
I came of age in the Tinder era. There was no escape from online dating for Celtic Tiger cubs like me
Electric Classifieds Inc sounds like the name of an indie band founded by transition-year students, rather than the official title of the first parent company of Match.com, but such were the humble origins of the world's first dating site.
Match.com turns 30 this year, and claims to have found love for 2.6 million people. Today Match Group owns more than a dozen dating apps and operates in 190 countries. It is worth a collective $8.5 billion. Match.com gave rise to eharmony, OKCupid, feeld, Raya,
Grindr
,
Bumble
,
Tinder
, J-swipe, and the most maligned and ubiquitous of them all – Hinge. Love, it seems, is big business.
Match.com is the site that launched a thousand swipes, though its original iteration is a far cry from the dating apps we live on today. It didn't have the familiar swipe option – that was launched by Tinder.
Incidentally, Tinder started up the year I turned 18, itself a revolutionary moment, when the geosocial functions of the app spoke to a world of possibilities, hundreds of chances for romance just sitting in your pocket. I am 30, the same age as Match.com and I came of age in the Tinder era. The conditions were such that there was no escape from online dating for the Celtic Tiger cubs.
READ MORE
We were a generation that had been cosseted and pampered by careful parents, mindful of our self-esteem, who were led to believe we were special and unique. But we have had our whole lives reduced to five pictures and three inane prompts. What was once an exciting roster of possibilities has become a millstone around the millennial neck, as increasingly users report dating fatigue.
Some of the most successful relationships I have seen have been borne out of online dating. I have been to weddings where the couple met on the apps. I don't want to denigrate the love, meaning and connection people have found via the apps. I don't want to undermine the lifeline they have been for people who have struggled with their sexuality and found solace and acceptance via dating apps. I don't want to underestimate the potential they offer for people. Because the apps do speak of potential; they capitalise on our hope. Match.com has photos and testimonials of people just like you, happy, in love.
I have fallen foul of these testimonials. Some of the most consequential heartbreaks of my life began on the apps. The six-month Tinder romance that culminated in a rain-soaked, tear-sodden walk home after being dumped outside of a screening of Black Panther is a particular standout.
In the auspicious anniversary year of Match.com, the landscape has changed: dating apps have corrupted our culture and it is harder than ever to meet people.
In a society where we are divided by gender-specific algorithmic differences, we have nothing to say to one another any more. The apps make it feel like there is no cultural hinterland between the two sexes. How have we, a nation of poets and storytellers, been reduced to filtering our romantic lives by responses to the prompt which queries how you spend a typical Sunday? Especially when the response is the singular word: 'hungover'. Jesus wept, it's hardly Byronic.
Isabelle Duff: Why do you need to go out to meet people if you can do your dating on your phone, in your pyjamas?
We are stuck in a strange purgatory. By definition of being on the apps, everyone is looking for something – whether it be sex, love, or a long-term relationship. But there is often a reluctance to admit that. This sort of sincerity might work for the Americans, but it is at odds with the Irish psyche. Of course, that's half the problem, if you can't be sincere about this most serious of issues – love – then we are in a bit of trouble.
This trouble stems from the mindless, incessant, disengaged swiping and scrolling of online dating. It locks us into our preconceived notions and prejudices. It stratifies and solidifies class divisions. It's too easy to write someone off because they look like a 'culchie' or a 'D4′.
As an example, a friend from Longford spent the loneliest year of his life on the apps in Cork city; while Kerry might suffice at a stretch, the Corkconians on Tinder apparently felt the cultural differences between Longford and Cork were too great an obstacle to overcome. Beyond our county of origin, there is height, hairline, occupation – a myriad of ways to write someone off. All of these markers become the sum of a person, some mother's precious child, reduced down to five photos and the aforementioned prompts. And those mothers' precious children, acting with relative anonymity and a lack of repercussions, do not cover themselves in glory either.
The apps have changed how we behave, and not for the better. Whether online or off, we live in the dating culture forged by the apps.
I was struck by a friend's honesty when she said she does not use dating apps because she does not like how they make her view herself, and others. She also said that the manners and civility we owe one another, especially in the vulnerable position of dating, are eroded by the anonymity of the phone.
There are studies that show
certain ethnic groups do not receive as many matches on the apps
. Then there are the horror stories where people arrive for a date to find someone is completely different from their profile. The nationwide fascination with the
GAA catfish saga
shows how easy it is to mock up an identity online. Ghosting is rampant and widespread. Which suggests a national rise in cowardice and a decline in common decency. An acquaintance of mine had four dates cancelled within a week, an hour before they were due to meet. The poor girl had dusted herself off and got dressed up every time. This is the house that Match built.
We in Ireland have the technology and the means to form a relationship with someone in Japan, should we so wish. But are we better for it?
Love becomes a numbers game. For some it is a hobby, for others it is a sport. I have heard of men going on three dates a day. Coffee in the morning, a luncheon engagement and an evening drink. The pervasive culture of optimisation has sunk into the world of online dating too. What's more, the apps have changed how we socialise, and not for the better either. It is no wonder that Gen Z are reportedly having less sex and nightclubs are closing around the country. Why do you need to go out to meet people if you can do your dating on your phone, in your pyjamas?
For hundreds of years, where you lived, who you knew, who you encountered were the factors that dictated your romantic life. The reason why Jane Austen endures, 250 years after her birth, is that for someone living in 1890 or 1990 the ways of meeting people had not really changed all that much. The rituals, routines and constraints were broadly the same. Now, we have the advantage of going beyond that.
[
Online dating fatigue: 'Irish people are terrible on the apps'
Opens in new window
]
We in Ireland have the technology and the means to form a relationship with someone in Japan, should we so wish. But are we better for it? The endless options of the apps make us slow to commit; there is the whisper of something better around the corner. I would argue they make us worse at dating, worse at communicating, and less inclined to work at something.
Recently I hear friends of my age repeatedly say the same thing. Dating is broken. A recent study by
Forbes Health found almost 80 per cent of millennials say they feel fatigued by online dating
. Despite having all the tools at our disposal, it remains tricky to meet someone who suits you.
They say doing the same thing over and over again and expecting the same results is the definition of insanity. So why do we keep doing it? In reality, advising the recently heartbroken to get back on the apps is like advising walking wounded in a war that they should return to battle without a recovery period. The problem with this advice is that it suggests we should treat other people as cannon fodder as we seek out connection to numb our own pain. Returning to the apps again and again is not setting people up for romantic success.
[
Ireland's new dating scene: Finding love the old-fashioned way
Opens in new window
]
The results are in on the generational experiment of the dating app and they are not good. Ofcom's 2024 Online Nation report showed that
1.4m people have left the online dating scene in the UK
, representing a 16 per cent decline in the use of the top 10 apps. Singletons are looking for love elsewhere. There has been a rise in in-person dating events, mixers and run clubs. People want connection, they don't want it on the apps. Can you blame them?
Sites like Match.com commodified love, catering to the simple rules of supply and demand. But love is not a cheap import; scarcity adds to its value and dating apps deplete their worth – and deplete its own self-worth in doing so.
Match.com made its founders very rich, but we are the poorer for it.
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Irish Times
23 minutes ago
- Irish Times
Siobhán Flynn and Sarah Davy win Mairtín Crawford Awards
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Eason offer Siobhán Flynn from Dublin and Northumberland-based Sarah Davy have won this year's Mairtín Crawford Awards for Poetry and Short Stories respectively at an award ceremony in the Crescent Arts Centre last night as part of the Belfast Book Festival. READ MORE The winners each receive £500 cash, plus a 'time to write' package which includes a three-night stay at a hotel in Belfast and four days of dedicated writing space at The Crescent Arts Centre. Flynn, who began writing quite late in life, won the 2022 Cúirt New Writing Prize for Poetry and a John Hewitt Bursary in 2023. Davy, who works for Hexham Book Festival, won the Finchale Prize for Short Fiction at the Northern Writers Awards in 2023. Short Story judges were Belfast authors Lucy Caldwell and Wendy Erskine. The Poetry Award was judged by Kathleen McCracken and Dawn Watson. * 'Men must endure / Their going hence, even as their coming hither' – King Lear. Have we no more active rights over life, birth and death? 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Fresh from appearances at Galway's Cúirt and the University of Limerick's Creative Writing Festival, the Centre continues its mission to support writers of all backgrounds and at all stages of their careers. Events will include masterclasses, writing seminars, panel discussions, spoken word showcases and zine workshops. In Belfast, the Centre will showcase its Young Writer Delegates and host an information session featuring Novel Fair winner Andrew Cunning. West Cork welcomes seminars, spoken word, and panels on diversity and queer literature. Wexford offers conversations with John Banville and Victoria Kennefick, while Waterford sees a Writers in the Regions masterclass from Danielle McLoughlin. 'It's about making space for writers everywhere, not just in the capital,' said CEO Mags McLoughlin. 'We want to build a national community of storytellers.' 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Lucas Rijneveld's My Heavenly Favourite won the fiction prize and the biography prize was won by Lamia Ziadé for My Great Arab Melancholy . Each prize is shared with the writers' respective translators, Michele Hutchison and Emma Ramadan. This is the first time that both prizes have been awarded to translated works and only the second time a writer and translator have been awarded a prize together in the history of the awards. The prizes were opened to translations in 2021, with authors and translators honoured equally.


Irish Times
an hour ago
- Irish Times
New poetry: Frank McGuinness, Erica McAlpine, James Harpur and Dane Holt
'Did he know he trespassed where none should pry?' Frank McGuinness writes in Flight, 1909. In context, he's discussing 'the first flight over Lisfannon', taken by his father's father, but the poem also gestures to some of his latest collection's concerns, and obsessions. Many of the poems in The River Crana (Gallery Press, €12.95/€19.50) move towards and away from revelation and confession – they paint scenes that offer self-exposure and dwell among the risks involved in finally taking the plunge. Touch, 1976 is a sequence of poems pivoting around a brief encounter with 'the kind of guy you should not trust in bars' and its aftermath, from several perspectives (including the bed itself, in the slightly odder poem of the set). McGuinness's eye for portraiture, carnality and psychology all come to the fore in the telling, and his shifts of perspective allow for a bruised kind of empathy, 'never again looking/the length of his life and out of my own'. Elsewhere we hear about 'saviours who have lost the plot' and others 'full of remorse/and craving compassion'. It's a various book, elegiac, playful and intertextual; McGuinness is fond of and adept at the dramatic monologue form, bringing in a whole chorus of unexpected voices, ably thrown, from the ancient world, Shakespeare and Maeve Binchy at Croagh Patrick. READ MORE His eye for the telling image, too, shines out, from Armenian orchards that 'smell of pomegranates/the colour of veal' to lambs 'licking us sticky clean as honeycomb'. One of the sharpest poems, Lack of Sleep, also shows off his skill in form, and reaches for a kind of universalist timelessness – a note he also strikes in a touching version of Cavafy , Bandage, which is similarly rich in a sense of being vulnerably observant in the midst of all the action: 'I liked looking,/looking at the blood/that belonged to him'. Traditional form is the keystone for Erica McAlpine, and in Small Pointed Things (Carcanet, £11.99) she brings her scrupulous musicality to bear on the natural world, retellings of Ovid and 'the point of no return'. She's particularly good at turning scenes from nature and the quotidian into something at times almost parable-like, ruminative while never abandoning the physical or concrete realm. In Bats and Swallows, the book's opening poem, the speaker addresses someone whose nature it is 'always to side one way/or the other' while she prefers an approach where 'either, or both, hold sway'. This having it both ways instinct serves her well here, allowing her to at once debunk the idea of ideas , 'They can be elliptical/in the worst way,/or too convoluted even to say' while taking them for a walk, in carefully chiselled stanzas; to see poetry as 'a dazzle/of pure thought/about itself' while simultaneously clinging to its gravity, and craftiness. [ Paul Durcan: 'Poetry was a gift that he loved to give others' Opens in new window ] There's something of Marianne Moore to her animal poems, another poet who, like McAlpine, 'cares for delicacy of stroke', especially in her muscular, rebarbative scorpion who is 'a prizefighting champion/posing and preposterous/and plated like a tiny rhinoceros'. Throughout, in her many studies of the natural world, she aims for something more than simple taxonomy, or voyeurism: 'But life gives//itself over/purely to whatever/is near it', she writes in Kingfishers, and that sort of companionable generosity spotlights the book as a whole, whether finding fellow feeling for The Second Warthogs 'not-quite-worthy/of being seen' or the labour of the spider and its web, 'this feeling/like combing through a baby's hair'. These are poems which, however well built and apparently ordered, know that 'some things can't be straightened out' and, for all their enviable sprezzatura, legislate for the dark undertone beneath the music and 'felt the sting/of knowing we draw/from our own grave/to water what we have'. James Harpur, whose new collection is The Magic Theatre. Photograph: Alan Betson James Harpur's new collection The Magic Theatre (Two Rivers Press, £12) is steeped – at times stewed – in nostalgia for his days as an undergraduate at Cambridge University, a 'power station that burns on brains'. There's something charmingly guileless, a quality that lends it a slightly Rupert Brooke-ish idealism and helps to disarm the cynical reader who fears the experience of reading it will be akin to gatecrashing someone else's college reunion. The Brooke scent is strongest in moments of reverie, such as Summer Term – 'Begins mid spring: days of moon-white suns/The punts still smoky in their pens/And trees along the Backs pubescent green.//At first, insouciance of students, phoney war'. It isn't all blissful punting and sepia-tinged lost content, however, and the most moving – and compelling – strain of the collection is found in the relationship revealed between father and son, played out subtly and in small gestures. The divide brought about between the son's growing erudition and learning threatens to cause a schism, 'These are perhaps the final moments/Our worlds will still connect/Before I get more bookish by the month/And make him feel inadequate' but later revelations, of tenderness and more complicated elements, add depth – 'he'll let on/From the cosmos of his wheelchair/That he could only pay my fees/By gambling. Roulette in Kensington'. Friendships and relationships are formed and lost, and the world of acting entered into – the whole thing at times a meditation on performance, on and offstage, and the 'tinnitus of humiliation' which sometimes accompanies it. Self-sabotage and a perennial tendency towards running counter to his own interest's seems to stymie the narrator at several crucial moments, and aside from the odd Pooterish moment it's hard not to be won over by a poet capable of resurrecting his school days in such vivid colour, 'A gold balloon arcing from the river/Through a mist of atomised champagne'. Dane Holt's debut Father's Father's Father (Carcanet, £11.99) is full of tall tales, an often surrealist narrative instinct and a tendency to turn on a sixpence, or pull various rugs out, just as the reader starts to get comfortable. This can – at times – risk settling into a groove of sorts itself, one starts to wait for the twist or the volte-face, but throughout there's a clarity and precision to the language, and a fine knack for image and phrasemaking, which largely wins out. It's not an accident that the first line of the first poem, John Cena, about the professional wrestler, is 'Everything you do you do precisely'. Ironically, that narrator's exhortations might, in the end, be usefully applied to some of the poems here – 'f**k up once in a while, why don't you,/in a way we don't anticipate'. The best work here is that which is willing to walk the tightrope over sentiment, such as an unexpectedly moving poem riffing on the narrator's grandmother by utilising Tammy Wynette: 'how saying one thing so/exactly to someone intent on hearing//the opposite is art' or another family-related one, Humphrey Bogart, about a grandfather and his son, 'They both loved/the men Humphrey Bogart played'. There's something analogous about this idea of performing, or wearing masks, and Holt makes hay with the subject in a series of poems which use wrestling – that ultimate mix of pantomime and physicality – as their means of talking about being 'unmoored/from dramatic structure', a plight many of the masks and characters come to share. Avoidance, and variations on the theme, are at the heart of Father's Father's Father, and while the urge towards following WS Merwin's advice 'I could do anything' occasionally results in some slightly arbitrary-seeming, simile-heavy wackiness, often it leads to something original, well-seen and entertaining.


Irish Times
2 hours ago
- Irish Times
Comedian Emma Doran on sitting the Leaving: ‘I forget my bank card PIN most days, but I know I got 335 points'
When and where did you sit the Leaving Cert exams? 2003. I went to school at Sancta Maria College in Dublin. I had just given birth to my daughter 13 days before, so I was in a room alone with a supervisor. What is your most vivid Leaving Cert memory? Opening English Paper 1 on the first day, and panic setting in that I wouldn't be able to do it. I was reading it, but nothing was sinking in. I took a deep breath and had a talk to myself. READ MORE Who was your most influential teacher and why? My drama teacher, Ms Martin, told me I'd be good on television and I never forgot it! I had loads of really kind teachers in 6th year. Another teacher, Ms Hiney, even offered me childcare if I needed it, so that I could do my exams. What was your most difficult subject? Probably honours Irish. I learned an essay that I was doing regardless of what title came up. If it wasn't past tense, I knew I was pretty much lost. And your favourite? I loved art, and the fact that you could be tipping away at it all year, and it didn't all come down to one exam. Can you recall what grades or points you received? I forget my PIN for my bank card most days, but I know I got 335 points. How important were the results for you ultimately? At the time, they were very important. I didn't want to repeat the Leaving and put myself under huge pressure to make sure I got into a degree course. In my mind, I had to get a degree and get a good job. I started at the school as a teenager and finished it as a single mother. Getting 'enough' points was a huge personal focus. If I got what I needed, then in my mind, it meant I wasn't a complete failure. What did you go on to do after secondary school? I went to IADT and did a degree in business and arts management. What would you change about the Leaving Cert? Ask me in six years when my son is doing it! What advice would you give to your Leaving Cert self? I don't think 18-year-old me would listen to 40-year-old me, and she'd start asking me what questions came up. I could tell my 18-year-old self that the Leaving Cert doesn't matter, but I feel that would be unfair. In the context of my life [back then], it felt very important. You can't teach hindsight. In conversation with Tony Clayton-Lea. Emma Doran is a comedian and podcaster. Her forthcoming UK and Ireland tour, Emmaculate , begins next September.