A Quote by Maggie O'Farrell

Despite being from Ireland, I've always avoided writing about it, for two reasons. For a very small country, Ireland has produced an astonishing number of literary geniuses, and at some level I probably never felt, having left as a toddler, that I had the right to try and add my voice. That's part of it. But I also didn't want to write something that was the equivalent of the Irish theme pub. You find them all over the world. The idea of producing a novel that might replicate that type of ersatz really set my teeth on edge.
Irish writing is so strong that it can feel like the country has all been covered, but in fact, there are so many gaps. The small west of Ireland cities and the working classes there have almost never appeared in Irish literature, simply because those communities were never in the way of producing books.
The English playwrights of the '50s and '60s didn't really keep writing or getting produced, while the Irish did. There's encouragement for the younger ones also in the fact that Ireland is exceptional in its ability to make theater part of the national dialogue, and it reaches to all four corners of the country.
I've never put Northern Ireland into a novel because it's not my territory. I come from the South, so my imaginative territory is very much the Republic of Ireland rather than the North. Even though, if I wrote a novel about the North, it might sell more.
I lived in the Republic of Ireland. I wrote a book about the North but as an outsider. The hatreds there were not mine. I never felt them. I liked how open in most ways Catalan nationalism was, compared to Irish nationalism. I disliked the violence and cruelty in Ireland.
But I'm not a small-literary-novel kind of guy, and once I'd developed the world in the first couple of hundred pages, I felt that there was potential here to go on and write an engaging story set in that world. So that's what I did. This probably ruins things both for the people who want small literary novels and for those who want action-packed epics, but anyway, it's what I wrote.
I am a proud product of Irish golf and the Golfing Union of Ireland and am hugely honoured to have come from very rich Irish sporting roots I am also a proud Ulsterman who grew up in Northern Ireland. That is my background and always will be.
I am a proud product of Irish golf and the Golfing Union of Ireland and am hugely honoured to have come from very rich Irish sporting roots... I am also a proud Ulsterman who grew up in Northern Ireland. That is my background and always will be.
I've always been fascinated with Ireland, especially Northern Ireland, having lived in London in the '80s when there was an Irish republican bombing campaign there.
I realized I was growing up or something like that. You have responsibilities...you've got to think about getting your act together. I didn't even know what it had been doing to me. I didn't realize how dangerous it was. People talked in terms of drugs and I used to think in terms of...well in Ireland, everybody drinks. Nobody gives it a second thought. You're Irish number one and you're a drinker number two. That's the first two things about us Irish.
I always gravitate towards anything from Ireland. With Irish lit, I love the use of language, but also in many instances, the Irish writers are writing about people and circumstances that I can relate to.
It is in that English Parliament the chains for Ireland are forged, and any Irish patriot who goes into that forge to free Ireland will soon find himself welded into the agency of his country's subjection to England.
I don't buy into the idea that an Irish writer should write about Ireland, or a gay writer should write about being gay. But when I found the right story, I saw it as an opportunity to write about being a teenager and being gay. Most people, whether you're gay or straight or whatever, have experienced that relationship where one person is much more interested than the other.
I'm very keenly aware that there aren't very many women writing literary fiction in Ireland and so that gives me a sense that what I say matters, in some small way.
For years, Ireland used to have a philosophy of 'Get them in here to invest and develop in Ireland, and this will sort out our problems.' It is good in the sense of building a trade surplus, but we also want to develop what it is that we offer ourselves and that Irish companies export abroad.
I was filming a movie in London, and I drove through Ireland. It was quite beautiful, and the countryside was really remarkable. The contrast between the countryside and Ireland, and the murals there, with Northern Ireland still being a part of the United Kingdom, there's just a stark contrast in those two things. And I found that the art that came out of the conflict was really spectacular because it was about remembering either events or points of view for local neighborhoods, or the rallying cries of one side against the other.
Membership in the European Community, now the European Union, has enabled Ireland to re-find its sense of participation - cultural, political, social - at the European level. I think that also opens up possibilities for Ireland as a European country to look outward - to look particularly, for example, at countries to which a lot of Irish people emigrated, to our links - our human links - with the United States, with Canada, with Australia, with New Zealand. And to look also, because of our history, at our links to the developing countries.
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