In a book of so many well-executed poems there are many contenders that one might choose as an outstanding piece, particularly because such care has been taken to present them in such a fashion as to involve the reader in the development of the family, and the writer, through the years and to ensure that each event or emotion does not eclipse other, perhaps less dramatic, moments. And so it is that while a poem on the experience of revisiting the old, and now ruined, house of his Aunt Nelly is a memorable one, and therefore produces a memorable poem (‘Sweetnesse Readie Penn’d’, with its reference to George Herbert), the collection is replete with lighter, equally memorable, pieces. There is great fun in ‘A Thin Slice of Ham in the Hand Is Better Than a Fat Pig in a Dream’ (apart from the title itself!): ‘Never bolt your door / with a boiled carrot!’ / as Uncle would say / with a wink – tongue in cheek. / It didn’t always make sense / as our door was always / open’. Poems like this ensure that the collection never assumes that rather maudlin, treacly tone which is the fate of many works that strive to recreate family history. A piece like ‘In the Mythology of Foxes’ ensures that the earthiness of rural life is always present to pull the collection back on track if there is any danger of its contents heading in that direction. Incidentally, that particular poem with its evocation of the killing of a fox and how it affected the poet (‘the boy / carries her / death cradling it / in his mind / trying to comfort her / with human tears’) is strongly reminiscent of Seamus Heaney’s poem, ‘The Early Purges’ where a similar shock of farmyard reality proves a distressing experience for a youngster.
Finally, the very accessibility of Dónall Dempsey’s writing must be mentioned. Not alone are the poems themselves full of a welcome for the reader but the way they are presented is also very reader-friendly (or, as we say these days, ‘user-friendly’). Throughout the book the poet steps back from the poetry to sketch out a little of the history behind the poems. These prose insertions are never turgid or long-winded – they give just enough to add to the understanding and enjoyment of the poems. Perhaps this is a method that other poets might use more often? Especially in these day when so many readers can find poetry an obscure and forbidding medium? Certainly, they would find Donal Dempsey’s collection a welcome change.
Eamonn Lynskey's poetry has been published widely since it first appeared in the 1980s in the Irish Press ‘New Irish Writing’ page edited by David Marcus. Publications in which his work has appeared include Poetry Ireland Review, Cyphers, SHOp, The Stinging Fly, The Stony Thursday Book, Crannog, The Irish Times and Orbis (UK). Eamonn was nominated for the Hennessy New Irish Writing Award and was a finalist in the Strokestown International Poetry Competition. He holds an M.Phil in Creative Writing from Trinity College, Dublin. He took part in a reading organised in association with the University of London’s Human Rights consortium and the Keats House Poets at the Stanza Festival in St Andrews in Scotland in March 2014.
He has published three collections: 'Dispatches and Recollections' (Lapwing, Belfast) in 1998, 'And Suddenly the Sun Again’ by Seven Towers (Dublin) in 2010 and recently 'It's Time' (Salmon).
His website is at: www.eamonnlynskey.com