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He also owns a motorcycle and seems to do maintenance on it semi-frequently. Sebastian works as a freelance programmer, and expresses frustration at his job not being taken seriously by others. He feels discontent in the valley and hopes to leave for the city someday. Sign In Don't have an account? Start a Wiki. Contents [ show ]. Does not leave for rest of the night.

Categories :. Leaves the house to hang out at the pool table in the saloon. Leaves bedroom and goes to kitchen.

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Standing at the lake near his house. Leaves his room to the saloon. Arrives at saloon arcade. Especially family. Barry didn't read or write until he was eight and thinks part of the reason was that until then, "language was such a physical thing for me.

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It was as if I was looking at those Hogarth paintings with their strips of tickertape text in the air. My mother would put out this huge river of tickertape, and my father this thin dribble of Morse code I couldn't really understand. And out of the confluence of her volubility and his silence these books and plays have been made.

His parents eventually separated, and Barry says he and his siblings endured a "very difficult childhood that you could be a casualty of, a survivor of, or a writer. My sister ultimately survived, but my younger brother became very ill". His brother, who aged 17 was on a scholarship at Harvard, has suffered severe mental health problems throughout his life. It sounds like a biblical phrase, but it is true. I hope that he is well, and that he is batting up to whatever is presented to him. I pray for him.

And coming from the son of two agnostic Catholics I hope they are particularly strong prayers. Barry once began a childhood memoir but soon abandoned it, wary that he might "drain the well from where I draw water". But he says he has become increasingly "afraid of things that cannot be said.

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I'm afraid of the damage that is caused by not speaking of people like Roseanne, the unmentioned first wife, like so many families' old uncle Jacks who died in the first world war fighting for England. I'm concerned these silences leave a gap in yourself which then leaves a gap in your children and can ultimately lead to a hole in the country's sense of itself. Ireland's history is so much more rich, exciting, varied and complicated than we had realised. What I'm trying to do is gather in as much as I can. It's not to accuse, it is just to state that it is so. From his time at Trinity College Dublin, where he read English and Latin, Barry had an almost physical compulsion to write.

Working as a time-strapped English teacher in Paris in the early 80s left him "ill and detached from myself. It was frightening and I have worried ever since that if you turn your back then somehow the cooking will burn.

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He and his wife "were the traditional broke arty couple hiding under the bed when the rent needed to be paid". We could pay the rent, which is really the thing you're always trying to do, whether it is temporal or spiritual.

Barry's play, Hinterland , included a thinly disguised version of Haughey and provoked threats of libel writs. But, he says, while Haughey "obviously had his bad points, he really wanted to be a sort of chieftain at the centre of Irish culture. And the fact that people have raised families by telling stories over the past 30 years is miraculous in a way. I live in a house that books and plays built.

You can feed your children with a strange form of barter whereby you can convert sitting in a room into spuds and chops. The prominence of his mother's career delayed Barry's own entry into theatre, but when he did begin to write plays he experienced "an almost literal sense of coming home.


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I was forever that little boy going into town with his mother to sit with the beautiful actors in the theatre". It was not until Hinterland , a rare excursion into the contemporary, that he suffered a critical setback. But while the press focused on the Haughey character, Barry's attention had always been on the disturbed son, who was based closely on his brother. And the most frustrating and terrifying thing is that it seems there is nothing you can do except stand and watch these things unfold.

Barry's earliest artistic impulses had been to use writing as a salve against family pain. His first poetry collection, The Water Colourist , was in response to news that his artist grandfather was dying. It was part of a strategy against the darkness. To somehow build a counterweight against nothingness. I've never been to funerals. I didn't even go to my mother's last year. My feeling is that they go on living in us. They keep talking and keep informing us and I want to carry them on for other people. I loved history at school, but didn't truly understand these things as being in the past.

There was something lacking in my brain and it felt more as if the living and the dead were all here together. The writing of The Secret Scripture was also informed by personal pain. While he was working on the book, his mother became terminally ill. Barry then discovered that she had been writing her own account of her Sligo childhood, which in effect featured some of the same people that would inhabit Roseanne Clear's fictional life.

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Our relationship had been difficult and we hadn't been in touch for a while. But then not only was there this real document, somehow all the difficulties of our relationship also fell away to leave just this elemental sense of mother and son, which took me back to that asylum ward full of those women who were of course unknown mothers and unknown children themselves. It sort of gave me hope for the human creature that there is at bottom such an abiding central impulse.

Barry's readings of his work have been compared to revivalist meetings. People want to testify about family members who became "history's leftovers". It was probably the first room she had ever been in where she could stand up and say that. As a young writer in Ireland, Barry had been taught that sort of emotion was "wrong and corny.

We learned that literature was about distance and an audience was unimportant. Even if you were in Dublin, you had to pretend you were silent in Paris. That it has changed is something to do with the country growing up in a way which should have killed literature, as the opening up of eastern Europe was the death of the poets, but in a bizarre and wonderful way has actually expanded the possibilities. He says, much to his surprise, "the way we think about ourselves in Ireland means there is no longer a necessity for those secrets.