Journalists From Ireland

"March in Ireland can be a very lovely month, if you like your air rain-washed and your light wind-shaken."

"There had been rain but it had stopped, and the light from a luminously clouded sky was pewter-bright, and puddles on the road were shivering in the wind, and the rooks above the trees in St Anne's Park were being tossed about the air like scraps of charred paper."

"Every novelist knows – perhaps everyone knows who has written even a letter, or a page of a diary – that the process of composition involves two separate sensibilities."

"Art is like sex: when you're doing it, nothing else matters. Away from his desk the novelist can care deeply about the social, political, moral aspects of what he is writing but when he sits down to write, all those concerns fall away and nothing matters except the putting down of one carefully chosen word after another carefully chosen word, until a sentence is finished, then a paragraph, then a page, then a chapter, then a book. When I'm working I don't care about anything, not even myself. All my concentration is directed towards the making of the thing on the page. The rest is just stuff — even though it is the stuff of life."

"The first thought that occurred to me, that night when I heard the chairman of the jury announce my name, was, Just think how many people hate me at this moment. Naturally, I wanted to annoy those people even further by being arrogant."

"[On book reviewing] I will only turn down a book if I know I won't be able to muster enough interest to read the bloody thing. Or if I realize that I despise the author, and that I'm just going to become hysterical in my dispraise. A couple of times in my life I've disobeyed my own rule, and later regretted it. [...] It's a delicate business. All too often, if one writes a favorable notice, it's seen as a product of the old-boy network, and if one dispraises a book, it's seen as envy. Nobody seems able to accept that I review books as a book reviewer, not as a competing novelist. When I review, I'm being as honest as I can. And I'm saying to the reading public — the minuscule segment of the reading public that reads reviews — that this is my judgment."

"After all, who knows what the distant past was like? About Kepler and Copernicus, people often say, You captured the period so well! I always want to ask, How do you know? You weren't there either."

"Flaubert read too many books, and in consequence some of his own books stagger under the weight of his erudition. He said he'd read some preposterous number of books to prepare for the writing of Salammbô, and you can feel them dragging the novel down. It would have been much better if he'd made it all up."

"Copernicus stuck very closely to the facts, but in Kepler I invented freely, and it's a much better book because of that."

"When I was young, art for me was a new religion. Now I see the aims and ends of art as less grand. If I can catch the play of light on a wall, and catch it just so, that is enough for me. I don’t want to write about human behavior. Art now seems to me in many ways the absolute opposite of psychology. It’s simply saying, This is how it is. This is how it looks, how it feels. To describe things well is far more worthwhile than the kind of cheap psychologizing, or even expensive psychologizing, that the novel so often indulges in."

"The world is a dark place, and I find it endlessly funny."

"My wife says I had a nervous breakdown during the writing of Mefisto. Maybe I did, but what's a nervous breakdown for a writer? For a writer every day is a nervous breakdown. [...] The book came out in the spring, and I remember I spent that following summer digging my garden — Voltaire would have been proud. I made a wonderful garden. Grew beans, lettuces. I was healing myself from some kind of traumatic process that I don't pretend to understand. All right, let's agree with my wife and call it a nervous breakdown."

"Doing what you do well is death. Your duty is to keep trying to do things that you don't do well, in the hope of learning."

"For me, a line has to sing before it does anything else. The great thrill is when a sentence that starts out being completely plain suddenly begins to sing, rising far above itself and above any expectation I might have had for it. That's what keeps me going on those dark December days when I think about how I could be living instead of writing."

"I am essentially a religious type. In my teens I gave up Catholicism, and at the same time I started writing. Writing keeps me at my desk, constantly trying to write a perfect sentence. It is a great privilege to make one's living from writing sentences. The sentence is the greatest invention of civilization. To sit all day long assembling these extraordinary strings of words is a marvelous thing. I couldn't ask for anything better. It's as near to godliness as I can get."

"Fiction is just a constant torment, and an embarrassment. I loathe my fiction. I have a fantasy when I'm passing a bookstore that I could click my fingers and all my books would go blank, so that I could start again and get them right."

"But trying to be a painter did teach me to look at the world in a very particular way—looking very closely at things, at colors, at how things form themselves in space — and I've always been grateful for that. You have all this space, and you have a figure: what do you do with it? And in a way that’s what all art is. How do we find a place for our creatures, or inventions, in this incoherent space into which we’re thrown?"

"I feel a kind of intellectual regret, not an emotional regret, at having left my parents and that world behind. But it's not a great weight on my soul. In a way I wish it were. To leave one’s background without guilt is an indication of shallowness of character, I suspect."

"A boy in his teens! What did I know about death? This is a problem for Irish writers — our literary forebears are enormous. They stand behind us like Easter Island statues, and we keep trying to measure up to them, leaping towards heights we can't possibly reach. I suppose that's a good thing, but it makes for a painful early life for the writer. Anyway, hunched there over my Aunt Sadie's Remington, I was starting to learn how to write. Now, fifty years later, I'm still learning."

"My present study - a word that always makes me uneasy, I am not sure why - is a small apartment in a huge, anonymous, quadrilateral block in Dublin city centre. My window, the one I do not look out of, gives on to a courtyard where no one ever goes, and where the silence is day-long and almost pastoral. When I first began to come here to work, a dozen years ago, I used to shut my door on entering each morning and put the chain on. The place is clean, or cleanish, and, yes, well lighted. Here I am unassailable. Or so I like to imagine."

"We all yearn in our hearts to be Larkin's "shit in the shuttered chateau", but few of us achieve that grand apotheosis."

"We cannot all afford a farm in Cuba or a suite at the George V in newly liberated Paris, and more often than not must strive to forge our clean, well-lighted sentences at a folding table wedged between the baby's cot and the dining table."

"[T]he older I get the more I realise that the world is not as varied as we thought it was when we were young. Most places are much alike."

"I hesitate to talk about Czech food. [...] The people are very sweet, wonderfully cultured, very friendly, but my God how they eat that food I do not know. It is surely the most disgusting cuisine in the world."

"My books must be an absolute nightmare to translate. I wouldn't do it. I had a couple of them in Japanese some years ago and my wife met a Japanese woman who said that she had read the books. And she asked her what the translations were like. This woman said they were the worst translation she had ever read in her life. She said she didn't recognise the books when she finally read them in English."

"There is something slightly sinister about Prague, just as there is about Lyon and Turin."

"I'm doing my best to not be too rude about it, but oh my God that Czech food..."

"I don't see why the young in Prague or Budapest or Warsaw shouldn't be allowed to go to hell in a handcart if they want to. They do it everywhere else and they have great fun doing so."

"I suppose this is peasant food. You know, the workers in the fields needed these heavy dumplings and things to eat, but God don't offer them to me..."

"I always remember how a novel written by John Braine in the 1950s about working-class life in England, which was called Room at the Top, which was translated into Swedish as The Attic!"

"Oh, I'm terribly ignorant of Czech literature. It's disgraceful really."

"Summoned, one shuffles guiltily into the department of trivia."

"When I started writing I was a great rationalist and believed I was absolutely in control. But the older one gets, the more confused, and for an artist I think that is quite a good thing: you allow in more of your instinctual self; your dreams, fantasies and memories. It's richer, in a way."

"Once in the 1930s, the Inland Revenue did an investigation into Yeats's tax returns because they could not believe someone so famous could have such small sales. One should never allow oneself to be discouraged by small sales. As Pinter says, I stuck to my guns."

"I'm very much against the notion of the Great Man, the Great Figure who is telling us all how to behave. Writers are just like other people, except slightly more obsessed."

"I feel that over the past 15 years, there has been a steady move toward more populist work. I do feel - and of course I'm completely biased - that this year was a return to the better days of the 80s and early 90s. It was a very good short list and a decent jury; it didn't have any stand-up comedians or media celebs on it, and I think that's what the Man Booker prize should be. There are plenty of other rewards for middle-brow fiction. There should be one decent prize for [pause] real books."

"Possibly the most perverse decision in the history of the award."

"Irish stylist springs Booker surprise [...] A 7-1 outsider in the betting odds and untipped by virtually any critic [...] The veteran Irish stylist John Banville brought off one of the biggest literary coups last night when he took the £50,000 Booker Prize from under the noses of the bookies and the literary insiders."

"When I think back to then, from out of this sepulchral silence, I am aware of a ceaseless hubbub of voices loudly saying things no one seemed in the least inclined to listen to. It was the Age of Statements."

"I could have kept [writing "Irish" novels such as Birchwood] and probably had a good deal more success than I did, especially on this side of the Atlantic. But you have to try to do many things. You have to try to do things that you actually think you're incapable of."

"It's amazing what success will do. I've just started a new book after taking a break of a year and a half since finishing 'The Book of Evidence,' and I'm fascinated to see if I can detect in myself a voice saying, 'Tone that bit down; make that bit easier; give them a few laughs,' which would be absolutely fatal. I don't think it's happening, but you can't tell what's happening beneath the surface."

"I'm a little surprised that commercial success has arrived. I used to think that it was hopeless, that it would never happen."

"Julian Gough's] notion that shouting the word 'feck' – Father Ted has a lot to answer for – and being grossly scatological will make him seem echt Irish only harms his argument. We who were born and continue to live in Ireland are always distressed by the stage-Irish antics so often to be encountered among the sons and daughters of the diaspora. But it is true, as the critic Declan Kiberd remarks, that no contemporary Irish writer has yet attempted the Great Irish Novel on social and political themes. Where is our Middlemarch, our Doctor Zhivago, our Rabbit trilogy? The fact is Irish fiction tends to be poetic rather than prosaic, which is something that non-Irish reviewers find hard to grasp. John McGahern used to say that there is verse and there is prose, and then there is poetry, and poetry can occur in either form, and that in Ireland it occurs more often in prose than in verse. There may be a grittily realistic novelist even now writing a masterpiece such as Mr Gough says he longs for, and, if so, I applaud her/him."

"I would have failed, of course, but failure is the condition of the artist's life. What kind of failure would I have enjoyed, suffered? I know it was not all waste. My hopeless daubings taught me to look at the world with a painter's eye, despite the poor connection between eye and hand. And the smells of turpentine and linseed oil and paint-soaked rags still make my blood tingle. But words were my calling, and called to me, and I let fall the brush."

"We writers are shy, nocturnal creatures. Push us into the light and the light blinds us."

"Wodehouse is very interesting. There must be all kinds of darknesses in that man's life."

"The older I get, the more confused I get. I used to think that age would bring wisdom. It doesn't, it just brings confusion. But I find that this confusion is artistically useful. It's a kind of progression, a negative progression. It's moving into areas that you didn't know were there. It becomes more dreamlike all the time. When I was starting out as a novelist, I would have been furious if anyone said to me that novels are dream-like or that they're doing things the novelist didn't know he was doing. Now, I find that it's absolutely true."

"Ambiguity is the essence of Irish writing, I think."

"If you look at practically anyone - I mean, I find this more and more - the more you look at people the more you find that they've actually manufactured themselves. People whose names that you know. I meet lots of people in my ordinary life, away from writing, who seem to be authentic, who seem to know where they've come from and who they are, but anyone that I deal with in, if you like, my profession, we all seem to have made ourselves. I think artists are all self-made."

"Let's not despise story-telling. Like all novelists, I have this low desire to tell people stories."