I think it's linked to the realisation that we're not going to live forever and that the way of saying and the language become more important than the story.

I've never written anything that hasn't been in my mind for a long time - seven or eight years.

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.

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.

I think technique can be taught but I think the only way to learn to write is to read, and I see writing and reading as completely related. One almost couldn't exist without the other.

But that private world, once it's dramatised, doesn't live again until it finds a reader.

My father was very outwardly religious.

Amongst Women concentrated on the family, and the new book concentrates on a small community. The dominant units in Irish society are the family and the locality. The idea was that the whole world would grow out from that small space.

When you're in danger of losing a thing it becomes precious and when it's around us, it's in tedious abundance and we take it for granted as if we're going to live forever, which we're not.

Everything that we inherit, the rain, the skies, the speech, and anybody who works in the English language in Ireland knows that there's the dead ghost of Gaelic in the language we use and listen to and that those things will reflect our Irish identity.

We absolutely believed in Heaven and Hell, Purgatory, and even Limbo. I mean, they were actually closer to us than Australia or Canada, that they were real places.

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.

I love the description of Gothic churches before the printed word, that they were the bibles of the poor.

The rosary was said every evening. I always liked that sentence about the medieval Churches, that they were the Bibles of the poor. The Church was my first book and I would think it is still my most important book.

I feel I grew up in a different century than I live in. I think most of them are changes for the good.

I think it's linked to the realisation that we're not going to live forever and that the way of saying and the language become more important than the story.

I think that each of us inhabits a private world that others cannot see. The only difference between the writer and the reader is that the writer is able to dramatise that private world.

Ireland is a peculiar society in the sense that it was a nineteenth century society up to about 1970 and then it almost bypassed the twentieth century.

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.

For example, it's only about 20 years ago the people in that community would have got telephone lines, and it would be only about in the 1950s that electricity came to that part of the world. Television wouldn't have come till 1970.

Yes, but also one of the problems for a novelist in Ireland is the fact that there are no formal manners. I mean some people have beautiful manners but there's no kind of agreed form of manners.

I think fiction is a very serious thing, that while it is fiction, it is also a revelation of truth, or facts.

Yes, though I have nothing but gratitude for my upbringing in the church.

I belong to the middle class that grew up very influenced by the Catholic church. The people of the novel are from a more pagan and practical world in which the Christianity is just a veneer.

I read all the time. I was reading a book I admire very much by Alice McDermot called Charming Billy.

I used to take five or six books away and bring five or six books back. Nobody gave me direction or advice and I read much in the way that a boy might watch television.

Ireland is a peculiar society in the sense that it was a nineteenth century society up to about 1970 and then it almost bypassed the twentieth century.

Still, language is resilient, and poetry when it is pressured simply goes underground.

I have my own language and it's high time I put a little of it out there.

Well, with the French language, which I understood and spoke, however imperfectly, and read in great quantities, at certain times, the matter I suppose was slightly different from either Latin or Greek.

I belong to a specific category of writers, those who speak and write in a language different from that of their parents.

Poetry is a matter of life, not just a matter of language.

Our purpose is simply to ask how theological principles can be shown to have usable secular analogues that throw light upon the nature of language.

Countries under foreign command quickly forget their history, their past, their tradition, their national symbols, their way of living, often their own literary language.

French is a language that makes those who speak it both calm and dynamic.

I have eighteen titles in the German language. I had a number one song in 1965.

That's so different in Hong Kong when I'm using my own mother language, I can treat the line in one thousand different ways, with many different reactions.

The Internet is not just one thing, it's a collection of things - of numerous communications networks that all speak the same digital language.

Of all of our inventions for mass communication, pictures still speak the most universally understood language.

If I were assigned poems I suppose I'd write more of them but it is entirely voluntary and for the most part ignored in the market sense of the word so the language to me is most intimate, most important, most sublime and most satisfying when it gets done.

Music is the soul of language.

I think the cinema you like has more to do with silence, and the theater you like has more to do with language.

For me concrete poetry was a particular way of using language which came out of a particular feeling, and I don't have control over whether this feeling is in me or not.

I think I am too interested in my own ideas to copy anyone else's, but I find that other people's imagery, the flow of language in the outside world, games with words, and ideas about relationships are all most important to me.

I don't see it in terms of changing things, but rather using language and music as weapons for fighting a mainstream media which is predominately right wing, and loyal to the political framework and its corporate interests.

There are infinite shadings of light and shadows and colors... it's an extraordinarily subtle language. Figuring out how to speak that language is a lifetime job.

Although spoken English doesn't obey the rules of written language, a person who doesn't know the rules thoroughly is at a great disadvantage.

I'm really fascinated and you know I've been wondering about that usage of language, various breathing techniques and why in these practices language is being used in another way.

Two races share today the soil of Canada. These people had not always been friends. But I hasten to say it. There is no longer any family here but the human family. It matters not the language people speak, or the altars at which they kneel.