Colm Toibin Quotes

• Writing tends to be very deliberate. A novelist could probably run a military campaign with some success. They could certainly run a country.

  Colm Toibin

  Country, Running, Military

  "Colm Tóibín, novelist - portrait of the artist". Interview with Laura Barnett, www.theguardian.com. February 19, 2013.

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• All writing is a form of manipulation, of course, but you realize that a plain sentence can actually do so much.

  Colm Toibin

  Writing, Manipulation, Realizing

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• Life has a funny way of becoming ordinary as soon as it can.

  Colm Toibin

  Ordinary, Way, Becoming

  "This Week in Fiction: Colm Tóibín" by Deborah Treisman, www.newyorker.com. February 24, 2013.

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• If you have to read to cheer yourself up, read biographies of writers who went insane.

  Colm Toibin

  Cheer, Insane, Biographies

  "Diez reglas para escribir ficción (segunda parte)" por Hilary Mantel, Michael Moorcock, Michael Morpurgo, Andrew Motion, Joyce Carol Oates, Annie Proulx, Philip Pullman, Ian Rankin, Will Self, Helen Simpson, Zadie Smith, Colm Tóibín, Rose Tremain, Sarah Waters, Jeanette Winterson, www.theguardian.com. 19 de febrero de 2010.

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• Suffering is too strong a word, but writing is serious work. I pull the stuff up from me - it's not as if it's a pleasure.

  Colm Toibin

  Strong, Writing, Suffering

  "Colm Tóibín, novelist - portrait of the artist". Interview with Laura Barnett, www.theguardian.com. February 19, 2013.

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• While historians may go on attempting grand, sweeping and defining narratives, they work in a time when readers know that another narrative always lies in wait, and that the more intelligent an historian is, the more tentative and self-scrutinizing the tone.

  Colm Toibin

  Lying, Intelligent, Self

  "History students will no longer tolerate or believe grand narratives" by Colm Toibin, www.theguardian.com. August 10, 2013.

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• I wrote every day between the ages of 12 and 20 when I stopped because I went to Barcelona, where life was too exciting to write.

  Colm Toibin

  Writing, Age, Barcelona

  "You can take the man out of Ireland". Interview with Robert McCrum, www.theguardian.com. April 25, 2009.

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• I suppose one should have an integrated personality, but I've never really seen the point.

  Colm Toibin

  Should Have, Personality, Should

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• Tengo que escribir un primer borrador con pluma estilográfica antes de mecanografiarlo como un segundo.

  Colm Toibin

  Writing, Firsts, Fountain

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• It really matters to writers to find and treasure readers, all the more when they're on the other side of the world.

  Colm Toibin

  World, Treasure, Matter

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• Some of our loves and attachments are elemental and beyond our choosing, and for that very reason they come spiced with pain and regret and need and hollowness and a feeling as close to anger as I will ever be able to manage.

  Colm Toibin

  Pain, Regret, Attachment

  "The Empty Family: Stories". Book by Colm Toibin, October 1, 2010.

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• You create a world away from home and make new rooms for yourself. But when you arrive back home in your old rooms, the world you've made for yourself ceases to be real. Everything seems to crumble. Anyone who's been sent away to boarding school can understand that.

  Colm Toibin

  Real, Home, School

  "You can take the man out of Ireland". Interview with Robert McCrum, www.theguardian.com. April 25, 2009.

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• The sentences I write have their roots in song and poetry, and take their bearings from music and painting, as much as from the need to impart mere information, or mirror anything. I am not a realist writer, even if I seem like one.

  Colm Toibin

  Song, Writing, Mirrors

  "Exclusive Interview: Colm Toibin Talks About His New Story Collection". Interview with Anis Shivani, www.huffingtonpost.com. January 20, 2011.

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• She was lonely without Blunt, but she was lonelier at the idea that the world went on as though she had not loved him.

  Colm Toibin

  Lonely, Ideas, World

  Colm Toibin (2012). “The Empty Family: Stories”, p.13, Simon and Schuster

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• I work very deliberately, with a plan. But sometimes I come to a point that I planned as the end and it needs softening. Ending a novel is almost like putting a child to sleep - it can't be done abruptly.

  Colm Toibin

  Children, Sleep, Needs

  "Colm Tóibín, novelist - portrait of the artist". Interview with Laura Barnett, www.theguardian.com. February 19, 2013.

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• Anyone who works in the arts knows, if you're writing a novel or a play or anything, you have to be ready for someone to say, 'Your time is up.'

  Colm Toibin

  Art, Writing, Play

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• I live in words. I like looking at things, but I don't have a strong visual imagination.

  Colm Toibin

  Strong, Imagination, Visuals

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• John McGovern taught me that it's OK to write repeatedly about the same things.

  Colm Toibin

  Writing, Taught

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• I think fiction lends itself to messiness rather than the ideal, and plays well with the ironies surrounding what happens versus what should happen.

  Colm Toibin

  Thinking, Play, Fiction

  Interview with Anis Shivani, www.huffingtonpost.com. January 20, 2011.

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• Roth Unbound is filled with intelligent readings and smart judgments. Because of the author's sympathy and sharp mind, it offers real insight into the creative process itself, and into Philip Roth's high calling as a great American artist. The book is, in some ways, a radical rereading of Roth's life and his work. It is impossible, by the end, not to feel a tender admiration for Roth as a novelist and indeed for Claudia Roth Pierpont as an empathetic and brilliant critic.

  Colm Toibin

  Inteligente, Real, Libro

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• in skies of deepening blue the moon, heaven's queen was now afloat

  Colm Toibin

  Queens, Moon, Blue

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• I do not know why it matters that I should tell the truth to myself at night, why it should matter that the truth should be spoken at least once in the world. Because the world is a place of silence, the sky at night when the birds have gone is a vast silent place. Words will make the slightest difference to the sky at night. They will not brighten it or make it less strange. And the day too has its own deep indifference to anything that is said.

  Colm Toibin

  Night, Sky, Differences

  Colm Toibin (2014). “The Testament of Mary: A Novel”, p.67, Simon and Schuster

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• El problema es que una vez que has escrito el primer párrafo y has pensado en cómo será el resto de la historia, ya no tienes nada que hacer. Para el primer borrador, escribo a mano alzada con plumas estilográficas desechables en la parte derecha del cuaderno, y luego reescribo algunas frases y párrafos en la parte izquierda.

  Colm Toibin

  Notebook, Writing, Hands

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• Between the ages of 8 and 12 it was difficult to know what my father was saying, and he moved very slowly, and then he died.

  Colm Toibin

  Father, Age, Difficult

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• I think you can get a sort of intensity and an edginess offering nine stories in a book. Competing versions of things.

  Colm Toibin

  Book, Thinking, Offering

  "Exclusive Interview: Colm Toibin Talks About His New Story Collection". Interview with Anis Shivani, www.huffingtonpost.com. January 20, 2011.

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