As we rapidly approach the summer season, Oisín McKenna, an exceptional Irish literary talent, gears up to launch his inaugural book, titled Evenings and Weekends. By summer’s end, predictions point towards the book being worn from constant reading, frequenting numerous readers’ nightstands and included among the favourite list of literary works.
Born and raised in Drogheda, Co Louth, McKenna now resides in London, which incidentally, is the backdrop of his debut novel. The narrative unfolds over a weekend in the crowded yet sprawling city, artfully weaving through different instances marked by hedonistic indulgences and existential crisis. The tale witnesses the forming and breaking of relationships, the strain on home lives, and the pursuit of escape, security, freedom, love, and care.
An intriguingly strange occurrence – a whale stranded in the River Thames – heralds the start of the novel. This acts as a catalyst for a greater exploration of the modern-day circumstances (the book is set in 2019) that pervade the world. From the get-go, issues of significant societal importance are fleshed out. Public sentiment is divided as people debate the merit of various causes, from food banks and police bail funds, to refugees crossing the Mediterranean, wounded British military veterans, and Syrian assistance, all expertly intertwined with the predicament of the whale. Climate change, single-use plastics, the EU, British nationalism, eco-fascism, the internet’s environmental impact, and fast fashion all get dragged into the argument. Although a consensus on the impact of these factors is absent, one thing is undeniable: the beleaguered whale symbolizes pressing ecological, spiritual, and moral bankruptcy, accusing one and all with its unflinching gaze.
During this period, many perceived Corbynism as a moment of expanded political possibility, a sentiment shared by McKenna as he observed, “Maybe it’s the only time in my lifetime that might happen.”
The narrative is quite captivating, featuring characters like Ed, a bike courier torn between settling down with his lover, Maggie, and indulging his more risqué side; and Maggie, who is contemplating whether to return east to Basildon or remain in the grip of London’s allure. There’s also Phil, who lives for the thrill of the weekend while trying to manage his relationship with his roommate Keith, and then there’s Phil’s mother, Roseleen, an Irish immigrant whose memory is increasingly meandering back home. “Evenings and Weekends” explores themes of deterioration and self-development, hiding and self-discovery, and the longing for change, creating an immersive reading experience.
In Dublin, during the economic slump, McKenna and Niamh Beirne hosted the mobile spoken word event ‘Pettycash’. They performed at numerous venues including the now shuttered, yet considerably influential DIY space Jigsaw (formerly Seomra Spraoi), the Dublin Fringe Festival, Electric Picnic, Body & Soul, as well as Words in the Warehouse, an enchanting spoken word and performance event at what used to be Squat City in Grangegorman, one of the most significant cultural spaces in the city at that time, which was ultimately destroyed to create space for posh student housing.
McKenna was an active creator, writing and performing pieces like Salesman at Project Arts Centre in 2013; Grindr, a love story, at the Dublin Fringe Festival the same year; Gays Against the Free State! at the Dublin Fringe Festival in 2016 and other noteworthy works like Suddenly Paranoid about Ageing (2018); the award-winning Dublin Fringe Festival piece – Admin (2019); a BBC Radio play – Total Enjoyment (2021); and the Dublin Fringe Festival audio walking tour – Speak Softly, Go Far.
It was clear that even though McKenna’s poetry frequently addressed the social and political issues prevalent at the time, it was elevated beyond the more snapshot reactive work. His work was character-driven, almost like in a novel. McKenna was an incredibly determined, yet humorous writer. His work was packed with confidence, a stark contrast to his subdued, mild-mannered offstage persona.
In late 2017, McKenna relocated to London and describes his life as going through a series of vast changes. He set up home in a large, queer-friendly warehouse, an environment that significantly shifted his perspective on life’s possibilities. Before this, he had had limited exposure to the unique lifestyle that warehouse living offered – from the self-built space itself to the freedom and potential it provided for its residents. This lifestyle transformation coincided with a significant political era revolving around Jeremy Corbyn. While looking back, many now scrutinise the implications of this period, at the time it posed a broadening of political possibilities for many. McKenna claimed this was a momentous occasion in UK politics, where a substantial alternative was brought to the table – an event that, in his opinion, might only occur once in his lifetime. However, this phase has since passed and is no longer a part of any significant contemporary political agenda.
McKenna initially intended to make this political era a key theme in his novel, but it ultimately served as an understated element. The characters in his novel, McKenna shares, all long to live expansively – a desire made challenging by the numerous social, economic, and cultural factors in play. His focus was on creating instances in his book where, suddenly, a shift occurred making something more attainable.
McKenna initiated his process with establishing a framework. He harboured a fascination for building a story in the context of a weekend, incorporating a multitude of character perspectives. Virginia Woolf’s work, precisely her “incongruous euphoria”, served as the steering influence. The storyline developed afterwards, which is a notable development considering the strength of its design. Moreover, he contemplated a lot on his readers, aspiring to “produce a pleasurable experience, leaning on enjoyment heavily, touching emotions”, he articulates. “I had no intention for it to be spare or restrained. If there was a concept that could be extended incredibly, or an impression, then that’s what I aimed to do. I approached it as if I was composing in a grand manner, as if it were a pop song. If a pop song can build towards an attractive hook, it does so. If it can supply a audience-engaging moment, it does so. I had an interest in experimenting with how these moments may be perceived.”
In the favourable circumstances of my life, it’s augmented to a level of euphoria during a heatwave. But, I find it intensely distressing and hard to endure the loneliness during a heatwave.
The consistent climate temperature, as it plays out his novel set within the stretch of a heatwave, contributes to a festive atmosphere blended with a hint of looming disaster. “Decidedly in my period of summer, I genuinely have a mixed bag,” McKenna mentions. “If all is well in my life, it’s certainly escalated to a euphoric extent during a heatwave. But when things seem amiss, if I’m feeling somewhat off or feeling alienated at any level … I undergo tremendous suffering, finding it agonising to be alone during a heatwave.”
McKenna’s literary journey extends even beyond his theatre scripting or spoken word contributions. He penned quite a bit of poetry during his teenage years. He also attributes his English teacher, Mr Downey, as his source of motivation while he was consciously creating unique stylistic short stories at school. A marginal note from his teacher on one story was “never stop writing”. McKenna remembers, “It had a profound, transformative impact on me, that kind of motivation at such an age.”
Undoubtedly, a work of fiction set over a brief span of time which hints at major choices and alterations carries an intermediary quality. McKenna touches on this concept of being ‘in-between’, stating that a significant characteristic of his residency in London, specifically upon his initial relocation, was a stark sense of potential, countered by a near-realisation that the prospect of metamorphosis is scarcely fulfilled, despite consistently holding a tangible feel. He recounts numerous instances where he felt that attending a particular event or conversing with certain people could greatly alter his life. In most cases, such transformations failed to materialise, except for the occasional fleeting change that sparked an undeniable morale boost. He perceives a certain thrill in longing for this potential shift, akin to being on the edge of a precipice.
Being thrust into the glare of the ‘promising-new-writer’ spotlight, and the inevitable onslaught of attention that ensues, is met with a certain level of apprehension by McKenna. He admits that he is aware of his sensitive nature and its impact on his emotional reactions, often responding significantly to minor triggers. McKenna expresses concern over how this might unfold, in a period when his work is gaining broader appreciation, reaching a wider readership and is subject to diverse interpretations much like the characters in his book “Evenings and Weekends”. When asked about his feelings regarding this personal tipping point of sorts, he cheerfully responds “Pleased”, followed by a subdued “and excited.”