If you are in need of a good laugh let me recommend the Agnes Browne Trilogy by Brendan O'Carroll. It's been described as Angela's Ashes without the misery. The books are set in working class Dublin, beginning in the 1960's. Raw and earthy, with the kind of humor I remember so well from my own upbringing in the North of England, O'Carroll's tales are both evocative and skilfully wrought. The author weaves together such disparate themes as abuse and alcoholism, adolescent angst and adult alienation. Hidden within the humor lies one of the tenderest love stories you will read anywhere. The Irish seem to have a knack for moving seamlessly between pain and laughter, tragedy and comedy. If you can get beyond some of the foul language, the books are well worth reading.
Many things in the books delighted me; some made me laugh out loud; but several things surprised me. First, there is very little sectarianism in the story. One of the incidental characters is a Jewish businessman who has fallen upon hard times. His generosity is in sharp contrast to the callous violence of his son. But, in the narrative of the Browne clan, that son is just a villain, not a Jewish villain. I have no idea whether or not this is an accurate representation of working-class Dublin in the late twentieth century. Given the other prejudices that are given expression in the books, particularly the small-minded hatemongering of the skinheads, this comes as a surprise. O'Carroll makes his characters generally sympathetic to a family member who turns out to be homosexual (Agnes wonders when he is going to come out of the wardrobe...) but it is still a member of the family who almost kills him when he goes 'queer bashing.' There's a certain tension here. Sectarian violence is largely controlled in the Browne Trilogy, presumably for the sake of the story. The streets are, by and large, safe. In a society in which alcohol abuse is such a way of life, I'm not sure how authentic this really is.
Secondly, in the same way, there are no anti-British themes explored. The young men go to England to find work. One of them dies there, the victim of both the avarice of others and his own appetite for heroin. A mere fifty years after the Easter Uprising I would have expected more antipathy toward the old enemy. The 'Troubles' are only mentioned once, in passing. Yet this was the period during which the green of the South and the orange of the six counties of the North were both stained with blood.
Finally, there is no anti-clericalism either. One very serious nun is mocked. Her false teeth are knocked out with a convenient cucumber, which is no less than she deserves for her harsh treatment of the brood of children entrusted to her care. But a priest, working with the St. Vincent de Paul Society, is praised. Most of the major events of Agnes' life, and those of her children, are marked by the church. And yet the story contains scarcely any mention of the Christian faith. Whatever Catholicism remains hardly influences the Brownes. They lie, steal, cheat and fornicate without reference to a distinctly Christian moral code. They are hard-working and generous, and they are loyal to one another (although they also fight incessantly), but their virtues are not specifically Christian. As the story unfolds, we watch them adopting the values of a godless world. At first, for example, Agnes is wounded when Simon decides to co-habit and not to marry; later, she has no problems taking her over-sexed French lover to her bed. Perhaps the all-pervasive public religion of Agnes' youth has lost so much influence that, by the end of her life, the Roman Catholic Church is simply irrelevant and is therefore ignored.
An illustration of this is the attitude to death displayed by members of the Browne family. An assumption is made that beyond death there is a place of pure happiness, call it heaven if you will, that has no relation to morality, or to God. When Agnes suffers an aneurism and slips into a coma she has a vivid dream of her old friend Marion, dead for 25 years. In her dream, hanging between life and death, Marion tells her that in this secular heaven the bingo halls are open all day and she can drink as much cider as she likes. The only rule is that one cannot see from one realm to the next. Marion thinks that it is a stupid rule, and says so. Apparently one can also swear in heaven.
Earlier in the final book, The Granny, Dermot Browne explains death to his son, Cormac, by means of a parable. He tells the child that death is like a grub, rising through the water of a pond to become a dragonfly. All the grubs in the pond wonder what lies beyond the surface. Eventually, one brave grub volunteers to climb a blade of grass to see what is there, and then to come back to tell the rest of them. He climbs until he feels the sun upon his back and then, a wondrous thing happens, he turns into a magnificent dragonfly, decked out in yellow, green and blue. He cannot go back to tell the others so, instead, he flaps his four wings and flies away into the sunshine with a big smile on his face. "So you see, Cormac," says Dermot, "that's what 'died' is. Your mammy has become a dragonfly." (The Granny p.140)
It's a pretty story to tell a six year old, but it is also nonsense. Without the assurance of faith and the knowledge of the resurrection we have absolutely no reason to tell our children that there is a happy land, far, far away. And what exactly does it mean to say, as O'Carroll does on at least two occasions, that at death we become dragonflies? Don't dragonflies die too? Aren't thousands of them snapped up as soon as they emerge from the water, long before they can fly, smiling, into a welcoming sky?
Hope, without Christ, is empty. It is not much more than wishful thinking. It cannot comfort the dying, it cannot relieve the pain of those who are left behind. Sentiment can never be a substitute for a living faith.
I'm not sure I want to be a dragonfly when I die, but I do want to be with Christ. Wherever He is will be heaven indeed.
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The Agnes Browne Trilogy consists of The Mammy; The Chisellers; and, The Granny. All are published by Plume, a member of the Penguin Putnam Group.
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