Niall Williams Quotes

Fortunately, at that time, Ireland wasn't in the world. So we weren't in the World War. Old Roundrims came up with that. Brilliant, really. World War II was toirmiscthe, he said, which people had to look up but basically turned out to be verboten in Irish. Twitter went crazy, saying it was shameful and backward, but back then twitter was only spoken by birds.

The skies we slept under were too uncertain for forecasts. They came and went on the moody gusts of the Atlantic, bringing half a dozen weathers in an afternoon and playing all four movements of a wind symphony, allegro, andante, scherzo and adagio on the broken backs of white waves.

You can't be beautiful and a writer, because to be a writer you have to be the one doing the looking; if you're beautiful people will be looking at you.

The nobleman fell to his knees. 'Sir, come down to my son ere he die.'
His old face. His love for his son.
None of us spoke, the old man kneeling so.
I watched your eyes. The pity that pooled, this love of the father.
'Go thy way; thy son lives,' you said.
And he raised his face to you, and we could see that he believed.

Was already different because I was a twin. Funny how you can say that: I am a twin. Not I am one of twins, but I actually am A Twin. Like there's two of me all the time, this other one right here beside me whether you can see him or not. Or as if you're saying, I'm a Half.

It is what writers do, imagine and feel the pain of others, sometimes at the expense of feeling their own. Here, then, in these pages is mine, the fear of death, of loss, of unexpressed love. Here is the truth told in a story. And in the telling of it perhaps I have found some way to have courage, to believe.

There were families everywhere, loose loud chains of them wandering down the streets, in and out of shops, young children with rings of ice-cream round their mouths and saddles of freckles across their noses.

Mam drove the same way she walked, freestyle, also known as bumpily. She didn't really go in for right- and left-hand lanes, which was fine this side of Faha where the road is cart-wide and Mohawked with a raised rib of grass and when two cars meet there is no hope of passing, someone has to throw back a left arm and reverse to the nearest gap or gate, which Faha folks do brilliantly, flooring the accelerator and racing in soft zigzag to where they have just been, defeating time and space both and making a nonsense of past and present, here and there. As any student of Irish history ancient and recent will know, we are a nation of magnificent reversers.

In love everything changes, and continues changing all the time. There is no stillness, no stopped clock of the heart in which the moment of happiness holds forever, but only the constant whirring forward motion of desire and need, rising and falling, falling and rising, full of doubts then certainties that moment by moment change and become doubts again.

At that stage it was generally presumed that I was not someone who was going to Put Faha on the Map and so once the races started I was to share with Dympna Looney the important job of Holding the Ribbon at the finish line, which I didn't think very important but my father said was Homeric, and though I didn't know what that meant it made me feel a little flush of importance. 'Breasting the ribbon, Ruthie,' he said, 'you're the line between one world and another.' He could say things like that. He could say things no other dad could say, and because parents are mysterious anyhow, because they belong in another world, you don't ask, you just nod and feel you've entered a little bit into the mystery yourself.

Dad was always awkward in scenes like this. He was a Swain and Swains are not for joining in. They're not part of the General Population somehow. There's

Some things, most things in my experience, are more vivid when you haven't seen them,

We tell stories. We tell stories to pass the time, to leave the world for a while, or go more deeply into it. We tell stories to heal the pain of living.

I've read dozens of interviews and accounts that basically come down to How Poets Do It and the truth is they're all do-lally and they're all different. There's Gerard Manly Hopkins in his black Jesuit clothes lying face down on the ground to look at an individual bluebell, Robert Frost who never used a desk, was once caught short by a poem coming and wrote it on the sole of his shoe, T.S. Eliot in his I'm-not-a-Poet suit with his solid sensible available-for-poetry three hours a day, Ted Hughes folded into his tiny cubicle at the top of the stairs where there is no window, no sight or smell of earth or animal but the rain clatter on the roof bows him to the page, Pablo Neruda who grandly declared poetry should only ever be handwritten, and then added his own little bit of bonkers by saying: in green ink. Poets are their own nation. Most of them know.

The basis of the Impossible Standard is that no matter how hard you try you can't ever be good enough. The Standard raises as you do.
Ruth Swain in History of the Rain

Grandmother's English heritage meant that she had that Empire voice, that come-out-of-your-grass-huts-and-give-us-your-treasures-for-our-museums kind of voice. The woman could boom. It was seriously terrifying. Even years later when my father imitated her and she seemed part Margaret Thatcher and part horse Aeney and I were still frightened.

There's a book inside you. There's a library inside me.

Writing is a sickness only cured by writing.

..Window panes that rattled under the lash of the wind for two months on end, rain that leaked beneath the doors, her husband out and drinking, electricity cut off and the radio shut down, the boredom, the quiet and incredible loneliness - Margaret Looney would remember when she first discovered love and wonder at how immense it must have been to be lasting so long.

By the end of that summer in Ashcroft my father had nearly run out of stories. He'd almost read his father's full library and arrived at last at Moby Dick. The edition I have is a Penguin paperback (Book 2,333, Herman Melville, Penguin, London). It's been well-thumbed, at least triple-read, there's that smell the fat orange-spine Penguins get when their pages have yellowed and the book bulges, basically the smell of complex humanity, sort of sweat and salt and endeavour. Like all the fat orange Penguins, it gets fatter with reading, which it should, because in a way the more you read it the bigger your own experience of the world gets, the fatter your soul. Try it, you'll see.

Women carry on. They endure the way old ships do, breasting into outrageous waters, ache and creak, hull holed and decks awash, yet find anchorage in the ordinary, in tables to be wiped down, pots to scrub, and endless ashes to be put out.

She flashed upon his life with an electric energy, shattering every day's effort at work and leaving a kind of glimmering burning feeling all day and night around the edges of his heart.

A central principle underlying Mrs Quinty's Rules for Writing is that you have to have a Beginning Middle and End. If you don't have these your Reader is lost. But what if Lost is exactly where the writer is? I asked her. Ruth, the writer can't be lost, she said, and then knew she'd said it too quickly and bit her lip knowing I was going to say something about Dad. She pressed her knees together and diverted into a fit of dry coughing. This, Dear Reader, is a river narrative. My chosen style is The Meander. I know that in The Brothers Karamazov (Book 1,777, Penguin Classics, London) Ippolit Kirillovich chose the historical form of narration because Dostoevsky says it checked his own exuberant rhetoric. Beginnings middles and ends force you into that place where you have to Stick to the Story as Maeve Mulvey said the night the Junior Certs were supposed to be going to the cinema in Ennis but were buying cans in Dunnes and drinking

Chapter 12 Your blood is a river. Chapter

When you're different you've got two choices. You can stand out or you step back.

Love ... was part imagination, its web spun as much in the dark lonely separated evenings of longing as in the shared times together.

He walked out with the inner lightness of an author who has delivered. He wore a green tweed with flap pockets, cast into the river at Rosnaree, began his heart attack, and entered the Afterlife just after his fly was taken.

I think maybe I had a first sense then of the power of story, and realised that time had done what Time sometimes does to hardship, turn it into fairy tale.

A truly extraordinary work: vivid, passionate and utterly compelling. The Sound of One Hand Clapping is raw as a wound. It opens a world that is strange, brutal and poetic at once and ultimately achieves the kind of spirit-healing few novels do

When my father first took me to Ennis Library I went down among the shelves and felt company, not only the company of writers, but the readers too, because they had lifted and opened and read these books. The books were worn in a way they can only get worn by hands and eyes and minds

My father is in a new version of Heaven. He hasn't time to consider it yet, whether he is happy because he is hastening along the road with his father as day breaks, or just because he was asked to come and that now this is actually happening, or because he has been asked for a speech from Shakespeare and the phrases are coming like a long golden thread out of his mouth even before he has time to think of them. The words are there, and flow, as he works hard to, and now matches the long pole-vault strides of his father.

When he was small he held the label inside his pillowcase when he slept. Only I know that. I was not a sleeper. His hand in sleep searched to find it. He would take the label between thumb and forefinger and just move it slightly against itself, over and back, as if the smallest friction was sufficient, as if with that he knew he was still in the world.

It's been well-thumbed, at least triple-read, there's that smell the fat orange-spine Penguins get when their pages have yellowed and the book bulges, basically the smell of complex humanity, sort of sweat and salt and endeavour. Like all the fat orange Penguins, it gets fatter with reading, which it should, because in a way the more you read it the bigger your own experience of the world gets, the fatter your soul.

We are our stories. We tell them to stay alive or keep alive those who only live now in the telling.

And in just this way the days after my father's death became weeks became months in the familiar ceaseless cruelty of time, carrying us ever forward even when we sit still. Time does not pass, pain grows. (p.223)

Now, as far as I was concerned, there are two ways of living, and because we're on a ball in space these were more or less exactly poles apart. The first, accept the world as it is. The world is concrete and considerable, with beauties and flaws both, and both immense, profound and perplexing, and if you can take it as it is and for what it is you'll all but guarantee an easier path, because it's a given that acceptance is one of the keys to any kind of contentment. The second, that acceptance is surrender, that there's a place for it, but that place is somewhere just before your last breath where you say "All right then, I have tried" and accept that you have lived and loved as best you could, have pushed against every wall, stood up after every disappointment, and until that last moment, you shouldn't accept anything, you should make things better.

The History of Ireland in two words: Ah well.

The Invasion by the Vikings: Ah well.

The Invasion by the Normans. The Flight of the Earls, Mr Oliver Cromwell. Daniel O'Connell, Robert Emmett, The Famine, Charles Stewart Parnell, Easter Rising, Michael Collins, Éamon De Valera, Éamon De Valera again (Dear Germany, so sorry to learn of the death of your Mr Hitler), Éamon De Valera again, the Troubles, the Tribunals, the Fianna Fáil Party, The Church, the Banks, the eight hundred years of rain: Ah well.

In the Aeneid Virgil tells it as Sunt lacrimae rerum, which in Robert Fitzgerald's translation means 'They weep for how the world goes', which is more eloquent than Ah well but means the same thing.

To begin you must be traced into the landscape, your people and your place found. Until they are you are in the wrong story.

I've had stupid teachers, lazy teachers, boring teachers, teachers who were teachers because their parents were and they hadn't the imagination to think of anything else, teachers who were teachers because of cowardice, because of fear, because of the holidays, because of the pensions, because they were never called to account, never had to actually be any good, ones who could not survive in any other profession, who were not aware they had trod on butterflies. But none of those compared to Mr Maurice Crossan. He was the one who first stamped on my brother's soul. He was dark, as they say here. For those who want more of him visit the dark character of Orlick Dolge in Great Expectations and cross that with a ginger-headed weasel.

People are odd creations, this is my theme.

My father revisited Moby a lot. Maybe it's because there's no other novel in the whole world that better captures the Impossible Standard.

The world is more outlandish than some people's imaginations.

It was as if we were at the heart of a maze. We were overwhelmed by the enormity of the tasks ahead. Mary had given us a bottle of milk and a spoonful of loose tea, and so, unable to decide what to do, we did what all Irish men and women do: we had tea. Suddenly the sun appeared and not for the first or last time we felt it uplifting us and changing everything. It seemed like a holiday.

when summer was still a word plump and generous and there was actual sunshine and time was impossibly deliciously luxuriously long and the idea of summer stretched out ahead so that now as you entered it you could not imagine it ever ending.

The water is this marvellous blue. It's so blue that once you see it you realise you've never seen blue before. That other thing you were calling blue is some other colour, it's not blue. This, this is blue. It's a blue that comes down from the sky into the water so that when you look in the sea you think sky and when you look at the sky you think sea.

Irish people will read anything as long as it's about them. That's what I think. We are our own greatest subject and though we've gone and looked elsewhere about the world we have found that there are just no people, no subject as fascinating as We Ourselves.

Briefly everything was stopped, as if a hand had reached out and paused the world in its turning.
She stood by the cooker now watching him, the pale blueberries of her eyes, watching him with pride, her two hands brought up to her mouth the way she always did when she had feelings two large for words.

was open the windows. It could be

The first time I opened one I felt indecent. I love the feel of a book. I love the touch and smell and sound of the pages. I love the handling. A book is a sensual thing. You sit curled in a chair with it or like me you take it to bed and it's, well, enveloping. Weird I am. I know. What the Hell? as Bobby Bowe says to everything. You either get it or you don't. When my father first took me to Ennis Library I went down among the shelves and felt company, not only the company of the writers, but the readers too, because they had lifted and opened and read these books. The books were worn in a way they can only get worn by hands and eyes and minds; these were the literal original Facebooks, the books where faces had been, and I just loved it, the whole strange sense of being aboard a readership.

The truth is boys can fall deeper in love than girls, they're a lot bigger and heavier and they can fall much further and harder and when they hit the ground of reality there's just this terrible splosh that some other woman is going to have to come long and try to put back into the bottle.

Neither did she realise yet that grief is a kind of glue, too, that the essence of humanity is this empathy, and that we fall together in that moment of tenderest perception when we see and feel each other's wounds and know another's sorrow like a brother of our own.

She doesn't know poets can have ash in the soul, or that after so much burning there comes a time when there's nothing left but blowing away or phoenix-rising.

Between the emotion and the response falls the shadow, T.S. Eliot said,

But he didn't answer. He just cried on, this hopeless hard retching as if the tears were shards and each one cut as it came out. He was sitting on the floor up against the door so I couldn't get in and Mam was gone to take Nan to Murphy's so I just sank down on the floor on the other side of the door and because of the force of his crying the door and the whole partition wall kind of gave a little, these jagged ebbs and flows, as if the whole upstairs was in a storm, and my brother was in another boat sailing away, and no matter how much I wanted to, no matter what I did or said I would never be able to get to him.

He spoke on rising toes, on rolling ankles, he spoke with forward tilt, with lifted shoulders, with forefinger pointing and fist punching. He did verbal pirouettes, he did elongated sentences, he let clauses gather at the river and foam until they found spittle release. He spoke hushed, he spoke his big points in whispers, then drove them in with urgent balletic waves of arm and extended eyebrow as he said the same thing again only louder. He was not then a guns and bombs nationalist. He was the more dangerous kind. He was a poems and stories one.

Chapter 19 Where are you, Aeney? You slip away from me as you always did. Where are you?

Is that true, Ruth?' Mrs Quinty asked, eyes enormous and brows lifted, missing altogether the point of stories.