Paul McVeigh, a strikingly original voice…
09 +00002015-04-13T08:13:10+00:0030 2012 § 9 Comments
It’s some time since I wrote a book review. I’ve recently read several books that I’ve meant to write about, yet somehow events have overtaken me. But this book is so brilliant that I don’t want to try to offer excuses!
Set in the Belfast Troubles, The Good Son tells the story of Mickey Donnelly’s last summer holiday before he goes to ‘Big School’. McVeigh cleverly captures the texture of the Ardoyne by presenting the tale entirely through Mickey’s eyes, but in such a way that the reader gets glimpses of the sinister adult world that exists in a kind of parallel universe to the squabbles, make-believe and silly but cruel playground fights that are lived with such intensity by the children of the neighbourhood. Mickey’s narrative is at once extremely funny and full of pathos. He tries to be brave and to help his mother and little sister and is often wise beyond his years, but the ten-year-old that he is reasserts himself when he least expects it, often at the most inconvenient moments.
McVeigh’s portrayal of a poor Irish Catholic family is a modern take on the classic Irish story. It belongs to a literary tradition that includes the work of James Joyce, Sean O’Casey and Frank O’Connor, yet McVeigh speaks with a strikingly original voice of his own. Mickey’s Mam isn’t Stephen Dedalus’s sainted martyr of a mother or Sean O’ Casey’s dignified but tragic Juno, though her character shares elements displayed by both, but she’s also a boisterous daughter of the slums, not above slapping her small son ‘because she feels like it’ or giving him a good tongue-lashing, yet also full of love and care for all her four children, including Mickey’s detestable elder brother Paddy. She even shows some kind of residue of affection for the ne’er-do-well husband and father who flits in and out of their lives, a masterful depiction of the classic Irish drunkard. She holds down several dead-end jobs that just about provide her family with subsistence, but she doesn’t feel sorry for herself. Secretly, she is also helping the paramilitaries, though whether she is being coerced into this is never quite clear.
Above all, it is the dialogue in this novel that holds the reader spellbound. McVeigh manages to convey the lilt and dynamic cut-and-thrust of the Belfast dialect without overdoing it with too much local fussiness (his judicious repetitive deployment of a handful of words, such as ‘scundered’ and ‘lumber’ is extremely effective). Also brilliant is his use of nicknames to show the child’s universe that Mickey inhabits: Ma’s-a-Whore, Measles, Fartin’ Martin, Glue Boy and Glue Girl, Wee Maggie. Mickey’s world is fragmented, a large dollop of drab reality mixed with small sips from the many forms of popular culture that he drinks in indiscriminately to nourish his imagination: Doris Day, John Wayne, Darth Vader and Yogi Bear all make unexpected appearances in The Good Son.
I can’t write any more without giving too much away. I’ve read The Good Son during the course of this weekend. I can’t claim to have completed it at one sitting, but I did resent every moment that I had to put it down to get on with the more mundane realities of my existence. ‘You must read it’ is what I really want to say!