You can now view the Galway launch of NORA at the wonderful Cúirt Festival on YouTube. Writer Elaine Feeney interviewed me and we had a grand chat about Nora and James Joyce’s relationship, the novel, and more.
I was interviewed for World Radio Paris by Patricia Killeen. You can listen here.
I have an essay about writing NORA in Books Ireland magazine. You can read it here.
My radio essay about Nora Barnacle, James Joyce, and geese, on today’s Sunday Miscellany on RTÉ Radio 1, is now on the RTÉ website. My bit starts around 11:11 – listen at this link.
Hilary A White interviewed me for the Irish Independent. We talked about NORA, naturally, James Joyce, alcohol and more, and and you can read it here.
I had a lovely day filming in Galway, for Nationwide with Anne Cassin and Camerman Matt Kelly of RTÉ. We went to Rahoon, Bowling Green, Presentation Road, and ended up at Kennys Book shop in Liosbán. Great fun, despite the wind and ‘muttering rain’. Broadcast date TBC. Thanks to Dean Kelly and Finbar McLoughlin for photos.
NORA publishes here in Ireland on the 10th April with New Island Books and I have some events/readings coming up to celebrate the book. We have two launch events planned, one each for Dublin and Galway. More below:
26th March, 8pm GMT: American writer Jillian Cantor and I will be discussing bio-fiction, to celebrate the publication of her novel Half Life about Marie Curie. In association with Poisoned Pen Bookstore, Arizona. More here.
9th April, 7pm: Launch online in Dublin on 9th April in association with MOLI. Interview with Katherine McSharyy of the National Library of Ireland. Register here.
11th April – essay about Nora Barnacle on Sunday Miscellany. 9am to 10am on RTÉ Radio 1.
14th April: UCC Creative Writing Programme online event – 6pm. Free event! Register here.
23rd April: Launch online in Galway on 23rd April in association with the Cúirt Festival. I’m interviewed by Elaine Feeney. Time 5.30pm. Free or optional ticket purchase. Book here.
My first New York Times review today and it’s for my beloved NORA. Big thanks to Alida Becker. I’ve pasted the entire thing in below; a swift flavour though: ‘…Nora is entirely convincing in her raw sensuality, her stubborn determination, her powerful sense of grievance.’ Very pleased 🙂
NEW YORK TIMES – 16th March 2021
Three Historical Novels Explore the Strength of Human Connection – Alida Becker
“Messy” doesn’t begin to describe the domestic life of the narrator of Nuala O’Connor’s NORA (Harper Perennial, 458 pp., paper, $16.99), the minimally educated, relentlessly blue-collar woman who propped up one of literature’s most challenging highbrow writers, James Joyce. There are times when you wonder whether the real Nora Barnacle would have been quite so articulate (“he’s also a bother to my heart and a conundrum to my mind”), but this fictional Nora is entirely convincing in her raw sensuality, her stubborn determination, her powerful sense of grievance and her inability to stop loving a deeply erratic, wildly manipulative yet enormously talented man.
You won’t find much about Joyce’s works in Nora’s account of his torturous climb from poverty-stricken anonymity to professional acclaim. (“Portrait of the Artist” comes off as “strings of baby babble” to someone who prefers “penny dreadfuls and romances.”) You will, however, be given an intimate look at the struggle that made Joyce’s work possible as Nora describes how she followed along when he fled Ireland for dead-end jobs in Switzerland and Italy, watched him waste his paychecks on carousing while she took in washing for grocery money, and let herself become far too reliant on his long-suffering brother after the Joyce entourage grew to include a son and a daughter.
Set against all this, Nora’s small triumphs loom large. In Paris in 1925, two decades after she first “walked out” with Joyce, the now-middle-aged Nora proudly announces that “at last I have a home to call my own and furniture besides.” Her money worries may be gone, but now there are worries about her children, particularly Lucia, with that “skittery-skattery look” in her eyes, who will eventually be diagnosed as schizophrenic and confined to a mental hospital. Even Nora’s uterine cancer (“the doctor now says the whole lot has to come out”) and Joyce’s glaucoma (“the eyes are murder; 10 operations later and it’s worse they get”) can’t distract her from a terrible sense of guilt: “How can I tell him that between us we may have made our daughter mad?”
Alida Becker is a former editor at the Book Review.