I think there's a great difference in consciousness in that same way in that when we're young we read books for the story, for the excitement of the story - and there comes a time when you realise that all stories are more or less the same story.

As a writer, I write to see. If I knew how it would end, I wouldn't write. It's a process of discovery.

When I start to write, words have become physical presence. It was to see if I could bring that private world to life that found its first expression through reading. I really dislike the romantic notion of the artist.

...with a rush of feeling he felt that this must be happiness. As soon as the thought came to him, he fought it back, blaming the whiskey. The very idea was as dangerous as presumptive speech: happiness could not be sought or worried into being, or even fully grasped; it should be allowed its own slow pace so that it passes unnoticed, if it ever comes at all.

My favorite optimist was an American who jumped off the Empire State Building, and as he passed the 42nd floor, the window washers heard him say, 'So Far, so good.'

When I was in my 20s it did occur to me that there was something perverted about an attitude that thought that killing somebody was a minor offence compared to kissing somebody.

The way I see it is that all the ol' guff about being Irish is a kind of nonsense. I mean, I couldn't be anything else no matter what I tried to be. I couldn't be Chinese or Japanese.