At the dawn of 2019, I wrote a piece about how I felt like the Dublin I knew had been disappearing before my eyes; how a layer of buildings and memories was being disassembled and a new layer constructed over what I was familiar with. That version of me feels so much younger now, given…
No matter how many times I stumble across something – a song, a movie, a book – that gifts me way more than it promised, I find myself delighted and surprised by it. You know the kind of thing: something that ends up being more than the sum of its parts, that ends up meatier…
On why I got a little obsessed with a certain TV show.
The film Minari is about the specific and the universal. It’s about the specificity of being a Korean dad in a family of four, trying to start a farm in rural Arkansas, a place you have never been before. On this farm, you want to grow vegetables which you are ultra-familiar with, and which remind…
On albums that help you during times of strangeness.
An essay on an obsession with a heron.
On putting on an Elliott Smith tribute gig on the worst night possible.
On Aoife Nessa Frances’s excellent debut album, looking back at early 2020, and Christmas difficulties.
On capturing what it is to live now, while keeping a bit of hope.
It wasn’t the central relationship that I cared most deeply about in Joanna Hogg’s film The Souvenir.