Killing your darlings

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The death of a fictional character is always difficult for an author. You’ve lovingly created them, you’ve spent several years in their company; then you have to kill them off.  The dilemma is further complicated if you’re writing about real people. And if you’re writing about historical figures, they already have a death assigned to them.

The eponymous heroine of my novel, The Rising of Bella Casey (Brandon) had the ill-luck of becoming an early victim of the Spanish ‘flu.

The epidemic swept through Europe and the US at the end of the First World War, and at its lowest estimate, claimed 21 million victims world-wide, a figure far higher than the war’s death-toll. (By comparison, the SARS outbreak in 2003 claimed 775 lives, while the avian ‘flu has killed 384 people in the last 10 years, according to the World Health Organization.)

The ‘flu came in two waves – in early 1918, and then again later in the year.  But the first outbreak of the Spanish ‘flu (so-called because in neutral Spain newspapers were publishing accounts of the spread of the disease) is now understood to have originated as early as 1916 in a British infantry depot in Etaples, 20 miles south of Boulogne. All newly-arrived British troops were sent for training at the northern French camp so that at any given time over 100,000 men were in residence.  Most lived in tents or temporary wooden barracks and conditions were overcrowded and unsanitary – a recipe for the spread of the respiratory virus.

In December 1916, dozens of soldiers at the camp began complaining of aches and pains, coughs and shortness of breath. As many as 40 % of these first victims died of what was described as “purulent  bronchitis”. It was a horrible death, where patients literally drowned in their own blood, their faces turning a peculiar lavender colour – indicating cyanosis (where the lungs cannot transfer oxygen into the blood) ─ a tell-tale trademark of the killer ‘flu. Other early outbreaks are placed in the US (Camp Funston, Kansas) and in China, both in 1917.

In Dublin, eye-witnesses remember it as the Black Flu. “The Black Flu came in 1918.  I was still a child.  It was a horrible old thing.  Well, my mother had the Black Flu and we only got her back from Heaven. Praying. And I remember sitting at her bedside and she was very, very sick. . . Oh, a dispensary doctor came up, but he had hundreds,” May Hanaphy told the author Kevin Kearns in Dublin Tenement Life: An Oral History of the Dublin Slums.

The Spanish ‘flu felled the young and the healthy.  Bella Casey was neither.   Her health had already been compromised by erysipelas, a skin infection caused by the streptococcus bacteria. Known alternatively as “holy fire” or “St Anthony’s Fire”, the condition can cause high fever, shaking, chills, fevers, headaches and vomiting. The skin lesions enlarge rapidly and become inflamed. They are painful and hard to the touch transforming the affected skin so that it takes on the consistency of orange peel. Nowadays, it can be treated with antibiotics, but these were not available until 1928.  

In Bella’s case, the skin rash may have been caused by an allergy to cleaning products of    the time – predominantly soap and lye.  Although an educated woman, she spent the latter years of her life in poverty working as a charwoman .  In The Early Life of Sean O’Casey Martin Marguiles notes that “incongruously she always wore a pair of gloves and neighbours referred to her admiringly as ‘Lady Beaver’.” (Beaver was Bella’s married name.)

“She suffered from headaches which became progressively more frequent and severe, until she had to stop scrubbing floors.  The headaches – symptoms of erysipelas – became so painful that she took to wearing a shawl, which made her white gloves appear more incongruous still.”

In the end, however, the Spanish ‘flu claimed Bella Casey.  Her death certificate notes the cause of death as “Influenza, 10 Days Certified”. She was 52.  Bella Casey died on this day 97 years ago, New Year’s Day, 1918.

Bella, in happier times, with her daughter, Susan
Bella, in happier times, with her daughter, Susan

Bella Casey’s War

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On  the eve of the centenary of the outbreak of the First World War, I thought it would be fitting to chart the influence of the war on Bella Casey, the heroine of my novel, The Rising of Bella Casey (Brandon, 2013).

Bella (b.1865)  was the eldest of the family of five, which included Dublin’s premier playwright Sean O’Casey. The Protestant Caseys, and Bella in particular, were steeped in the tradition of service in the British Army. Two of Bella’s brothers had soldiered with the Army. Tom Casey saw active duty in the Boer War (he died in February 1914 ) and Mick, who had served in the Royal Engineers in the 1890s, re-enlisted in 1915. Bella’s teenage son, James “Sonny” Beaver, also joined the Royal Navy in 1915.

Bella’s husband, Nicholas Beaver, had been a career soldier with the King’s Liverpools regiment in the 1880s. Beaver was struck down with the mental effects of syphilis in 1905, and was committed to Dublin’s Richmond Asylum where he died in 1907. Bella was left destitute with five children to raise alone.

Her brother, Sean O’Casey, being an avowed socialist and staunch nationalist, would not have served in the British Army on principle but he often drew on his background of solid, working-class Protestant loyalism for his work. He might not have had personal sympathy for these beliefs, but there was no doubt he understood them.

Although he was fearless in tackling thorny political issues in his plays – the depiction of the Easter Rising in The Plough and the Stars, for example, caused riots in the Abbey Theatre when it was staged in 1926 –  it was to take O’Casey almost a decade to approach the horrors of the First World War. In 1928 he submitted his play, The Silver Tassie, to the Abbey Theatre.  It constitutes a different kind of war service, an unflinching polemic on the futility of battle.

In the first act we see Harry Heegan, a young Dublin sporting hero who plays on the winning team for a soccer trophy (the silver tassie of the title) on the day he is due to return to the front. The second act of the play is an operatic depiction of Heegan and his war-weary comrades set in the rain-soaked trenches of France. A ruined monastery forms the backdrop; a broken crucifix dominates the scene. Strange liturgical chanting mixed with parlour songs replace conventional dialogue, in a highly stylized rendering of the absurd horrors of war. Nothing in the play up to this prepares the audience for this daring expressionism. Acts Three and Four bring us back down to earth, but all has changed. Heegan, now confined to a wheelchair as a result of a war wound, returns to Dublin, embittered and disillusioned. His girlfriend has gone off with his best friend Barney, who has won the VC for saving Heegan on the battlefield. In the community where he was hailed once as a hero, he meets only bafflement and distaste. No one can understand the trauma he’s been through. This is so common a trope in war narratives now that it is barely remarkable, but at the time, it was a revolutionary perspective.

Director and founder of the Abbey, W.B.Yeats, and O’Casey’s friend, was not convinced, however.  He turned the play down out of hand. In the history of literary rejections, they don’t come more savage than this. Yeats claimed that O’Casey knew nothing about the First World War: “You have no subject,” he wrote, “You are not interested in the Great War, you never stood on its battlefields or walked its hospitals and so write out of your opinions. . . ” He dismissed the bravura second act as an interesting technical experiment; after that, he added, “there is nothing”.

Given O’Casey’s strong and enduring family ties with the British Army, Yeats’s accusation that O’Casey was not familiar with his subject matter could hardly have been more wrong. O’Casey was not a man to take such criticism lying down. He inquired tartly if Shakespeare had been at Actium before he wrote Antony and Cleopatra or visited Philippi in preparation for Julius Caesar. And had Yeats himself travelled to Tir na nÓg as a preparation for his esoteric dramas, O’Casey demanded. The battle lines between the two men were firmly drawn.

Furthermore, as well as having family members fighting in the war, O’Casey had talked to soldiers returned from the Front. In 1915, he was hospitalised with TB in St Vincent’s Hospital. The wards were thronged with wounded soldiers newly arrived from France. While recovering O’Casey recalled listening to accounts of the “slime, the blooded mud, the crater and the shell-hole” that had become “God’s kingdom on earth”. These first-hand accounts must surely have inspired the nightmarish visions of the second act of The Silver Tassie. But Yeats insisted that the play lacked unity of action.

In such criticism he missed O’Casey’s point entirely. The disconnect between Act Two and the rest of the play was absolutely intentional. As one contemporary critic has put it: “The experience of a foot soldier caught up in the madness of battle is impossible to reconcile with the world that exists outside it: it is a personal apocalypse that relates to nothing even as it changes everything.”

After its rejection by the Abbey, The Silver Tassie did find a home.  It was premiered in London at the Apollo Theatre in 1929, starring Charles Laughton and Barry Fitzgerald.  But the war between Yeats and O’Casey was to continue for several more years.  They eventually patched things up and The Silver Tassie was staged at the Abbey in 1935 but the relationship between the two was never quite the same again.

As for Bella, who had seen her husband and brothers serve with the British Army and her son fight in the war, she was the only member of the family who did not survive the First World War. On January 1, 1918, she died of the effects of influenza.  This was the beginning of the Spanish ‘flu  epidemic that was to sweep through Europe that year and claimed more victims than the hostilities did.

An edited version of this post was broadcast as part of  RTE’s Sunday Miscellany World War One Roadshow, August 3.  See http://www.rte.ie/radio1/sunday-miscellany/

What O’Casey wrote out

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The Rising of Bella Casey, my latest novel, with the re-vitalized Brandon imprint – from O’Brien Press – will be published on September 16.  The book will be launched two days later along with playwright Frank McGuinness’s first novel, Arimathea.  It’ll be a great occasion, not just for Frank and me, but also to see the Brandon name on the bookshelves again with new Irish literary fiction. The Rising of Bella Casey is a novel about Sean O’Casey’s sister, Bella.  Dublin playwright O’Casey (above) wrote six volumes of autobiographies in later life, but chose to kill off his sister 10 years before her time in his memoirs.

This literary slaying piqued my interest in her and the relationship between her and her famous brother. Bella lived well beyond 1910/11 when she disappears from O’Casey’s account; in fact, she witnessed the 1913 Lockout, the outbreak of World War 1 and the Easter Rising, before succumbing at the age of 52 in 1918 at the start of the Spanish ‘flu epidemic.  In my novel, those lost years are fictionally restored to her. O’Casey (1880-1964) is best known for his Dublin trilogy of plays – Shadow of a Gunman, Juno and the Paycock and The Plough and the Stars.