Colm Tóibín’s novels include The Blackwater Lightship, Brooklyn, Nora Webster, The Master, The Magician and Long Island. He has written for the LRB on subjects including Thomas Mann and the Mann family, the Irish Famine, Mary Queen of Scots, Elton John, gay priests, Venice during lockdown and being diagnosed with cancer.
In his essay on the painter Jack Yeats, which he sent to Beckett in 1938, Thomas McGreevy wrote: ‘During the 20-odd years preceding 1916, Jack Yeats filled a need that had become immediate in Ireland for the first time in 300 years, the need of the people to feel that their own life was being expressed in art.’* Beckett was in Paris when he read the essay. He wrote to McGreevy to...
Thom Gunn reported that Bishop told him that Lowell was her best friend; he seemed pleased to record that when he met Lowell a few years later and mentioned that he knew Bishop, Lowell also said: ‘Oh, she’s my best friend.’ What was peculiar and perhaps what was sustaining to the friendship was how little Lowell and Bishop ever actually saw each other.
‘On or about December 1910,’ Virginia Woolf noted, ‘human character changed.’ It was hard in or about March 1977 in Barcelona not to feel that human character had changed again, or had changed back, or might change more. Franco was less than 18 months dead, and many of the sights and images in the city were puzzling. One day, as I stood watching a newly formed Communist group march by, I saw in the middle of the marchers a barman whom I had grown to love for his winning smile and general meekness. His fist was raised; he was roaring out some radical slogan. He was not simply looking for better wages for barmen, but wanted, it seemed, something new for all mankind.
Thomas and Katia Mann had six children. It was clear from early on that Katia most loved the second child, Klaus, who was born in 1906, and that Thomas loved Erika, the eldest, born in 1905, and also Elisabeth, born in 1918. The other three – the barely tolerated ones – were Golo, born in 1909, Monika, born in 1910, and Michael, born in 1919. Erika remembered a time during the shortages of the First World War when food had to be divided but there was one fig left over. ‘What did my father do? He gave this fig just to me alone … the other three children stared in horror, and my father said sententiously with emphasis: “One should get the children used to injustice early.”’
On 23 January 1894, Henry James entered in his notebook two stories told to him by Lady Gregory, whom he had met first in Rome 15 years earlier. She had given one of them to him, he wrote, as a plot, and ‘saw more in it than, I confess, I do myself’. ‘At any rate,’ he went on, ‘Lady G.’s story was that of an Irish squire who discovered his wife in an...
In his introduction to our twelfth LRB Collection, Sisters Come Second, Colm Tóibín writes that most siblings dream of being only children. Malin Hay explores this idea with Colm and Andrew O’Hagan,...
Colm Tóibín talks to Thomas Jones about the breakdown of Elizabeth Hardwick’s marriage to Robert Lowell, and its literary consequences.
Colm Tóibín reads his account of being treated for cancer.
Colm Tóibín discusses The Testament of Mary and his life and work generally with Michael McGirr, at the Melbourne Writers Festival, 2013.
Colm Tóibín talks to Barney Zwartz, Morag Fraser and Peter Horsfield about the new pope and whether reform is possible within the Catholic Church.
Colm Tóibín unpacks the work of Elizabeth Bishop and Thom Gunn, and the relationship between the poets, with help from recordings from the archive of 92nd Street Y in New York.
Colm Tóibín tells the story of Easter 1916, following the main personalities involved, including Thomas Clarke and Patrick Pearse.
Colm Tóibín talks about the process of writing his history of the Easter 1916 rebellion for the London Review of Books.
So much in Long Island goes unsaid. It’s a world in which people speak knowledgeably (and sometimes bitchily) about others but reveal little of themselves. As well as secrets, there are problems of...
Colm Tóibín is not the first person to advance an interpretation of Thomas Mann as a virtuoso of life in the closet, and he generously lists in an appendix the numerous works of scholarship he has consulted....
At the start of Aeschylus’ Oresteia a watchman sees a flaming beacon. This is supposed to be the sign that Troy has fallen and that Agamemnon is coming home from the Trojan war. The...
‘Nobody knows … nobody knows.’ Elizabeth Bishop said her grandmother’s remark was the chorus of her childhood. ‘I often wondered what my grandmother knew that...
Eilis Lacey is a young Enniscorthy woman who has never dreamed of leaving Ireland. Friary Street and Castle Street, the square and the cathedral: the grey co-ordinates of her small County Wexford...
‘It’s, on the whole, I think,’ Henry James wrote to Edmund Gosse, ‘a queer place to plant the standard of duty.’ The letter is dated 7 January 1893, 29 years before...
The possession and use of a toothbrush was a mark of the difference between us and them, gentry and peasant, or so Lady Gregory suggested when she made the remark – jocular, perhaps, and...
‘You know, in my family,’ remarks a gay Irish architect in Colm Tóibín’s The Blackwater Lightship, ‘my brothers and sisters – even the married ones...
Colm Tóibín’s frustrating new novel starts from a pleasingly skewed perspective: its narrator Richard Garay (less often, Ricardo) was brought up in Buenos Aires, child of an...
In Kiev in 1992, Colm Tóibín met the Bishop of Zhytomir, who was dressed in his full regalia. ‘He had that wonderful, well-fed, lived-in look that reminded me of several Irish...
To write simply is always to seem to write well. Bad writing is usually identified with over-writing: too many adjectives and adverbs, flowery figures of speech, verbosity. No one is ever accused...
Ever since 1958, when his play The Birthday Party opened in London, Harold Pinter has been admired by the judicious for the witty realism of his dialogue and the engrossing mystery of his...
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