Learning from popular culture: Interpretation,visitors and critique

Abstract

The publication of Frank McCourt's autobiographical novel, Angela's Ashes in 1996 has sharply focused attention upon a sense of place and heritage identity of the Irish town of Limerick. It has both bolstered a local civic self‐conscious identity and spawned ‘McCourt tourism’. On the other hand it has provoked local controversy by revealing the existence of a number of hitherto largely concealed heritage dissonances.

The historical vision of the interwar period that it vividly portrays is a working‐class experience of poverty, poor housing, and absence of facilities compounded by an indifference of the local contemporary political and clerical establishment. There is a geography of McCourt's Limerick, much of which is still extant, composed of row housing, docks, gas works, public houses, Victorian churches and the like that is a different Limerick to the medieval conserved monuments of English Town or the stately residences of the Georgian Newtown (as portrayed in the earlier novels of Kate O'Brien). Such an image contrasts not only with the tourism image projected externally but more significantly with much of the received interpretation of the post‐independence Irish State that was until recently an almost unchallenged dominant ideology.

The catalytic impact of a single novel upon a town's self‐identity raises more general issues about the role of the novel in the shaping, revision and essential instability of heritage messages through time, as well as the management of disagreeable or contradictory elements in a local past through a polysemic and essentially multilayered heritage.