June 12, 2017 § Leave a comment
At long last, my book, Griffintown: Identity & Memory in an Irish Diaspora Neighbourhood, is out from UBC Press. It is available in hardcover at present, though the paperback is coming in the fall.
I am particularly pleased with the cover and design of the book. The artwork on the cover come from my good friend and co-conspirator in Griff, G. Scott MacLeod. He and I have worked on The Death and Life of Griffintown: 21 Stories over the past few years.
Griffintown has long fascinated me not so much for the history of the neighbourhood, but the conscious effort by a group of former residents to reclaim it, starting in the late 1990s. I identified three men who were central to this process, all of whom have left this mortal coil in recent years: The Rev. Fr. Tom McEntee, Don Pidgeon, and Denis Delaney. These men worked very hard to make the rest of Montreal remember what was then an abandoned, decrepit, sad-sack inner-city neighbourhood. That Griff is known historically for its Irishness is a tribute to these men and many other former residents, most notably Sharon Doyle Driedger and David O’Neill, who worked tirelessly over the late 1990s and 2000s to reclaim their former home. The re-Irishification of Griffintown is the central story in my book. But I also look at the construction of Irish identity there over the 20th century, and the ways in which the Irish there performed every-day memory work to claim and re-claim their Irishness as they confronted their exclusion from Anglo-Montreal due to their poverty and Catholicism.
The Irish of Griffintown were fighters, they were insistent on claiming Home, even as that home disintegrated around them, due to deindustrialization and the infrastructural onslaught wrought by the Ville de Montréal, the Canadian National Railway, and the Corporation for Expo ’67. But, at the same time, they also left, seeking more commodious accommodations in newer neighbourhoods in the sud-ouest of the city, and NDG.
That these former residents could reclaim this abandoned, forgotten neighbourhood as their own speaks to the power of these people. These people were working- and middle- class men and women, ordinary folk from all walks of life, who were determined their Home not be forgotten. They re-cast Griff in their memories without the help of the state, without the help, to a large degree, of institutional Montreal.
I cannot over-state the impressive feat of these ex-Griffintowners. It has been a lot of fun to both study this process and work with and talk with many of those involved in this symbolic re-creation of Griff, drawing on an imagined history of Ireland and their own Irishness in the diaspora. And I am mostly relieved that the book is, finally, out.
March 30, 2017 § Leave a comment
As regular readers will know, I have been working on the history and memory of Griffintown, Montreal for many years now. My book, Griffintown: Identity and Memory in an Irish Diaspora Neighbourhood, is out in May (the paperback will be out in the fall). And, of course, I have been working for a few years now with Montreal film-maker, artist, animator, and purveyor of all things creative, G. Scott MacLeod. Our project, 21 Short Films About Griffintown, is now up on the web for all to see.
This project is based on a walking tour of Griff Scott developed, and can be followed on your smart phone. We have 21 very short films of 21 sites around Griff, about their history and significance.
I like these clips, partly because Scott has done some great work contextualizing my stories of these sites with archival footage, his animations, and music, because all of this also minimizes my screen time. But also because it was a fun day that we spent wandering around Griff filming these. It was a hot August day in 2012, a day or two before I left Montreal for good. I had my dog, Boo, with me. He was all stressed out because of the move and had scratched his face raw. So he was with me because I had to keep him from scratching the infection. He trundled along with us in the 30C heat, usually with my foot on his leash as we filmed. Boo was a massive dog, around 150lbs, a Mastiff/Shepherd cross. He was a big, gentle giant. Boo died last year, so I see this project as a bit of a memorial to him, even if he doesn’t appear on screen.
February 14, 2017 § 4 Comments
A couple of weeks ago, I was asked how future historians will be able to tell our history? We live in what is allegedly a post-fact era. First things first, whatever you want to call it, post-fact, post-truth, alternative facts, these are all just lies. I have already commented on this. Nonetheless, whether this is just a re-labelling of lying, we are still in this cultural moment. Every day the Trump administration deals in what White House Counsel KellyAnne Conway calls ‘alternative facts.’ What is the truth now, my interlocutor wanted to know?
I have been asked this question in a variety of ways in the past year and it is a real challenge we face. But we don’t face in terms of future historians, academics and journalists are already facing the problem. Michael A. Innes, a good friend of mine, has been thinking about this of late too. He notes that
Media outlets come in all shapes and sizes. Some are loud and boisterous, while others are more stoic. “Newspapers of record” are a recognized form of the latter. Some try to report what happened, while others try to convince readers why and how they happened. Media output, in other words, can serve more than one purpose, and only one of them is to provide researchers and analysts with a source of evidence needed to determine the factual basis of past events: what happened, when it happened, who was involved, what they said about what happened and so on. Reconstructing past events is a tricky business, and some media environments are so highly politicized – the rhetoric so overheated and contentious – that verifiable facts are almost impossible to discern from the collection of color and misdirection in which they’re embedded.
Indeed. The reconstruction of the past is indeed a tricky bit and I will go further than Innes and argue that it is an inherently political act. This is true whether it’s on the minor scale, such as I did in reconstructing a version of the history of Griffintown, Montreal (and yes, I am enjoying linking my own book). But it’s also what societies and cultures do anyway.
When we reconstruct the past, we do so from a variety of sources, including printed records, including government documents, diaries, published work, literature. We also use film, TV shows, documentaries, and music. We use oral sources, both those already collected and ones we collect. And we also make use of the digital: Twitter, Facebook, Reddit, blogs, etc. We have to make decisions in what gets included in our reconstructed histories.
Historians, we tend to go further than journalists. Innes notes that some media outlets report on what happened, whilst others focus on why and how they happened. And quite often the latter try to convince you of the version of events they are pushing. This is the difference between, say, The New York Times and Breitbart, or the CBC and FoxNews. The Times and the CBC deal in facts in reporting the news, and editorials are clearly labelled. In the case of Breitbart and FoxNews, there is a blurring of ‘news’ and editorials.
When I teach, I always remind my students that we are more interested in the how and the why of history, we need to move beyond facts and into interpretation. How do we do that? Logic and reasoning. We use other scholars as guides. We read what other historians have written on the subject, or an analogous subject. We consider their interpretations based on the evidence. We agree or disagree. Or we agree and see another possibility. And so on.
Back in Grade 2 or thereabouts, my teacher introduced us to the who, what, when, where, why and how? The key questions for all situations. So in writing history, we begin with the who, what, when, and where. We establish the facts. And we establish these from our sources. Even in this post-fact era, there are still facts. They still get reported, they’re still plain to find in doing research. And from there, we ascertain the why and the how.
So how do we source that in the post-truth world? Innes notes the guerrilla archiving of data, creating an archive of truth and records of the real world to counter the post-factual. But there are other, more simpler ways we do this through the ‘reading’ of our sources, whether they are government documents, newspapers, novels, films, music, Twitter, and so on. When we read these sources, we do so within a cultural context, of course. And we do tend to have strong bullshit detectors.
My MA thesis tells the story of the Corrigan Affair, which erupted in Sainte-Sylvestre, Quebec, in late 1855 when neighbourhood bully, an apostate, Robert Corrigan, was beaten to death by a gang of his Irish-Catholic neighbours at the county fair. When his murderers evaded capture for the next six months, all hell broke loose in a highly sectarian Canada. Anglo-Protestant politicians and newspapers were beside themselves over the fact that these Irish-Catholic ‘hooligans’ managed to evade the state’s attempts to bring them to justice. They did so through the help of their neighbours and an intimate knowledge of geography of the Appalachian foothills of southern Quebec.
The local Anglican priest in Saint-Sylvestre, Rev. William King, was ground zero for the ‘alternative facts’ of the Corrigan Affair. In daily dispatches to government ministers and the Quebec City press, Rev. King constructed an alternate reality where the Irish-Catholics of Sainte-Sylvestre were parading around openly armed and threatening Anglo-Protestant, beating them nearly to death for fun. He told of marauding gangs of Irish-Catholics breaking into homes in the middle of the night and tearing homes to pieces and beating the men and boys of the house. Rev. King’s invented reality was accepted verbatim by government ministers and the Quebec City press.
So how did I find out what happened in Saint-Sylvestre in the fall and winter of 1855-56? I reconstructed events through a mixture of sources, both government and official and vernacular. I relied on petitions from the Irish-Catholics of Saint-Sylvestre, who claimed to be brutalized by the Orange Order. I relied on the French Canadian press of Quebec, which watched both sides with bemusement. I read the depositions of the French Canadians of Saint-Sylvestre, who were similarly bemused by their neighbours’ actions. and from these varying sources, I reconstructed the events of the Corrigan Affair. I learned to tell fact from fiction, or at least something that looked more likely to have occurred than not.
And this is what historians will do when they tell the story of our time. They will look at the lies that are produced at the White House and then compare that to what other sources say about what is going on, including the media, but also our Twitter feeds, our Facebook posts, our Reddit commentary. Maybe even blogs like mine.
We will continue to examine history as we always have, sifting through varying and contradictory versions of events to reconstruct what actually did happen. And, of course, being a public historian first and foremost, I will be fascinated by the myth-making at the White House, and the puncturing of that myth by the rest of society, about the hows and whys we choose to remember this time.
January 24, 2017 § 4 Comments
In anticipation of my book, Griffintown: History & Memory in an Irish Diaspora Neighbourhood being published by University of British Columbia Press in May, I wrote an article for the Wilson Institute for Canadian History at McMaster University’s new blog, Au delà des frontières: La nouvelle histoire du Canada/At the Frontier: New Canadian History. You can read ‘Staging an Imagined Ireland’ here.
October 31, 2016 § 2 Comments
I just recently received the cover art for my forthcoming book, Griffintown: Identity & Memory in an Irish Diaspora Neighbourhood. It will be published in May 2017 by the University of British Columbia Press. To say I’m stoked is a minor understatement. The art work is by my good friend and co-conspirator on many things Griff, G. Scott MacLeod.