Literature, Rhetoric and Violence in Northern Ireland, by Patrick Grant (auth.)

By Patrick Grant (auth.)

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Additional resources for Literature, Rhetoric and Violence in Northern Ireland, 1968–98: Hardened to Death

Sample text

Their disarray, ``flies undone'', parallels the unsettled kilts, and in both cases suggests indignity, a far cry from the heroic language in which warfare is often eulogized. Woodbines were a favourite smoke of Longley's father's generation; the lucifer is a match, but the trace of theological meaning counterpoints the paralysed Sacred Heart of Jesus, overlooking but unable to protect the sleeping child in the nursery (a reference to Patrick Rooney, aged 9, killed while he slept, in 1969, by a stray bullet fired by the RUC).

It is hard to blame him for feeling as he does, for who of us might not feel the same. But the fact remains, as the sergeant also acknowledges, that another possibility beckons, requiring that the entail of the iron circle be broken by forgiveness, however difficult and unpredictable the response required to bring about such a result. Not surprisingly, one main effect of the iron circle has been to harden the tribal oppositions between Northern Ireland's so-called ``two com- The Iron Circle 25 munities'', which, as scholars and commentators increasingly agree, are best understood in terms of ethnicity.

Skinner is resentful, and among other things, he breaks open the liquor cabinet, stubs out a purloined cigar on a leather desk-top and sticks a ceremonial sword into an official portrait on the wall. Lily is at first bewildered, and then makes herself at home, suggesting how to improve the decor with pink gloss paint and a flight of brass ducks. She drinks with Skinner, and a bond develops between them, excluding Michael, though he and Lily get on well enough. Friel thus gives us three unarmed civilians, each of whom is marching for a different reason.

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