The slow passing of an itinerant culture in Ireland

Anthropologists George and Sharon Gmelch have been studying the quasi-nomadic people known as Travellers since their fieldwork in the early 1970s, when they lived among Travellers and went on the road in their own horse-drawn wagon. In 2011 they returned to seek out families they had known decades before—shadowed by a film crew and taking with them hundreds of old photographs showing the Travellers' former way of life. Many of these images are included in this book, alongside more recent photos and compelling personal narratives that reveal how Traveller lives have changed now that they have left nomadism behind.

This book addresses the culture, history, ethnicity, language and nomadism of the Irish Travellers, who may be compared to the Gypsies of other nations.

Margaret Mead Award finalist! Nan Donohoe was an Irish Travelling woman, one of Ireland’s indigenous gypsies or “tinkers.” Traditionally, they traveled the countryside making and repairing tinware, sweeping chimneys, selling small household wares, and doing odd-job work. Over time, they came to live on the roadside in trailers and in government-built camps. Told largely in her own voice, Nan’s saga begins in 1919 with her birth in a tent in the Irish Midlands; it follows her life in Ireland and England, in countryside and city slums, through adversity and adventure. Gmelch brings to her task not only the resources of anthropology, but the skill of a sensitive writer and a warmth that allows her to see Nan as a person, not a subject. What emerges is a human story, filled with cruelty and compassion, sorrow and humor, bad luck and good.

A poignant, coming of age novel about an Irish gypsy boy’s childhood in the 1950’s from the national bestselling author of A Rip in Heaven and American Dirt. Ireland, 1959: Young Christopher Hurley is a tinker, a Pavee gypsy, who roams with his father and extended family from town to town, carrying all their worldly possessions in their wagons. Christy carries with him a burden of guilt as well, haunted by the story of his mother’s death in childbirth. The wandering life is the only one Christy has ever known, but when his grandfather dies, everything changes. His father decides to settle briefly, in a town, where Christy and his cousin can receive proper schooling and prepare for their first communions. But still, always, they are treated as outsiders. As Christy struggles to find his way amid the more conventional lives of his new classmates, he starts to question who he is and where he belongs. But then the discovery of an old newspaper photograph, and a long-buried secret from his mother’s mysterious past, changes his life forever....

Between freedom and ostracism: The world of the Irish Traveller Children

The history of Irish Travellers is not analogous to that of the 'tinker', a Europe-wide underworld fantasy created by sixteenth-century British and continental Rogue Literature that came to be seen as an Irish character alone as English became dominant in Ireland. By the Revival, the tinker represented bohemian, pre-Celtic aboriginality, functioning as the cultural nationalist counter to the Victorian Gypsy mania. Long misunderstood as a portrayal of actual Travellers, J.M. Synge's influential The Tinker's Wedding was pivotal to this 'Irishing' of the tinker, even as it acknowledged that figure's cosmopolitan textual roots. Synge's empathetic depiction is closely examined, as are the many subsequent representations that looked to him as a model to subvert or emulate. In contrast to their Revival-era romanticization, post-independence writing portrayed tinkers as alien interlopers, while contemporaneous Unionists labelled them a contaminant from the hostile South. However, after Travellers politicized in the 1960s, more even-handed depictions heralded a querying of the 'tinker' fantasy that has shaped contemporary screen and literary representations of Travellers and has prompted Traveller writers to transubstantiate Otherness into the empowering rhetoric of ethnic difference. Though its Irish equivalent has oscillated between idealization and demonization, US racial history facilitates the cinematic figuring of the Irish-American Traveler as lovable 'white trash' rogue. This process is informed by the mythology of a population with whom Travelers are allied in the white American imagination, the Scots-Irish (Ulster-Scots). In short, the 'tinker' is much more central to Irish, Northern Irish and even Irish-American identity than is currently recognised.

A “beautifully crafted” novel of two sisters’ lives, spanning from 1950s Ireland to modern-day America (Colum McCann, author of Let the Great World Spin). Greta Cahill never believed she would leave her village in west Ireland. Yet one day she found herself on a ship bound for New York, along with her sister, Johanna, and a boy named Michael Ward, a son of itinerant tinkers. Back home, her family hadn’t expressed much confidence in her abilities, but Greta discovers that in America she can fall in love, earn a living, and build a life. She longs to return and show her family what she has made of herself—but that could mean revealing a secret about her past to her children. So she carefully keeps her life in New York separate from the life she once loved in Ireland, torn from the people she is closest to. Decades later, she discovers that her children, with the best of intentions, have conspired to unite the worlds she has so painstakingly kept apart. And though the Ireland of her memory may bear little resemblance to that of present day, she fears it is still possible to lose all . . . “A compelling drama of transatlantic Irish life.” —Billy Collins “Marries a deliciously old-fashioned style of storytelling with a fresh take on the immigrant experience . . . A warm, involving family drama.” —Booklist

- An objective exploration of an often-maligned community that exists on the fringes of societyIn Ireland, around 25,000 people still live in temporary settlements in the style of itinerant workers, far removed from the amenities of Western civilization. Moving from place to place in mobile homes without electricity or running water, the largest Catholic minority of the country are faced with many prejudices. Strangely out of step with 21st-century lifestyle, they stick to their seemingly outdated traditions while also trying to find a new identity that fits in with modern society. Even in the present day, this ambiguity continues to define life for the traveller community, whose livelihood depends on horse breeding and hunting and who keep their own language alive as part of their insular culture. In 2011, the photographer Birte Kaufmann cautiously began to make contact with the travelling community, earning their trust and on some occasions living with them. For her portrayal of this unknown world, she needed to be in close contact with the families in order to capture their particular character and to avoid the usual stereotypes. Without a doubt, Birte Kaufmann's combination of reportage and documentary photography hits the right note and offers impressive insights into the Irish travellers' extraordinary world.