I joined Galway Camera Club last September and have enjoyed the weekly meetings where internal and external experts share their knowledge. It has been great fun. Here are some of my submissions to various club competitions over the first six months.
WINDSONG
Monday, March 31, 2025
GALWAY CAMERA CLUB EXHIBITION
Friday, November 01, 2024
HIC JACET GAZAM – HERE LIES GAZA
HIC JACET GAZAM (accusative case)
Hic jacet:
Here lies,
Where there was strength,
Hopelessness,
A redaction of history,
The rendering of an
Abrahamic race,
A pitiless erase.
Hinc illae lacrimae,
Where endless tears,
Are a symptom
Of systematic,
Annihilation,
Blood lust,
Apartheid,
And Genocide.
Hoc est bellum
War,
They cry out,
They celebrate.
A clarion call
To congregate
To justify, to apply
The Beit Knesset lie.
Hac lege,
The law,
They declare
To an assembly of
The dead
In the Beit Lahiya dunes
And ever haunted ruins.
Hic jacet,
Here lies,
Amongst the sycamore figs,
Where a father digs,
With dust tears,
And fatigue of life
For a decapitated child
And much loved wife.
Hinc illae lacrimae
Searing tears
For the thousands
Of innocents;
And they are:
Starved of love
Of sustenance,
And of deliverance.
Homo homini lupus,
They, the eretz wolves;
Are voracious,
Sacrificing lambs to deposit,
In the timeless layers:
A knesset of bones,
A charnel house
Of endless attribution
And retribution.
Homo sum,
I am a human being,
Haunted,
Because for Gaza
I can do nothing,
Except with these words
The wolves condemn.
Words, however, for dead children,
Are a useless requiem.
Tuesday, October 22, 2024
REQUIEM FOR JJ
You'll remember me when the west wind moves
Upon the fields of barley
You can tell the sun in his jealous sky
When we walked in fields of gold
When we walked in fields of gold
When we walked …..in fields …..of ……gold….
High, somewhere in the artic shadows of the balcony behind us the singing stopped, not abruptly but with a gradual decrescendo. The song, an unaccompanied and haunting rendition of Gordon Summer’s aka Sting’s ‘Fields of Gold’ had been sung, the memorial sheet informed me, by JJ’s niece, Amy. There followed, a trickle at first then a surge of loud applause.
Gradually the clapping and the echoes ceased and quietness enveloped us again apart from a few rackety coughs escaping into the cold, still January air of the deconsecrated church. A little earlier, outside, at the end of the avenue of leafless chestnut and sycamore trees that corralled me to the former church I had noticed a ‘For Sale’ sign propped up against a headstone in the surrounding cemetery. The grave was that of a former military surgeon under British rule in India.
Inside, the first person to speak at the memorial was John Challmount, JJ's partner in a weekly podcast of political commentary. He delivered a broadsheet obituary of JJ with humour and with genuine affection. Somewhat revisionist, I thought, not recognising some aspects of JJ's depicted life. When he had finished, there was a prolonged burst of applause. Then, again, silence descended. We waited.
After what seemed an age but in essence a minute or so, a tall, elegant, blonde-haired woman stood up from the front pew and after uncoiling to her full majestic height and adjusting the hem of her dress made her way, cat-like, across the silent void of the transept towards the lectern. Karen, the woman, was JJ’s partner. Her gait was determined, her high stiletto heels tapping out a distinct beat on the unpolished stone floor. She wore a black cocktail dress that just about reached her knees, and which was tailored asymmetrically to showcase her most alluring shape, a shape I had once so lusted after and loved.
On reaching the lectern Karen hesitated for a moment to run her finger along the rim of an amber-coloured, antique Japanese cremation urn that sat on a low table towards the centre of the apse. Leaning against the table facing towards the audience was a large, silver framed black and white picture of a smiling JJ, his ever bright louche eyes dominating the composition. On the mount of the picture below the rugged unshaved chin were four stark lines of Palatino typeface:
Jerome Joseph (JJ) Mulligan,
1964 -2024,
sub ortu solis,
RIP.
The old church seemed to rattle, in sympathy almost, as an increasingly bitter east wind howled through the headstones in the cemetery – a motley mixture of Celtic crosses and plain limestone and granite slabs – and gnawed at the old and warped Gothic revival windows of the building, unadorned except for plain, multiple panels of diamond-shaped stained lead glass: no attributions, no remembrances, no Great War heroes venerated. Behind me there appeared to be a constant battle to close the doors against the wind as they crashed open with the arrival of every latecomer and even when closed there remained a constant plaintive whistle through the gaps of ages.
Karen turned to face us. She rested her forearms on the lectern, her fingers lightly gripping the edges. Looking out over the audience she remained there, statute-still for a moment until suddenly she gently smiled, nodded her head slightly in the direction of the urn and then in a strong, steady and precise voice began,
“Thank you all for coming to remember JJ. As some of you know this building was one of his last magnificent projects. He had bought the old church on a whim with every intention of converting it but then ran out of both patience with the planners and money and put it back on the market again.” She paused to look around the building before continuing, “That was almost 5 years ago and as you have realised by now has not been heated for probably much longer than that.”
From the audience, a mixture of people wearing real and faux mink, tailored Crombie’s, worn Tayto-smelling duffle coats and designer-label, artic expedition, insulated jackets there was an outpouring of laughing agreement accompanied by real but exaggerated displays of shivering.
Karen, who was wearing next to nothing, laughed as well but then went on,
“To quote Tom Cruise in the film The Last Samurai and forgive me here but JJ knew how much I loved Tom Cruise, where Algren, Cruise’s character, said about his captor and friend Katsumoto when answering the Emperor’s request to Algren to tell him how Katsumoto had died. ‘I will tell you how he lived’, Algren had replied.”
Karen released her grip on the lectern to push back an intruding lock of hair from her forehead,
“…And so, I will.”
I thought from where I was in the third row of benches I caught her eye but then realised she was engaging everyone and no one in the audience. She used no notes as she spoke,
“JJ was an insatiable addict,” she began, matter-of-factly. “An alcoholic, a gambler, an adulterer, a serial drunk and sex addict who retained no memory-of or no attachment-to the last bottle polished-off, to the last horse bet upon or to the last woman, and occasionally man, screwed…..”
Down the aisles there was a collective sharp intake of breath which, when I turned briefly to sneak a curious look, was then being expelled in short bursts. Like the wet-blanket warning signals of a Plains Indian you could see these exhalations rising up in small clouds of condensation through the apologetic January light that filtered into the building.
Karen resumed,
“I am so happy that many of you are here,” she said without any hint of sarcasm or condemnation. “From early on JJ recognised that he had a choice, to be a functioning addict or a shambolic one. He chose the former and thus could navigate blindfold to the local off-license, bookies and STI clinic; each place of course keeping their own meticulous records of the excesses of being JJ. Because he could function so effectively JJ was able to sustain, firstly, an admired career in the civil service and academia and more lately as a sought-out freelance political and social commentator. Because he could function so effectively, in what must be admitted was an absolute state of denial, JJ, in addition to his bottles, betting slips and lovers, had acolytes, had students, had bosses, had friends, had some enemies, had a current driving licence, a roof over his head, any number of rescue dogs along the way and a lifelong partner…. me.”
The collective breathing of the audience became quieter, reflective, the sense of cold easing perhaps with individual memories of better, sun-filled days. Karen sensed this weather change and her tone became less strident and more intimate. She continued,
“As some of you here know, along the way I also had my dalliances. Not as a revenge for JJ’s wanderings but as a necessary distraction from the chaos that often accompanied him. Weird to say but I was seeking not an escape or alternative but more often a sense of normality for a moment in time where a shared sense of tenderness, of exploration, of adventure could be a salve, or even a salvation.” Karen’s gaze wandered over the by now fog-bound pews. “I so want to thank,” she stressed. “Mainly on my behalf but also in truth on JJ’s behalf, those of you who facilitated and for the kindness shown to me.”
From certain sections of the audience the exhalation condensations now imitated the old Flying Scotsman steaming northwards at full pelt on a Lothian track.
“A short life,” Karen went on. Her voice had lowered its volume making it somewhat difficult to hear. Using the app on my phone I dialled my hearing aids up a notch. Also, I thought, a slight look of an annoyance appeared to crease her otherwise timeless face. “A too short life it must be said. Far too short!” she emphasised. “Too much left undone, too much left unsaid. For those of you here who do not know JJ died from liver cancer, 5 months from diagnosis but 40 years in the making.”
Karen stopped speaking for what seemed an age but then gripping the lectern very tightly, she regained herself and her purpose. “My dearest JJ, I loved you so much. But now sweetheart the shimmering is over and the gossamer threads that linked you to our reality, all reality really, are sundered and you are at peace. We all are at peace. Thank you all."
She exhaled deeply but then added, "I’d like you to come back to the house for tea and buns and more lethal stuff to warm you up.” As she stepped away from the lectern she rested her hand on the urn once more.
For a moment there was an intense silence in the old church, a black hole of intensity, sucking any background and foreground noise into a vanishing point. But then a single rhythmic clap near the rear of the chapel began and awakened a loud collective surge of applause and some nervous laughs as Karen made her way back to the front pew.
Agitated, I stood up suddenly as I was determined to make my way to her as quickly as possible, to be the first to offer condolences. As I reached her, she appeared lost in thought. I touched her bare shoulder. She looked up but seemed discomforted somewhat, I thought, by the intrusion. An unwelcome touch perhaps, I thought.
“Rod,” she said kindly as she took my hand in both of hers. There was no sense of warmth. She stood up and allowed me to lean forward to kiss her cheek. “A surprise but I am glad you are here. It also saves me a great deal of unwanted trouble tracking you down.” Her tone was not cold but pragmatic.
“Karen, I am so sorry,” I began then stopped short. “What do you mean?” I asked, genuinely puzzled.
She leant forward and whispered in my ear, “Of all our friends JJ despised you the most.”
“What …. why”, I stammered, caught completely off guard by the comment.
She pulled back to look at me. Through a fixed smile she spoke quietly out of earshot of the people behind, “Because JJ knew that of all my “distractions” the only man I ever loved, besides him, was you. He knew that if you had asked me back then I would have gone anywhere with you and as a consequence of course, away from him. He hated you for creating that possibility,” she said bluntly. Karen held me in a direct stare as she released my hand to wipe off a smudge of her lipstick from my cheek. “But then Rod, you never asked me…did you?” she accused as she cleaned.
“I …I ….” I stuttered, red faced, putty.
“Anyway,” she continued as she leant in again to whisper in my ear. “JJ has left specific instructions for you to dispose of, bury, enshrine his ashes in any way you see fit. His final revenge or forgiveness perhaps. In any event call up to the house tomorrow and we can sort some of the details.”
I could sense agitation in the queue gathering behind me. Forced coughs and shuffling brogues. I was poleaxed.
Karen smiled, “I am out of here Rod. Where the departed JJ ends up is of no real concern. I was here for the living not the dead. I am now selling up, leaving to live with the most wonderful, intelligent, beautiful, unique woman I know and who incidentally, also has loads of male admirers that need tending to. So, if you don’t mind, excuse me now as I must give my attention to the other guests. I will talk to you tomorrow. Say 11am?”
And the Karen I once loved, brushed brusquely past me, the scent of Oud wafting behind her, not waiting for my answer. Stunned by the brutal dismissal I lingered to look at the bloody urn on its pathetic little table and the Mona Lisa-like eyes of the picture that were following me. "You bollox," I accused, him and me.
“Rod, how’s it going mate?” I turned to see JJ’s Australian brother-in-law Shane, father of Amy, rounding Karen and coming towards me. He had aged. “You look as happy as a bastard on Father’s Day,” he grinned.
“Hi Shane,” I managed. I found his acquired outbackness annoying. “Amy sang beautifully,” I added, truthfully.
“Did she tell you?” he asked.
“Did who tell me what,” I grumbled defensively.
“Karen of course! JJ wanted you as executor of his will.”
Taken aback I tried to hide my surprise. “What? No. Karen only mentioned that I had to find a place to bury him,” I said harshly.
“Hah! Forget that mate. She’s pulling your wire, you drongo!” he announced with glee. “Look around you Rod. This place came with a crypt, you are already standing in JJ’s mausoleum.”
“Fuck me dead,” I mumbled, imitating him.
Behind us, at the back of the church, the “For Sale” sign suddenly clattered in through the open doors, driven in by what was now a snow laden gale. In the rafters Amy began to sing again, yet another song by Sting,
Every breath you take
And every move you make
Every bond you break
Every step you take
I’ll be watching you……………
Friday, July 05, 2024
RIHLA (Journey 76): AMNISSOS, CRETE – FINDING EILEITHYIA: IN SEARCH OF THE DIVINE MIDWIFE (Kourotrophos)
Rihla (The Journey) – was the short title of a 14th Century (1355 CE) book written in Fez by the Islamic legal scholar Ibn Jazayy al-Kalbi of Granada, who recorded and then transcribed the dictated travelogue of the Tangerian, Ibn Battuta. The book’s full title was A Gift to Those who Contemplate the Wonders of Cities and the Marvels of Travelling and somehow the title of Ibn Jazayy's Rihla of Ibn Battuta’s travels captures the ethos of many of the city and country journeys I have been lucky to take in past years.
Those in terrible distress.
Upon you alone pregnant women call,
O comforter of souls,
EILEITHYIA ON MY MIND
The earliest form of the name Eileithyia is the Mycenaean Greek 𐀁𐀩𐀄𐀴𐀊, e-re-u-ti-ja, written in the Linear B syllabic script. Ilithyia is the latinisation of Εἰλείθυια. (Wikipedia Accessed 02/07/2024)
As an Obstetrician & Gynaecologist it was midway through my career before I encountered Eileithyia, as a very specific Greek goddess of parturition or the labour part of childbirth. But once met she has provided a compass to some of my journeys in Greece.
Most of these journeys were solo but some, with increasing pleasure, were shared. In recent years my grandson has joined my wanderings and this rihla is about aparticular journey, in the company of my grandson, to her home in Crete.
Cast adrift from the remainder of the European platform during the late Miocene (5.3 million years ago [BP - Before Present]) the predominant Cretan geological layers are those of crystalline and platy limestone rock; the gradual erosion of which by water has created a distinct geology, as well as enabling a unique cosmology and mythology on the island.
More permanent homo sapiens settlement in Crete had to wait until the Final Neolithic (c.10,000 - 3,000 BP, on cusp of Bronze Age) but even today archeological evidence of a significant early or mid-Neolithic occupation of Crete is rare. Only one significant Neolithic site on Crete has been identified and this is at Knossos and is dated to approximately c.7,000 BP. Full occupation and settlement of the Island did not occur until a second inward migration at end of Neolithic and the subsequent establishment of the Minoan peoples in c.3100 BP. This development resulted in Europe's first great civilisation 1000 years later.
With the establishment of a Minoan society and “religion” caves became an integral part of the foundation myths. Even today caves are embedded in the Greek psyche in general and the Cretan psyche in particular. Underpinning this assessment is the fact that there is a dedicated Ephorate of Palaeoanthropology and Speleology (the study of Caves) at the Ministry of Culture in Athens and to date about 4,500 caves and sinkholes in Crete have been mapped. Of these 36 thus far have been identified as cult sites with twelve of those specifically dating to the Minoan period 3100 – 1075 BCE.
Later Eileithyia was also adopted by the Mycenaeans following their takeover in Crete and in the 5th – 6th Century BCE her cult moved northwards to the mainland and into the Archaic Greek pantheon, her popularity in part promoted by her inclusion in Homer’s Iliad of c.8th C BCE as the goddess of parturition or childbirth. Homer called her mogosókov (moyodokos) “the goddess of the pains of birth” in the Iliad (Hom II. 16:187).
In the Olympian religion following her “import / migration” from Crete the veneration of Eileithyia soon marginalised Artemis as a primary and exclusive“midwife” goddess in the 5th century BCE to enter into a duality of purpose with Eileithyia Artemis, their mother Hera (who protected the labours of married couples only), and later Hekate. It was convenient to repurpose the role of Artemis, who although was an Archaic mainland goddess of childbirth was also seen as the a “virgin” killer of women. In Crete Artemis was seen as a goddess protecting the newborn and as a consequence of the arrival of the cult of Eileithyia to the mainland Women women in labour in Athens, Corinth or Sparta from the 5th C onwards then had the option of praying to Artemis for her not to kill them in labour and to Eileithyia to protect them in labour and to eease their pains.
In the evolution establishment of Eileithyia’s cult of in mainland Greek religion and society the temples of Eileithyia however, where they existed in isolation and not shared as in Delos , and Sparta, were always, it seems to me, located on the periphery of cities. In Hermoine, Argos, Corinth and Megara they were sited at the city gates, as far from the centre that you could get. Exceptions, for example, were a dedicated central or main town temple in Teos in Ionia and in Leto in Crete, which is a post-Minoan city. They The peripheral temples generally did not have dedicated “priestesses” , one of the rare exceptions being the sanctuary at Hermoine in the southern Argolis. Veneration and the bringing of votive offerings to the sanctuaries was a private experience.
Whether temples or caves the veneration of and the bringing of votive offerings to Eileithyia tended to be a very private “female” or “familial” experience with families offering votive offerings to Eileithyia for the safety of their daughters in labour. In Crete it was caves that generally fulfilled that detached, private sanctuary purpose.
The most important caves are located at Amnissos on the north coast and at Tsoutsouros (ancient Inatos) on the south coast of Crete. As a former obstetrician it was fairly late in my career before I decided to investigate Eileithyia as a specific Greek goddess of parturition or the labour part of childbirth.

‘The Lycian Olen, an earlier poet, who composed for the Delians, amongst other hymns, one [was dedicated] to Eileithyia and styled her “the clever spinner”, clearly identifying her with fate, and this makes her older than Cronos.’
Pausanias
Description of Greece 8:21:3 c. 160 CE
My first encounter with the cult of Eileithyia was many years ago on the island of Delos. Escaping the bedlam of Mykonos, a 35 minutes boat trip takes you into a magical time-capsule of a now uninhabited place that as the home of the Delian League ( c.478 BC) was at the very centre of the Greek commercial world.
“When at length Eileithyia, goddess of childbirth, had brought him to the light, and he saw the rays of the sun.”
Homer:
“The Messenians have a temple erected to Eileithyia with a stone statue.”
Pausanias
Sometime later in the summer of 2022 my next encounter with Eileithyia was a small ruined temple with an altar pillar near back wall half-way up Mt. Ithome (named after one of the nymphs who raised Zeus when hidden from his father), the mountain that rises up above the ancient city of Messene in SW Greece. It lies about 150 meters to the north of a narrow track that originates beside the bigger temple complex of Artemis-Limnatis (Lady of the Lake or waters) on the mountain. The temple was mentioned by Pausinias although some recent work by Maria Spathi suggests it might have been dedicated to Demeter, the Goddess of fertility instead.

Finally, again in the summer of 2022, having left Thermopylae ( see: http://deworde.blogspot.com/2022/08/rihla-journey-75-thermopylae-greece.html) I stopped on my way to Larissa and in a small but perfectly presented museum in the acropolis castle of Lamia there was a wonderfully detailed 4th century BCE carved stone stele ( see below) of a votive gift being given to Artemis-Eileithyia from the Eileithyia sanctuary in ancient Echinos in Thessaly. The carving charmed me and it was the subsequent use of a picture of the stele to designate the obstetrics and gynaecology teaching material on our university teaching platform that prompted me this summer to head for Crete to search for Eileithyia’s own birthplace and sacred sanctuary at Amnissos on the north coast.
EILEITHYIA: FROM WHENCE SHE CAME?
“So he anchored his ships at Amnisus [Amnissos], where there is a cave of Eileithyia, in a difficult harbour, and barely did he escape the storm.”
Homer
The Odessey 19:188
“Send us bright one, light one, Horhorn, quickening and wombfruit”
James Joyce,
Ulysses 14: Oxen of the Sun
Eileithyia has been with us through the ages. She is a Cretan deity primarily but as to her origin there is some disagreement about the etymology of her name. Whether the name has an pre-Indo-European, Indo-European or Semitic root remains unclear. The Minoan language is still unclassified because neither Cretan hieroglyphics or Linear A have been deciphered satisfactorily. A later (c.1800-1500BP), transitional Eteocretan language that bridged pure Minoan with Mycenaean proto-Greek, although available in a few inscriptions in early Greek alphabets, also remains unclassified even if it is a direct evolution of Minoan.
The name of the goddess in a decipherable script and language first appears on clay tablets from Knossos c. 1000 BCE listing offerings to the goddess where she is named as e-re-u-ti-ja [Eluthia] which scholars agree is the same as Homeric Greek Ειλείθυια. Interestingly she is mentioned 4 times in clay tablets found at Knossos (Tablets Od 714, 715 & 716) and in three of the instances her name is linked with wool.
In Greek the name, EILEITHYIA ( Ειλείθυια) is thought to derive must likely fromthe root ελεύsmai “to come”. The Cretan equivalent is “to bring”, or finally the root “to liberate” as in "to liberate” from pain. Simone Zimmerman Kuoni points out that a specific epithet of Eileithyia is that of “she who loosens the girdle” impeding a difficult childbirth. In rural Greece and Crete ela, ela ,[ ela, ela], “come, come” is still used as an exhortation to help deliver a mother in labour.
In terms of a key sanctuary location for Eileithyia, a court of appeal as it were, of the most important “deity” that would ease a woman’s birthing process for Homer’s Odessey it was a cave on the coast in Crete. For James Joyce this divine “midwife”reference was repeated in Ulysses when it was the deity that was Andrew John Horne and his “house” was the National Maternity Hospital ( then located at site of William Roe's short lived maternity hospital at No. 32 Holles St.) where he was master.
Eileithyia in mythology, however, was not all sweetness and light (even she was considered a lunar goddess bringing light) however. Her mother Hera held sway over her as a master would an apprentice particularly when dealing with the births of the bastard offspring of the mortal mistresses of her husband Zeus. Dispatched by Hera to prevent Alcmene’s delivery of Heracles and his twin Iphicles [ Heracles and Iphicles were a case of heteropaternal superfecundation where a woman carries twins with different paternal genes i.e. a cycle with two eggs where pregnancy occurs after receiving sperm from two different episodes of intercourse with different partners] she prevented her cervix from dilating, letting Alcmene writhe in pain with the contractions. As it was twins, from an Obstetric perspective, the most likely cause of this obstructed labour was perhaps Eileithyia performingan external manipulation of the first coming twin so that it was lying transverse and thus impacted at the entrance to the pelvis. She was ultimately tricked by Galinthias, Alceme’s maidservant into releasing her hold and first Iphicles and then Heracles were delivered. Subsequently Galinthias was turned into a weasel for defying the will of the Gods and in Crete in particular thereafter mustelids were always associated with the Eileithyian sanctuaries and childbirth in general.Cretans call weasels kalogennousa or “she who births easily/well” an obvious link to the purpose of Eileithyia.
Childbirth in Bronze Age Crete was dangerous with high maternal mortality rate from haemorrhage, sepsis, hypertension and thrombosis. The estimate would be about 1500 maternal deaths / 100, 000 live births. The current rate in Ireland is 6 / 100,000 live births. Prolonged and difficult labours were the worst outcome of all with perhaps a stillborn baby delivering after a 3-4 day labour and the mother dying shortly afterwards. The need for a protective deity was manifest. The votive offerings deposited in Amnissos and Inatos caves are testament to this. Eileithyia is depicted on an amphora from Tinos with a tool of her trade, a sickle-shaped harpé knife in her hand most likely for cutting the umbilical cord or perhaps doing a caesarean section.
THE CAVE OF EILEITHYIA AT AMNISSOS

Modern understanding of parturition and the signals that initiate and maintain labour are still not fully understood. Nor the timing or the location fully elaborated or controlled. The most earnest hope for individual women, their partners, their parents, their midwives and obstetricians is that delivery can be achieved safely for the mother and child.
After leaving I sat outside the cave for a while in the bright sunshine with my grandson, and the sudden thought came to me as to the real reason we were sitting there on that hot June morning. I remembered that his mum went into a precipitate labour and that younger brother was delivered (not intentionally!) at home by his father (my son), with his grandfather (me) supervising and that he at seven years of age, awakened in the early hours by the commotion, being sent off to the kitchen to get a scissors and twine to cut and tie the umbilical cord.
Yes indeed Eileithyia: a cave of memories, shared endeavours and a deep, deepappreciation for a safe passage into and beyond this life.
Éla, Éla ; come , come into the light.
GREEK MINISTERY OF CULTURE _ SPEOLOGY
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