Breakfast on Pluto [ペーパーバック]

Set in Ireland in the 1970s, "Breakfast on Pluto" follows the exploits of Patrick "Pussy" Braden, an endearing but deceptively tough young man. Abandoned as a baby in his small Irish hometown and aware from a very early age that he is different, Patrick survives this harsh environment with the aid of his wit, charm and a sweet refusal to let anyone or anything change who he is.This is a surreal and magical tale, a funny, moving and poignant rites of passage novel. It is also a vivid and unsettling comment on the human price paid in the cultural and political climate of Ireland at that time. 'Wild, hilarious, merciless and fiendishly clever' - "Independent on Sunday". 'He is the fortunate possessor of a savage and unfettered imagination; his books ...dissect life's miseries with a gleaming comedic scalpel' - "The Times". 'It finds humour in places that other writers are afraid to look for it' - "Sunday Telegraph". 'This is a savagely funny and authentically tragic novel of an Ireland in unhappy transition and beneath McCabe's perfectly delivered black comedy lies an angry heart' - "GQ".

Patrick McCabe hit pay dirt with his third novel, The Butcher Boy, which was short-listed for the 1992 Booker Prize, filmed by Neil Jordan, and acclaimed as "a masterpiece of literary ventriloquism." In his fifth, Breakfast on Pluto, also on the Booker shortlist, McCabe produces another inimitable voice to amuse and infuriate, mimicking perfectly the overwrought, near-hysterical style of a character whose emotional processes were cruelly halted somewhere around the age of 14, and whose tale requires English literature's highest concentration of exclamation marks.

Patrick "Pussy" Brady is recording her memoirs for the mysterious Dr. Terence, and it's quite some story. After randy Father Bernard gets carried away with his temporary housekeeper, a dead ringer for Mitzi Gaynor, the result is Patrick Braden, abandoned on a doorstep in a Rinso box and condemned to a foster home with the alcoholic Hairy Braden. Escape comes in fantasies of Vic Damone and the occasional glitzy frock, and eventually, inevitably, the rebaptised "Pussy" heads for life as a transvestite rent boy on Piccadilly's Meat Rack. But this is not just Pussy's story; as hitherto-muffled paramilitary violence blows up in her face, Pussy falls apart, providing a vivid and unsettling final comment on the human price paid in 1970s Ireland. --Alan Stewart
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McCabe is a master ventriloquist. In The Butcher Boy he projects the voice of a brash, fast-talking, murderous boy in order to tell a story of divisive tension in a small Irish town. In The Dead School the liberalization of modern Dublin came to readers in the voice of a doddering headmaster. Here, in this Booker Prize finalist, McCabe walks far out on a limb: in the voice of Patrick "Pussy" Braden, a male transvestite fathered by a priest and brought up by foster parents, he tells of life in a violent Irish border town in the early 1970s and an exiled existence in London. (Imagine Ru Paul discoursing on "the Troubles" over a top-40 soundtrack.) Of course, they are more Pussy's troubles than his countrymen's, but Pussy is perhaps the most unabashed narrator in Irish writing since Beckett's Malone. He's nothing if not full of style: "And who was it within my darkened cellbox upon whom mine eyes did gladly fall as there I sat sky-high a-twiddle, ringed around by stars and planets?" Pussy's tale, brief but never boring, is structured as the story told to his doctor in 56 tiny chapters with theatrical asides. Stigmatized as the bastard son of the town priest whose "starched vestments... were partly responsible for his son's attraction to the airy apparel of the opposite sex," Pussy flees to England, where his transvestitism looks suspiciously like a disguise (his old IRA connections are of no help in this regard) as he moves bout Picadilly Circus, picking up men, falling in love and fantasizing various bombing schemes to avenge his own sufferings and that of his down-and-out friends?Charlie, who falls prey to drink, and Irwin, killed by the IRA for informing. Comically self-absorbed, Pussy is nonetheless charming company, and McCabe manages adroitly to paint a tender portrait of lives destined to be lost to history?apolitical folk welcome neither in Catholic Ireland nor in the U.K. while the sectarian war rages on. A recently penned preface reveals the author's hope that this time is over and that a new tolerance of difference will take hold. (Dec.) FYI: The title comes from a 1969 chart-making song in the U.K.
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Patrick McCabe, already acclaimed as one of the most gifted Irish novelist writing today, is increasingly being recognized internationally as a writer of true literary stature, with an ever-growing popular readership.

Breakfast on Pluto, his lyrical and haunting new novel, became a number one bestseller in Ireland, stayed on the bestseller list for months, and was nominated for the Booker Prize, one of the world's most prestigious literary awards. It was the sole Irish novel to be so honored, and McCabe is that rare writer who has had his work twice nominated, having been previously selected in 1992 for his classic novel The Butcher Boy, which won the Irish Times/Aer Lingus Irish Literature Prize, was recently released as a major motion picture, and joined Breakfast on Pluto on the Irish bestseller lists.

With wonderful delicacy and subtle insight and intimation, McCabe creates Mr. Patrick "Pussy" Braden, the enduringly and endearingly hopeful hero(ine) whose gutty survival and yearning quest for love resonate in and drive the glimmering, agonizing narrative in which the Troubles are a distant and immediate echo and refrain.

As Breakfast on Pluto opens, her ladyship, resplendent in housecoat and head scarf, reclines in Kilburn, London, writing her story for the elusive psychiatrist Dr. Terence, paring her fingernails as she reawakens the truth behind her life and the chaos of long-ago days in a city filled with hatred. Twenty years ago, she escaped her hometown of Tyreelin, Ireland, fleeing her foster mother, Whisker--prodigious Guinness-guzzler, human chimney--and her mad household (endless doorstep babas!), to begin a new life in London. There, in blousey tops and satin miniskirts, she plies her trade, often risking life and limb among the flotsam and jetsam who fill the bars of Piccadilly Circus ("You want love? That what you want, orphaned boy without a home? Then die for it! Die! Die, sweet Irish!). But suave businessmen and lonely old women are not the only dangers that threaten Pussy's existence. It is the 1970s, and fear haunts the streets of London and Belfast as the critical mass of history builds up, and Pussy is inevitably drawn into a maelstrom of violence and tragedy destined to blow his fragile soul asunder.

Brilliant, startling, profound, and soaring, Breakfast on Pluto combines lightness and darkness, laughter and pain, with such sensitivity, directness, and restraint that the dramatic impact reverberates in our minds and hearts long, long after the initial impression.
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Patrick McCabe was born in Clones, County Monaghan, Ireland in 1955. He is the author of the children's story The Adventures of Shay Mouse and the novels Music on Clinton Street, Carn, The Butcher Boy (winner of the Irish Times / Aer Lingus Literature Prize and shortlisted for the 1992 Booker Prize), The Dead School, Breakfast on Pluto (shortlisted for the 1998 Booker Prize), Mondo Desperando, Emerald Germs of Ireland and Call Me The Breeze. He lives in Sligo with his wife and two daughters.