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Rugged individualism is a term coined by the thirty-first US president Herbert Hoover (1874-1964). The term relates to the American frontier experience, where under harsh conditions with little infrastructure, individuals relied on their own skills and resources to survive, rather than seeking support from any governing body. Although Cal has migrated eastwards to the so-called old-world, the rural West of Ireland has traits in common with the American Western frontier. The lack of youth employment opportunities means that the young people must disperse, leaving properties derelict and the town of Ardnakelty sparsely populated in a manner that resembles the Western frontier. As a result, it is a place that authorities pay little attention to. For example, Kilcarrow police officer Garda O’Malley is blithely indifferent to Brendan’s disappearance, referring to Ardnakelty as being “out that way” and considering that it “doesn’t have much call for our services” (200). Both statements indicate that the police officer considers the place too small and trivial to be worthy of his notice. In turn, Ardnakelty locals such as Mart Lavin, scorn the idea of police intervention, preferring to take legal matters into their own hands.
Such a place would seem perfect for former cop Cal Hooper to forget about his past in the rigid institution of the US police force and try at self-reliance. He takes up the skills taught to him by his North Carolina grandfather, such as rabbit hunting and fishing and toughs it out on an uncomfortable floor mattress until he wages war on the elements of “dust and damp and mould” that have been caused by the humid climate (2). Arguably, his initial idea of being able to have such an existence in the West of Ireland stems from the stereotype that it is “a simple place where people have simple lives” (McManus). However, its small scale and seeming lack of official governance presents other challenges to Cal’s freedom. For example, he soon becomes aware that the place is so small, that he might unwittingly invade someone’s space or offend them, as he is conscious that “he could have sat on someone’s stool in the pub or cut across the wrong piece of land on one of his walks, and that could mean something” (6). As the novel progresses, there is the sense that this place, where people have known each other’s families for generations and harbor historic grudges, does not have the space for people to move freely. Cal finds himself in such a predicament when he is tempted to go out of town for his provisions, to avoid gossipy Noreen, only to realize that to do so would make him seem suspicious. He thus begins to feel hemmed in by the society which he previously judged as too foreign to care about what he did.
Cal learns that everyone who has tried to stake it out against Ardnakelty’s norms of accepted behavior has faced steep challenges. While Brendan’s desire to make his mark and pursue a different line of employment from college and farming was an obvious rebellion, Trey’s own independent act of enlisting Cal’s help to find Brendan after the rest of the town had determined to give up on him, is more underhand. When Cal continues to fulfill Trey’s demands of an investigation long after he has been warned to stop, he is on dangerous ground. There is never the sense that Cal can make a single move to find Brendan, whether interviewing Donie McGrath or seeking out Brendan’s body, without being watched. Stripped of his official authority as a lawmaker, Cal must tolerate these interventions in his investigation and learn that there is no progress in Ardnakelty without the community’s cooperation.
At the end of the novel, when Cal and Trey boldly seek to introduce a new social custom and maintain their intergenerational friendship, it is with the community’s cooperation. Cal directly tells Mart that “the kid is gonna keep coming round to my place. I don’t expect the townland to give either of us any shit about it” (385). While Cal’s diction has the quality of an order, he knows that Mart’s having “a word” with the locals is essential to his comfort (385). Thus, at the beginning of the novel, while Cal thought he could make changes to Ardnakelty in the manner of a self-reliant cowboy, by the end, he accepts that the town’s ways are far older than his idea and that he will have to work with them to affect the progress he desires.
As French’s novel develops, a clear divide between the older and younger generations of men emerges. While the older generation frequent Seán Óg’s pub and make their career from the land, the more globalized younger generation go out in town and intend to seek their fortunes away from Ardnakelty.
The novel takes stock of the recent social changes in Ireland, showing how the older generation have to some extent embraced modernity. For example, Mart Lavin, the ringleader of the older generation, voted for gay marriage in the 2015 referendum, in defiance of the priest and is technically-savvy enough to recommend that Cal downloads a positive mindset app. Still, Mart’s forward-looking aspect, along with his sense of humor, provide the perfect foil for his retrogressive ideas about masculinity. At his core, he believes that the changing world is “not made right for” young men anymore, as it does not enable them to easily get and provide for the tangible things that were accessible to his generation, such as “a crop, or a flock, or a house, or a family” (358). He is wary of how the globalized world appears to promise so much and yet delivers little, meaning that “the young men don’t know what to be doing with themselves at all” and end up resorting to reckless, self-destructive behavior (358). Finally, he is afraid that such a crisis in masculinity will lead to Ardnakelty changing beyond his recognition and becoming a “wasteland”, full of deserted farms that “some Yank” makes “into his hobby” (358). Thus, as much as Mart tolerates Cal and is entertained by him, he sees his presence in Ardnakelty as vulture-like and a symptom of the breakdown of the society he grew up in. This becomes exacerbated when Cal joins forces with destructive youth Trey to expose the truth about Brendan, the youthful troublemaker who irks Mart because he is intimidated by his academic prowess in chemistry, in addition to his illegal wealth-creation scheme involving outsiders. He sees the sacrifice of Brendan as necessary to maintaining the peace and status quo of Ardnakelty.
On the surface, Mart’s view of the young men is accurate, as they are plagued by restlessness. While Donie and Brendan have the notions to get involved with a Dublin drug crew, Eugene Moynihan is cocky and obsessed with his motorbikes. However, their attraction to travel and other intangible assets aligns with the time of their upbringing, while the fact that a bright young man like Brendan thinks that his only access to wealth is through the drug trade, is symptomatic of wider social problems.
The older men’s inability to accept this change and encourage the younger generation with their dreams, lies at the heart of the tension between the generations. This finds expression in the violent outburst between Brendan and the old guard, where Brendan is “a cheeky little fecker” to the old guard, insulting them in a way that they find offensive from someone of a younger generation, and they attempt to “put manners of him” through physical violence (354). Mart frames the fight with Brendan as one of disciplining a naughty youngster, and so tries to diminish the severity of the incident which ended in Brendan’s death.
Mart acknowledges that the women are “adaptable” and so do better with the changes of modernity (358). There is evidence of this in Caroline Horan’s self-assurance and her preparations for a career path that will take her far from Ardnakelty. While Caroline plans to work in tourism and escape the West of Ireland, she is grounded enough to know that she needs to study and take on a part-time job if she is to get there. The independence of women like Caroline and Lena, who do not rely on a man for their fulfilment and security is shown to provide self-confidence and dignity. Conversely, Sheila Brady, who married and birthed six children, in the style of an old rural families, ends up in poverty and socially isolated.
Overall, societal change is inevitable and the old guard in Ardnakelty is still coming to terms with the fact that the younger generation have no choice but to take a different approach to life. Arguably, Trey and Cal’s friendship works to counter this divide, as Trey learns from Cal’s experience and Cal gains a perspective on what it is like to be young and dispossessed in Ardnakelty. Their friendship sets the trend for greater intergenerational empathy, as even Mart can appreciate that Trey needs consistency and a good role model in her life.
Behind Cal’s insistence on making a self-reliant new existence in the West of Ireland, is the regret that his family unit separated and became estranged from him because of his obsession with being a policeman. His new life, far removed from Alyssa and Donna, is an attempt to distance himself from what happened, in addition to being a sort of penance. He hopes that away from the country and institution that caused everything to go wrong for him, he can become a better sort of man. Thus, the West of Ireland is less an Eden, than a form of purgatory, where he can contemplate his shortcomings as a husband and father.
Cal’s regret is conveyed by showing how his ex-wife Donna becomes the voice of doubt in his head, criticizing his every move, in addition to his capacity for reliving whole scenes of the past in his head. For example, as he remembers the joyful morning when he and Donna discovered that she was pregnant with Alyssa, “he sits on his back steps, watching green fields turn grey with evening and listening to Emmylou’s sad gentle voice drift out his door, and tries to work out how on earth he got from that day to this one” (91). This passage follows Cal’s introspective process as with the fall of evening, he tunes out the vividness of green fields and moves into the grey confusion of his life in Ireland, away from the wife and daughter he loves. The length of the sentence reflects Cal’s perceived lack of control over his loss in fortune, while the country music of Emmylou Harris conveys a mood of rumination.
Although he is not consciously aware of it, Cal’s feeling of hurt when Donna answers the telephone with an “absolutely, totally neutral” (89) voice that shatters his wish for intimacy, some part of his mind believes that if he learns his lesson in Ireland, he will be able to go back in time and reclaim his old life. This barely subconscious wish makes him slow to make a move on Lena and terrified of promising too much to her in case he cannot deliver and disappoints her as much as he did his wife and daughter.
Cal’s regret around his lack of closeness with Alyssa, is what creates the vacuum that allows him to admit Trey into his life. At the beginning, he assumes that Trey is a boy, and therefore the opposite gender to Alyssa. This, in addition to Trey’s lack of talkativeness and animal-like elusiveness, creates some distance between this mentoring experience and his relationship with Alyssa. Cal finds that he is grateful for Trey’s company while he is fixing his house and that he enjoys being useful to him in the quest to find Brendan. However, when it emerges that Trey is female and needs Cal to nurture her rather than fight for her, Cal finds himself in a similar situation to the one that was the catalyst for his marriage breaking up. Whereas with Alyssa, Cal conformed to patriarchal expectations of masculinity by hunting down the guy who mugged her, with Trey, Cal learns to embody the more maternal values of consistency and nurture. Learning to embrace the feminine side that patriarchal society forces him to deny enables Cal to evolve from the person who failed his daughter and wife. While Cal may not be able to go back in time and fix the past, he has the tools to create a better future.
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By Tana French