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248 A B Melanie Swiatloch Figure 3: A – Religious distribution in Belfast in 1991. B – Religious distribution in Derry in 1991 (Irelandstory.com). Jake has managed to escape his rough past, however, and now lives in South Belfast in fictive Poetry Street. His chosen area of living is again evidence for Jake’s new Irishness. It reflects Jake’s attitude towards an integrated society and his re-
Construction of Identity in Northern Irish Novels 249 sentment of nationalist or unionist ideas (otherwise he might as well have chosen to live in a Catholic area). Helen in One by One in the Darkness equally chose to live in a mixed area. Like Jake she is living in South Belfast just off the Ormeau Road (Madden 44). Jake’s friend Chuckie is living in Eureka Street, another fictive street in the novel (there is a Eureka Drive in Belfast, however); “Eureka” meaning “I have found [it]” (Duden 552). The street’s name that is at the same time the title of the book thereby is representative for the development of a number of characters in the novel. Both Chuckie and Jake find love, Chuckie on top finds a way to earn money. Aoirghe finds a way to leave her nationalist views behind and look into the future with “clear eyes” (McLiam Wilson 396). Chuckie’s mother Peggy and his friend Deasely find new ways of living by outing themselves as homosexuals. Finally, they all have found a way to live in a city like Belfast without despairing by the city’s agony. 4.2. The City Mirroring Northern Irish Society “In this city, the natives live in a broken world – broken but beautiful.” Eureka Street, Robert McLiam Wilson (1996, 215) Depictions of the city and urban life have always been of great importance to authors such as James Joyce, John Dos Passos, Virginia Woolf or Paul Auster 33. Worthy to remember is Woolf’s Mrs. Dalloway’s walk through London while preparing for a party that same evening. The reader accompanies her through Westminster, hearing the strikes of Big Ben and crosses with her Victoria Street (Woolf 6). “I love walking in London”, Mrs. Dalloway says, “Really, it’s better than walking in the country” (ibid. 8). While Joyce’s Dublin is converted into a scene that resembles the journeys of Odysseus, Auster’s New York illustrates the city’s anonymity and John Dos Passos gives a convincing picture of urban life in New York before the Great Depression. The city thus invokes different associations, whether pictures of consumerism, anonymous masses or a declaration of love. While One by One in the Darkness and Where They Were Missed engage with the city mainly as a contrast to the countryside and depict Belfast as a place predominantly associated with fear, hatred and violence, Eureka Street grants the city a more detailed report and even dedicates a whole chapter to it. For Wim Tigges Belfast is thus the true protagonist of the novel (187). In consequence he compares the portrayal of Belfast to that of Joyce’s Dublin: “The physique of the city is vitalized in Eureka Street by the mention of street names, for instance when fol- 33 James Joyce, Ulysses (published 1922). John Dos Passos, Manhattan Transfer (published 1925). Virginia Woolf, Mrs. Dalloway (published 1925). Paul Auster, The New York Trilogy (published 1987 in one volume).
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Indian Diamonds 159 sion, not the p
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Indian Diamonds 161 lish country li
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Indian Diamonds 169 Moonstone 374).
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Indian Diamonds 171 In combination
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Indian Diamonds 173 The Agra Treasu
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Indian Diamonds 179 different forms
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Indian Diamonds 187 David, Deirdre.
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Indian Diamonds 189 Mersmann, Arndt
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194 Melanie Swiatloch report. This
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