Paul Kaill & Alan Rutherford
Poetry, prose and illustration argue for a realisation that Ireland's future lies with the Irish working class, North and South of the border, and not with the assemblies of bourgeois democracy in Westminster (Stormont) and Dublin. That there is no solution to the Northern Ireland problem, but that the very existence of the Northern Irish state is the problem.
The photographs in this book were taken on a very short trip to the North of Ireland and represent a snapshot of that time, 4–8 November 1986. They were to convey my interest in the political murals on display there ... and came by way of my fascination for the street art of the Constructivists in early revolutionary Russia.
Even though there seems to be a concensus that peace has arrived in the troubled communities of Northern Ireland, its veneer is as thin as the fact these territorial markers, these political statements, these magnificently diverse graffiti are still adorning unionist/protestant and nationalist/catholic neighbourhoods.
Seldom considered respectable or ‘art’, graffiti cannot be ignored. Immediate, rebelious, public, confrontational, honest, malicious, political, vulgar, informative, territorial and in your face broadcasting of opinions, ideas ... and usually anonymous. This has been a constant expression for the talented and talentless since human stirrings, welcome or unwelcome depending on your viewpoint.
Graffiti comes from the same loadstone as ‘high art’, but because of its egalitarian and anti-establishment nature it subverts ‘high art’ and ‘the artist’ modes of recognised celebrity and value by undermining and one-finguring ‘high art’s elitist and posturing nepotism.
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Stella's cheerful summer fun and anticipation of becoming a first grader are disturbed by a surprising turn of events. Grandpa falls over on his bicycle and is confined to a hospital bed for days. Their shared days at the quarry would have to wait.
Stella is not as nervous about visiting Grandpa at the big hospital building now that she has become acquainted with a girl of her age who sits in a wheelchair.
Stella is anxious to find a magic stone in her quarry with which she could wake Grandpa up. Whether it is thanks to the power of the stone or the affection of a small child that finally makes Grandpa open his eyes remains a mystery.
The author Tuula Pere has previously worked as a lawyer and served in various expert and senior management positions in international corporations. After two decades of professional career, she embarked upon studies to get a Ph.D. in law. Alongside her research project, Tuula Pere has also set about realizing another dream of hers. She has written several children's books and poems.
The Illustrator Sanna Pelliccioni is a graphics designer and children's book author. She is originally from Oulu and currently lives in Helsinki. In addition to her own 'Onni-poika' children's book series, she makes versatile illustration to children's books and to nature books.
Sanni ja taikakivi has been published in Finnish with the name Sanni ja taikakivi and as an e-book also in Swedish with the name Saga och den magiska stenen. The English translation has been made by Päivi Vuoriaro and the Swedish translation by Angelika Nikolowski-Bogomoloff.
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