Say Nothing. Patrick Radden Keefe
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as well be re-enacting the siege.
These civil rights advocates might pretend they were peaceful protesters, Paisley told his followers, but they were nothing but ‘IRA men’ in disguise. He reminded them of Londonderry’s role as a bulwark against papist encroachment. Did they stand ready to rise once again in defence of the city? There were cheers of ‘Hallelujah!’ It was Paisley’s habit to whip a crowd into a violent lather and then recede from the scene before any actual stones were thrown. But as his designated adjutant, Major Bunting instructed the mob that anyone who wished to play a ‘manly role’ should arm themselves with ‘whatever protective measures they feel to be suitable’.
In the darkness that night, in fields above the road to Derry, local men began to assemble an arsenal of stones. A local farmer, sympathetic to the cause, provided a tractor to help gather projectiles. These were not pebbles, but sizable hunks of freshly quarried rock, which were deposited in piles at strategic intervals, in preparation for an ambush.
‘We said at the outset that we would march non-violently,’ Eamonn McCann reminded Dolours and the other protesters on the final morning. ‘Today, we will see the test of that pious declaration.’ The marchers started moving again, proceeding slowly, with a growing sense of trepidation. They were massed on a narrow country lane, which was bordered on the right by a tall hedge. Up ahead was a bottleneck, where Burntollet Bridge, an old stone structure, crossed the River Faughan. Dolours and Marian and the other young protesters continued trudging towards the bridge. Then, beyond the hedges, in the fields above, where the ground rose sharply, a lone man appeared. He was wearing a white armband and swinging his arms around theatrically in an elaborate series of hand signals, like a matador summoning some unseen bull. Soon other figures emerged, sturdy young men popping up along the ridgeline, standing there in little knots, looking down at the marchers. There were hundreds of people on the road now, hemmed in by the hedges, with nowhere to run. More and more men appeared in the fields above, those white bands tied around their arms. Then the first rocks sailed into view.
To Bernadette Devlin, a friend of Dolours who was one of the organisers of the march, it looked like a ‘curtain’ of projectiles. From the lanes on each side of the road, men and boys materialised, scores of them, hurling stones, bricks, milk bottles. Some of the attackers were on the high ground above the road, others behind the hedges alongside it, others still swarming around to head the marchers off at the bridge. The people at the front of the group sprinted for the bridge, while those in the rear fell back to avoid the barrage. But Dolours and Marian were stuck in the middle of the pack.
They clambered over the hedge, but the stones kept coming. And now the men started running down and physically attacking the marchers. It looked to Dolours like a scene from some Hollywood western, when the Indians charge into the prairie. A few of the attackers wore motorcycle helmets. They descended, swinging cudgels, crowbars, lead pipes and laths. Some men had wooden planks studded with nails, and they attacked the protesters, lacerating their skin. People pulled coats over their heads for cover, stumbling, blind and confused, and grabbed one another for protection.
The ambush at Burntollet Bridge
As marchers fled into the fields, they were hurled to the ground and kicked until they lost consciousness. Someone took a spade and smacked a young girl in the head. Two newspaper photographers were beaten up and stoned. The mob seized their film and told them that if they came back, they would be killed. And there in the midst of it all was Major Bunting, the grand marshal, swinging his arms like a conductor, his coat sleeves blotted with blood. He snatched one of the banners from the protesters, and somebody set it on fire.
The marchers did not resist. They had agreed in advance to honour their pledge of nonviolence. Dolours Price found herself surrounded by young people with gashes on their faces and blood running into their eyes. She splashed into the river, the icy water sloshing around her. In the distance, marchers were being pushed off the bridge and into the river. As Dolours struggled in the water, she locked eyes with one attacker, a man with a club, and for the rest of her life she would return to that moment, the way his eyes were glazed with hate. She looked into those eyes and saw nothing.
Finally, an officer from the Royal Ulster Constabulary waded into the river to break up the fracas. Dolours grabbed his coat and wouldn’t let go. But even as this sturdy cop helped usher her to safety, a terrifying realisation was taking hold. There were dozens of RUC officers there that day, but most of them had done little to intervene. It would later be alleged that the reason the attackers wore white armbands was so that their friends in the police could distinguish them from the protesters. In fact, many of Major Bunting’s men, the very men doing the beating, were members of the police auxiliary, the B-Specials.
Later, on the way to Altnagelvin Hospital, in Derry, Dolours cried, seized by a strange mixture of relief, frustration and disappointment. When she and Marian finally got back to Belfast and appeared, bruised and battered, on the doorstep of the little house on Slievegallion Drive, Chrissie Price listened to the story of her daughters’ ordeal. When they had finished telling it, she had one question. ‘Why did you not fight back?’
3
Jean McConville left few traces. She disappeared at a chaotic time, and the children she left behind were so young that many of them had yet to form a rich catalogue of memories. But one photograph of Jean survives, a snapshot taken in front of the family’s home in East Belfast in the mid-1960s. Jean stands alongside three of her children, while her husband, Arthur, squats in the foreground. She stares at the camera, arms folded across her chest, lips pursed into a smile, eyes squinting against the sun. One detail that several of her children would recall about Jean McConville is a nappy pin – a blue safety pin, which she wore fastened to her clothes, because one child or another was always missing a button or needing some other repair. It was her defining accessory.
She was born Jean Murray, in 1934, to Thomas and May Murray, a Protestant couple in East Belfast. Belfast was a sooty, grey city of chimneys and steeples, flanked by a flat green mountain on one side and the Belfast Lough, an inlet of the North Channel, on the other. It had linen mills and tobacco factories, a deepwater harbour where ships were built, and row upon row of identical brick workers’ houses. The Murrays lived on Avoniel Road, not far from the Harland & Wolff shipyard, where the Titanic had been built. Jean’s father worked at Harland & Wolff. Every morning when she was a child, he would join the thousands of men plodding past her house on their way to the shipyard, and every evening he would return as the procession of men plodded home in the opposite direction. When the Second World War broke out, Belfast’s linen factories produced millions of uniforms and the shipyards churned out navy vessels. Then, one night in 1941, not long before Jean’s seventh birthday, air raid sirens wailed as a formation of Luftwaffe bombers streaked across the waterfront, scattering parachute mines and incendiary bombs, and Harland & Wolff erupted into flame.
Jean McConville with Robert, Helen, Archie and her husband Arthur
Educating girls was not much of a priority in working-class Belfast in those days, so when Jean was fourteen, she left school and went in search of work. She ended up finding a job as a servant for a Catholic widow who lived on nearby Holywood Road. The widow’s name was Mary McConville, and she had a grown son – an only child named Arthur, who served in the British Army. Arthur was twelve years older than Jean and very tall. He towered over Jean, who stood barely five feet in her shoes. He came from a long line of soldiers, and he told her stories about how he had gone off to fight the Japanese in Burma during the war.
When Jean and Arthur fell in love, the fact that they came from different sides of the religious divide did not go unnoticed by their families. Sectarian tensions were less pronounced during the 1950s than they had been in the past