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On the 100th anniversary of Behan’s birth in 1923, Jenny Farrell celebrates his life and work. Photo above by William Murphy<\/em><\/strong><\/p>\n Brendan Behan was arguably one of the last writers to emerge from the of the Irish literary revival movement. This originated in the 1880s within the Protestant Ascendency class, led by Douglas Hyde, W.B. Yeats, Augusta Gregory, and J.M. Synge. It then spread out into the Irish working class through such literary giants as Sean O\u2019Casey, M\u00e1irt\u00edn \u00d3 <\/span>Cadhain<\/span> and Liam O\u2019Flaherty. A great many writers in both English and Irish became part of it, and it is linked to the growth of Irish nationalism in the 19th century, which developed into the socialism of James Connolly.<\/span><\/p>\n Behan<\/span> was born after the foundation of the Irish Free State, on 9 February 1923, into a self-educated, working-class family of house painters. The Irish Civil War was raging and Behan\u2019s people sided with the Republicans. They were deeply imbued with culture and the arts, and Behan was plunged into this literary tradition. One of Behan\u2019s uncles, his mother\u2019s brother Peadar Kearney, wrote \u201c<\/span>A soldier<\/span>\u2019<\/span>s song<\/span>\u201d in 1910, which was fast adopted by the liberation movement and which in 1926 became the national anthem of Ireland. This shows not only the powerful political grounding Behan and his brothers received but also how they grew up in the popular ballad tradition. In Borstal Boy<\/i>, he recalls his father\u2019s songs and that he\u2026<\/span><\/p>\n \u2026\u2026.was a great fiddler and so was my uncle, my mother<\/span><\/i>\u2019<\/span><\/i>s brother, who had a fiddle presented to him by the prisoners in Ballykinlar Internment Camp for writing the National Anthem. My mother was a good singer, and my stepbrother<\/span><\/i>\u2019<\/span><\/i>s aunts were pianists, and great nights we had in their big house on the North Circular Road.<\/span><\/i><\/p>\n Another uncle, P.J. Bourke was involved in the Irish theatre movement. The Behan family exemplifies just how interwoven the national liberation movement was with the literary revival. Like the majority of his generation before free secondary education came into force, Behan left national school aged thirteen and he became apprenticed to a house painter, his father\u2019s and grandfather\u2019s trade. <\/span><\/p>\n A significant factor in Behan\u2019s life was his close friendship with his cousin Cathal Goulding, who was the same age and who shared in much the same biography \u2013 house painter, Fianna, IRA, and prison. <\/span><\/p>\n A Catholic and a communist<\/span><\/b><\/p>\n Behan\u2019s father Stephen had fought in the Irish War of Independence and passed on his love for literature and reading to his children. His mother Kathleen (a member of Cumann na mBan) was equally well read and cultured, with a great store of songs, and remained politically active all her life. <\/span><\/p>\n She had two sons by her first marriage (her husband Jack Furlong died of the <\/span>influenza epidemic in 1918<\/span>) and then four more and a daughter with Stephen. They stayed in contact with Granny Furlong who easily blended her Catholic beliefs with her communist sympathies, and Behan engaged with Marxist thinking from an early age, as did his brothers Dominic and Brian. His mother and brother Dominic were enrolled as members of the Communist Party of Ireland in 1956. Although never a Party member himself, <\/span>Behan <\/span>claimed to be both a Catholic and a communist, jokingly observing: \u201cI<\/span>\u2019<\/span>m a communist by day and a Catholic as soon as it gets dark!\u201d<\/span><\/p>\n The Catholic church, however, did not accept him happily, as they found it less palatable to find common ground between communism and religion. In one of Behan\u2019s famous anecdotes, he relates being beaten by a Christian Brother as a schoolboy, when he replied \u201cyes\u201d to the question: \u201cCan Ireland become a communist country?\u201d This resulted his letter to the editor of the left-wing Irish Democrat <\/i>newspaper in November 1937, where the fourteen-year-old<\/span> Behan <\/span>relates the incident. <\/span><\/p>\n Behan joined the Republican youth movement, Na Fianna <\/span>\u00c9<\/span>ireann, in 1932. He took an active interest in writing, which soon became an integral part of his political struggle. He started to contribute to the youth organisation\u2019s journal \u2018<\/span>Fianna<\/span>\u2019 from the age of twelve. Aged sixteen, he joined the IRA in 1939, like so many in his family before him. Here,<\/span> Behan <\/span>advanced to messenger for the Chief-of-<\/span>Staff, Sean Russell<\/span>. <\/span><\/p>\n A significant left grouping existed in the IRA, reflecting the inherent connection between the fight for <\/span>national <\/span>liberation and the working-class struggle.<\/span> <\/span>When the IRA decided to launch a military campaign in Britain, in 1939, Behan became part of this. The IRA\u2019s objective was to attack military and strategic targets, later expanding to civilian ones. Those who became involved, like Behan, acted in the conviction that they were Irish patriots fighting against British imperialism in Ireland.<\/span><\/p>\n We get a good idea of this from Behan\u2019s autobiographical novel Borstal Boy<\/i>, in which he describes how he travelled to Liverpool in late 1939 carrying explosives, and his subsequent capture.\u00a0 He was treated violently in Liverpool jail, and British prosecutors tried to convince him to testify against the <\/span>IRA<\/span>. He refused, and was sentenced, due to his youth, to three years in a Borstal. When he returned to Ireland in 1941, he was classified as a communist suspect. <\/span><\/p>\n In 1942, Behan was arrested and put on trial for conspiracy to murder two Garda detectives, an attempted assassination which the IRA had planned to coincide with a Wolfe Tone commemoration ceremony. Behan was sentenced to 14 years imprisonment for his role, served first in Mountjoy Gaol, Arbour Hill, and then in the Curragh Camp, where other IRA men were also in captivity.\u00a0 These experiences are recorded in his <\/span>memoir <\/span>Confessions of an Irish Rebel<\/span><\/i>. <\/span><\/p>\n Behan was released <\/span>in 194<\/span>5, under a general amnesty for IRA prisoners and internees. In 1947 he participated in an attempt to aid the escape of prisoners in the North of England, was captured, and imprisoned for another three months. Following his return to Ireland, he worked as a housepainter for some time, before taking up writing for a living.<\/span><\/p>\n The living language of the dispossessed<\/span><\/b><\/p>\n While in captivity in Irish prisons, Behan began to study Irish, a pursuit he kept up also after his release, in the Gaeltacht areas of Kerry and Galway in the late 1940s. He had a musical ear and the determination to master the language. He did so with great success, becoming so fluent that he wrote poetry in Irish as well as his play, An Giall<\/i> (The Hostage<\/i>), which he went on to translate into English. <\/span><\/p>\n His passion for the language is reflected in the fact that he spent a great deal of time on the Great Blasket Island (<\/span>An Bhlascaod Mh<\/span>\u00f3<\/span>r) off the coast of the Dingle Peninsula in Co. Kerry. Here, until their evacuation from the island in 1953, native speakers were steeped in the wealth of Irish poetry and song. Behan took to this like a natural cultural habitat and his best poetry is in Irish. One example is Jackeen ag caoineadh na mBlascaod<\/i> (\u2018A Jackeen Keens for the Blasket Island<\/span>\u2019<\/span>). <\/span><\/p>\n In his Irish language writing Behan targets the conservatism of the middle-class bureaucrats in constraining the living language of the dispossessed of the Gaeltacht areas by assuming an artificial \u2018superiority\u2019. Other Irish Language writers such as his contemporary M\u00e1irt\u00edn \u00d3 <\/span>Cadhain<\/span>, or later Tom\u00e1s Mac S\u00edom<\/span>\u00f3<\/span>in, also highlight this administrative stranglehold on the language. While Behan did not articulate this in as many words, he expresses in his writing a vision of an Irish language revival that was opposite to the hijacking of the language by middle-class officialdom. A part of this struggle to repossess the language was the movement to take the Irish cultural festival, <\/span>Oireachtas na Gaeilge<\/span>, out of Dublin and to hold it instead in the living Irish-speaking areas of the <\/span>Gaeltachta<\/span>\u00ed. Although<\/span> <\/span>the establishment of the first Irish language pirate radio station was to come later, Behan was very much part of this movement. <\/span><\/p>\n In the late 1940s and early 1950s, when Behan also spent time in Paris, he took up writing full-time. His 1954 breakthrough play, The Quare Fellow<\/i>, is set in Mountjoy Gaol. The play\u2019s title hero never appears \u2013 his death sentence for fratricide is to be executed the next day, and there are certain echoes of Oscar Wilde\u2019s \u201cThe Ballad of Reading Gaol\u201d. The condemned man\u2019s plight is shown from a variety of perspectives \u2013 those of the prisoners digging the grave, as well as that of prison warders. The cast also includes a gay man, at a time when homosexuality was illegal. Like The Hostage<\/i> later, The Quare Fellow<\/i> comments on the gulf between the existing Irish Republic and the aspirations the Republicans had fought for.<\/span> <\/span>What emerges here and in The Hostage<\/i> is a society where the flag has changed colour but the same kind of people remain in charge. <\/span><\/p>\n The Quare Fellow<\/span><\/i> was written in two nights, for a memorial concert for Barnes and McCormack on 23 February 1947. These two IRA men had also been part of the 1939 campaign; they had been arrested and subsequently sentenced to death. The effect of these men\u2019s execution on Behan when he was in prison in Liverpool is memorably described in <\/span>Borstal Boy<\/span><\/i>. Behan knew they were innocent and that those responsible for the bombing were back in Ireland. What first emerges in Borstal Boy <\/i>is Behan\u2019s characteristic integration of dark comedy and songs with the action.<\/span><\/p>\n Behan\u2019s friendship with Cathal Goulding continued throughout this time, and always had a political dimension to it. By the mid-1950s, it had become clear that the campaign simply to remove the inner-Irish border was not succeeding. Between then and the early sixties, Goulding, who was a leading activist and member of the IRA leadership in the 1950s, and chief of staff throughout the 1960s, had re-thought the political assessment and policy. He saw that unification of the country was only one objective, but there was another developing dimension to Irish independence \u2013 dealing with the different neocolonial occupiers coming into the South of Ireland. <\/span><\/p>\n The concept of an Irish Republic needed to be newly defined in terms of the people who live in it. Foreign investment was entering the country and emigration was phenomenally high. Thomas Whitaker, Head of Ireland<\/span>\u2019<\/span>s Department of Finance (1956 to1969), later Governor of the Central Bank of Ireland (1969 to 1976), abandoned any concept of independence by inviting foreign direct investment. This ultimately led to Ireland joining the EEC. So, discussions were taking place within the Republican movement regarding the kind of republic they envisaged for Ireland – one that would benefit the people, where common interests would take precedence over individual interests. Behan\u2019s work shows that he fully agreed with this concept of an Irish republic. <\/span><\/p>\n Borstal Boy<\/span><\/i> fictionalises Behan’s time spent in prisons. The book opens with his<\/span> arrest<\/span> and soon moves on to Hollesley Bay Borstal, a reformatory for juveniles, a progressive, open institution in rural Suffolk.<\/span> Behan describes <\/span>the countryside and agricultural work, in addition to some sensitive portrayals of prisoners and warders. Charlie, a Royal Navy sailor and petty Cockney thief becomes a close friend. An Irish warder on the other hand is quite hostile towards him. And a Catholic priest encourages Protestant warders to beat up Behan, betraying his alliance with the enemy against the inmates. <\/span><\/p>\n Through this plot but also, interestingly through his language, Behan shows how much common ground exists between Catholic-Irish and Protestant-English workers, making extensive use of numerous dialects of English as spoken by the British working classes in different regions. In addition, he uses song and poetry, but also references the Irish language. The book, published in 1958 it describes Behan’s distancing from violence, while remaining a principled Irish patriot.<\/span><\/p>\n Sympathy with those who suffer<\/span><\/b><\/p>\n Behan\u2019s famous play The Hostage <\/i>is set in a <\/span>shabby Dublin<\/span> tenement, which has become a refuge for sailors, whores, hustlers and all kinds of obscure characters and is a bizarre reflection of Irish society in 1960. Pat, a veteran of the Irish liberation struggle, has lost not only a leg but also all his illusions. He is resigned and passes the day unsuccessfully trying to avoid any political involvement<\/span>. An IRA<\/span> officer brings Leslie Williams into his house, a kidnapped young English conscript who is held hostage for an 18-year-old IRA prisoner sentenced to death in Belfast. As in Borstal Boy<\/i>, the audience is shown a likeable working-class English soldier, who gets shot accidentally in senseless crossfire, underlining Behan\u2019s non-sectarian attitude to working-class English people. His overriding sympathy lies with the people who suffer, never with the beneficiaries of history, and he always examines closely the political purpose of actions in this light.<\/span><\/p>\n Apart from identifying as a republican, <\/span>Behan <\/span>also saw himself all his life as a <\/span>sociali<\/span>st, as his writing makes clear. His relationship with the Communist Party was a friendly one. For example, he painted the Party premises free of charge, and i<\/span>n 1954 <\/span>Behan signed the nomination papers of Michael O<\/span>\u2019<\/span>Riordan, a Spanish Civil War veteran and founding member of the Irish Communist Party, who stood in the General Election that year. Clerics around Ireland denounced the candidate and threatened anyone who voted for O<\/span>\u2019<\/span>Riordan <\/span>with committing a <\/span>mortal sin. <\/span>With his inimitable humour, Behan cheered up O<\/span>\u2019<\/span>Riordan <\/span>when he received just short of 300 votes, saying: <\/span>\u201c<\/span>well done on the 295 mortal sinners!\u201d<\/span><\/p>\n Above all, Behan\u2019s goal was a united Irish Republic, which would serve the interests of the many, not the few. This opinion of course did nothing for his popularity with the Irish literary and political establishment.<\/span><\/p>\n When Behan had become an internationally famous author by the early 1960s, he spent much time in the USA. Here, he met with Bob Dylan, Allen Ginsberg, Jackie Gleason, Norman Mailer, Harpo Marx, Arthur Miller, Tennessee Williams and others. However, his fame exacerbated his alcoholism, and this, along with<\/span> diabetes<\/span> and jaundice, impacted disastrously on his health. He died on the 20th March 1964, aged 41. <\/span><\/p>\n As Brendan Behan is very famous for his sharp wit, let us close with one of his succinct observations: “It’s easy to spot the terrorist. He’s the one with the small bomb”.<\/p>\n","protected":false},"excerpt":{"rendered":" On the 100th anniversary of Behan’s birth in 1923, Jenny Farrell celebrates his life and work. 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