It seems to me that metaphors come down to a certain idea of interconnectedness - that everything relates to everything else. Metaphors don't believe in autonomy. And in the end, perhaps that idea of interconnectedness is a moral position.

There used to be one writer rather than a team of writers. It's the old line about a camel being a horse designed by committee.

She was privileged enough to feel at home anywhere, and to equate squalor with authenticity.

The whole point of writing poetry or fiction is that you get to agonize over whatever it is you want to say, and you finally say it, and you get it as perfect as you can make it. Then you're forced to babble freestyle.

New York is great for writers insofar as you can pay someone to bring you food, to take your washing out and bring it back clean. It enables you. Writers always feel guilty when they're doing anything but writing, and New York allows you to really write all the time if you want to - though my kids put a limit on it.

There is such a shelter in each other.

You become a writer because you like to be alone in a room with your books.

I don't think there's any law where you have to read a poem and immediately understand it.

I think all writing is an attempt to complicate and subvert the dominant narrative. Writing personalizes statistics. It puts a face and a name on a number. I suppose in that sense it's always political.

New York allows you to go deeper into the person you want to be. You're able to explore whatever your specific interests might be. You can eat good Japanese food if you want to eat good Japanese food. You can go and see your favorite author reading, and you can still listen to Radio Ulster on the internet as you have your breakfast. I love that.

I'm always reading books, I'm always having encounters, I'm always taking trips. Whatever it is you come up with about how you got started, that's equally true for all the books you didn't start.

With an age difference comes a great gap in cultural references, and so on. It's not all about race and gender. It interests me that, as you get older, your younger self becomes a stranger to you. A split occurs within yourself. But maybe we're all always strangers to ourselves.

I think New York is working its way into my poems. It takes a while for a place to filter its way onto the page, but I've been reading more and more American poetry and I certainly feel it as quite a freeing force. Coming from the formally ordered tradition of poetry in Ireland, I find the expansiveness of American literature freeing in some sense.