Frequently Asked Questions
A compilation of questions I often receive during public presentations.
Q. When did you move from Ireland to the U.S?
A. I was teaching primary school in the Irish midlands when I left and moved to upstate New York at the very end of 1986. Thousands of young Irish were coming to the U.S. during the 1980s; Boston alone saw over 30,000. From 1981 to 1990, an estimated 200,000 people left Ireland. Many of us did leave for a better job--or any job at all. But others left for what the British author and journalist John Walsh called, "existential reasons." I was half way between those two reasons, as I write in my work in progress, a non-fiction narrative, "What Brought You Here."
Q. Why the recent genre switch from fiction to non-fiction?
A. I've always switched back and forth between both genres. But lately, I am on a bit of a non-fiction kick. Ever since my days in college when I discovered the essays of British writers Addison and Steele, I have loved the essay form. I respect the essay's rigors, and the demands that it places on our intellect as much as our hearts. Then, after I moved to America, I met my friend Thoreau and I continue to enjoy some fine essays in American literary journals such as Creative Nonfiction and Under the Sun. I'm also pleased to see a fine crop of publications that publish essays on the intersection between medicine, healthcare and creative writing.
Q. Where do you live and write now?
A. On Boston’s North Shore, though I am lucky enough to travel back to Ireland frequently. The North Shore of Boston is a truly beautiful and very historic region. It includes Atlantic beaches, salt marshes, forest lands and perfectly intact homes (some of them visible right now, from my writing-studio window) dating back to the 1600 and 1700’s Colonial era.
Q. Your own literary tastes and influences?
A. As a rural teenager, I used to enjoy reading Walter Macken and Taylor Caldwell and John McGahern and Edna O’Brien — not just because you weren’t supposed to (which you weren’t)--but also for these writers’ dexterity with language and story. Also, in the case of Macken and McGahern, these rural authors assured a country girl like me that writing was a subversive act, a route to escape.
I’ve always loved Thomas Hardy--especially his poetry.
Some of our U.S. literary journals showcase the most provocative, well-crafted and lively writing that’s out there.
For my own leisure reading, my tastes lean heavily toward British novelists. I’ve read everything that Booker-prize winner Penelope Lively has ever written. I admire most of Ian McEwan’s writings. I enjoy the British authors Margaret Drabble, Maggie O'Farrell, Tessa Hadley and Rose Tremain. And, of course, nobody can ever be as good as William Trevor.
Q. Not many American novelists in the list. Why?
I love Olaf Olafsson, Nicholas Evans and Khaled Hosseini (wait, none of them is American born!), and I've recently read and loved "The Watch" by Indian-born author (though living in the U.S.) Joydeep Roy-Bhattacharya, and certainly plan to read a lot more of this extraordinary writer.
I also enjoy the works of Anita Shreve. So there you go--a real American writer.
Generally, I often don't "get" the cultural references and their resonance. I will say, too, that I often pick up an American novel and, about 10 pages in I think, "Oh, no, not another author who's writing to the news headlines." I despise reading a fictional version of some national or regional news event or a story. Also, in some books, I sense the author's resolve to pen THE American experience, or the "great American novel." It's as if these writers are saying, "Look! See? This is us in America." I want to read about people. I want a story, not history, anthropology or the news headlines dressed up as literature.
Q. Do you consider yourself as an Irish author? Or are you a New England author? A Massachusetts author or writer? How important are the labels to you?
A. My writing and writing voice are very informed by my life and upbringing in Ireland. Certainly, the fact that I grew up there--in a very articulate, talkative and bilingual family--influences how I use language. To this day, I sometimes get stuck for the English word for something, simply because the Irish (Gaelic) word is a more accurate, textured or venomous way of describing something or somebody. And believe me, there are times when venom is good!
If I own any of the hyphenated writer-labels, I think it would have to “immigrant writer.” There's a simple reason for this: Moving across the sea to a new country has defined who I’ve become as a person and as a writer. Daily life in an adopted country influences how I see both the U.S and the home country--and, indeed, the very notion of “country.”
Q. Did you always want to write?
A. Yes. As a kid growing up on an isolated farm, I was a voracious reader, plus I was lucky enough to live with my maternal grandfather who loved to tell us stories. He would tell us how he had been walking up the fields and he met this fox, and the fox told him ... And so would begin another fox-narrated story that would go on and on. So from an early age, I knew that (1). Stories had the power to transport us to delightful places; and (2). That there was a separation and synergy between the narrator, the author and the story. So who wouldn't want to grow up to be the one to create her own stories--and write them down?
All that said, outside of writing in my journal, I never really wrote "publicly" until moving to the U.S. Even then, I was long published in the U.S. before I dared send my work back home to Ireland.
Q. When were you first published?
A. My first piece of short fiction was published in a literary magazine, “Eclectic Literary Forum” in 1996. I still have that acceptance letter. I regard each publication as a surprise, a blessing and a privilege.
Q. Is all of your work set in Ireland?
A. I’ve published about 10 - 12 short stories, a micro story, some personal essays and I’m currently working on my third novel. One story veers between upstate New York and Ireland, another is entirely set on Cape Cod and my most recent, "Irish or Something" is actually all set in London (U.K.), while I just completed and published a story set in the Caribbean. Lately, though, I find my work being more transatlantic.
Q. You write about place. Why?
A. One of the most ludicrous rejection letters I ever got from an editor was, “This piece is too rural.” I spent a large part of my younger life in rural or isolated places, which left lots of time and room to intimately know the internal contours of my own mind. I believe that there is a strong link between the two and that our external geography forms who we become.
Q. How long does it take you to actually write something? Say a short-story?
A. I'm writing when I'm not writing--as in, at my actual desk. I work a very busy and enjoyable day job, so I've adjusted to writing on the fly or in quick, bedtime stints or in short, scribbled pieces that are later transposed or studied during my day off or on weekends. Every piece goes through multiple drafts and much of my writing happens when I'm not actually writing.
Q. I know you've published a how-to book about it, but can you really have both careers--(writing and a day job) and still be a serious writer?
(Chuckle). In the first place, let's try and avoid that "serious" writer tag. I don't know any writer who isn't doing it with some measure of intent or seriousness. Everybody has to find his or her own way to keep writing. What works for some is a disaster for others. I know this about myself: I hate being poor. Also, I like the challenge, discipline and successes involved in having a non-writing (though my job involves a lot of business writing) job. The other huge value of a stable paycheck is that I don't have to compromise my own creative vision. I write something because I want to write it, not because this next piece or book might help me pay the rent. There isn't a day in my working life when I don't thank karma or the gods for what I've got.