Brendan Behan was an influential figure in mid-20th century Irish literature, renowned for his plays and writings. His works, despite his untimely demise, left a lasting impression on both the literary and theatrical landscapes. Behan's life story, marked by his Irish nationalist fervor and personal struggles, is as compelling as the robust characters he created on stage.

Early Life and Family Background

Born in Dublin in 1923, Brendan Behan was one of seven children of Stephen and Kathleen Kearney Behan. His father, an ardent supporter of Irish nationalism, was incarcerated in Kilmainham Prison due to his involvement in the Irish Civil War. Similarly, his mother was a vocal advocate for Irish independence, often expressing her views boldly. This familial environment naturally led young Brendan to join the Fianna Éireann at seven and later the Irish Republican Army (IRA) at fourteen, setting the stage for a life deeply intertwined with Ireland's political landscape.

Educational Journey and Early Challenges

Behan's formal education was limited, with just six years at the School of the French Sisters of Charity followed by three years with the Christian Brothers. Despite financial constraints, his parents nurtured a love for literature in their children by reading to them regularly. His education transitioned into a practical one when he became an apprentice in the house-painting trade. However, his vocational path was disrupted by his political activities, leading to imprisonment. At sixteen, he was arrested for carrying bomb-making materials, resulting in a three-year sentence in an English reform institution. Again in 1942, his involvement with the IRA led to a fourteen-year prison term for attacking police officers, although he was released in 1946 following a governmental amnesty.

Prison as a Catalyst for Writing

Behan's time in prison proved transformative, providing both the leisure and impetus to cultivate his literary talents. He penned twelve lyric poems, which were subsequently recognized and included in a collection of modern Irish poetry. Furthermore, his incarceration supplied the raw material for his critically acclaimed autobiography, The Borstal Boy, and inspired the characters and storyline of his play, The Quare Fellow.

Post-Prison Life and Early Works

After his release, Behan returned to painting houses and subsequently faced another four-month prison stint for falsifying his identity to help an Irish prisoner escape England. Concurrently, he embarked on a career in journalism with the Irish Press Association, crafting notable columns for the Irish Press and later working as a broadcaster for Ireland's national radio. During this period, Behan wrote and aired two short radio plays, Moving Out and A Garden Party, in 1952. A subsequent play, The Big House, was commissioned by the BBC and performed in 1957, eventually joining the earlier works on stage in 1958 at the Pike Theatre Club.

Breakthrough Plays and Collaborative Efforts

Behan's acclaim as a playwright is principally attributed to The Quare Fellow, An Giall, and The Hostage. The Quare Fellow began as a one-act play requiring significant development, while An Giall demanded a translation from Gaelic. Unable to translate it himself, Behan collaborated with Joan Littlewood’s Theatre Workshop to adapt the script into The Hostage. The Quare Fellow premiered at Dublin’s Pike Theatre in 1954, followed by An Giall at Dublin's An Damer Theatre in 1958, and The Hostage in London later that year. The latter was notably selected to represent Great Britain at the 1959 Theatre des Nations festival in Paris, evidencing the critical acclaim and international recognition of Behan's work. Unfortunately, his final play, Richard’s Cork Leg, remained incomplete, hindered by his escalating alcoholism.

Struggles with Alcoholism and Later Works