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Clare Boylan
Clare Boylan
Clare Boylan
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Clare Boylan (21 April 1948 – 16 May 2006) was an Irish author, journalist and critic for newspapers, magazines and many international broadcast media.

Key Information

Life and career

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Born in Dublin, Ireland, on 21 April 1948, to Patrick and Evelyn Boylan (née Selby),[1][2] Boylan began her career as a journalist at the now defunct Irish Press.[1][3] In 1974, she won the Journalist of the Year award when working in the city for the Evening Press.[2][3]There she met her husband, fellow journalist Alan Wilkes.[2] From 1981, Boylan edited the glossy magazine Image,[3] before largely giving up journalism to focus on a career as an author in 1984.[1][2]

Her novels are Holy Pictures (1983),[4] Last Resorts (1984), Black Baby (1988),[5] Home Rule (1992), Beloved Stranger (1999), Room for a Single Lady (1997) – which won the Spirit of Light Award[2] and was optioned for a film – and Emma Brown (2003).[6][7] The latter work is a continuation of a 20-page fragment written by Charlotte Brontë before her death.[1][6][8]

Boylan's short stories are collected in A Nail on the Head (1983), Concerning Virgins (1990) and That Bad Woman (1995).[7] The film Making Waves, based on her short story "Some Ladies on a Tour", was nominated for an Oscar in 1988.

Her non-fiction includes The Agony and the Ego (1994) and The Literary Companion to Cats (1994).[6][7] She wrote introductions to the novels of Kate O'Brien and Molly Keane and adapted Molly Keane's novel Good Behaviour as the classic serial for BBC Radio 4 (2004).[6][7] Boylan's work has been translated as far afield as Russia and Hong Kong.[7]

Many of her writings were inspired by feminist thinking.[1][2][3] She said of this theme that "by definition, I am a woman writer because the things that interest me are the things that are most interesting to women".[3] Her works gained her membership to Aosdána.[2][6][7]

In later life, she lived in County Wicklow[2][7] with her husband Alan Wilkes.[1][6] She died in Dublin after a lengthy struggle with ovarian cancer, aged 58, on 16 May 2006.[1][6]

References

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Clare Boylan

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Clare Boylan was an Irish novelist, short-story writer, and journalist known for her poignant and witty explorations of family relationships, particularly between mothers and daughters, as well as for her acclaimed completion of Charlotte Brontë's unfinished novel, published as Emma Brown in 2003. Born in Dublin on 21 April 1948, Boylan grew up in a close-knit family as the youngest of three daughters, with a mother who strongly encouraged her literary ambitions and a father who experienced periods of depression. She began her professional life in journalism during the 1960s at the Irish Press, later winning Ireland's Journalist of the Year award in 1974 for her investigative series on vulnerable women. She went on to edit magazines such as Image, attracting prominent contributors, before transitioning to freelance writing and literary criticism while contributing to international publications including The Guardian. Boylan published her debut novel Holy Pictures in 1983, followed by Last Resorts (1984), Black Baby (1988), Home Rule (1992), Room for a Single Lady (1997), and Beloved Stranger (1999). Her short story collections included A Nail on the Head (1983), Concerning Virgins (1990), and That Bad Woman (1995), while her non-fiction works encompassed anthologies such as The Agony and the Ego (1993) and The Literary Companion to Cats (1994). Her fiction often combined sharp humour with emotional depth, earning translations into multiple languages and adaptations, including the Oscar-nominated short film Making Waves based on her story "Some Ladies on a Tour." Boylan faced her final illness with resilience and died in Dublin on 16 May 2006 at the age of 58.

Early life

Childhood and family background

Clare Boylan was born on 21 April 1948 in Dublin, Ireland, the youngest of three daughters of Patrick Boylan, a clerical worker with an import firm, and Evelyn Boylan (née Selby). The family resided in a modest red-brick terrace house in the suburb of Terenure, which she described as freezing cold yet situated in a fearfully respectable area typical of mid-20th-century Dublin. Her father was often away from home because of his job, leaving the household largely managed by her mother. Boylan's mother, who lacked formal education and felt trapped by the domestic limitations imposed on women in 1950s Ireland, had harbored ambitions to become a writer herself but focused those hopes on her daughters. She actively encouraged storytelling and creativity, boosting her children's self-image and aspirations by insisting they were exceptional, which fostered a nurturing environment amid modest circumstances. This maternal influence helped shape an early awareness of women's roles and constraints in Irish society. The Boylan household was lively and creative, filled with music and narratives; the three sisters formed a pop group in the early 1960s and performed at local variety halls to earn pocket money, while the middle sister played boogie-woogie jazz on the piano, and family conversations often included quotes from Irish writers such as Shaw and Wilde. Boylan attended convent schools in Dublin, first the Presentation convent and later St Louis convent in Rathmines, receiving an education rooted in the Catholic traditions prevalent in mid-century Ireland. Her mother promoted her interest in writing from a young age, contributing to early creative efforts that foreshadowed her later entry into journalism.

Entry into journalism

Clare Boylan's interest in writing emerged early, with her first piece published in a newspaper at the age of 14. This early success fueled her passion for the craft throughout her teens, leading her to continue submitting work even while pursuing other employment after leaving school. At age 17, she took a position as a sales assistant in Eason's bookshop, but maintained her writing ambitions by submitting articles and securing acceptances from RTÉ. Soon afterward, she joined the Irish Press newspaper, initially working in its library. Almost immediately, at the age of 18, she transitioned into journalism as a staff member with the Irish Press, marking her professional entry into the field. Her early assignments at this major Irish newspaper focused on soft news and women's interest features, providing hands-on experience that allowed her to learn the trade and develop her distinctive voice as a writer. She also contributed as a feature writer to the Evening Press, part of the same group, during this formative period. This initial immersion in daily journalism laid the groundwork for her later career progression.

Journalism career

Work at the Irish Press and early roles

Boylan began her professional life in journalism at the age of 17, working as a staff journalist at the Irish Press from the mid-1960s through the mid-1970s. Her role encompassed news reporting, feature articles, and interviews, through which she developed a distinctive style marked by sharp observation and wit. She became particularly noted for her insightful commentary on social issues, with a frequent focus on the experiences and challenges facing women in Irish society during that era. In 1974, she won Ireland's Journalist of the Year award for an investigative series on vulnerable women.

Magazine editing

Boylan went on to edit magazines such as Image, where she attracted prominent contributors.

Freelance journalism and criticism

Boylan later transitioned to freelance journalism, contributing articles, book reviews, and essays to various Irish and British publications. Her freelance work focused on literary criticism, cultural commentary, and explorations of women's issues and society. She became a contributor to The Irish Times, where she was known for her perceptive book reviews and thoughtful essays on literature and contemporary life. She also wrote frequently for The Guardian, providing criticism and columns that showcased her wit and observations on books, gender, and social themes. Her freelance contributions extended to other outlets, including magazines and newspapers in Ireland and the UK, where she produced columns and essays on a wide range of topics related to literature and culture. Boylan's criticism was noted for its accessibility and depth, often blending personal insight with broader cultural analysis.

Literary career

Short stories and early fiction

Clare Boylan transitioned from journalism to creative writing in the early 1980s, publishing her first short story collection and debut novel in quick succession. Her collection A Nail on the Head appeared in 1983, the same year as her first novel Holy Pictures, followed by her second novel Last Resorts in 1984. Her second short story collection, Concerning Virgins, was published in 1990, and her third, That Bad Woman, in 1995. Boylan's early fiction centers on domestic life, women's experiences, and family dynamics in Irish society, often blending sardonic humour with pathos to explore interpersonal tensions and the confrontation between personal desires and social expectations. Her work excels at observing life's comic ironies, particularly within middle-class domestic settings, where she exposes underlying vulnerabilities and absurdities through sharp, perceptive prose. Stories in A Nail on the Head, for example, feature escalating comedies of manners disrupted by uncouth behavior or secret emotions, while pieces in Concerning Virgins delve into characters' inner worlds with tales of demented love, hysterical madness, and strained mother-daughter relationships. Her novels similarly capture the complexities of women's lives across different eras, with Holy Pictures offering a tragicomic child's-eye view of Dublin in the 1920s, informed by her journalistic skills in research and observation. Last Resorts extends this focus on family and personal quests amid everyday realities. She continued this exploration in Black Baby (1988) and Home Rule (1992), which combined poignancy and humour in depictions of familial love and Irish domestic life.

Novels

Boylan continued her literary exploration of family dynamics, relationships, and the intricacies of human emotion in her later original novels, Room for a Single Lady (1997) and Beloved Stranger (1999), building on her characteristic blend of wit, social observation, and psychological depth. These works marked a maturation in her fiction, delving more profoundly into themes of aging, long-term bonds, and the strains within families while retaining her sharp humor and evocative prose. Room for a Single Lady is set in 1950s Dublin and centers on the Rafferty family, whose three daughters—Bridie, Kitty, and Rose—endure a sheltered, almost Victorian childhood until financial hardship compels their parents to take in eccentric lodgers. These outsiders expose the girls to new worlds of sex, superstition, true love, and tragedy amid the transition from post-war conservatism to emerging 1960s liberalism. The novel portrays two contrasting states of womanhood: the single woman's frantic quest for a husband and the married woman's claustrophobic suburban existence. Boylan evokes the magic of childhood and adolescence with rare subtlety, wit, and warmth, rendering the book both delightfully comic and genuinely moving. Critics commended its lyrical quality, sharp eye for detail, enchanting depiction of childhood moods and sensations, and beautifully written prose. Beloved Stranger (1999) shifts focus to the disintegration of a long marriage under the weight of mental illness, inspired by Boylan's own parents' relationship, particularly her father's periods of depression and idealization of her mother. The narrative follows Dick and Lily Butler, a devoted Dublin couple whose "safe" life of compromise unravels as Dick's manic-depression escalates into paranoia, conspiracy theories, and shocking violence, leading to his institutionalization and death. Their pragmatic daughter Ruth, an architect, and Lily grapple with the aftermath, aided at times by a sympathetic psychiatrist. The novel develops into a voyage of discovery for both the married woman and her unmarried daughter, exploring themes of aging, jealousy, madness, family devotion, and the price of enduring marriage. It has been praised as lovely and deeply felt fiction, with a subterranean vein of wry humor that tempers its pained moments, delivered with delicacy, sound sense, and an ear for offbeat, compelling metaphors; critics highlighted its psychological insight, real feeling for human emotions, and exhilarating readability even in darkness, culminating in superbly realized irony. Across these novels, Boylan's prose remained clever, evocative, erudite, wittily sardonic, and exact, consistently blending poignancy with humor and offering incisive observations on relationships and personal turmoil.

Completion of Emma Brown

In 2003, Clare Boylan published Emma Brown: A Novel From the Unfinished Manuscript by Charlotte Brontë, her completion of the unfinished novel that Charlotte Brontë had begun shortly before her death in 1855. Brontë's surviving fragment consisted of approximately twenty pages, or two chapters, introducing a mysterious young girl deposited at a ladies' boarding school under a false identity, only to face rejection and distress when her circumstances are revealed. Boylan, an admirer of Brontë's work, undertook the project after becoming aware of the fragment and expanded it into a full novel while preserving Brontë's distinctive narrative voice, rich in philosophical reflection, moral observation, and sharp social commentary. Boylan's approach blended fidelity to the original with Victorian literary conventions, drawing elements from Brontë's other novels such as Jane Eyre, Villette, and Shirley, and incorporating Wilkie Collins-style mystery and Dickensian melodrama to drive the plot forward. She wrote in a leisurely yet engaging style typical of the period, with witty insights and a focus on the radical spirit of strong, passionate female characters, though some reviewers noted occasional modern attitudes that slightly distinguished it from a pure nineteenth-century text. The result was described as a page-turner with its own momentum and moral center, successfully bringing Brontë's voice to life rather than merely imitating it. Reception highlighted Boylan's achievement as exceptional among attempts to complete unfinished classics, with one critic placing her work "in another class" for its depth and respect for the source material. Reviewers appreciated the novel's ability to evoke Brontë's concerns with social injustice and female resilience while delivering a compelling, dramatic story that stood on its own merits.

Personal life

Marriage and family

Clare Boylan married the journalist Alan Wilkes in 1970. The couple met while working at the Dublin Evening Press, where Wilkes later served as deputy editor. They resided in County Wicklow, maintaining a long-term partnership that spanned more than three decades by the early 2000s. Boylan was survived by her husband at the time of her death in 2006. Her domestic life supported her prolific writing career, though she kept personal details private in public accounts. Themes of marriage and family occasionally appeared in her fiction, reflecting everyday Irish life.

Illness and death

Clare Boylan was diagnosed with ovarian cancer in 2003, shortly after the publication of her novel Emma Brown. She underwent gruelling but unsuccessful treatments for the disease. Despite the severity of her illness, Boylan faced it with characteristic strength and resilience. She took up kickboxing and spent time in France, where she enjoyed shopping, cooking, and entertaining friends. In July 2004, she published the article "Cutting my Losses" in The Guardian, in which she wrote with humour and insight about her diagnosis, the effects of chemotherapy, and the social implications of hair loss. In the week before her death, she asked a friend to bring her two Madeleines, a cinnamon stick, and a T-shirt the colour of raspberry sorbet, a request described as a playful reference to Proust. Boylan died of ovarian cancer on 16 May 2006 at Our Lady's Hospice in Harold's Cross, Dublin, at the age of 58.

Legacy

Critical reception and influence

Clare Boylan's fiction earned widespread critical acclaim during her lifetime for its clever, witty, and erudite prose, which skillfully blended poignancy with humour to illuminate familial love and the intricate relationships between women, particularly mothers and daughters. Reviewers frequently highlighted her sardonic humour and sharp satirical edge, describing her work as thoughtful, uncompromising, and enlivened by an idiosyncratic, funny voice that subverted commonplace assumptions. Her short stories were singled out for their particularly skilful construction, where sardonic humour often cut across pathos to reveal deeper emotional truths. Critics praised Boylan's insightful portrayals of domestic life and the roles society imposed on women, noting her wry feminist consciousness and ability to capture the complexities of human connections in twentieth-century Dublin with evocative precision. Her novels and stories were appreciated for their original imagery, sensitivity to themes of maternal love and loneliness, and sharp social observation, which together offered resonant commentary on women's experiences in a specific cultural and historical context. Boylan emerged as a notable voice in Irish women's fiction, contributing to the tradition of exploring female identity and relationships through a distinctly witty and perceptive lens that aligned her with other women writers focused on similar themes. Her work was regarded as significant for its illumination of lived realities in a particular place and time, earning her respect among contemporaries for its emotional depth and literary craftsmanship.

Posthumous recognition

Following her death in 2006, Clare Boylan received tributes in major publications that underscored her contributions to Irish literature and journalism. The Guardian obituary highlighted her as an acclaimed novelist and short story writer, particularly praising her seamless completion of Charlotte Brontë's unfinished manuscript in Emma Brown (2003), which earned international attention for its careful research and fidelity to Brontë's style. It also noted her witty, incisive prose and recurring exploration of mother-daughter relationships, describing her as clever, wise, and possessed of sardonic humour that marked both her personality and her writing. The Irish Times similarly remembered her as an award-winning journalist turned critically acclaimed author whose novels and short stories were translated into multiple languages, celebrating her ability to blend fiction with real emotional depth. In the years since, Boylan's work has attracted limited academic attention rather than widespread popular revival, with scholars describing her as "something of a forgotten figure" in contemporary Irish literature despite her lifetime success and critical acclaim. Scholars have examined themes such as agency in the natural world in her novel Black Baby (1988), indicating some ongoing, though sparse, engagement with her fiction in Irish studies as of the early 2020s. Her legacy thus remains primarily within scholarly circles and among readers who value her nuanced portrayals of women's lives, with no major posthumous publications or institutional honors emerging to elevate her profile further.
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