Monday, 23 February 2015

Who is coming to Mountains to Sea?
24 DAYS to the START of ..& Counting down to the PreFestival Events. Look Who's Coming ;

Sheila Hancock
Jill Leovy
Paul Durcan
Sara Baume, Rob Doyle, Colin Barrett
SJ. Watson
Tom Pickard
Miriam Gamble
Judi Curtin
Polly Samson
Nuala Ni Dhomhnaill
David Almond
Chris Judge
Andrew O'Hagan
David Ferry
David Lodge
Paul Howard
Roisin Ingle
Tess Gallagher
Rory O Neill aka Panti Bliss
to name but a few!

Mountains to Sea dlr Book Festival
18th - 22nd March 2015

Something for everyone!

Thursday, 19 February 2015

Ghettoside: Investigating a Homicide Epidemic by Jill Leovy – Review

Ghettoside: Investigating a Homicide Epidemic by Jill Leovy – Review


By focusing on just one killing in Los Angeles’ most violent district, Jill Leovy's powerful and gripping book provides clues as to how lawlessness takes hold. 


See her at ‪#‎M2C2015‬ on Wednesday March 18th at 6.30pm in conversation with Declan Hughes Pavilion TheatreGuardian review of Ghettoside; http://gu.com/p/45p54/stw

the LAPD on the beat.
 A brutal history … the LAPD on the beat. Photograph: Robert Nickelsberg/Getty Images


In 2007, Jill Leovy started a blog on the LA Times site called Homicide Report, an attempt to chronicle every one of the 845 homicide deaths that took place in Los Angeles County that year. The blog, which is still running, has the motto “a story for every victim”, and takes a sober, data-driven approach to this most emotive of subjects. A veteran crime reporter, Leovy already had strong connections with LAPD homicide detectives, which she used to flesh out the entries in the LA county coroner’s database, trying to understand the reasons why people kill and are killed. Controversially, the blog runs statistics about race – controversially in part because those statistics underline a stark and unpalatable fact. In 2013, “Blacks, just 8% of the county’s residents … accounted for 32% of all homicides … blacks were killed at more than seven times the rate of all other racial and ethnic groups combined.”
Who is killing black people? The answer is: mainly other black people. Roiled by a new movement against police brutality, the US is currently burying its head in the sand so as not to have to face up to the disproportionate violence meted out to black Americans by law enforcement. Those who wish to minimise or condemn the “black lives matter” protests frequently point to statistics about black-on-black killings in order to suggest that African Americans are predisposed to violence or crime, and so presumably deserve the treatment they get. The left has not done well in rebutting racist interpretations of homicide statistics. InGhettoside, Leovy, who is well qualified for the task, has committed herself to understanding why black people are “the nation’s No 1 crime victims … the people hurt most badly and most often, just 6% of the country’s population, but nearly 40% of those murdered.”
Leovy chooses to focus on the 77th Division in the South Central district of LA, made notorious in the 80s and early 90s by gangsta rappers like NWA. “South of the 10”, the east-west highway that forms an unofficial boundary between wealthy and fashionable West LA and historically deprived neighbourhoods like Compton and Watts, is the location of the vast majority of the city’s black-on-black homicides. The 77th includes the intersection of Florence and Normandie, the epicentre of the 1992 riots. It’s a far cry from Beverly Hills. “Cops knew these places for their boxy apartments, chain-link fences, converted garages, bad dogs with no collars, and Chevy Caprices.” Policing these areas is tough, thankless and, Leovy writes, not generally considered a springboard for an ambitious career in the LAPD. Homicide detectives are shockingly under-resourced and culturally marginalised in a police department which sets great store by uniformed patrolling and “proactive” initiatives like gang takedowns, rather than after-the-fact investigations.
Leovy touches briefly on the social forces that created LA’s ghettos – restrictive covenants on housing in more desirable areas, preventing sale to blacks, mass migration from Louisiana and Mississippi – but never deals with this history in depth. This is not a “big picture” book about Los Angeles in the mode of Mike Davis’s magisterial City of Quartz. Instead, she adopts the familiar format of the police procedural, introducing us to a team of heroic hard-bitten detectives and narrowing her story down to one particular murder, the random and apparently motiveless killing of a black teenager called Bryant Tennelle, whose father happened to be an LAPD detective.
Unlike the majority of LAPD officers, who live outside the city, commuting in from majority-white suburbs in Orange County or Ventura, the Tennelle family lived in the 77th, a decision considered unwise by fellow officers. The disconnection of police from the communities they serve is a long-standing complaint across the United States, and undoubtedly contributes to the impression that forces like the LAPD (or for that matter the police in Ferguson, Missouri) act as militarised “occupying armies”, instead of an organic part of the social structure. Officers, on the other hand, fear that their families would be put at risk, and in many cases are straightforwardly priced out of attractive city neighbourhoods by high property prices. Leovy has sympathy for the dangers and difficulties faced by police, and while she acknowledges the LAPD’s brutal history, she sometimes soft-pedals the frank hostility of many officers to the people they are pledged to protect and serve. Reviewing the disastrous failure to protect witnesses in homicide cases, a major obstacle to successful convictions, she notes that “some cops, steeped in rightwing rhetoric about the ‘nanny state’, harboured deep philosophical objections to aiding witnesses with cash. One detective supervisor … saw it as her duty to make sure they got as little state money as possible. She considered the division’s poor to be welfare malingerers and did not want to abet their sponging ways.” The next paragraph reassures the reader that “experienced homicide detectives did not share this view”, but it’s clear from her book that such enlightened souls are in a minority. One has the sense that her narrative (and her access as a journalist) would not be served by dwelling on issues of structural racism.
Leovy’s detective heroes are described as a breed apart from their colleagues, who tend to view most killings of young black men as an inevitable product of gang culture, unofficially filing them as “NHI” – “no human involved”. We follow them as they interview witnesses, put in hours of punishing overtime and skilfully circumvent bureaucracy in search of the truth. It’s a mode of storytelling familiar from David Simon’s Homicide: A Year on the Killing Streets, the groundbreaking 1991 account of murder investigations in Baltimore that formed the germ of The Wire. Stylistically, Simon casts a long shadow over Leovy, who doesn’t have his ear for dialogue or his deftness with character. What she does have, and what setsGhettoside apart from the slew of factual police procedurals published every year, is a compelling analysis of the factors behind the epidemic of black-on-black homicide, and the beginnings of a policy prescription for tackling it. This makes Ghettoside an important book, which deserves a wide audience.
“High homicide environments are usually alike,” Leovy writes. Summarising anthropological work in cultures with high murder rates, she notes that the setting is usually a minority enclave or disputed territory where people distrust legal authority. The majority of killings arise out of arguments, sometimes formalised into feuds. Small conflicts escalate. Women often “work through men” by “agitating them to homicide”. The distrust of authority is the key. In the absence of a legal system that people trust to work for them, killings are the only way to settle disputes or exact revenge. “History shows us that lawlessness is its own kind of order.”
It’s not as though black communities are under-policed. The famous “broken windows” theory of James Q Wilson and George L Kelling, which holds that preventing small transgressions (street drinking, loitering, vandalism and so on) creates an atmosphere of lawfulness and thus leads to an overall drop in crime, has been the making of a number of political careers, particularly in New York, where its application has been credited (perhaps wrongly) with transforming the city. In Los Angeles and elsewhere, “broken windows” often sends large numbers of police officers into minority neighbourhoods, on a mission to make arrests and hand out tickets for minor offences. Unfortunately, when combined with the low clear-up rate for serious crimes in these same neighbourhoods, and the palpable attitude of callousness shown by patrol officers (portrayed in Leovy’s book as largely cynical and apathetic) the result is a force that appears to be harassing and penalising people of colour, while turning a blind eye to serious suffering. One of the key demands of the New York civil rights movement that coalesced after the choking death of Eric Garner (confronted over a classic broken windows offence – selling loose cigarettes) is an end to the NYPD’s policy of “stop and frisk”, a tactic that is disproportionately applied to young minority men. British readers may remember similar anger about the so-called “sus law” in the 1970s and 80s.
So how does one build trust in the police? Any kind of community outreach will, argues Leovy, be absurd unless black-on-black homicide is taken seriously. It is unacceptable to file young dead black men as “gang-related” casualties and treat their deaths as victimless crimes. This is not sentimentality or excessive liberal sympathy for criminals, but a policy that (quite apart from being just and decent) would regain consent for the presence of police in areas where they are currently seen as antagonists, the officer (as rapper KRS-One memorably put it) as overseer. As one detective remarks, “catching killers builds law”. Leovy provides examples where prompt and vigorous investigation prevented friends and relatives of murder victims from acts of revenge, stopping feuds before they took more lives. Self-evidently, the vast majority of residents in any community, black or white, are not criminals, but in lawless areas, even the law-abiding must live under a gang-enforced code that proscribes cooperation with the police under any circumstances. Coupled with the LA judicial system’s woeful failure to protect witnesses, making any kind of case is hard for overstretched homicide detectives working with such meagre resources that they are apparently forced to buy their own office equipment. Though Leovy avoids the larger and thornier questions about law enforcement in African American communities (gun control, the zombie-like persistence of Jim Crow), her balanced and unhistrionic book may, with luck, persuade the “I can breathe because I obey the law” crowd, those Americans who have historically been unreceptive to other kinds of argument, to look again at black-on-black homicide, and take action.

Monday, 20 October 2014

DLR Library Voices 2014
Ian McEwan in Conversation with Declan Hughes






dlr Library Voices was delighted to have Ian McEwan appear as part of the autumn series, in the Pavilion Theatre, Dun Laoghaire on the 19th of October. Mountains to Sea Book Festival we had Joseph O'Neill in conversation with Sínead Gleeson at the Pavilion Theatre, last night. This was the third event in the dlr Library Voices series for Autumn, featuring Rachel Joyce (The Unlikely Pilgrimage of Harold Fry), Joseph O'Neill and Mary Costello.

Few novelists encapsulate moral dilemmas in fiction as adroitly and eloquently as Ian McEwan. His novels dramatise situations of extreme ethical ambiguity which provoke in his characters and in his readers the need for nuanced responses. In his new novel, The Children Act, a leading High Court judge renowned for her fierce intelligence and sensitivity is called on to try an urgent case in which a seventeen-year-old boy is refusing the medical treatment that could save his life. Should a secular court overrule sincerely held faith when a life is at risk? The clash of religious beliefs and adult responsibility are delicately explored in this new novel by one of the finest writers currently working in English.

'As a novelist whose critical reputation translates directly into sales in the hundreds of thousands, Ian McEwan is virtually unique among his contemporaries. Part of McEwan's popularity with readers is his canny gift for tight and surprising plotting, and in the advance buzz around The Children Act, it's been widely reported that his 13th novel presents a reckoning with irresponsible religious belief - an anathema to an atheist like McEwan.' GQ Magazine

Tickets are still available for the final event with Mary Costello at the Pavilion Theater box office on (01) 231 2929 or at http://www.paviliontheatre.ie/events/view/ian-mcewan-in-conversation-with-declan-hughes
Thanks to Ger Holland Photography

Wednesday, 15 October 2014

'WE NEED TO TALK ABOUT READING' 

For book clubs and readers with Mary Burnham

21st of October in dlr LexIcon



dlr Libraries have organised a series of workshops for book lovers of all persuasions. Whether you read as a solitary pleasure or are part of a group of like-minded readers, this is designed to suit your needs. Mary Burnham, from Dubray Books, Dun Laoghaire, will be our host and she will take you on a literary journey of the delights to be found in a good book. Mary keeps a close eye on all the latest releases and specializes in matching reader and book for maximum enjoyment. 
We will be recommending a book to go with each session, starting off with The Homesman by Glendon Swarthout. This novel paints a vivid picture of life in America around 1860 when young men and women ventured far and wide to claim some land for themselves and their families. Read and come to our first session in dlr LexIcon on the 21st October at 7pm.
Admission is free but booking is essential at 214 7970 or by emailing libraries@dlrcoco.ie

Wednesday, 8 October 2014

Colm Tóibín: the literature of grief

Nora Webster, Tóibín's new novel, draws on his memories of his father's death – in doing so, it joins a rich tradition of writing about loss, from Sophocles to Joan Didion
Colm Toibin
'Grief makes its way into a work in the way that waters from a flood may be channelled into a stream' … Colm Tóibín. Photograph: Kim Haughton
When I came to Dublin as a student in 1972, the writer Mary Lavin was a familiar presence in the city. I watched her as she moved with a sort of stateliness between the desks in the National Library on her way to the main desk, or as she sat in a small cafe known as the Country Shop, or as she drank coffee in Bewley's in Grafton Street. She was usually alone. She wore black. Her hair was parted in the middle and pulled untidily into a bun at the back. Her gaze was kind and sad and oddly distracted, but it had a funny strength to it as well. She had spent her life describing others, and finding strategies to create versions of herself; it was not easy to categorise her or ever be sure about her just from looking.
I have no clear memory of how I knew that she had been left a widow with children at a young age, but I certainly knew it before I came to the city. I was interested in the word "widow" and I would have paid real attention to a writer, or anyone at all indeed, who was a widow, since my mother was one. It may have been when we studied a story by Lavin in school called "The Widow's Son".
I had read a good deal of her work by the time I saw her. Some of her stories meant nothing to me. The scenes of upper middle-class life in County Meath, north of Dublin, were too rarefied. But the ones that dealt with the life of a widow were almost too close to the space between how we lived then in our house and what was unmentionable – the business of silence around grief, the life of a woman alone, the palpable absence of a man, a husband, a father, our father, my father, the idea of conversation as a way of concealing loss rather than revealing anything, least of all feeling – for me not to have read her with full recognition. The recognition was so clear, in fact, that I do not remember recognising anything. I was reading with too much rawness.
But I must have sat up when I came to this passage in Lavin's story "Happiness": "When Father went to hospital Mother went with him and stayed in a small hotel across the street so she could be with him all day from early to late. 'Because it was so awful for him, being in Dublin,' she said. 'You have no idea how he hated it.' Maybe I thought this would be in other books in the future – such a precise image of what had happened to us – but I never found it again. It was only there. It is in the novel I have written, Nora Webster, but it took me a long time to find a dramatic form for those words.
In Lavin's stories about solitude and widowhood, her characters live in a twilight time. They barely manage. One of her stories about grief and its aftermath, controlled grief, is "In the Middle of the Fields". In the first sentence, she establishes that her heroine is alone in an isolated rural place. And then the next sentence reads: "And yet she was less lonely for him here in Meath than elsewhere."
The loss is complex, or it comes in a complex guise. People think she wants to talk about her dead husband, or be reminded of what she has lost. "They thought she hugged tight every memory she had of him. What did they know about memory?" She hopes for a time when she had "forgotten him for a minute". It is clear that the grief does not have to be named as "grief", or brought out for inspection. All she knows is that how she feels is not stable, it cannot be trusted. It is wayward.
In Lavin's stories about loss the newly widowed woman has to remake the rules for herself, including the most ordinary rules of behaviour. Emotions dart, fresh longings emerge; what her characters do can easily become irrational and hard to explain; they often do the very opposite of what they intend. Being unmoored by loss affects their every thought, even when they are not thinking about loss, and, indeed, affects their every action.