Short Story Writers From Ireland

"Writing of any experience, male or female, is difficult. One has to keep one's eyes and ears open and then delve into the imagination."

"It is increasingly clear that the fate of the universe will come to depend more and more on individuals as the bungling of bureaucracy permeates every corner of our existence."

"Never forget this moment, the hum of the bee, the saffron threads of the flower, the drawn blinds, nature's assiduousness and human cruelty."

"[On the banning of (her then) four novels in Ireland] I believe that mental disturbance by literature is a healthy and invigorating thing. We have plenty of comfortable and easy prose all around us, but it's by abrasion that people's prejudices are aroused."

"Oh, God, who does not exist, you hate women, otherwise you'd have made them different. And Jesus, who snubbed your mother, you hate them more."

"All my life I had feared imprisonment, the nun's cell, the hospital bed, the places where one faced the self without distraction, without the crutches of other people."

"The vote, I thought, means nothing to women, we should be armed."

"She said the reason that love is so painful is that it always amounts to two people wanting more than two people can give."

"I waked quickly and sat up in bed abruptly. It is only when I am anxious that I awaken easily, and for a minute I could not remember what it was. Then I remembered, the old reason: he had not come home, my father."

"To make a story both more alive and more suspenseful one has to think of altering the point of view of each chapter. In doing that one changes styles because each person thinks differently. I find it stimulating though a little daunting, but as reader and writer I am not interested in anything less."

"We all leave one another. We die, we change - it's mostly change - we outgrow our best friends; but even if I do leave you, I will have passed on to you something of myself; you will be a different person because of knowing me; it's inescapable."

"(Do think of your work as political?) O'BRIEN: Well, everything is political: one's upbringing, the culture in which one grows up, even religion is political, whether we like it or not. Religion is supposed to be spiritual but we all know it isn't."

"(Do you have to cultivate a distance between you and your friends to have space to write?) O'BRIEN: Yes. One must live the inner life to the utmost. Samuel Beckett wrote a preface to a book of Jack Yeats's paintings, and he said: "the artist who stakes his being comes from nowhere. And he has no brothers." Well, of course, he does come from somewhere and that somewhere informs and permeates the work as it did for Samuel Beckett and it did for Jack Yeats, but solitary is how an artist has to be. It's crucial to the work. And painful for the life!"

"She has always ridden the passions as if they were a magnificent horse."

"Certainly I admire Edna O'Brien's work greatly. It would be difficult for any Irish woman writer to ignore the impact of her work during the repressive Ireland of the 1960s."

"(Tell us about your favorite short story.) “Old Wounds,” by Edna O’Brien, haunts me as though I’ve lived it."

"Literature and spirituality are very close. It doesn't matter if there's erotica in the book, or if there is very vivid description, or if there's hatred in the book. I think God and the gods watch over the writer or poet who for the duration of the writing is kind of blessed, is in a spell - not in a happy spell and not in a sweet or calm one, but to stir up that part of the mind, to find knowledge and words and narrative that one did not know one had, is a mystery. And having been brought up very religiously, I ascribe that mystery to God. The Greeks ascribed it to 'the gods'. But whether it's singular or plural, it is an energy, a force outside oneself, that comes to cause this stuff."

"What has happened (it's funny, but it's also very serious) is that language is used now to cover up language is used as a deception, in every country, in every area, whereas great language and the imperative of great language is truth."

"Forests have always been used in stories down the centuries. The forest is life - there's beauty, there's danger, there's threats, and, at the same time, potential safety. So without wanting to sound too pompous, I suppose a forest is a metaphor."

"Edna O'Brien transforms the lives of Irish women into a liturgy of premonition, doom, and enigmatic redemption...For all O’Brien’s sacramental melancholy, she exudes a worldly passion for the moment. She seduces readers with her direct, piercing gaze and pleases with the rhythms of her storytelling diction. Most of these tales are set in a territory between human brutality and inexplicable salvation. O’Brien takes it all in—the small-mindedness, gossip, superstition, death of the spirit, and destruction of the body. Her characters dance on the edge of the grave, yet, perhaps because despair is for Catholics the only unpardonable sin, O’Brien often tosses them a mysterious line of absolution and hope."

"A work of art has a big space. If for a moment we think of something else - and I won't dodge the question of Picasso's 'Guernica', or Pieter Bruegel's 'Hunters' - they're huge canvasses in which everything is allowed. Everything is painted in, everything is depicted, so that the viewer enters the whole world of that story or that tragedy, or that war or that hunt. It is quite different — and must be — to reportage."

"What literature does, if it's any good, is to open the soul, the mind, the psyche and the body of a reader. I'm always looking for that - and in some cases getting into trouble for even attempting it."

"A lot of young writers send me books and they want to be published, 'to be famous, to be known'. That isn't the job. That comes later, if it comes at all. A writer has to love that vocation - and it is an extremely unbefriended and difficult vocation."

"I believe in Kafka's maxim that literature, whether it be poetry or prose, is disturbing. It's many other things as well- it can be exciting; it can be an ecstasy; it can be, to use a modern word, it can be a trip. But the inner core of human existence is about disturbance and writing comes from conflict."

"one of the things about writing is that each book is a beginning. Each book is another hurdle up the ladder or up the mountain of one's country and one's own sensibility."

"There's nothing like obstacle to make a writer"

"I suppose the themes we choose - because there are many stories I could have chosen to write about, but I chose this one - are as much about us, the writer, as about the story. You have to live a story. You have to take it in and stay with it and hopefully bring it back out"

"When we're young, we leave home and we think we're leaving behind us our roots. And we do leave them behind for a time. And then they catch up with us, and they twine themselves around us and that's a great thing."

"...her perspective is women centered but not feminist: her works usually depict the traps of femininity rather than liberation."

"County Clare inhabits my thoughts and my writing wherever I happen to be. Ireland is always speaking a story and I have to search for it. (Is it always familiar territory?) O'BRIEN: Yes and no. With each book I hope to dig deeper. That is all I ask."

"There comes with old age a time when the heart is no longer fusible or malleable, and must retain the form in which it has cooled down."

"He has attained supremacy in one particular line: he succeeds in inspiring a mysterious terror better than any other writer."

"How marvellously lie our anxieties, in filmy layers, one over the other! Take away that which has lain on the upper surface for so long – the care of cares – the only one, as it seemed to you, between your soul and the radiance of Heaven – and straight you find a new stratum there."

"There is no dealing with great sorrow as if it were under the control of our wills. It is a terrible phenomenon, whose laws we must study, and to whose conditions we must submit, if we would mitigate it."

"The world," he resumed after a short pause, "has no faith in any man's conversion; it never forgets what he was, it never believes him anything better, it is an inexorable and stupid judge."

"Speech and prose are not the same thing. They have different wave-lengths, for speech moves at the speed of light, where prose moves at the speed of the alphabet, and must be consecutive and grammatical and word-perfect. Prose cannot gesticulate. Speech can sometimes do nothing else."

"If I asked her master he'd give me a cask a day; But she, with the beer at hand, not a gill would arrange! May she marry a ghost and bear him a kitten, and may The High King of Glory permit her to get the mange."

"I would think Until I found Something I can never find; – Something Lying On the ground, In the bottom Of my mind."

"Because our lives are cowardly and sly, Because we do not dare to take or give, Because we scowl and pass each other by, We do not live; we do not dare to live."

"Curiosity will conquer fear even more than bravery will."

"Finality is death. Perfection is finality. Nothing is perfect. There are lumps in it."

"The duty of a lyrical poet is not to express or explain, it is to intensify life."

"The pleasure of being with you is in the clash of personality, the intellectual battle, the war of ideas. To survive you one must have a strong brain, an assertive ego, a dynamic character. In your luncheon-parties, in old days, the remains of the guests were taken away with the débris of the feast. I have often lunched with you in Park Lane and found myself the only survivor."

"Christ goes deeper than I do, but I have had a wider experience."

"Casanova! My dear man, Casanova is not worthy to untie my bootstrings!"

"My dear Duke, I know nothing of the joys of homo-sexuality. You must speak to my friend Oscar about that. And yet, if Shakespeare had asked me, I would have had to submit."

"Just as work is the curse of the drinking classes of this country," [Wilde] said laughing, "so education is the curse of the acting classes."

"Shaw's relations with women have always been gallant, coy even. The number he has surrendered to physically have been few – perhaps not half a dozen in all – the first man to have cut a path through the theatre and left it strewn with virgins."

"Happiness is not essential to the artist; happiness never creates anything but memories."

"I am, really, a great writer; my only difficulty is in finding great readers."