Journalists From Ireland

"Moderation, we find, is an extremely difficult thing to get in this country."

"Often in the theatre I can hardly hear myself talking or assuring my doxy that so-and-so is the same fellow that played so-and-so in so-and-so, he's very good, he's a civil servant in the Department of Agriculture, I met a sister of his in Skerries, and so on. Actors should conduct themselves like the rest of us and practise the unobtrusive intonation of the gentleman."

"Some savage faculty for observation told him that most respectable and estimable people usually had a lot of books in their houses."

"The majority of the members of the Irish parliament are professional politicians, in the sense that otherwise they would not be given jobs minding mice at a crossroads."

"Is it life? I would rather be without it, for there is quare small utility in it. You cannot eat it or drink it or smoke it in your pipe, it does not keep the rain out and it is a poor armful in the dark if you strip it and take it to bed with you after a night's porter when you are shivering with the red passion. It is a great mistake and a thing better done without, like bed jars and foreign bacon. Many a man has spent a hundred years trying to get the dimensions of it and when he understands it at last and entertains the certain pattern of it in his head, be the hokey he takes to his bed and dies. He dies like a poisoned sheepdog. There is nothing so dangerous you can't smoke it, nobody will give you tuppence halfpenny for the half of it, and it kills you in the wind-up. It is a quare contraption, very dangerous, a certain death-trap."

"If there is to be a war between England and the United States, tis impossible for us to pretend sympathy with the former. We shall have allies, not enemies, on the banks of the Columbia, and distant and desolate as are those tracts beyond the Rocky Mountains, even there may arise an opportunity for demanding and regaining our place among the nations."

"The people are beginning to fear that the Irish Government is merely a machinery for their destruction; that, for all the usual functions of Government, this Castle-nuisance is altogether powerless; that it is unable, or unwilling, to take a single step for the prevention of famine, for the encouragement of manufactures, or providing fields of industry, and is only active in promoting, by high premiums and bounties, the horrible manufacture of crimes!"

"Czar, I bless thee. I kiss the hem of thy garment. I drink to thy health and longevity. Give us war in our time, O Lord!"

"You can sense the volumes of Joyce, Beckett and Nabokov on Banville's shelves."

"When I won the Booker Prize, I said that it was nice to see a work of art winning this prize and I've never been forgiven for that. When you get a prize, you're suppose to be humble. Somebody was interviewing me and said, 'This is a great day for Ireland'. I said, 'Why? Ireland didn't do it, I did it.' I wasn't forgiven for that either. I don't wear the green jersey and I don't hobnob with Michael D in the Park, although I quite like Michael D."

"They filmed it down in Wexford and I visited the set for about half an hour. I don't usually go near the set, because there's nothing for a writer to do there and you're constantly getting in the way. If I give a book to the movies, it's theirs. Writers often whinge about being betrayed by the movies – I have no sympathy for that. If you don't want a movie to be made, then don't sell your book to the movies."

"[On The Sea being filmed] It's not a blockbuster and it's not going to earn half a billion in the first weekend, but it's a work of art and I'm very pleased with it."

"Benjamin Black is a craftsman and these are crafted works. I'm very proud of them. I think they're well made, but Banville is doing something else – he's trying to make a kind of poetry, I suppose. I'm a perfectionist. It's an illness but a good illness. It's a completely different method of writing. Banville writes with a fountain pen on paper in a manuscript book and Black works straight on to the screen. It could take me a whole morning to write a few sentences as Banville, but as Black I'd be very annoyed if I didn't have at least two or three pages done. This drives crime-writers crackers because they think I'm saying that their craft is not worth it. I'm simply saying it's a different thing. I don't know why they worry when I talk about speed; after all, Georges Simenon wrote his books in about 10 days."

"When I created Quirke, he was 6ft 6in and blond. But then a woman reader wrote to me and said, 'Why do you keep saying his hair is blond? It's not. It's brown.' I wrote back to her and told her that, of course, she was right. So I darkened his hair and now that he's being played by Gabriel Byrne; with each successive book he gets a bit smaller and smaller."

"I always thought when I got older that I'd be jealous of my children but I'm not. It's the opposite. I love seeing their possibilities. Nothing makes me as happy as sitting at dinner with loved ones, having a glass of wine with a meal that I've cooked. What could be better?"

"I like to dress conservatively because then the outrageous things you say are even more outrageous."

"I often think that there was nothing more exciting and erotic than getting a glimpse of a woman's leg at the top of her stockings. There's something about that white bulge and for anybody who grew up in my time, nothing replaces that, nothing. I remember I had a girlfriend when I was 16 and she had this bra – it used to open down the front – which I thought was absolutely wonderful. It was like opening a tabernacle."

"If you think I'm being bleak, I'm not. It's wonderful to be making yourself up. That's what makes life so exciting. It's an unending adventure."

"Look at what goes on in our heads when we think about our family or we think about sex. There are things in there that you'd never really say to anybody. You're even ashamed to think it yourself."

"I don't know anything about myself. Put it this way, there is no self. I believe that we're a compendium of personalities. We're whoever we meet. We go through the day being who we think we should be and who we think we'd like to be."

"I remember my father didn't say very much – he was a very laconic man. When he'd go to a party, he would become very animated. My mother would say – 'Look at him. He never says a word at home and look at him now.' This is how we all are."

"I never learned the names of the streets because I couldn't wait to get out. It was too small and I was bored. I was a pretentious little twerp and I had ideas above my station, which everyone should have. I was deeply ambitious but I was deeply dismissive of what was there and that was a mistake. Wexford was a fascinating town and so was the society. I remember a friend of mine telling me about wife-swapping parties that went on there and how people would throw their keys into the middle of a bowl. This was the late 1950s. I didn't believe a word of it. If I believed him and looked about, I would have found another version of Wexford. I'm not saying that I wanted to be at wife-swapping parties, but the Wexford I imagined wasn't necessarily the Wexford that was real. So I blinded myself and I was just as narrow-minded and blinkered as the people whom I despised there. That was a mistake."

"As a boy I was very solitary but blissfully happy. We lived on the edge of town in Wexford and I wandered the fields with my dog, declaiming Keats to the trees."

"Interviewer: What would you like carved onto your tombstone? Banville: I'd rather not have a tombstone."

"I drive from home to my office, a small apartment on the river in the center of Dublin. I write there from 9 a.m. to lunchtime, I take a simple lunch—bread, cheese, nice cup of tea—work until 6 p.m., then home for dinner. Viewed from outside my head it is a singularly dull and uneventful day, but inside my head … aaah."

"I write in what we call Hiberno-English, and it would be disastrous to lose my literary accent, as both Joyce and Beckett began to do in exile. In their case the unique tone of voice they each unwittingly adopted only made for a deeper poetic intensity; I suspect if I were to undergo a similar loss the result would not be so productive."

"I was in Miami, reading at the book fair. My partner on the platform had won the Pulitzer Prize the previous day. At the book signing afterwards, Pulitzer Man had waiting for him a queue of admiring readers that stretched up the spine of Florida, while I had three people — an academic who was writing something on my work, the usual maniac in a raincoat, and a kindly chap who leaned down and said to me in a confidential whisper, “I'm not going to buy your book, but you looked so lonely I felt I had to come and talk to you.”"

"When young writers approach me for advice, I remind them, as gently as I can, that they are on their own, with no help available anywhere."

"Every artist has a Dorian Gray slaving away in the attic."

"All art is to some extent shaped by what has gone before. But that is an organic process, not a conscious intention. Novels are made out of novels as much as they are out of life."

"A work of art is not about something, it is something, in the same way that life is not something that has meaning, only significance. And art's intentions are entirely innocent – no comment, no opinion, no attempted coercion. All – all! – art attempts to do is to quicken the sense of life, to make vivid for the reader the mysterious predicament of being alive for a brief span in this exquisite and terrible world."

"My friends tell me I must stop saying in public that I ‘hate all my novels’. What I mean is that I am profoundly dissatisfied with everything I have done simply because it is not good enough by my standards. But my standard is perfection, and as we know, perfection is not allowed to such as us. On the other hand, I begin every new book in the complete conviction that this time, this time I shall get it right. Rationally I know this will not be so, but art has its reasons."

"One must try to keep a sensible perspective and not take oneself too seriously."

"One of my mottoes as a writer is a little jotting from Kafka's journals: ‘Never again psychology!’ But alas, humankind is obsessed with its psychological workings, and since the novel can only treat of humankind . . . You see my predicament."

"A book at the very start comes to me as a nebulous geometric form, a kind of tension in space that has to be resolved. The resolution is effected by fleshing out the form with character, plot, dialogue, etc. But the original structure perseveres throughout, even when, or perhaps especially when, I am not conscious of it being at work. Art is a mysterious business."

"I like to hide in Ireland, but I like to think of myself as an internal exile."

"I know that this is a cliché by now and I suppose that Prague people are sick and tired of hearing Prague referred to as ‘Magic Prague’, but, you know, I may complain about the tourists, but I am a tourist after all. I'd rather not be, but I am."

"I don't know what citizens of Prague must feel about these endless lines of tourists tramping over their streets."

"I suppose many people in Ireland would regard me as being more a European writer than an Irish writer. I don't think this is so."

"[W]e would probably claim Kafka as an Irish writer. His tone of voice is certainly quite Irish: that sense of melancholy, that sense of strangeness and of being a stranger in the world. I think that we empathise with that very much indeed."

"Well, [Kepler] reminded me of myself – the little man running desperately in circles, trying to find an explanation for the world, for his place in it, to find a plausible system, to account for reality – and never finding it. Finding lots of rules and laws which are very important, but never actually finding his own way into what it is to be in the world – very much an existentialist before his time, I think."

"T. S. Eliot said it is no business of the artist to think. I presume he meant it's only the business of the artist to feel, but I like the notion of there being a mind behind the fiction that I read and that I write."

"I'm a little older now and I think I've lightened up a bit as I'm getting older."

"I'm also lumbered with the title of being a writer's writer, which is the worst possible reputation you can have, because, of course, other writers don't read other writers except to gain evidence against them. And it puts readers off."

"Coming from a tiny island, it's very exciting to be at sea in Central Europe in the sense of vast stretches of land all around one. We don't get that in Ireland."

"When I stand up from my writing desk, "John Banville", or "Benjamin Black" – that is, the one whose name will appear on the title page – vanishes on the instant, since he only existed while the writing was being done."

"Come, Benjamin, put your arm around me and we shall be comfortably one, mon semblable—mon frère!"

"Certain moments remain in the mind with such force and clearness that one suspects they must be invented; that they are not held in the memory but generated out of the imagination."

"So vivid is my recollection of the birth of Benjamin Black that surely, I feel, a cunning artificer has been at work, fashioning a surreally realistic picture of something that happened quite differently from what I seem to remember. Consider that light falling on the sea, how effulgent and steady it is; consider the trees, improbably full-leafed for the time of year – and look at those birds! Has Madam Memory really such a piercing eye for detail, are her powers of recall so comprehensive?"

"The force of the idea was such that I drew the car to the side of the road and stopped and, for some reason, laughed. It was a loud laugh, unsteady, and sounded, even to my own ears, slightly maniacal. Thinking back now, I realise it was less a laugh than the birth-cry of my dark and twin brother Benjamin Black."