WEBVTT 00:00:00.000 --> 00:00:02.220 Hey everyone, welcome to the show. Isn't it something 00:00:02.220 --> 00:00:04.160 how the memories that make you just, you know, 00:00:04.179 --> 00:00:07.960 bury your face in your hands, those utterly mortifying 00:00:07.960 --> 00:00:10.619 moments from your younger years often hold the 00:00:10.619 --> 00:00:13.220 most crucial clues to understanding who you've 00:00:13.220 --> 00:00:15.779 become. It's a fascinating paradox, isn't it? 00:00:16.109 --> 00:00:19.670 The experiences we'd rather forget often carve 00:00:19.670 --> 00:00:22.050 the deepest grooves in our personal narrative. 00:00:22.210 --> 00:00:24.170 Well, that's exactly the territory we're exploring 00:00:24.170 --> 00:00:26.410 today as we delve into Seamus O 'Rourke's memoir, 00:00:26.690 --> 00:00:30.730 Leaning on Gates. Ah, yes. Great read. It really 00:00:30.730 --> 00:00:34.469 is. Think of it as a, well... A nostalgic, often 00:00:34.469 --> 00:00:38.570 hilarious trip back to rural 1980s Ireland, all 00:00:38.570 --> 00:00:40.729 through the eyes of a young man navigating late 00:00:40.729 --> 00:00:44.229 adolescence and early adulthood. Right. We're 00:00:44.229 --> 00:00:47.030 talking first jobs that go sideways, the bewildering 00:00:47.030 --> 00:00:49.350 world of early relationships. Definitely. And 00:00:49.350 --> 00:00:51.229 just searching for your place in a really tightly 00:00:51.229 --> 00:00:53.950 knit community. It's a memoir, a genre that really 00:00:53.950 --> 00:00:56.490 captures the, well, the essence of growing up. 00:00:56.570 --> 00:00:59.030 And what resonated with me was the way O 'Rourke, 00:00:59.149 --> 00:01:01.149 I mean, he's rooted in this very specific time 00:01:01.149 --> 00:01:03.840 and place, rural Ireland in the 80s. But he taps 00:01:03.840 --> 00:01:07.099 into these incredibly universal feelings, that 00:01:07.099 --> 00:01:10.900 awkwardness, that yearning for connection, those 00:01:10.900 --> 00:01:14.060 tentative steps into independence. They're experiences 00:01:14.060 --> 00:01:16.920 that, you know, transcend geography and generations. 00:01:17.260 --> 00:01:20.239 Absolutely. What I particularly loved about Leaning 00:01:20.239 --> 00:01:23.680 on Gates was O 'Rourke's sharp wit. He just has 00:01:23.680 --> 00:01:27.400 this wonderful ability to find the humor in the, 00:01:27.500 --> 00:01:31.280 well, often clumsy reality of youth. I found 00:01:31.280 --> 00:01:33.420 myself actually laughing along with his misadventures. 00:01:33.560 --> 00:01:36.579 Plus, he paints such a vivid and like authentic 00:01:36.579 --> 00:01:39.079 picture of rural Irish life back then. You really 00:01:39.079 --> 00:01:40.640 feel like you're right there with him. Yeah, 00:01:40.719 --> 00:01:43.019 the details he includes, they really bring that 00:01:43.019 --> 00:01:44.939 era and that community to life. The descriptions 00:01:44.939 --> 00:01:47.200 of local events, the dynamics between neighbors, 00:01:47.340 --> 00:01:50.620 it all creates this rich and immersive backdrop 00:01:50.620 --> 00:01:52.719 for his story. Now, if I had to pick something 00:01:52.719 --> 00:01:54.900 I didn't love, and this isn't a spoiler, really, 00:01:55.019 --> 00:01:58.379 I'd say that maybe at times the narrative mirrored 00:01:58.379 --> 00:02:00.510 the uncertainty of that life stage. little too 00:02:00.510 --> 00:02:03.909 closely. It occasionally felt a bit meandering. 00:02:04.030 --> 00:02:06.349 OK, I see what you mean. And there are moments 00:02:06.349 --> 00:02:08.509 where I felt, you know, a bit of a yearning for 00:02:08.509 --> 00:02:11.629 maybe more reflection from this present day perspective 00:02:11.629 --> 00:02:14.409 on the significance of certain events, just a 00:02:14.409 --> 00:02:16.509 touch more. That's an interesting point. Perhaps 00:02:16.509 --> 00:02:19.169 the less structured feel, though, contributes 00:02:19.169 --> 00:02:21.949 to the authenticity, kind of mirrors the lack 00:02:21.949 --> 00:02:24.469 of a clear roadmap people have during those years. 00:02:24.509 --> 00:02:27.430 That's fair. But I can definitely see how a bit 00:02:27.430 --> 00:02:29.129 more hindsight could have added another layer, 00:02:29.210 --> 00:02:31.490 sure. Overall, though, I'd give Leaning on Gates 00:02:31.490 --> 00:02:34.849 a solid four out of five stars. It's funny. It's 00:02:34.849 --> 00:02:37.409 genuinely relatable. Just a great journey through 00:02:37.409 --> 00:02:40.030 those sometimes embarrassing, always formative 00:02:40.030 --> 00:02:44.430 years. Agreed. A strong four stars. So today... 00:02:44.729 --> 00:02:47.530 We're going to lean into Seamus O 'Rourke's experiences 00:02:47.530 --> 00:02:50.129 and see what they reveal about this universal 00:02:50.129 --> 00:02:53.090 experience of coming of age. Let's start by unpacking 00:02:53.090 --> 00:02:55.750 his experience around his 18th birthday. He describes 00:02:55.750 --> 00:02:58.030 this almost comical feeling of being on the bottom 00:02:58.030 --> 00:03:00.550 rung. What struck you about that part? Well, 00:03:00.569 --> 00:03:02.270 it's the real disconnect between expectation 00:03:02.270 --> 00:03:05.389 and reality, isn't it? There's this huge societal 00:03:05.389 --> 00:03:08.590 buildup around reaching adulthood, this presumed 00:03:08.590 --> 00:03:11.009 moment of transformation. Right. You're suddenly 00:03:11.009 --> 00:03:14.930 adult. Exactly. Yet for Seamus, it's just marked 00:03:14.930 --> 00:03:18.030 by a continuation of the familiar, the same faces 00:03:18.030 --> 00:03:20.210 in the parish hall, the same social dynamics. 00:03:20.469 --> 00:03:22.770 It really highlights how that internal sense 00:03:22.770 --> 00:03:25.740 of becoming an adult. doesn't automatically translate 00:03:25.740 --> 00:03:28.879 into some tangible external shift it makes you 00:03:28.879 --> 00:03:31.580 consider how much emphasis we place on these 00:03:31.580 --> 00:03:34.699 well pretty arbitrary age -based milestones exactly 00:03:34.699 --> 00:03:36.620 and his description of the parish hall itself 00:03:36.620 --> 00:03:39.520 is so evocative this space that's supposed to 00:03:39.520 --> 00:03:43.000 be a hub of community life sometimes even hosting 00:03:43.000 --> 00:03:45.500 local theater with like a touch of magic but 00:03:45.500 --> 00:03:49.889 mostly just A bit uninspiring, maybe. Kind of 00:03:49.889 --> 00:03:51.969 functional. It really sets the stage for this 00:03:51.969 --> 00:03:54.590 somewhat anticlimactic entry into adulthood, 00:03:54.710 --> 00:03:56.449 he feels. Yeah. And you have characters like 00:03:56.449 --> 00:03:58.990 Pat Fitzpatrick, this bachelor who is just single 00:03:58.990 --> 00:04:01.150 -mindedly searching for the right dance partner. 00:04:01.810 --> 00:04:04.469 It's humorous, but what does it tell us about 00:04:04.469 --> 00:04:06.930 the social fabric there? Oh, Pat's meticulous, 00:04:06.930 --> 00:04:10.569 almost strategic approach to finding a dance 00:04:10.569 --> 00:04:14.120 partner. Someone who meets these... unspoken 00:04:14.120 --> 00:04:17.610 criteria, and is also a capable dancer. It really 00:04:17.610 --> 00:04:20.269 eliminates the subtle social hierarchies and 00:04:20.269 --> 00:04:22.310 aspirations within that rural setting. Yeah, 00:04:22.410 --> 00:04:24.769 the unspoken rules. And the fact that his mother 00:04:24.769 --> 00:04:27.050 is involved in this quest just adds another layer 00:04:27.050 --> 00:04:29.829 to those close -knit community dynamics and, 00:04:29.870 --> 00:04:32.290 you know, the expectations placed upon individuals. 00:04:32.689 --> 00:04:35.170 And then there's the unforgettable Joe Clamping 00:04:35.170 --> 00:04:37.810 McGuire, who just bursts into the hall with this 00:04:37.810 --> 00:04:40.250 larger -than -life presence. O 'Rourke paints 00:04:40.250 --> 00:04:42.449 him as sort of ageless, somewhere between 50 00:04:42.449 --> 00:04:44.990 and 80, perpetually with a cigarette, and utterly 00:04:44.990 --> 00:04:47.250 unburdened by social convention. What did you 00:04:47.250 --> 00:04:49.930 make of Joe's role? Joe is a fascinating study 00:04:49.930 --> 00:04:52.149 in contrast, really. He's this almost disruptive 00:04:52.149 --> 00:04:54.329 force, someone who operates completely outside 00:04:54.329 --> 00:04:57.410 the usual social norms. While Seamus is navigating 00:04:57.410 --> 00:04:59.930 all the anxieties of fitting in, Joe seems completely 00:04:59.930 --> 00:05:02.610 at ease in his own skin, despite or maybe because 00:05:02.610 --> 00:05:05.129 of his unconventional ways. His bluntness and 00:05:05.129 --> 00:05:07.620 his like. total lack of concern for what others 00:05:07.620 --> 00:05:10.579 think, provide a real counterpoint to Seamus' 00:05:10.720 --> 00:05:13.279 self -consciousness. It prompts you to think 00:05:13.279 --> 00:05:15.060 about the different ways individuals navigate 00:05:15.060 --> 00:05:17.540 social spaces and maybe the freedom that can 00:05:17.540 --> 00:05:20.379 come with not adhering strictly to perceived 00:05:20.379 --> 00:05:23.279 rules. Right. The anecdotes about his interactions 00:05:23.279 --> 00:05:26.199 with the women, his almost relentless yet seemingly 00:05:26.199 --> 00:05:29.600 good -natured invitations to dance, even when 00:05:29.600 --> 00:05:33.160 met with clear disinterest. It's both funny and 00:05:33.160 --> 00:05:36.040 a little perplexing. It is, yeah. And his pronouncements, 00:05:36.040 --> 00:05:39.319 like announcing Pat McKenna as a horrid, decent 00:05:39.319 --> 00:05:41.759 man because his tractor caught fire while he 00:05:41.759 --> 00:05:44.379 was supposedly still in bed. It's such a wonderfully 00:05:44.379 --> 00:05:47.740 bizarre and specific kind of humor. What do these 00:05:47.740 --> 00:05:50.120 moments reveal about the community's way of interacting? 00:05:50.620 --> 00:05:53.160 It suggests a level of familiarity and acceptance, 00:05:53.339 --> 00:05:55.959 I think, even of eccentricities. There's a certain 00:05:55.959 --> 00:05:58.180 tolerance for Joe's unconventional behavior, 00:05:58.519 --> 00:06:00.759 perhaps because he's just a known quantity within 00:06:00.759 --> 00:06:03.000 the community. True. Part of the furniture almost. 00:06:03.220 --> 00:06:05.439 And the humor often seems to stem from these 00:06:05.439 --> 00:06:08.120 shared understandings and, you know, inside jokes. 00:06:08.480 --> 00:06:11.319 As Seamus reflects later, Joe teaches him that 00:06:11.319 --> 00:06:13.939 life is not about what we perceive to be great 00:06:13.939 --> 00:06:17.660 or worthy or worthwhile. Life is in the detail. 00:06:17.980 --> 00:06:20.689 It's about. pushing through the doors, about 00:06:20.689 --> 00:06:23.490 never surrendering, and maybe sometimes causing 00:06:23.490 --> 00:06:26.750 a stir. That's a powerful early lesson about 00:06:26.750 --> 00:06:29.509 embracing life's messiness. That's a fantastic 00:06:29.509 --> 00:06:32.430 takeaway. It's like the Joe embodies this uninhibited 00:06:32.430 --> 00:06:35.310 engagement with life, whereas the younger Seamus 00:06:35.310 --> 00:06:38.730 is still trying to decode the rules. Later in 00:06:38.730 --> 00:06:40.610 the book, there's a really telling moment during 00:06:40.610 --> 00:06:43.529 a football match where Seamus gets injured. What 00:06:43.529 --> 00:06:46.269 did his reaction to that injury reveal to you? 00:06:46.569 --> 00:06:48.649 It immediately highlights his priorities, doesn't 00:06:48.649 --> 00:06:50.170 it? And the realities of his young life. His 00:06:50.170 --> 00:06:51.889 first thoughts are about his ability to work 00:06:51.889 --> 00:06:53.689 and then his ability to play football. Yeah. 00:06:54.170 --> 00:06:56.670 Practicalities first. This underscores the significance 00:06:56.670 --> 00:06:59.290 of physical labor and his identity as a footballer 00:06:59.290 --> 00:07:01.649 in his world at that time. It gives us a glimpse 00:07:01.649 --> 00:07:04.339 into the practical concerns and well. the sources 00:07:04.339 --> 00:07:06.379 of self -worth within that community. And the 00:07:06.379 --> 00:07:08.639 subsequent trip to the hospital in Sligo to get 00:07:08.639 --> 00:07:11.600 his stitches out is almost a masterclass in awkward, 00:07:11.839 --> 00:07:15.199 relatable humor. The ill -fitting gowns, the 00:07:15.199 --> 00:07:17.759 mortifying experience of waiting naked in a public 00:07:17.759 --> 00:07:21.199 area, even leaving behind remnants of his paper 00:07:21.199 --> 00:07:25.680 suit. It's embarrassing, but also so inherently 00:07:25.680 --> 00:07:27.720 human. Have you ever had one of those moments 00:07:27.720 --> 00:07:30.660 where the mundane just turns utterly absurd? 00:07:31.160 --> 00:07:32.860 Absolutely. Those are definitely the moments 00:07:32.860 --> 00:07:34.939 that stick with you, aren't they? And his self 00:07:34.939 --> 00:07:37.240 -consciousness about his considerable arse being 00:07:37.240 --> 00:07:40.060 on display just adds another layer of relatable 00:07:40.060 --> 00:07:43.060 vulnerability to the humor. Totally. It's a reminder 00:07:43.060 --> 00:07:45.939 that even in moments of, like, physical discomfort, 00:07:46.300 --> 00:07:48.699 our awareness of social perception persists. 00:07:48.699 --> 00:07:51.620 It doesn't just switch off. Then we see him exploring 00:07:51.620 --> 00:07:53.720 Macrana Fermi, the Young Farmers Organization. 00:07:54.329 --> 00:07:56.410 He goes in with pretty low expectations, apparently, 00:07:56.569 --> 00:07:58.870 but is surprised by the dynamism and the sheer 00:07:58.870 --> 00:08:01.550 variety of activities, from plowing matches to 00:08:01.550 --> 00:08:03.610 talent shows and tractor -reversing competitions. 00:08:04.250 --> 00:08:06.129 What does this episode tell us about Seamus' 00:08:06.230 --> 00:08:09.199 journey? Well, it marks a significant broadening 00:08:09.199 --> 00:08:12.420 of his horizons. He discovers this whole realm 00:08:12.420 --> 00:08:14.959 of social interaction and activity that exists 00:08:14.959 --> 00:08:17.660 beyond his immediate spheres of, you know, work 00:08:17.660 --> 00:08:20.420 and football. Right. A new world. It's an opportunity 00:08:20.420 --> 00:08:22.980 for him to connect with like -minded individuals, 00:08:23.379 --> 00:08:25.779 maybe develop new skills and find a sense of 00:08:25.779 --> 00:08:28.660 belonging in a different context. His admiration 00:08:28.660 --> 00:08:31.279 for their ideas and their organizational skills 00:08:31.279 --> 00:08:33.940 suggests a growing desire for something more, 00:08:34.059 --> 00:08:36.899 perhaps. And it's through Macrana Fermi that 00:08:36.899 --> 00:08:39.559 he's almost pushed into public speaking for the 00:08:39.559 --> 00:08:42.799 first time. She describes himself as shy and 00:08:42.799 --> 00:08:45.840 lacking in substance. But his friend Pat Mitchell 00:08:45.840 --> 00:08:48.659 gives him that nudge. It seems like a pivotal 00:08:48.659 --> 00:08:50.620 moment in him stepping outside his comfort zone. 00:08:50.940 --> 00:08:52.840 Can you recall a moment where you were similarly 00:08:52.840 --> 00:08:55.559 pushed? Oh, definitely. Those moments of being 00:08:55.559 --> 00:08:57.960 gently or sometimes not so gently forced out 00:08:57.960 --> 00:09:00.360 of our comfort zones often lead to unexpected 00:09:00.360 --> 00:09:03.289 growth. For Seamus, that initial discomfort and 00:09:03.289 --> 00:09:05.649 reluctance are followed by the surprising realization 00:09:05.649 --> 00:09:07.809 that he actually has something to say and can 00:09:07.809 --> 00:09:10.210 connect with an audience. It's a classic example 00:09:10.210 --> 00:09:12.970 of how pushing our boundaries can reveal hidden 00:09:12.970 --> 00:09:16.889 capabilities and build confidence. Later in the 00:09:16.889 --> 00:09:19.169 book, there's the trip to America to play football. 00:09:19.750 --> 00:09:22.470 He approaches it with this very grounded, almost 00:09:22.470 --> 00:09:25.289 skeptical view, questioning the point when they 00:09:25.289 --> 00:09:28.000 could just stay home. But that experience in 00:09:28.000 --> 00:09:30.240 New York seems to have a profound, albeit perhaps 00:09:30.240 --> 00:09:33.159 unexpected, impact on him. What did you take 00:09:33.159 --> 00:09:35.059 away from his time there? The sheer contrast, 00:09:35.279 --> 00:09:37.840 I think, between rural Ireland and the energy 00:09:37.840 --> 00:09:39.740 of New York, it's just a shock to his system 00:09:39.740 --> 00:09:42.200 in a way. He's exposed to different ways of life, 00:09:42.299 --> 00:09:44.419 different attitudes towards work and social interaction. 00:09:44.899 --> 00:09:47.539 His experiences working with Shovels McGrath 00:09:47.539 --> 00:09:50.000 on the construction site are particularly formative, 00:09:50.019 --> 00:09:52.100 I think. Oh, yeah. Throwing him into a really 00:09:52.100 --> 00:09:54.340 demanding and very different environment. Oh, 00:09:54.340 --> 00:09:57.179 Shovels. What a character. This completely no 00:09:57.179 --> 00:09:59.500 -nonsense foreman who immediately dubs him Lightrim 00:09:59.500 --> 00:10:02.440 and has like zero tolerance for inexperience. 00:10:02.860 --> 00:10:05.019 Tough boss. The driving incident in the Brown 00:10:05.019 --> 00:10:07.419 Transit, his hilarious attempt to avoid driving 00:10:07.419 --> 00:10:09.759 on the wrong side of the road, which backfires 00:10:09.759 --> 00:10:13.200 so spectacularly. It's pure comedy. But beyond 00:10:13.200 --> 00:10:15.240 the humor, what's the underlying significance 00:10:15.240 --> 00:10:18.129 of these encounters? It's a trial by fire, really. 00:10:18.210 --> 00:10:20.870 It forces Seamus to adapt quickly to a completely 00:10:20.870 --> 00:10:24.330 new set of circumstances. Shovels, despite his 00:10:24.330 --> 00:10:27.509 gruff exterior, seems to impart a certain resilience 00:10:27.509 --> 00:10:30.230 and a no -nonsense approach to just getting things 00:10:30.230 --> 00:10:32.370 done. Right. Get on with it. And the driving 00:10:32.370 --> 00:10:35.070 incident, while funny, just underscores the challenges 00:10:35.070 --> 00:10:37.450 of navigating unfamiliar environments and the 00:10:37.450 --> 00:10:39.570 sometimes humiliating process of learning new 00:10:39.570 --> 00:10:41.809 things. We've all been there. And then there's 00:10:41.809 --> 00:10:44.730 the unforgettable mishap with the $100 bill at 00:10:44.730 --> 00:10:48.929 Mass. donating a huge chunk of his wages. It's 00:10:48.929 --> 00:10:50.970 such a perfect illustration of the financial 00:10:50.970 --> 00:10:53.529 missteps and hard -learned lessons that often 00:10:53.529 --> 00:10:55.909 mark those early adult years. Can you think of 00:10:55.909 --> 00:10:58.129 a similar financial blunder from your own youth? 00:10:58.549 --> 00:11:01.269 Oh, boy. Oh, those moments of financial clumsiness 00:11:01.269 --> 00:11:04.429 definitely leave a lasting impression. For Seamus, 00:11:04.570 --> 00:11:06.649 the internal conflict of whether to even try 00:11:06.649 --> 00:11:09.570 and retrieve the money is so relatable. So awkward. 00:11:09.769 --> 00:11:13.090 It's a high stakes comical error that really 00:11:13.090 --> 00:11:15.870 highlights the, well, the financial vulnerability 00:11:15.870 --> 00:11:18.789 and naivete of that stage of life. The book also 00:11:18.789 --> 00:11:20.769 touches on his evolving relationship with alcohol. 00:11:21.519 --> 00:11:24.960 The football club trip to Cary is where he has 00:11:24.960 --> 00:11:27.919 his first proper experience with pints, as he 00:11:27.919 --> 00:11:30.559 puts it. It's not presented as some dramatic 00:11:30.559 --> 00:11:33.220 turning point, but more of a gradual integration 00:11:33.220 --> 00:11:36.360 of drinking into his social life. What's notable 00:11:36.360 --> 00:11:39.559 about O 'Rourke's portrayal of this? It's presented 00:11:39.559 --> 00:11:41.460 very matter -of -factly, isn't it, without any 00:11:41.460 --> 00:11:44.419 particular drama or moralizing. It just reflects 00:11:44.419 --> 00:11:46.720 how these social norms are often absorbed and 00:11:46.720 --> 00:11:49.059 experimented with during young adulthood. Yeah, 00:11:49.139 --> 00:11:51.340 just part of growing up then. It's another step 00:11:51.340 --> 00:11:53.539 in navigating social expectations and finding 00:11:53.539 --> 00:11:55.720 his place within his peer group. And the quiet 00:11:55.720 --> 00:11:57.519 conversations with his father about drinking 00:11:57.519 --> 00:12:01.879 are so understated yet quite profound. His father's 00:12:01.879 --> 00:12:05.059 simple advice, a few drinks are nice if you can 00:12:05.059 --> 00:12:07.340 leave it at a few. Some can't leave it at a few. 00:12:07.779 --> 00:12:10.320 It's wisdom delivered without any fanfare or 00:12:10.320 --> 00:12:12.220 judgment. What does that tell us about their 00:12:12.220 --> 00:12:14.870 relationship? It speaks to a relationship built 00:12:14.870 --> 00:12:17.690 on a quiet understanding, I think, and a subtle 00:12:17.690 --> 00:12:20.529 form of guidance. There's trust there and a lack 00:12:20.529 --> 00:12:23.470 of overt lecturing. It allows Seamus the space 00:12:23.470 --> 00:12:26.070 to learn and experience things for himself while 00:12:26.070 --> 00:12:28.330 still having that grounding wisdom from his father 00:12:28.330 --> 00:12:30.490 in the background. Towards the end of the book, 00:12:30.529 --> 00:12:32.429 he becomes involved with the local drama group 00:12:32.429 --> 00:12:34.830 and the eventual creation of the Corn Mill Theater. 00:12:35.710 --> 00:12:38.299 This seems like a real turning point. maybe a 00:12:38.299 --> 00:12:40.700 discovery of a new passion and a different kind 00:12:40.700 --> 00:12:42.919 of community. How significant do you think this 00:12:42.919 --> 00:12:45.080 was for his development? Oh, hugely significant, 00:12:45.200 --> 00:12:47.500 I'd say. It provides him with a creative outlet, 00:12:47.580 --> 00:12:50.220 a sense of purpose beyond the more traditional 00:12:50.220 --> 00:12:52.700 roles he'd inhabited until then, you know, farmer, 00:12:52.820 --> 00:12:55.860 footballer. Right. His initial nervousness about 00:12:55.860 --> 00:12:58.320 being on stage contrasts really sharply with 00:12:58.320 --> 00:13:00.840 the eventual sense of belonging and excitement 00:13:00.840 --> 00:13:03.580 he finds in the theater community. It's a discovery 00:13:03.580 --> 00:13:06.549 of a whole new facet of his identity. And throughout 00:13:06.549 --> 00:13:08.690 all these experiences, there's this constant 00:13:08.690 --> 00:13:10.629 undercurrent of his connection to his family 00:13:10.629 --> 00:13:13.769 and his rural roots. Even when he's off in Dublin 00:13:13.769 --> 00:13:17.070 or New York, that link to home remains a really 00:13:17.070 --> 00:13:20.350 powerful force. Why do you think that grounding 00:13:20.350 --> 00:13:23.529 is so central to his story? Well, that grounding 00:13:23.529 --> 00:13:26.029 in family and community provides a stable foundation 00:13:26.029 --> 00:13:28.929 amidst all the changes and uncertainties of youth. 00:13:29.230 --> 00:13:31.669 It's a source of identity and belonging that 00:13:31.669 --> 00:13:34.149 he can always return to, even as he explores 00:13:34.149 --> 00:13:37.049 new horizons. I'll touch stone. Exactly. The 00:13:37.049 --> 00:13:39.269 anecdotes about his parents and their reactions 00:13:39.269 --> 00:13:41.690 to his various adventures are both humorous and 00:13:41.690 --> 00:13:44.289 deeply affectionate, highlighting the enduring 00:13:44.289 --> 00:13:47.669 bonds of family. Absolutely. Leaning on Gates 00:13:47.669 --> 00:13:51.169 really captures that messy, awkward, but ultimately 00:13:51.169 --> 00:13:54.200 vital period of early adulthood. It's just a 00:13:54.200 --> 00:13:56.299 great reminder that those cringeworthy moments 00:13:56.299 --> 00:13:58.440 and uncertain steps are all part of the essential 00:13:58.440 --> 00:14:00.980 process of figuring out who you are. And that 00:14:00.980 --> 00:14:03.240 with the passage of time, there's often a good 00:14:03.240 --> 00:14:05.100 dose of humor to be found in looking back at 00:14:05.100 --> 00:14:07.259 those times, even if they felt anything but funny 00:14:07.259 --> 00:14:10.230 in the moment. So true. So if you've ever had 00:14:10.230 --> 00:14:12.549 a memory pop into your head that makes you wince, 00:14:12.629 --> 00:14:15.590 but also maybe recognize that it played a role 00:14:15.590 --> 00:14:18.629 in shaping who you are today, we wholeheartedly 00:14:18.629 --> 00:14:21.169 recommend checking out Leaning on Gates by Seamus 00:14:21.169 --> 00:14:23.429 O 'Rourke. We've included a link to it on Amazon 00:14:23.429 --> 00:14:25.409 in the description below for your convenience. 00:14:25.730 --> 00:14:28.610 And if you found this deep dive into O 'Rourke's 00:14:28.610 --> 00:14:32.909 experiences insightful and... entertaining, please 00:14:32.909 --> 00:14:35.070 do give us a like and subscribe so you don't 00:14:35.070 --> 00:14:37.490 miss our future explorations into fascinating 00:14:37.490 --> 00:14:39.830 stories and ideas. Yes, please. We'd absolutely 00:14:39.830 --> 00:14:42.029 love to hear your end stories too. What's one 00:14:42.029 --> 00:14:44.009 of your most memorable, embarrassing, but essential 00:14:44.009 --> 00:14:46.309 moments from your youth? Share it with us in 00:14:46.309 --> 00:14:48.389 the comment section below. Go on, don't be shy. 00:14:48.590 --> 00:14:50.570 Or pass this deep dive along to someone who you 00:14:50.570 --> 00:14:52.830 think might relate. Thanks so much for tuning 00:14:52.830 --> 00:14:53.070 in.