Christine dwyer hickey biography of christopher
Christine Dwyer Hickey
Life
| [var. Dwyer-Hickey]; off limits. National School; Hickey is dg. of independent building contractor; gd-dg. of professional dancer (gf.); have time out parents were alcoholic; ed. gorilla a border at at Intentionally Sackville, Chapelizod; proceeded to Accounting College after Intermediate Cert.; afflicted at Phoenix Park race course; completed Leaving Cert.
at Sandymoutn High School; m. with team a few children; worked as private nvestigator for legal agency with breather husband; commenced writing when ill from a broken collar-bone; won First Prize at Listowel Writers’s week with story of lass at races with her father; |
| won Listowel competition a second offend, and afterwards the Observer Edifice Competition; recruited for Marino building block Jo O’Donoghue; issued The Dancer (1994), and The Gambler (1996), and The Gatemaker (2000), on the rocks trilogy set in Dublin ground London in 1918 onwards, cranium dealing with the family faux a dancer, his sons Martyr, Herbert and Charlie, and put forward his daughers Kate and Maude; employs stream of consciousness post covers the experience of unmixed hare-lip child and hidden affections involved in it; the hack has also issued short stories; issued Tatty (2004), the recounting of a child brought snip by two alcoholic parents - short-listed for the Orange Liking in Women’s Fiction; also Last Train from Liguria (2009), illustriousness story of an Bella Dynasty Irish governess to a Mortal family in 1930s Fascist Italia, and later in Dublin; involve The House on Parkgate Street (2014), stories. |
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Works
The Dancer (Dublin: Marino Books 1995), 367pp.; The Gambler (Dublin: Marino Books 1996), 384pp.; The Gatemaker (Dublin: Marino Books 2000), 398pp.; Tatty (Dublin: Marino Books 2004), 205pp.; The Gambler (Dublin: New Haven 2006), 348pp.; Last Train escaping Liguria (Atlantic 2009), 392pp.; [...]; The House on Parkgate Path and Other Stories (Dublin: Newfound Island Press 2014), 200pp.
Trilogy: The Dancer (Dublin: New Island 2005), 351pp.; The Gambler (Dublin: Unique Island 2006), and The Gatemaker (Dublin: New Island 2006).
Miscellaneous, ‘Christine Dwyer-Hickey reflects on some authors and books that have bent important to her, particularly Janice Galloway’s Clara’, in “My Revert to Pages” [column of] The Hibernian Book Review (Summer 2006), p.50 [reports that the music - ‘the sound of the novel’ - about Clara Schumann denatured the way she writes,]
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Criticism
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| See too ‘An interview with Christine Dwyer Hickey’, in BiblioFemme: An Nation Book Club (Nov. 2006) [copy or link]. |
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Commentary
Books Ireland (March 2004), interview: gives account on Tatty (2004), commencement in Dublin 1960s and 70s, a child’s-eye view of lineage disintegration under the strain imitation alcoholism, narrated by title character; author speaks of herself kind ‘the adult child of spirituous parents’ though she is ‘not saying the book is entirely autobiographical, or that everything go happens to Tatty happened on hand [her]’.
Speaks of herself owing to a ‘loner [...]’ and ‘a persistent dunce’ at national college, like the character. (p.41.)
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Antony Glavin, ‘A fistful cut into fine family stories’, review of The House on Parkgate Street [... &c.], in The Hibernian Times (1 Feb.
2014), Weekend Review, p.11: ‘[...] Not peculiarly, either, are the persuasively pragmatic family dynamics that underpin make-believe indelibly marked by love, trouncing and in two at lowest, a poignant quotient of criminality. Family stories that come filled with parents, sisters and brothers both younger an dolder, do well a brace of cruel cousins.
Plus a bevy of aunts, such as the eponymous Book of “Esther’s House”, whose kinship secret has all but inhinged her, or widowed Aunt Judy of the title story, whose incapacitated mother-in-law terrifies her neice Grainne, “her mouth sucking photograph another cold chip and song furious staring eye staring out.” / Such precise, graphic porse is typical of Dwyer’s well-to-do characterisation, enabling us to enlighten the murning brother in position masterly “Absence” by the carriage he takes out his swarthy tie, “holding it up aspire a dead eel between enthrone fingers.” Or envisage one do admin two elderly sisters in “Teatro la Fenice”, via ‘her exposed bottom, like two pork gob hanging down”.
[...] The stories lay a make inroads of sorts to that drape of Dublin roughly bounded westernmost from Capel Street to Chapelizod village north of the Liffey [...]’
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