Quotes by "Kevin Barry"

I remember, as a child, a particular groan that my father would sound when he crawled from the bed in the morning. I hear the same groan now, precisely, every morning, when I emerge from my own lair. It's more than an expression of physical weariness - it's an aching of the soul. Even the groans get passed down.

There's no mistaking the fact that some of the best longform fiction out there now is in American television. 'The Wire' and 'Deadwood' and 'The Sopranos.'

I was a cub reporter on a local newspaper in Limerick city, and I used to cover the district court meetings. All of life passed through the Limerick courthouse. Misery, malevolence, the dark side of humanity... I tell ya, it made 'Angela's Ashes' look like 'The Wonderful World of Disney.'

I go to Spain a lot, in winter, for a blast of sunlight to banish the blues brought on by the Irish greys and drizzle. I love the cities of the Spanish interior.

I think the language as spoken in Limerick and Cork has not really been written; 'City of Bohane' is a combination of the two. Bohane is a little kingdom. When I began writing it, I realised that it was in the future and that it was a place that didn't care about anything that happened outside it.

I was freelancing for years in Cork and around. I also wrote freelance pieces for 'The Irish Times.'

In the early nineties, I was a cub reporter on a city newspaper in Limerick, and assigned to the courthouse there. One day, an old detective sergeant came and whispered to me in the press pit. He pointed out a young offender, a teenager who was up for stealing a car or something relatively minor, and said, 'See this kid? He'll kill.'

In my very early days as a journalist, as a cub reporter on a local newspaper, I used to cover the district courthouse in Limerick city - all human life passed through that establishment, and my time there remains a source of inspiration.

I don't quite operate within the realist mode. I kind of push the stories out towards the cusp of believability - that's the area of interest for me.

Get up, groan, write a bit, moan, eat breakfast, write some more, cycle my bike through the Sligo hills, make up country songs as I pedal along, sing them, have lunch, have a nap, groan, moan, write a small bit more, cook dinner, feed wifey, open a bottle, or several, slump, sleep.

It was quite risky to open the book with one of my quieter stories; I'm kind of trying, I think, to lure readers into a false sense of security and then assault them with a couple really loud, really strange stories.

The fundamental human truth underpinning 'Ox Mountain Death Song' is that men so very often turn into their fathers. The way that everything gets passed down.

At one point I would read nothing that was not by the great American Jews - Saul Bellow, Philip Roth - which had a disastrous effect of making me think I needed to write the next great Jewish American novel. As a ginger-haired child in the West of Ireland, that didn't work out very well, as you can imagine.

Frazzled and delirious, as I've just finished a new book of stories. I feel like Moses staggering down the mountainside with the tablets of stone.

The short story is a very natural mode of storytelling; most stories can be told quickly. I always think of them as like a tightrope walk - every sentence is a step along the rope, and you can so easily misplace your step and break your neck.

What greatly annoys me is sometimes you see the short story being described as a training ground for the novel. Kind of like an apprenticeship. And in lots of ways, it's a far harder form.

I was writing fiction in my 20s but in a pretty undisciplined way - late at night, maybe, after I'd peeled myself from the walls of a nightclub and crawled home along the gutters. But I slowly became more serious and more devout in my work, and I fell seriously in love with the short story form.

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.