
‘I have tried to be honest and frank including mistakes and regrets as well as triumphs' – Leo Varadkar set to publish memoir this September
He signed a six-figure book deal with Sandycove, an imprint of the publisher Penguin, last year following a bidding war for the rights to his autobiography that involved nine publishers.
The former leader of Fine Gael, who resigned as both taoiseach and party leader in a shock announcement last April, said he has 'tried to be honest and frank' in his account.
The book, which is titled Speaking My Mind, will be released on September 11.
'I served in government at one of the most interesting periods in history - the aftermath of the economic crash, Brexit, transformative referendums and the pandemic,' he said, sharing the cover of the book to social media earlier today.
"The book is both personal and political and I hope it will give the reader new insights into that time. I have tried to be honest and frank including mistakes and regrets as well as triumphs.'
Mr Varadkar was awarded the title of 'Hauser Leader' at Harvard University's Kennedy School's Centre for Public Leadership earlier this year, where he is currently guest lecturing.
In a statement released by his publisher when he signed with them last year, Mr Varadkar said: 'I am really enjoying writing my story and I was keen to do so while it was still fresh in my head. It's as much a personal memoir as it is a book about political history.
"There is so much people know already about my time at the top but there is almost as much that they don't. I have the freedom now to say things I could not while holding office and I have enough distance to reflect on the mistakes I made as much as what was achieved.'
The former Fine Gael leader was elected to the Dáil in Dublin West in 2007 at the age of 28.
He contested the party leadership election following the resignation of Enda Kenny in 2017 and was elected taoiseach that year at the age of 38.
Mr Varadkar is one of a number of former taoisigh to publish his memoirs, including Brian Cowen and the late Albert Reynolds.
In 2008, former taoiseach Bertie Ahern agreed a €400,000-plus publishing deal with Cornerstone Publishing, a subsidiary company of US publishers Random House.
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Extra.ie
a day ago
- Extra.ie
Cynthia vs Mary? Fianna Fáil may soon choose between key contenders for presidency battle
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One TD said: 'She doesn't hold back, that's for sure, but she has the basic talent of confidently asking voters for their vote, in an engaging manner. You'd be surprised how that is lacking in some.' Asked about a potential presidential run, Ms Ní Mhurchú told the MoS: 'I am an MEP for Ireland South. That is what I am focused on right now. It's a job I love and I am grateful for voters giving me this opportunity to serve them. I have given no thought whatsoever to a race for the presidency nor have I canvassed or sought a nomination within Fianna Fáil. 'I was flattered and honoured to be mentioned in press coverage on it, but like I said no plans, and now I am focused on the very busy task at hand – being an MEP – and preparing for another presidency, that of Ireland's presidency of the Council of the EU in 2026.' Mary Hanafin became an education minister under Taoiseach Bertie Ahern in 2004, after serving as government chief whip from 2002 to 2004. 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Irish Times
a day ago
- Irish Times
Housing emergency? Ireland is not even acting at the level of mildly urgent
Housing , the Taoiseach and Tánaiste pronounce regularly, is the Government's 'number one priority'. Then what does it say about the Coalition when things are so demonstrably getting worse? There is a growing tendency around Government Buildings and Leinster House to mutter about the performance of new housing minister James Browne , and not just among Fine Gaelers. Not up to the job, they sniff. A bit at sea. Overwhelmed. Maybe they're right – probably too soon to make a fair judgment – but this isn't Browne's failure. It's a whole of Government failure and it's being going on for a long time. READ MORE Are there viable pleas in mitigation? Sure. The bust wiped out the construction industry (though that was a decade and a half ago). Covid froze things for a year and a half. The planning laws and processes seem designed to prevent the provision of housing. Inflation has driven up costs, rogering the developers' sums. Banks are too slow to lend. The courts seem eager to quash planning permissions, often for flimsy reasons. But does all that excuse the Government's performance? Not at this stage. We are heading for a decade of failure to get to grips with a growing social disaster. That's long enough to fix things, even in Ireland. This is a Fine Gael and Fianna Fáil failure and they are running out of time to fix it. The evidence that things are going in the wrong direction is mounting lately. Last week, reported that the cost of renting increased by an average of 3.4 per cent in the first three months of 2025, with the increases taking the monthly average open-market rent to over €2,000 for the first time. Meanwhile, despite the skyrocketing rents, home ownership is in freefall among the young. This is deeply socially destabilising. A friend reports from a terrace of two-up-two-downers in Ringsend that there is a queue down the street of prospective renters for a nearby house. The rent? Nearly three grand a month. The figures for the delivery of new housing, meanwhile, are also going in the wrong direction. On Tuesday, the ESRI told an Oireachtas committee that there will be no big increase in housing supply this year or next year. The numbers might get to 34,000 this year and 37,000 in 2026, but 'most of the risks weigh on the downside'. [ ESRI to warn Government of no major uptick in housing supply this year or next Opens in new window ] And even if those numbers are achieved, that would require 78,000 houses to be completed for each of the following three years to meet the Government's promises of 300,000 units during its term. What, do we think, are the chances of that happening? Meanwhile, water utility Uisce Éireann has said that it may be unable to grant any new connections in the Dublin area by 2028 . 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He has been waiting seven months for clarity on one design feature. The entire industry is 'sitting on its hands', he says. The other developer spent three years preparing an application for permission for 500 units. The planning inspector recommended the go ahead. But An Bord Pleanála nixed it. The board could have put conditions on it and construction would be under way by now, but instead it refused outright. So, back to the drawing board. 'This is not a system that promotes supply,' the developer says. 'It is a system that retards supply.' [ Ireland's housing perma-crisis returns to centre of political agenda Opens in new window ] Everyone talks about an emergency, but the reality is that at no level is the system set up to deliver housing at scale and quickly. In fact, the very opposite seems to be the case. There is simply no way that the current system of housing provision – from finance to planning to utility provision to actual construction – can solve the housing crisis. 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Irish Times
a day ago
- Irish Times
Elaine Feeney on her new novel: ‘I was pushing a sort of Chekhov dinner party in the west of Ireland'
Fresh from submitting a batch of student grades, the novelist and poet Elaine Feeney bursts into the Oyster Bar accessorised with a Penguin-branded tote from her 'lovely publishers' and the exuberance of someone who thought she might be late thanks to a train delay but isn't. We're not in the Hardiman Hotel on Eyre Square in Galway for oysters or cocktails, yet it feels like a celebratory occasion: the publicity push for Let Me Go Mad in My Own Way, Feeney's third novel, is officially under way. 'You're my first interview,' she says, though she has only just reached 'the very end' of talking about her Booker Prize-longlisted second novel, How to Build a Boat , and is 'finally comfortable' with her understanding of it. She would like to have 'a nice coherent linear narrative' for me about the kernels that led to Let Me Go Mad in My Own Way – the title of which comes from Sophocles' Elektra – but she's never been one for straightforward hooks. READ MORE 'It would be good if I could just package this for marketing, but actually, no, it was a very sporadic, cacophonous journey, this book.' It started with a couple, Claire and Tom, and at first she thought it might be a love story, but realised it couldn't just be that. 'People come from long deep histories that they bring into their relationship, and it affects it. There's no such thing as a love story that doesn't have these layers of the past.' In the novel, Claire has moved from London back to her childhood home in Athenry to care for her dying father, only for English ex-boyfriend Tom to relocate nearby. As she wrote it, Feeney found herself sidelining 'poor Tom' to examine Claire's relationship with everyone from a ' tradwife ' influencer to her two brothers. 'This is my first Irish family saga,' she says. 'I have four siblings and, because we grew up in the countryside, they were my best friends. They might not think that, but they were. You're so close and it's a small space and I just loved them. And there's very little done about the transition from your family-of-origin to your partner and your own children and how much you can miss your siblings, weirdly.' But 'family saga' risks oversimplifying the novel, which, although mostly set in 2022, also slips back to Claire's childhood and the lives of her ancestors in Athenry during the War of Independence. Feeney had to concentrate hard on the final edits, because despite studying history and teaching it for many years, she's not good with time. 'I can't fathom it at all in my head. I have a very sort of shadowy idea of what time means.' She likes having 'muddy little avenues' in her novels, though what is clear is that Claire is 'at a bit of a loss', being back in a place that should be familiar to her yet somehow isn't. 'I don't know if you have ever experienced that. You're in a space that is intensely familiar and suddenly you start to look at it and you see other things, and it's not the shape you thought it was.' She knows not everyone has to 'constantly walk the same paths' they walked as a child, but she does this, having bought the Athenry house she grew up in. She lives there now with husband Ray Glasheen, a designer, and sons Jack (23) and Finn (17). Did that feed into this novel? 'It feeds into everything. It feeds into absolutely everything,' she says instantly. Claire is 'unsure what world she is meant to inhabit' – a confusion that comes to a deliciously dramatic head when Tom, unaware of the delicate alchemy of mixing friends, panics her by inviting her neighbours to a dinner intended for her university colleagues. 'All the worlds collide at the end. I was pushing a sort of Chekhov dinner party in the west of Ireland,' she says, laughing. 'I come out in a rash thinking about that, seriously.' [ Elaine Feeney: 'I was shocked at what boys were expected to do from a young age' Opens in new window ] The book explores the political dimensions of the domestic space – the power and value of which so often go unrecognised, she says – with Claire becoming obsessed with a Texan trad wife. Feeney researched this in a 'very Gen X' way: by watching TikTok videos through Instagram. 'I got really good recipes for cakes and stuff, and I'm a really bad baker. It may have pleased my husband momentarily. I didn't tell him for a little while, and he thought I was very pleasant for a week or so. He thought I was in really good form. Then I said, 'I'm doing a deep dive on tradwives,' and we laughed so much about it.' She doesn't have a big take on the 'movement', thinking it 'has to be about choice', but worries this is also 'the hackneyed response' to a phenomenon that is both 'another fiction on your screen' and a business that possibly gives the women some agency and economic reward. 'What it taught me is that people do dabble in this. But I think it's absolutely mind-blowing the idea of scrolling past tradwives, lemon tarts, meringues, unpasteurised milk, 'cottagecore'; on to war, on to dismembered bodies, then on to fertility sticks, or whatever. I get a lot of those ads. The brainf**kery – sorry – that it must be causing,' she says. The juxtaposition of banality and brutality, she notes, is also a facet of her novel. We talk about how hard it is to be shocked now, and I mention the sense of powerlessness that can result from online doomscrolls. 'Powerlessness! Powerlessness is something I would feel acutely, and I think a lot of people feel it,' she says. 'I feel powerless, but as a writer I also feel a certain creative weight of responsibility as well.' That responsibility includes interrogating Irishness and the complications of identity. 'Sorry to keep doing the sociological sort of stuff, but I am really interested in the cultural export that is Irish people now.' She fears countries are being branded as if they are material things. 'But who gets to brand them? I'm very proud of my Irish heritage, but I often wonder what that means, when I really interrogate it. It's complex, because of Ireland's treatment of women in particular, and also now with direct provision and the housing crisis, and I'm not just naming things. These are things that I would really consider.' Every human feels pressure to perform, and not just to perform their national identity, she thinks. She wouldn't like to enter a space with her 'whole unbridled self'. Still, she does tend to say what she wants to say most of the time. 'Sometimes I really wish I didn't, that I had some sort of polish.' [ Elaine Feeney: 'I write what I know, so the west of Ireland aesthetic permeates everything' Opens in new window ] Feeney is warm and engaging. Over the course of our two-hour chat, we touch upon alleged cures for shingles, the 1995 divorce referendum, terrible audio-transcription apps, the disappointing third season of The White Lotus, whether a magpie might hang out with a blackbird, both being born in the summer of 1979, our mutual love for Chris O'Donnell in the 1995 adaptation of Maeve Binchy's A Circle of Friends, and the 'fantastic' classroom scenes in Another Round. The reference to this Oscar-winning, teacher-centric Danish film in Let Me Go Mad in My Own Way is one of its 'Easter eggs', or clues to her own life: Feeney taught English and history at St Jarlath's College in Tuam for 20 years. She loved teaching and the 'incredible people' she worked with, she says, but she didn't love the hierarchical structure and religiosity of the diocesan educational system, and it was this that crystallised her decision to leave. After the Tuam mother-and-baby home scandal broke, she felt acutely that she was 'on the wrong side of history', though she also wrestled with concern she might be 'giving up' on the boys she taught. 'It did come down to an ethical question for me in the end.' She is now involved in both the Tuam Oral History Project and writing charity Fighting Words, while lecturing full-time on the University of Galway's undergrad creative writing and postgrad writing degrees. 'They're all such brilliant writers, and I want them all to have publishing deals,' she says of her students. Lately, she has seen 'big interest' in gaming narratives, political poetry and fantasy/romantasy stories that demand world-building of the kind she says she can't do. Why would I risk everything by committing my love to paper? But anyway, I wrote a love poem Feeney, who began her literary career as a poet, always had a strong imagination – 'as a child I was a bit, you know, out there' – though it was her 2014 hospitalisation with life-threatening sepsis that proved the catalyst for her first novel. 'I was like, 'You nearly died, you better write a book, you wanted to write a book, you better do it.' So that – my own mortality – put fire in me.' Last year she published All the Good Things You Deserve, her first poetry collection in seven years. Its powerful, devastating title poem deals with a sexual assault that happened to her while she was in college. 'That was very personal, and I've done very little media about it. I just brought that softly, softly into the world,' she says. 'It took a long time to write the title poem, and to come to terms with putting any sort of narrative arc on the violence that I experienced as a younger woman. Of course, it was cathartic in some ways, but I really feel that art has to be more than a 'non-fiction of Elaine'. I wanted to tell that particular event in a way that I felt I was now controlling that story, finally, and it was no longer in control of me.' The collection ends with a love poem for her husband, though she had always told herself she was too cautious to write love poetry. 'Why would I risk everything by committing my love to paper? But anyway, I wrote a love poem.' When she alludes early in our conversation to a fourth novel in the works, I say I normally wait until the end to venture that question. So, she's already thinking about the next one? 'Of course I'm thinking about it. I wish I could just relax,' she says, but she doesn't sound too unhappy about being unable to, nor does she want to 'do the whole 'oh my god'' about being busy. 'Choices, my mother would say.' Mainly she feels relief that she got Let Me Go Mad in My Own Way down on paper and delight about everything from the joy of being served lemon and honey tea every day while recording its audiobook to the loveliness of being Booker-longlisted in 2023 alongside three other Irish authors. Sebastian Barry sent her a 'very generous' email, she says, when neither of them made the shortlist cut. 'I have nothing but gratitude now. That is genuinely how I feel about it. The journey has been mind-blowing for the last six or seven years. I haven't really stopped and taken stock of it, but once or twice I have, and I've just gone, 'Oh yeah, I'm really lucky.'' Let Me Go Mad in My Own Way is published by Harvill Secker