got gritty and spent 3 years in Stoke Newington right here in Hackney, East London. It’s no wonder his writing is permeated with gloom and shadow. He had some easy material growing up in the gloom and shadow first in Irvine Scotland and then down here in the famed London fog living through the tumultuous “year without a summer”. Sure, he was only a child, but these were surely his formative years.
Besides, it’s easy to underestimate Poe, as a staple of the school curriculum of most American schools, the assumption is that he’s kid’s stuff — high class pulp. But see past that for a second and you’ll see the Derridians and Barthesians who have done so much to revive him are right: his work is all about the obscure nature of existence and the horror of uncertainty. What is more expatriate than that?
What’s a real pity is that so many seem to miss his bleak sense of humo(u)r. How could he have been doing anything but messing with his readers and seeing just how far we could go with monkeys for murderers and the gleeful insanity of Dr Feather and Professor Tarr? For that wonderful mix of bleakness and surreal wit that centres on expatriate concerns of travel, survival and negotiating the cultural other, I would start with Poe’s only published attempt at a novel, the incomplete but wonderful Narrative of Arthur Gordon Pym.
2. James Baldwin
Black in the 1940s in America, gay, and deeply disturbed by the political environment of his native country, James Baldwin was assuredly a writer destined to find his voice abroad. That he did, giving voice to that displaced condition that situates an intellectual in a lonely place in their own country and yet yearning to feel a sense of home. For that, he had to join the cultural radicalism of Paris’ Left Bank, where Baldwin would remain resident for most of his life, writing about that recurring sense of disorientation that all of us as expats feel. You have to admire a man who can capture this condition so perfectly in a phrase like, “the earth tilts, he is thrown forward on his face in darkness, his journey begins,” which is, by the by, from Giovanni’s Room, a novel depicting that thing that has ensnared so many of us and rooted us down in foreign climes, a romantic relationship abroad. For aesthetic beauty and a deep sense of pathos, it is a compelling read.
3. Bill Bryson
On a lighter note, I don’t think any bookshelf should want for a volume or several of Bill Bryson’s witty words; nor, in fact are there many expat bookshelves that do, such is the joy one feels on curling up with Notes from a Small Island, The Life and Times of The Thunderbolt Kid, or The Lost Continent: Travels in Small-town America. Bryson is one of two writers (the other is David Sedaris, another great American humo(u)rist, on the darker side of things) whose writing has actually made me snort aloud on public transport, such is the power of his convulsion-inducing sense of the comic. He ranks up with H.L. Mencken for incisive delivery that illuminates the ridiculous in things we have taken for granted, from American diets and walking habits to the inability of provincial middle England to keep its streets clean, nothing is safe, nor should it be. It takes a man who has lived outside his native land for a number of years to highlight its faults and foibles to his fellow Americans and he does it with style.
I could of course have included countless others in this list. Edith Wharton’s House of Mirth moves my soul, but I can’t quite stomach her politics. Amy Lowell’s poetry, especially pieces that concern her travels abroad, renews the world-weary spirit. But I decided arbitrarily to stick to prose. And then there are non-Americans who have given us their perspective on our country, Joseph O’Connor (brother of Sinead) in his side-splitting The Secret Life of the Irish Male, Dickens’ scathing American Notes, which lost him the Downton audience of his day, and Orwell’s irony-laced accounts, not of America, but of Europe in Down and Out in Paris and London, and Homage to Catalonia, in which he fought in The Spanish Civil War and remarked that his life was saved many times by the merits of Spanish marksmanship.
But as Levar Burton used to say, you don’t have to take my word for it. I’m forgetting, ignoring, or unaware of countless others that help us to identify our own sense of wandering through this kaleidoscopic mass of confusion that is cultural displacement. But I see great value in any author that is able to bring us out of our day-to-day existences and grant us a sense of the wider world.
Men’s health is a difficult issue. No question. We are supposed to be the sex that stoically soldiers on no matter what sort of pain we’re in. Go to the doctor? Never! I’d much rather bleed it out. That’s what real men do, right?
Wrong. Dead wrong in many cases. I wish I could say that last sentence was merely figurative, but knowing at least one person in my lifetime who might well have avoided a painful and fatal case of testicular cancer has helped to hammer home to me the vital importance of changing the way we think about our health and taking prostate and testicular cancer more seriously.
These are just a few reasons why I’ll be doing Movember again this year. I’m starting out clean-shaven as you can see from my Movember Day One picture here and I’ll be keeping up a Movember section on this blog throughout the month and for a few days in December for any last minute donaters. You can read more about the rules that every Movember participant has to follow here where you will also find inspirational articles and stories about the kinds of work that Movember funds.
I admit, it’s not running a marathon, but it does hit men at our most vulnerable point: our vanity. And it is also a lot of fun. I enjoy it because it makes me feel a bit World War One Poet and I start to spout Siegfried Sassoon in my sleep by the beginning of December.
But the more important aspect is that I get to become a living breathing conversation piece that draws attention to and raises money for a good cause, which brings me nicely to my appeal.
I raised £208 (that’s $335 and 258 euro) last year for research and awareness of men’s health issues especially prostate and testiculary cancer, and that was only properly joining late in the game. I reckon with a little effort I can more than double that and raise £500 this year. All I need is for at least 100 of you kind readers to donate at least £5. Not much for a good cause and one that’s not really given due thought and consideration in this day and age. Please be generous, follow the link, and donate.
Several weeks ago, after I had got back from spending the end of the summer in Ireland, I blogged about native Irish wit and the ability of our Hibernian cousins to take something that has become commonplace and squeeze it with a fresh twist of something subtle, unexpected, and intelligent. There is something of the same spirit in the slogan that Obama (I’m going to say he did it, likely as not it was one of ‘his people’ but I’m just going to pretend) coined or rather gave new life to through translation into Irish last year on his state visit to trace his family’s Irish roots to Moneygall in County Offaly.
Not to be outdone by HR the Q in her visit four days earlier – the first by an English monarch to The Republic of Ireland, when King George visited in 1911, it was still part of the UK – when she opened her speech in Dublin with “A Uachtaráin agus a chairde (President and friends)”, Potus closed his speech “as gaeilge” with the now famous “Is Feider Linn” (Colloquially, “Yes we can!” Say it with me, IS-Fayder-lin).
Like the French, the Irish like it when foreigners at least make an effort to speak the language that has been so neglected for so long by its own people and the Irish certainly like a president who is willing to come back home to find his roots. A cynic might say that he knows how to pay homage to the old Kennedy Irish American lobby, which there may be a bit of, but I think he did genuinely really enjoy himself and he certainly endeared himself to the people of Ireland by going one better than Dubya and sipping some of the black stuff in Moneygall local Ollie Hayes Pub.
There’s a perpetual debate in Ireland about whether the nation’s policies and politics in general should be closer to Europe or the North Atlantic, succinctly put as “Are we closer to Boston or Berlin?” I think it’s clear how the Irish felt on this occasion.
What I didn’t realise until my recent visit is that the above image is now doing the rounds on postcards all over Ireland, commemorating the occasion with the phrase, “Tall, Dark and Had Some”. Irish wit.
Especially with the Romney campaign starting to look desperate, I think it’s worth popularizing the Celtic version of Obama’s tagline and chanting it at rallies as it is so indelibly associated with hope and possibility. Like some secret victory code. You start. Go ahead. Is Feider Linn. Is Feider Linn. Is Feider Linn…
|The Dolly with The Trolley (image taken from http://www.awaycity.com)|
|Grand Canal Dock Basin, fisheye view|
|Image taken from http://www.coffeyfilter.com|