When I held dog obedience classes, I always started with getting dogs to approach each other in a safe manner. The first rule of law is never to imagine that any two dogs will be best buddies initially, if at all. I asked owners and their dogs to form a circle. Then each owner slowly and separately walked an inner circle stopping in front of each dog but a short distance from him. If the dog was relaxed at doing this, I suggested that he move slightly closer to the one opposite him. And both owners needed to stay alert to any reactions. It was amazing to see how clearly each dog communicated his feelings. Some started jumping up wanting to make contact and play. Others backed away, growled or generally showed misgivings at being brought closer into the other dog’s personal space. If the reactions were in any way hostile or could be misinterpreted, the owner and dog in the inner circle took a step back and kept doing so until both dogs resumed a relaxed demeanour. That meant that either or both dogs no longer felt intimidated by a perceived invasion of his personal space.

I have taught this passive interaction for home visits too using my own dog, Saffron. She would sit in the car at a fully open window while the dog with ‘meeting and greeting’ issues slowly advanced literally one step at a time. He’d be continually rewarded when relaxed and, if bothered at approaching the car and Saffron, he would be withdrawn to a position that was comfortable before being asked to resume his approach.

This technique instils trust between owner and dog. The dog learns his owner will always listen to him and take action to reduce any stress that could exacerbate any given situation. Once your dog knows you’re listening, he begins to reciprocate, listening to you at all times. But once stress sets in, there’s no longer a meeting of minds.

There are a few obvious pointers to make introductions a less stressful event. You need to know your dog and to understand what motivates him. Many dogs are territorial. Therefore, to present another dog, especially on home ground without due care, is like lighting a tinder box. Once lit, it’s very hard to put out.

Any dog, no matter his character, needs to be introduced on neutral ground but especially if you are trying to bring a new dog into your home. If your dog is a dominant type, introducing another dog with the same characteristic will be a disaster. Choosing a dog of the opposite sex is a good place to start.

Both dogs arrive at a neutral venue. You need to be calm around your own dog, studiously ignoring the newcomer’s arrival. A brisk walk together with both dogs on the outside and the two of you in the middle is advised. Don’t allow any advance into the other’s personal space. Keep observing the signals, and you’ll know if the dogs begin to relax when they start sniffing, taking stock of their surroundings, or pee and poop without feeling vulnerable at the other’s proximity.

If you sit down, ensure that you keep the distance. Watch carefully. Does one dog turn away completely from the other? Or does one keep eyeing the other suspiciously? Can they relax enough to lie down and close their eyes? Or does every slight movement produce an over-alert reaction from the other dog?

You’ll need to repeat the walk a few times to allow them to be comfortable in the other’s company. Even if your dog isn’t confrontational or territorial, you must still be careful. Any adverse reaction will have a negative effect on your dog for future introductions.

Never allow dogs to sniff each other for too long. Dogs get the full picture of each other with just a couple of sniffs. Staying close can produce an adverse reaction. Stand back and allow the dogs to process the information. Then see if THEY want to pursue the possibility of friendship. If not, respect their wishes.

Some dogs dislike hyperactive ones. Having had Boxers all my life and knowing their excitability, I fully understand this. And I will introduce Saffron to other dogs very carefully for her sake. However, I also know that she’s friendly. She will offer play bows to some dogs if they reciprocate. But, more importantly, she will lie down to others, giving a firm signal that she’s no threat.

However, it’s up to us owners to protect our own pets. So while I’m watching Saffron, I’m concentrating fully on the other dog. If I read a threat, I always call Saffron in close to me and stand quietly beside her in case she needs help. That way we work as a team and the mutual trust remains in place.

Bandon are thriving in the Munster Senior League Second Division after going down last season, and everyone involved at the club has their sights firmly set on promotion. The team could not have asked for a better start – they returned to action in August and won their first four games by an aggregate score of 17-4. They also progressed in the Keane Cup despite losing narrowly to Ringmahon Rangers, with that result overturned over issues involving player registration. Bandon moved on with a team led by Peter Mullins, an experienced figure in Cork soccer after previous stints with Avondale United and Riverstown. October will be one of their busiest months and, as the season intensifies, the coach tells Dylan O’Connell all about their promotion and rebuilding campaign. 

“It’s been really good, really good,” says Mullins.

“It’s a new management team and a lot of restructure behind the scenes with youth teams and junior teams.

“It’s a brand new senior team put together. We had a good pre-season, had good numbers at training and it just starts from there. It breeds good habits and we had a good unbeaten pre-season. We played some good opposition. We played Ballinhassig from the First Division, who are a really good side. We played good opposition which tested us and we picked up good habits for the start of the season.”

It wasn’t just that the club are picking up the pieces after relegation and hoping to go again, they are trying to rebuild after experiencing the drop twice in three years.

They were in the Premier Division as recently as the 2023-24 season and playing against top sides like Midleton, College Corinthians, and Ringmahon Rangers. They even reached the Beamish Stout Senior Cup semi-final that year, and lost to an all-conquering Rockmount side looking for their seventh major trophy in three years.

Bandon went down with just one win recorded and four draws, as the basement side in a ten team league.

There was no immediate reprieve in the First Division during the 2024-25 season, instead they were dumped out of the Keane Cup by Carigtwohill and their league campaign started with a four match winless run. Bandon rallied and managed to finish fourth in the First Division, in addition to reaching the Round of 16 of the Munster Senior Cup and losing to Waterford at the RSC.

Instead of being a platform to build from, it was a false dawn as the 2025-26 campaign brought automatic relegation after a basement finish. Bandon could only muster two wins that year, not that it meant anything in the  end.

Mullins was brought in to pick things up and restore Bandon as a force to be reckoned with in local soccer.

“I was trying to pick heads up and get the morale going again and get a winning mentality back again as well,” he explained.

“Just from the first session we said we wouldn’t work on tactics so much but there’s no excuse for hard work. Put in the hard work and it will pay dividends. We know we’ve got ability so that will come out in the performances.”

Mullins has a lot to pull from as he prepares for one of the busiest stretches of the season, with games lined up in the FAI Intermediate Cup and a number of local cup competitions.

The coach has years of experience in Cork, from a previous stint at Bandon to his first steps at Riverstown’s academy. Avondale United is where he is best known in the city after helping the club’s junior team win the Donal Linehan Cup, one of the most sought-after trophies at that level.

Mullins is now solely focused on the club in his own neck of the woods, Bandon, and part of his vision for the club is putting a sense of localism into everything they do. The goal here to build something truly local, that involves the very best footballers from the town, and slowly it is coming true.

“I have been coaching for years,” Mullins explained.

“My previous club would have been Avondale, so I was with Avondale seniors and Avondale in the Junior Premier Division for the last three or four years. I came back with a view to taking this job. I’m from Bandon but a lot of people were saying to me, are you going to get new players? Are you going to get players from the city? Are you going to get players from the club? There are players in the club every single one of those lads is from Bandon.

“I think Ger Rice in the ten lives four or five miles out in Innishannon and that’s it. There’s no one coming from Clon and there’s no one coming from the city. In that it gives you a good work ethic because they’re fighting for each other.”

What this has created is an environment where everyone knows each other, and this has made the squad stronger.

“There’s no one being brought in to play up front because we don’t have anyone in the town that can play up front – everyone is Bandon through and through and that’s a good basis,” Mullins added.

“That comes out in the performances, they’re fighting for each other. As I said at the start, get the work ethic up, the fight was there, but maybe the energy levels weren’t or the intensity wasn’t there. The new coaching team that came in, we just pushed that for the first few weeks and then dribbled tactics and systems and things like that.”

So far everything is going according to plan. Bandon are thriving in the Munster Senior League Second Division and the club’s course has been steadied after experiencing two relegations in three seasons.

There’s still a lot of work to be done. The season will run until May and there are plenty of twists to come in a title race that also involves Riverstown and a Wilton United side stepping back up to senior football.

What Bandon have to get them through this is a clear sense of local identity, and that’s something that cannot be manufactured or brought in. Mullins has nurtured this feeling and it is leading to impressive results on the pitch.

There’s still a long way to go, especially when the multitude of local cup competitions are factored in alongside the precarious nature of a calendar that is usually dictated by the weather. Bandon won’t seem to mind. The club have found their way again and Mullins is leading them forward.

The Listening Project does what it says on the tin. It’s an apt name. Partly because of where the listening takes place: the Skibbereen Town Hall. “It is not a pub environment,” says one of the organisers, Robin Foley “When people are playing you can hear a pin drop so you get to fully immerse yourself.” The Hall has got quite a history behind it, having been constructed in the 1860s. Meat market on the ground floor, theatre above, and even a roller-skating rink in the early 20th century. Occupied by British soldiers during the War of Independence, it later housed the library. That old building was gutted by fire in 1955, leaving only a shell. 

The Town Hall was completely rebuilt and expanded. It was last renovated three years ago (new entrance with lots of glass, new toilets and heating system). And yet it still has a somewhat old-fashioned theatre vibe. Wooden floor, high “classic” stage with long red curtains, a balcony. An environment that is suitable for all sorts of cheerful entertainment – from line dancing to world music – albeit with a classy, cultural undertone. The effect is reinforced when The Listening Project is in town, as the seating is rearranged so it circles the artists, who play under the soft glow of house lamps with small Persian carpets underfoot.

Robin Foley (an artist and designer who also sells prints at the Skibbereen market) and co-organiser Brian Granaghan (a teacher with a background in visual art) did think long and hard before launching the concert series. Adamant that they wanted the Town Hall as a venue, they eventually succeeded. Deciding which musicians to invite is also a lengthy process. “We communicate with the artists a good bit. Depending on who we reach out to, we might be building relationships in the long term. It takes up a lot of time and energy in the background to get people to come here, organise their accommodation, their travel arrangements. All because Skibbereen is so tucked away, really far from everywhere.”

Robin and Brian met as their kids were going to the same national school. They started talking about music. Enthusiastically. Although each plays an instrument – guitar (Brian) and tenor banjo (Robin) – the conversation revolved more around listening. Genres, albums, bands, artists of their liking.

“We discovered that our tastes are very similar,” shares Robin. “In the sense that both of us are fascinated by where traditional meets experimental music. That is happening more and more across Ireland. There’s so much great stuff around.”

Their events always feature combinations of two or more different ensembles or artists. “It’s not a matter of headliners and support acts. That’s not how we run. The band before is as good as the act after, they’re on an equal footing.”

A prime example is the Listening Project concert on October 10. The first act is a collaboration of two solo artists, the multi-instrumentalists Eoghan Ó Ceannabháin (concertina, séan-nos) and Ultan O’Brien (fiddle, viola). So far, they’ve collaborated on two albums. ‘Solas an Lae – The Light of the Day’ (2020) and ‘The Deepest Breath’ (2022). Eoghan is a powerful and award-winning singer-songwriter, both in Irish and English, who hails from a musical Irish-speaking family. He is a passionate political activist and formidable poet, based in Dublin, albeit with Connemara roots. His lyrics may pack an emotional punch (‘Ringing That Bell’) or be melodic and wordless (‘Máirseáil na Sióg, The Fairies’ March’). Ultan O’Brien is not the only musician he plays with (‘The Deepest Breath’ has a cast of ten) but their “songs and strings bounce off one another … the human voice and the fiddle are often thought of as musical cousins,” as he wrote on Bandcamp. 

Ultan, based in Clare, is a composer and improviser with a background in traditional music. He released a solo album, ‘Dancing the Line’, in 2025. It contains traditional folk elements (such as a slow air) as well as drones, soundscapes, collages, voice clips, animal-ish sounds, ultra-short and longish songs. O’Brien plays with dancers and creates experimental films around music compositions that are screened in prestigious venues all over Europe. In other words, he’s a breath of fresh air, claiming his artistic freedom. The next band on October 10 is MacBóchra, from Cork, featuring Brendan Duffin, Angelique Everett, Colin Marge and Brian Leach. Bilingual, they use various disciplines to develop and realise their projects (in collaboration with Strive Theatre): dance, experimental theatre, music, poetry, medieval literature, video and are steeped in Irish mythology, history and traditions. “We take our name from the shape-shifting salmon, eagle, hawk and oldest seanchaí Fintan mac Bóchra. Our band explores tradition as a force living on and remembered in different forms … A shared journey with the audience. Our music features arrangements for two bodhráns, tin whistles, tiompán, voices, hammer dulcimer, sean nós, dance and electronics, exploring territory that is informed by Irish traditional music yet distinctive in its own right,” it says on their website. 

In February, they performed a fairy fort folk opera, Goll, at the Briery Gap in Macroom. Their follow-up project, Seachrán Sí (led astray by fairies), is announced as an exploration of stories and beliefs concerning ‘The Stray Sod – An Fóidín Meara’. It uses photography as well as information from the National Folklore Collection: “​It is said that if you walk on the graves of soldiers at night you will step on a ‘stray sod’ and you will be walking round the field all night.” MacBóchra’s music can be found on Bandcamp. Not surprisingly, it is slightly haunting, in a good way. Very rhythmical; the two bodhráns and tiompán create excitement. The jaw harp brings suspense. The vocals, harmonies, whistle, dulcimer, and guitar add sweetness while the words create visual images (often borrowed from nature) that border on magic.

The Listening Project will continue to host bi-monthly sessions in the Town Hall. On December 19 and 20, they are launching the winter homecoming series with concerts by Shimmer Boy, Muiris, Trá Pháidín, Rita Lynn, DJackulate, plus a choir. 

“The idea of homecoming is about people coming back for Christmas, having been away or abroad. It’s nice that we can use the town hall for this purpose,” says Robin.

Coincidentally, October 10 is World Mental Health Day and this specific concert is in collaboration with the West Cork Feel Good Festival, which also focuses on the Irish language and heritage, on creativity, and on lifting people’s spirits. For further updates keep an eye on the website, www.thelisteningproject.ie and social media, www.instagram.com/listening.project.skibb/  

On September 1, the Clonakilty Community Arts Centre (CCAC) was given the keys to No. 8 Kent Street, a council building situated opposite the Old Mill Library. CCAC has been granted six months at No. 8 under an inaugural ‘meanwhile use’ scheme being trialled by Cork County Council. It is intended as a lifeline whilst CCAC searches for a more permanent residence. Its presence on Kent Street is more than that, however: it is a glimpse of what a permanent community arts centre – even a small one – might look like and the impact it might have on the social and economic wellbeing of the town.

In its first week of operation at the new address, CCAC has partnered with the Clonakilty International Guitar Festival, hosting LOWmountain on September 19, launched its Autumn Members Exhibition, hosted Clonakilty Open Mic (first Sunday of the month), the CAT (Clonakilty Artists Together) collective and welcomed approximately 200 visitors though its doors. Looking forward, an exhibition of student work from St. Joseph’s NS is planned, a printmaking showcase is in the pipeline and a programme of classes is taking shape.

Six months is a small window for arts programming, but it is one the community should embrace: if you have an arts event-book launch, poetry reading, acoustic gig, exhibition, micro-theatre–a workshop you wish to run, or if you need rehearsal space, then email the team at CCAC: ccac2013@gmail.com. Conversely, if you are an arts lover, or simply curious, please come and check out the exhibitions, workshops and events on offer, details of which can be found at clonarts.ie. The more this is used and benefited from, the stronger the case for a permanent centre.

On the flip side of the above is the reality that the doors will once again close if a more permanent space is not found. CCAC is therefore appealing to property owners in Clonakilty, who have vacant space, to consider a longer period of ‘meanwhile use’ for the benefit of the town. Meanwhile use is a little like house sitting: the idea is that occupancy prevents dereliction, stimulates social and economic activity, thus maintaining property value. Tenures for meanwhile use do not need to be open-ended, they can be negotiated, or set in stone – as with No. 8 Kent St. for a short period only. The value to the community is enormous, as it is usually non-profits or creatives who fill the space. If you have ideas regarding this, please get in touch with the team: ccac2013@gmail.com.

Looking forward to seeing you at No. 8 Kent Street!

Dr Laoise Hook explains what can be done about pigmentation and why now is a great time of year to start treatment

After a summer of sunshine, even with SPF, pigmentation tends to be at its most visible right about now. Many of the treatments that work best for pigmentation, such as IPL and peels, work by making the skin temporarily more sensitive to UV light, so they need to be paired with strict sun avoidance and daily SPF during and after treatment. That’s a tall order in June or July, but with the sunshine easing off and the days shortening, autumn and winter give your skin the best possible conditions to heal properly without the risk of further triggering pigment. It’s also simply easier to stay consistent with treatment when you’re not dodging strong sun on the school run or heading off on holidays. Starting now means you can work steadily through a course of treatment over the coming months and be in great shape well before pigmentation has a chance to build up again next summer.

Pigmentation is caused by an excess of melanin, the pigment that gives our skin its colour. When skin cells called melanocytes produce too much melanin in a concentrated area, you get patches that are darker than the surrounding skin. It’s not one single condition. There are several different types, and knowing which one you’re dealing with matters, because the wrong treatment can sometimes make things worse rather than better.

The main types of pigmentation include sun damage, or solar lentigines, often called age spots or sun spots. These are flat brown marks caused by years of UV exposure and typically appear on the face, hands and chest. Melasma is a little trickier, tending to appear as larger, symmetrical patches across the cheeks, forehead or upper lip. It is strongly influenced by hormones, including pregnancy and contraception, as well as sun and heat exposure, and can be notoriously stubborn, sometimes flaring with the wrong treatment. Post-inflammatory hyperpigmentation occurs after the skin has experienced some form of trauma, such as acne, a cut or an aggressive treatment, leaving behind a darker mark as the skin heals and produces extra pigment.

Because pigmentation has different causes, treating it isn’t a one-size-fits-all job. The first step is always a proper consultation, where we work out which type (or combination of types) we’re dealing with. This is essential, because melasma in particular needs to be handled carefully.

From there, a combination approach usually gives the best results:

Homecare is, without question, the most important part of the plan. No in-clinic treatment will hold if the skin isn’t being properly protected and supported at home. That means SPF every day, without exception, plus targeted active ingredients to control pigment production between sessions. Importantly for those with pigmentation you need to be using a mineral SPF every day. The reason for this is that pigmentation is not just caused by UV but also by any visible light including overhead lights and computer screens.

IPL (Intense Pulsed Light) is very effective for sun damage and age spots, using light energy to break down excess pigment. Important note: IPL is not suitable for melasma, as the heat involved can actually aggravate it and make pigmentation worse.

Perfect Peel is a versatile option that can be used for either sun damage or melasma and even PIH, gently resurfacing the skin and encouraging even pigment turnover.

Obagi Nu Derm is a prescription-strength homecare system that we often recommend alongside in-clinic treatments, particularly for melasma. It works over a period of months to regulate pigment production at a cellular level.

Microneedling can help by encouraging the skin to renew itself and improve the absorption of active ingredients, making it a useful addition to a broader plan.

If there’s one thing I want you to take from this, it’s that pigmentation rarely responds to a single quick fix. The best results come from a considered combination of in-clinic treatment and consistent homecare, and homecare really is the backbone of it all. Without daily SPF and the right active ingredients, even the best in-clinic treatment will only offer a temporary improvement.

With the sun behind us for another while, now is the perfect window to get started. If you’re dealing with pigmentation and aren’t sure which type you have or what might help, it’s always worth coming in for a consultation so we can put together a plan that’s actually right for your skin.
www.thehookclinic.ie

Fatigue and reduced stamina is normal and can persist long after the initial stroke making everyday tasks more challenging. Other symptoms include paralysis (often on one side of the body), spasticity or muscle weakness that affect balance, ability to walk, stand and swallow. Sensory deficits can cause visual issues, speech and language challenges and numbness or tingling. Cognitive functions may be affected too, leading to memory loss, problems with concentration, impaired judgment, confusion, or generally slowed thinking.

Understandably survivors describe the aftermath as a profound process of grief and loss. Emotionally many struggle with depression, anxiety, mood swings, irritability, or a loss of motivation. Each of these impairments can deeply affect a person’s quality of life, underscoring the importance of timely intervention and comprehensive rehabilitation.

Rehabilitation should include physiotherapy, occupational therapy, speech and language therapy psychological support and scalp acupuncture. Scalp acupuncture is a specialised form of acupuncture that involves stimulating specific areas of the scalp that correspond to different brain regions. It is used for stroke rehabilitation in Chinese hospitals, as part of a comprehensive rehabilitation plan and, is becoming more common in the West, as part of an integrative medical approach.

Scalp acupuncture aids stroke recovery by targeting areas that map the autonomic, motor, sensory and speech areas of the brain. For example motor area stimulation can reduce spasticity, improve limb movement, co-ordination, balance, fine motor skills of the fingers and the swallow reflex. Stimulating the autonomic areas of the brain will support the systems of the body that work without conscious control ie. the organs that regulate heart rate, blood pressure, breathing and digestion.

Speech-related areas in the scalp can improve a person’s ability to comprehend, retrieve the correct words and articulate, helping both Broca and Wernicke’s aphasia. Scalp acupuncture activates neural pathways and promotes neuroplasticity helping the brain to reorganise and form new connections after injury. It can also influence neurotransmitters that regulate emotional wellbeing and improve blood flow, which may increase cerebral blood flow to regions of the brain

that were deprived of blood supply during the stroke and help to nourish brain tissue and support the repair process.

While the journey of stroke recovery is unique, and rehabilitation should ideally start soon after the event, research is confirming that patients can still experience functional improvements and reduced neurological symptoms years after the event with scalp acupuncture.

Amanda Roe is an Acupuncturist, Chinese herbalist, Clinical Hypnotherapist, Life and Health Coach specialising in Women’s Health. She offers a range of services including scalp acupuncture for stroke and wishes you and or your loved one strength and healing on your journey of stroke recovery. For more information or to book a consultation visit www.roehealth.ie or call/text Amanda on: 087 6331898.

Viktor Palazhchenko lives in Skibbereen with his wife, Olga, and their seven-year-old son, Lavrentii. He was born and raised in Mariupol, in eastern Ukraine, and spent most of his life there. The family then lived for five years in Lviv before eventually coming to Ireland.

They left Ukraine after the beginning of the full-scale war. 

For Viktor, leaving was first and foremost a decision made as a husband and father. His wife was recovering from a serious car accident and surgery, while their son, who has a disability, needed ongoing support. Ireland offered the family access to that support, and because they already had some English, settling in an English-speaking country felt a little more manageable. This July marked three years since they arrived.

Before the war, Viktor’s professional life looked very different. He trained as a journalist and worked as a television correspondent and presenter. He worked in communications, managed social media, wrote and edited, and produced small video projects.

“Practically my entire adult life before the war was connected with words,” he says. Then life began to change very quickly. After Olga and their son were injured in a car accident, Viktor stepped away from work for several months to care for them. By the time he was able to work again, Ukraine was dealing with widespread power cuts. He remembers fellow journalists searching for cafés and other places where they could charge a laptop and find Wi-Fi.

So Viktor went to work for Nova Poshta, the Ukrainian postal and delivery company.

“It was a very conscious, strategic choice,” he says. “The postal service remained essential. Parcels still had to be delivered whatever the circumstances.”

His branch had a petrol generator, so even when the electricity disappeared, the work continued.

After moving to Ireland, he had to begin again. He worked as a waiter, then as a kitchen porter at the West Cork Hotel, and later as a night porter. Working nights also became a very practical way to improve his English.

Later, when Olga began working with Irish National Opera, the family rearranged their lives again. Viktor moved to part-time work and took on most of the day-to-day care of their son.

He then trained as a special needs assistant and began working with children with additional educational needs.

That professional change is closely connected to his own experience as a father. “A lot of what other parents go through is familiar to me personally,” he says.

He is now beginning his second school year in this field, working as a substitute SNA in several schools around West Cork and taking part in home-support programmes for children.

For more than a year, he also volunteered at CoAction West Cork’s Possibilities Hub, working with adults with autism. This summer, CoAction recognised his volunteer work with the Body Award 2026.

And there, unexpectedly, some of his old journalistic skills became useful again.

Viktor heard one participant reading and immediately noticed his voice. He suggested trying audiobook narration. The participant read; Viktor recorded and edited. Together they produced several audiobooks.

The project gave the participant a chance to try narration and hear his own voice become part of a finished creative project.

There is another important part of Viktor’s life: the Church.

He has served as a deacon in the Ukrainian Orthodox Church for seven years and continues his theological education. This year he completed his degree at Kyiv Theological Seminary and began further studies at Kyiv Theological Academy.

When our conversation turned to clothes, it became clear that Viktor had always had an interest in style.

He does not follow fashion constantly, and everyday life usually calls for practical choices. But he has always paid attention to clothes and the way people present themselves.

He likes classic menswear and strong, masculine silhouettes. Even as a teenager, he might stop while changing television channels if he came across a fashion show.

His willingness to experiment started even earlier.

He laughs as he remembers inventing outfits for his younger sister Maria as a child, cutting up his mother’s tights and turning them into improvised clothes.

At university, he enjoyed dressing in a way that was bright and noticeable.

“Perhaps somewhere inside me that 18-year-old boy is still there, even though in the mirror now I see a grown man with a completely different life experience.”

That was the Viktor I wanted to work with for this shoot: an adult man accustomed to thinking first about family, work and responsibility, but who had not lost his curiosity.

Before the photoshoot, we went to Cork together to choose clothes for several different looks.

Normally Viktor shops in a very practical way: there is a budget and there is a list. Comfortable trousers. Shoes. A few t-shirts. A white shirt for church.

This time we tried things on, compared combinations and looked at clothes he probably would not have stopped to consider on his own.

For me, styling a person is not about disguising them. 

After the shoot, I wanted to know not only whether Viktor liked the photographs, but whether the experience had changed the way he saw himself.

“I am quite a modest and self-critical person,” he says. “I know what my strengths are, but it is still important for me to have the chance to see myself through someone else’s eyes.”

Then he added: “With Galyna’s help, I felt comfortable trying something unfamiliar and looking at myself differently. Now I know that from time to time I would like to return to that kind of experience.”

Look 1: This look continues the theme of natural ease, but takes it in a more classic and refined direction. A navy blazer, light blue shirt and linen trousers create an elegant seaside combination that sits naturally against the coastal landscape.

Natural fabrics and relaxed styling keep the outfit from becoming too formal.

There is structure without stiffness here.

Stylist’s tip: Classic menswear does not have to feel strict. An unusual necklace adds an unexpected, more personal detail to the classic outfit. Mixing classic pieces with a less expected accessory can soften the whole look and make it feel much more personal.

Look 2:  This look is built around relaxed summer elegance. A pale blue linen shirt, worn open at the collar with the sleeves rolled up, is paired with lightweight trousers in a natural tone to create a silhouette that feels easy but still considered.

Suede shoes and a simple piece of jewellery add character without making the outfit feel over-styled.

The appeal comes from restraint: good fabrics, soft tones and nothing that feels overworked.

Stylist’s tip: Do not be afraid to let natural fabrics look slightly rumpled. That is part of their beauty.

Look 3: The final look is about natural elegance.

A linen shirt and lightweight trousers in natural fabrics fit well in the surroundings, while suede shoes bring warmth and softness to the overall look.

It brings us back to something Viktor said after the shoot: clothes can support the person rather than overwhelm them.

Stylist’s tip: Choose clothes that allow you to move naturally and feel comfortable. 

Stylist and photographer:
Galyna Zaitseva.

But recently I upgraded to a watch which had far more bells and whistles. While I’m still not on board with most of its features – being a rather simple creature and not particularly tech savvy – one feature in particular caught my attention: sleep tracking.  I didn’t have to programme anything, but each morning I got a “sleep score”, complete with a breakdown of my night in neat little timestamps. My curiosity was piqued by the breakdown of my night’s sleep into three main component parts – deep sleep, light sleep and REM sleep. 

It got me thinking about what actually constitutes a good night’s sleep and why does it matter? 

Sleep has always been something of a mystery. Where do we go when we sleep? What happens to our waking selves — our personality, our persona, our sense of being? In ancient times it was believed that our spirits travelled to another realm to be replenished while our bodies lay inert, awaiting the soul’s return. This was an attempt to explain sleep and dreaming long before science stepped in. 

Modern sleep science tells us that we cycle through four distinct phases of sleep, repeating them four to six times per night:

Stage 1 is the lightest phase, marking the brief transition from wakefulness into sleep. Stage 2 is also light sleep and is the longest stage, during which the heart rate slows and body temperature drops. Stage 3, known as deep or slow-wave sleep, is particularly important for immune function, physical repair and recovery. Stage 4 is REM (rapid eye movement) sleep, the main dreaming phase, when brain activity becomes more similar to that seen during wakefulness.

Deep sleep is prioritised in the first half of the night, when the body focuses on physical repair. Slow delta waves dominate, growth hormones are released, and when this stage is sufficient, we wake feeling refreshed and restored. As we age, however, our deep sleep phases shorten while our lighter phases lengthen.

REM sleep, meanwhile, is vital for the brain. It’s during this stage that we consolidate memories, process emotions, and make sense of the day’s experiences. Entire schools of thought have been built around dream interpretation, exploring how the unconscious mind communicates symbolically through our dream world. Creativity has long been linked to REM sleep – Einstein famously claimed that the inspiration for his theory of relativity came to him in a dream.

Most of us could benefit from improving our sleep and particularly our deep sleep – so how do we do that?

Consistency is key: going to bed and waking at the same time each day helps regulate your internal clock (bad news for weekend lie-ins). Make your bedroom as cavelike as possible – cool, dark, and free from screens or bright lights, this will stimulate melatonin, our sleep hormone, which is rapidly coming on board now as the evenings shorten. 

Regular exercise and time outdoors support deeper sleep. Avoid caffeine after lunch and be mindful of alcohol late in the evening; while it may feel sedating at first, its thermogenic effect can raise body temperature and wake you during the night. 

Try to get natural light within the first hour of waking, which will suppress melatonin and boost cortisol in a healthy way, and most importantly if you are addressing a poor sleep pattern, it will set your sleep timer for the night ahead. Ten minutes outdoors is enough.

And if sleep still feels elusive, here’s a practice you can try. Counting sheep has long been shown to do little for a busy mind, but recalling a familiar walk – one your body knows as well as your thoughts do – can be surprisingly soothing. Choose a route you love and follow it in your imagination: involve all your senses, the way the air feels at the start, the small sounds that accompany you, the scent of the trees or the sea, or the feel of the earth beneath your feet. This helps your mind begins to loosen its grip on the day and it’s interesting to see how far along your path you make it before sleep overtakes you.

Our biology is ancient – shaped by sunlight, darkness, temperature, and the rhythm of the of the seasons – yet our daily modern environment couldn’t be more different.

Where is our time for quiet reflection and rest, where we can drop into our parasympathetic nervous system and rest as nature intended? Light, noise, notifications, deadlines, responsibilities, and the relentless hum of doing make can make us feel both wired and tired. Even when we stop moving, our minds churn and turn, tilting at windmills as we effort to rest.

Our stress response is activated far more often than it was ever meant to be, and cortisol – which should gently decline in the evening – often stays stubbornly high. A body that thinks it’s under threat cannot prioritise deep sleep.

Much as I have appreciated the sleep data provided by my humble smart watch, I am mindful of the trap it sets – where something as natural and intimate as sleep becomes yet another objective to fulfil. And so, while grateful for the initial information it offered, I’ve stopped using it to track my nights.

Instead, I’ve returned to something simpler: giving myself thirty minutes each evening to experience the luxury of dark, empty quietude – the stillness within that invites sleep. Turn down the lights, switch off your screen, light a candle if you feel called to, and rest in the enveloping quiet as the autumn evenings draw in.

Sleep, after all, is not a performance, nor should it be a chore. It’s a return – to ourselves, to our bodies, to the deep rhythms that have always carried us where our spirits can be replenished, our bodies restored.

Look after yourself

As women we are bombarded by fads; best thing for sleep, energy, belly fat – you name it and someone claims to have re-invented the sliced pan in terms of a cure.

I found it refreshing to read The International Menopause Society (IMS) white paper emphasising the vital role of lifestyle medicine when navigating menopause. This puts power into the woman’s hands by pointing out the vast body of evidence showing that changes to lifestyle have a big effect on not just menopause symptoms but risk of subsequent chronic diseases like diabetes and heart disease, and enhance quality of life. It talks about the six pillars: healthy eating, exercise, mental wellbeing, avoiding risky substances, good sleep and  healthy relationships.

Not rocket science, is it? Yes, HRT or other non hormone drugs help menopause symptoms but unless you are looking after yourself, all your symptoms will be worse

The heart: Coronary Heart Disease (CHD)
Dutch cardiologist professor Angela Maas, who wrote a fascinating book ‘A Woman’s Heart’, presented at the MSI conference. I mentioned in previous articles that women’s CHD is different to men’s. However, women have rarely been included in studies on cardiac drugs or procedures. There is an assumption that what works for men will work on female physiology. Angina is chest pain caused by reduced flow to heart muscle. In men, this is as a result of  blockage in large arteries. Most female angina occurs as a result of narrowing of small arteries, a process called vasospasm. This vasospasm can be brought on by exercise, nicotine, but also by stress. The arteries then open again returning blood flow so symptoms are intermittent and can seem inconsistent; the same activity causes symptoms one day but not the next.

Studies have shown that 80 per cent of women after a heart attack, have a normal angiogram.

Female CHD symptoms are also different from men’s who get chest pain when exercising. Women can get chest pain, but also fatigue, back ache and low mood. The chest pain can be atypical, typical being pain brought on by exercise.

Diagnosing CHD: The treadmill test looks for  ECG changes and symptoms brought on by exercise. An angiogram, when dye is put through heart arteries, looks for large artery blockage. The term ANOCA, ‘Angina with Non Obstructed Coronary Arteries’ is a relatively new term recognising that not all CHD involves large arteries.  

 Angiograms and treadmill tests are not accurate CHD diagnostic tests for women; negative results do not rule out CHD. Invasive coronary function tests do assess reversible vasospasm but are available in specialist centres only.

Prof Maas confessed that in her field there are still some, usually male, cardiologists who “do not believe” in female heart disease – like we are some kind of mythical creature.

Can we believe what we read and see on social media about menopause? Probably not. Findings of a study in 2024 was presented at the BMS conference, looking at accuracy of content of posts about menopause on social media platforms; whether they reflected evidence based guidance of bodies such as NICE, National Institute  of Clinical Excellence, the BMS and IMS: 67 per cent did not.

Always get your female health and menopause information from reputable sources. I recommend the BMS patient facing arm of their website; Women’s Health Concerns (womens-health-concern.org).

Testosterone: We all need it, right? Wrong.

Previous studies have shown that testosterone very gradually starts to decline in both men and women from age 18. There is no sharp drop for women during menopause. Yes, the ovaries produce testosterone, but a significant amount of testosterone is produced by adrenal glands and this is unaffected by menopause. Professor Susan Davis, Head of Monash University Women’s Health Research Program Melbourne, presented the fascinating findings of a study involving over 1400 randomly-selected 18- to 75-year-old women; 500 had testosterone levels analysed.

They found the same slight, gradual decline in testosterone levels from 18 to 62, with then a rise in levels. No significant difference in testosterone levels were found between women who were pre, peri or post- menopausal. The study also found no association between sexual function and testosterone levels. I was fascinated to learn that in placebo-controlled studies on testosterone to treat reduced libido, the placebo consistently produce a 33 per cent improvement in libido. Never knock a placebo.

Studies have looked for but found no evidence that testosterone helps with other menopause symptoms such as fatigue, mood, brain fog, general energy, strength or muscle mass.

The testosterone we prescribe is for men, is not licensed for women, and risks of overdose are real, which is why regular blood tests are needed. Even when levels are kept in the female range, we can see side effects of facial hair, hair thinning/male pattern baldness, voice changes and even clitoromegaly – enlargement of the clitoris – which might be irreversible. In addition we lack safety data on use of testosterone by women for longer than 12 months in terms of effects on cholesterol and cardiovascular risk.  

Bottom line, ladies; we are complex creatures. Our sexual function and desire is multifactorial. While it is tempting to think that a dab of testosterone gel every day will fix everything in the bedroom department, emerging data shows that perimenopause and menopause are not times of testosterone deficiency. Plus there are strong signals that our testosterone levels will rise over the age of 60; something to look forward to… or not? You decide.

So what/when exactly is perimenopause?

No two women are the same and neither are the symptoms experienced through menopause transition. Dare I use that term journey? Became, if it was a trip we paid for we’d all want our money back. 

Professor Susan Davis presented findings of the Australian Women’s Study (AWS) looking to see what menopause symptoms women experienced and when ie in early or late perimenopause, in menopause or in post menopause. A few definitions:

A woman is said to be in the menopause if it has been more than 12 months since her last period. 

Postmenopause is the time beyond 12 months after the last period.

A woman is pre-menopausal if she has a regular four-week cycle, no symptoms and no changes to her periods.

These three stages are easy to spot. 

Perimenopause is not so straight forward.

We lack evidence-based or indeed any guidelines on treatment of women in perimenopause.

The global gold standard for the past 15 years  defining a woman’s reproductive stages is the  STRAW-10 system. In brief, it says perimenopause starts once cycles vary in length by seven or more days; ie periods become either further apart or closer together by seven or more days. That may need to be rethought.

The AWS found that women experienced typical menopause symptoms like hot flushes when their periods were still occurring at the usual interval, but what they had was a change in flow; either lighter or heavier periods.

What we do know about perimenopause is that it is a time of hormone chaos, not oestrogen deficiency. This is because some months we ovulate, others we do not. A cycle without egg release results in high oestrogen levels giving heavier, longer periods, headaches,  bloating, fluid retention.

‘PMS on steroids’ is what one patient described what it felt like for her in her early 40s. Many women start to get migraines for the first time in their 40s. Anxiety is also a prominent symptom in perimenopause.  

This is where social media is definitely not your friend: It is often advocated that HRT needs to be started the minute a woman starts to experience any menopause symptoms. Stop and think about that: if your hormones are all over the place, does it seem like a good idea to throw a load of other hormones in on top? That is what taking HRT in the early perimenopause will do.

HRT is a product designed and safety tested for use by post-menopausal women to treat oestrogen deficiency. What we need to do in perimenopause is stop the hormone chaos and this is achieved by switching off ovulation; HRT products will not do that. Also we have no safety data on the use of HRT starting in women as young as 43 in terms of lifelong risks of breast cancer.  

What we do have is a range of very safe hormone therapies that will stop ovulation and therefore stop the chaos and get rid of the PMS. Once the hormone roller-coaster stops, anxiety symptms invariably settle. Many of these products now contain the same oestrogen you get in HRT.

New drug for hot flushes

Some  readers may have come across Veoza, brand name for Fezolinetant. It acts centrally in the brain to calm the thermoregulatory system and is very effective. A sister medication, Elinzanetant has been studied in women with breast cancer, who are unable to use HRT, and it is very effective and safe.

But, it is expensive and can affect the liver. While the HSE is considering whether it might be covered by medical card or DPS, drug prepayment scheme, it is not currently and costs €80 a month. Liver blood tests need to be done before starting, a few weeks after and again six months later. 

I have rheumatoid arthritis/Lupus so I cannot have HRT. Not true.

Dr Arvind Kaul, consultant rheumatologist, St George’s Hospital London gave an interesting presentation at the BMS conference, emphasising that transdermal HRT is safe to use in autoimmune disorders such as RA, Sjogrens, or Lupus. 

I’ve had a clot so I cannot have HRT. Not true.

While the link between oral HRT and clots is well-established – the risk is increased two to four times – we have compelling evidence from large studies that using HRT through the skin, transdermal HRT, does not increase the risk of clots. The presentation by haematologist and clotting specialist Professor Beverly Hunt highlighted an issue we have all come across as doctors and patients; a doctor or nurse telling you that you must stop HRT before a procedure or surgery; not true. Yes, if you are on oral HRT you should stop four weeks before any operation but a safe option is to switch to transdermal HRT.

If you have questions about any if the issues raised here, please discuss with your GP. 

While relocating her business to the busy town of Kinsale feels like a step in the right direction for Emily Connell and her popular interiors and lifestyle store, Chalk & Easel, it also marks a bittersweet chapter in this local success story writes Mary O’Brien.

For the past ten years – until this past summer – Chalk & Easel has been a landmark in the pretty little village of Ballinspittle, in a building that was not only a place of business for the shop owner, but is where she, her husband Matthew, son Elliott and shop dog Sam have called home. While the business has moved further away, with the near completion of their new build house just outside the village, the Connell family are looking forward to continuing this part of their story within the tight-knit community of Ballinspittle.

While some may believe that life does not get better by chance, but by change, this new beginning for Chalk & Easel has surely been written by both.

As so often happens in West Cork – after a year of uncertainty regarding the future of the business – fortunately the possibility of a suitable premises in Kinsale eventually arose through word of mouth. The protected heritage building at Market Place, for many years known as Patsy’s Corner, was being carefully renovated and would take some time – more time than anticipated – but in the end it was worth the more than two year wait.

The exterior has now been tastefully painted in a soft ochre yellow, chosen by Emily to complement the meticulously-preserved character of the building and the inviting storefront can’t help but encourage passersby to pause and discover the carefully curated contents within.

With Emily’s eye for beautiful yet functional items and her commitment to sustainability wherever possible – “Things that make life a bit better without making the planet worse,” she explains – this independent shop inspires beauty in the everyday.

While Chalk & Easel started out as interiors, over the years it has evolved into a lifestyle store. “Customers would ask me ‘Would you ever stock this or that?’ and so it happened,” explains Emily. Chalk & Easel now stocks reading glasses, clothing, perfumes and other lifestyle items alongside interiors. Each item is carefully researched and sourced with quality and durability prioritised over cheaper alternatives. “They’re mostly products I would buy for myself,” shares Emily.

While the shop floor is far from large, Emily has created an uncluttered and attractive display that is impactful rather than overwhelming. 

From dustpan and brush sets made using natural materials to toilet roll holders that double as a basket, window bird feeders from Born in Sweden to Ocean tide clocks made in France, stylish bags from Uashmama made from washable paper in Italy to the ever-popular La Bougie candles, diffusers and perfumes created locally in Kinsale and chic tableware by Côté Table in France, each item is presented with such care that it feels effortless. Yet the precision to the presentation suggests that it has all been executed with deliberate intention, reflecting Emily’s background in interior and structural design.

For the person in your life who appears to have everything, check out the Eva Solo designer bread dustpan-and-brush or go for something more fun like the KOOKOO AnimalHouse cuckoo clock, which allows you to choose between five different brightly-coloured animal figures. 

Chalk & Easel also stocks books that are a little bit different; the range of mindful titles from the London-based School of Life publishing company cover topics ranging from understanding emotions to dealing with conflict to managing stress and finding everyday pleasures.

The clothing in Chalk & Easel echoes the owner’s style – a collection of timeless pieces in natural materials (linens, cottons), to suit all shapes, sizes, and ages.

Scandinavian brand moshi moshi mind definitely deserves a mention for its non-seasonal multifunctional wardrobe, created for women with comfort, movement and softness in mind. Another beautiful ethical clothing brand stocked is Myrah Penaloza. Each piece is handmade by women in Bali who are all paid a fair wage.

The natural skincare range from Dublin Herbalists is also a personal favourite with Emily, who uses the products herself.

Some of the other Irish-made products include wooden chopping boards and jewellery, all by makers in West Cork.

Balancing a shop move with a house build has brought its fair share of challenges, but Emily’s passion for design has made both projects genuinely enjoyable. Five years on from purchasing the site, she and her family are finally close to moving in to their new home.

Like the shop, the house has been created with sustainability at its heart. It’s a Passivhaus requiring little to no active heating or cooling and, at 140 square metres, it’s modest by today’s standards, with a timber frame clad in cement board and corrugated metal. A KORE foundation system means the house weighs just a sixth of an average home, and it has been insulated using Ecocel, an eco-friendly product made from recycled newspapers by a Cork-based company. A veranda wraps around the house, designed to encourage inside-outside living.

Inside, Emily has planned the living space with minimal corners and open areas to allow ease of movement and relaxed gatherings. “I’ve positioned the dishwasher so it won’t get in the way when we’re cooking and lots of empty space, that kind of thing,” she explains.  The home will, of course, be furnished using many of the beautiful pieces Emily has sourced for the shop, including unusual lighting made from baskets woven in Ghana and a timeless favourite, linen cushions from Danish brand House Doctor

Her advice to anyone considering a self build? “Just do it, and trust the process.”

If you’re looking for inspiration for your own home, then do call in to this lovely independent store in Kinsale. It’s worth travelling for.

www.chalkandeasel.ie.

In this second instalment of her series on the nine principles of interior design, Mairead Collier explores two critical principles that govern how we perceive and move through a room: Focal Points and Rhythm.

When you understand the fundamental principles of interior design, you unlock the ability to transform any space from ordinary to extraordinary. Paired with practice, a bit of trial, and creative experimentation, this knowledge empowers you to curate a home that feels uniquely yours.

Every room needs a focal point.

A focal point is the star of the room, the striking feature or element that instantly grabs your attention and draws your eye inward upon entering. It can be a natural architectural feature like a breathtaking view through a floor-to-ceiling window or a classic stone fireplace. Alternatively, it can be a deliberate design choice, such as a large-scale piece of artwork, a bold upholstered headboard, or a dramatic accent wall.

The most common mistake in home interiors is a room with no clear anchor. Without one, furniture and decor end up competing with one another, every piece screaming for attention at once. The alternative is equally uninspired: a room where nothing stands out, leaving the space feeling flat, bland, and tedious.

Depending on its scale, a well-designed room can support more than one focal point. However, unless you are highly confident in your design abilities, it is best to start with a single, clear anchor to avoid visual overload.

 A successful focal point must capture immediate interest while remaining an integral part of the overall design scheme. It should invite you to look further without feeling disconnected from the rest of the room. If your room lacks a natural architectural feature, build one! Highlight a key piece of furniture, like a rich velvet sofa, or style an eye-catching media console or gallery wall.

If you struggle to identify what is working in your room, step back and take a few photos on your phone. Looking at a space through a lens strips away daily familiarity and reveals exactly where the eye lands first.Once your focal point is chosen, arrange your furniture to orient toward it. Frame it with clever lighting, such as picture lights, directional spotlights, or flanking sconces, to add impact and drama.

Once your focal point establishes where the eye should land; Rhythm dictates how the eye moves through the rest of the space. In interior design, rhythm is the art of creating patterns of repetition, progression, and contrast. It carries the viewer along a continuous, visual path that feels effortless and intuitive.

Without rhythm, a room feels like a collection of disconnected, individual objects. With it, every element feels intentionally linked, creating a subconscious sense of harmony and continuity that defines a professionally designed home.

At the heart of rhythm lies repetition, the deliberate, recurring use of a specific design element across a space. When an element is repeated, the human eye naturally connects the dots, creating a subtle visual track to follow.

You can establish repetition through various design layers:

 Repeating an accent hue, such as carrying a deep rust tone from a canvas painting to sofa cushions and a decorative vase across the room.

Echoing soft, organic curves through an arched mirror, a round coffee table, and spherical lighting fixtures.

Reappearing warm timber finishes across table legs, picture frames, and wall cladding, or repeating woven textures like rattan and linen.

While repetition is essential to establish rhythm, the key is balance. Overusing or over-repeating the exact same element is a common trap that leads to visual monotony.

If every single piece of furniture in a living room features the exact same oak finish, or if every cushion, curtain, and rug shares the identical pattern, the space loses its energy. Instead of feeling curated, it becomes flat, boring, and sterile, resembling a rigid, copy-and-paste furniture showroom rather than a lived-in home.

To create a dynamic rhythm that keeps a room engaging, repeat a material or colour, but vary its application, scale, or intensity. For example, pair a chunky bouclé armchair with a subtle woven linen cushion in a similar shade, or mix a dark walnut dining table with lighter oak framing details nearby.

Use contrasting elements to create ‘beats’ along your visual path. A sleek, smooth glass tabletop placed against a coarse, textured rug instantly breaks up monotony and adds an unexpected, modern edge. Lead the eye by altering an element’s scale, such as styling a collection of candlesticks or ceramic vases in graduating heights along a sideboard.By thoughtfully repeating elements while embracing subtle variation and contrast, you create a captivating rhythm that brings your home to life, guiding the eye seamlessly from one beautiful detail to the next.

Coming up in Part 3: We dive into contrast and harmony.

Mairead Collier creates refined, bespoke luxury homes for private clients across Ireland, London, and the USA, fully managed from concept to completion. For more visit maireadscollierinteriors.com

I need to start first with a key figure, who was not in fact a woman, but who was the chief catalyst behind the initial emergence of Joyce. Ezra Pound was immersed in literature, as an editor, poet, critic and champion of modernism. In Joyce, he saw the modernist hammer that could shatter the conservative wall that he believed was strangling the artistic world. Contemporary writers such as the great English poet T.S. Eliot, (author of ‘The Waste Land’) would later call Joyce’s ‘Ulysses’, “a book to which we are all indebted and from which none of us can escape”. Pound saw the potential in Joyce’s earlier works, but when Joyce sent him the first chapter of ‘Ulysses’, he recognised something different: a writer who had transformed what literature could be. Pound then set about finding a publication willing to publish Joyce’s work. It was not an easy task, given that Joyce’s earlier work had struggled to find a publisher and, at the time, had brought him neither money nor recognition beyond a small literary circle. Given the geographical obscurity of Joyce, in far off Trieste (then part of the Austro-Hungarian Empire), there was no reason that Joyce was simply going to be ‘discovered’. But it was five woman in particular who risked everything to make ‘Ulysses’ happen. 

Before ‘Ulysses’ became a success, Joyce had made little to no money in writing. ‘Dubliners’ and ‘A Portrait of the Artist as a Young Man’ had sold poorly, though they were highly regarded by many in the literary world because of Joyce’s gritty realism and pioneering writing style. 

Joyce had been broke ever since he left Dublin for Trieste in 1904 with Nora Barnacle to take a teaching job. He relied heavily on his brother Stanislaus, another unsung hero who kept his brother afloat and got little in return. Joyce felt Dublin was parochial, church-dominated and strangled by British moralism. He was already rebelling before he became a full-time writer, refusing to kneel and pray at his mother’s deathbed, writing stories that unveiled the unspoken ills of societies and telling Nora that he wanted to be her husband but he would never marry (which would have been an untenable position had he stayed in Dublin, for a whole host of reasons). What would allow Joyce to spend seven years writing ‘Ulysses’ and 17 years writing ‘Finnegan’s Wake’, was the patronage of an amazing woman – Harriet Shaw Weaver. Weaver inherited a large fortune when her father passed. A fan of modern and avant-garde literature, she knew the aforementioned Ezra Pound, who by then, was championing Joyce’s work, after W.B. Yeats introduced him to his writings. Weaver ran a literary magazine called The Egoist and decided to serialise Joyce’s first novel ‘Portrait of the Artist.’ Understanding the artistic value of that novel, she tried to get it published as a novel in the UK, but similar to the situation in America, printers and publishers were too fearful of imprisonment and fines to support the project. The only thing to do was publish it herself (ironically she got it published in serial form first in the US). She succeeded in 1917, but similar to Sylvia Beach, would face a greater uphill battle to publish ‘Ulysses’ in the UK.

Weaver never relented but it was her financial muscle that truly released Joyce from trying to make a living from writing. To allow him to concentrate fully on writing, she supported Joyce with vast sums of money so he could be pulled out of poverty and continue to concentrate on writing for the rest of his life, which she did until Joyce died in 1941. She also paid for his medical expenses; he had many operations for an eye condition that plagued him all his life, rendering him almost blind. Despite her fortune, Harriet Shaw Waever lived modestly. Joyce did not. He spent Weaver’s money on fine dining and expensive hotels, treating her like a bank. Yet without her, Joyce could never have committed himself to full time writing.

Margaret Anderson and Jane Heap were feminists and self-made women, champions of individualism, and editors of a literary magazine called ‘The Little Review’. Anderson gave voice to a new wave of individualism – ‘Why couldn’t women do anything they want to do? We are all in bondage to social conventions and only by rebellion we make break those bonds’. It was a line Anderson was to live by. Ezra Pound, understanding their refreshing and bold approach to writers, asked them to publish a serialised version of Ulysses. Once they read it, they were utterly committed to its publication, in spite of the censorship laws and potential fines and imprisonment for doing so. In fact ‘Ulysses’ appealed to many women (Ironically, it was often cited that one of the reasons the book should be banned was that it would corrupt women). Joyce’s book broke the mould on so many levels. Its liberation of sexual feelings and desires, as much for women, as for men, evoked a sense of emancipation that tapped into individualism and freedom that many women like Anderson and Heap sought. They were prosecuted and convicted in February 1921 for releasing Joyce’s writing, chapter by chapter in their magazine. They were ably defended by John Quinn, a New York lawyer, an advocate of modern art. He too played his part in this pantomime, helping to redefine the censorship laws, which would be used in Joyce’s censorship case, after his untimely and premature death.

France was one of the few countries that never banned Ulysses. Paris had become a haven for writers, artist, poets, painters and dreamers in the 1920s and this influenced the French government’s approach to modernism. An American woman called Sylvia Beach would become another essential chain in the link – perhaps the most vital. Beach had worked in the Red Cross during the Great War and wished to stay in France, to escape ‘The conservative, puritanical constraints of American society’. Like Anderson, she could see something in Ulysses that was attempting to break the chains of the old world through art. Sylvia Beach would eventually publish Ulysses in France, to the detriment of her own finances. More importantly, she was the head of a group of people (including Ernest Hemingway) who would attempt to smuggle copies of the book into the US for those who were looking to purchase the illusive and even then, mythical book. Faced with so many barriers and constraints, one could be forgiven for giving in, but it did not deter this most determined of women, nor did the real fear of imprisonment and financial ruin, restrain her. In that era, printers could equally face peril and imprisonment. Beach was involved in both processes and very exposed. She lived modestly, supposedly sleeping in her bookstore, and took very little in way of money from Joyce, ensuring he received his share of any profits. The reward for the woman who had supported Joyce financially, emotionally, and published him when no one else would, was to be cast aside. When dangled with the lure of being published by an established book company, Joyce transferred the relevant publishing rights to Random House in 1932.

One of the most important and influential figures from Joyce’s life was his wife Nora Barnacle. On the surface they were from different worlds, she a modestly-educated Galway woman and Joyce a university graduate (rare for those days) and city man. What bound them was a sense of breaking free from society’s controlling system. For Nora it was to get away from small town life, the narrow expectations for women of that time, and the restrictions of her uncle who was involved in raising her. Joyce too felt strangled, but on another level; by the conservative nature of parochial Dublin. But it was their passion and desires too that bound them together. His Molly Bloom character in his last chapter was strongly influenced by his wife Nora. One of the accusations against Joyce was his obscene, sexual language. By today’s standards we wouldn’t see it as outrageous (though it is unabashed). But in the shadow of Edwardian moralism, which still threw a shadow over literature and art, it was perceived as lewd or filth. Nora and Joyce did exchange very sexually charged letters, (Joyce’s were published after his death) which reveal their passionate and often graphic desires, something which Joyce replicates in the Molly Bloom final episode of ‘Ulysses’. More than being his muse, she was a pillar of strength. The Joyce family moved dozens of times, often enduring penury and hardship. Joyce was a notorious drunk and Nora had to raise their two children under these conditions. Many Joyce fans will know that Joyce suffered from  chronic eye condition, recurrent iritis, which became progressively worse and he was almost blind by the time of his death. He had to endure numerous operations and months of acute pain and fainting bouts, only to be nursed back to health by Nora. It’s a wonder how Joyce wrote at all given his poor eyesight and the dim lamps used in that period. By the time he was near finishing ‘Finnegans Wake’, he had to dictate his thoughts to trusted scribes, such as future Nobel Prize winner and friend, Samuel Beckett.

When we pay homage to ‘Ulysses’, we must pay homage in particular to publisher Sylvia Beach, patron and publisher Harriet Shaw Weaver, editors Margaret Anderson and Jane Heap, and partner, carer and creative influence Nora Barnacle. Did he appreciate what they did for him? Absolutely. Did he use them or take them for granted too? Certainly. Without these women, and the support of many others like Pound, Quinn and Stanislaus, the story of James Joyce and ‘Ulysses’ would surely have been very different.