Literature from Ireland, Even the Breakfast was a InszenierungWie is to have a mother who is a Star, so you have to share with an audience of millions? The Irish author Anne Enright, in her novel “The actress”, the answer to that. Martin Ebel0 KommentareSie was the epitome of the Stars in the 1950s, in which Anne Enrights heroine celebrated successes: Ava Gardner, also known as “Hollywood’s goddess of love”, here in a lascivious Pose for the photographers. Photo: Keystone

“How was she?”, ask people again and again. Asks a young feminist who wants to write a thesis about you. You, this is Katherine O’dell, Irish actress, once a Star on Broadway and in Hollywood and in your home is still an icon, even after her death. Yes, how was it?, also Norah, the daughter, asks. She was not on the next, she was admired not only on the stage and the screen, but as “normal people” witnessed, as a mother, just who prepared your Breakfast?

There is such a thing with “normal” and the Breakfast. Because even if the mother Toast smeared and ass, she did it for an imaginary audience. For Breakfast, the was a scene, as in a play or a movie. Norah had her mother never alone. She shared it with countless admirers, whether in a Kriegsrührschmonzette as “prayer before the Morning”, in the role of your life, or in an avant-garde piece at the end of your career, where you are naked on the stage and raped is looped.

Everything is Fake

Who she was – just the sum of their roles? She lived only in the light of the headlights, in front of the camera; she was just herself, if she was someone else? As it is, the splendor and the misery of your life is seems, because when the fame faded, atrophied, also what hid behind it. And this was also made up of many small Deceit?

The “iris is the most actress of all time,” as the daughter formulated, ironically, was not. Katherine is born in London, her “Irish” surname derives from a wrong apostrophe (actually, she is, according to her mother, Odell), the red hair, you have missed a Barber on the advice of their Hollywood studios. The same Studio has also married with a colleague, not the least, in order to camouflage his homosexuality.

Anne Enright, born in 1962 in Dublin, now lives in Bray, County Wicklow. In 2007, she received the Booker prize.Photo: Margrit Müller

to give the attempt of The doctoral student, the mother of another false identity – as a “great Irish feminist” –, resents Norah and moved you to answer the question, “How was that?” self. With a book. What is, finally, a writer (all of whose five novels have been advertised by the publisher with “the daughter of Katherine O’dell”). What we read here, of the novel “The actress”, but it is not the book written by Norah, but rather a precursor to it. An associative search of movement with lots of jumps and Return to search for the Mother, the question is joined: Who am I, and what does this have to do with my mother?

the question as to The father

The big topic of acting – the author plays it up to the two voltage poles of “magic” and “Manipulation”, here is the naive joy of the country audience to a wall of force, the calculus with the controlled emotions of the mass occurs after a second. As it comes to Sex, the relation to the dominant men (Kath INES big time in the late 1940s and the early 1950s) and for Norah especially, the question of who was her father.

The mother of the daughter conceals, as long as she lives. Not that Norah, as a child born out of wedlock, a career killer, a moral disaster. Only after the death of the daughter of a cardboard box with notes, that the mother was a rape victim opens up, under the most miserable circumstances to a toilet, and yet, you noted: “I had to have helped him.” Is the shot, the Katherine, without quotes, depressed, and angry that a producer makes, the you boots, a suspended revenge on men-fiends as a whole?

“I had no fear. So I had no excuse to lie there.”

heroine Norah in Anne to tell Enrights new Roman

Norah, a Generation later, with a relaxed relationship to Sex, to your partner and to your own children, also has a #MeToo history. What you experienced as a young girl, with the twice as old lecturers Niall Duggan, nicknamed “the fucker”, but only twenty years later, and can describe comprehend, is in its analytical sharpness and ambivalence more illuminating than most of what one could read in these years, on the grey zone between discomfort and Overwhelm.

And a lot of brilliant formulated! Because Anne Enright, one of the best author of meeting the English language (for “The family” she received the 2007 Booker prize), one immediately thinks that their narrative can write figure. “I had no fear. So I had no excuse to lie there,” is a key sentence about the encounter with “the fucker”. Another, the motherly fuss, it means: “you didn’t have to pretend she was my mother, because she was already. It was like double cream.” Or, on the “Iris control” of their biography: “My mother had rewritten their Childhood, and then the original version will be lost.”

Anne Enright succeeds, the loose tone of searching and Assoziierens to maintain time and film history, how to integrate by the way (Orson Welles shows up as well as the bomb attacks of “the Troubles”), and finally, to make it clear that it can give to the question, “How was she?” no answer in a sentence. But only this novel.

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