Ireland

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Dean Morton, St. Columb's Cathedral

The good reverend Dean Morton at St. Columb’s Cathedral, Derry. Photo by David Lansing.

“Before we have lunch, would ya like to meet Dean Martin?” asked another Martin, this one a guide in Derry named Martin McCrossan. “He might even play the organ for us.”

Well who wouldn’t want to meet Dean Martin? Especially if he was going to play the organ. Who even knew Dean Martin played the organ? Or that he was still alive?

So in a cold hard rain we traipsed up the hill to St. Columb’s Cathedral to meet Dean Martin. Who is a lovely man, really. And still very good looking. Though when did he become a priest?

Actually, that’s the problem, you see. There are no priests at St. Columb’s which is, actually, the mother church for the Church of Ireland and not a Catholic cathedral at all. And Dean Martin is actually the good Reverend William Morton (but in the Irish tongue it comes out sounding like Martin) who is referred to as “Dean” Morton since he’s the Dean of Derry and Rector of Templemore, whatever the hell all that means.

It’s not important. What’s important is that Dean Martin—or Morton—is a lovely man and he loves to play the cathedral’s organ, which is located just to the right and atop the vestibule which the good Dean entered by climbing a  rather rickety spiral metal staircase. I sat down in one of the front pews. A few minutes later, Dean Martin began a rather slow dirge that, after a few notes, I recognized as “Danny Boy.”

Of course. What else would Dean Martin play on the church organ in St. Columb’s Cathedral but “Danny Boy.” But then the Dean slowly livened the beat—the way the Stones do in their classic gospel-tinged “You Can’t Always Get What You Want.” In fact, it seemed that Dean Martin was much inspired by that song as he switched cadences completely and suddenly “Danny Boy” went from a dirge to a rollicking rock ‘n’ roll number. It was the most amazing version of the song I’d ever heard. And the most unique. I only wish Dean Martin had had a gospel choir singing back-up. That would have been something, wouldn’t it? But you know what? You can’t always get what you want.

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The Death of Innocence mural in Derry, Ireland

The mural of Annette McGavigan in Derry, Ireland as it looks today. Notice the broken rifle and the colorful butterfly.

You walk along Rossville Street in the Bogside of Derry and, I don’t know how else to put it, but it just feels haunted. Even if you didn’t know that it was here, on January 30, 1972, that 13 civilians were killed by British Army paratroopers in the Bloody Sunday disturbances. On a windy day when the sky is gray and your face is turning red from the cold, you can almost hear the screams and smell the gunpowder and tear gas.

There are a dozen murals up along the walls in this neighborhood, all painted by the Bogside Artists—brothers Tom and William Kelly along with Kevin Hasson. The three started working together twenty years ago. From 1994 to 2008 they painted a dozen murals on Rossville Street which runs through the center of the Bogside.

The most evocative mural, to me, is the one of a young girl wearing an emerald green pleated skirt, green tie, and a white long-sleeve blouse. This is Annette McGavigan.

Annette was 14 and a student at St. Cecelia’s College when, on September 7, 1971, she went with friends to collect the rubber bullets that littered the ground after riots. She was shot in the head while walking along the street.

Annette became the 100th civilian victim of the Troubles (and the first child killed). The Bogside Artists painted the mural of Annette McGavigan, which they titled “The Death of Innocence,” in 1999. According to the artists, “We wanted the figure to stand out boldly from the background. We also wanted her innocence to radiate against the chaos of the world she was born into. So, we effectively made a shrine for her from the debris resulting from a bomb explosion. The gun which take up the entire length of the left-hand side of the wall was painted upside down. Like a monstrous serpent it has been defanged; it points nowhere but to the ground….The butterfly is left unfinished, purposely so, as it seemed more child-like to us like that.”

The statement about the rifle and the butterfly was made before 2006 when the artists updated the mural by breaking the gun in half and painting in the butterfly—both symbols to commemorate the fact that there was now peace in Northern Ireland.

Original Death of Innocence mural in Derry, Ireland

The way the mural originally looked and the Bogside Artists who painted it.

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The Troubles in Derry

You are now entering Free Derry

Photo by David Lansing

It’s the Fourth of July and here we are in Derry. Which seems appropriate. It was here, they say, that “The Troubles” in Ireland really began. I’ll save that discussion for another day. It’s enough, I think, to just show some shots I took of the murals in the historic Bogside neighborhood of Derry, site of the Battle of the Bogside (1969) and Bloody Sunday (1972).

The “You Are Now Entering Free Derry” sign was painted on a gable wall by a local activist, John “Caker” Casey, in January 1969 to commemorate this part of Derry as being a self-declared autonomous nationalist area. And it was here where the first street fighting broke out during the Battle of the Bogside in 1969.

More on all this next week.

Bogside Derry mural

Photo by David Lansing.

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Slieve League

Photo by David Lansing.

One other reason to walk down the narrow road back to the public parking area at Slieve League: During WWII, when all but Northern Ireland was neutral, the Irish government placed stone markers up and down the Donegal corridor. Stones, painted bright white, spelled out “Eire.” Meant to tell the pilots of allied aircraft flying from Enniskillen in Northern Ireland out over the Atlantic that they were in a free fly zone.

A few of the old markers are still around. And I’ve heard you can just make out the Eire sign near a viewing point at the bottom of the trail. So I walk. In the bitter cold (how can it be summer here?) and intermittent rain. Reeds and grasses swaying. Even the sheep have taken shelter, hiding in the deep grass.

Halfway down the road I spot a speck of red coming towards me. The only thing of color in the otherwise heather-colored landscape. Lean against a cold rocky cliff and snap a pic. The black clouds, winding road, a sheep or two. And the red coat.

I nod as the red coat approaches. It’s a young man. “Sorry if I ruined your picture,” he says.

“No, I wanted you in it. The red coat and all.”

“Ah,” he says. We both continue walking.

A little further on is a spot where you can look out over the hills and down the coastline. I stop and, using a telephoto lens, sweep the countryside looking for signs of the white stones. And there they are. Most gone, the few left overgrown by the marsh grasses. The first E is just a ghost but with a little imagination you can still make out the R and the E. EIRE. Ireland. A marker for the lonely boys, many of whom would not return, flying out over the stormy Atlantic.

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Cliffs of Slieve League

The cliffs of Slieve League are the highest sea cliffs in Europe. Photos by David Lansing.

The wind rips up from the ocean 2,000 feet below, its Atlantic cold mashing you about like a ping pong ball atop the Cliffs of Slieve League in County Donegal. Four layers of clothes on and still I’m colder than a side of beef hanging in a meat locker. Everyone huddles over, arms tight around their chests, jumping from foot to foot to keep warm. Or warmer. Photos are quickly snapped. And then it’s a dash back to the van, out of the wind, the cold.

“Sure it’s a gale,” says Ruth. “Are you comin’?”

I tell her there’s something I want to do so I’ll walk.

“What? In this weather?”

Mad, yes, I know. But there’s something mystical here atop the cliffs. A trail to God’s backdoor. One Man’s Path, it’s called. A rock-strewn sheep trail, really, over the ridge with 40- or 50-foot drops on one side and a sheer 2,000-foot drop to the wave-battered rocks on the other. They say you should never hike One Man’s Path when the wind is blowing—and the wind is always blowing.

I decide to go anyway. And have the trail to myself. Which makes it feel even more mystical. Every time I lift a foot, I feel the wind pummel me, pulling me to the edge. One good gust and I’d fly over the edge like a kite. But it’s lovely out here. Wild and lovely.

I sit on a rock, facing directly in to the wind. Close my eyes. Hear a voice—“Hay-o!” Two young women, dressed as if they were planning to summit Mt. Everest, are coming up the path. They’re carrying backpacks and full camping gear. They stop to chat. They’re from Sweden, they tell me.

“Where are you going?” I ask.

They shrug. “Just along the trail,” they tell me.

“You’re not going to camp out here, are you?”

No, they say. They are traveling around Ireland. Like snails, they carry their homes upon their backs. Last night they were in a hostel, tonight who knows. They ask me to take their picture. I do. They continue on. Closer to the edge. I turn back. I’ve had enough of heaven for one day.

Hikers on One Man's Path

Swedish hikers on One Man’s Path along the Cliffs of Slieve League, Ireland. Photo by David Lansing

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