Seamas O'Reilly

And also maybe they give us a confidence to talk about things in a slightly different way than our parents' generation.

perhaps.

But I just think that a few success stories, I would think of Anna Burns' Milkman and Say Nothing by Patrick Radden Keefe, even though, of course, he's speaking as an American.

I think they had a huge effect because they knocked down a door of perhaps a perception that these stories were things that people, oh, we've heard so much about this, or it's always the same old story.

And show that there could be, you know, in Patrick Radden Keefe's case, you know, deep and probing sort of, you know, investigative nonfiction.

Or in Anna Burns' case, you know, very challenging, quite progressive, you know, literary fiction about these things and about these places.

And I think a lot of people perhaps in the industry said, oh, people don't mind reading this.

Who else have we got lying around here?

So I'm not saying that I directly trace, you know, any opportunities I've gotten from that thing.

But I think sometimes people have it in their heads that people don't want to hear about these things or that every story's been told.

And it can take a few sort of disconnected things coming through and all of a sudden you see the wave.

And it's people that were already there, but maybe now they're getting the opportunity to tell their stories.

And I think thank God for that.

London for let's see 15 years and Dublin 7 years before that so I've been out of Derry for longer than I was ever there which is terrifying to admit But will you continue to write about Derry?

Yeah.

What is it that Joyce said?

Dublin written forever in his heart.

You know, he wasn't writing about anywhere else and he barely lived in Dublin, you know, any of his life.

I think, yeah, I think I'll definitely continue to write about it.

I mean, I'm not ruling out that my next novel won't be about vampires in space or something.