Category Archives: Arts & Culture

Letter describes ‘extraordinarily beautiful’ Achill Island in summer 1923

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(Of all the correspondence that I have ever read in various archives, few match the letter below for its lovely descriptions of the west of Ireland. This post was origionally published in July 2024. MH)

Chester A. Arthur III, grandson of the late 19th century U.S. president, and his wife, Charlotte, lived in Ireland for several years beginning in 1922.[1]The couple married in June 1922 in England, then honeymooned and settled in Ireland. The also traveled to other parts of Europe and back to the United States. Chester was bisexual, including affairs … Continue reading Chester supported anti-treaty republicans in the Irish Civil War. He wrote letters to the editor and longer pieces about Ireland for U.S. newspapers.

The American couple befriended Irish nationalists Darryl and Millie Figgis. The Irish couple in 1913 had bought a small house and some land at Pullagh, Achill Island, in County Mayo, a place to escape the noise and grime of Dublin. That became more true during the ensuing decade of revolutionary violence. The Arthurs arrived as the Figgis’ guests in July 1923. Chester, then 22, described their “cozy little cottage by the broad Atlantic” in a letter to his mother.[2]From the large collection of Arthur family papers at the Library of Congress.

Lightly edited selections of his descriptions begin below the photo:

Achillbeg, Achill Island                                                                                                                                         Fáilte Ireland

“Although there is not a tree within miles, the huge cliffs, the golden beach, the heather purple hills and the turquoise green sea make this place one of the most extraordinarily beautiful I have ever seen. And here of course is the real Gaeltacht, the real Ireland unanglicized and pagan. Each family builds and repairs their own stone whitewashed walls and their own barley thatch. They are self-supporting, their clothes are hand-made from the sheep’s back to their own; they cure their own hams, grind their own oatmeal, brew their own poteen, and catch and dry their own fish.

“Irish of course is the language spoken and sung in plaintive harmony. The men wear short white jackets and big black hats; sometimes the sweater underneath is blue and sometimes burned orange (both dyes are taken from the sea). Their trousers are of the thick homespun which in England is only worn by gentlemen. The women sit behind them sidewise on the horse’s rump when they go to Mass. Their skirts are usually brilliant red, their bodices either green, blue or purple; the shawls over their heads are always black. They have very wide high cheekbones, rather delicately chiseled straight noses, and straight black or red hair. Their long eyes are almost always very beautiful, every color that the sea takes on incites moods. If they do not know you they are very shy, but after the ice is broken, they prove very witty and amusing.

“A cèilidh[3]A social gathering with singing, dancing, and storytelling. was gotten up in our honor. The Figgis’ are very popular here. Almost the whole village crowds into a small cabin and after a few songs the four most enterprising young men get out in the middle and beckon the four belles for the square dance. They clog and whirl themselves a space in the crowd, which packs up against the walls. The room gets very hot, the clean healthy sweat from the dancers fill the air with a primitive very stimulating aroma. Eyes begin to gleam; queer little stifled cries burst from the boys as they stomp and whirl around and around their partners, who turn and turn and command respect with their eyes, yet invite and call with every essence of their bodies. And all the time the fiddle is scraping away music thousands of years old, rhythm inconceivably quick and throbbing, yet in minor key, and with a queer bagpipe drone making almost a syncopation of discord; the very heart of the stranger beats in time to the little lame boy’s fiddling.

“Now as I write, I gaze out of the little deep set window across the boggy headland, where the old women are gathering peat, across the sea, which like a great cruel gray cat lies between the violet mountains, and purrs as its sleep. The wind is keening the drowned fishermen whom the grey cat has struck with his claws. And every now and then the wind dies down, in a flash of sunshine, the cat opens his long green eyes and looks at me; but always dozes off to sleep again.

“The wind is never still here. Sometimes it only moans and cries a drone to the seagulls’ piping; but then at other times it rises with the force of a hundred djinns (In Arabian and Muslim mythology, an intelligent spirit of lower rank than the angels) and carries away the roof of the houses however securely they are tied it to the imp-headed beams sticking out from the walls near the top. And then the people pray, some to God the Father, and some to Manannán,[4]Celtic sea god. and some to both—it is all the same, for they will have in any case to rob the cow of her barley straw, and weave a new thatch, and try some new device to keep it on. But sometimes the winds work under the slates of the new British built houses, and slates go flying over the bog and over the grey cliffs into the sea; then what glee among the natives that the newfangled roofs are really no better than the roof their fathers taught them to make, only when they do fly off  they cost twice as much and take twice as long to repair. …

“A fisherman was drowned the other day. The sea was dragged with grappling hooks, prayers were offered up for the recovery of the body for burial in holy ground. All Christian means having failed, the dead man’s coat was sent for. After it had been blessed by the priest, an incantation was whispered over it preserved from Druid days, and then it was taken out and thrown into the sea. The swift current bore it along until suddenly it seemed to resist the force of the current and rested still. The sea was dragged and just under the coat the man’s body was found, and great thanks were given up to God.

“… The lad[5]Presumably, D. Figgis. and I go on expeditions up the mountains and fishing on the sea. We swim twice a day, so we don’t care that there are no bathtubs. Charlotte and Mrs. Figgis accompany us whenever they can and keep each other company except at mealtime when they marvel at the quantity we eat. No life could be healthier than this, certainly. We are so tired at ten o’clock that we go to bed and right to sleep though it is still very light.

“I am certainly going to have a cottage on this wild west coast of Ireland to which I can go in retreat from the roiling of the great world. Everything here is primitive and oh so restful and refreshing after New York and Dublin. Real communism exists as a matter of course here, for the people love each other. Love and hard work and a close touch with nature, what more ennobling can be found in life?”

Not long after their visit to Achill Island, Chester and Charlotte Arthur witnessed the August 1923 arrest of Éamon de Valera at a campaign event at Ennis, County Clare. Within the next two years Millie and Darryl Figgis each committed suicide. The Arthurs divorced in 1932.

Keem Beach, Achill Island.                                                                                                                                  Fáilte Ireland

References

References
↑1 The couple married in June 1922 in England, then honeymooned and settled in Ireland. The also traveled to other parts of Europe and back to the United States. Chester was bisexual, including affairs with Irish republicans. See Maurice J. Casey’s, “A Queer Migrant in the Irish Civil War.”
↑2 From the large collection of Arthur family papers at the Library of Congress.
↑3 A social gathering with singing, dancing, and storytelling.
↑4 Celtic sea god.
↑5 Presumably, D. Figgis.

On printing, and reproducing, the 1916 Easter Proclamation

Scituate, Massachusetts, USA, part of the South Shore Irish Heritage Trail. (October 2022)

The three men inside Dublin’s Libery Hall surely heard the church bells tolling on Easter Sunday, even over the cacophany of their printing press. Perhaps the trio reflectively straightened to bless themselves. But they quickly returned to their ink-stained work, laboring from midday Sunday until early Monday morning. Hours later, in front the General Post Office on O’Connell Street, Pádraig Pearse read aloud from a copy of their finished work: the 1916 Easter Proclamation:

“IRISHMEN AND IRISHWOMEN: In the name of God and of the dead generations from which she receives her old tradition of nationhood, Ireland, through us, summons her children to her flag and strikes for her freedom. …”

Before that signal moment, the three workers–printer Christopher Brady, and compositors Michael Malloy and Liam O’Brien–produced the Proclamation in two stages, top and bottom, due to lack of type. The two sections are identifiable by different line spacing. The tempramental rollers of their old Wharfdale Double-Crown printing press meant uneven pressure smudged some letters, while others appeared too faint. See images and videio at this online exhibition from University College Cork.

Copies of the Easter Proclamation proliferated quickly. Fascimiles and newly typeset versions appeared in the American press within days of the British military supressing the uprising. More copies appeared after the execution of the rebel leaders.

From the front page of Fall River (Massachusetts) Daily Globe, May 19, 1916. Press reports as early as May 1, 1916, quoted the Proclamation in full.  

About 60 origional copies of the Declaration are know to have survived from a press run estaimated at no more than 1,000.  That’s 6 percent, 110 years later. As context, there are 26 origional copies of the 1776 Declaration of Independence, known as the Dunlap Broadside, from a press run of 200. That’s 13 percent, 250 years later.

About half the surving origional copies of the Procalamation are held at public institutions in Ireland, including UCC and Trinity College Dublin. But the document has been widely reproduced, including public monuments on both sides of the Atlantic. See top and below.

Dungarvan, County Waterford, Ireland. (June 2026)

Leon Uris’s ‘Trinity’ at 50

I am traveling and working on several projects this summer. New posts will be infrequent. The piece linked below appears in the July/August issue of the Dublin-based History Ireland magazine. MH

American author Leon Uris released his eighth novel, Trinity, shortly before St Patrick’s Day 1976 and the deadliest years of the Troubles in Northern Ireland. In promotional interviews Uris emphasized that readers would ‘better understand the headlines coming out of Ireland today, because the past of Ireland is being constantly repeated’. This was a paraphrase of his novel’s soon-to-be-famous last sentence, that ‘in Ireland there is no future, only the past happening over and over’, which modified a line from Eugene O’Neill’s A Moon for the Misbegotten.

Read ‘When Irish History, And News, Became Best-Selling Fiction’ at History Ireland.

 

Three postcards from Ireland, summer 2026

I am traveling and working on several projects. New posts will be infrequent through the summer. I’m happy to be in Ireland at the moment. Three postcards below. MH

Looking northeast from the 10th floor of the Central Plaza building in Temple Bar, Dublin: construction cranes at left; the Ha’penny pedestrain bridge over the tree-lined north side of the River Liffey, center left; the Spire of Dublin on O’Connell Street, near the historic General Post Office, and top portion of Croke Park, center horizon; and the 17-story Liberty Hall, once the tallest building in Ireland, at far right. View through glass panel.Round towers at the Glendalough monastic ruins in County Wicklow.The Waterford Greenway, right, looking southwest about 6K outside Dungarvan, County Waterford. Not a drop of rain fell during my cycle.

An American journalist’s connection to Ireland and Egypt

HIATIUS: I am traveling and working on other projects. New posts will be infrequent through the spring and summer. I can be reached via contact form on the “About Me” page. Thanks, MH

What does a 3,500-year-old Egyptian red granite obelisk in New York City’s Central Park have to do with Ireland or Irish America? Nothing. But there are indirect connections.

Hurlbert

William Henry Hurlbert, a late-nineteenth century editor of the New York World, determined the city should match London’s acquisition of a similar object. His campaign resulted in the June 1880 arrival of the seven-story (69 feet) obelisk, seen below. It was raised in February 1881 on a small hill behind the Metrololitian Museum of Art, which opened about the same time. The MET holds one of the world’s largest Egyptian collections under its roof, in addition to the so-called “Cleopatra’s Needle” in the park.

The link to Ireland comes through Hurlbert, who traveled throughout the island in early 1888. Later that year he published the book, Ireland Under Coercion: The Diary of an American. The conservative Hurlbert was pro-landlord and anti-home rule. Read about his work in my 2018 blog series: “Ireland Under Coercion, Revisited.”

I have visited numerous places in Ireland that Hurlbert described in his book. I was pleased to remember his connection to the obelisk as I walked through Central Park on my way to the American Irish Historical Society. Founded in Boston in 1897 (Hurlbert died two years earlier), the Society since 1940 has been located at 991 Fifth Avenue, directly across from the MET, barely a five-minute walk from the granite tower.

American journalist William Henry Hurlbert led an 1880 campaign to bring this Egyptian obelisk to Central Park in New York City. Eight years later he wrote a book about Ireland.

Fact-checking St. Patrick’s desnaking of Ireland

Those dang fact-checkers; always deflating a good political talking point or ruining a cherished legend. And so with St. Patrick driving the snakes out of Ireland. An online search of “St. Patrick” and “snakes” today returns this AI overview:

The legend of St. Patrick driving snakes out of Ireland is a popular myth symbolizing his eradication of paganism, not a factual event. Scientifically, snakes never inhabited post-glacial Ireland due to cold temperatures and surrounding oceans. The story first appeared in literature centuries after his life.

But the popular press of a century ago also fact-checked the legend. The clipping below is from the March 17, 1926, edition of the Washington Evening Star. William Montana Mann (1886-1960) was director of the National Zoo from 1925 until 1956. As an entemologist, he specialized in ants, not snakes. William Shepard Walsh (1854–1919) was an American folklorist and author. Walsh died seven years before the Evening Star quoted from his 1897 book, Curiosities of Popular Customs and of rites, ceremonies, observations, and miscellaneous antiquities. See page 790.

Washington Evening Star, March 17, 1926.

The Washington Post of a century ago gave a softer, cartoon treatment to the legend of St. Patrick, sans snakes, in addition to news coverage of the day’s festivities in the US capital. The graphic says Patrick baptized “over 12,000 people.” AI says “over 100,000, up to 130,000.”

Who really knows about such things?

Capital Irish Film Festival screens today’s Ireland

The 20th annual Capital Irish Film Festival (CIFF) runs February 26-March 1. The event is presented and produced by Solas Nua, a Washington, D.C.-based contemporary Irish arts organization, in partnership with the American Film Institute’s Silver Theatre & Cultural Center in Silver Spring, Maryland. See the full program, several individual films are linked below. Last year, a record €544 million was invested in the Irish economy across film, television, documentary, and animation projects, a 26 percent increase from 2024, according to Screen Ireland.

Maedhbh McCullagh became director of CIFF in 2022. The County Cavan native has worked as a multidisciplinary cultural producer, arts programmer, and creative consultant on both sides of the Atlantic. The transcript below is edited from our Feb. 18 Zoom call and email exchanges. MH

Maedhbh McCullagh

MH: Tell us a little about the history of the film festival and how it serves the mission of Solas Nua.

M. McCullagh: Solas Nua means new light in Irish. It’s a multidisciplinary arts organization that is dedicated to bringing the best of contemporary Irish arts to the Washington, D.C. area. It’s a nomadic organization presenting work in different parts of the city and is renowned for its innovative programming; commissioning, producing and presenting thought-provoking work throughout the year. And so, I suppose one could say that it’s an ambassador for Irish arts in D.C. and beyond.

The organization was founded in 2005 by Linda Murray who wanted to see work directly from Ireland being presented in D.C. She wanted to make people aware of Ireland as it is now. That was the seed of Solas Nua and the first film program was presented in 2006. The work reflects contemporary Ireland, not a nostalgic view of  Ireland of a bygone era that maybe wasn’t necessarily making its way to DC at that time. And so I think that set it apart. And that’s where the mission of Solas Nua grew from.

MH: Are audiences really still clinging to nostalgic views of Ireland?

M. McCullagh: Nostalgia is something we all feel but I’ve never heard of any CIFF patron complaining about a lack of films that depict Ireland in a traditional “Quiet Man” kind of way. Solas Nua is a presenter of contemporary Irish arts and this program is on a mission in that regard. But the thing about these films is they are neither one thing or another, they are a reflection of a diverse, pluralist, modern Irish society that is multilayered and complex, with an ever-evolving set of identities. This is what the Irish people do. We hold a multitude of things at once. We are the essence of contrasts, darkness and light, contemporary and yet steeped in tradition with these deep ties to the land, to our history, to our understanding of what our history is, and it’s continuously changing.

And in saying this, one of the through lines of this year’s program is the fact that several films use rare archival footage to great effect, evoking nostalgia for historical moments and events. Our opening night film, the East premiere gala screening of Lisa Barros D’sa and Glenn Leyburn’s “Saipan,” is a nail-biting, darkly comic drama recount​ing one of the most fractious falling-outs in the history of sport! The film explores the explosive clash between international soccer star Roy Keane (Éanna Hardwicke) and manager Mick McCarthy (Steve Coogan) on the island of Saipan just days before the Irish national football team competed in the 2002 FIFA World Cup. The directors use some historic footage, including news reports of the time, which roots the film in the period, and brings the viewer right back to that time.

MH: This year’s festival includes films by 15 women directors and 17 women writers. Tell us about how women’s contributions to Irish film have evolved over the last 20 years?

M. McCullagh: Over the last 20 years, the contribution of Irish women in film has gone from being quietly overlooked to being recognized and openly celebrated and getting the recognition it deserves. Back in the mid‑2000s, women were doing the work — writing, producing, shooting documentaries, keeping indie film alive — but rarely getting the credit, funding, or visibility. Over the past ten years, thanks to women-centered social movements, the determined work of academics and journalists, and the ongoing activism and advocacy of women professionals across the AV sector, critical focus and attention have illuminated and reflected the truth of women’s experiences and the lack of parity in pay and opportunities in the industry. Studies from groups such as Women in Film and Television Ireland and the National Women’s Council and publications such as Dr. Susan Liddy’s Women in Irish Film: Stories and Storytellers showed that women have driven innovation in screenwriting, documentary filmmaking, editing, and producing, often pushing Irish cinema toward more socially conscious and community‑rooted storytelling.  They’re driving some of the most exciting writing, directing, and documentary work, despite pervasive systemic barriers and an ongoing lack of representation.

Some of the 42 films being shown at the 20th Capital Irish Film Festival in DC.

MH: What else do you want people to know about this year’s festival?

M. McCullagh: First-off, with 42 films across 22 screenings, the program has something to offer everyone! Expect gripping dramas, Irish-language thrillers (BÁITE,AONTAS), music documentaries (CELTIC UTOPIA, BP FALLON ROCK’N’ROLL WIZARD VOL. 1, IN TIME: DONAL LUNNY), profiles of political leaders who lead with peace (GERRY ADAMS: A BALLYMUPRHY MAN, DANIEL O’CONNELL: THE EMANCIPATOR), and women fighting for justice (TESTIMONY).

Our program lifts up marginalized voices, with stories featuring trans relationships (GIRLS & BOYS, PUREBRED), the deaf community (A QUIET LOVE), and Ireland’s Traveller community (TRAVELLING BACK).

CIFF presents two 2026 Oscar entries, SANATORIUM (Ireland’s official entry for Best International Feature Film) and RETIREMENT PLAN (Nominee, Best Animated Short), and BAFTA-nominated A WANT IN HER (Outstanding Debut By A British Writer, Director Or Producer)

The festival opens with the East Coast premiere of SAIPAN, described above. The 5th annual Norman Houston Award will be presented as part of a double-billing of THREE KEENINGS and the third-ever screening of NO ORDINARY HEIST, with a reception sponsored by the Northern Ireland Bureau. The festival closes with Brandan Canty’s phenomenal feature directorial debut, the internationally renowned CHRISTY, a powerful, big-hearted coming-of-age story that won the Grand Prix at the 2025 Berlinale and just this week won Best Film and Best Director at the Irish IFTA Academy Awards.

It’s a fantastic four-day celebration of creativity and community, where you will see a rich and diverse program of world-class Irish films about Ireland or by Irish filmmakers. It’s an incredibly sociable and welcoming environment where you’ll meet like minded people who also love film, love Iearning about Ireland and discovering Irish talent, all in one space. There’s plenty of opportunity to meet up in between the screenings and in the evenings at our receptions and parties and our partner venue McGinty’s next door to the venue. I hope these films will inspire, uplift, spark dialogue, and cultivate an appreciation for the amazing craft of filmmaking and the value of seeing these artists’ work on the big screen.  Right now, more than ever before we need these diverse stories and perspectives to help foster a more inclusive, united, and engaged society. Pease join us February 26 – March 1.

‘America and Ireland at 250’ focus of Feb. 4 Georgetown conference

Georgetown University’s Global Irish Studies program and other partners will explore 250 years of US-Irish relations during the 7th annual “Bridging the Atlantic” conference. I will live blog the Feb. 4 event from the university’s Capitol Campus in Washington, D.C.

Ireland’s Minister for Foreign Affairs and Trade Helen McEntee, TD, is scheduled to deliver the keynote address. Panel discussions include “America 250: American Lives, Irish Legacies”, “Revolutionary Routes Across the Atlantic: 1776 and Beyond”, “The New Worlds of 21st Century Irish-America”, and “Re-imagining the ‘Green Wave’: Cultural Visions of Ireland in America.”

Panel participant rosters and registration found here.

Georgetown’s conference partners include the BMW Center for German and European Studies, in association with the Embassy of Ireland, the Clinton Institute at University College Dublin, Queen’s University Belfast, and the Northern Ireland Bureau.

One of the panels at last year’s Bridging the Atlantic VI conference.

Massive prehistoric settlement in Co. Wicklow detailed

Archeologists from Queens University Belfast have described an area in County Wicklow as “the largest nucleated settlement identified in prehistoric Ireland and Britain.” Their findings are reshaping the established understanding of Bronze Age and Iron Age social organization in ancient Ireland and challenging assumptions about settlement patterns in prehistoric Europe.

Antiquity magazine first reported the discovery in a Nov. 18, 2025, article. Since the first of the year other scientific journals and the popular press have featured additional stories.

The study area at the south-western edge of the Wicklow Mountains is about 45 miles south of Dublin city. It is known as the Baltinglass hillfort cluster. It includes up to 13 large hilltop enclosures which contain up to 600 suspected house platforms. The site shows signs of continuous settlement from the Early Neolithic through to the Bronze Age, between 3700 to 800 BC.

Fáilte Ireland (the National Tourism Development Authority) in 2015 launched the “Ireland’s Ancient East” tourism initiative to promote “over 5,000 years of history hidden amidst these lush landscapes, winding rivers and glorious gardens” of the region. This finding should add to the mystique.

Aerial photograph with indication of test-trench locations in County Wicklow.            Cambridge University Press.

Best of the Blog, 2025

My thirteenth year of producing this blog was productive and rewarding. Highlights included the publication of several freelance pieces in scholarly journals or the popular press. The University of Galway accepted my family’s letters between the U.S. and Ireland from the 1920s through the 1980s for their digital immigrant archives. I was interviewed for a St. Patrick’s Day television program and gave a presentation about Michael J. O’Brien, my 2024 entry in the Dictionary of Irish Biography. I made my thirteenth visit to Ireland in 25 years.

This website was on pace for record all-time traffic, then rocketed over the top by a mid-November surge of AI content-scraping bots. Or maybe thousands of readers in China have suddenly become interested in Irish news and history. I object to the unauthorized grab of my intellectual property, but I’m happy if it eventually contributes to global knowledge, especially my work about American journalists in Ireland.

More details and links to some of this year’s best content follow below each of the photos:

The gate between the Museum of Literature Ireland courtyard and the Iveagh Gardens. “MoLI replaced the former Dublin Writer’s Museum.

Freelance pieces

The former London and North Western Hotel seen in April 2025. A group of American journalists watched from the top floor as Irish rebels and British forces fired on each other during the 1916 Rising. The dark glass building at right is part of the Salesforce Tower, which renovated the former hotel as office and meeting space. The red brick structure at left is the former railway and steam packet terminal operated by the L&NW hotel company. It was vacant during my visit. The building faces the River Liffey.

Two blog series:

Revisiting William Brayden’s 1925 ‘survey’ of Ireland

The Irish-born journalist wrote a summer 1925 series for the Chicago Daily News about the state of Ireland on both sides of the partition. His series, later compiled as a book, and follow up reporting about the end of the Irish Boundary Commission served as the conclusion to American newspaper coverage of Ireland’s decade-long revolutionary period.

Leon and Jill Uris in Ireland

The American husband and wife team, author and photographer, respectively, made several visits during the 1970s. They produced photobooks and a bestselling novel that perpetuated notions of “romantic Ireland” before the Republic’s economic modernization and the Good Friday Agreement at the end of the 20th century.

Family letters

Nearly 60 of my family’s letters to and from Ireland were accessioned and digitized in the Imirce (Irish for migration, emigration) project at the University of Galway. The searchable Joan Diggin Collection is named after my aunt, who either authored or was the recipient of most of the letters. The collection also includes a digitized copy of my 2013 book, His Last Trip, about Joan’s father, my grandfather. The letter manuscripts and a print copy of the book may be consulted in the Archives and Special Collections Reading Room.

This February 25, 1953, note from Ireland before St. Patrick’s Day is part of the Imirce collection. I kept the shamrocks, which also were included in several other letters.

Television interview

Watch my St. Patrick’s Day interview with FOX 8’s “News Now” in Johnstown, Pa. The conversation covers my Irish ancestry and historical research. Each segment is 5 minutes:

My remote St. Patrick’s Day television appearance for FOX 8 in Johnstown, Pa., included the obligatory bookcase in the background. But they are real books that I’ve actually read and use.

Thanks archivists, librarians, and others

This year’s research included multiple visits to the Library of Congress, National Archives and Records Administration, and Catholic University of America here in Washington, D.C. I also spent time at the National Library of Ireland, Dublin, New York Public Library, and the Catholic Diocese of Pittsburgh Archives and Records Center. I received remote help from the Newberry Library in Chicago, the Catholic Diocese of Gaylord, Mich., and the Paulist Archives in New York City. As always, I am grateful to the professionals at these institutions who assisted my work. … I was delighted to contribute some research and materials to “The Irish Revolution in the African American Press” exhibition at University College Cork. It focused on how the US black press covered De Valera’s tour of America (1919–20), MacSwiney’s hunger strike death (1920), and the Anglo-Irish Treaty (1921-22). Dr. Jemima Hodgkinson, a Research Ireland postdoctoral fellow, curated the exhibit. … I enjoyed watching excellent presentations by Irish historians (and friends) Daniel Carey and John Dorney at the “Navigating War and Violence in Twentieth-Century Ireland” conference at Dublin City University in April. … On the same trip I was welcomed to Dungloe, County Donegal, by Patrick J. Dunleavy, chairman of the The Cope’s board of directors, who gave me a detailed driving tour of the Rosses region, and by Mark Sharkey and Emma McGarvey, Cope CEO and business support manager, respectively.

I hope to return to Ireland in 2026, and to visit two new domestic archives I’ve eyed for some time. Meanwhile, happy holidays to the site’s human readers, especially my loyal email subscribers. Sláinte!

Low tide twilight at Dungloe, County Donegal. The pier at left replaced the one constructed during the revolutionary period and detailed in 1922 by American journalist Redfern Mason.