Quotes from Kevin Barry

One of the things I've been most excited by is U.S. television drama. For my money, it's some of the greatest narrative art of our time. Each series is like a 19th-century Russian novel: you need to do a lot of work in the first few episodes, just as you do in the first 50-60 pages of those books.

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.

I've had lots of people saying very nice things about the work. But I genuinely feel in the course of a writing career you're going to have people say very nice things and some not-so-nice things, and if at all possible you should try to ignore both.

When you wake up, instead of checking emails on your phone, or counting your retweets, pick up a pen and scratch a few sentences into a notebook.

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.

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 wanted to write about Jews in Montana, so I went there by plane and bus, only to discover that there are no Jews in Montana. It didn't deter me.

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.

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.

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.

Don DeLillo's 'White Noise,' which I read when I was 19. It showed me that a book can be funny as hell and deadly serious.

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.'

Very first thing in the morning, I spew some rough genius directly on to the laptop. Then I have coffee and rewrite for three hours.

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.

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.'

It is nothing, to give one's life for Ireland. I'm not the first and maybe I won't be the last. What's my life compared with the cause?

I like to be happy when I'm writing. If not, then how will the reader manage?

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.

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.

I greatly enjoyed working as a freelance journalist, because it gets you out of the house, and it gets you talking to people, but it wasn't satisfying all of my cravings, and I knew that I needed to work with the other side of my brain - the darker, murkier side!

Tricky the paths a long love might follow, like the spiral down twists of a raindrop on a windowpane.

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.

I have been as influenced by music and films as by books.

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.