At Swim-Two-Birds (Irish Literature Series) [Paperback]

Flann O'Brien (Author)

Book Description

Publication Date: August 17, 1998 | Series: Irish Literature Series

"That's a real writer, with the true comic spirit. A really funny book."—James Joyce.

A wildly comic send-up of Irish literature and culture, At Swim-Two-Birds is the story of a young, lazy, and frequently drunk Irish college student who lives with his curmudgeonly uncle in Dublin. When not in bed (where he seems to spend most of his time) or reading he is composing a mischief-filled novel about Dermot Trellis, a second-rate author whose characters ultimately rebel against him and seek vengeance. From drugging him as he sleeps to dropping the ceiling on his head, these figures of Irish myth make Trellis pay dearly for his bad writing. Hilariously funny and inventive, At Swim-Two-Birds has influenced generations of writers, opening up new possibilities for what can be done in fiction. It is a true masterpiece of Irish literature.

Editorial Reviews

Amazon.com Review

In a 1938 letter to a literary agent, Flann O'Brien described his first novel as "a very queer affair, unbearably queer perhaps." The book in question was At Swim-Two-Birds--and if we take queer to mean diabolically eccentric, then truer words were never spoken. The author, whose real name was Brian O'Nolan, had successfully stirred Gaelic legend, pulp fiction, and grimy Dublin realism into a hilarious cocktail. His mastery of modernist collage would have been an ample accomplishment itself. But O'Brien was also blessed with the writer's equivalent of perfect pitch, and in At Swim-Two-Birds he squeezes the maximum beauty and banality out of the English language. All he lacks is a tragic register, but he makes up for this deficit with a sense of comedy so acute that even James Joyce couldn't resist blurbing his fellow Dubliner's creation: "A really funny book."

O'Brien labored mightily to make At Swim-Two-Birds summary-proof. But here, anyway, are the bare bones: the narrator, a university student, is writing a novel, which keeps morphing from mock-heroics to middlebrow naturalism. Meanwhile, one of his characters, Dermot Trellis, is himself writing a Western--an Irish Western--whose cowpunching protagonists will eventually throw off their fictional shackles and attempt to murder their creator. (Talk about the death of the author!) There's enough structural shenanigans here to keep an entire industry of critics afloat. Still, what matters most is the pungency of O'Brien's prose. His dialogue is agreeably grungy, his parodies delicious, and the narrator speaks in the sort of Jesuitical dialect that we associate with Samuel Beckett:

That same afternoon I was sitting on a stool in an intoxicated condition in Grogan's licensed premises. Adjacent stools bore the forms of Brinsley and Kelly, my two true friends. The three of us were occupied in putting glasses of stout into the interior of our bodies and expressing by fine disputation the resulting sense of physical and mental well-being. In my thigh pocket I had eleven and eightpence in a weighty pendulum of mixed coins.

Snippets, alas, do little justice to At Swim-Two-Birds, which relies heavily on cumulative chaos for its effect. Graham Greene, an early fan, compared its comic charge to "the kind of glee one experiences when people smash china on the stage." A half century after its initial appearance, O'Brien's masterpiece remains a gleeful read--a marvelous, inventive, and (last but not least) really funny book. --James Marcus

Review

“At Swim-Two-Birds is a marvel of imagination, language, and humor.” (New Republic )

“At Swim-Two-Birds has remained in my mind ever since it first appeared as one of the best books of our century. A book in a thousand . . . in the line of Ulysses and Tristram Shandy.” (Graham Greene )

“If I were a cultural dictator in England I would make At Swim-Two-Birds compulsory reading in all universities.” (Philip Toynbee )

“Flann O'Brien is unquestionably a major author. His work, like that of Joyce, is so layered as to be almost Dante-esque. . . . Joyce and Flann O'Brien assault your brain with words, style, magic, madness, and unlimited invention.” (Anthony Burgess )

“At Swim-Two-Birds is both a comedy and a fantasy of such staggering originality that it baffles description and very nearly beggars our sense of delight.” (Chicago Tribune )

“'Tis the odd joke of modern Irish literature—of the three novelists in its holy trinity, James Joyce, Samuel Beckett and Flann O'Brien, the easiest and most accessible of the lot is O'Brien. . . . Flann O'Brien was too much his own man, Ireland's man, to speak in any but his own tongue.” (Washington Post )

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Product Details

• Paperback: 239 pages
• Publisher: Dalkey Archive Press; 1st Dalkey Archive ed edition (August 17, 1998)
• Language: English
• ISBN-10: 156478181X
• ISBN-13: 978-1564781819
• Product Dimensions: 5.4 x 0.8 x 8.5 inches
• Shipping Weight: 12.8 ounces (View shipping rates and policies)
• Average Customer Review: 4.4 out of 5 stars  See all reviews (48 customer reviews)
• Amazon Best Sellers Rank: #30,930 in Books (See Top 100 in Books)

Most Helpful Customer Reviews

51 of 54 people found the following review helpful

5.0 out of 5 stars "Where will you find, these days, as joyous a throat?" August 4, 2003

By Mary Whipple HALL OF FAMETOP 100 REVIEWER

Format:Paperback|Amazon Verified Purchase

Published in 1939, the same year that James Joyce published Finnegan's Wake, this novel was lauded in its day by Joyce himself, Samuel Beckett, and Graham Greene. A wild concoction involving a completely disjointed narrative, multiple points of view, farce, satire, and parody, this "novel" offers any student of Irish literature unlimited subject matter--and equally unlimited laughs. In this unique experiment with point of view, author Brian O'Nolan has used a pseudonym, Flann O'Brien, to tell the story of the novelist/student N, who tells his own story at the same time that he is writing a book about an invented novelist (Trellis), who is himself developing another story, while Tracy, still another author, tells a cowboy story and appears in the previous narratives.

Believing that characters should be born fully adult, one of the writers tries to keep them all together--in this case, at the Red Swan Hotel--so that he can keep track of them and keep them sober while he plans the narrative and writes and rewrites the beginning and ending of the novel. But even when the primary writer stops writing to go out with his friends, the characters of the other (invented) fictional writers continue to live on in the narrative and comment on writing. Before long, the reader is treated to essays on the nature of books vs. plays, polemics about the evils of drink, parodies of folk tales and ballads, a breathless wild west tale starring an Irish cowboy, the legends of Ireland, catalogues of sins, tales of magic and the supernatural, almanacs of folk wisdom and the cures for physical ills, and even the account of a trial--and that's just for starters.

Totally unique, O'Brien's creation defies the conventions, both of its day and of the present, and even the most jaded reader will be astonished at the unexpected twists the narrative takes. Steeped in the traditions of the Irish story-teller, O'Brien keeps those traditions alive by creating multiple narrators to tell multiple stories simultaneously, while also skewering the very traditions of which he--and they--are a part. Mary Whipple

21 of 23 people found the following review helpful

5.0 out of 5 stars A book of a century September 26, 1999

By A Customer

Format:Paperback

Is Swift's A Tale of a Tub a great novel? Is Carlysle's Sartor Resartus a great novel? Is Tristram Shandy a great novel? Each of these works takes as its basis another form, whether the controversialist pamphlet, the philosophical treatise, or the biography, and comes out the other side with a new type of work, as well as a new work. These books occupy an originary and terminal position: they are the first and the last of their kind. For readers, these works are stones -- either the stones that become the foundations for understanding or the stones that drag them down. At Swim-Two-Birds takes as its foil the popular novel and the Irish renaissance myth discovery and the personal narrative. Why should a novel have only one beginning, O'Brien (aka Brian O'Nolan, aka Brian Nolan -- a man who got into university with a forged interview with John Joyce) asks? Why one ending? If, as some reviewers have suggested, you try to find the "structure," you're missing the point. Trying to mash this book into a novel's mold is misguided, and O'Brien will eventually make that clear. In fact, it is the story of a college student (fictional), who is writing a novel about a man (fictional) who is writing an Irish western (which cannot be). Additionally, the student's translation homework -- tales from the Dun Cow Book -- emerge in a full Lady Gregory parody and begin to interact with the other fictions, and the characters of the Irish Western themselves begin to resent their lots in life. The book plays games on so many levels that reading it the way one reads a novel is useless. This is not about information and straight lines, but about play -- sometimes rough and tumble and sometimes gentle. All of the narrators lie, by the way, and there is always one more frame of fiction beyond the one in action at the moment. Do not buy this book if you're intolerant of play. Do not buy this book if you look at books for "what happens." If, however, you're one of those who enjoys, instead of resents, reading milestones like Sartor Resartus or think that Italo Calvino is extremely sophisticated, this book (not novel) will be the greatest delight the 20th century can offer you.

28 of 33 people found the following review helpful

3.0 out of 5 stars A good book, but not his best December 2, 1999

By "lexo-2"

Format:Paperback

At Swim-Two-Birds is the first great cult book of the century. Well, maybe the second, after Ulysses. Or possibly the fifth, after Kafka's novels. Oh, never mind. The author, Brian O'Nolan (to give him his real name) wrote it in a fairly desultory manner, handing out bits to his friends and asking them what they thought; he would often change it on their suggestion, not always for the better (as comparisons with early drafts show). It gives the impression of being intricately structured without actually being so, as I found when I adapted it for the stage. In fact, it's structurally a mess, with a hastily tacked-on sentimental ending that was written after O'Nolan's father's unexpected death - the book is always threatening to get really dark, and then fudges it in the wind-up.. The humour is side-splitting the first time round, but it gives diminishing returns (believe me). Far better is his second novel in English, The Third Policeman, written without AS2B's pretensions to modernity and avant-gardism, and, paradoxically, much more genuinely avant-garde.