by Mindy Clegg

I had plans this month for a discussion of the phenomenon of easter eggs in film and TV. Instead, the sudden death of singer/songwriter Sinead O’Connor demands our attention, although I doubt I’ll have much of an argument about her career, other than it matters, much as Allyson McCabe argued in her new book.1 Much like McCabe, I want to remind us of how and why the life and career of this extraordinary women matters, and to dwell a bit on what she can tell us about the past and present. This will mostly a bit of disconnected ramblings, so I hope you bear with me to honor this incredible woman, who refused to be cowed and always told her truth, whatever it cost her. So, let’s discuss a bit about her feminism and women in music, what she told us about the history of Ireland and the Catholic Church, and what her very public struggles with mental health tell us about our evolving understanding of mental illness.
As a historian of punk and postpunk musics, I harbor a healthy skepticism of artists who hit the big time—or rather I find myself critical about how the recording industry shapes artists to make them more palatable to the widest possible audience. It rarely is about pure talent but about marketability. In the face of this, O’Connor stood firm on her own artistic ground, even as there were attempts to market her in particular ways. The industry demands women shape their image to primarily appeal to men’s tastes, so she rebelled, shaving her head and wearing baggy clothing. This has been changing in recent years, as more women dominate the charts, more often on their own terms–that seems in part thanks to O’Connor. Despite all this pressure, she flatly refused to play the adorable manic pixie girl role that some in the industry hoped to slot her into. She insisted on her voice being heard and her experiences being honored above the misogynistic din of the recording industry. Read more »

Lucky you, reading this on a screen, in a warm and well-lit room, somewhere in the unparalleled comfort of the twenty-first century. But imagine instead that it’s 800 C.E., and you’re a monk at one of the great pre-modern monasteries — Clonard Abbey in Ireland, perhaps. There’s a silver lining: unlike most people, you can read. On the other hand, you’re looking at another long day in a bitterly cold scriptorium. Your cassock is a city of fleas. You’re reading this on parchment, which stinks because it’s a piece of crudely scraped animal skin, by the light of a candle, which stinks because it’s a fountain of burnt animal fat particles. And your morning mug of joe won’t appear at your elbow for a thousand years.
Harry Frankfurt died on July 16, 2023. As a philosophy student I came to appreciate him for his work on freedom and responsibility, but as a high school word nerd, I came to know him the way other shoppers did: as the author of one of those small books near the bookstore checkout line. That book, On Bullshit, had exactly the right title for impulse-buying, which has to explain how Frankfurt became a bestselling author in a field not known for bestsellers.
I had my first experience with Daylight Saving Time when I was 9 or 10 years old and living in Phoenix. Most of the country was on DST, but Arizona wasn’t. I knew DST as a mysterious thing that people in other places did with their clocks that made the times for television shows in Phoenix suddenly jump by one hour twice a year. In a way, that wasn’t a bad introduction to the concept. During DST, your body continues to follow its own time, as we in Phoenix followed ours. Your body follows solar time, and it can’t easily follow the clock when it suddenly jumps forward.

Unspeakable horrors transpired during the genocide of 1994. Family members shot family members, neighbours hacked neighbours down with machetes, women were raped, then killed, and their children forced to watch before being slaughtered in turn. An estimated 800,000 people were murdered in a country of (then) eight million. Barely thirty years have passed since the Rwandan genocide. Everywhere, there are monuments to the dead, but as an outsider I see no trace of its shadow among the living.



Barbara Chase-Riboud. Untitled (Le Lit), 1966.



One of the easy metaphors, easy because it just feels true, is that life is like a river in its flowing from then to whenever. We are both a leaf floating on it, and the river itself. Boat maybe. Raft more likely. But those who know such things say there is a river beneath the river, the hyporheic flow. “This is the water that moves under the stream, in cobble beds and old sandbars. It edges up the toe slope to the forest, a wide unseen river that flows beneath the eddies and the splash. A deep invisible river, known to its roots and rocks, the water and the land intimate beyond our knowing. It is the hyporheic flow I’m listening for.” The person speaking is Robin