The hosting of the International PEN Congress in June 1953 by the Irish writers’ club PEN, signalled a coming of age for the new nation in world literature. For a short and crucial period, Ireland and its network of international writers were at the centre of the literary and intellectual world. It was seen as one of the largest and most important nation-building exercises of the period, and was widely supported by the Irish government. Its history reminds us of the crucial role of literature in the building of a nation state, and serves as a model for the promotion of culture and the arts in contemporary Ireland.
Literary luminaries who attended the congress included the playwright Bertolt Brecht, producer and actor Peter Ustinov, and novelists Storm Jameson, Stevie Smith and Arthur Koestler. Up to 500 delegates from 27 countries in Europe, the United States, Japan, New Zealand and South America gathered for a spectacle of intense literary debate, political resolutions and social entertainment. They weren’t disappointed.
The theme of the event adopted by Irish PEN was “the literature of countries whose language restricts its wider appreciation and expression”, with the aim of advancing the exchange of ideas in lesser-known languages. This theme deeply resonated with Irish writers, many of whom had experience in reviving the Irish language. In the context of a post-second World War and early-Cold War era, the resolution became a unifying theme among the splintered group of intellectuals that converged in Dublin in 1953.
The intention of Irish PEN was to foster a communications network which would transcend national boundaries and politics and speak out for the right to freedom of expression, and promote literature. Since its formal launch in 1934, led by the patron of the Gate Theatre, Lord Longford (originally it was pioneered by Lady Gregory), Irish PEN formed strategic alliances with literary centres throughout the world; actively intervening in the debates about literature and human rights. It attracted membership from Ireland’s leading Irish writers, North and South, including Sean O’Faolain, Dorothy Macardle, John Hewitt, Kate O’Brien and Richard Hayward, and by 1940 had a membership of 130 writers, poets, translators, publishers and editors.
The vision of a writer as the liberal conscience of the world was the cornerstone on which International PEN was founded, and the crusade by its members to uphold the cultural freedom and integrity of writers remained one of the critical objectives of the 1953 Congress. In private members’ sessions, they debated the concerns of writers, and later reported these to an eager world media. In the spirit of international solidarity, a minute’s silence was observed for writers East and West, who had given their lives “in aid of free expression”. They sent a telegram to Argentina’s president Juan Peron in protest over the arrest and imprisonment of cultural leader Vittorio Ocampo, and an expression of support to Spanish writers in exile.
But by 1953, International PEN’s hope of a utopian “world republic of letters” was shattered. Hostilities between centres characterised Congress during this period. Brecht from the Eastern German PEN Centre and Erich Kastner from the West German PEN centre refused to recognise each other. Newspaper reports described relations as “somewhat strained between the two delegations”, and portrayed a “delicate situation”. Other disputes arose between the German and French delegates, with the result that separate receptions were held by their respective embassies. Nevertheless, under the steady diplomacy of the Irish PEN president, the writer Donal Giltinan, the spirit of PEN prevailed and they turned their attention to literature and to social events.
Conscious of the worldwide media attention, President Seán T O’Kelly and his wife, Phyllis, hosted what was considered the highlight of the social occasions, and one of the largest receptions was held in Áras an Uachtaráin. More than 400 delegates were invited, and 100-yard queues to greet the hosts were recorded.Taoiseach Eamon de Valera, opposition leaders, government ministers and diplomats joined to greet the visitors. Guests were entertained in marquees to the music of the No 1 Army band and an Army pipe band.
Luncheons and receptions were arranged in St Patrick’s College, Maynooth, and hosted by Guinness. Trinity College held a sherry reception for 200 delegates: the Book Association hosted a luncheon for 100, Fógra Fáilte (now Fáilte Ireland) hosted a luncheon, and embassies held receptions for visiting writers. In keeping with the social mores of the period, women delegates were offered a “mannequin parade” of Irish tweed to showcase Irish material. Sponsorship was sought and offered by commercial bodies, including Aer Lingus, and other business interests. A “radio train” was organized by CIE to bring delegates from Dublin to Killarney for a tour of the lakes. These trains were introduced in Ireland during the 1950s and were equipped with radio stations, and comperes, who entertained passengers with commentaries on places, history, poetry and songs.
Belfast PEN insisted on joining the celebrations, under the stewardship of the writer and actor Richard Hayward. They commissioned a special train to ferry distinguished guests from Dublin to Belfast, hosting a one-day session in Belfast which included a reception at Stormont. Hayward’s plan was to avert what he called a “national disaster” by ensuring that Belfast PEN would play a central role in welcoming and hosting events in Northern Ireland during this momentous occasion: “Much of what these writers see in Ireland would be carried to the ends of the earth: it was of vital importance, therefore, that their views would not be confined to one part of the island.”
For lesser-known writers it represented a significant platform for promoting their work and a means to generate an interest in Irish writing in what Goethe called “the market... of general intellectual commerce”. A special exhibition of Irish books was held in the public library on Pearse Street, and an anthology of poetry, Concord of Harps, was published for the occasion. The collection drew attention to the music of Ireland, with a quote from Moore’s Irish Melodies setting the tone: “In every house was one or two harps, free to all”. The anthology featured Austin Clarke, Blanaid Salkeld, Padraig Colum, Winifred Letts, Seumus O’Sullivan, Mary Davenport O’Neill, Joseph Campbell, Rhoda Coghill and Stephen Gwynn.
The event was a resounding success and letters of congratulations poured in from around the world. By hosting this event, Irish PEN was instrumental in placing Ireland and Irish writing at the centre of world literature, and for a crucial few days, Ireland stood out from the crowd. Its positive story reminds us of the power of the pen in promoting literature and freedom of expression, and the benefits that come from supporting the arts. The campaign by PEN to celebrate excellence in literature and uphold human rights concerns continues to resonate today.
Dr Deirdre Brady lectures in communications at the University of Limerick. Deirdre.brady@ul.ie
