Kevin Myers, the ne plus ultra of ballbag Anglo-Irish reactionary hacks, surprises us all by writing what might be an essential close-up of the Troubles. Maybe his lunatic, protean nature was a perfect fit for the time.
This was the upshot of this post. I promised, I think, to review Myers' book once I got it, and here goes. Well, for a start, O'Sullivan isn't wrong - the young Kevin Myers this book portrays is no reactionary, but he is certainly a ballbag, a hack, and occasionally a near-lunatic. It's good to read a journalist memoir which isn't wildly self-glorifying, and a major theme of Watching the Door which runs in parallel, in politics and in life, is shame. Myers admits that his younger self, the RTE journo in Belfast, was at worst little better than a war tourist getting off on the bang-bang, the gangster glam of the paramilitary underworld, and the sexual opportunities the war provided. Not just that - but he admits that he happily let actual journalism slide, in favour of attending to his own self-obsession.
On the other hand, though, what are the accepted moral standards in a society like early-70s Belfast? The city Myers describes is one where several of the forces that keep civilisation going have failed - shame is one, and another is scepticism. People are willing to do appalling things, and also to believe anything, so long as it's about themmuns. Killers shoot a teenage boy and then give his younger brother, abducted with him, tenpence for the bus fare. This kind of perverted kindness recurs throughout, as the original structures of morality and authority collapse. Similarly, the traumatised seek comfort in other forms of religious bullshit, like the cultist charlatan Oliver Cromwell Whiteside - the sections of the book involving whom are desperately painful.
Not even primarily the official ones of law, the state, the church; one of the most telling moments in the book is Myers' encounter with a legendary dockside brawler, once a feared enforcer throughout the North, who never hit a man again after a fifteen-year old boy pulled a gun on him. His version of order was hardly desirable, but what came after was infinitely worse. It's a vision of the classic northern working-class town gone rotten, its social networks re-organised around the new class of mini-warlords and the new war economy based first on extortion and fraud, and later on heroin imports, rather as the process of scarring re-organises the skin's cellular structure. Peace was impossible so long as the British and Irish governments were still talking to the shells of the old society, rather than the people who controlled the war system.
It's also a book about youth; when you're young, shame, scepticism and responsibility are not particularly big concerns. They weren't for Myers, for his many girlfriends (like the one who let the IRA know his car registration after an unsatisfactory threesome), or for the new men of the paramilitary world. One thing that stands out is how many of these people were enjoying themselves - the transition from ordinary routine, Catholic morality or Protestant propriety, to intrigue, violence, and nervous hedonism was clearly a liberation for a lot of people. In many ways, it was yet another version of the 1968 generation; just conditioned by history to be a peculiarly horrible one. Here, under the combined influence of sectarianism, a particularly dense conservative power-structure, and an existing thug culture, the liberation turned out to be the liberation from freedom that militarism has always offered directionless young men.
In a sense, the great divide wasn't even so much between the loyalists and republicans, but between a kind of unified paramilitary subculture and everyone else. Other divides were the class divide, between the players, the fans, and the targets on one side, and the garden centre unionists and castle Catholics on the other out in the suburbs, and between the old and the young, those who were quite content with a frozen conflict and those who either wanted to win or end it.
However, I find another strand of the book less compelling. Myers insists on his own complicity in a number of violent incidents I really don't think he bears real responsibility for. I MUST RECOGNISE MY GUILT!! can be a form of self-dramatising, self-important bollocks too. And insisting on some sort of duty of journalists to cooperate with the authorities...well, that's reactionary, hackish, and rather Decent.
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