Thursday, July 24, 2014

Should we be more like the States?





Over the past several weeks, I have been trying to sort out what I saw in New York City, especially in The Cloisters, the brilliant collection of the Metropolitan Museum of Fine Art's Medieval Collection. I have come to the conclusion that even though none of the museum's collections was American (how could it be?), it was genius of them to recognize genius in
others. This is a key cultural failing of Canadians (sorry to say but it is true). Until we learn to recognize genius in others we will not be capable of recognizing genius in ourselves and our own works and we will remain a second rate culture dominated by cliques and second rate conversation among those who are merely self-serving. It is time we took that conversation to a
different level. Rather than just patting ourselves on the back, we should ask why we are patting ourselves on the back. Rather than just saying that our poetry is good because it has been promoted and discussed in trade journals, we should be asking ourselves why something is good, what made it good, and how it could be better. We aren't pushing our brains enough and because of that we're casually accepting things merely because they appear on bookstore shelves or because they've been reviewed in publishing journals. That isn't culture. That's just marketing and we need to recognize the 

difference.







Those brave words were posted on Facebook by one Bruce Meyer, a much-published poet who has his ear to the ground on all matters cultural (and NOT just Canadian culture, folks!). I always pay a lot of attention to what he writes, because he comes out and says things the rest of us tiptoe around while we keep our mouths safely bandaided shut.

I don't think this is a screed against CanLit or anything else Canadian, except perhaps its insularity and near-desperate attempt to prove to itself that, yes, in spite of all the evidence, it DOES have a thriving arts community not dependent on constant handouts to survive.




OK then, what if it's true (which it is, largely) and artists DO need government funds and/or constant scrambling on social media in order to go on? The problem is, someone has to name the problem first or it continues to worsen through denial. I've been re-reading the brilliant works of Margaret Laurence, and what I see is work that speaks for itself, with a quality of greatness that does not exist any more. I don't know how much schmoozing writers needed to do then. Maybe a lot. But I don't think it was the main event. Laurence, after all, was widely quoted as saying, "Don't be a writer in this country unless you absolutely have to." (And that was in the 1960s, an era when Jack McClelland took manuscripts home in his briefcase to personally read in bed.) In The Diviners, Laurence's most autobiographical novel, Morag is portrayed as a "successful"published author barely scraping by while she raises her daughter on a pauper's income.



Canada has always suffered from chronic low self-esteem in every area. It's no secret why. We live next to this giant, the elephant that at any moment might roll over and crush the mouse. We have approximately one-tenth the population of the U. S. spread over a much wider geographical area, consisting of concentrated blobs of population punctuating vast stretches of nothing. We are a much younger country, nearly a century younger, so that we have had a century less time to establish ourselves beside this heaving, seething superpower. Until fifty years ago, we didn't even have our own flag.




Our history has also been vastly different, dull by some standards. Robertson Davies was once quoted as saying, "Historically, a Canadian is an American who rejected the revolution." No rocket's red glare, no bombs bursting in air, just an endless "we stand on guard, we stand on guard".  I do not know one single individual who owns a gun, and in my entire lifetime have only known two (an antiques collector and a cop). I doubt if this would be the norm in the States. You do not see articles published in magazines here telling you (quite seriously, like a fire drill) "what to do if someone has a gun to your head". We have no "right to bear arms" in our constitution. We don't "pledge allegiance", an idea which to the Canadian mind seems very strange.

Am I claiming that as a nation we are morally or perhaps ideologically superior? Sometimes I wish I could say that. On the other side of our peaceable ways seems to be a woeful mediocrity. We can never keep up. I'm a Canadian and I love my country. But art is being drowned in the mad scramble for commerce, to "win", to sell copies, to be "a success". If you aren't, you feel a particular kind of miserable guilt and woe, not to mention an isolation no one should have to feel. You're not "in", you're "out", and the solution is to work even more feverishly to gain admission, to crash the gates. And yet if you say any of this out loud, you're anti-patriotic, hate Canada, hate the arts and just don't understand how it really works. Any time I've tried to write about this, I've been "corrected", shown the ropes, or told, "well, none of that applies to ME, I'm doing just fine" (so, by definition, I must be a loser).




Am I saying we should be "more like the States" (a sentiment which is always both praised and reviled)? No, I am saying we should be more like ourselves. Celebrating only the tiny tip of the vast pyramid which is the arts community in Canada is not going to do it. Imitating the States is not going to do it, because we are not the States.  I am not knocking Americans; my husband has travelled extensively all over the United States
and insists that the vast majority of people he met were warm and welcoming, perhaps a damn sight more warm and welcoming than the average chilly Canadian. Dissing Americans across the board annoys him no end.




I wonder how to transcend all these useless stereotypes, to begin to listen and respond to those powerful inner voices that drive us to create. It can be argued that art has always been elitist, that only the strong survive, etc. But it's a circular argument. An elitist system won't admit any new members, becomes smug and stagnant, and thus even more elitist. Those who need to create are shoved out into the margins, the badlands of existence. Then it's "oh, well, you know what artists are like, they're a crazy lot." The suicide rate among poets is staggering, but also part of the stereotype of crazy writers who for some reason can't cope.

And yet, and yet. I do wonder how many magnificent artists are out there, or HAVE been out there, who refused to play the game and thus remained in total obscurity, unknown to any of us.




It's my blog, and I'll lament if I want to/need to. If I can't, things are even worse than I thought. So often, when I try to express a thought or feeling that comes from a deep part of me, I am clapped down (especially on Facebook, and especially by Canadian authors!). I had an example of this the other day that made my head reel: why must we fire on each other like that? Why the unspoken, unacknowledged status wars, which if you talk about them at all seem to get a reaction of, "Oh, you're not promoting your work vigorously enough"? The unquestioned assumption is that you're clamoring for a higher spot on the totem pole we all clutch for fear of sliding down on top of those unfortunate underlings. If you're not winning the unacknowledged, futile war for ascendency, you're just not playing the game right.

I am saying the game needs to be chucked out altogether. Can't be done? Nothing can be done if it's never ventured or dared.




I can do nothing at this point but quote an old, old song by Joni Mitchell. I am not entirely sure of the message. It has echoes of the Civil War, but below and beneath that, it may be speaking of the uneasy relationship we have with the giant that constantly threatens to erase our identity. But spare a thought for this: they never set out to "erase" anything. They are simply being, huge and turbulent, while we cringe and continually wonder who we are.

And so once again
My dear Johnny my dear friend
And so once again you are fightin' us all
And when I ask you why
You raise your sticks and cry, and I fall
Oh, my friend
How did you come
To trade the fiddle for the drum

You say I have turned
Like the enemies you've earned
But I can remember
All the good things you are
And so I ask you please
Can I help you find the peace and the star
Oh, my friend
What time is this
To trade the handshake for the fist

And so once again
Oh, America my friend
And so once again
You are fighting us all
And when we ask you why
You raise your sticks and cry and we fall
Oh, my friend
How did you come
To trade the fiddle for the drum

You say we have turned
Like the enemies you've earned
But we can remember
All the good things you are
And so we ask you please
Can we help you find the peace and the star
Oh my friend
We have all come
To fear the beating of your drum




Wednesday, July 23, 2014

I don't even KNOW this guy!






This is a fictionalized, but NOT wholly-imagined Facebook conversation I saw today:

Kenneth R. Beaverbrooke: You wouldn't believe what just happened to me. AGAIN. Someone tried to "friend" me on Facebook, someone I didn't even know! He looked like some cheap salesman for something, self-promoting all over the place, don't know why he thought he had the right to try that, especially since he probably hasn't even read my seventh bestselling novel, my erotic masterpiece, CHILLED: Blue Balls in the Yukon,  now available on Amazon, Barnes and Noble, Kindle, Kandle, Kundle, and everywhere fine electronic transmissions are sold.

Ronald J. Rottenburger: Oh, yeah, Ken baby, I hear you, I hear you! I know just what you mean. They do that to me all the time. Maybe they just see my astronomical total of friends, all those thousands, you know, and get so intimidated, they try to friend me up to steal some of my glory. (Snort)





Kenneth R. Beaverbrooke: Excuse me. Were you saying something? Never mind. This sort of thing happens to certain authors, because certain authors exist in a special stratum of intelligence to which no one else can aspire. This is especially true if they are in their seventeenth week on the New York Times Bestseller List, and even more true if their seventh novel is an erotic masterpiece titled CHILLED: Blue Balls in the Yukon. I can't believe the presumption of these people thinking they can aspire to being my social and/or literary equal. 

Ronald J. Rottenburger: Ken, Ken. Relax! WE love you, baby. WE know you feel traumatized by all those hundreds and thousands of people trying to friend you every day, people you don't even know, but take heart, Kennie boy. Think of it this way. You're just one of those guys who knows everybody.






Kenneth R. Beaverbrooke: I beg your pardon, whoever you are. Just what is meant by "everybody"? Have you forgotten my staggering powers of discernment? I don't know "everybody", nor would I wish to know "everybody",  though Poppy Dollartree and I have more than a nodding acquaintance.

Ronald J. Rottenburger:  Ken. Ken. Listen to me! I'm not trying to come between you and Poppy.

Kenneth R. Beaverbrooke: Yes you are, you lousy little interloper! It's people like you I have to "unfriend" all the time. Ronald J. Rottenburger, you are not worth my time.





Poppy Dollartree: Squeallll! Kennieeeeeeee, hi, it's Poppy! Let's cozy up and crack a bottle of ice-cold Wild Turkey.

Kenneth R. Beaverbrooke: Poppy! My God, I haven't seen you since the SSWA meeting yesterday afternoon!

Poppy Dollartree: Yes, that's right. Smug and Sociopathic Writers Association, like they say. Of course that's just a joke! Smart and Sexy is more like it. Nothing like those long meetings in the conference room - a conference of two! But back to the issue at hand. I am constantly being propositioned on Facebook by men I don't even know.

Kenneth R. Beaverbrooke: Tell it, girl.





Ronald J. Rottenburger: Hey, guys, I've figured out what to do about this!

Kenneth R. Beaverbrooke: Can I delete that? No? Then let's just carry on, shall we? Poppy, baby, are you up for playing a part in the movie adaptation of my erotic masterpiece,FURBURGERS: Crimes of Passion in the Beaver Trade?  You'd look swell in one of those great big politically-incorrect coats.





Ronald R. Rottenburger: Hey, guys. . .

Poppy Dollartree: Ooooooh! A movie star! I can see myself on the red carpet with a glass of that classy champagne.

Kenneth R. Beaverbrooke: Yes, and it wouldn't be any goddamn Wild Turkey either.






( I have to tell you that this selfsame self-important fictionalized Canadian-famous author later delivered a nasty crack at me for no good reason. Someone had posted a dreadful article called What to Do if you have a Gun to your Head. With a sickening sinking feeling, I realized it wasn't a joke - it was actual, step-by-step instructions, like a fire drill.. I posted a comment about how heartsick this made me feel and about how I wasn't sure I even wanted to live in a world that had degenerated to that level of madness. Kenneth R. Beaverbrooke responded, "well, hey, Margaret, why don't you take a clonazepam?" When I deleted my part of the conversation he made a bunch more snarky comments, so I told him I had been under the delusion that I was no longer in junior high with people sniggering at me and hurting me for sport. But no: this sort of casual mean-spiritedness is alive and well and living on Facebook! I still don't know why he felt the desire to throw that little ball of carbolic acid at me - perhaps it was just to brighten his day. And the ironic thing about it all is, HE DOESN'T EVEN KNOW ME!)






Monday, July 21, 2014

A radical transformation




Most of these Facebook-posted YouTube things give me the pip, but this struck me as the real thing. It's realistic about the time, dedication and effort it takes to attain real transformation. I'm reminded once again of a favorite quote:




Sixteen seconds of Harold Lloyd






Friday, July 18, 2014

Facebook assumptions: sappy, not happy




You know what just happened?  I lost a whole post. I lost a whole post I worked on for at least an hour and a half. So what happened? Was I going too fast? People think I go too fast, that in fact I work at light speed, and when very angry, I do. It's like rocket fuel in the veins.

It started with the last post about unsolicited advice on Facebook. Something was triggered, I guess, and I was off. It was those sappy little "things", like the truncated thing above - I realized that though I see them every damn day, I don't even know the name of them or where they come from. They circulate around and around and around the waters of Facebook like pond scum.




I think it's the smug assumptions behind these things, these announcements of how you are supposed to feel about close kin, that enrages me. EVERYBODY has a wonderful sister, don't they? Kind of like that White Christmas sister act, where the body types of the two women are so radically different that there could not be a genetic link even 100 generations ago.




And oh God, mothers! Here is what my mother was really like, and never mind what my memories tell me. A duck would have made a better mother than mine was. Mother ducks are extremely loyal and protective, would fight to the death to protect their young. My mother may have been somewhat aware that I existed in the house. Maybe she was just waiting it out.




I very much doubt if this quote is by Kubler-Ross, whose theories have been so distorted and overpopularized as to be unrecognizable. (For example, she NEVER wrote about "stages of grief". Those stages described the process of actually dying.) But it doesn't matter. The same quote can be attributed to Einstein, Freud, Mark Twain (a current favorite, for some reason, maybe cuzzada cool moustache), Emily Dickinson, or even JANICE Dickinson, and no one notices, cares, or even wants to know. Though that doesn't stop them from hitting the "Share" button.




I won't even get into the lame misspellings, misplaced commas and quotation marks, and other awkward, careless useage you see in about 80% of these things. This kind of "loose, relaxed" approach to grammar (with "it's" and "its" constantly being reversed, and the verb "to lie" misused, even in news broadcasts, so that "the victim was laying in the road") is trickling down, or up, saturating the culture, to the point that it eventually worms its way into the dictionary and becomes "correct". Language, after all, must be fluid! It must change with the times. It's future lies in being dymanic. Don't let it just lay there.




And oh, this: probably written by some teenage girl, obviously equipped to guide and correct my behaviour and attitudes. This is a sort of Ten Commandments of emotional reaction, a what-not-to-wear of little things like promising, replying and deciding. So let's look at the inverse of this negative life-directive: promise when you're unhappy, reply when you're not angry, and decide when you're not sad (happy?).






I won't comment here. These weren't in my original draft, my polished draft, my GOOD draft, the draft that just fucking disappeared for no reason at all, because Blogger always automatically saves everything. Like I said, I just slapped them up here because I just have to win this, have to win over the forces that would screw up my whole day. But I remember some sort of choice quote on Nazi Germany, now gone forever.




I used to think humans were herd animals, but now I realize they are more like flock animals, with one aberrant member being pecked to death by the forces of conventional mediocrity. Except that in some ways, birds are superior. I mentioned mother ducks. And I forget the rest of this post, so I just have to stop now. And now I know what those "things" are - I think. They're called status quotes (because they're quotes that go on your status updates) or picture quotes (because they have pictures and quotes on them). They're things you sort of "put up", like you'd slap up a poster in the olden days. Except that these are standards, nay, imperatives for how we are supposed to feel, how we are meant to look at life. The average chimpanzee would have a steadier moral compass, but all that doesn't seem to matter any more.




Crap advice





Actual Facebook post, July 18/14:

Margaret Gunning

Sometimes I'm so tired it's like I'm living below the floor of
my threshhold of energy.

(FB "friend"):  Nice phrase, but -- ??? Overwork?
Or health issue? All kinds of safe-ish energy boosts
available, from matcha green tea to B12
to stuff like Adrena-tea and Rhodiola.

I think I'm just tired! I
said it when it was 1:00 a.m. and just really bagged. Um,
nice advice though.


Maybe it's too early in the day for a rant, but here goes. This is an example of the many things that gall me about Facebook. Last night I was well and truly bagged. I had stayed up so late I lost track. Still, it had been a good, even hilarious day, much of it spent with Caitlin and Ryan who act as a fizzy tonic to my sometimes discouraging life. I was just saying, Whoo, boy, am I ever exhausted. Wow. Can't even describe it!

So what did I get, from a complete and anonymous stranger?

Advice.





Not only advice, but advice delivered in a didactic and even judge-y way: "Nice phrase, but - ???" seems to indicate that I'm putting a lot of fancy words down on the page for nothing. (Three question marks seems like overkill to me. What? What? What?) Or for something: a cry for correction.  Being completely bagged, it could be I was guilty of trying to garner some sympathy, or at least empathy, and I failed miserably: instead, what I got was this. Then came the barrage of theories:

Overwork? ("Are YOU suffering from overwork? Fatigue? That tired feeling? YOU need. . . ").

Or health issue? ("Why aren't you looking after your health issue? and/or Why are you talking about your health issue here, which is completely inappropriate? Do you even KNOW what your health issues are, and what you should be doing about them?").

All kinds of safe-ish energy boosts available, from matcha green tea to B12  to stuff like Adrena-tea and Rhodiola.  (So here's the infomercial, not quite as if she is selling the stuff, but nevertheless magazine-like, delivered in a flat news report tone, implying - I think so, anyway - that for God's sake, don't I know that there are tons of "safe-ish" energy boosts that are readily available to alleviate this mysterious fatigue that I'm complaining about? It's solution syndrome, the thing that makes people with chronic conditions keep their mouths sealed shut. Here, I'll fix it for you - don't you even know about this, aren't you willing to even TRY this? - and then you can just shut up again.)





It's not so much the message (which is pushy enough: "the answer to this whole issue is blah") as how it is delivered. There is no sense of  "you know, I've had fatigue too. I've tried some things, and this really worked for me," or even "why don't you give this a try?", or even "Try this, dummy!" Such a tone implies, at least, wanting to help instead of a sense of "oh my, that's a very elegant phrase you just wrote there, BUT. . . ",  before launching into a lecture.

Another assumption, given the content,  is that I am automatically "into" herbal and alternative cures. Not that I haven't explored them. Through the entire course of my perimenopause (and PLEASE don't tell me how I handled this the wrong way!), I tried remedy after remedy, including some that nobody talks about now because they have been completely discredited as a useless or even dangerous waste of money and time/hope. Remember St. John's wort (now found to be hazardous and ineffective), soy powder (can cause cancer), and evening primrose oil (which might work if you dabbed it behind your ears)? All of those attempts went down the toilet, literally, and I finally went on the pill for a year, which almost instantly fixed everything - I am not kidding, the symptoms just STOPPED and never came back, with virtually no side effects. That was fifteen years ago, but I know some people would still think I was weak or brainwashed by the patriarchy.

I quickly learned to keep my remarkable cure to myself, however. If I talked to women about it, more often than not I got a look like this:





(Maybe that's why, throughout my entire life, most of my close friends have been men. Not politically correct, but true. As a rule, they're more direct and have fewer labyrinthine hidden agendas and unaddressed power vacuums. And no, they don't grab me in back alleys. Well, maybe once.)

Presenting a list of herbal cures to someone you don't know is insulting, because it makes the assumption that the stranger you are advising thinks they are relevant. Take them for yourself, share them with people you KNOW are open to them, but please, don't proselytize or try to win me over to your (obviously superior!) side. And if you must recommend, RECOMMEND, don't just present me with a laundry list which keeps you on the shielded side of vulnerable. Here. Here it is. Too bad you're the way you are, but hey, cheer up, I've got the cure.

For God's sake, I was TIRED, bagged, not in need of a course correction in my sad little life. But no. No "poor baby", not even a "tough shit". What really drives all this compulsive and automatic correction, beyond towering ego, is a profound discomfort with anyone else's pain. It must be "fixed" now, and at all costs. At the same time, the self-proclaimed savant can wear the mantle of mastery and gain admiration and respect. Pretty sweet deal, I'd say.





I won't name the person in last night's FB encounter, but she was a bossy-big-sister type, the likes of which I have encountered before and hope never to encounter again. But it will happen. Any time I have expressed any sort of vulnerability on FB, I get an avalanche of not-well-meaning advice from people who would really rather I shut up, because my statements subconsciously remind them of all the crap they have not addressed in their own lives, all the stuff they don't want to look at. I am annoyed and even infuriated by the quick fixes they spew, unsolicited, playing "expert" to keep from facing their own unresolved shit. 

This was not a statement of  "I'm tired, does anyone have any advice out there to help?" This was not a "I really need some herbal remedies that have worked for people." This was, "boy, I am so bagged I can hardly think straight." Immediately, like a suckering vacuum, my statement drew a sour and self-righteous, even judgemental weather report from someone I barely knew.

Who has been unfriended now. Because to be honest, she is no friend of mine.

Wednesday, July 16, 2014

The lonesome death of Margaret Gunning


Tonight, while looking for something else, I stumbled on a rather incredible recording: a podcast, the type of thing I never bother with.

It's a dark and dank and somewhat creepy story of a woman unjustly convicted of "murther", and publicly executed in 1832. I wasn't going to listen to all of this - it's nearly an hour long, after all, and wouldn't it be dull? Hell no. It's enthralling, for two reasons:

(a) it's hard not to be enthralled when you hear your own name every one or two minutes, as the accused perpetrator of a grisly murder;




(b) the accents are remarkable. There must be seven or eight varieties, from the softening and darkening of vowel sounds and hillocky lilt, to an almost nose-snorting sound, like a horse breathing, or rather a "harrrse". Impossible to reproduce here, almost an "iggerant" sound, or, as me sainted grandma used to put it, "rather common". 1832 comes out something like "aihhyt-tyeen toirrty-twoo". A "th" sound comes out more as "dh".  "Mother" sounds, weirdly, like "mudh-der", the consonant sound breathily drawn out.

If Ireland is anything like England, and any good Irishman would flatten me for even suggesting it, there is a plethora of accents and even dialects there, overlapping, layered, and bound up in things like heredity, geography, education, money and power, and (that awful thing that is not supposed to exist) "station" in life.  

Each voice, each person interviewed in this thing may have come from a different part of Ireland, but the variety of sound transcends mere location: it's as if this Ireland consists of showers of sparks or bubbles of radiant light, each expressing the soul of an individual, yet all from a common source.



It's a funny thing, too, that as the documentary attempts to piece together the sad, brief life of Margaret Gunning, nobody seems to know very much: "no idea" and "never heard of" keep popping up, as if she and her kin somehow just fell off the face of the earth. Most likely, because she was poor and powerless, few or no records were kept. 

Weirdly, some of her forbears were tinsmiths and tinkers, a trade that for some unknown reason was looked down-upon, even despised. I happen to know that, because my great-grandfather on my mother's side was one. We still had a few of his artifacts floating around the house when I was a child, cookie cutters mostly, one shaped like a greyhound.


I have pieced together a bit, mainly from sifting through meagre internet entries. Tinkers were often itinerant, went around in cluttery, rattly old wagons, and were lumped in with "gypsies" (also unfairly stigmatized), and who knows but that there was cross-marriage and a blurring of social barriers. The greyhound cookie cutter may well have symbolized something I didn't understand back then: perhaps the old man liked to go to the dog races, place a few bets with his meagre earnings, and if he came stumbling home drunk and broke after hours, it wouldn't reflect well on his already-low social status.



So I emerged from the incredibly weird experience of listening to a dozen different Irish voices talking about someone with my name, someone from 182 years ago who had murdered somebody and was executed for it. 

How in God's name did this information ever come to me?   How many ways is it possible to be Irish, to pronounce the language? And though it is unlikely that any of theses "Gonne-nings" were my own blood kin, it's possible they were related on my husband's side. . . which means my children, and their children, could also be blood kin. Go back the generations, hear the Irish sounds, realize with a start that two of my grandkids have Celtic Irish names (Caitlin and Ryan Patrick), picked for some reason, or not for a reason, just because of that low ancestral hum, the hum that registers below and beneath everything else.

Post-blog ruminations. It's the next morning, and I am wondering now about Pierce Brosnan, Gabriel Byrne, and other black-Irish hunks I have known and loved. Yes, that term has hung around my family, but not directly. My mother's side, the Irish connection, all seemed to have the same black hair, slight swarthiness and green eyes. I never thought it strange until I realized that my mother, married to a very fair blue-eyed man, produced two sons with black hair and dark brown eyes.


There was this strange rumor of "Spanish blood" in the family, but this was supposed to be on my father's side. HIS father was swarthy (I never met the man, but he will live in infamy as a layabout and a violent drunk). But the dark brown eyes had to come from somewhere, didn't they? Was there Spanish blood, perhaps going all the way back to the Spanish Armada, on BOTH sides? 

And why did my sister and I end up fair and blue-eyed? My own kids were "darkening blondes", you know the type, but two of my grandgirls (Lauren in particular) look almost Scandinavian, with wheaten blonde hair and crystalline blue eyes.

Strange, since their mother is brunette.

It's all very weird, and the bit of researching I did led me to believe that whole books could be written about it. An article about how the Irish names changed over time, simplified and de-Celticized, fascinated me, because I read somewhere that Gunning used to be spelled O'Conaing.

So here's just a tidbit about DNA and the true origins of the Irish:



But where did the early Irish come from? For a long time the myth of Irish history has been that the Irish are Celts. Many people still refer to Irish, Scottish and Welsh as Celtic culture - and the assumption has been that they were Celts who migrated from central Europe around 500BCE. Keltoi was the name given by the Ancient Greeks to a 'barbaric' (in their eyes) people who lived to the north of them in central Europe. While early Irish art shows some similarities of style to central European art of the Keltoi, historians have also recognised many significant differences between the two cultures.

The latest research into Irish DNA has confirmed that the early inhabitants of Ireland were not directly descended from the Keltoi of central Europe. In fact the closest genetic relatives of the Irish in Europe are to be found in the north of Spain in the region known as the Basque Country. These same ancestors are shared to an extent with the people of Britain - especially the Scottish.
 



DNA testing through the male Y chromosome has shown that Irish males have the highest incidence of the haplogroup 1 gene in Europe. While other parts of Europe have integrated continuous waves of new settlers from Asia, Ireland's remote geographical position has meant that the Irish gene-pool has been less susceptible to change. The same genes have been passed down from parents to children for thousands of years.

This is mirrored in genetic studies which have compared DNA analysis with Irish surnames. Many surnames in Irish are Gaelic surnames, suggesting that the holder of the surname is a descendant of people who lived in Ireland long before the English conquests of the Middle Ages. Men with Gaelic surnames, showed the highest incidences of Haplogroup 1 (or Rb1) gene. This means that those Irish whose ancestors pre-date English conquest of the island are direct descendants of early stone age settlers who migrated from Spain.





(Post-script. I had to bring Harold Lloyd in here, didn't I? But his coloring was a tad unusual, for one reason: freckles. His thick head of curly hair was jet black (not dark brown, like a lot of brunettes). All his life, from boyhood on, he was covered with freckles, so much so that his makeup had to be laid on with a trowel. The few glimpses of him shirtless show a massively freckled body. This is relatively rare except in redheads, whose freckles are so numerous they sometimes mass together like constellations in the night sky. With skin so fair it was almost white - he never seemed to get a tan, unlike his leathery Hollywood cohorts - and strikingly blue eyes, he seems a candidate for the black-Irish theory - except that he was Welsh. But hey, Welsh may well be included in that strange Gaelic/Celtic equation. That story I will leave for another day.)


Summer in Siberia: or, a day at the bitch