Irish author Keith Ridgway’s latest novel, 'Dooneen', invites readers into a world where reality is unsettlingly fluid, set against a backdrop of burgeoning social discontent in Dublin. The book opens with an epigraph from a traditional ballad about the Cliffs of Dooneen, immediately introducing a theme of ambiguity with a footnote questioning the actual existence or location of these famed cliffs. This deliberate uncertainty permeates the narrative as the protagonist, Bartholomew Port, known as Mew, embarks on a surreal journey from south London to his birthplace, Dublin.
Mew’s transit to the Irish capital defies conventional travel, occurring not by air or sea, but by stepping through bushes in Camberwell’s Burgess Park. This fantastical entry sets the tone for the Dublin he encounters – a city that, while familiar in its landmarks, is infused with an unnerving strangeness. Discomforting apparitions, enigmatic figures in vivid yellow, and portentous children at windows flicker into existence, contributing to Mew’s profound sense of dislocation in a place he should inherently feel 'at home'. Ridgway uses this uncanny atmosphere to explore the conceptual inquiry into what 'home' becomes in our absence and upon our return, both in reality and imagination.
The novel parallels the social tensions depicted in Paul Lynch’s Booker-winning 'Prophet Song', portraying an Ireland on the brink of significant social upheaval. Early in the narrative, a musical interlude reveals a growing chasm between Dublin’s landlords and their disenfranchised tenants. Mew's old friend, Dinny, hints at escalating activism and even political assassinations, characterising the current historical moment as one filled with "weird items" and "dark times." This sense of foreboding echoes the aesthetic of Ridgway's previous work, 'A Shock' (2021), which explored the sinister corners of London life.
A significant portion of 'Dooneen' sees Mew swept into an underground protest movement, culminating in a night spent in murky tunnels beneath the city as they plan to lay siege to Garda headquarters. The storytelling itself becomes fragmented and polyphonic, mirroring the fractured nature of the protest movement as separate factions navigate the subterranean network. Amidst the confusion and darkness, the narrative shifts, incorporating Beckettian monologues and Joycean declamations from the revolutionaries. These sections, though deliberately elliptical, offer profound reflections on Ireland's long history of resistance against imperialism, the centrality of imagination in progressive politics, and the nature of time itself.
Ridgway's approach, embracing ambivalence and narrative shifts, could be seen as challenging for some readers. However, the linguistic energy and variety of the prose provide ample sustenance, making the journey through the novel's shadows a thrilling experience. Despite the dark undertones, moments of levity, such as slapstick digressions, punctuate the narrative, ensuring a rich and engaging reading experience.
Source: UKPulse Media review