Top 1200 Irish Writers Quotes & Sayings - Page 3

I think one of the things the writers' festival does that is very good is that it brings writers from around the world and around the country and locally and puts them all in the one spot together, and that's what a lot of the world's great writers' festivals do.

When's the last time you walked by a pub in Dublin and heard Irish music? When's the last time you ordered a coffee and heard an Irish accent?

There was engrained poetry and then when you look back at our history and in the 20th century, the last century, probably the greatest writers of the 20th century were Irish. It became our only weapon, was our poetry, our music.

A lot of what you're seeing these characters go through is something that either is a story one of the actors told in the writers' room or one of the writers themselves told in the writers' room.

Many people who want to be writers don't really want to be writers. They want to have been writers. They wish they had a book in print.

I grew up reading the 'Village Voice' and wanting to be one of these multidisciplinary music writers, film writers, book writers. And I lucked out getting a job at the 'Voice' right after college.

My mother was a champion Irish dancer and singer and most of my family were musical, particularly in Irish dancing. Music is all about spewing out your emotions. A mixture of a good tune and a good beat and everyone playing their guts out and something that grabs people's attention.

When I was growing up, for example, everybody on our street was Irish. And all the girls did Irish step dancing. It was pre-Lord of the Dance - it was before anybody knew what gillys were - but we did, and there was such pride among the members of my family and people I grew up with.

Being the U.S. champion is a big deal for me. Knowing that my ancestors built this country, it's kind of like, the Irish were treated badly in this country for a long time, with a lot of tacky Irish stereotypes, so to me, it's kind of like a bragging right.

I don't think of gay writers. I mean if you were to say to me who are the straight writers, well, you wouldn't ask me that question. So for me to identify a little tribe of gay writers, I don't know.

For the social ecologist language is not "communication." It is not just "message." It is substance. It is the cement that holds humanity together. It creates community and communication. ...Social ecologists need not be "great" writers; but they have to be respectful writers, caring writers.

I rarely talk about work with writers, and I love getting together with writers. I think writers are great to get together with, because we can talk about everything. I think that's why I enjoy it. Writers tend to be pretty open-minded, and pretty profane and loose. They have fun minds.

For me, a story begins with music: I feel the rhythm, the cadence, the pulse of the characters and their voices and the setting. Because I had just finished writing a book called 'Black Potatoes: The Story of the Great Irish Famine,' I was already filled with the music of the lives and culture of the Irish people, so I thought, why not use it?

We Irish prefer embroideries to plain cloth. To us Irish, memory is a canvas--stretched, primed, and ready for painting on. We love the "story" part of the word "history," and we love it trimmed out with color and drama, ribbons and bows. Listen to our tunes, observe a Celtic scroll: we always decorate our essence.

I've grown up on a diet of metaphors. If young writers would find those writers who can give them metaphors by the bushel and the peck, then they'll become better writers - to learn how to capsualize things and present them in metaphorical form.

My mom was a single mother. She had six siblings in a big Irish family, all descended from shanty Irish folks who arrived after the Famine. They settled along the Cuyahoga River. It's the river that caught on fire. We're real good at picking real estate.

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.

You were born with the seeds of your talent, the ability to observe the world around you and weave piece of it into a story. I believe that most -- if not all -- people are born with these seeds. What separates the writers from the non-writers is that the writers actually sit down and, you know... write.

..few writers like other writers' works. The only time they like them is when they are dead or if they have been for a long time. Writers only like to sniff their own turds. I am one of those. I don't even like to talk to writers, look at them or worse, listen to them. And the worst is to drink with them, they slobber all over themselves, really look piteous, look like they are searching for the wing of the mother. I'd rather think about death than about other writers. Far more pleasant.

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.

As a citizen of Ireland I have more sovereignty over our government. Because citizens now have more ways of holding the Irish government to account, not just under Irish constitutional law, but under the European system, at Strasbourg and Brussels. This, I believe, is the benefit for individual citizens.

I knew I had that Cajun heritage, that Acadian heritage; I just feel it. And my gut says Irish on the other side. Irish and French, that's what I feel. When you're young, it doesn't matter so much, but as you get older, I would suspect part of the ageing process is to wonder about your ancestors - who were they? What were their lives like?

'A Naval History of Britain' which begins in the 7th century has to explain what it means by Britain. My meaning is simply the British Isles as a whole, but not any particular nation or state or our own day... 'Britain' is not a perfect word for this purpose, but 'Britain and Ireland' would be both cumbersome and misleading, implying an equality of treatment which is not possible. Ireland and the Irish figure often in this book, but Irish naval history, in the sense of the history of Irish fleets, is largely a history of what might have been rather than what actually happened.

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.

Living in a cultural milieu where the foreign writers most widely available and admired were Russian, I came very late to postwar American writers, and I had great trouble with the canonically exalted white male writers I tried first.

Law enforcement's biased view of the Irish lives on in the nickname we still use for the vehicles we use to transport groups of prisoners. It is, after all, the 'paddy wagon.' The Irish had tough times, but little compares to the experience on our soil of black Americans.

The purpose of the University of Washington cannot be to produce black lawyers for blacks, Polish lawyers for Poles, Jewish lawyers for Jews, Irish lawyers for Irish. It should be to produce good lawyers for Americans, and not to place First Amendment barriers against anyone.

One of the problems that comes up time and time again seems to be this notion of being 'pure' Irish. If you are Protestant, born in the Northern part of the island and deeply into the Protestant tradition, that somehow does not make you a legitimate Irish person. Yet there is a huge British influence in parts of the South.

Am I the Irish comedian with half a finger? No, I'm the Irish comedian with nine and a half fingers.

I'm one of the few Black writers, or African American writers, who managed to work my way through the system so that it has allowed me to speak in a kind of free way. But most African American writers don't have that. They don't have that opportunity, they don't have that.

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."

The Irish question is this: Do the Irish know the answer to everything? ... And the answer to that is that we know fifteen different answers to every question. All of them right.

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.

They're fancy talkers about themselves, writers. If I had to give young writers advice, I would say don't listen to writers talking about writing or themselves.

The Irish turned in on themselves and bid up their own land prices in the most extraordinary ways... The Irish people stepped in and guaranteed the banks, and committed to repay sums they can't afford to repay, and essentially committed themselves to generations of suffering.

Michael: Barzini will set me up through somebody close... that, supposedly, I won't suspect. Hagen: Somebody like me. Michael: You're Irish, they won't trust you. Hagen: I'm German-American. Michael: To them that's Irish.

Here in New York, we're media obsessed. Writers write about writers who write about writers and reporters and freelancers, and it's just a festival of information. We're all analyzing and examining and predicting, and I can't imagine that it's like that everywhere else.

I published my first book in 1982 - a collection of Irish folklore called Irish Folk & Fairy Tales. It is still in print today. My first young adult book was published a couple of years later, and I've been writing in both genres ever since.

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.

My mom's half-Irish, and my dad's half-Irish. We don't know much about my mom's side, but my dad's mom came from Belfast and married my grandfather, who was from Wales.

I know a lot of crime writers feel very underrated, like they're not taken seriously, and they want to be just thought of as writers rather than ghettoised as crime writers, but I love being thought of firmly as a crime writer.

Typically, there's this perspective among writers - and black writers: there's this idea that there is one person - and maybe beyond writers - among blacks, there is always one person who everyone should go to learn about all things black.

You don’t get black power by chanting it. You get it by doing what the other groups have done. The Irish kept quiet. They didn’t shout “Irish Power”, “Jew Power”, [or] “Italian Power”. They kept their mouths shut and took over the police department of New York City, and the mayorship of Boston.

The difference of the English and Irish character is nowhere more plainly discerned than in their respective kitchens. With the former, this apartment is probably the cleanest, and certainly the most orderly, in the house.... An Irish kitchenis usually a temple dedicated to the goddess of disorder; and, too often, joined with her, is the potent deity of dirt.

I know of three ways to recognize another writer: Writers are shamelessly nosy. Writers tell good stories, even about dumb old, daily things. On most writers, the earmarks of thrift, if not outright povery, are evident.

I hold that the beginning of modern Irish drama was in the winter of 1898, at a school feast at Coole, when Douglas Hyde and Miss Norma Borthwick acted in Irish in a Punch and Judy show; and the delighted children went back to tell their parents what grand curses 'An Craoibhin' had put on the baby and the policeman.

When I started writing, most of the police department in New York City, especially above the rank of detective, were Irish, Irish-American. I thought it would be more interesting... to use the actual ethnic background in New York City at the time.

Because it was my first time acting in English, everyone on set was difficult to understand. It was a mix of Scottish, Irish, British and American English. To understand a Scottish accent or an Irish accent was so hard.

Once in my childhood I had been eager to learn Irish; I thought to get leave to take lessons from an old Scripture-reader who spent a part of his time in the parish of Killinane, teaching such scholars as he could find to read their own language in the hope that they might turn to the only book then being printed in Irish, the Bible.

I think all writers are mainly writing for themselves because I believe that most writers are writing based on a need to write. But at the same time, I feel that writers are, of course, writing for their readers, too.

I'm a big believer in comedy writers. I've always defended the honor of all comedy writers. It's extremely difficult, but I've always felt that comedy writers far more easily can move toward drama than vice versa.

I was influenced by big, strong voices - writers like Elizabeth Bowen, Virginia Woolf, Jane Bowles; gay writers like Ed White, Michael Cunningham, Allen Hollinghurst; and contemporary lesbian writers, like Dorothy Allison.

Real writers-that is, capital W Writers-rarely make much money. Their biggest reward is the occasional reader's response.... Commentators-in-print voicing big fat opinions-you might call us small w writers-get considerably more feedback than Writers. The letters I personally find most flattering are not the very rare ones that speak well of my editorials, but the occasional reader who wants to know who writes them. I always happily assume the letter-writers is implying that the editorials are so good that I couldn't have written them myself.

I am suspicious of writers who go looking for issues to address. Writers are neither preachers nor journalists. Journalists know much more than most writers about what's going on in the world. And if you want to change things, you do journalism.

The muscles that writers need for film are very different from TV muscles. Now, when I hire the writers and put the writers' room together, I know where their muscles need to be.

I think people saw him as someone who did good things for Ireland. If you looked at all the Irish actors in 'Excalibur' alone - Gabriel Byrne, Liam Neeson - there was a whole gaggle of Irish actors who've gone on to become stars, so Dad was really part of that.

I've had support from all sides, from people who call themselves Irish, from Northern Irish, to the whole of the UK, to people in America, and it would be terrible for me to segregate myself from one of those groups that support me so much.

'The Irish Duke' is a sequel to 'The Decadent Duke' about Lady Georgina Gordon who married the Duke of Bedford. 'The Irish Duke' tells the story of their daughter, Lady Louisa, who married James Hamilton, the powerful and wealthy Duke of Abercorn.

The Irish say your trouble is their trouble and your joy their joy? I wish I could believe it; I am troubled, I'm dissatisfied, I'm Irish.

I said that when I looked at photographs of the firefighters who went into the Twin Towers, their faces looked to me like Irish faces. I hadn't yet learnt how careful outsiders have to be when talking about race in America, and I'd put my foot in it. Someone stood up and said aggressively, 'What do you mean by Irish faces?'