Isaiah 25:1-9
During a recent visit to Dublin, Donald Trump expressed support for a unified Ireland, which is to say, for the Protestant-majority British region of Northern Ireland to be absorbed into the Roman Catholic-majority Republic of Ireland. There is no way of knowing whether this was meant to troll the British Prime Minister or was simply the constant babbling of a lunatic. In any case, Northern Ireland’s “Unionists,” who actually oppose reunification, were outraged.
The Troubles, as the late 20th century conflict in Northern Ireland is known there, began in the 1960’s as a civil rights movement, the Catholic minority calling for an end to systemic discrimination. It escalated into a campaign of sectarian violence, primarily in Northern Ireland but spreading to the Republic as well as the British home island.
The Republic of Ireland itself had only achieved independence from British colonial rule in 1922. The world continues to pay for Britain’s colonialist follies, nowhere more so than in the former Palestinian mandate.
Northern Ireland’s Troubles officially came to an end with the Good Friday Agreement of 1998, and while the terms of the agreement have sometimes been dysfunctional in practice, violence has been limited. Hopefully, people on both sides will be wise enough to ignore Mr. Trump.
It was in the Republic during the Troubles when four lads, Paul, David, Adam, and Larry, formed a band in 1976. All had been raised in Dublin, though David was born in England to Welsh parents, and Adam’s family came to Ireland when his father left Britain’s Royal Air Force and took as job as a pilot for Aer Lingus, the Irish national airline. David would adopt a stage name, calling himself The Edge, while Paul would adopt the moniker Bono. And the rest is Rock and Roll history.
U2 did well from the start, but they were not immediate superstars. It was really their third album, War, that made them a worldwide sensation. They chose to put a child’s face on the cover. The image of Peter Rowen, younger brother of a friend, remains among the most iconic album covers of all time.
To say the album was a success might be the ultimate understatement. It opens with “Sunday, Bloody Sunday,” a reference to a 1972 incident when British troops shot and killed 14 unarmed civil rights protesters. The other great single from the album, “New Years Day,” was inspired by Poland’s Solidarity movement. The album ended with the band’s rendition of the 40th Psalm.
Vinyl is having a bit of a renaissance at the moment, partially fueled by Taylor Swift’s release of albums in limited-edition colors, and while that is some super toxic consumerism right there, it means I don’t have to provide too much context for younger worshippers when I say the “B-side” of the album opened with a song called “The Refugee.” The refugee is a young woman in a nation at war with America as a one-day promise of safety.
I’d been old enough to understand our defeat in Vietnam, the helicopters taking off from the embassy roof and the welcome we extended to Vietnamese nationals fleeing the Communist takeover. Then, in 1980, the Mariel boatlift saw an estimated 125,000 Cubans flee that island for Florida. We were a country that welcomed refugees, but as a young soldier trained for when the Cold War suddenly went hot, everything was seen through that lens of the Red Menace. It would be years before I connected enough of the dots to see a pattern of migration and displacement.
At least I got there before we faced the mass migrations caused by climate change as well as our misadventures in the Middle East.
Continue reading “Refugee: October 11, 2026”