On the 22nd of March, 1996, 4Guyz made their mark as Ireland’s first openly gay band, making their debut at Dublin’s well-known Wonderbar. The reaction to their performance was so positive that all five band members (despite the band’s name, they were with an additional member, showcasing their disregard for rigid societal norms) found themselves as guest stars on the iconic ’90s television programme, Eurotrash.
Their renditions of Diana Ross’s ‘I’m Coming Out’ and The Weather Girls’ ‘It’s Raining Men’ became a backdrop to my reading journey. This book, similar to RTÉ’s Reeling in the Years, features archival materials and personal narratives to share the social, political, and cultural history of queer Ireland, in other words, drawing together the rich, colourful story of Irelands queer population into an intricate tapestry, as described by its publishers.
Obviously, a tapestry will depict various scenes and colours. This book is not just a celebration of queer joy, but also offers insight into the transgression, hardship and sorrow that have defined queer Ireland over the last half a century.
Fourteen crucial events, from the havoc wreaked by the Aids epidemic, accompanied by media misinformation and censorship, to the homophobic killing of Declan Flynn and the subsequent prejudiced legal system response, serve as a stark reminder of the discrimination and violence inflicted upon this community.
The writings also unravel the story of allyship and various gestures of unity across Ireland. Acts of support such as the Belfast Lesbian Line, volunteers assisting gender-queer individuals with their shopping needs, or figures from all walks of life, including mothers, aunts, renegade politicians and members of the clergy who provided emotional and practical support, and safe havens for their queer counterparts and family members to simply ‘be’.
The reciprocal nature of this solidarity is also emphasized. Reeling in the Queers acknowledges the safe spaces queer communities have historically established for other marginalised groups and individuals deemed ‘queer’ or ‘abnormal’ by the society, the notorious yet now-defunct Alternative Miss Ireland being a testament to this welcoming community.
Kerrigan utilises his literary craft to circulate and champion these poignant narratives. His writing style doesn’t carry a distinct personality of its own, rather, it is tasked with creating a gentle representation of silent champions, and commonplace deeds of bravery, which played a crucial role in furthering the recognition and respect for the LGBTQ+ community in Ireland.