Ó Searcaigh Interview: Agallamh; Aistriúchán:Translation

Here is the full text of the transcript of the Ó Searcaigh interview on RnaG. I have provided a translation which alternates between the passages in Irish. Tomaltach

ANC: I mí Feabhra bheartaigh muid agallamh a chur ar Chathal Ó Searcaigh. Dúirt a ulabhraí go dtabharfadh Cathal Ó Searcaigh a chéad agallamh do RnaG. An fáth ná go raibh sé ag iarraidh míniú a thabhairt dá phobal féin i dtús, an pobal is tábhachtaí ina shaol. Agus gurb í an Ghaeilge a theanga dhúchais is go bhfuil sé níos compórdaí i nGaeilge na i mbearla.(Ck)

Nuair a bhuail mé le Cathal, tháinig sé trasna mar dhuine atá láidir go maith ann féin, cé go bhfuil cuid mhór rudaí tarlaithe ó shoin, Tá alltacht air faon méid atá scríofa faoi. Ba mhaith leis teacht abhaile. Seo mar a labhair sé faoin chaoi ar chuir na cúrsai seo isteach air

ANC:In February we decided to interview Cathal Ó Searcaigh - his spokesperson said Cathal would give his first interview to RnaG. He said the reason for this was that he wanted to explain his side of the story to his own community first, the community that has been most important to him all his life. And that Irish is his native tongue and so he is more comfortable speaking in Irish than in English.

When I met Cathal he came across as quite stong in himself, despite what has happened. He is shocked at what has been written about him. He would like to come home. Here is how he described how recent events have affected him:

COS: Tá athrú iomlán ar mo shaol de bharr an scannáin faisnéise seo atá déanta mar gheall orm . Tá mé sa duibheagán agus ní iontas ar bith sin on méid atá ráite orm, an mícliú atá tarnaithe orm, an doigh go bhfuil smál ar m'ainm i láthair na huaire, cuireann sé as go mor orm. Ach mar sin féin agus tú ins an duibheagán tá dóchas i gcónaí. Cuimhním go minic na laethanta seo ar Oscar Wilde a chuaigh fríd an chineal seo cruachais fosta ina am féin agus a dúirt "Táimid ar fad sa chlábar ach tá cuid againn ag amharc ar na réaltóga" agus tugann sin misneach domhsa, bheith ag amharc as an duibheagan ar na realtoga sin.

COS: My life has been changed competely as a result of this documentary about me. I'm depressed and no surprise given what has been said about me, the way I hav been defamed, the way my name is sullied now, that affects me deeply. But still, when you are in the abyss there is always hope. I think a lot these days about Oscar Wilde who went through a similar ordeal in his own time and who said “We are all in the gutter but some of us are looking at the stars” and that gives me strength, to be looking up from he depths at those stars.

ANC: Tá tú ar shiúl as baile le tamall, tá cupla seachtain crua curtha isteach agat, is iomaí duine nach mbeadh ábalta déiláil leis an bhrú seo, an brú sna meáin chumarsáide, d'ainm i mbéal an phobail go rialta, goidé mar atá té ag déiláil leis?

ANC: You are away from home for a while now, you've had a difficult few weeks, many people couldn't deal with this kind of pressure, the pressure of the media, people talking about you, how are you dealing with this?

COS: Tá sé deacair glacadh leis. Agus tá tionchar aige ar mo shaol, anois, agus beidh tionchar aige ar mo shaol san am atá le theacht. Tá sé deacair sin a ghlanadh ar shiul. Ní hamhain sin ach mo shlí bheatha féin, slí bheatha atá ann atá i mbeal a phobail, cá bith airgead a shaothraímse, go saothraim é ag tabhairt léachtaí agus leitheoirachta poibli. Beidh sé iontach deacair leanúint ar aghaigh leis sin.

COS: It is hard to take. And it has affected my life, and it will continue to affect my life down the line. It is hard to undo all of that. No only that but my livelihood too, my livelihood depends on being in public, whatever money I make, I make it giving lectures and public readings. That will be terribly difficult to continue with now.

ANC: Ar cuireadh ócáid ar bith ar ceal go dtí seo a Chathail?

ANC: Have any events been cancelled so far Cathal?

COS: Níl rud ar bith diúltaithe go fóill agus tá daoine iontach báúil, tá tacaíocht mhillteanach agam, agus, is mór an t-abhar dóchais agus misnigh dom an tacaíocht iontach bunúsach atá faighte agam ó chairde agus lucht aitheantais, agus ó dhaoine nach bhfuil aithne dá laghad agam orthu. Cá bith atá curtha ar ceal, is mé féin a chuir ar ceal e, mar nach bhfuil sé ionam teacht i láthair an phobail i láthair na huaire.

COS: Nothing has been refused so far, people are sympathetic, I have wonderful support, and, that basic support that I've received gives me great hope and strength, support from friends,people I know, and from people I don't know at all. Any events that have been cancelled it was myself who cancelled them, because I am not up to going in public right now.

ANC: An raibh barúil ar bith agat go rabhtar chun scannán mar seo a dhéanamh, nuair a thug tú cuireadh dóibh dul amach go Nepal, an raibh barúil ar bith agat go raibh scannán mar seo a dhéanamh?

ANC: Had you any idea they were going to make a film like this, when you invited them to Nepal, had you any idea they were making a film like this?

COS: Shíl mé gur scannán faisnéise a bhi ann faoi mo shaol féin i Nepal, agus níos mó na sin gur scannán faisnéise a bheadh ann a thabharfadh léiriú ar Chultúr Nepal, ar an tír, a rachadh chun socair don tír, a tharraingeodh aird daoine ar an tír, agus b'fhéidir go rachadh siad amach is go gcuideodh se le cúrsaí turasóireachta ins an tír, ach a mhalairt ar fad atá sa scannán

COS: I tought it was a documentary about my life in Nepal, and moreover that it was a documentary about Nepalse culture, about that country, that might help the country, that would attract people to the country, that people might go there perhaps as a result, and that it might help tourism in Nepal, but of course the film is the opposite of all this.

ANC:Cá huair a fuair tú amach nach é sin an sórt scannáin a bheadh ann?

ANC: When did you find out that that wasn't the kind of film it would be?

COS:bhuel scéal fada achrannach faoi seo ar fad agus tá an oiread sin cúinsí ag baint leis, ach an chéad uair a cuireadh ar mo shúil domh, gur scannán de chineál eile a bheadh ann, ná dhá bhliain o shoin, nuair a tháinig mé ar ais ó Nepal, an uair dheireanach a bhí mé i Nepal, bhíothar ag scannánaiocht liom ar feadh tréimhse fada, ar feadh 6 seachtainí nó mar sin. Agus nuair a d'fhág mé Nepal chuaigh mise go Bahrein an áit a bhfuil cara eile de mo chuid as Nepal, chuaigh mé ansin le tacaíocht a thabhairt do, mar go raibh sé i gcruachás ag an am, bhi deacrachtaí aige lena job, bhí go leor fadhbanna aige is chuaigh mé ansin, cineál le iarracht réiteach a dhéanamh orthu. Ansin tháinig mé abhaile, chuir mé glaoch ar lucht an scannáin ó Bhaile Átha Cliath a rá go raibh mé tagtha agus, bhí a fhios agam gur mhaith leo píosa a dhéanamh liom agus me ag teacht isteach sa teach i Mín a Léith, mar chríoch ar an scannán. Tháinig mé go Mín a léith agus bhi siad romham ansin. Rinne muid cupa tae, ansin cuireadh i mo shuí síos me, bhí 2 cheamara ann, shíl mé gur agallamh a bheadh ann, cineál achoimre ar cá bith a bhí déanta againn go dtí sin, agus le críoch a chur ar an scannán. Sin an uair gur cuireadh na cúiseanna seo i mo leith. Anois, bhí sé de bhéasa agamsa suí ar an chathaoir sin agus iarracht a dhéanamh na ceistanna sin a fhreagairt. Bhí mé tuirseach mar bhí aistear fada déanta agam, bhí mé ag fulaingt as jet lag, agus go díreach a bheith traochta. Nuair a cuireadh na ceistanna sin orm ní raibh mé soiléir ionaim féin. Shuigh mé síos agus rinne mé iarracht iad a fhreagairt chomh maith agus a thiocfadh liom. Agus ar ndóigh níor chóir dom a leithéid a dhéanamh. Níor tugadh leid dá laghad domh goidé a bhí romham. Sin an t-am a tuigeadh dom gur scannán de chineal eile a bhíothar a dhéanamh orm.

COS: Well, that's a long intricate story, and there are a lot of things behind it, but he first time I realised that this was the kind of film it would be was two years ago when I cam back from Nepal, the last time I was in Nepal. They were filming with me for quite a while, for 6 weeks or so. Then when I left Nepal I went to Bahrein where a friend of mine from Nepal is living. I went thereto give him support, he was going through a difficult time, he has trouble with his job, he had a lot of problems and I went there to kind of help sort them out. Then I came home and I called the film people from Dublin to say I was back. I knew they wanted to do a sequence of me coming in to my house in Mín a Léith, as an closing for the film. I came back to Min a Leith and they were there waiting for me. We made a cup of tea, and then they put me sitting down, there were 2 cameras, I tought it was going to be an interview, a kind of summary of what we had already done, and to end the film. That is when they raised the accusations against me. Now, I had the courtesy to sit on that chair and to try to answer their questions. I was tired, I had just undertaken a long journe, I was suffering from jet lag, and I was just exhausted. When they began questioning me I wasn't clear headed. I sat there and tried to answer them as best I could. And of course, I shouldn't have done that. They had given me no indication whatsoever what was coming. That was when I first knew that they were making a different kind of film about me.

ANC: Sin í an uair a cuireadh ceist ort fá chúrsai gnéis agus gur dhúirt tú go mbíonn caidreamh collaí agat le daoine óga.

ANC: That was when they raised the issue of sexual relations and you told them you have sex with young people.

COS: Sin í an uair a cuireadh an cheist sin orm, b'fhéidir gur shuigh mé ansin ar feadh leathuair a chloig, 40 bomaite, níl me cinnte, ag iarraidh míniú a dhéanamh orm féin. Sin an uair fosta a tuigeadh domh cé chomh dainséarach is atá sé a bheith ag caint go poiblí, an dóigh fosta go dtig mí-úsáid a bhaint as rudaí a deireann tú. Ní smaointíonn doaine choíche ar an chomhthéacs ina ndeirtear rudaí, ach go dtig iad a chásadh, ní raibh carthánacht ar bith ag baint le bheith ag úsáid an phíosa sin, go háirithe, sin an chomhtéacs inár dearnadh scannánú air. Ní raibh tuigbheáil ar bith faoi mo chás-sa ansin.

COS:That's where they asked me about that, I sat there perhaps half and hour, 40 minutes, I'm not sure, trying to explain myself. That was when I realised too how dangerous it is to speak out in pulic, and how what you say can be abused. People never think about the context in which things are said, that things can be twisted. There was certainly no chaity in using that piece, especially given the circumstances under which it was filmed. There was no understaning of my situation in it.

ANC: Bhí an comhlacht seo i Nepal roinnt uair, rinneadh scannán ort, goidé a bhí in ainm's bheith sa scannán seo nach raibh sa chéad scannán, agus ar glacadh nó ar dearnadh taifeadadh ar ábhair ar bith eile?

ANC: This company was in Nepal a few times, a film made about you, what was this film supposed to show that wasn't in the first film, and were any other subjects filmed?

COS: Bhuel d'oscail mise mo shaol amach mar a d'osclóinn leabhar, le lucht deanta an scannáin seo, agus bhí cead acu mé a leanstan thart...maidin, nóín agus deireadh lae, bhi cead acu scannánú a dhéanamh orm. Sé an cuspóir a bhí leis an scannán seo mar atá raite agam, léiriú éigin a tabhairt orm ins an chlultúr eachtrannach seo, an tír seo go raibh gaol speisialta agam leis, na cairde a rinne mé ansin. Ach ní sin an rud atá sa scannán ar chor ar bith, is beag léiriú atá sa scannán ar chultúr Nepal. Is leagan iontach aontaobhach atá ann.

COS: Well, I opened up my life, as I'd open up a book, to the film people, and they had permission to follow me around.. morning, noon, and evening, they had permission to film me. The aim of the film, as I said, was to show this foreign culture, this country that I have a special relationship with, the friends I made there. But that's not what the film's about a all, very little coverage is given to Nepalese culture in the film. It's a very much a one-track version of it.

ANC: Ní thaispeáintear ins an scannán do chuid oibre, do chuid tógraí, an cuidiú a thugann tú do daoine, na rudaí uilig go léir atá déanta agat i Nepal le blianta fada. Cén fáth nár taispeánadh sin?

ANC: Your work isn't shown in the film, your projects, the help you give to people, all the things you've done in Nepal for years. Why were these things not show?

COS: Caithfidh tú an cheist sin a chur ar lucht déanta an scannain. Bhí dearcadh eile acu-san nuair a thosaigh siad ag déanamh eagaracht ar an scannán sin.

Ta lear mór de mo chuid airgid tugtha agam do Nepal. Ní bhím i gcónaí ag iarraidh mórtas a dhéanamh as an méid airgid a thugaim ach, déarfainn go dtugaim 3/4 cuid den méid a shaothraím do Nepal. Sin rud nach bhfuil luaite san scannán beag na mór.

COS: You'll have to ask the film people that. They had a view when they started editing it.

I have given a lot of my money to Nepal. I don't like to be always boasting about the amount of money I give, but I'd say I give ¾ of what I earn to Nepal. That is something which gets absolutely no mention in the film

ANC: Ach nuair a bhí siad i Nepal, an comhlacht seo, an ndearna siad scannánaíocht ar an obair seo, an ndeachaigh siad go dtí na háiteanna a raibh tusa ag cuidiu le daoine, an raibh an t-abhar sin taifeadtha acu?

ANC: But when they were in Nepal, this company, did they film this work, did they go to places where you do be helping people, did they record this material?

COS: Is dóígh liom go bhfuil. Lean siad thart me. Níl a fhios agam i ndáiríre goidé atá insa footage mar nach bhfuil cuid ar bith den footage sin feicthe agam.

COS: I think they did. They followed me around. But I don't actually know what is in the footage because I haven't seen any of the footage.

ANC: Agus cá huair a thuig tú nach é an scannán a bhi tú ag meas a bhí déanta, cá huair a thuig tú go raibh scannán difriúil iomlán ar fad déanta faoi Chathal Ó Searcaigh?

ANC: And when did you twig that it wasn't the kind of film that you thought was being made, when did you learn that it was a completely different film about Cathal Ó Searcaigh?

COS: Gurb é sin an claonadh atá sa scannán, bhí sin tuigthe agam nuair a tháinig me ar ais. Agus ní raibh a fhios agam ansin cén leagan a bheadh ar an scannán. Níor tugadh deis ar bith dom rud ar bith a fheiceáil. Chuir mé scairt ar mo dhlíodóir is rinneamar iarracht cuid den footage a fheiceáil, níor éirigh linn a dhath den footage sin a fheicáil. Ní raibh a fhios agam cén cineál scannáin a bhí déanta mar gheall orm go dtí gur chuala mé raflaí go raibh an scannán le taispeáint in Amsterdam. Ach go bé mo chairde, ní bheadh a fhios agam go raibh a leithéid ag tarlú. Taispeánadh an footage fosta do dhaoine thall is abhus, fiú ag an am a raibh muidinne ag iarraidh é a fheicáil go pearsanta. An chéad uair a chonaic mé an scannán ná i mí na nollaig, seachtain i ndiaidh é a thaispeáint in Amsterdam, agus chonaic mé an scannán i bpictiúrlann bheag, i stuideo beag i mBAC. Bhi socrú déanta, go bhfeicfinn féin agus mo dhlíodóir agus bhí mé ag súil, roinnt de mo chairde, go bhfeicfimis an scannán le chéile. Ach an lá áirithe sin, níor ceadaíodh do mo chairde dul isteach agus a bheith liom agus tacaíocht a thabhairt agus mé ag amharc ar an scannán sin. Bhi cosc curtha orthu agus cuireann sin iontas orm, mar chonaic na sluaite in Amsterdam é, chonaic daoine thall is abhus e. Cuireann sé iontas orm an dóigh, na modhannan a bhí in úsaid ag lucht déanta an scannain, le mise a choinéail faoi bhrú, le mé a choinnéáil ar mo chostaint i gcónaí.

COS: That the film has this leaning, I learned that when I came back. And I didn't now then what form the film would take. I was given no opportunity to see anything. I called my lawyer and we tried to see some of the footage, but we didn't suceed. I didn't know what kind of film was made about me until I heard rumours that the film was to be screened in Amsterdam. Only for my friends, I wouldn't have know that this was happening. People were also shown the footage here and there, even at the time we were trying to see it personally. I first saw the film in December, a week after it was shown in Amsterdam, and I saw the it in a little cinema, a little studeo in Dublin. There was an arrangement that I myself would see it along with my lawyr, and I was hoping some of my friends too, that'd we'd see it together. But on the day, my friends weren't given permission to go in to be there with me and to give their support while I was viewing the film. They were banned from enterring and that surprised me – because droves had seen it in Amsterdam and people had seen it here and there. It surprises me that way, the methods the film people used to keep me under pressure, to keep me on the defensive all the time.

ANC: Nuair a chonaic tú an scannán sa deireadh thiar thall, goidé a shíl tú dó?

COS: When you finally saw the film, what did you think?

COS: Chuir an scannán as domh go mór. Bhí seo ag tarraingt míchliú millteanach orm. Chuir sé scannal orm an dóigh a raibh sé curtha le chéile. Ón tús bhí sé soiléir go rabhthar ag déanamh dí-speagadh orm. Go rabhthar a mo chur i láthair ar bhealach a bhí fealltach. Bhí feall á imirt orm. Ní rabhthar ag tabhairt seans ar bith don lucht éisteachta báidh ar bith ná dámh a bheith acu liomsa, ar an dóigh go bhfuil an scannán sin gearrtha agus curtha i láthair.

COS: I was very much put out by it. This was defaming me terribly. I was scandalised by the way it was put together. From the beginning it was clear they were making a negative portrayal. That they were presenting me deceitfully. I had been betrayed. They weren't giving any chance to the viewer to have any sypmathy or affection for me, they way the film was editied and presented.

ANC: Ins an scannán seo, tchímid fear meánaosta as Éirinn a bhfuil airgead aige, a bhfuil cumhacht aige, agus a dtuigtear duinn a bhfuil caidreamh collaí aige le buachaillí atá bocht, idir sé bliana déag agus seacht mbliana déag d'aois, agus atá ag baint úsáid as an chumhacht agus an airgead le dú-shaothrú a dhéanamh.

ANC: In the film we see a middle-aged man from Ireland who has money, how has power, and who allegedly has sex with young boys who are poor, of beween sixteen and seventeen years of age, and who is using his power and money to exploit them.

COS: Is dearcadh iontach claonta é sin dár ndóigh. An scannán áirithe atá deanta ag Vinegar Hill, is dóigh liom go bhfuil sé iontach claonta, claonta in éadán s'agam, an dóigh go bhfuil sé curtha le cheile. Thig le rud ar bith a dhéanamh sa seomra eagarthóíreachta. Thig scannán a ghearradh ar bhealach áirithe a insíonn ca bith scéal is mian leat. Agus tá mé buartha gur mar sin atá sé.

Thug mé cuireadh daofa a theacht liom go Nepal, shíl mé go rachadh sé chun tairbhe daofa, go dtabharfadh sé cuitiú airgid daoga, go dtabharfaidh sé léiriú éigin ar chultúr Nepal, go dtabharfadh sé léiríú éigin ar mo chairde ansin, agus ar na droichid atá tógtha agam thar thréimhse fada... ach a mhalairt ar fad atá fíor. Is sceannairt atá ann. Tá mé curtha i láthair ma dhuine atá diabhalta, agus nach bhfuil maitheas ar bith ann. ní shílim féin gur sin an cineál duine atá ionaim.

Tá mo chuid lochtanna orm mar atá ar achan duine ach tá maitheas búnusach ionam nach bhfuil lá airde tugtha air in an léiriú áirithe sin.

COS: That is a very biased opinion of course. This particular film which Vinegar Hill have made, I believe it is biased, biased against me, the way its put togther. Anything can be done in the editing room. A film can be cut to tell any story you like. And I'm afraid that's the way it is.

I invited them to come with me to Nepal, I thought it would benefit them, that it might pay them, that it would give an insight into Nepalese culture, and into my friendships in Nepal, and the bridges that I have built over a long period... the opposite is the case. It's a disgrace. I'm presened as evil, someone who has no good in them. I don't think that's the kind of person I am.

I have my flaws like everybody else but there's a basic goodness in me that is completely ignored in this particular portrait.

ANC: An bhfuil tú ag séanadh go raibh dú-shaothrú i gceist, go raibh tú ag baint úsáide as buachaillí óga, go raibh tú ag baint úsáid as cumhacht agus airgead le buachaillí óga a mhealladh, mar atá leírithe sa scannán?

ANC: Are you denying there was exploitation involved, that you were using young boys, that you were using power and money to entice young boys as shown in the film?

COS: Tá an scannán iontach claonta. Ní raibh mé riamh ag baint úsiad as na fir óga seo ar mhaithe le sásamh gnéis. Shílfeá go dtéimse amach go Kathmandu is go ndéanaim ionsaí ar na fir óga seo. Feall atá ansin orm. Tá teagmháil agamsa leo agus mé in Éirinn. Tá cuntaisí bainc ansin agam le tabhairt le fios go dtugaim tacaíochta daofa ar bhun leannúnach agus me in Éirinn, níos mó tacaíochta na nuair atá mé i Nepal.

An rud ar fad faoi bheith ag grúmáil s'acu, chuir sé déisteán orm pictiúir áirithe a fheicáil sna paipéir, pictúr de Narang Panth agus mise ag cóiriú a charabhait. Is cinnte nach raibh ach ciall amháin leis an phioctiúr sin: go raibh mise ag cur an fhir óig seo in oiriúint sa dóigh go mbeadh sé ar fáil domh le caidreamh collaí a bheith agam leis. Anios, feall millteannach atá ansin, ní amháin ormsa ach ar Narang Panth, mar ar na mallaibh ansin tá píosa scannánaíochta tagtha ó Nepal a bhfuil tábhacht ag baint leis agus sílim gur chóir dó bheith taispanaithe go poblí mar léirionn sé an míshasamh atá ar Narang Panth an dóigh ar úsáideadh ar sa scnannan, deir seisean gur cuireadh agallamh air is gur cuireadh agallamh air faoi bhrú, tairraingíodh isteach é, cuireadh ceisteannaí ina bheal, tá na ceamraithe dírithe ansin, is tá sé go mór ar a mhíshuaimhneas, agus dár ndóigh deir sé rud ar bith is mian leis na daoine a rá atá ag cur agalliamh air.. tarraingíon sé siar na rudaí sin anois.

COS: The film is very biased. I have never used these young men for sexual gratification. You'd think I go to Kathmandu and that I attack these young men. That's wrong against me. I am in contact with them when I'm in Ireland. I have bank accounts to prove that I support them on a continuous basis when I'm in Ireland, even more support than when I'm in Nepal.

ANC: Ach ag an am chéanna, a Chathail, ag deireadh an scánnain seo, deireann túsa go neamhbhalbh, agus ní chuireann tú fiacail ann, go mbíom caidreamh collaíochta agat le leathchuid de na buachaillí seo agus deireann tú arís agus arís eile é ag deireadh an scannáin. Goidé atá i gceist agat leis sin?

ANC: At the same time Cathal, at the end of the film, you say clearly, and plainly, that you have sex with half of these young men and you say it again and again at the end of the film. What do you mean by that?

Tá caidreamh agam leis na buachaillí sin, agus mheasfá ón scannán go bhfuil an caidreamh sin olc. Agus a mhalairt ar fad atá fíor, anois agus muid ag caint ar chúrsaí chollaíochta, shílfeá gur stail atá ionam...shilfeá ó na paipéar gur stail atá ionam leis na scéalta agus na raflaí uafásacha atá curtha i mo leith, anois ca bith caidreamh collaí atá agam le fir óga, is croí isteach atá ann, agus is cairdeas atá ann, seachas dlúth-chollaíocht mar a déirfeá...níl mé ag iarraidh dul isteach ins na fíricí ar fad, deirim agus, deirim seo amach ó mo chroi agus go fírinneach, is croí isteach, is ceanúleacht, is companas atá i gceist.

I have a relationship with those boys, and you'd think from the film that it's a harmful relationship. The opposite is true, now, since we are talking about sexual matters, you'd think I was a stallion... you'd think from the papers that I'm a stallion what with the stories and awful rumours that are put out about me, well, whatever sex I had with young men, it was meaningful, it was friendship, instead of raw sex shall we say...I don't want to get into all those matters, lets' say, but I say this from my heart and honestly, it is meaningful and companionship.

ANC: Ag an am chéanna a Chathail, an bhfuil a fhios agat, taispeánann sé sa scannán fosta, gur daoine óga soineanta, buachaillí as tír iad seo, daoine, agus tugtar seo le fios sa scannán, nach bhfuil morán cur amach acu ar chúrsaí gnéis, nach bhfuil mórán eolais acu, i ndáiríre bíonn tusa ag cur comhairle orthu ó thaobh bheith coimheadach de agus a leithéidí sin, an measann tú go dtáinig sé trasna go bhfuil cineál mí-úsáid?

ANC: At the same time Cathal, you see, the film also shows that its young innocent people, boys from that country, people, and this is alleged in the film, that don't have much understanding of sex, that they don't have much knowledge, and actually you are advising them to be careful of it and so on, do you think it came across as kind of abuse..

COS: Caithfidh tú an cheist a chur ort, tá an scannán iontach claonta insan dóigh nár mise atá ag tabhairt léimh, 'sé an stiúrthóir, iníon Uí Chiannáin, atá ag déanamh an tráchtaireach ins an scannán sin agus cá bith barúlacha atá ag teacht trasna is barúlacha s'aicise atá ann. Tá an scannán curtha le chéile sa dóigh is gur léargas s'aicise atá curtha trasna go láidir. Tá cá bith breith atá an lucht éisteachta ag tabhairt ormsa, tá sin curtha in iúl aicise, insan dóigh go bhfuil tráchtaireacht déanta aici. Aisteach go leor, tá an tráchtaireacht sin i mBéarla, agus tá mise ag caint i nGaeigle, chuir sin iontas orm nuair a chonaic mé an scannán don chéad uair, cruthaíonn sin míchothromaíocht iontach bunúsach, an chuid is mo de daoine níl gaeilge acu is tá siad ag brath ar na fó-theidil. Ní hionann fó-theidil agus caint dhíreach a bheifeá in ann tuigbheáil a bhaint as an dóigh a labhraíonn duine, as na geaitsí a dhéanann sé agus é ag caint. Tuigeann achan duine ar ndóigh an tráchtaireact atá déanta aicise i mBéarla. Sin ceist ó thaobh technique, mar atá ráite agam, tá an bhreith tugtha aici-se i mo leith, tá na focla curtha aicise i do bhéalsa, i do chluasa, agus tú ag amharc ar an scannán, ní thugann sin mórán seansa domhsa. Anois, i dtaca léi a rá go bhfuil na fir óga asin ar fad soinneanta. Níl. níl siad soinneanta. Tá cuid acu dár ndóigh, mar atá achan áit, ach tá go leor eile acu insan tír. agus bhí sé iontach spéisiúil ar chlár Joe Duffy insin, fear óg ar an chlár a dúirt go raibh sé i Kathmandu agus go dtainig an oiread sin daoine, fir oga aníós a fhad leis, agus go raibh siad ag cur, mar a déarfá, forrán gnéis air, ag tabhairt cuireadh dó. Tá sé ansin. Agus tá sé ansin go poiblí.

Rud eile atá ar fad i mo shaolsa, cruthaím cairdeas, baineann mo shaol le bheith ag déanamh cairde, breathim nach dtáinig a dhath de sin trasna ins an scannán, fiú amháin an caidreamh fadtéarmach atá agam le mo mhac altanais Prem, le Santarm, le Prakas, agus le léar mór eile daoine. Go dtig sé sin trasna, cineál leataobhach, agus braithim Prem é sin fosta agus cuireann sé as dó go mór. Cuireann sé as daofa ar fad.

COS: You have to ask yourself, this film is very biased the way it isn't me that is interpreting, it's the director, Miss Ní Chiannáin who is providing the commentry in the film and whatever opinions come across in the film they are those of hers. The film is put together to put her view across strongly. Whatever judgement the views are making of me, it's portrayed by her, the way she did the commentary. Strangely enough that commentary is in English, while I am speaking in Irish, that really surprised me when I saw the film first, it illustrates a basic and severe imbalance, most people don't speak Irish, they are depending on the subtitles. Subtitles are the same as direct speech, they way you can get an understanding from the way someone talks, he gestures they make when talking. But of coure everyone understands the commentary she makes in English. That's a question of technique, as I said, she has judged me, she puts the words in your mouth, in your ears when you are watching the film. That doesn't give me much of a chance. Now, concerning what she says about the young men there being innocent. No. They aren't innocent. Some of them are of course, like everywhere, but many others in the country aren't. It was very interesting on Joe Duffy's program, the young man on the program who said he was in Kathmandu and that so many people, young men, came up to him and that they were, let's say, giving him a sexual greeting, inviting him. That is there. And it's there in public.

Something else entirely in my life, I make friendships, my life is about making friends, I feel that nothing about that came across in the film, even the long term relationship I have with my adopted son, Prem, with Santarm, with Prakas, and with a whole lot of other people. That came across sort of with a slant, and Prem feels that too and it really upsets him. It upsets them all.

ANC: Tá sé le tuigbheáil ón scannán fosta go dtig na fir óga seo go dtí an seomra a do lorg, is go dtig cuid mhór acu ann, go mbíonn scaifte mór ann, ag lorg airgid. An mbíonn fir óga ag teachta chugats ag lorg airgid?

ANC: One understands from the film that these young men go to the room looking or you, that many of them go there, there's a lot of them, looking for money. Do young men come to you looking for money?

COS: Má tá tú i dtír ar bith atá bocht ar ndóigh, tá daoine ag teacht chugat ag lorg airgid. Sin mar atá sé. Tá a fhios ag achan turasóir sin. Síleann siadsan ar ndóigh, má tá tú bán, agus má tá tú ón oirthear go bhfuil sparrán trom agat. Tá Nepal mar an gcéanna.

d'oscail mise mo shaol amach chomh foscailte le lucht déanta an scannáin seo, thoicfadh leofa scannanaíocht a dhéanamh orm maidin nóin agus deireadh lae. Thigeadh daoine ar cuairt chugamsa. Thar na blianta atá mé i Nepal, mar atá ráite agam, tá cairdis cruthaithe agam, cairdis atá buan, agus thigeadh siad sin ar cuairt chugam. Bhíodh muid inár suí taobh amuigh den ostán ag táblaí agus muid ag caint. Bhí deis ag an stiúrthóír scannanú a dhéanamh ar cá bith a bhí ag tarlú. Anois tá curtha i mo leith go mbíodh líon mór fir óga i mo sheomra de shíor. Is bréag glan atá ansin. Bhí an doras foscailte ins an seomra sin nuair a bhí mé ann. Bhí cead ag daoine theacht mar bhí tréímhsí fada caite agam i Nepal, dhá, trí mhí ag an am, agus an seomra a bhí agam ins an ostán, ba sin mo bhaile, mo bhaile cosúil leis an bhaile atá agam i Mín a Léith, agus mar atá fhios ag achan duine tá mo dhoras foscailte i Mín a Léith, agus nuair a thigeadh daoine go dtí mo sheomra insan ostán gheobhaidh siad cupa tae. Agus thigeadh siad ar cuairt chugam ach ní hé sin le rá go raibh mé ag gabháil a luí le achan nó go raibh mé ag déanamh ionsaí gnéis mar atá curtha i mo leith. Níl léiriú ar bith déanta air a dhúil atá agam leis na daoine sin, tá an rud claonta ins an dóigh a bhfuil sé curtha i láthair. Níl seans air bith agamsa léiríú a thabhairt orm fein, agus an dóigh a bhfuil mé ag dealáil leis na daoine sin. Mheasfá ón scannán gur turasóireacht ghnéis atá ar siúl agam ansin, ní thugann sé léargas ar bith ar na cairdis fadtéarmacha atá agam ansin, ar an ghaol atá agam leis an oiread sin daoine.

COS: If you are in any poor country of course, people come to you looking for money. Thats the way it is. Every tourist knows that. They think of course that if you are white and you are from the West that you have a big pocket. Nepal is the same.

I opened my life up to the film makers, they were able to film me morning, noon, and evening. People used to come visit me. Over the years that I'm in Nepal, as I've said, I have made friendships, permanent friendships, and they come to visit me. We used to sit outside the hotel at a table to chat. The director had the opportunity to film whatever was happening. Now, it has been accused of me that a huge number of young men were always in my room. That is a black lie. The door of that room was open when I was inside. People had permission to come for I had spent a long period in Nepal, two, three months at the time and the room I had in the Hotel, that was my home, my home like my home in Min a Leith and as everyone knows my door is open in Min a Leith, and when people used to come to my room in the Hotel they'd get a cup of tea. And they used to come visit me, that doesn't say I was going to sleep with every or that I was going to make a sexual assault as I've been accused of. The fondness I have for these eople isn't shown, the thing is biased the way it is presented. I have no opportunity to portray myself and the way I deal with those people. You'd think from the film that I'm engaged in sex tourism, it doesn't give any insight into the long term friendships I have there, into the relationship I have with so many people.

ANC: Tá sé ráite ag an léiritheoir gur iarr sí ort a ghabháil agus comhairle a fháil, agus gur mhol sí duit comhairle a fháil, mar ins an scannán seo, tá sé tugtha le fios go bhfuil caidreamh agat le buachaillí atá idir 16 agus 17 d'aois. Deir an léiritheoir go bhfaca sí seo ag tarlú de réir a chéile is gur chuir sé as di féin, gur máthair í féin, gur chuir sé isteach go mór uirthi. Inis domh goide an tuigmheáil a bhí agat ar an mholadh sin.

ANC: The producer has said she asked you to seek counselling, and that she advised you to get counselling, because in the film, it is alleged that you have relations with boys between 16 and 17 years of age. The producer said that gradually she saw what was happening and that it upset her, that she is a mother herself, and that it upset her a lot. Tell me, what is your understanding of that advice.

COS: Mhol siad domh gabháil amach agus comhleoireacht ghnéis a lorg. Nuair a chuaigh mé lena leithéidí a dhéanamh agus nuair a fuair mé amach goide a bhí i gceist, i comhairle do Pedophiles a bhí i gceist ansin, agus tuigeadh domh ag an am sin go raibhtar ag glacadh míbhuntáiste orm mar tuigeadh domh nach sin an rud a bhí ionaim. Ní raibh claonadh ar bith ins an treo sin ionaim. Bhíothar ag iarradh a chur ina luí orm gur dhrochdhuine a bhí ionaim. Thacaigh sé sin le cá bith dearcadh a bhí a chur i láthair ins an scannán. Ag an am sin, stad mé a ghabháil sa treo sin. Bhí mé faoi bhrú dár ndóígh, agus an té atá faoi bhrú déanann sé rud ar bith. Ag an am, níor labhair me le duine ar bith, níor labhair mé le mo dhlúthchairde faoin rud seo ar fad, so bhí mé liom fein, bhí mé im'aonar. Anois tá go leor cainte déanta ag lucht déatais an scannáin faoi dubh-shaothrú, agus má rinneadh dubh-shaothrú ar dhuine ar bith, rinneadh dubh-shaothrú ormsa sa dóígh a bhfuil mé curtha i láthair insan scannán sin. Insan scannan, cuir i gcás da mba fir óga as Éirinn a bhí i gceist, is cinnte nach dtaispeáinfí a n-aghaidh ar an scaileán mar a taispeanadh aghaidh na bhfear óg sin as Nepal. Táthar ag caint gur tugadh comhairle daofa, tá siúrthóír an scannáin a rá gur tugadh comhairle faoi chúrsaí gneis daofa, an píosa scannáíóchta atá tágtha ó Nepal agus atá tábhacht iontach ag baint leis, tá sé ráite ag Narang Panth, croí-lár an scannáin sin, nach bhfuair sé comhairle ar bith. Ní amháin sin ach ta sé ráite aige amach go neamh-bhalbh gur chuir sé scairt ar stiúrthóír an scannáin a rá léi go bhfuil sé míshásta le rud ar bith atá ráite ins an scannán agus gur mhaith leis a tharraingt siar agus tugadh gealladh dó nach mbainfí úsáid as insan scannán. Goidé atá tarlaithe? Tá sé curtha i mbéal an phobail - ins na grianghrafanna atá a n-úsáid le poiblíochta a thabhairt don scannán, tá sé le feiceáil de shíor, ta sé le feiceáil ar an scannán, tá a fhios agamsa go pearsanta go bhfuil sé iontach briste faoin dóigh ar baineadh úsáid as. Sin é an fáth gur mhaith liom go beadh deis ag pobal na hÉireann an footage atá tagtha ó Nepal a fheiceáil. Taispeánadh an footage seo do na hudaráis sláinte, taispeánadh é don lucht urraíochta, taispeánadh é anseo agus ansiúd ach níor taispeánadh é riamh domhsa é, so ní raibh a fhios agam i gceart goide a bhí ann.

COS: They advised me to seek sex couselling. When I went to do that, and when I found out what it was about, counselling for pedophiles was what it was about, I understood then they were taking advantge of me, because I knew I was not one. I am not in the slightest that was inclined. They were trying to convince me that I'm a bad person. This supported the view that is portrayed in the film. At that point I went no further in that direction. I was under pressure of course, and when someone is under pressure they'll do anything. At the time I didn't speak to anyone, I didn' t speak to my close friends about the whole thing, so I was alone, I was isolated. Now, there has been a lot of talk by the film makers about exploitation, and if there was any exploitation, I was exploitation of me in the way I'm portrayed in the film. In the film, if for example it had been young men from Irelad, their faces certainly wouldn't have been shown on he screen in the way the faces of the young men from Nepa was shown. It's been said they were given counselling, the director of the film is saying they were given sex counselling, well in the film that has come from Nepal, and which is very important, Narang Panth, the central figure of the film, has said, that he got no counselling. Not only that but he has said emphatically that he phoned the director of the film to tell her that he is not happy with anything he says in the film and that he wanted to withdraw it, and he was promised that it wouldn't be used in te film. What happened? He is put in public – in he photos that are being use to promote the film, he is to be seen everywhere, he is in the film. I know personally that he is very hurt by the way he was used. That is why I'd that the Irish people would have the opportunity to view the footage that came from Nepal. This footage was shown to the health authorities, to the sponsors, it was shown here and there, but it was never shown to me, so I don't really know what is in it.

ANC: Tá a fhios ag achan duine gur duine aerach tú, ní dhéanfaidh tú rún ar bith de, tá sé mar théama i do chuid filíochta, tá tú iontach oscailte faoi, agus táim cinnte go raibh, nó an raibh a fhios ag muintir Nepal gur duine aerach tú chomh maith, an bhfuil an tuigmheáil sin acu gur duine homaghnéasach thú?

ANC: Everybody knows you are gay, you make no secret of it, it's a theme in your poetry, you are very open about it, and I'm certain that, or were the Nepalese people aware as well that you are gay, do they understand that you are a homosexual?

COS: Dár ndóigh mhínigh mise do mo chairde ar fad, chuir siad ceist orm cén fáth nach bhfuil tú pósta, tá achan duine pósta i Nepal. Sin mar atá an cultúr sin, chuirfeadh siad ceist orm go minic cén fáth nach bhfuil tú pósta agus mhíneoinn daofa go díreach cén claonadh a bhí ionaim, ar chor ar bith bhí 'fhios ag an chuid is mó de na fir óga seo cén claonadh a bhí ionaim, níl le déanamh acu ach amharc ar an idirlíon agus gheobhaidh siad amach ansin go díreach mar bhí sé sin luaite go poiblí. Rud amháin, tá dochar déanta do na daoine, na fir óga sin atá taispeánaithe ins an scannán, cuireann sé iadsan faoi bhrú, níl cosaint ar bith acu. taispeánadh aghaidheanna s'acusan. Chuir duine acu sin, Naraing Panth, chuir sé glaoch ar an stiúrthóír agus dúirt sé léi nár theastaigh uaidh go n-úsáidfí é ins an scannán ach níor tugadh aird ar bith air. Baineadh úsáid as ins an scannán agus baineadh úsáid as a phioctúir go minic ar na paipéar anseo, bhí sé mar chuid thabhatach den fheachtas poiblíochta a bhí ar siúl leis an scannán sin a chur i mbéal an phobail go háirithe an picotúir áirithe, mise ag deisiú agus ag cóiriú carabhat s'aige. tá a fhios againn ar fad cen chiall, cén bhrí atá leis sin. Go coinsiasach, cuireadh é sin amach. Tá pioctúir eile insa scannán a gcaithfidh mé tagairt a dhéanamh de, a chuireann as domh go mór, is dóíchí gurb é an pioctúir a úsáideadh chun an scannán a fhógairt, agus sin an pioctúir de fhear óg agus a lámha sínte amach aige agus shílfeá go bhfuiltear á chéasadh. Anois, sé atá ins an phioctúir sin ná mo dhluthchara Santaram Sakota agus an cúlra a bhaineann le sin tá sé chomh soineanta, chomh neamh-urchóídeach. Bhí muid uair amhain ar cuairt i mbaile ar a dtugtar Pokara agus tá loch álainn ins an bhaile sin, agus chuaigh Prem agus Santaram amach a snámh. Níl snámh ar bith ag Prem agus bhí Santaram ag comhairliú agus ag cuidiú leis builí snámh a fhoghlaim, is dóíchí go ndearna muid sin le héagsúlacht a thabhairt don scannán, iad amuigh ins an uisce, shíl mise gur sin an rud a bhí ann. Iníon Uí Chianáin, stiúrthóir an scannáin a mhol sin, ag an am, b'fhéidir achan chineál subtext ag baint leis nár tuigeadh domhsa ag an am. Bhí siad ag snámh agus tá Santaram ag léimint ón chlár tumadóireachta, sin an rud atá insan phíosa sin, insan phioctúir i ndáiríre, ach an dóígh ar baineadh leas as le rud inteacht eile a rá. Léiríonn sé sin go maith an dóigh ar cásadh rudaí thart le léiriú eile a thabhairt nach bhfuil baint ná páirt aige leis an phíosa é féín.

Tá mé dubh-thuirseach den rud seo atá mé ag léamh ins an phaipéar gur duine saibhir mé, duine ar bith a bhfuil a fhios acu, níl file ar bith saibhir. Cá bith airgead atá agam agus ní mórán airgid atá ann, ach cá bith atá ann, téann 3/4 cuid ar a laghad go Nepal. Sin rud nach bhfuil luaite beag ná mór sa scannán. Níl tuairisc ar bith tugtha den méid argead atá tugtha agam, ar bhun leannúnach.. tá cairde agam ansin atá thar bhlianta ag fáil atá cothaithe agus atá gaol fádtéarma agam leo. Níl tuigmheáil ar bith tugtha de sin ins an scannán seo.. ar chor ar bith.

COS: Of course, I told all my friends, they asked me why are you not married. Everyone is married in Nepal. That is their culture, they'd often ask mew why are you not married and I'd explain clearly what my orientation was, anyway most of the young men knew what orientation I was, all they have to do is look up the internet and they'll see directly, because it was all so public. One thing, those people, those young men shown in the film were harmed, they were put under pressure, they have no defence. Their faces were shown. One of them, Narang Panth, he called the director and told her he didn't want to be used in the film, but he was ignored. He was used in the film and he was used in a picture often in the papers here, he was an important part of the promotional campaign that was used to advertise the film, especially that picture, me fixing and arranging his tie. We all know what was meant, what as intended by that. That was put out consciouslly. There is another image in the film that I want to draw attention to, which upsets me a lot, probably the image that was used to advertise the film, and that's the picture of the young man with his arms spread out so that you'd think he is being crucified. Now that's my close frien Santaram Sakota and the backround of that is so innocent, so harmless. One time we were visiting a town called Pokara and there's a lovely lake in the town and Prem and Santarm went out swimming. Prem cannot swim so Santaram was teaching him and helping him to learn swimming strokes, I suppose we did that to give variety to the film, them out in the water, that's what I thought. Miss Ui Chiannain, the director of the film proposed that at the time, I suppose there was every kind of subtext behind it that I didn't see at the time. They were out swimming and Santaram is jumping from the diving board, that's what's behind that piece, what's really in that picture, but the way it was used to say something else. That clearly shows the way things were twisted around to show something else that wasn't present at all in the piece itself.

ANC:Agus an téama eile atá an ná dú-shaothrú, a Chathail, agus duine ar bith a chonaic an scannan tháinig sé sin trasna.

ANC:The other theme is exploitation, Cathal, and anyone who saw the film, that came acoss.

COS: Thig rud ar bith a dhéanamh ins an seomra eagarachta, thig gearradh agus claonadh ar bith is mian leat a chur ar rudaí atá soineanta agus nach bhfuil dochar ar bith ag baint leofa. Tá sé luaite agam an dóigh ar baineadh mí-úsáid as pioctúir Santaram. Tá iomhá insa scannan a chur déisteán orm féin fosta. Tá pioctúir amháin do Sonita, bean Phrem, agus í ag amharc orm, agus shílfeá go bhfuil sí ag amharc orm go hiontach goirgeach. Anois, a mhailairt ar fad atá fíor. An grá agus an gaol atá agamsa agus Sonita, an meas atá againn ar a chéile. Luadh sna paipéir "the look on the young men". Tharla sé sin sa seomra eargarachta seachas mar a tharla sé agus muid amuigh ansin. Tá Naranh Adakari cuir i gcás, sin duine de na fir óga ar baineadh leas as ins an scannán, agus táimid inár suí amuigh i gclós san ostán, agus muid ag ithe, tá seisean ag ithe, agus tá mise ag rá nursery rhyme agus tá an rud sin ar fad iontach sinister - an dóigh a bhfuil mé á rá, insan chomthéacs atá cothaithe insan scannán, anois bhí an rud sin ar ais arís iontach soineanta, luaigh sé rud inteacht faoina Maosists, bhí mise ag caint ar na Maoists agus tharla míthuiscint de chineál éigin agus amach as sin deirim an píosa beag sin de nursery rhyme ach tá cuma air sin go bhfuil se iontach chorrach (chortha). Anois tá sé iontach corrtha mar an té a bhí ag scannánú, bhí an ceamara thuas ar a thoc aige bhí sé ag iarraidh a bheith ag ithe, bhí sé ag iarraidh bheith ag éisteacht liomsa, bí sé ag iarraidh bheith ag tabhairt airde ar a' cheamara. Anois tá go leor de sin ins an scannán fosta, mar an té nach bhfuil cleachtadh ar bith aige ar scannán a bheith thuas lena thoc tá sé iontach deacair acu a n-aird a dhíriú ar a bheith ag caint nó a bheith ag amharc ar a gcompórd.

COS: Anything can be done in the editing room, things that are innocent that are harmless can be cut or biased however you like. I have mentioned how Santaram's picture was abused. There's an image in the film which annoyed me too. An image of Sonita, Prem's wife, and she looks at me, and you'd think that she is looking at me harshly. Now the opposite is tue. The love that I have for Sonita, and the relationship that I have with her, we respect one another. The paper mentioned “the look on the young men”. That happened in the editing room instead of when we were out there. There's Naranh Adakar for example, that's one of the young men who is used in the film, and we are out in the yar at the hotel, we're eating, he is eating , and I'm saying a nursery rhyme and the whole thing is very sinister – the way I'm saying it, in the context created in the film. No that again was totall innocent, he mentioned somehing about the Maoists, I was talking about the Maoists and there was some kind of misunderstanding and out of that I say a nursery thyme but there is an appearace of something odd about it. It is a bit odd because the peron who was filming, he had the camera on his shoulder, and he was trying to eat, and he was trying to listen to me, he was tring to mind the camera. Now, there's a lot of that in the film as well, because anyone who is not exerienced with having the film(sic) up on his shoulder, it's very difficult to pay attention to the conversation to comfotably keep an eye on anything.

ANC: Ann fosta tá fir óga le feiceáil, bhuel tá fear óg amháin le feiceáil ag teacht go dtí an ostán a do lorg, uimhir an tseomra aige agus sé an dearcadh nó an tuigmheáil atá ón scannán nó go bhfuil siad a do lorg le airgead a fháil uait agus tá sé ráite agat fosta, a bhfuil a fhios agat, gur daoine óga soineanta as an tuath iad seo nach bhfuil mórán cur amach acu ar chúrsaí gnéis, nó mórán eolais acu, go deimhin cuirtear an cheist goidé rud é....

ANC: In it as well, young men are to be seen, well, one young man comes to the hotel looking for you, he hwas the room number and its to be understood from the film that they are looking for you to get money from you, and you say as well, you see, that these are innocent young people from the country that don't have much of an understanding of sexual matters, they don't know much, even the question is asked what is it...

COS: Tá achan rud ins an scannán claonta i mo éadán. Tá a fhios agam sin. Tá sin le feiceáil agam go soiléir, an dóigh cuir i gcás a mbaintear úsáid as an footage sin a rinne mé le SBB, táthar ag díriú isteach ar chuid áirithe de sin faoi gur role model atá i gCathal Ó Searcaigh, dár ndóígh, baintear úsáid as sin agus, táthar ag cur in iúl...há, role model. An cineál sin rud. Luaigh tú ansin duine ag teacht do dtí desk an ostáin agus iad ag gabháil suas go dtí mo sheomra. Tá sé sin claonta fosta, an raibh mé thuas i mo sheomra fiú amháin nuair a thainig an duine sin go dtí an desk - níl a fhios againn, go díreach léirítear duine inteacht ag teacht go dtí an desk agus go díreach é ag siúil suas go dtí mo sheomra. Leideanna beaga mar sin, tá an scannán lán daofa. Tá achan cheann acu curtha i mbealach go bhfuil cúisiú á dhéanamh ormsa.

COS: Everything in the film is biased against me. I know that. I can see that clearly, the way for exampl the use the footage I made with SBB, they are drawing attention to the fact that Cathal O Searcaigh is a role model of course, that is used, they are tying to show... aaah, role model. That sort of thing. You mentioned there someone coming to the desk in the hotel and they going up to my room. That is biased too, was I in my room even when that person came to the desk – we don't know, they just show someone coming to the desk and going straight up to my room. Little clues like that, the film is full of them. Each one is put in such a way that I'm being accused.

ANC: Tá go leor cúrsaí gnéis luaite sa scannán seo i ndáiríre agus is dóíche gur sin an phríomhthéama ann ach mar a dúirt mé is duine homaghnéasach tusa, tá a fhios ag achan duine sin, ach an tuigmheáil atá agatsa ar chaidreamh collaíochta a Chathail, de réir an tuigmheáil atá agamsa, ní an gnáth-chaidreamh collaíochta a bheadh i gceist, ní hé sin an sórt caidrimh a bheadh agat le cuid de na buachaillí agus ní iad ar fad, ach cuid acu mar a luaigh tú.

ANC: There really is a lot of sex mentioned in the film, and I suppose that ione of the main themes, but as I said you are a homosexual, everyone knows that, but the understaning you have of sexual intercourse, Cathal, as far as I understand it, it's not the usual sexual intercourse, that's not the kind of intercourse you have with some of the boys and not al of them, but some of them as you mention.

COS: Tá béím ins an scannán seo ar fad ar chúrsaí gnéis, tá an thesis ar fad ag gabháil sa treo sin, gur sin bun agus barr mo shaoil, anois níl mise ag gabháil isteach i gcúrsaí gnéis agus na fíricí a bhaineann leis nó nach mbaineann leis ach déarfaidh mé go díreach, go goirid, cá bith caidreamh a bhí agam leis na fir óga seo gur croí isteach a bhí ann, gur gean a bhí ann, seachas caidrimh dlúth-chollaíochta. Ins an scannán, níl ach triúr ag caint, tá siad sin ar fad 18 d'aois. Tá cead acu caidreamh collaí a bheith acu de réir an dlí. I dtaca leis an triúr dó, agus níl mé ag gabháil a ra, go díreach, cupla focal mar gheall air seo. Narang Panth chuir sé glaoch ar stiúrthóír an scannáin agus dúirt sé léi nach raibh sé ag iarraidh bheith rannpháirteacht sa scannán, d'iarr sé uirthi an taifeadh a rinne sí air a tharraingt siar, agus gheall sí dó go ndéanfadh sí sin, ach tá sé ins an scannán. Bhris sí an gheallúint sin. Tá mise i dteagmháil leis des shíor, táimid iontach mór lena chéile, tá sé iontach bríste i láthair na huaire. I dtaca leis an bheirt eile, Sarendra Areal agus Narang Adakari atá ansin á mo chúisiú tháinig siadsan chugamsa nuair a bheas iomlán na fírinne inste fán chaidreamh sin, tchífear go raibh siadsan, agus fios acu, goide a bhí siad a dhéanamh. Tháinig siad chugamsa agus iadsan a chur an scéal sin chun toisí ormsa, is cinnte nach raibh mé ag glacadh buntáiste ar bith orthusan. Bhí siad toilteanach caidreamh a bheith acu liomsa. Agus sin ráite, an caidreamh a bhí agam leo, is caidreamh bhí chomh soineanta, is croí isteach atá ann, agus ní rud inteacht eile.

COS: The film emphasises sexual matters, the whole thesis goes in that direction, that that's all there is to my life, now I'm not going into the details of the sexual matters, or what they are or aren't about, but very briefly, I will say this much out straight, whatever relationship I have with these young men, it's a meaningful one, it's about affection, not raw sex. In the film only three speak, they are all 18 years od. They have the right to have sex according to the law. About those three, and I'm not going to say, just, a few words about this. Nrang Panth rand the director and said he didn't want to be involved with the film, he asked her to withdraw the parts that include him, and she promised him she would do so, but still, he's in the film. She broke that promise. I'm in contact with him all the time, we're great friends, he's very upset right now. Regarding the other two, Sarendra Areal and Narang Adakari who accuse me, they came to me when truth be told, and let me know, for sure I wasn't abusing them. They willingly had a relationship with me. All of that being said, the relationship I hadwith them was innocent, it was genuine, and it was nothing else.

ANC: A Chathail, an dóigh leat dáiríre, go raibh tusa soineanta tú féin ins an chur i láthair a rinne tú ins an scannán seo.

ANC: Cathal, do you think that really, you were naïve to have presented yourself like you did in the film?

COS: Dár ndóighe, tá mé soineanta, a Áine. Silím gurb é sin an téama is tábhachtaí i mo shaothar féin, a bheith súil oscailte, agus soineantacht a' linbh go pointe áirithe. Ach de bharr go mbaineann an soineantacht sin liom. Cuirim muinín i ndaoine, glacaim leis go bhfuil achan duine maith agus go bhfuil achan duine báúil agus dáuil liom agus mar sin dó fosclaím mé fein amach agus tugaim deis daofa a theacht isteach i mo shaol. Na doaine, a bhfuil aithne acu orm, tuigeann siad sin, sin mar a tharla ins an chás áirithe sin, leis an scannánú sin ar fad, gur fhoscail mé mé féin. Duine inteacht eile ní dhéanfadh siad é. Dá mbeadh rud ar bith ceilte agam, dá mbeadh rud ar bith faoi rún agam, is cinnte nach dtabharfainn cuireadh daofa theacht isteach in mo shaol agus nach mbeinn chomh foscailte, bhí cead acu mé a leanstan i gcónaí agus cá bith scannánú a bhí de dhíth orthu a dhéanamh.

Tá an próiséas, an scannánú seo ar siúl le dhá bhliain i ndiaidh don taifeadadh deireanach a bheith déanta, anois, dá mbeadh rud ar bith as bealach déanta agam, shílfí go dtabharfaí aird air i bhfad roimhe sin..dá mbeadh rud ar bith as bealach déanta agam thiocfaí é a chur i láthair an phobail lom láithreach. Ta go leor ceisteanna le freafairt ansin.

COS: Of course I'm innocent Áine. I think that is one of the themes in my own work, to be open eyed, the innocent of a child to a certain extent. But how that innocence affects me. I trust people, I accept that everyone is good, that everyone is sympathetic, kind to me and that's why I open myself up and give thm an opportunity to come into my life. People who know me understand that, that's what happened in this case, with this film, that I opened myself up. Another person wouldn't do it. If I had anything to hid, if I had any secreats, I certainly wouldn't have invited thm to come into my life and I wouldn't have been so open, they were given permission to follow me all the time and film whatever they liked.

ANC: Anois, an t-airgead fosta, an bhfuil a fhios agat, is dóíche gur tógadh an cheist fán airgead fosta, a Chathail, anois, tá a fhios againn go n-úsáideann tú do chuid airgid féin go pearsanta, 3/4 de chuid teacht isteach, le caitheamh ar dhaoine i Nepal, ag cuidiú le daoine, ach ar ndóígh bhí ócáid ar siúl agat in áit a raibh ceant ar siúl, fuair tú slám maith airgid, fuair tú ealaí ó dhaoine móra le rá, d'éirigh leat cuid mhaith airgead, a Chathail, goide an bealach a caitheadh an t-aigead sin, an bhfuil cuntaisí agat, an dtig leat crúthúineas a chur ar fáíl gur caitheadh tú an t-airgead sin ar bhealach ata ceart agus ionraic agus cóir?

ANC: There's the money as well, you see, I suppose the money issue was raise too, Cathal, now I know you spend your own personal money, ¾ of your income, on people in Nepal, to help people, but then of course there was an event at which there was an auction, you got a pile of money, you got money from well known people, you got a lot of money, Cathal, how was that money spent, have you accounts, can you prove that that money was spent in good faith, and honestly?

COS: Bhuel, airgead ar bith a thug mise, thug mé go hionraic é agus thug mé go cóir, mo chuid airgid féin agus airgead daoine eile, chuaigh sé chun leas daoine i Nepal, daoine aonaracha agus teaghlaigh agus eagraisí. Agus ní duine mé gur mhaith leis ag mórú agus ag cur m'ainm chun tosaigh. Sin ceann de na fadhbanna a bhaineann leis an scannán fosta, go bhfuil ócáidí nár mhaith liomsa taispeáint go bhfuil mé ag tabhairt airgid do dhaoine, mar tá féin-mheas ag na daoine sin orthu féin, níor mhaith liom achan duine go bhfuil mé ag tabhairt airgid daofa a tharraingt isteach agus iad a chur os comhair an cheamara agus a thaispeáint, seo mise ag dáileadh amach airgid ar na créatúir bhochta seo, mise as an iarrthair ag iarraidh fear mór a dheanamh domh féin. Ba mhaith liom go mbeadh an rud curtha i láthair cineál, go caolchúiseach. Tá an t-airgead sin ar fad a cruinníodh, tá sé tugtha agam do dhaoine, le dhá bhliain anuas fosta an ciste beag airgid sin, ach an chuid is mó den airgead atá imithe go Nepal, is amach as mo chuntas féin atá sé tághta, tá na caipéisí ansin, tá na fíricí ansin, tá siad sa bhainc, cuirim airgead amach achan tseachtain beagnach ag daoine, amach fríd western union, amach fríd moneygram, agus nil tagairt dá laghad ins an scannán go bhfuil an tacú leannúnach sin á dhéanamh agam ar dhaoine amuigh ansin.

COS: Well, any money I gave I gave it honestly and properly, my own and other people's money, it went to benefit people in Nepa, individuals and families and organisations. I'm not a person who likes to brag or promote himself. That's one of the problems with the film as well, that there are occasions when I wouldn't want to reveal that I'm giving money to people, because these people have self respect, I wouldn't like to gather everyone together that I'm giving money to, in front of the camera and say I'm the person whose giving money to all these poor people, me from the West making a big man of myself. I'd prefer things to be a bit more subtle. All that money that was collected has been given to people, for two years that little sum of money, but most of the money that has gone to Nepal has been from my own accout, there are documents there, the facts are there, in the bank, I send out money nearly every week to people, out through Western Union, through Moneygram, and there is no referece made in the film to the continuous support I give to people out there.

ANC: Ins an scannán seo a Chathail, taispeántar thú ag ceannach rothair, anois an gceannaíonn tú mórán rothar nó ab e sin píosa a rin tú don cheamara?

ANC: In the film Cathal, you are seen buing a bike, well, do you buy many bikes or was that just a piece for the camera?

COS: A bhuel, ceannaím rothair, mar tá rothair iontach áisiúil ag daoine ansin agus iad ag gabháil go dtí an colaiste, go leor acu tá siad píosa ón áit a bhfuil siad ag freastal ar scoilteacha agus ar choláistí agus mar sin de ach, ceannaím leabhair, agus ceannaím éadach, is tacaíocht iomlán atá ann. seo rudaí a bhfuil ga acu leis, éadach, leabharthaí, costaisí scolaíochta, costaisí ospidéil agus iad tinn, costaisí b'fhéidir atá ag a dteaghlach fosta. Nuair a thosaíonn tú ag tabhairt tacaíochta do dhuine, is tacaíocht é a leathnaíonn amach, ach shílfeá ón scannán nach bhfuil mé ach ag tabhairt rothar agus go bhfuil mé ag tabhairt an rothair go díreach ar mhaithe liom féin le míúsáid agus le mísbhuntáiste a ghlacadh ar an duine, anois, ins an chás áirithe sin tá mé ag ceannach rothair do Narang Panth. Tá caidreamh agam le Naranh i rith an ama. Tá seisean ins an scannán, agus fíorthábhachtach ins an scannán, ach caithfidh mé a dhearbhú agus tá sé dearbhaithe aigesean go bhfuil an gaol atá eadrainn iontach dlúth agus tá an gaol sin ann go fóill agus mé ag tabhairt tacaíochta dó, lán-tacaíochta dó.. á...ón scannán shílfeá go raibh caidreamh collaí, caidreamh gnéasúil agam ar siúl agam le achan duinne agus níl sin fíor ar chor ar bith.

COS: Well, I buy bikes, because bikes are very handy there for people going to college, a lot of them are a good bit from where they are attending school or college and so on. I buy books, and I buy clothes, it's full support. These are things they need, clothes, books, school costs, medical costs when they are sick, costs that their family have too. When you start to support someone it spreads out, you'd think from the film that I only give bikes and that I give bikes just for myself to take advantage of people. In that particular case I'm buying a bike for Naran Panth. I still have a relationship with Narang Panth. He is in the film, he's very important in the film, and I have to confirm, and he has confirmed this too, that we have a close relationship which is still going on and I still support him, fully... mmmm.. from the film you'd think I had sexual intercourse, or a sexual relationship with everyone and that's not true at all.

ANC: Tá rud eile le sonrú sa scannán seo a Chathail, agus sé sin easpa mná, níl mná ar bith le feiceáil, tá beirt bhan ann, agus sin a bhfuil de mhná le feicáil... an mbíonn tú ag cur cuidiú ar fail do mhná?

ANC: Another thing that's apparent in the film, Cathal, is the absence of women, there are no women to be see, there are two women in it, and that's all....do you help women?

COS: An cultúr atá i Nepal, tá sé iontach deacair ag duine as an iarthar a bheith i gcuideachta mhná Nepal. Tá mé ag tabhairt tacaíochta do mhná go leor, tá mé ag tabhairt tacaíochta do theaghlaigh, agus ins na teachlaigh sin, tá mná - máithreacha, deirfiúracha, mná céile. Níl sin feicthe ar chor ar bith ins an scannán. Dár ndóigh tá an scannán teoranta, ní thig a ghabháil isteach agus achan gné a léiriú ach tá, agus tá gaol, agus gaol láidir agam le go leor mná i Nepal. Dár ndóigh tá máthair ag Prem, tá máthair ag Santaram, bhí muid i dtithe s'acusan agus níl trácht beag ná mór, níl caint ar bith leosan. Shílfeá nach bhfuil máthair ar bith acu. Dár ndóigh caithfidh tú tuigmheáil ó thaobh chultúr Nepal de, go bhfuil sé iontach deacair ag mná bheith i mo chuideachta os rud é gur as an iarthar mé. Tá sé deacair ag fir Nepal bheith i gcuideachta mná. Na cleamhnais ar fad atá ann, na póstaí ar fad atá ann, is cleamhnais atá ann - eagraitear iad. Tá an deacracht sin ann agus sin an fáth nach bhfeiceann tú mna agus cailíní óga in éineacht liom agus mé taobh amuigh den ostán.

COS: Because of Nepalese culture, it's very hard for someone from the west to be in the company of women in Nepal. I support many women, I support families, and there are women in those families – mothers, sisters, wives. That isn't seen at all in the film. Of course the film is limited, you cannot show every aspect, and I have a relationship, a strong relationship with many women in Nepal. Prem has a mother of course, Santaram has a mother, we were in their house and that gets no mention, there's no mention of them at all. You'd think they have no mother. Of course you have to understand that from a Nepalese cultural point of view that it's very difficult for women to be in my company, as a westerner. It is difficult for Nepalese men to be in the company of women. All their weddings, all their marriages are matches.. they are pre-arranged. That is one difficulty, that's why you don't see women and young girls with me when I'm outside the hotel.

ANC: A Chathail, théith tú, d'imigh tú, chuaigh tú i bhfolach sular taispeánadh an scannán ar fad. Anois, cén fáth go ndearna tusa sin mar is duine láidir go leor thú, ní bhíonn, seasann tú leis an fhírinn, ní bhíonn eagla ar bith ort an mhórchuid den am, ach an iarraidh seo sular taispeánadh an scannán seo d'imigh tú as radharc agus ní fhacthas tú ó sin.

ANC: Cathal, you fled, you left, you went into hiding before the film was shown. So, why did you do that, because you are a strong person, you stand by the truth, you are not afraid most of the time, but this time, before the film was shown you fled out of view and you weren't seen since.

COS: Bhuel cuireadh comhairle orm, chuir mo dhlíodóir comhairle orm gur chóir dom fanacht amach as. Dar leisean dá mbeinn istigh i gcroílár an scannail sin ar fad go mbainfí mí-úsáid as mo chuid focla, agus bhainfí dár ndóighe, ní raibh na meáin chumarsáide, na páipéir laetha sin ar fad ach ag lorg seans ráiteaisí a fháil agus cásadh a bhaint as, agus corr a chur ins an chaint sin agus sílim go raibh an ceart aige, go díreach go bhfanochainn amach as, ní a mo sheachnadh atá mé, ní i bhfolach atá mé, ach tá mé go díreach fanaithe amach as, go dtí go dtiocfaidh an t-am go mbeidh deis agam mé féin a chur i láthair i gceart.

COS: Well I was advised, my lawyer advised me to stay out of things. According to him if I were to stay at the heart of the scandal that my own words would be mis-used, as of course they would, the media, the daily papers were only looking for statements to twist around, to warp them, and I think he was right, just that I'd stay out of it. I'm not avoiding it, I'm not in hiding, but just staying back, until such time as I get the opportunity to present my case properly.

ANC: Tháinig Prem agus gasúir eile go hÉirinn agus fuair tú VISAs daofa agus bhí deacrachtaí go leor agat VISAs a fhail, anois, cad chuige a tugadh na fir óga sin as Nepal go Gort a' Choirce, goidé a bhí ag gabháil ar aghaidh?

ANC: Prem and another young fella came to Ireland and you got VISAs for them, and you had some difficulty in getting their VISAs, so, why did you bring those young men from Nepal to Gortahork, what was going on there?

COS: Dár ndóighe thug mé Prem go hÉireann, thug mé Prem, thug mé Santaram ,thug mé Ram Presad Sampada go hÉirinn, deis iontach a bhí ann daofa a theacht go hÉirinn a fáil amach goidé an dóigh a bhfuil mise beo i mo shaol féin, fáil amach goidé atá cultúr agus tír na hÉireann cosúil leis. Fuair mé VISA do Phrem, fuair mé VISA do Santaram Sakota, fuair mé VISA do Ram Presad Sampada. Tháinig siad agus d'fhan siad liom i Mín a Léith, seo b'fhéidir an ceathrú huair do Phrem a bheith in Éirinn, an triú huair do Santaram. Tá siadsan iontach sásta bheith ag teacht go Éirinn, meas agus ómos acu ar an tír seo. Chabhraigh sé go mór leo theacht anseo, deis iontach oideachais a bhí ann daofa ar fad, agus tá sé sin le feiceáil anois, déarfaimis i gcás Phrem an dóígh go dtig leis seasadh suas ar a chosa féin, aghaidh a thabhairt ar phobal agus labhairt amach go hard agus go hoscailte mar a rinne sé ag press-agallamh agus mar atá déanta aige ó tháinig sé go hÉirinn agus é i dteannt a liomsa ag léitheoireachtaí filíochta agus ag léachtaí.Mar an gcéanna le Santaram. Sílim go dtug na turais sin go hÉirinn féin-mhuinín daofa. Thug mé iad ar mhaithe leotha féin, anois táthar a chur i mo leith gur ar mhaithe le cúrsaí gnéis agus ar mhaithe le sin agus seo a thug mé iad. Caithfidh mé a admháil nach raibh caidreamh gneis de chineál ar bith agam le duine ar bith acu seo.

COS: Of course I took Prem to Ireland, I took Prem, I took Santaram, I took Ram Presad Sampada to Ireland. It was a wonderful opportunity for them to come to Ireland to see who I live, to find out what Ireland and it's culture are like. I got a VISA for Prem, and I got a VISA for Santaram Sakota, and a VISA for Ram Presad Sampada. They came and stayed with me in Mín a Léith, it was probably Prem's 4^th time in Ireland, and Santaram's third time. They were delighted to be coming to Ireland, they have respect and admire this country. Coming here helped them a lot, it was an educational opportunity for them, and that's clear now. Let's take Prem for example, the way he can stand up now on his own two feet, to face the public and to speak out openly as he did at the press conference, and as he has done since he visited Ireland and accompanied me on poetry readings and at lectures. The same for Santaram. The trips to Ireland gave them self-confidence. I brought them for their own good, and now I'm being accused of bringing them for sex, or for this or that. I have to admit, I did not have any sexual relations of any kind with any of these people.

ANC: An raibh tú buartha a Chathail gur tharla seo ar fad, an bhfuil tú iontach buartha?

ANC: Were you deeply concerned Cathal that this all happened, are you very worried?

COS: Dár ndóighe tá mé buartha. ach níl smacht dá laghad agam ar an rud a tharla. Tharla sé sin taobh amuigh domh, thug mé cuireadh do dhaoine scannán a dhéanamh ar mo shaol agus tugtar léiriú atá iontach mí-chothrom orm agus dá bharr sin cothaitear an scannail seo ar fad agus tá an scannail sin ag méadú agus ag gabháil ar aghaidh, agus mo chairde i Nepal tarrnaithe isteach ann agus cuireann sé sin as domh go mór - an dochar atá déanta daofa-san, an dochar atá déanta do dhaoine aonaracha agus do thaghlaigh. Tá an oireadh sin báidh acusan liomsa, tá siad anois faoi bhrú de bharr go bhfuil mise faoi bhrú, tá eagla orthu goidé a tharlochas domh san am atá le theacht agus tá mé iontach buartha faoi s'acusan.

COS: Of course I'm worried, but it's beyong my control. It all happened beyond me, I gave people an invitation to film my life and a very unfair portrayal was made of me and that generated this whole scandal, and it's still escalating and going on, and my friends in Nepal have been sucked into it and that really upsets me – the harm that has been done to them, the harm done to individuals and families. They have such sympathy for me, and they are now under pressure because I'm under pressure, they fear what will happen to me in the future and I'm very worried about them.

ANC: Agus an mbeidh tú ag gabháil ar ais go Nepal a Chathail, an mbeidh tú ag leanstan ar aghaidh ag cur tacaíochta airgid ar fáil daofa. An dtig leat a ghabháil ar ais nó goidé mar atá an scéal?

ANC: And will you be going back to Nepal, will you be continuing to give them financial assistance. Can you go back or what is the story?

COS: Beidh mé ag gabháil ar ais go Nepal chomh luath agus a thig liom a ghabháil ar ais, agus i dtaca le tacaíocht a fháil (sic) dár ndóighe, i rud leannúnach é sin, ní just rud fás aon oíche atá ann. Tá sé cruthaithe agam agus léirithe agam go bhfuil tacacíocht a thabhairt agam do dhaoine le trí bliana déag anuas agus tá me a gabháil a leanúint ar aghaidh chomh fada agus chomh mór agus a thig liom a dhéanamh ins an am atá le theacht.

COS: I'll be going back to Nepal as soon as I can go back, and regarding getting (sic) support of course, it's a continuous thing, it's not just a fly by night thing. I have proven and shown that I am supporting people for thirteen years and I'm going to continue as long and on as big a scale as I can in future.

ANC: Anois a Chathail, ar ndóigh, tarrníodh na huadárais isteach anseo nó bhí caint ar Interpol i gceist, go raibh fiosrúchán ar siúil, go raibh na Gardaí tagtha ar bord, go raibh Rape Crisis Centre, agus eagraisí eile ag fiosrú an scéil seo.

ANC: And of course Cathal the authorities were brought into this for there was talk of Interpol being involved, that there was an investigation, that the Gardaí were on board, the Rape Crisis Centre, and other organisations investigating this case.

COS: Bhuel dár ndóighe tá an rud imithe ó smacht ar fad, mar atá ráite agam roimhe seo, cuireann sé iontas orm gur tarrníodh isteach an dream sin, déarfaimis, an Rape Crisis Centre, mheasfá gur éagnaítheoir atá ionaim, níl bun ná barr lena leithéidí. Tá mé cúisithe as sin agus seo ach sin mar a tharlaíonn nuair a bhíonn tú istigh i gceartlár circus poiblíochta mar seo. Tá a fhios agam, dúirt cara de mo chuid liom fá mhúinteoir áirithe, a mhúineann mo shaothar filíochta, go dtáinig buachaill isteach ins an rang agus gur fhiafraigh sé den mhúinteoir, an gcaithfimid staidéar a dhéanamh ar an Rapist, an éagnaítheoir seo? Téann a leithéidí sin go croí ionaim. Tá sé uafásach go mbeifí ag caitheamh liom mar sin, ach i dtaca leis an scéal seo ar fad faoi na huadárais, bheadh sé i bhfad níos fearr agus bheadh lúcháir orm dhá bhliain ó shoin dá ndéanfaí fiosrú mar sin. Tá sé ráite ag lucht deantúis an scannáin nach bhfuil rud ar bith mí-dhleathach ar siúil agam, agus goidé an scéal seo faoi na huadárais a bheith ag fiosrú. Na fir óga atá luaite ins an scannán, na daoine a bhfuil caidreamh agus gaol agam leo, tá siad ar fad 17, 18 agus ó sin suas. Tá an rud ar fad amaideach agus cuireann sé as domh go mór go bhfuil corr curtha ins an fhírinne.

COS: Well, the whole thing has been blown out of all proportion, as I've said before, I'm surprised those people have been involved, say the Rape Crisis Centre, you'd think I'm a rapist, there is absolutely no basis for that. I'm accused of this and that, but that's what happens when you are in the middle of a public circus like this. I've learned, a friend told me about a particular teacher who teaches my poetry, and that a boy came into the class and asked the teacher, do we have to study that Rapist? That sort of thing hurts me inside. It is appalling that I'm being treated like that. Regarding the whole thing about the authorities, it would have been much better and I'd have been pleased two years ago if they had decided to investige it. The film makers have said I did not do anything unlawful, so what's all this about the authorities investigating it. The young men mentioned in the film, the people I have a relationship with, they are all 17, 18 or above. The whole thing is silly and it upsets me that the truth is being corrupted.

ANC: Ar ndóigh bhí comhartha ceiste fosta faoi do chuid dántaí ar churriculum na scoile ár ndóígh tá sé ráite anois go mbeidh na dántaí ar an churriculum mar atá agus mar a bhí. Ar chuir sé iontas ort go raibh fiú a leithéid de cheist curtha go mbeadh do dhánta tógtha do churriculum na scoile?

ANC: And of course there was a question mark over your poems being on the school curriculum, of course it's been said now that the poems will stay on the curriculum as was. Did it surprise you that such a question would arise about your poems being removed from the school curriculum?

COS: Bhuel níor chuir sé iontas ar bith orm, mar nuair a thig cúrsaí gnéis chun cinn mar seo téann daoine as a meabhair agus cailleann siad a gcumas réasúnaíochta agus ní chuirfeadh sé as domh a beag nó mór cé acu an bhfuil siad ar an chúrsa nó nach bhfuil. Braithim go n-aimsionn cá bith ar mian leo sna dántaí sin agus má bhaineann siad den chúrsa iad ní chuirfidh sé isteach orm beag na mór. Ach sin ráite, baineann an dearcadh sin le bheith ag tarraingt siar saothar litríóchta nó saothar ealaíona de chineál ar bith, baineann sé le dearcadh atá iontach meán-aoiseach, agus shíl mé b'fhéidir go raibh muid amach as an aois dhorcha sin. Dár nóigh má tá tú ag iarraidh saothar ó ealaíontóírí a tharraingt siar ó chúrsaí scoile tharlochaid sé go gcaithfear cuid mhór saothar a tharraingt siar.

COS: Well, it didn't surprise me at all, when sexual matters come up people go out of their minds and they lose their ability to reason, and it wouldn't bother me one way or the other wether they are or aren't on the curriculum.I feel that people find what they want in the poems and if they remove them from the course I won't care at all. Having said that, this kind of attitude that a work of literature or any other artistic work should be removed, that is an attitude more akin to the middle ages, and I though that maybe we had moved out of that dark age. Of course if you are trying to remove the work of artists from the school courses, you'd have to remove quite a lot of work.

ANC: Agus ansin an tógra ar ndóígh, tógra na Comhairle Condae, do theach, do chuid scríbhinní agus a leithéidí sin, bhíothar ag caint fosta i gcuid de na meáin chumarsáide gur cheart go dtarrnóchaidh as sin chomh maith.

ANC: And then there's the County Council project, your house and your manuscripts and so on, there was talk in some media that this should be discontinued as well.

COS: Sé an rud a chiallaíonn sé go bunúsach na go dtug mise mo chuid caipéisí don Chomhairle Condae, don tír, agus gob é an socrú a bhí ann ná go gcuirfeadh siad píosa breise leis an teach. Anois, ní liomsa an teach sin, is leis an Chomhairle Condae an teach, ní liomsa an píosa breise, is leis an Chomhairle Condae é, mar a tharlaíonn sé thug mé an méid a bhfuil agam, an teach sin, agus an méid atá sa teach, leabharthaí, caipéisí agus mar sin de don Chomhairle Condae. Is ar mhaithe le daoine eile atáthar ag déanadh leathnú ar an teach agus tá súileas agam go mbeifear in ann úsáid mhaith a bhaint as san am atá le teacht agus go rachaid se chun socair d'ealaíontóirí agus do scríbhneoirí.

COS: What this is about is that basically, I gave my documents to the County Council, to the country, and the agreement was that they'd extend my house. Now that house doesn't belong to me, it belongs to the County Council, the extension isn't mine, it's the property of the County Council, as it happens I have all I had, the house, its contents, books, documents and so on to the County Council. It's for the benefit of others that they're extending the house and I hope it can be used profitably in future and that other artists and writers will benefit from it.

ANC: Agus a Chathail, inis domh, goidé atá i ndán duit anois, Goidé a ba mhaith leat a dhéanamh?

ANC: And Cathal, tell me, what of your future now, what would you like to do?

COS: Pillfidh mise chun a' bhaile.

COS: I'll go home.

ANC: Ba mhaith leat a ghabháil ar ais 'n a bhaile go Mín a Léith?

ANC: You like to go back gome to Mín a Léith?

COS: Bhuel dár ndóighe, ba mhaith liom. Sin mo bhaile, sin m'áit dhúchais, agus ansin atá mé ar mo shuaimhneas go huile agus go hiomlán. Sin bun agus barr mo shaothair agus thar áit ar bith eile ba mhaith liom bheith i Mín a Léith.

COS: Well of course I would. That's my home, that's my native sod, and that's where I'm at completely at peace with myself. It's the entire basis for my work and so above all else, I'd like to be in Mín a Léith.

Deireadh / End