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Works of Radical Imagination

Last month, we published North Irish poet Eoghan Walls’ second novel, Field Notes from an Extinction, the diary of a fictional 19th-century ornithologist who has sequestered himself on a remote Irish island during the famine to study the endangered Great Auk, which has since gone extinct. One day, upon receiving his monthly deliver of supplies from the mainland, he finds an unexpected item among the provisions: an abandoned and clearly malnourished Irish child. Things go even further sideways, and up, and down — and perhaps even diagonally — from there.

We were delighted to have a chance to talk with Eoghan at Seven Stories HQ during his New York stop on the Field Notes book tour. That evening, he shared the stage with Claire Luchette for a lovely conversation at Brooklyn indie stalwart Books are Magic, before continuing onwards to Mystic, CT, and Boston, MA, for the final leg of his U.S. tour. During his office visit, we spoke with Eoghan about his background as a poet, the irony of anti-immigrant politics in Ireland, and the laying cycle of the Great Auks (RIP </3), among other things.

The interview has been very lightly edited for clarity.


Seven Stories Press: You’ve written one book prior to this, The Gospel of Orla, which we published three years ago. How was the process of writing Field Notes different compared to writing The Gospel of Orla? Did you have a different approach this time around?

Eoghan Walls: I have a really annoyingly clean process. For the Gospel of Orla, I mulled ideas around my head for years, and I didn’t put pen to paper. I just kept mulling the idea. I started off with a weird idea of a girl finding an un-dead cat, and her mother was dead, and that’s the idea that spawned the book. But I don’t write them until I’ve got time. I’ve got some privilege in my job now, which is that I’m paid a decent wage. I also sometimes get to take six or 10 weeks off work, and that gives me time to dedicate to properly writing it.

Instead of doing lots and lots of redrafts at the start, one day, I’ll sit down and spend an afternoon with a box of cigars and spend maybe three hours writing out the plot. I’ll plan out everything. It’s that easy. I think of five climactic scenes. I normally have those climactic scenes in my head, and then I build up to them. I link them together in a plot that has a crescendo, or that has a number of smaller crescendos that build up together. I’ll play around with that plot [in my head] for a few weeks, but then when I come to write it, I’ll take six weeks or eight weeks and just thrash it out. I’ll write one chapter in the morning and one in the afternoon, and after six weeks, I’ll have 50,000 to 70,000 words written. That’s how I write the book.

Now I can be editing that big, ugly first draft for years. But that big, ugly first draft is the only thing that makes the book happen. Without doing that, nothing gets done. Of course, I explore a bit during the writing process, but I need my plan set so I can write it out like I’m laying bricks. I find it’s as soon as you get the voice that the writing comes easy. Sometimes that takes some false starts, but when I get the voice and I know the plan, then I can write it programmatically in six weeks, beginning to end, and then edit that.

SSP: Well, speaking of voice, the protagonist in Field Notes, Ignatius Green, is such a distinct character that we come to know and see evolve through his journal entries. When did the idea for Ignatius come into your head, and what was it like inhabiting the mind of a nineteenth-century, English ornithologist?

EW: Ignatius Green was hard to find. I got the idea for his voice reading Darwin and other naturalists from the 1800s. I just saw the amount of privilege and arrogance in the way they talked about the people who were helping them, and it struck me as bizarre and blinkered. I really wanted Ignatius, who was one of these rich, reportedly brilliant men, to take responsibility for a child. In this book, the child’s mother is responsible for much of the action and high drama, and the man is doing the caring job. So there’s a bit of gender fuckery in the book. In some ways Ignatius was a hard voice to inhabit, because I consider myself more Irish than anything else, and Ignatius is English. So sometimes his opinions or his politics, or even the way he describes my city, Londonderry—I would always call it Derry—got stuck in me craw. But it became a voice I could inhabit.

SSP: Field Notes takes place during the Great Famine, which was the cause of a mass exodus of over one million Irish refugees from Ireland. When Ignatius first begins taking care of the child that was sent to him, he disparagingly comments that maybe she came from an Irish woman who couldn’t pay for her child’s passage to Boston. I’m wondering, how did you want ideas of emigration to come through in your writing? Were you thinking about particular discourses of exile when you were writing the book?

EW: Very much so. There were loads of threads of tributaries that went into the book. One of the things that has annoyed me most has been the rise of an anti-immigrant movement in Ireland. It has been slower to take place in Ireland than the rest of Europe, in fairness. Many countries like Britain or Italy had suffered strong anti-immigrant rhetoric throughout the 2000s. Later than some, Ireland got its own little body of jumped up men using their granny’s curtains to make swastikas, or whatever symbol that echoes the swastika for their own anti-immigrant rhetoric. It’s embarrassing, and it’s awful.

All countries tell stories about themselves. We see ourselves through stories, and Irish stories have always, at least since the famine, if not before, been stories of immigration, emigration and oppression. These are stories we still tell ourselves today. I’ve been walking around America the last few days, and the Americans I’ve met with Irish heritage say yes, when we came here, we had nothing. Or they’ll talk about their own status as an oppressed immigrant.

I think for an Irish person to be anti-immigrant is bizarre. It lacks any sense of irony or history, and some of these things were what I wanted to address in the book. When doing historical research, I read a lot of Punch, which was a British satirical magazine of the 1800s. It continues to be published now, but it had a very anti-immigrant and an anti-Irish immigrant message during the famine. I wanted people to be aware of that language that we may use casually today, about countries being full, about not needing more immigrants, and show how it was applied to the Irish during the famine.

SSP: One aspect of Field Notes I was also really struck by was the sheer level of ornithological detail. You mentioned Darwin earlier, and I was wondering, what level of natural history or scientific research did you do while writing? Did you look at any ornithological archives?

EW: I read loads of ornithological texts. There’s an awful lot written about the Great Auk during that time. It’s great. There’s loads of books available, and thankfully, I’m attached to a university, so I could use our university library to read through them. But I wasn’t sure of all my materials, so I had them double checked by Professor Colin Beal from York University. He’s the most excellent scholar, and he was so generous in giving me his time. His knowledge was really useful in developing some of those texts. I may have diverged from some of his advice, where it became pertinent, so I hope he’s not chasing me with a scalpel. But I’ve got to thank him for the level of truth he gave the book.

SSP: The book is narrativized through Ignatius’s unfolding journal entries. What was the editing process like for that style of writing, where you’re writing in these dated journal entries? Did it come with any specific challenges or any special considerations?

EW: Well, you’re going to expose me now. Yes, it was really bloody tricky. I had to work out the dates, and I had to work out the journal entries by a number of things, such as the actual laying cycle of the Auks. I had to work out my timelines by British and Irish history, working out when the super kitchens were there, for example, or what was going on politically at the time. These were two of the big features. So I had a diary, and I worked out every day what happened. This was my plan for writing the book. I had something like a calendar page, and I would write it all out.

There was a third secret element that I’m hesitant to expose to your readers, which is, I wanted to work out the journal entries by the moon cycles as well. Just in case the moon cycles should be relevant for any potential mystical readings some may have of the book. Hint hint.

SSP: Do you see Field Notes in conversation with any other books in the Seven Stories backlist? Or, more generally, with other writers that have also explored the Great Famine and the effects of colonialism on Ireland, whether contemporary or historical?

EW: I do, though it may seem a slight reach. I know you don’t publish Galapagos by Kurt Vonnegut, but I kept thinking about it when I was writing the book. Not just because it takes place on an island where the last remnants of a civilization is trying to survive. I love the social consciousness that Vonnegut has, which, aye, all Seven Stories writers have as far as I can see. Vonnegut has an awareness of the absurd, held in tandem with political anger, that I wanted to carry through Field Notes.

There’s another book I want to mention that’s not on the Seven Stories list, which is Flan O’Brien’s An Béal Bocht, translated as The Poor Mouth from Irish. He writes absurdly and comically about the suffering of the Irish in the West of Ireland, and his level of absurdity is something I can only ever aspire to.

SSP: Do you feel like your background as a poet came through when you were writing Field Notes? Or do you think it influences the register in which you write in, on either a broader level or a sentence level?

EW: When I read through some reviews for my first book, The Gospel of Orla, sometimes people said “the language here is utterly unpoetic”, or, “there is nothing beautiful about the language at all.” I find that so interesting and so true.

I think being a poet gives me an ability to cut out anything that feels poetic, and to never sound like I’m trying to write anything arch or postured. Being a poet, I know that the first thing that will kill a poem is an archness of tone. A certain pretension. Maybe, as poets, we’re over-aware, and we want our speech to sound brutal and forthright and gripping and physical from the start.

And look, I don’t know this. I don’t want to try to say I’m doing something amazing. But if I’ve learned something from poetry, it is that there’s no time for beauty or metaphor. You have to make a world that is breathable and effective. That world may be beautiful, but the language itself should serve to transport you to that world and to that voice. I wouldn’t say, like some writers have, that they want the right reader to forget they’re reading a book. I don’t believe in that. I do want the reader to feel the weight of the book and to enjoy the book, but I don’t want them to spend time listening to my beautiful comparisons. I want them immersed in the language of my characters and my world.

SSP: Okay, one more bonus question. You’ve been on tour across the Northeast U.S. for the past three days. How has it gone? How has the reception been? Is there anything that’s surprised you since you’ve been on tour?

EW: Can I please say a warm thank you to the amazing women of Point Pleasant, New Jersey, who were so brazen and brilliant, who deeply cared about the book, and who, when they met me, were happy to tell me that I got the ending wrong. We had a strong debate for an hour, and the level of care I got from those readers was astounding. I came braced, in fairness, for a rockier road in America right now. But that’s because I lack context. It’s my first time being here. I’ve seen some racism, a bit. But I’ve seen mostly friendliness, warmth and kindness. Definitely, in Point Pleasant, that’s what I saw. I’m hoping for a good night tonight in New York as well.


Fast-paced and funny. Scientific and tender. A literary thriller featuring Auks. As if Hilary Mantel’s The Giant, O’Brien met Robinson Crusoe, here is a story of one man’s growing humanity amidst famine and extinction.

Told in the vernacular of the day, this novel-as-notebook features a 19th-century ornithologist on a remote Irish island — from the author of indie favorite The Gospel of Orla.

A unique and richly imagined novel.
Graeme Macrae Burnet, The New York Times Book Review

Written in the form of a 19th-century notebook of ornithological observations, Field Notes from an Extinction follows the life and work of one Ignatius Green, a fictitious English scientist dispatched by the Royal Society to the remote island of Tor Mor off the northern Irish coast. Green, a widower, is single-minded and self-righteous, brilliant and bumbling. He is determined to set the scientific record straight on the mating rituals, feeding and care of hatchlings,
and other minutiae he can gather about the Great Auk (pinguinus impennis).

Green’s world is shattered when his monthly goods delivery arrives ravaged by the local Irish townsmen. His fury at their impertinence is matched only by his dismay at finding a small child amid the shipment—dirty, abandoned, mute, and utterly feral and unmanageable. Worse, the locals are growing restless and hungry. And there is talk sweeping the land of a terrifying woman with unnatural power.

Green fights for his survival against brigands and hunger and, most fearsome, the resolve of a fierce and angry child. And, perhaps, for a wider understanding of family amidst roiling societal unrest.

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