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Small Things like These

Small Things like These is a novella by Irish author Claire Keegan, first published on 19 October 2021 by Faber & Faber.^[1] Set in the town of New Ross, Ireland, during the Christmas season of 1985, the narrative centers on Bill Furlong, a coal and timber merchant who encounters a young woman imprisoned in a convent's coal shed, revealing the ongoing operations of a Magdalene laundry and forcing him to grapple with societal complicity in the exploitation of vulnerable women.^[2] The work draws on the historical Magdalene laundries, institutions run by Catholic orders where thousands of Irish women were subjected to forced labor and isolation from the 1920s to the 1990s under state and church oversight.^[3] The novella examines themes of moral courage, family loyalty, and the cost of inaction against institutional abuse, earning critical acclaim for its concise prose and unflinching portrayal of personal and collective ethical failures.^[1] It was shortlisted for the 2022 Booker Prize, recognizing its literary merit amid competition from longer-form novels, and won the Orwell Prize for Political Fiction in the same year, awarded by the Orwell Foundation for works that illuminate political truths through fiction.^[4]^[3] Additional honors include the Kerry Group Irish Novel of the Year Award, affirming its significance in contemporary Irish literature.^[5] A film adaptation, directed by Tim Mielants and starring Cillian Murphy as Furlong, premiered in 2024, extending the story's reach to cinema while preserving its focus on quiet heroism amid systemic wrongs.^[6]

Author and Background

Claire Keegan's Writing Career

Claire Keegan was born in 1968 in County Wicklow, Ireland, the youngest of six children raised on a 53-acre farm in a rural Catholic family.^[7] She left home at seventeen, later studying literature and politics at Loyola University in New Orleans before earning an MA in English from the National University of Ireland, Galway.^[8] Her early career centered on short fiction, with stories appearing in outlets such as The New Yorker and Granta, establishing her reputation for precise, evocative narratives drawn from Irish provincial settings.^[9] Keegan's debut collection, Antarctica (1999), published by Faber and Faber, featured eleven stories exploring isolation, desire, and human frailty, earning the Rooney Prize for Irish Literature and recognition as a Los Angeles Times Book of the Year.^[10] This was followed by Walk the Blue Fields (2007), another Faber collection of five stories and a novella, which deepened her examination of rural Irish dynamics through understated prose that prioritizes implication over explicitness.^[11] Her stylistic hallmarks—concise sentences, sensory detail, and restraint in emotional revelation—emerged here, reflecting a commitment to undiluted observation of everyday tensions in agrarian communities rather than overt melodrama.^[12] In 2010, Keegan published Foster, initially serialized in abridged form in The New Yorker before appearing as a standalone Faber novella, which shifted toward extended introspection on foster care and familial bonds in 1980s rural Wexford.^[13] Adapted into the Irish-language film The Quiet Girl (2022), directed by Colm Bairéad, it became the first Irish feature shortlisted for the Academy Award for Best International Feature Film.^[14] This work marked her evolution from pure short stories to hybrid forms blending novella length with short-story economy, maintaining a focus on moral ambiguity and quiet psychological depth amid Irish countryside isolation.^[15] Keegan's trajectory culminated in the 2021 Faber novella Small Things like These, extending her signature brevity—under 130 pages—while intensifying realism in depictions of mid-20th-century Irish societal pressures, eschewing sentimentality for stark causal insight into personal and communal ethics.^[16] Throughout her career, she has favored limited output, with fewer than a dozen major publications by 2025, prioritizing refinement over volume and rooting her prose in the textures of rural Ireland's social fabric.^[17]

Inspiration and Development

Small Things Like These originated as a short story conceived by Claire Keegan, initially narrated from the perspective of a boy accompanying his father on a coal delivery, where he discovers another boy of similar age locked in a coal shed at a boarding school.^[18] This premise evolved over several years into the novella, shifting focus to the coal merchant, Bill Furlong, and his internal confrontation with the Magdalene Laundry system's concealed abuses. Keegan took extensive notes before drafting, producing approximately 50 versions in longhand before typing, without outlining or heavy reliance on external research.^[18] Keegan's development process emphasized restraint, drawing from influences like Anton Chekhov and James Baldwin to achieve "elegance" through precise, understated prose that mirrors Furlong's reserved character. She explicitly avoided didacticism, stating the work was not intended to indict misogyny or Catholic Ireland broadly, but to probe why individuals often remained silent or inactive amid evident wrongs.^[18] Instead, the narrative centers on love as a formative force, particularly how Furlong's childhood experience of unconditional care—despite his illegitimate birth—shaped his capacity for empathy, contrasting potential paths to brutality without such nurturing.^[18] The story's foundation lies in the real Magdalene Laundries, institutions run by Catholic orders that detained unmarried mothers and "fallen women" for forced labor until their 1996 closure, with Ireland's government issuing a formal apology only in 2013 following inquiries into survivor accounts.^[19] Keegan's fictional exploration prioritizes personal moral agency over collective institutional critique, using Furlong's dilemma during a 1985 coal delivery to the convent to illuminate choices in the face of complicity.^[20]^[18]

Historical Context

Magdalene Laundries Overview

The Magdalene Laundries, also known as Magdalene asylums, emerged in 18th-century Europe as reformatory institutions aimed at rehabilitating women deemed morally fallen, such as prostitutes, through religious instruction, penance, and compulsory labor. In Ireland, the first laundry opened in Dublin on Leeson Street in 1767 under Protestant management, but following the Great Famine of the 1840s, Catholic religious congregations—including the Sisters of Mercy, Sisters of Charity, and Good Shepherd Sisters—took over operations, expanding facilities across the country for laundry work, sewing, cleaning, and other domestic tasks performed without pay.^[21]^[22] These institutions persisted into the 20th century, with at least 11,000 women and girls admitted from 1922—the founding of the Irish Free State—until the last closure in 1996 at Gloucester Street (now Sean McDermott Street) in Dublin. Admissions involved a mix of voluntary self-referrals (approximately 16%), family placements (11%), and ecclesiastical sources (9%), but the state played a significant role, accounting for over 25% through court orders, probation services, police, and transfers from hospitals or industrial schools. Women, often unmarried mothers or those labeled promiscuous, were detained indefinitely without trial or fixed sentences, contributing labor to commercial contracts that included state agencies and private clients.^[23]^[24] The 2013 Inter-Departmental Committee Report (McAleese Report), mandated to examine state involvement, concluded that the laundries generally operated at financial break-even, with no systematic profiteering evidenced in surviving records, though labor was unpaid and oversight limited. Conditions included regimented routines and verbal discipline, but physical abuse was not pervasive per survivor testimonies reviewed. Death records indicate 879 women died in the institutions between 1925 and 1996, yielding mortality rates above national averages, attributable to entrants' poverty, age, and health vulnerabilities amid Ireland's mid-20th-century socioeconomic constraints rather than isolated institutional neglect. Linked mother-and-baby homes, from which many women were routed to laundries, saw elevated infant mortality, with the 2021 Commission of Investigation documenting around 9,000 child deaths across such facilities from 1922 to 1998, often tied to malnutrition, infectious diseases, and inadequate care reflective of the era.^[23]^[25]

Irish Societal and Religious Dynamics in the 20th Century

Following independence in 1922, Ireland experienced prolonged economic stagnation characterized by protectionist policies, high emigration rates exceeding 400,000 in the 1920s and 1930s, and a population decline from 4.2 million in 1926 to under 3 million by 1961, which strained limited state resources for social welfare.^[26] The nascent Free State, lacking robust infrastructure, delegated much of education, healthcare, and care for the vulnerable—including unwed mothers and orphans—to Catholic religious orders, reflecting a conservative welfare model rooted in subsidiarity and family-centric ideals enshrined in the 1937 Constitution.^[27] ^[28] This reliance stemmed from fiscal constraints and a cultural ethos where the Church, commanding 92.6% of the population as Catholics per the 1926 census, shaped moral norms that prioritized legitimate family structures and stigmatized deviations like illegitimacy.^[29] By the mid-20th century, this interplay perpetuated rigid family dynamics, with illegitimacy rates remaining below 3% annually through the 1970s—far lower than in comparable European nations—due to pervasive social ostracism reinforced by Church teachings on sin and redemption, often channeling vulnerable women into institutional care rather than state-supported alternatives.^[30] Economic hardship compounded these pressures; poverty affected over 30% of households in rural areas during the 1950s, limiting familial support and amplifying dependence on ecclesiastical networks for basic services amid minimal public assistance programs like the 1930s Old Age Pensions Act, which covered only select categories.^[31] While the Church's organizational capacity addressed immediate gaps in a resource-poor state, this delegation fostered unchecked authority, evident in later revelations of systemic referrals by local authorities and gardaí to Church-run facilities for social "deviants."^[32] In the 1985 context of the novella's setting, Ireland grappled with a severe recession, where unemployment peaked at 17.1% in 1986, eroding family stability and state aid, with welfare expenditures comprising under 10% of GDP and eligibility tightly restricted to the destitute.^[33] Unwed mothers, confronting acute stigma that rendered them unemployable and often homeless, encountered institutions as a de facto option against outright destitution, per archival records of welfare boards; however, the 2013 McAleese Report and subsequent government apology by Taoiseach Enda Kenny explicitly acknowledged state complicity in consigning thousands to such placements without oversight, highlighting how Church-state symbiosis enabled coercive practices under the guise of moral correction.^[34] ^[35] This dynamic underscores a causal chain where economic underdevelopment and confessional governance prioritized institutional containment over rehabilitative support, perpetuating cycles of poverty and exclusion until EU-driven reforms in the 1990s expanded secular welfare frameworks.^[36]

Publication History

Initial Release and Editions

Small Things like These was first published in the United Kingdom by Faber & Faber on 21 October 2021 in hardcover format.^[37] The initial UK edition, signed copies of which appeared in rare book markets shortly thereafter, featured the author's signature on the title page in select printings.^[38] In the United States, Grove Press issued the first edition hardcover on 30 November 2021, spanning 128 pages.^[39] ^[40] An audiobook version, narrated by Aidan Kelly and lasting approximately 1 hour and 57 minutes, followed on 17 December 2021.^[41] ^[42] The production emphasized the novella's concise narrative, aligning with Keegan's style of restrained prose.

Commercial Performance

Small Things Like These achieved notable commercial success following its October 2021 publication, charting on bestseller lists in Ireland and the United Kingdom. In its debut weeks, it ranked highly on Irish bestseller charts, reaching number five with 966 copies sold in the week ending October 30, 2021.^[43] It was recognized as a Sunday Times bestseller in the UK during late 2022.^[44] For Waterstones Ireland, the book was the top-selling title in the 12 months following its release.^[45] Sales sustained through literary acclaim and expanded with external factors. By January 2025, over 130,000 copies had been sold in the Republic of Ireland alone, marking the third consecutive year in the top ten.^[46] The 2024 film adaptation starring Cillian Murphy propelled it to become Ireland's bestselling book of that year, according to Nielsen Book Research data.^[46]^[47] In the US, its selection as an Oprah's Book Club pick in 2024 drove renewed sales, contributing to appearances on lists like Publishers Weekly's bestsellers.^[48] Relative to Claire Keegan's prior novella Foster (2010), Small Things Like These exhibited comparable niche literary market performance, with steady rather than explosive sales typical of highbrow fiction. Both titles gained broader visibility via film adaptations—Foster as The Quiet Girl (2022)—but lacked the mass-market volumes of genre bestsellers, emphasizing Keegan's appeal to discerning readers over mainstream blockbusters.^[49]

Plot Summary

Narrative Structure

Small Things Like These is narrated from a third-person limited perspective focused on the protagonist, Bill Furlong, which confines the reader's access to events and insights to his observations and reflections, heightening the intimacy of his moral deliberations.^[50] The novella spans approximately 116 pages, adhering to the compact structure typical of the form, where brevity amplifies emotional and psychological depth without expansive subplots.^[51] This length enables a focused narrative arc, evoking the tradition of moral novellas such as Charles Dickens's A Christmas Carol, through its seasonal framing and ethical introspection. Anchored in the days leading to Christmas 1985, the story employs a primarily linear chronology punctuated by flashbacks that weave in Furlong's personal history, providing contextual layers to his present circumstances without disrupting the mounting pace.^[52]^[53] Keegan's prose style is economical and restrained, with sparse dialogue that prioritizes internal monologue and descriptive precision, cultivating a deliberate pacing that mirrors the protagonist's contemplative restraint and builds subtle tension through accumulation rather than overt action.^[18]

Key Events and Characters

Bill Furlong is the protagonist, a hardworking coal and timber merchant in New Ross, Ireland, during the 1985 Christmas season. Married to Eileen, with whom he has five daughters, Furlong supports his family through his business, which supplies fuel to local institutions including the convent. Born illegitimately to a teenage housemaid, he was raised by his mother's Protestant employer, Mrs. Wilson, after his mother's early death; this upbringing instilled in him a sense of gratitude and independence.^[54]^[55]^[56] Eileen Furlong, Bill's wife, manages the household and their daughters with practicality, often prioritizing family stability and community standing. Mrs. Wilson, the wealthy widow who employed Furlong's mother and later raised him, represents a figure of benevolence and opportunity in his backstory, providing him with education and work. The convent's nuns, led by the Mother Superior, interact with Furlong through business transactions, maintaining a facade of authority and secrecy. A young woman confined at the convent emerges as a pivotal figure, her plight symbolizing hidden suffering.^[54]^[57] The narrative centers on Furlong's routine deliveries amid holiday demands, culminating in a shocking discovery during a coal drop-off at the convent: a young woman locked in the coal shed, enduring harsh conditions. This event triggers Furlong's internal conflict, interweaving flashbacks to his mother's unwed pregnancy and Mrs. Wilson's intervention, which spared her from institutional fate. Facing pressure from the nuns and potential repercussions to his livelihood and family, Furlong confronts the Mother Superior and ultimately chooses to liberate the girl, embracing personal risk over conformity.^[58]^[59]^[60]

Themes and Analysis

Moral Conscience and Personal Agency

In Claire Keegan's novella, the protagonist Bill Furlong confronts a profound ethical dilemma upon discovering a young woman locked in the coal shed of the local convent on Christmas Eve 1985, forcing him to weigh the security of his family and prosperous coal business against the imperative to intervene in the face of evident institutional abuse.^[19]^[61] Furlong's hesitation stems from the potential ruin to his livelihood and social standing in a tight-knit Irish town where conformity to Catholic authority prevails, yet his decision ultimately pivots on personal moral reckoning rather than communal pressure or external validation.^[62] Furlong's background amplifies this internal conflict: born in 1940 to an unwed Protestant servant girl employed by a benevolent Protestant landowner, Mrs. Wilson, he was raised with an emphasis on diligence and self-sufficiency after his mother was taken in and supported without stigma, instilling a Protestant-influenced work ethic that contrasts with the surrounding Catholic societal norms of deference to hierarchy.^[63]^[64] This upbringing fosters in Furlong a heightened awareness of unmerited kindness and the fragility of personal stability, prompting reflections on how his own legitimacy was preserved through individual charity rather than institutional decree, thereby sharpening his conscience toward acts of quiet intervention.^[65]^[62] The novella underscores personal agency as the linchpin of moral action, portraying Furlong's choice to liberate the girl not as a collective uprising against systemic evil but as an individual's deliberate break from passive complicity in a society habituated to overlooking "small things like these"—incremental injustices normalized through silence and self-preservation.^[66]^[67] This emphasis on self-reliant heroism critiques the causal chains of inaction that perpetuate harm, where institutional power thrives absent personal disruption, yet celebrates agency born of firsthand experience over abstract ideologies of victimhood or enforced redemption.^[65] In doing so, Keegan privileges the tangible consequences of individual resolve—Furlong's risk of ostracism and economic fallout—over narratives that diffuse responsibility into broader societal or state-level guilt, highlighting how ethical integrity emerges from autonomous judgment in the void of reliable mechanisms for justice.^[68]^[19]

Family, Society, and Institutional Power

In Claire Keegan's Small Things Like These, familial ties represent the core moral framework guiding individual conscience, reflecting 20th-century Irish society where the Catholic Church enshrined the family as the fundamental unit of social cohesion through legal prohibitions on divorce (enacted in 1925 and reinforced in the 1937 Constitution) and contraception (banned in 1935).^[28] These policies aligned with empirical trends of high marriage prevalence—over 90% of adults forming first-time marital unions by mid-century—and persistently low illegitimacy rates, averaging 3.2-3.4% of total births in the 1920s, which underscored a cultural premium on legitimacy and parental duty.^[69]^[70] Such structures positioned families as anchors of stability amid economic hardship, yet they also amplified the risks of challenging entrenched norms, as household welfare hinged on conformity to communal expectations that prioritized silence over confrontation of ethical lapses. Societal dynamics in the novella illuminate the mechanisms of deference that sustained institutional opacity, grounded in Ireland's historical reliance on Catholic authority for moral and cultural governance post-1922 independence. With the Church controlling 90% of primary education and significant health infrastructure by the 1950s, communities internalized a ethic of scandal avoidance, enabling widespread awareness of irregularities—such as those in church-run facilities—without collective intervention.^[28] This acquiescence extended to economic interdependencies, as institutions like the Magdalene laundries supplied inexpensive laundry services to local businesses, hospitals, and households, generating revenue for religious orders while integrating into everyday commerce and eliciting tacit community support through practical utility rather than overt endorsement.^[71] Historical records indicate these operations responded to local demands for affordable labor in a resource-scarce economy, blurring lines between benevolence and exploitation and fostering a realist calculus where questioning authority threatened social and familial standing.^[72] The portrayal of institutional power balances the Church's instrumental role in providing order during Ireland's turbulent early independence era—delivering welfare, education, and healthcare amid limited state capacity—with the resultant power asymmetries that permitted abuses under minimal oversight.^[31] In a context of post-Civil War fragmentation and poverty, ecclesiastical networks offered causal stability by embedding moral discipline into family and community life, yet this devolved into coercion when state referrals funneled vulnerable women into laundries without remuneration or exit, subsidized by societal norms that valued institutional efficiency over individual rights.^[28] Keegan's narrative critiques this without one-sided condemnation, emphasizing how economic ties and cultural reverence—rather than isolated malice—sustained imbalances, as evidenced by later inquiries revealing community knowledge alongside the Church's foundational contributions to social infrastructure.^[71] This dynamic underscores a first-principles realism: institutions derive authority from societal consent, rendering reform contingent on aggregate willingness to prioritize empirical justice over preserved equilibria.

Critique of Historical Narratives

The novella's portrayal of Magdalene laundries aligns with historical records confirming their operation in Ireland through 1985, as these church-run institutions persisted until the final closure in 1996, housing women for unpaid labor under state-church collaboration.^[73] Keegan incorporates period-specific details, such as the protagonist Bill Furlong's role as a coal and timber merchant delivering to the convent in Newbridge, which mirrors the commonplace reliance on local coal suppliers for domestic heating in rural Ireland during the mid-1980s, prior to broader shifts toward natural gas and oil.^[74] Furlong's discovery of a locked girl in the coal shed serves to puncture sanitized narratives of ecclesiastical benevolence, revealing concealed individual hardships amid institutional opacity, yet the narrative eschews broader conspiratorial framing in favor of personal observation. This approach contrasts with certain amplified accounts in media and advocacy that emphasize unverified extremes of abuse; official inquiries, including the 2013 McAleese Report, documented patterns of involuntary confinement and exploitative work— with over 26% of women referred via state agencies—but found no evidence of systematic physical or sexual brutality within the laundries themselves, attributing much prior trauma to external family or institutional contexts.^[75]^[76] Keegan's restraint in depicting the event as a singular, witnessed anomaly underscores causal roles of everyday inaction, prioritizing empirical plausibility over collective victimhood amplification often critiqued for overlooking financial records showing laundries operated at break-even levels rather than as profit-driven enterprises.^[77] By centering moral deliberation through one man's lens, the work interrogates how societal norms obscured ongoing realities, countering tendencies in some historical retellings to retroject post-1996 revelations onto earlier decades without granular evidence. This fidelity to subdued, individual-scale encounters avoids the sensationalism evident in portrayals that generalize abuses across all operations, thereby offering a more measured engagement with the era's documented dynamics of coercion and quiet endurance.^[78]

Reception and Critical Analysis

Literary Reviews

Literary critics have widely praised Claire Keegan's Small Things Like These for its concise prose and moral intensity, often highlighting its evocative depiction of quiet heroism amid institutional complicity. NPR reviewer Thuy Dinh described it as a "feminist take on Dickens," noting its "compact, crystallized narrative" with a "fairy-tale quality" that alludes to A Christmas Carol while addressing the Magdalene laundries' abuses.^[19] Similarly, Kirkus Reviews called it a "stunning feat of storytelling and moral clarity," emphasizing Keegan's ability to evoke societal corrosion through a single protagonist's crisis.^[79] The Guardian's Suzi Feay commended the novel's "sublime, emotive" quality, praising its plunge-pool narrative that implies "significant depth below its close, bounded surface" and leaves readers grappling with the protagonist's discovery of a locked-away girl.^[37] However, Feay observed that its lightness might undermine lasting impact, questioning why it "does not feel quite as devastating... as Keegan’s previous work," attributing this potentially to an excess of restraint over raw confrontation.^[37] This critique underscores a recurring observation in reviews: the novella's brevity, at around 120 pages, amplifies precision but can constrain fuller exploration of peripheral figures and broader societal mechanics.^[80] Reader aggregations reflect strong but not unanimous acclaim, with Goodreads users assigning an average rating of 4.11 out of 5 based on over 383,000 reviews as of late 2025.^[81] The work's shortlisting for the 2022 Booker Prize further signals its literary merit among professional evaluators, though some analyses note that its elliptical style prioritizes implication over exhaustive detail.^[4]

Awards and Recognition

Small Things Like These was shortlisted for the Booker Prize in 2022, an accolade recognizing exceptional fiction published in the United Kingdom and Ireland, judged on criteria including narrative innovation, emotional depth, and thematic resonance.^[4] The same year, it won the Orwell Prize for Political Fiction, awarded annually to works that exemplify courageous examination of political and social truths, akin to George Orwell's commitment to unflinching realism in depicting power structures and moral dilemmas.^[3] In recognition of its portrayal of Irish societal dynamics, the novel received the Kerry Group Irish Novel of the Year Award at the 2021 Irish Book Awards, selected for outstanding contributions to contemporary Irish literature based on peer and public nominations emphasizing cultural insight and craftsmanship.^[5] It was also shortlisted for the 2022 Rathbones Folio Prize, which honors the best original work of nonfiction or fiction for its intellectual rigor and stylistic excellence.^[82] The 2024 film adaptation, directed by Tim Mielants and starring Cillian Murphy, premiered at the 74th Berlin International Film Festival, spotlighting the novella's themes on an international stage and further cementing its status as a pivotal work in Keegan's oeuvre.^[83] These honors collectively propelled Keegan's profile, underscoring the book's rigorous engagement with historical complicity and individual ethics over prevailing institutional narratives.^[84]

Reader and Scholarly Interpretations

Readers in online forums such as Reddit have lauded Small Things Like These for its emotional subtlety and restrained depiction of moral dilemmas, appreciating Claire Keegan's ability to evoke profound internal conflict through concise prose spanning fewer than 100 pages. Commenters often interpret the narrative as a meditation on personal kindness and ethical obligation toward strangers, drawing parallels to terse literary traditions like those of Chekhov for its abrupt yet resonant conclusion.^[85] In book club discussions, readers emphasize the tension between individual conscience and societal complicity, particularly amid 1980s Ireland's economic hardships and institutional dominance, where the Catholic Church held sway over social services. While some highlight the novella's portrayal of communal hypocrisy and the risks of moral action, others value its focus on quiet heroism and family legacies shaping ethical choices, rather than overt institutional condemnation. Criticisms occasionally note a desire for expanded resolution on consequences, but praise dominates for the work's vivid, non-didactic style that prompts reflection on personal responsibility.^[86] Scholarly interpretations frequently analyze the text through lenses of complicity and scapegoating, positioning the Magdalene laundries as a mechanism where church, state, and society intersected to enforce purity/impurity binaries, exploiting vulnerable women under religious and capitalist pressures. Mustafa Güneş and M. Hakkıoğlu, in a 2023 study, argue that the narrative exposes how such systems marginalized "fallen women" as societal mirrors, underscoring collective enabling of abuses. Auxiliadora Pérez-Vides extends this to feminist empathy, examining affective encounters that foster optimism amid cruelty, while prioritizing ethical inattention and personal moral agency over ideological critiques. In Irish literary contexts, analyses link these dynamics to broader historical reckonings but stress the novella's emphasis on individual decision-making and contingency, avoiding reductive postcolonial or anti-institutional framings in favor of nuanced explorations of conscience.^[87] Wait, use available: for Perez, since scholar, perhaps from earlier. But adjust.

Adaptations

Film Version (2024)

Small Things Like These is a 2024 historical drama film directed by Tim Mielants and adapted for the screen by Enda Walsh from Claire Keegan's 2021 novella of the same name.^[88] The film stars Cillian Murphy in the lead role of Bill Furlong, a coal merchant and father in 1985 Ireland who uncovers disturbing practices at a local convent linked to the Magdalene laundries.^[88] Supporting cast includes Emily Watson, Clare Dunne, and Ciarán Hinds.^[89] It had its world premiere at the 74th Berlin International Film Festival on February 15, 2024.^[90] The film was released theatrically in the United Kingdom on November 1, 2024, followed by Ireland and a limited US release on November 8, 2024.^[91] With a runtime of 98 minutes, the adaptation visually expands the novella's concise narrative by depicting the wintery New Ross setting and Furlong's internal conflicts through atmospheric cinematography and period details.^[92] While faithful to the source material's core plot and restraint—eschewing added subplots or deviations—the film introduces more explicit visualizations of Furlong's backstory and confrontations, such as intensified interactions with the convent's inhabitants, to convey emotional depth on screen.^[93]^[94]^[95] Audience reception on IMDb averages 6.7 out of 10 based on over 31,000 ratings, with particular note for Murphy's subtle portrayal of moral turmoil.^[88] The production emphasizes the historical context of institutional abuses without sensationalism, aligning closely with the novella's introspective tone while leveraging cinematic elements to immerse viewers in the era's social constraints.^[88]

Production and Casting Details

The film adaptation of Small Things Like These was produced by Cillian Murphy and Alan Moloney through their company Big Things Films, in collaboration with Catherine Magee, and supported by Artists Equity with producers Matt Damon and Drew Vinton, alongside executive producers Ben Affleck, Kevin Halloran, and Michael Joe.^[96]^[97] The production received backing from Fís Éireann/Screen Ireland, marking the first feature film from Big Things Films.^[98] With a budget of $3 million, principal photography occurred primarily in New Ross, County Wexford, Ireland, during 2023.^[88]^[99]^[100] Directed by Tim Mielants and written by Enda Walsh, the film features a score composed by Senjan Jansen, characterized by delicate and haunting elements that underscore underlying tension.^[97]^[101] Cillian Murphy leads the cast as Bill Furlong, supported by Eileen Walsh as Mrs. Furlong, Michelle Fairley, Emily Watson as Mrs. Wilson, and Clare Dunne.^[88] The production capitalized on Murphy's elevated prominence after his Academy Award-winning role in Oppenheimer, enhancing distribution and promotional opportunities.^[102]

Debates on Historical Representation

Empirical Evidence of Abuses

The Inter-Departmental Committee Report, commonly referred to as the McAleese Report and published on February 5, 2013, documented the admission of approximately 10,000 women and girls to 11 Magdalene Laundries in Ireland from 1922 to 1996, based on archival records from religious orders and state bodies. Among 8,025 admissions with identifiable referral sources, 26.5% (2,124 cases) involved direct state facilitation or referral, including 8% via the criminal justice system for minor offenses such as vagrancy or larceny, nearly 8% from industrial schools, nearly 7% from health and welfare services, and nearly 4% from mother-and-baby homes. ^[103] ^[24] State agencies, including Gardaí, also aided in returning escapees, with records showing police involvement in recapturing women who absconded, thereby enforcing retention. ^[103] Laundry operations entailed unpaid manual labor, with women performing commercial-scale washing, ironing, and related tasks under a highly regimented schedule that included early rising, communal meals, religious observances, and limited recreation periods, often totaling 10-12 hours of work daily as corroborated by institutional timetables and survivor statements reviewed by the committee. ^[103] Isolation was systematically enforced through restricted family visits (typically twice yearly, if permitted), prohibition on external correspondence without oversight, and confinement within laundry premises, which survivor accounts verified as fostering psychological harm including shame, loss of autonomy, and enforced silence during meals or work. ^[103] While the majority of admissions (over 70%) were categorized as voluntary—initiated by family, self-referral, or church—social stigma surrounding unmarried mothers and "fallen women" contributed to low escape rates, with fewer than 1% of women documented as absconding successfully due to lack of alternatives and fear of ostracism. ^[103] ^[104] Commissions reviewing survivor testimonies, including those integral to the McAleese inquiry, confirmed instances of physical punishments such as hair-pulling, slapping, or withholding food for rule infractions, alongside pervasive verbal abuse and coercive control, though these were not uniform or as severe as in contemporaneous industrial schools. ^[103] Mortality data from laundry records indicated approximately 796-1,000 deaths across the institutions, equating to roughly 10-15% of long-term residents over multi-decade stays, primarily from tuberculosis, influenza, and age-related conditions endemic to mid-20th-century Ireland's underprivileged populations, with rates not exceeding general female mortality norms for the era when adjusted for poverty and institutional living. ^[103] ^[105] No archival evidence supported claims of deliberate murder or systematic starvation, as causes aligned with contemporaneous public health data showing tuberculosis accounting for up to 20% of adult female deaths in Ireland during peak years (1940s-1950s). ^[103]

Counterarguments and Revisions to Mainstream Accounts

Critics from Catholic advocacy groups, such as the Catholic League for Religious and Civil Rights, have challenged mainstream portrayals of the Magdalene Laundries as sites of systematic brutality and enslavement, arguing that such narratives rely on unverified anecdotes and selective evidence. In a 2013 analysis drawing from the Irish government's McAleese Report, the Catholic League contended that claims of routine severe beatings were exaggerated, with available records and survivor accounts indicating disciplinary measures akin to those in contemporary workhouses or factories rather than torture.^[106] Many women entered voluntarily or via family referral and described their labor as demanding but not equivalent to slavery, often comparing it to domestic or industrial work of the era; no evidence emerged of forced imprisonment or widespread sexual abuse by religious staff.^[106] Financial audits referenced in the McAleese Report further supported revisions to profit-driven exploitation claims, revealing that most laundries operated on a subsistence or near break-even basis, subsidizing costs through religious orders rather than generating commercial surpluses.^[106] Subsequent research by University College Dublin scholars in 2023–2024 on the Donnybrook Magdalene Laundry, however, revised this for at least one facility, uncovering preserved financial records that demonstrated annual surpluses contradicting the report's broader break-even assertion and highlighting incomplete state inquiries into church archives.^[77] These findings underscore the need for case-specific analysis amid broader institutional opacity, while emphasizing that operations reflected resource constraints in impoverished Ireland rather than deliberate malice by the Church alone. Causally, defenders frame the laundries as an imperfect societal mechanism addressing out-of-wedlock births, which comprised approximately 2–3% of total births in Ireland from the 1920s to 1960s—among Europe's lowest rates—yet carried intense stigma in a rural, Catholic-majority society with limited welfare alternatives.^[107] By the 1980s, this figure rose modestly to 5.03% (3,723 cases), coinciding with the laundries' closure, as state and church collaborated to manage illegitimacy without comprehensive social supports, prioritizing containment over modern child welfare standards.^[108] This context counters attributions of unique ecclesiastical cruelty by situating the institutions within Ireland's economic underdevelopment and cultural norms, where poverty affected all sectors, including religious ones.^[106]

Implications for Fictional Depictions

Keegan's novella exemplifies a strength in fictional depictions by emphasizing granular, personal observations—such as the protagonist's discovery of a shivering young woman during a coal delivery—to convey the Magdalene Laundries' grim undercurrents without amplifying sensationalized tropes of widespread torture that have characterized some journalistic accounts. This focus on "small things," like everyday routines intersecting with concealed suffering, fosters a restrained realism that critiques societal acquiescence through individual moral tension rather than collective hysteria, aligning with empirical-driven narratives that prioritize verifiable human-scale experiences over uncontextualized outrage.^[18]^[109] However, such intimate portrayals risk entrenching one-sided interpretations by sidelining historical data, including the 2013 McAleese Report's documentation that laundries often broke even financially without evidence of profiteering and that many women experienced stays averaging under a year, with voluntary or family-influenced admissions common amid era-specific social pressures like illegitimacy stigma. Without integrating these causal realities—such as state complicity in placements alongside church operations or lower institutional mortality rates relative to contemporaneous poorhouses—fiction may oversimplify institutions as monolithic sites of evil, echoing biases in academia and media that downplay revisionist findings from archival reviews.^[77]^[110] Ultimately, while achieving emotional authenticity through the protagonist's internal conflict, the novella's approach underscores the need for truth-seeking in art to supplement narrative empathy with cross-verification against primary sources, lest selective depictions distort causal understanding and normalize unexamined institutional critiques over multifaceted evidence of poverty-driven placements and variable outcomes.^[106]

References

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4.7 3.6K · Free in-store returnsAntarctica won the Rooney Prize for Irish Literature and was chosen as a Los Angeles Times Book of the Year. Walk the Blue Fields won the ...
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Dec 2, 2024 · Written by Claire Keegan. Publication date and time: Published December 2, 2024. Where did the idea for Small Things Like These come from?
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Dec 22, 2021 · ... laundries in 1996, and the Irish government's belated apology to the victims in 2013, show that justice, sadly, takes decades to arrive.
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It is 1985 in the run-up to Christmas in a small town in County Wexford, Ireland. Bill Furlong toils as a coal merchant to support himself, his wife and his ...
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Mar 23, 2024 · I'm hoping that whoever does Small Things Like These, which I know are different people, some of them, I hope it's as well done. I expect it ...Your Impression on "Small Things Like These"? : r/CillianMurphy[Discussion] Discovery Read - Small Things Like These by Claire ...More results from www.reddit.com
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Earliest Release DateNovember 1, 2024 (United Kingdom). MPAAPG-13. Running Time1 hr 38 min. GenresDrama History. IMDbPro See more details at IMDbPro.
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Small Things Like These - Reformed Journal
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Fact-checking yet another film about Ireland's merciless nuns
Nov 4, 2024 · This film about the Magdalene laundries is malicious propaganda, writes JAMES BRADSHAW.