SLOWLY BUT surely the men and women e writings made Ireland one of the greater global cultural centres from the 1960s to the 1990s are gradually passing on.
The recent death of Hugh Leonard was preceded by the deaths of Benedict Kiely, John McGahern, and John B Keane, among others. Brian Friel and John Montague celebrate their 80th birthdays this year and the young Seamus Heaney is 70 next April.
Thankfully, however, that generation are still producing literary gems that inform and delight. Edna O’Brien’s vignette Byron In Love has just appeared while there is another collection of William Trevor stories due in the autumn.
Then, out of the blue, Eugene McCabe, who turns 80 in 2010, produces a sparkling novella The Love Of Sisters which has been published by New Island Press.
Generally speaking creative works produced when literary stalwarts have passed their most creative and energetic periods tend to be second runs, projected themes that had been put away for the rainy day, and are published simply to close the file, or posthumously as unpublished manuscripts.
What is remarkable about The Love Of Sisters is that McCabe’s narrative powers and creative strengths are strongly in evidence from the first to the last sentence. The novella stands alone as an integral work of literature written by a master.
The Love Of Sisters is set against the background of the religious tyranny and male orientated society of the late 1950s, early 1960s Ireland. Patricia and Carmel Carmody have been traumatised by the unexpected death of their mother and abandoned by their feckless father.
They are raised by Imelda, their maternal aunt, and her husband. As they grow up the sisters’ personal views on love, live, and death develop in totally different ways and their careers diverge sharply.
Patricia becomes a nurse in London, marries, divorces and returns to Clare with her three-year-old daughter. Carmel, deeply in love with visions of Christ and eternity, joins a contemplative order.
Therein lie the facts of the case. Nothing unusual - certainly not in the Ireland of the time - but as we reach the kernel of the story the reader is treated to sheer McCabe magic. Carmel’s vocation is shaken by a somewhat uncomfortable incident in the convent and she leaves the order, going to live with her sister.
Her efforts to pursue a career in medicine by enrolling in University College Cork are thwarted and the underlying tensions between the sisters are explored to the full.
One of the more admirable aspects of the book is McCabe’s tight control of the narrative. The language is stark and to the point. In the time worn tradition of the natural storytelling, he has the reader on the edge of the seat with anticipation right through to the last sentence finishing with a sudden and dramatic conclusion reminiscent of the famous whiplash endings of O Henry or Guy de Maupassant.
All of this is simply second string to the real power of the novella, that is the total aesthetic experience it offers the reader. The theme is sibling bonding, love, and forgiveness but so involved do readers become in the narrative that it is they who must dig deep within themselves to find the ultimate forgiveness.
As with all comprehensive works of art , The Love Of Sisters brings its reader to a new level of self-understanding. It is a work of warm humanity and genuine kindness.
