In the Forest Book

Irish novelist Edna O'Brien is again the centre of controversy with her latest novel In the Forest. Forty years ago her first six novels were banned but times have changed. She also wrote The Country Girls in 1962 and was vilified in Ireland. Taking as her subject matter the actual murders of a young mother, her toddler son and a priest in 1994 in County Clare, she is accused of exploiting grief, of gross insensitivity, of being motivated only by financial gain and of portraying Ireland as timeless and primitive. Her comeback is that "the novelist is the psychic and moral historian of his or her society. So it's about that part of Ireland I know very well...and the darkness that still prevails". Not surprisingly this "true crime" novel makes for sombre and uncomfortable reading. O'Brien is unquestionably skilled at deploying language to create a highly charged atmosphere: even Cloosh Wood, where much of the action unfolds, takes on its own sinister personality where "the light [becomes] darker and darker into the chamber of non-light". In tightly written chapters each with a change of narrator--the murderer himself, his sister and father, the murdered young woman, Eily Ryan, her sister, the priest, Father John, neighbours, the police--the effect is of accumulating tension and foreboding, despite our knowing (or because we know?) the terrible outcome. But in making the voices of her numerous characters so fragmented as to suggest a society in the grip of terror, O'Brien fails to make them resonate as individuals, except for the killer, the young psychotic, Mich. Brutalised at home, abused by his priests and his peers, he becomes the feared "kindershcreck". In his late teens he is released from jail for a string of crimes, and returns to his old turf. Stalked by the brutality of his past, he in turn stalks Eily Ryan, a hippy-ish figure, living with her three-year-old son in a ramshackle cottage that Mich had seen as his own lair. Eily becomes to him "all-mothering, all-sinning. She-devil...Now the ultimate flood of rage that has been waiting is loosed from the wrenched and bloodied sockets of his fucked life as he tears her clothing in an ecstasy of hate, as though tearing limb from limb all womankind". With these terrible deaths and the hunting down of Mich, O'Brien suggests that the crimes are not Mich's alone: fear, bigotry, misogyny, repression and silence permeate the culture. And out of this, such evils come. --Ruth PetrieRead More