In Memoriam David Marcus 1924-2009
Saturday, 9 May 2009 21:26
''In the blink of an eye we went from broken windows to death camps.''
i. In the blink of an eye
glass in the air
to let things settle
we closed our eyes
there were chimneys
in the dust
& railroad tracks
we swept the street
ordered glass & worried
about the future
as we do now
ii. Jewish graveyard, wintry light
down in the valley
they are lighting fires
the smoke follows
the lie of the land
everything is slightly uncertain
in a certain light
who listens to eulogies
though they may be well done
& occasionally necessary
we are asked to remember the dead
by every stone in the road
iii. You curse your memory
we all have bad memories
at least a century of them
bad days bad dreams
the heart as stone
bits & pieces
too carefully assembled
hope is the hardest thing
days at the piano
Mozart escaping as usual
read at a sitting
(fulfilling the fourth unity
according to Poe)
so perfect you wept
you forget who now
his first his very first
writing because there’s nothing
left to do
something about the Shoah
your cursed memory
On April 23rd next, Cork City will honour David Marcus with a civic reception in association with the City Library World Book Fest. Last weekend the membership of P.E.N., writers from all over Ireland, paid tribute him with a special award for his contribution to Irish literature. Among writers he is a figure of enormous standing and influence, an object of respect and affection, yet most readers will never have heard of him. Who is David Marcus?
His name first appeared as an editor in 1946 in a periodical called Irish Writing. As a complete unknown he had already tried and failed to persuade the great writer and editor Sean O’Faoláin, then retired from The Bell, to co-edit the new publication with him! He began by writing to a select group of the most important Irish writers of the time, and, oddly, all but one agreed to submit, perhaps because they didn’t actually know that he had no experience whatsoever. He still likes to quote the postcard that ended his discussion with the one who got away: It read simply: “No. G Bernard Shaw”.
The first issues of Irish Writing gave notice of young Marcus’ future. The contents pages listed Frank O’Connor, Sean O’Faolain, James Stephens, Somerville & Ross, Mary Lavin, Liam O’Flaherty, Sean O’Casey, Myles na gCopaleen and Patrick Kavanagh. It was Edith Somerville’s last contribution to a periodical, and, of course, her partner Martin Ross played her part from the spirit world!
The title, Irish Writing, was in itself a claim and a statement of intent that Marcus would make good in a long and influential editing career. Subsequently there would be other publishing ventures: Poetry Ireland, for example, and then New Irish Writing in The Irish Press, and many anthologies with the great names of Irish and English publishing: Poolbeg, Bodley Head, Quartet, Dolmen, Sceptre, Paul Elek, Phoenix, and Faber. And along the way he graduated in law and was called to the Irish bar. He spent thirteen years in London, imprisoned, as his friend Con Houlihan suggested, in the insurance business. He co-founded The Poolbeg Press. But even the first issue of Irish Writing could stand on its own as a tribute to his taste, his instinct for the Zeitgeist – remarkable in a young man from the provincial city of Cork – his guts, his determination and, ultimately, his brass neck.
A list of people whose early work he published would contain most of the great names of Irish prose and poetry, but Marcus has never given service to what Italo Calvino called the fetishism of the publishing industry: rather, he looked for what was well-made in any form, what was well expressed and powerfully human and moving.
An aspect of his career that is seldom noticed is the number of women that he published. At a time when, to use Hélène Cixous’ term, Irish publishing was phallogocentric, David was prepared to publish anything that reached his exacting standard without reference to the gender of the writer. In her thesis, ‘Mapping the Irish Female Canon’, the American academic Eileen Murphy Blasius, argued that David’s New Irish Writing Page had (pardon the pun) a seminal importance in the development of women’s writing in Ireland. And, indeed, Shirley Kelly, writing in Books Ireland in 2001, carried the gender angle to its ultimate conclusion when she entitled an interview with David: “Midwife To a Generation of Writers”.
He has always been a meticulously careful editor. In his introduction to The New Hebrew Bible, George Steiner mentions the myth that a single erroneous consonant in the transcription of the Torah, opened the rift in the universe through which all suffering and injustice has made its way into the world. It is absolutely certain that if David Marcus had been the scribe that consonant would never have gotten away.
Not only an editor, Marcus has chronicled the Jewish experience in Ireland in three fine novels – To Next Year in Jerusalem, A Land Not Theirs, A Land In Flames; a collection of stories – Who Ever Heard of An Irish Jew?; and two bestselling volumes of memoir – Oughtobiography – Leaves from the Diary of a Hyphenated Jew and Buried Memories. He is also a poet, translator and playwright.
Marcus was born in Cork in 1924, and would always regard himself as a Corkman. He lived on the Mardyke opposite the Cricket Club. He attended Presentation College where O Faoláin, later to become a close friend, had also been a pupil. He was a handy cricketer and soccer player and a national table-tennis champion. He began to learn the piano at the age of sixteen and for decades played his beloved Mozart every day.
He was the grandson of Lithuanian emigrants, who came to Ireland fleeing conscription and pogrom. Louis Marcus the filmmaker is his brother. His uncle was the distinguished attorney and patron of the arts Gerald Goldberg. What riches this country would have lost if, instead of showing them benign indifference or even the welcome that Cormac O Gráda suggests in his book Jewish Ireland In The Age of Joyce, the powers in the land had taken the Marcus family into what we call “the asylum process”, relocated them under the sinisterly-named “dispersal scheme” and finally repatriated them to a burned out Shtetl in what we would designate their “home country”?
The character Jonathan in To Next Year In Jerusalem says, at one point: “I feel as though my soul is perpetually in Exile. I feel as if I have no roots, no home, nothing to rely on.” Gerald Goldberg speculated in The Cork Review in 1993 that Jonathan was, in some respects, David Marcus himself. And the Biblical Jonathan was the son of Saul and friend of David. And both David and Jonathan smote the camp of the Philistines – something you don’t see enough of anymore. But Marcus the editor, Marcus the writer, friend of O Faoláin, friend and speechwriter to his old college classmate Jack Lynch – not only is it impossible to think of Irish literature without David Marcus, but it might well be said that as publisher, editor and writer he has helped shape how Ireland thinks of itself.
A scrupulously polite and naturally reserved man, one of the happiest things in his life was the arrival in his post box at the Irish Press of a story by a new young writer. As he tells it, he saw some merit in the story, but wanted to make a few suggestions. The writer agreed to meet him, and very soon they were seeing each other on a regular basis and going places together and getting on well, and one day the young writer said that they should get married and he thought it a reasonable suggestion. That young writer was Ita Daly, who would go on to publish nine books, and, incidentally, marry her editor and bring their beautiful daughter Sarah into the world.
For writers, one of the most valuable aspects of his character was his willingness to say exactly what he means about their work. I first encountered David when I was about fifteen years of age. At that time I was writing stories and poems, and, like every other would-be writer of the time, I was a reader of New Irish Writing. I sent him some poems and a covering letter in which I must have asked him if he could judge from the contents whether I was a poet or not, one of those pleas for affirmation to which lonely young poets are prone. The reply came back shortly afterwards. “I can’t tell whether you’re a poet or not, but you are certainly a romantic introspective fifteen year old.”
Matthew Sweeney tells how his first note from David read: “I have no time to waste on someone who has absolutely no talent whatsoever.” I don’t know whether it was David who relented or Matthew who mended his ways, but David went on to publish many of Matthew’s poems and Matthew, most recently, was nominated for the TS Eliot prize for his wonderful Black Moon. Claire Keegan tells how, having won fourth prize, in the Francis McManus Short Story Competition, David Marcus came looking for her with his usual question: “Have you got any more?” Claire had more.
David’s health has not been the best recently, and he speaks quite frankly about it in Pat Collins’ fine documentary which premiered at last year’s Cork Film Festival, and which will be seen again in April in conjunction with the World Book Fest. He speaks too of his lifelong atheism, his conviction that there couldn’t be a God who would allow the world to be as it is, a position not unlike Theodor Adorno’s remark that after Auschwitz there can be no more poetry.
David was 14 when, in 1938, he read about Kristallnacht in The Cork Examiner . “We knew what was happening,” he said, meaning the Jews of Ireland. He knew his Irish history and he knew that historically Ireland had been seen as a backdoor to invading England. The Jews of Ireland, he tells us, were “quietly terrified”. But David Marcus turned that uncertain status into something that is the best defence against all kinds of fascism: a creative spirit. He tells us so in a poem written at the time, called ‘Night In A Neutral Country’:
Night falls at last
In stuttered silences,
Shadows are folded upon sleeping grass,
To catch this solemn, tender Is
And pin it to the memory that was.
The walls now
Taking probable climate change into account, the height of the new wall.