A Quote by Jane Jacobs

Maybe part of my animus against the English is the way they have always treated the Irish and they way they still think about the Irish. — © Jane Jacobs
Maybe part of my animus against the English is the way they have always treated the Irish and they way they still think about the Irish.
The English and Americans dislike only some Irish--the same Irish that the Irish themselves detest, Irish writers--the ones that think.
My mom's family was 100 percent Irish, in the American way of being Irish, and then my dad was half Irish.
Irish folk is probably the biggest influence musically that I've ever had. My mother's Irish. And when I was very young, both my brothers were very into traditional music, English and Irish. They were always playing music, so I was always brought up with it.
James Joyce's English was based on the rhythm of the Irish language. He wrote things that shocked English language speakers but he was thinking in Gaelic. I've sung songs that if they were in English, would have been banned too. The psyche of the Irish language is completely different to the English-speaking world.
I'm just following the Irish tradition of songwriting, the Irish way of life, the human way of life. Cram as much pleasure into life, and rail against the pain you have to suffer as a result. Or scream and rant with the pain, and wait for it to be taken away with beautiful pleasure . . .
All my family look Irish. They act Irish. My sister even has red hair... it's crazy. I'm the one that doesn't seem Irish. None of the kids in my family, my siblings, speak with an Irish accent... we've never lived there full-time; we weren't born there. We just go there once or twice a year. It's weird. Our parents sound Irish, but we don't.
Inherently in us as Irish people, wherever you are in the world, when you hear an Irish accent, it's like a moth to a flame. There's a real personable pride and camaraderie about being Irish.
I'm Irish and very proud of being Irish, but as an actor, your extraction should be secondary, really. You should be able to embody whatever character it is, wherever the character comes from. That's always been important, for me. I'm an actor who's Irish, not an Irish actor.
The Irish were treated horribly, even here in Boston. For example, in the late nineteenth century they were treated pretty much like African Americans. You could find signs here in Boston in the restaurants saying "No dogs and Irish."
No one would ever cast me as an aristocrat. I think the big thing about being an Irish artist is access to melancholy. Especially the American Irish. The availability of loss, some kind of pain, is an important part of who we are. I think my Irishness gave me that.
In becoming an Irishman, Patrick wedded his world to theirs, his faith to their life…Patrick found a way of swimming down to the depths of the Irish psyche and warming and transforming Irish imagination – making it more humane and more noble while keeping it Irish.
My parents are Irish, my grandparents are Irish, my great-grandparents are Irish. I was born in England; my blood is Irish.
I grew up in a brick house. What's wrong with bricks? An Englishman took me aside and said, "You have to understand, all the bricklayers in England are Irish, and the English hate the Irish."
Irish is harder to pull off. I know southern people and I really like the midwest, so I can tap into that a little bit. It's easier to sound angry with southern than it is Irish. Yelling Irish you can sound like an angry Leprechaun. I think me screaming like I am going to kill you in Irish doesn't work.
I think women are in much the same place in the Irish theater as they are everywhere else. Certainly, we have wonderful Irish writers, and we have quite a number of Irish women directors. But there could be more, and there should be more.
It is not blood that makes you Irish but a willingness to be part of the Irish Nation.
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