Culture
Book Review: ‘Prestige Drama,’ by Seamas O’Reilly
PRESTIGE DRAMA, by Séamas O’Reilly
In recent years, a vibrant stream of writing has emerged from Northern Ireland concerning not just the Troubles, but also the lives of those who have come of age in its wake. Novels such as Louise Kennedy’s “Trespasses” (2022) and Michael Magee’s “Close to Home” (2023) have been greeted with much critical acclaim and commercial success. “Trespasses” has already been adapted for TV, and a mini-series based on “Close to Home” began filming this year.
Now comes the novel “Prestige Drama,” a boisterous and affectionate, if sometimes thin and too-easy, sendup of this flourishing era of post-Troubles Northern Irish writing. The book, by the journalist, memoirist and Derry native Séamas O’Reilly, begins with a disappearance. An American actress named Monica Logue, who arrived in Derry to research her role in the upcoming TV show “Dead City,” has gone missing.
This mystery has understandably discombobulated the show’s creator, Diarmuid Walsh, though he is less concerned for the welfare of his leading lady than for the fate of “Dead City,” a series set during the Troubles and “inspired” by the decades-old killing of a Catholic teenager by British soldiers. A Derry-born drinker and failed novelist, Walsh sees “Dead City” as his final shot at success and belated revenge against those local residents who, over the years, have mocked his literary pretensions.
Despite Monica’s disappearance, the production continues unabated; each chapter is a first-person monologue from a person connected in some way to “Dead City.” We meet the murdered boy’s aged, still-grieving mother; his childhood friend; a former I.R.A. Provo eager to pitch his services as a production consultant; and an ambitious Gen Z actor too young to remember 9/11, never mind the Troubles.
What unites the characters is an acute awareness of the past’s vulnerability to revisionist simplification, of the temptation for even well-intentioned storytellers (and Walsh is certainly not that) to take all the jagged complexities and contradictions of history and sand them down until they fit into the templates and tropes of a given medium — in this case the glossy aesthetics of “prestige” TV.
As one character puts it: “Every film I ever seen about any place or any war was probably filled with stuff the people from there would hate, things they couldn’t stand, and is this what we’re making for ourselves?”
Though there are scenes that touch on the darkest matter of the Troubles, the prevailing mode is comic, breezy. “Prestige Drama” is designed to make you laugh, a book of voices that’s at its best when showcasing the Derry residents’ lovingly scornful turns of phrase: “One look at that fella and you’d know he couldn’t crumple a paper bag with both hands.”
The book’s form can occasionally leave “Prestige Drama” feeling rudderless. O’Reilly relegates the missing-actress story line to the back burner, and this lack of an active plot, coupled with the one-and-done monologue format — besides Walsh, who appears regularly — means the chapters take on a certain structural sameness: a potted personal history interwoven with reflections on the larger legacy of the Troubles, as well as any qualms (or lack thereof) concerning “Dead City.”
Still, the novel has charm and punch enough to carry it through, and a steely determination not to take the seriousness of it all too seriously: men with guns, dead children and missing women. It’s only the nightmare of history. It’s only TV.
PRESTIGE DRAMA | By Séamas O’Reilly | Cardinal | 173 pp. | $28
Culture
Can You Match the Places These Authors Lived With Settings in Their Books?
A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights places where authors were born (or lived) that later became locations in their books. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the works if you’d like to do further reading.
Culture
Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.
For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.
In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.
If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”
Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”
It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.
Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.
The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”
By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.
A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”
Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.
Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31
Culture
Summer’s Best Beach Reads
Take me to visit a dysfunctional family with oceanfront real estate
by Meg Mitchell Moore
Moore is a dependable ingredient in any summer reading soufflé. Her airy novels accomplish what they came to do: entertain and transport, without the pyrotechnics of, say, books that eschew quotation marks. In “Down With the Shipmans,” three sisters, laden with baggage, converge on their late mother’s beach cottage, only to learn that their father and his much younger wife are planning to sell the place.
The stakes are high, the drama is juicy and the views are sublime. Moore even provides two beach dogs — Leo (an unruly pit bull mix) and Cinnamon (“golden retriever, red bandanna, long pink tongue”) — to keep things lively. (Comes out June 2)
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