Mccarthy's Bar Quotes

I like reading in a pub rather than a library or study, as it's generally much easier to get a drink.

I reckon if I can't spend the day sleeping, the next best thing is to spend it reading and drinking.

If you've had the right kind of education, it's amazing how many things you can find to feel guilty about.

We had found nothing, and had been lost several times already in one morning, so this was shaping up into a top travel experience.

That guy in the corner. Never tells the truth, as a matter of principle. Why answer a question, he says, if you can tell a good story instead?

But once you cross the Shannon - even though geographically you have only come a short distance - different rules of time apply, and most people still understand the crucial secret of human happiness: that it's better to do a few things slowly, than a lot of things fast.

If life is a book, then read it while you can.

The Mennonite watches the enshadowed dark before them as it is reflected to him in the mirror over the bar. He turns to them. His eyes are wet, he speaks slowly. The wrath of God lies sleeping. It was hid a million years before men were and only men have power to wake it. Hell aint half full. Hear me. Ye carry war of a madman’s making onto a foreign land. Yell wake more than the dogs.

I tell you this. As war becomes dishonored and its nobility called into question those honorable men who recognize the sanctity of blood will become excluded from the dance, which is the warrior's right, and thereby will the dance become a false dance and the dancers false dancers. And yet there will be one there always who is a true dancer and can you guess who that might be? You aint nothin. You speak truer than you know. But I will tell you. Only that man who has offered himself up entire to the blood of war, who has been to the floor of the pit and seen horror in the round and learned at last that it speaks to his innermost heart, only that man can dance. Even a dumb animal can dance. The judge set the bottle on the bar. Hear me, man, he said. There is room on the stage for one beast and one alone. All others are destined for a night that is eternal and without name. One by one they will step down into the darkness before the floodlamps. Bears that dance, bears that dont.

I will go outside, wander about aimlessly, and see what happens.

Never pass a bar with your name on it

The harp player had just fallen off the stage and cracked his head on an Italian tourist’s pint. There was a big cheer, and Con the barman rang a bell on the counter. St Patrick’s Day, and McCarthy’s Bar was heaving.

If we should meet again I hope there will be something in the way of a wateringhole where I can stand you a round. Perhaps show you about the place. Look for a tall and somewhat raffish looking chap in a tailored robe.

Is it possible to have some kind of genetic memory of a place where you've never lived, but your ancestors have? Or am I just a sentimental fool, my judgement fuddled by nostalgia, Guinness, and the romance of the diaspora?

Immediately across the road is a ruined abbey and cemetery. As I haven't visited one since late yesterday afternoon, I decide to take a look. On the whole, it's fair to say that, if you're travelling round the west of Ireland, an interest in ruined abbeys, however slight, will stand you in better stead than a passion for rollerblading, say or a penchant for showbiz gossip.

In the mountains they saw deer in the headlights and in the headlights the deer were pale as ghosts and as soundless. They turned their red eyes toward this unreckoned sun and sidled and grouped and leapt the bar ditch by ones and twos. A small doe lost her footing on the macadam and scrabbled wildly and sank onto her hindquarters and rose again and vanished with the others into the chaparral beyond the roadside.

I use the pay phone to call my friend Noel. The last time I was here he took me up a mountainside in Connemara with a seventy-eight-year-old poteen-maker who’d learned his craft as a teenager from his father. We spent the day watching him double-distill brown bog water in two oil drums over a turf fire into something that tasted like the finest malt. Noel acted as interpreter, as the old man spoke no English. Perhaps he’ll have another adventure in store for me this time.

At this time, we would like to open up the floor to the victim, Aubriella Adams, to speak.”      The room feels motionless, quiet, as if everyone knows this is an important moment. They know what this man did to my girl. They know what kind of monster he is.      Aubrey stands and unfolds a piece of paper. I didn’t know this was going to happen, if I did I would not be okay with it. I don't want her to go through any more pain. She looks at Rich and holds his stare and now I know why she needs to do this. I see no fear in her face. I see anger and I see strength but she’s devoid of fear. She squares her shoulders and stands fierce.      “You were supposed to take care of me. You weren’t supposed to take my innocence. You raped me and abused me. I want to look you in the eye and tell you…. You are a monster. You are sick. You are a murderer and a pedophile. You need to know, you may have taken my youth, but you will never….ever have my future. I have a man I love and I’m loved by him. I’m going to have his children one day. One day soon, I’m going to go to college. I’m going to have a career. I’m going to grow old. I’m going to live my life and you will rot behind bars.” She continues staring him down as she takes a seat.

Already it is twilight down in the Laredito. Bats fly forth from their roostings in courthouse and tower and circle the quarter. The air is full of the smell of burning charcoal. Children and dogs squat by the mud stoops and gamecocks flap and settle in the branches of the fruit trees. They go afoot, these comrades, down along a bare adobe wall. Band music carries dimly from the square. They pass a watercart in the street and they pass a hole in the wall where by the light of a small forgefire an old man beats out shapes of metal. They pass in a doorway a young girl whose beauty becomes the flowers about. They arrive at last before a wooden door. It is hinged into a larger door or gate and all must step over the foot-high sill where a thousand boots have scuffled away the wood, where fools in their hundreds have tripped or fallen or tottered drunkenly into the street. They pass along a ramada in a courtyard by an old grape arbor where small fowl nod in the dusk among the gnarled and barren vines and they enter a cantina where the lamps are lit and they cross stooping under a low beam to a bar and belly up one two three. There is an old disordered Mennonite in this place and he turns to study them. A thin man in a leather weskit, a black and straightbrim hat set square on his head, a thin rim of whiskers. The recruits order glasses of whiskey and drink them down and order more. There are monte games at tables by the wall and there are whores at another table who look the recruits over. The recruits stand sideways along the bar with their thumbs in their belts and watch the room. They talk among themselves of the expedition in loud voices and the old Mennonite shakes a rueful head and sips his drink and mutters. They'll stop you at the river, he says. The second corporal looks past his comrades. Are you talking to me? At the river. Be told. They'll jail you to a man. Who will? The United States Army. General Worth. They hell they will. Pray that they will. He looks at his comrades. He leans toward the Mennonite. What does that mean, old man? Do ye cross that river with yon filibuster armed ye'll not cross it back. Don't aim to cross it back. We goin to Sonora. What's it to you, old man? The Mennonite watches the enshadowed dark before them as it is reflected to him in the mirror over the bar. He turns to them. His eyes are wet, he speaks slowly. The wrath of God lies sleeping. It was hid a million years before men were and only men have power to wake it. Hell aint half full. Hear me. Ye carry war of a madman's making into a foreign land. Ye'll wake more than the dogs. But they berated the old man and swore at him until he moved off down the bar muttering, and how else could it be? How these things end. In confusion and curses and blood. They drank on and the wind blew in the streets and the stars that had been overhead lay low in the west and these young men fell afoul of others and words were said that could not be put right again and in the dawn the kid and the second corporal knelt over the boy from Missouri who had been named Earl and they spoke his name but he never spoke back. He lay on his side in the dust of the courtyard. The men were gone, the whores were gone. An old man swept the clay floor within the cantina. The boy lay with his skull broken in a pool of blood, none knew by whom. A third one came to be with them in the courtyard. It was the Mennonite. A warm wind was blowing and the east held a gray light. The fowls roosting among the grapevines had begun to stir and call. There is no such joy in the tavern as upon the road thereto, said the Mennonite. He had been holding his hat in his hands and now he set it upon his head again and turned and went out the gate.

Suttree felt a deep and chilling lassitude go by nape and shoulderblades. He slumped and crossed his wrists in his lap. He looked at a world of incredible loveliness. Old distaff Celt's blood in some back chamber of his brain moved him to discourse with the birches, with the oaks. A cool green fire kept breaking in the woods and he could hear the footsteps of the dead. Everything had fallen from him. He scarce could tell where his being ended or the world began nor did he care. He lay on his back in the gravel, the earth's core sucking his bones, a moment's giddy vertigo with this illusion of falling outward through blue and windy space, over the offside of the planet, hurtling through the high thin cirrus. His fingers clutched up wet handfuls from the bar, polished lozenges of slate, small cold and mascled granite teardrops. He let them fall through his fingers in a smooth clatter.

If it was a video-file that I was trying to watch, then at the bottom of the screen there’d be that line, that bar that slowly fills itself in—twice: once in bold red and, at the same time, running ahead of that, in fainter grey; the fainter section, of course, has to remain in advance of the bold section, and of the cursor showing which part of the video you’re actually watching at a given moment; if the cursor and red section catch up, then buffering sets in again. Staring at this bar, losing myself in it just as with the circle, I was granted a small revelation: it dawned on me that what I was actually watching was nothing less than the skeleton, laid bare, of time or memory itself. Not our computers’ time and memory, but our own. This was its structure. We require experience to stay ahead, if only by a nose, of our consciousness of experience—if for no other reason than that the latter needs to make sense of the former, to (as Peyman would say) narrate it both to others and ourselves, and, for this purpose, has to be fed with a constant, unsorted supply of fresh sensations and events. But when the narrating cursor catches right up with the rendering one, when occurrences and situations don’t replenish themselves quickly enough for the awareness they sustain, when, no matter how fast they regenerate, they’re instantly devoured by a mouth too voracious to let anything gather or accrue unconsumed before it, then we find ourselves jammed, stuck in limbo: we can enjoy neither experience nor consciousness of it. Everything becomes buffering, and buffering becomes everything. The revelation pleased me. I decided I would start a dossier on buffering.

The Venetians catalogue everything, including themselves. ‘These grapes are brown,’ I complain to the young vegetable-dealer in Santa Maria Formosa. ‘What is wrong with that ? I am brown,’ he replies. ‘I am the housemaid of the painter Vedova,’ says a maid, answering the telephone. ‘I am a Jew,’ begins a cross-eyed stranger who is next in line in a bookshop. ‘Would you care to see the synagogue?’ Almost any Venetian, even a child, will abandon whatever he is doing in order to show you something. They do not merely give directions; they lead, or in some cases follow, to make sure you are still on the right way. Their great fear is that you will miss an artistic or ‘typical’ sight. A sacristan, who has already been tipped, will not let you leave until you have seen the last Palma Giovane. The ‘pope’ of the Chiesa dei Greci calls up to his housekeeper to throw his black hat out the window and settles it firmly on his broad brow so that he can lead us personally to the Archaeological Museum in the Piazza San Marco; he is afraid that, if he does not see to it, we shall miss the Greek statuary there. This is Venetian courtesy. Foreigners who have lived here a long time dismiss it with observation : ‘They have nothing else to do.’ But idleness here is alert, on the qui vive for the opportunity of sightseeing; nothing delights a born Venetian so much as a free gondola ride. When the funeral gondola, a great black-and-gold ornate hearse, draws up beside a fondamenta, it is an occasion for aesthetic pleasure. My neighbourhood was especially favoured this way, because across the campo was the Old Men’s Home. Everyone has noticed the Venetian taste in shop displays, which extends down to the poorest bargeman, who cuts his watermelons in half and shows them, pale pink, with green rims against the green side-canal, in which a pink palace with oleanders is reflected. Che bello, che magnifici, che luce, che colore! - they are all professori delle Belle Arti. And throughout the Veneto, in the old Venetian possessions, this internal tourism, this expertise, is rife. In Bassano, at the Civic Museum, I took the Mayor for the local art-critic until he interupted his discourse on the jewel-tones (‘like Murano glass’) in the Bassani pastorals to look at his watch and cry out: ‘My citizens are calling me.’ Near by, in a Paladian villa, a Venetian lasy suspired, ‘Ah, bellissima,’ on being shown a hearthstool in the shape of a life-size stuffed leather pig. Harry’s bar has a drink called a Tiziano, made of grapefruit juice and champagne and coloured pink with grenadine or bitters. ‘You ought to have a Tintoretto,’ someone remonstrated, and the proprietor regretted that he had not yet invented that drink, but he had a Bellini and a Giorgione. When the Venetians stroll out in the evening, they do not avoid the Piazza San Marco, where the tourists are, as Romans do with Doney’s on the Via Veneto. The Venetians go to look at the tourists, and the tourists look back at them. It is all for the ear and eye, this city, but primarily for the eye. Built on water, it is an endless succession of reflections and echoes, a mirroring. Contrary to popular belief, there are no back canals where tourist will not meet himself, with a camera, in the person of the another tourist crossing the little bridge. And no word can be spoken in this city that is not an echo of something said before. ‘Mais c’est aussi cher que Paris!’ exclaims a Frenchman in a restaurant, unaware that he repeats Montaigne. The complaint against foreigners, voiced by a foreigner, chimes querulously through the ages, in unison with the medieval monk who found St. Mark’s Square filled with ‘Turks, Libyans, Parthians, and other monsters of the sea’. Today it is the Germans we complain of, and no doubt they complain of the Americans, in the same words.

He shortened up the rope a couple of reaches and dragged the wolf through the bar ditch and stood by the fence and watched the truck come over the hill and approach in its attendant dust and clatter. The old man slowed and peered. The wolf was jerking and twisting and the boy stood behind her and held her with both hands. By the time the truck had pulled abreast of them he was lying on the ground with his legs scissored about her midriff and his arms around her neck. The old man stopped and sat the idling truck and leaned across and rolled down the window. What in the hell, he said. What in the hell. You reckon you could turn that thing off? the boy said. That's a damn wolf. Yessir it is. What in the hell. The truck's scarin her. Scarin her? Yessir. Boy what's wrong with you? That thing comes out of that riggin it'll eat you alive. Yessir. What are you doin with him? It's a she. It's a what? A she. It's a she. Hell fire, it dont make a damn he or she. What are you doin with it? Fixin to take it home. Home? Yessir. Whatever in the contumacious hell for? Can you not turn that thing off? It aint all that easy to start again. Well could I maybe get you to drive down there and catch my horse for me and bring him back. I'd tie her up but she gets all fuzzled up in the fencewire. What I'd liketo do is to try and save you the trouble of bein eat, the old man said. What are you takin it home for? It's kindly a long story. Well I'd sure like to hear it. The boy looked down the road where the horse stood grazing. He looked at the old man. Well, he said. My daddy wanted me to come and get him if I caught her but I didnt want to leave her cause they's been some vaqueros takin their dinner over yonder and I figured they'd probably shoot her so I just decided to take her on home with me. Have you always been crazy? I dont know. I never was much put to the test before today. How old are you? Sixteen. Sixteen. Yessir. Well you aint got the sense God give a goose. Did you know that? You may be right. How do you expect your horse to tolerate a bunch of nonsense such as this. If I can get him caught he wont have a whole lot of say about it. You plan on leadin that thing behind a horse? Yessir. How you expect to get her to do that? She aint got a whole lot of choice either.

I’d met Madison, as I’ve already mentioned, two months earlier, in Budapest. I’d been at a conference. She’d been there with some girlfriends. We’d got talking in the hotel bar. An anthropologist, she’d said; that’s … exotic. Not at all, I’d replied; I work for an incorporated business, in a basement. Yes, she said, but … But what? I asked. Dances, and masks, and feathers, she eventually responded: that’s the essence of your work, isn’t it? I mean, even if you’re writing a report on workplace etiquette, or how to motivate employees or whatever, you’re seeing it all through a lens of rituals, and rites, and stuff. It must make the everyday all primitive and strange—no? I saw what she was getting at; but she was wrong. For anthropologists, even the exotic’s not exotic, let alone the everyday. In his key volume Tristes Tropiques, Claude Lévi-Strauss, the twentieth century’s most brilliant ethnographer, describes pacing the streets, all draped with new electric cable, of Lahore’s Old Town sometime in the nineteen-fifties, trying to piece together, long after the event, a vanished purity—of local colour, texture, custom, life in general—from nothing but leftovers and debris. He goes on to describe being struck by the same impression when he lived among the Amazonian Nambikwara tribe: the sense of having come “too late”—although he knows, from having read a previous account of life among the Nambikwara, that the anthropologist (that account’s author) who came here fifty years earlier, before the rubber-traders and the telegraph, was struck by that impression also; and knows as well that the anthropologist who, inspired by the account that Lévi-Strauss will himself write of this trip, shall come back in fifty more will be struck by it too, and wish—if only!—that he could have been here fifty years ago (that is, now, or, rather, then) to see what he, Lévi-Strauss, saw, or failed to see. This leads him to identify a “double-bind” to which all anthropologists, and anthropology itself, are, by their very nature, prey: the “purity” they crave is no more than a state in which all frames of comprehension, of interpretation and analysis, are lacking; once these are brought to bear, the mystery that drew the anthropologist towards his subject in the first place vanishes. I explained this to her; and she seemed, despite the fact that she was drunk, to understand what I was saying. Wow, she murmured; that’s kind of fucked. 2.8 When I arrived at Madison’s, we had sex. Afterwards,

I find my grandfather, buried with Great-Aunt Hannah and Uncle Jack. His surname is spelled ‘MacCarthy’, with an extra ‘a’; like many names here, it’s a translation from the Irish, so the ‘a’ is optional, and may appear and disappear with the generations.

She's in leggings, like the pregnant twenty-year-old in the tie-dyed vest next to her. Leggings. Bloody hell. Imagined by fatties everywhere to create a slimming effect, they make the average body look like a sack full of hammers.

* Who do you think of when you hear the word “successful”? “The first people who come to mind are the real heroes of Task Unit Bruiser: Marc Lee, first SEAL killed in Iraq. Mike Monsoor, second SEAL killed in Iraq, posthumously awarded the Medal of Honor after he jumped on a grenade to save three of our other teammates. And finally, Ryan Job, one of my guys [who was] gravely wounded in Iraq, blinded in both eyes, but who made it back to America, was medically retired from the Navy, but who died from complications after the 22nd surgery to repair his wounds. Those guys, those men, those heroes, they lived, and fought, and died like warriors.” * Most-gifted or recommended books? “I think there’s only one book that I’ve ever given and I’ve only given it to a couple people. That’s a book called About Face, by Colonel David H. Hackworth. The other book that I’ve read multiple times is Blood Meridian [by Cormac McCarthy].” * Favorite documentaries? “Restrepo, which I’m sure you’ve seen. [TF: This was co-produced and co-filmed by Sebastian Junger, the next profile.] There is also an hour-long program called ‘A Chance in Hell: The Battle for Ramadi.’” Quick Takes * You walk into a bar. What do you order from the bartender? “Water.” * What does your diet generally look like? “It generally looks like steak.” * What kind of music does Jocko listen to? Two samples: For workouts—Black Flag, My War, side B In general—White Buffalo

I watched you. From the moment you walked in that bar, I saw you. Amongst all the shallow and the fake, you looked like sping, and then you got close and I was right because you smelled like jasmine. When you turned around to leave I thought I was wrong because why did someone as sweet as spring think that life wasn't meant for her? There was no light in your eyes, and somehow, even though I barely knew you, it left an ache in my chest. How could I let you walk away?

The harp player had just fallen off the stage and cracked his head on an Italian tourist’s pint. There was a big cheer, and Con the barman rang a bell on the counter.

There’s a man at the gate, watching me. ‘Have ya fallen and hurt yourself, or are ye just afraid of the cow?

It’s no coincidence that the style of writing known as stream of consciousness was pioneered by Irish authors. Critics have missed the point, however, in regarding it as a radical, experimental reaction against literary convention. For many Irish people, the avant-garde monologue is the most commonplace form of everyday speech; and a very liberating thing it is too. Like the best kind of journey, it’s always liable to veer off in entirely unexpected directions and lead you to destinations you might never otherwise have considered.

If life is a book, then read it while you can. Don’t save up any pages for later, because there might not be one.

The old stuffs for overseas. The new stuff’s for Ireland. Dublin mostly. Things are changing. Traditional design is synonymous with the past. They want to sit at glass tables now, with weird chairs, and good-looking women.

The judge set the bottle on the bar. Hear me, man, he said. There is room on the stage for one beast and one alone. All others are destined for a night that is eternal and without name. One by one they will step down into the darkness before the footlamps. Bears that dance, bears that dont.