Dublin

It’s often said that there are only seven basic plots in literature. When it comes to biographies of rock stars who died young, by contrast, there’s usually just the one: somebody mysteriously talented emerges from an unlikely background to achieve stardom, before being destroyed by drink, drugs and fame. Yet, as the film Amy proved last year, it’s a plot still capable of packing a real emotional punch — and, as Cowboy Song proves now, the life of Phil Lynott from Thin Lizzy embodies it more vividly than most. Certainly, there’s no faulting the unlikeliness of his background. Lynott was born in 1949 to an Irish teenager who’d come to

It’s not Paul Murray’s settings or themes — decadent aristocrats, clerical sex abuse, the financial crisis — that mark him out as original, it’s his handling: the wild plotting, the witty dialogue and the eccentricity of his characters. The follow-up to his widely admired second novel Skippy Dies swaps the adolescent funk of a Catholic boys’ boarding school for the testosterone whiff of a fictional investment bank in Dublin. The Bank of Torabundo rode out the demise of the Celtic Tiger thanks to its cautious and effective CEO, but he has now been replaced by a flamboyant financial genius whose last bank collapsed in tatters. Claude Martingale, a French analyst,

The most successful newspapers have a distinct personality of their own with which their readers connect. In Britain, the Daily Mail and the Guardian are perhaps the best examplars of that. In Ireland, the decent, if slightly smug, denizens of Dublin 4 know exactly where they are with the Irish Times, and that it will connect with them and reflect their values. Sometimes a newspaper’s personality even defies its actual content, and change encompasses an unexpected continuity. The Guardian moved seamlessly from being the organ of non-conformist opponents of horse-racing to the first newspaper in Britain to print the word ‘cunt’. And yet the personality remains intact — priggishness being

One of the easiest mistakes to make about history is to assume that the past is like the recent past, only more so. It’s a natural human tendency to project the outcome of events backwards, ignoring the fact that the arc of history really doesn’t work like that. In the case of Ireland that tendency to see the past in terms of outcomes is particularly misleading. The state that came about less than a century ago as a result of the Easter Rising, the war of independence and partition was socially conservative and strongly Catholic. Roy Foster’s achievement is to show that this need not have been so. This book

In a grand history of the British empire — because that is what this book really is —  you might expect more hand-wringing from a historian and Labour MP who has previously written a life of Engels. But despite quoting Marx half a dozen times (and Lenin, twice!) there is something about the idea of empire that excites Tristram Hunt. And this is a book about ideas, for all that it is rich in architectural description, economic fact and colourful anecdote. It describes how — and indeed when and where — the imperial ideology shaped and reshaped itself. As such, it is a nuanced riposte to those historians of empire,

On his deathbed in Dublin in the spring of 1966, Flann O’Brien must have been squiffy from tots of Paddy. A bottle of the amber distillate was smuggled in to the hospital on April Fool’s Day by a couple of well-wishers. O’Brien rang the bell to summon a nurse. ‘Sister,’ he told her solemnly, ‘I have two friends who are constipated and need a dose. Would you bring two glasses?’ Within a matter of hours the poker-faced Count O’Blather (O’Brien’s preferred authorial pseudonym) was dead. Flanneurs everywhere had reason to lament the passing of a notable Dublin wit and a writer of comic genius. But all was not lost. O’Brien’s