Hear Me Looking at You
Culhane's Hear Me Looking at You emerges from this focus on performance, research and storytelling. The performance's first act allows Culhane to recount stories of her unconventional childhood as the product of a tumultuous marriage between her Jewish, activist mother and her Irish father...
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description | Culhane's Hear Me Looking at You emerges from this focus on performance, research and storytelling. The performance's first act allows Culhane to recount stories of her unconventional childhood as the product of a tumultuous marriage between her Jewish, activist mother and her Irish father, Gerry, a card-carrying member of the Communist Party. It follows the Culhane family as they move from Canada to California, but spends most of the time dealing with the aftermath and conflicts involved when Gerry drags his family to Ireland. Gerry, Culhane makes clear, has a deep and problematic connection to Ireland. Her grandmother, Gerry's mother, was a Catholic, Irish nationalist belonging to a family fiercely devoted to the creation of an independent Irish republic. Their house was a hub for like-minded citizens before the Easter Rising of 1916 put an end to such a political possibility. At some point, Culhane's grandmother became the subject of a public scandal (she had a relationship with a Protestant) that resulted in her leaving Ireland and living "in exile" in Montreal. Into this environment, Gerry is born and he inherits his mother's Irish republican zeal. It is his dream to return, with family-Culhane, her mother and her sister-in tow to his motherland, and he moves them there in the early 1950s. The problem, however, is that Gerry's idea of Ireland and its social realities do not match. Culhane adeptly demonstrates this contradiction: she adopts her father's voice and relates the stories and notions Gerry had told her family about the Emerald Isle; she juxtaposes this with her own memories of her family's struggles to settle and to make ends meet once there. Her mother has to return to Canada for lengthy periods to make enough money for the family to survive. With no set place to live, [Dara Culhane] and her sister are sent to boarding schools. Gerry's sense of an Irish home remains but an imaginary figuration. As time goes by, the differences between the Ireland experienced and felt by Culhane's increasingly dispersed family and the Ireland coiyured up in the dreams and stories of her father become irreconcilable. With the burden of income increasingly falling on Culhane's mother, her parents' marriage comes to seem like a troubling mismatch between drastically different personalities and ideals. Culhane's parents divorce in 1960, and Culhane, at age ten, returns to Montreal with her mother, leaving her father behind in Ireland. The narrative of Hear Me Lo |
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The performance's first act allows Culhane to recount stories of her unconventional childhood as the product of a tumultuous marriage between her Jewish, activist mother and her Irish father, Gerry, a card-carrying member of the Communist Party. It follows the Culhane family as they move from Canada to California, but spends most of the time dealing with the aftermath and conflicts involved when Gerry drags his family to Ireland. Gerry, Culhane makes clear, has a deep and problematic connection to Ireland. Her grandmother, Gerry's mother, was a Catholic, Irish nationalist belonging to a family fiercely devoted to the creation of an independent Irish republic. Their house was a hub for like-minded citizens before the Easter Rising of 1916 put an end to such a political possibility. At some point, Culhane's grandmother became the subject of a public scandal (she had a relationship with a Protestant) that resulted in her leaving Ireland and living "in exile" in Montreal. Into this environment, Gerry is born and he inherits his mother's Irish republican zeal. It is his dream to return, with family-Culhane, her mother and her sister-in tow to his motherland, and he moves them there in the early 1950s. The problem, however, is that Gerry's idea of Ireland and its social realities do not match. Culhane adeptly demonstrates this contradiction: she adopts her father's voice and relates the stories and notions Gerry had told her family about the Emerald Isle; she juxtaposes this with her own memories of her family's struggles to settle and to make ends meet once there. Her mother has to return to Canada for lengthy periods to make enough money for the family to survive. With no set place to live, [Dara Culhane] and her sister are sent to boarding schools. Gerry's sense of an Irish home remains but an imaginary figuration. As time goes by, the differences between the Ireland experienced and felt by Culhane's increasingly dispersed family and the Ireland coiyured up in the dreams and stories of her father become irreconcilable. With the burden of income increasingly falling on Culhane's mother, her parents' marriage comes to seem like a troubling mismatch between drastically different personalities and ideals. Culhane's parents divorce in 1960, and Culhane, at age ten, returns to Montreal with her mother, leaving her father behind in Ireland. The narrative of Hear Me Looking at You is less about the mother-father relationship than it is about a fatherdaughter dynamic, a point that is clarified in the second act. Culhane depicts Gerry at the end of the first act as too proud to give up on his Irish dream, to the detriment of his family; it is because of this stubbornness that he remains largely absent from Culhane's childhood. The second act then deals with the questions posed by the first: how does one forgive someone who places his own ideals and dreams above what is best for his family? How do you reconcile the fact that your own father has chosen to be absent from your life but wishes to remain present? How do you come to terms with your father's dream-one that has never changed? What did his words, "Don't forgive me," mean? The second act takes place in 2010, when Culhane rereads a trove of letters her father had sent to her between 1960 and 1990, as a tactic to deal with and answer these questions. Indeed, we learn that although he was physically absent while she was growing up, Culhane's father nevertheless remained present in her life through the letters he sent her. This absent presence is made manifest and felt in the performance as Culhane reads from the letters themselves and then scatters them across the stage floor so that Gerry Culhane's words haunt the stage as well. This is an effective tactic, because the material form of the letters, which she kept, makes visible her father's continued need for a relationship and offers a testament to the connection between father and daughter. In fact, Gerry's letters amend and augment our ideas and perceptions of her father, while also reinforcing his stubborn, proud character. It is clear that a deep love for Dara and the need for a father-daughter relationship undergird the intention of these letters. However, we are also unsure, as I imagine Dara remains, of how much of his descriptions of life back in Ireland are truthful or are continued imaginings.</description><identifier>ISSN: 0003-5459</identifier><identifier>EISSN: 2292-3586</identifier><language>eng</language><publisher>Waterloo: University of Toronto Press</publisher><subject>Activism ; Childhood ; Citizens ; Culhane, Dara ; Dreams ; Drew, Noah ; Families & family life ; Fathers ; Letters (Correspondence) ; Marriage ; Mothers ; Nationalism ; Parents & parenting ; Performance Review ; Politics ; Public schools ; Storytelling ; Theater</subject><ispartof>Anthropologica (Ottawa), 2014, Vol.56 (2), p.473-475</ispartof><rights>2014 Canadian Anthropology Society / Société Canadienne d'Anthropologie</rights><rights>Copyright Canadian Anthropology Society 2014</rights><lds50>peer_reviewed</lds50><woscitedreferencessubscribed>false</woscitedreferencessubscribed></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><linktopdf>$$Uhttps://www.jstor.org/stable/pdf/24467321$$EPDF$$P50$$Gjstor$$H</linktopdf><linktohtml>$$Uhttps://www.jstor.org/stable/24467321$$EHTML$$P50$$Gjstor$$H</linktohtml><link.rule.ids>313,776,780,788,799,27321,33751,57992,58225</link.rule.ids></links><search><creatorcontrib>Batchelor, Brian</creatorcontrib><title>Hear Me Looking at You</title><title>Anthropologica (Ottawa)</title><description>Culhane's Hear Me Looking at You emerges from this focus on performance, research and storytelling. The performance's first act allows Culhane to recount stories of her unconventional childhood as the product of a tumultuous marriage between her Jewish, activist mother and her Irish father, Gerry, a card-carrying member of the Communist Party. It follows the Culhane family as they move from Canada to California, but spends most of the time dealing with the aftermath and conflicts involved when Gerry drags his family to Ireland. Gerry, Culhane makes clear, has a deep and problematic connection to Ireland. Her grandmother, Gerry's mother, was a Catholic, Irish nationalist belonging to a family fiercely devoted to the creation of an independent Irish republic. Their house was a hub for like-minded citizens before the Easter Rising of 1916 put an end to such a political possibility. At some point, Culhane's grandmother became the subject of a public scandal (she had a relationship with a Protestant) that resulted in her leaving Ireland and living "in exile" in Montreal. Into this environment, Gerry is born and he inherits his mother's Irish republican zeal. It is his dream to return, with family-Culhane, her mother and her sister-in tow to his motherland, and he moves them there in the early 1950s. The problem, however, is that Gerry's idea of Ireland and its social realities do not match. Culhane adeptly demonstrates this contradiction: she adopts her father's voice and relates the stories and notions Gerry had told her family about the Emerald Isle; she juxtaposes this with her own memories of her family's struggles to settle and to make ends meet once there. Her mother has to return to Canada for lengthy periods to make enough money for the family to survive. With no set place to live, [Dara Culhane] and her sister are sent to boarding schools. Gerry's sense of an Irish home remains but an imaginary figuration. As time goes by, the differences between the Ireland experienced and felt by Culhane's increasingly dispersed family and the Ireland coiyured up in the dreams and stories of her father become irreconcilable. With the burden of income increasingly falling on Culhane's mother, her parents' marriage comes to seem like a troubling mismatch between drastically different personalities and ideals. Culhane's parents divorce in 1960, and Culhane, at age ten, returns to Montreal with her mother, leaving her father behind in Ireland. The narrative of Hear Me Looking at You is less about the mother-father relationship than it is about a fatherdaughter dynamic, a point that is clarified in the second act. Culhane depicts Gerry at the end of the first act as too proud to give up on his Irish dream, to the detriment of his family; it is because of this stubbornness that he remains largely absent from Culhane's childhood. The second act then deals with the questions posed by the first: how does one forgive someone who places his own ideals and dreams above what is best for his family? How do you reconcile the fact that your own father has chosen to be absent from your life but wishes to remain present? How do you come to terms with your father's dream-one that has never changed? What did his words, "Don't forgive me," mean? The second act takes place in 2010, when Culhane rereads a trove of letters her father had sent to her between 1960 and 1990, as a tactic to deal with and answer these questions. Indeed, we learn that although he was physically absent while she was growing up, Culhane's father nevertheless remained present in her life through the letters he sent her. This absent presence is made manifest and felt in the performance as Culhane reads from the letters themselves and then scatters them across the stage floor so that Gerry Culhane's words haunt the stage as well. This is an effective tactic, because the material form of the letters, which she kept, makes visible her father's continued need for a relationship and offers a testament to the connection between father and daughter. In fact, Gerry's letters amend and augment our ideas and perceptions of her father, while also reinforcing his stubborn, proud character. It is clear that a deep love for Dara and the need for a father-daughter relationship undergird the intention of these letters. However, we are also unsure, as I imagine Dara remains, of how much of his descriptions of life back in Ireland are truthful or are continued imaginings.</description><subject>Activism</subject><subject>Childhood</subject><subject>Citizens</subject><subject>Culhane, Dara</subject><subject>Dreams</subject><subject>Drew, Noah</subject><subject>Families & family life</subject><subject>Fathers</subject><subject>Letters (Correspondence)</subject><subject>Marriage</subject><subject>Mothers</subject><subject>Nationalism</subject><subject>Parents & parenting</subject><subject>Performance Review</subject><subject>Politics</subject><subject>Public 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Only</collection><collection>Arts & Humanities Database</collection><collection>Psychology Database</collection><collection>Research Library</collection><collection>Sociology Database</collection><collection>CBCA Reference & Current Events</collection><collection>Research Library (Corporate)</collection><collection>ProQuest One Academic Eastern Edition (DO NOT USE)</collection><collection>ProQuest One Academic</collection><collection>ProQuest One Academic UKI Edition</collection><collection>ProQuest Central China</collection><collection>ProQuest One Psychology</collection><collection>ProQuest Central Basic</collection><collection>Diversity Collection</collection><collection>Sociological Abstracts (Ovid)</collection></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Batchelor, Brian</au><format>journal</format><genre>article</genre><ristype>GEN</ristype><atitle>Hear Me Looking at You</atitle><jtitle>Anthropologica (Ottawa)</jtitle><date>2014-01-01</date><risdate>2014</risdate><volume>56</volume><issue>2</issue><spage>473</spage><epage>475</epage><pages>473-475</pages><issn>0003-5459</issn><eissn>2292-3586</eissn><abstract>Culhane's Hear Me Looking at You emerges from this focus on performance, research and storytelling. The performance's first act allows Culhane to recount stories of her unconventional childhood as the product of a tumultuous marriage between her Jewish, activist mother and her Irish father, Gerry, a card-carrying member of the Communist Party. It follows the Culhane family as they move from Canada to California, but spends most of the time dealing with the aftermath and conflicts involved when Gerry drags his family to Ireland. Gerry, Culhane makes clear, has a deep and problematic connection to Ireland. Her grandmother, Gerry's mother, was a Catholic, Irish nationalist belonging to a family fiercely devoted to the creation of an independent Irish republic. Their house was a hub for like-minded citizens before the Easter Rising of 1916 put an end to such a political possibility. At some point, Culhane's grandmother became the subject of a public scandal (she had a relationship with a Protestant) that resulted in her leaving Ireland and living "in exile" in Montreal. Into this environment, Gerry is born and he inherits his mother's Irish republican zeal. It is his dream to return, with family-Culhane, her mother and her sister-in tow to his motherland, and he moves them there in the early 1950s. The problem, however, is that Gerry's idea of Ireland and its social realities do not match. Culhane adeptly demonstrates this contradiction: she adopts her father's voice and relates the stories and notions Gerry had told her family about the Emerald Isle; she juxtaposes this with her own memories of her family's struggles to settle and to make ends meet once there. Her mother has to return to Canada for lengthy periods to make enough money for the family to survive. With no set place to live, [Dara Culhane] and her sister are sent to boarding schools. Gerry's sense of an Irish home remains but an imaginary figuration. As time goes by, the differences between the Ireland experienced and felt by Culhane's increasingly dispersed family and the Ireland coiyured up in the dreams and stories of her father become irreconcilable. With the burden of income increasingly falling on Culhane's mother, her parents' marriage comes to seem like a troubling mismatch between drastically different personalities and ideals. Culhane's parents divorce in 1960, and Culhane, at age ten, returns to Montreal with her mother, leaving her father behind in Ireland. The narrative of Hear Me Looking at You is less about the mother-father relationship than it is about a fatherdaughter dynamic, a point that is clarified in the second act. Culhane depicts Gerry at the end of the first act as too proud to give up on his Irish dream, to the detriment of his family; it is because of this stubbornness that he remains largely absent from Culhane's childhood. The second act then deals with the questions posed by the first: how does one forgive someone who places his own ideals and dreams above what is best for his family? How do you reconcile the fact that your own father has chosen to be absent from your life but wishes to remain present? How do you come to terms with your father's dream-one that has never changed? What did his words, "Don't forgive me," mean? The second act takes place in 2010, when Culhane rereads a trove of letters her father had sent to her between 1960 and 1990, as a tactic to deal with and answer these questions. Indeed, we learn that although he was physically absent while she was growing up, Culhane's father nevertheless remained present in her life through the letters he sent her. This absent presence is made manifest and felt in the performance as Culhane reads from the letters themselves and then scatters them across the stage floor so that Gerry Culhane's words haunt the stage as well. This is an effective tactic, because the material form of the letters, which she kept, makes visible her father's continued need for a relationship and offers a testament to the connection between father and daughter. In fact, Gerry's letters amend and augment our ideas and perceptions of her father, while also reinforcing his stubborn, proud character. It is clear that a deep love for Dara and the need for a father-daughter relationship undergird the intention of these letters. However, we are also unsure, as I imagine Dara remains, of how much of his descriptions of life back in Ireland are truthful or are continued imaginings.</abstract><cop>Waterloo</cop><pub>University of Toronto Press</pub><tpages>3</tpages></addata></record> |
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subjects | Activism Childhood Citizens Culhane, Dara Dreams Drew, Noah Families & family life Fathers Letters (Correspondence) Marriage Mothers Nationalism Parents & parenting Performance Review Politics Public schools Storytelling Theater |
title | Hear Me Looking at You |
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