WEBVTT - 'Brooklyn' author Colm Tóibín on belonging

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<v S1>From the newsrooms of the Sydney Morning Herald and The Age.

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<v S1>This is the morning edition. I'm Samantha Selinger Morris. It's Monday,

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<v S1>May 26th. Colm Toibin is quite simply, one of the

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<v S1>most revered writers in modern literature. As one of his

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<v S1>fellow authors once put of Toibin, who has been shortlisted

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<v S1>for the Booker Prize multiple times, he's there when the

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<v S1>thorn enters the skin. And so he is his international

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<v S1>best selling novel. Brooklyn takes us inside the mind of

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<v S1>Eilis Lacey, a meek young woman who is pushed by

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<v S1>her family against her own wishes to emigrate from a

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<v S1>small Irish town to the United States in the 1950s.

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<v S1>Prepared only by a family of women who, as Tobin writes,

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<v S1>could do everything except say out loud what it was

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<v S1>they were thinking. The book later became a hit movie

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<v S1>starring Saoirse Ronan, who won plaudits for playing out the

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<v S1>agonies of trying to adapt to the customs of a

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<v S1>strange new land. When we meet Eilish 20 years later

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<v S1>in Tobin's latest novel, Long Island, she again feels the

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<v S1>pull of Ireland after she discovers that her American husband

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<v S1>has fathered a child with another woman. So what does Tobin,

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<v S1>who has lived in Barcelona, Los Angeles, New York and

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<v S1>Dublin make of our yearning to belong and how it

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<v S1>can twist us internally? How it can drive otherwise rational

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<v S1>people to dam entire groups of people. Today, Colm Toibin,

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<v S1>who is in Australia for the Sydney Writers Festival and

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<v S1>the Melbourne Writers Festival, gives his insights into Gaza, Donald

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<v S1>Trump and the new pope and the times when even

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<v S1>he can't find the right words in his own life. So, Callum,

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<v S1>the first thing I really want to ask you about

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<v S1>is the issue of belonging. It's something I'm super passionate

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<v S1>about myself and so many of the main characters in

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<v S1>your book struggle with this. Like where do they belong?

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<v S1>Is this something that comes from a personal struggle? Like,

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<v S1>do you struggle with this feeling?

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<v S2>You see, I think it comes from a real rootedness

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<v S2>that some of the characters also feel. In other words,

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<v S2>that you're from a town. I'm from Enniscorthy, County Wexford.

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<v S2>My parents were born there. My grandparents were born there.

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<v S2>And things go back further than that if you bothered

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<v S2>to investigate. My father was a teacher and my two

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<v S2>sisters were teachers. So that meant that we had a

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<v S2>relationship with the town. And that's where I'm from. And

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<v S2>therefore it means that either you make a decision early

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<v S2>on in your life, and it's about sensibility, that there

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<v S2>are a lot of people I know who just wanted

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<v S2>to stay in the town, love the rhythms of it,

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<v S2>love the years going by, just love the next generation coming.

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<v S2>And then there are people like me who just looked

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<v S2>at the main road very, very carefully at a very

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<v S2>young age and loved the train going to Dublin if

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<v S2>anyone was going anywhere, if a circus came, you know,

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<v S2>like if a, you know, if a missionary came saying,

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<v S2>Come to Africa and join the missions, I would go

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<v S2>have gone anywhere and I'm still like that.

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<v S1>And so tell me, I mean, is any of that

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<v S1>rooted in the fact that you're a gay man who

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<v S1>grew up in the 1950s and 1960s in Ireland? I

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<v S1>can't imagine that might have been necessarily the easiest place

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<v S1>to be with the Catholic Church ruling so much there.

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<v S1>Is any of that related?

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<v S2>Um, I don't think so. I mean, even when you

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<v S2>say you're gay, man, I wonder who are you talking about?

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<v S2>Because of course, you spent your time thinking you were

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<v S2>not gay. You just preferred blokes, you know? In other words,

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<v S2>the identity tag came later, and it would have been

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<v S2>so afraid if someone had said you were any. You're

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<v S2>a queer or anything, but you felt I'm not a queer.

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<v S2>I just like blokes. Um, the Catholic Church wasn't the

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<v S2>problem as much as the general society where this thing

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<v S2>was unmentionable. It wasn't really that it was illegal. Of

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<v S2>course it was illegal. But it wasn't just illegal. Legal.

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<v S2>No one said anything about it, so it didn't really

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<v S2>oppress you in any way that was obvious to you.

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<v S2>It oppressed you in ways that were much more serious

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<v S2>because it was all about silences. It was all about

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<v S2>that strange oppression. Where do not mention this. And then

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<v S2>later on don't tell so and so and oh my God,

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<v S2>what will so-and-so think? And and then everyone got over it.

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<v S2>I mean, what's really irritating in a way, is that

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<v S2>everybody got over it, and you wonder why they couldn't

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<v S2>have got over it a generation earlier, since they're so

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<v S2>easy now about it. And, you know, it's really fashionable

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<v S2>to be queer. And people's grannies love them because they're queer.

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<v S2>Why didn't their grannies try that out, like when in 1962?

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<v S1>Or why had that never been a problem to begin with?

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<v S2>Yeah, that would be. Yeah. Exactly why that.

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<v S1>Would be.

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<v S2>More ideal. Yeah, yeah. But, um, oddly enough, the church

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<v S2>is not the problem. The church is on the run,

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<v S2>you know, and we have them on the run. And

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<v S2>I like this new pope. I just think he's, um. Well,

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<v S2>he's the same age as me, and I like anyone

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<v S2>who's the same age as me, but I, um, he's

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<v S2>I think he's a quiet, spoken, thoughtful person. And in politics,

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<v S2>that would be such a relief. After some of the

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<v S2>noise we've been hearing from some of the buffoons. I

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<v S2>won't name him.

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<v S1>Well, you not know.

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<v S2>But he's called Donald Trump.

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<v S1>Thank you. Thank you so much. Thank you so much. Well,

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<v S1>I wanted to ask you about the new pope because

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<v S1>you have actually written a lot about Catholicism. You wrote

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<v S1>a travel book, The Sign of the cross Travels in

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<v S1>Catholic Europe. You wrote a play about the Virgin Mary,

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<v S1>but then you also once wrote in an essay, one

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<v S1>of the purposes of literature, as Joyce made clear, is

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<v S1>to put religion in its place. So where would you

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<v S1>put religion if you could?

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<v S3>And I don't know.

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<v S2>And I was in the Vatican recently, and I realized

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<v S2>that I'd been growing fond of the place, and I'd

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<v S2>been growing very tolerant about Holy Mother and the one

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<v S2>true religion and the I suppose it has to do

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<v S2>now with the fact that in America, the only voice

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<v S2>of sanity now would be something like the bishop of,

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<v S2>you know, Trump really had it in for Pope Francis

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<v S2>and he in December just before he was inaugurated, he

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<v S2>appointed an ambassador to the Vatican, who really had written

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<v S2>against France and almost railed against Francis and Francis in retaliation,

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<v S2>in January of this year appointed a new Cardinal Archbishop

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<v S2>of Washington, D.C., who was in San Diego. And just

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<v S2>before he left San Diego in January, he led a

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<v S2>march of migrants against Trump. This man, called McElroy then

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<v S2>arrived in triumph in Washington, DC. So there is a

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<v S2>war going on between this administration and the certainly Francis,

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<v S2>but also now in a much more thoughtful and I

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<v S2>would think, much more dangerous. I mean, I think that

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<v S2>this new man, Leo, does not suffer fools. You know,

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<v S2>in Chicago. Yeah.

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<v S1>South side.

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<v S2>I think so. And he's lived in Peru. Meaning, if

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<v S2>you think you know what this is about, you don't.

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<v S2>I do. You know, all those years in working with

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<v S2>the poor people in Peru during a very difficult time.

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<v S1>And this is so interesting to me. So I want

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<v S1>to know about your newfound fondness of the Vatican, or

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<v S1>perhaps a greater fondness for Catholicism in general. I don't know,

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<v S1>I'd love you to tell me, because you did write

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<v S1>an essay on the Ferns Report into clerical sex abuse

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<v S1>in the Diocese of Ferns and Wexford. So do you

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<v S1>forgive the Catholic Church for those abuses? What is with

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<v S1>this new fondness for you? It's so interesting, I know.

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<v S2>I mean, I mean that that is an outstanding matter. And, uh,

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<v S2>for for the victims to feel that somehow not not

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<v S2>only are they being ignored, but as though they're being

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<v S2>written out of the current agenda. In other words, here

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<v S2>is me I'm talking all about, you know, the new

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<v S2>pope and his relationship with Trump. But in the meantime,

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<v S2>there are people who are really hurting because actually it

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<v S2>hasn't gone away for them.

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<v S1>We're talking about the victims of.

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<v S2>I am, I am. And I mean, in Ireland, this

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<v S2>is this is a really serious matter. It hasn't gone

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<v S2>away for them. And there are other countries where it

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<v S2>hasn't even begun to be investigated. And every, every single

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<v S2>time it's looked at, there was obviously a secret rule

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<v S2>the church had. Do not go to the police. We

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<v S2>are above civil society. We are above the law. And

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<v S2>what to do with the priest is talk to him

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<v S2>very severely and move him to another parish and tell

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<v S2>no one. And this caused untold grief. It ruined people's

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<v S2>lives and they still haven't come clean on. This was

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<v S2>what we did because it was Vatican policy. This came

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<v S2>from on high, you know. Stop blaming individual bishops, although

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<v S2>they are to blame, but actually from on high. How

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<v S2>come in no place did they go to the police?

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<v S1>So tell me. So how do you reconcile that with

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<v S1>what is the fondness that you know, that you felt

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<v S1>when you were in the Vatican? Because this is what

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<v S1>I love about what you write, which is, of course,

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<v S1>what we all experience with humanity, no matter who we are,

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<v S1>is that life is complicated, right? You know, we all

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<v S1>contain hypocrisies and things that make no sense. I'm not

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<v S1>calling you a hypocrite, but how do you reconcile those feelings?

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<v S1>What was it that you felt in the Vatican?

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<v S2>Someone. I was having lunch with someone. But they said

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<v S2>to me just casually, you know, a lot of people

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<v S2>don't leave the Vatican who live in the Vatican. It's

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<v S2>a tiny space, and they don't go into the Italian

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<v S2>state and, you know, even like the barber. I said,

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<v S2>hold on. I tried not to look too good. You

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<v S2>mean there's a barber in the Vatican for cardinals and archbishops?

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<v S2>And so I got up early in the morning, and

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<v S2>there it was very discreet. I mean, not a big

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<v S2>barber or.

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<v S1>A barber.

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<v S2>Plate glass.

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<v S1>Window.

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<v S2>But it was clearly a barber's. And you went in

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<v S2>and honestly, there was a cardinal having his hair shampooed. Now, see,

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<v S2>it's really good barber for me because I'm bald. And

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<v S2>every bishop, archbishop and cardinal are almost by definition bald.

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<v S2>I therefore therefore.

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<v S1>So this was the place for you.

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<v S2>Therefore, they do bold haircuts very, very well. I mean,

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<v S2>mine has gone a bit longer now, but but honestly,

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<v S2>I came out feeling for once I'm not being insulted

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<v S2>in the barber's. I'm not being just just barely with

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<v S2>a bit, a bit, a bit of. Yeah, being being shaved,

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<v S2>just a bit of scissors work and you're out. You know,

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<v S2>we do your eyebrows as a way of sort of

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<v S2>compensating because you have no hair. Mr..

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<v S1>Then you found you.

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<v S2>Found your place. I found.

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<v S1>That was it.

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<v S2>I found my.

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<v S1>Barber.

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<v S2>No, no, just the whole business of. You see, being

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<v S2>being a non-married gentleman, age 69.

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<v S1>Yes.

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<v S2>You get fond of other such fellows, even though, as

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<v S2>I say, some of them have been, you know, in

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<v S2>their lives, sort of less than ideal in the way

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<v S2>they functioned. And as I say, done a lot of damage.

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<v S2>But yeah, the comedy of things remains interesting irrespective of.

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<v S2>I mean, I wouldn't stretch it to Republicans in America,

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<v S2>except in Texas, where you honestly could be in a

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<v S2>room with Republicans, and they're just so nice and funny,

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<v S2>and they just, oh my God, they're all Republicans. What

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<v S2>am I doing here? So it's it's a problem. It's

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<v S2>a lack of moral character that I have moral firmness.

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<v S2>And I don't really know the difference between right and wrong.

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<v S1>And you mean you don't know the.

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<v S4>Difference between right and wrong?

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<v S2>Well, I mean, if someone is Republican, they should clearly

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<v S2>keep away from them. They're wrong. And then you suddenly

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<v S2>find that you're enjoying something they're saying to you, and

0:10:51.790 --> 0:10:54.070
<v S2>you're actually going to go to dinner in their house

0:10:54.070 --> 0:10:54.760
<v S2>the next night.

0:10:54.760 --> 0:10:56.680
<v S1>But that's the heart of why you're a writer, right?

0:10:56.720 --> 0:10:57.200
<v S1>You know, I.

0:10:57.200 --> 0:10:58.040
<v S2>Know, but I'm not proud.

0:10:58.040 --> 0:10:59.880
<v S1>Of it. Well, okay. Well, I want to ask you

0:10:59.880 --> 0:11:02.200
<v S1>about this because something else that you're not particularly proud of,

0:11:02.200 --> 0:11:04.320
<v S1>but it's given a gift to the world, which is

0:11:04.440 --> 0:11:06.760
<v S1>you said in an interview this is regarding, I believe,

0:11:06.800 --> 0:11:09.360
<v S1>writing Brooklyn and Long Island that you were inspired, in

0:11:09.360 --> 0:11:11.920
<v S1>a way, by your mother and her relatives. But you

0:11:11.920 --> 0:11:15.120
<v S1>said there was something disgusting about mining your memories of

0:11:15.120 --> 0:11:18.520
<v S1>them for a book. So what motivates you to.

0:11:18.520 --> 0:11:23.000
<v S2>Know that that's a fleeting feeling sometimes. Oh, okay. And, um,

0:11:23.000 --> 0:11:25.839
<v S2>a friend of mine who was a novelist ended up

0:11:25.840 --> 0:11:28.360
<v S2>one day going to see his stepmother, about whom he'd

0:11:28.360 --> 0:11:31.240
<v S2>written several books, and he hadn't seen her for years.

0:11:31.520 --> 0:11:33.320
<v S2>She lived to be old, you know, and she looked

0:11:33.320 --> 0:11:34.800
<v S2>at him. She opened the door and looked at him

0:11:34.800 --> 0:11:38.000
<v S2>and said, there you are, still making money out of

0:11:38.000 --> 0:11:41.800
<v S2>all our foibles. And there is an idea that if

0:11:41.800 --> 0:11:44.120
<v S2>you have a child and you know the child must

0:11:44.120 --> 0:11:46.840
<v S2>be a soccer player, that's good. But if the child

0:11:47.000 --> 0:11:50.040
<v S2>tennis player good, but a novelist not good, because every

0:11:50.040 --> 0:11:53.600
<v S2>little thing you do and say is now open and

0:11:53.600 --> 0:11:55.700
<v S2>can now appear in print. And people say, oh, I

0:11:55.700 --> 0:11:58.780
<v S2>didn't know that you about. You know. So yes, there

0:11:58.780 --> 0:12:01.460
<v S2>was a there were a few moments when I would

0:12:01.460 --> 0:12:04.860
<v S2>put something into a book. I think that, um, with Brooklyn,

0:12:05.220 --> 0:12:07.740
<v S2>I had two aunts, my mother, two younger sisters, and

0:12:07.740 --> 0:12:10.179
<v S2>one of them was more powerful than the other. And

0:12:10.179 --> 0:12:13.580
<v S2>they both worked precisely in the named place where Rose

0:12:13.580 --> 0:12:16.820
<v S2>works in Brooklyn, snag, Davis and Enniscorthy. So that's in

0:12:16.820 --> 0:12:19.500
<v S2>the book. But what happens with two sisters like that is,

0:12:19.500 --> 0:12:24.100
<v S2>the second one just is much more helpless and much more,

0:12:24.300 --> 0:12:30.980
<v S2>I suppose. Um, less. Less active, less pushy. And so

0:12:30.980 --> 0:12:33.980
<v S2>I did use that dynamic between the two, which I

0:12:33.980 --> 0:12:36.460
<v S2>think they would both if they if they'd read the book,

0:12:36.460 --> 0:12:38.020
<v S2>they were both dead by the time it came out,

0:12:38.059 --> 0:12:41.540
<v S2>they would have immediately said, sure, that's us. Discussing is

0:12:41.540 --> 0:12:44.820
<v S2>pretty strong, but maybe in a certain moment it is.

0:12:44.820 --> 0:12:46.820
<v S2>If someone did it to me, I'd go nuts.

0:12:46.860 --> 0:12:47.980
<v S1>Has it never happened?

0:12:48.020 --> 0:12:48.420
<v S2>No.

0:12:48.460 --> 0:12:49.900
<v S1>Here's what I want to ask you. Or you have

0:12:49.900 --> 0:12:52.780
<v S1>a knack with writing about emotionally hobbled people is how

0:12:52.780 --> 0:12:55.230
<v S1>I might call them. So many of your characters are,

0:12:55.230 --> 0:12:57.390
<v S1>but really the one that springs to mind is Henry

0:12:57.390 --> 0:13:00.510
<v S1>James and the master. He's unable to communicate his own feelings,

0:13:00.510 --> 0:13:04.030
<v S1>his desires to other people, though he perhaps like yourself,

0:13:04.070 --> 0:13:06.310
<v S1>call him, he does mine those right for his writing.

0:13:06.309 --> 0:13:09.469
<v S1>He certainly is very well in touch with the vulnerabilities,

0:13:09.470 --> 0:13:12.830
<v S1>the desires, the inconsistencies of other people. So tell me

0:13:12.830 --> 0:13:16.630
<v S1>about this emotionally hobbled people. What is their appeal for you?

0:13:16.830 --> 0:13:20.150
<v S2>Oh, you know, the way there are people who really

0:13:20.150 --> 0:13:22.870
<v S2>tell you their feelings all the time so that if

0:13:22.910 --> 0:13:25.950
<v S2>you were if you were dating somebody and they all

0:13:25.990 --> 0:13:27.830
<v S2>the time told you their feelings, eventually they'd have to

0:13:27.830 --> 0:13:30.550
<v S2>say to me, do you have any feelings? I mean,

0:13:30.590 --> 0:13:33.230
<v S2>how do you how do you? Because you can't just say.

0:13:33.230 --> 0:13:34.589
<v S1>Because you're the opposite. Is that what you mean?

0:13:34.630 --> 0:13:38.510
<v S2>You are. Yeah. I would be very careful. And I

0:13:38.550 --> 0:13:40.469
<v S2>would tell a lot of jokes, and I would, as

0:13:40.470 --> 0:13:42.670
<v S2>I'm trying to do with you. And I would go

0:13:42.670 --> 0:13:45.150
<v S2>on a lot about various things. And eventually someone would

0:13:45.150 --> 0:13:49.829
<v S2>say to me, could you actually say something that you

0:13:49.830 --> 0:13:53.050
<v S2>think might be true? And you get really shocked and

0:13:53.050 --> 0:13:55.610
<v S2>you get really defensive. And of course you go, ah.

0:13:56.050 --> 0:13:57.730
<v S2>What do you mean? Oh, you do all that? What

0:13:57.730 --> 0:14:01.010
<v S2>do you mean, stuff? But I suppose it's a it's

0:14:01.010 --> 0:14:03.329
<v S2>just a way. I consider it a form of good

0:14:03.330 --> 0:14:05.610
<v S2>manners that you wouldn't go on about yourself and how

0:14:05.610 --> 0:14:08.170
<v S2>you feel all the time. But again, that's a defence mechanism.

0:14:08.170 --> 0:14:10.809
<v S1>So. Do you share? I know this is usually it's

0:14:10.809 --> 0:14:12.929
<v S1>a lazy question for journalists, but it seems like it's

0:14:12.929 --> 0:14:16.689
<v S1>a logical one to ask. Now is there some similarity perhaps,

0:14:16.690 --> 0:14:19.610
<v S1>or something that you understand in Henry James at least

0:14:19.610 --> 0:14:23.170
<v S1>the way you've written him with, you know, that that fear?

0:14:23.170 --> 0:14:25.010
<v S1>I guess there's a fear really in him that you

0:14:25.010 --> 0:14:27.050
<v S1>feel when you read it to, to communicate those.

0:14:27.210 --> 0:14:29.410
<v S2>See, this thing has come up now called fear of intimacy,

0:14:29.410 --> 0:14:32.010
<v S2>which certainly didn't exist when Henry James was going. And

0:14:32.010 --> 0:14:34.730
<v S2>I don't have that, you know. And so but is.

0:14:34.730 --> 0:14:36.370
<v S1>There a fear to communicate with other people?

0:14:36.410 --> 0:14:38.970
<v S2>Those really look, look, it's a really, really simple matter

0:14:38.970 --> 0:14:43.530
<v S2>that someone says to you, um, you know, I just, I,

0:14:43.690 --> 0:14:46.130
<v S2>you know, even just say, just take the phrase I

0:14:46.130 --> 0:14:48.330
<v S2>love you and you think, yeah, I'd like to say

0:14:48.330 --> 0:14:51.850
<v S2>that too. And it comes up. It's in it's in

0:14:51.980 --> 0:14:54.540
<v S2>Brooklyn where she doesn't, you know, and it's in actually,

0:14:54.540 --> 0:14:57.540
<v S2>it's in Long Island. Just that phrase, I love you.

0:14:57.540 --> 0:15:00.220
<v S2>I think just talking to someone as though you're in

0:15:00.220 --> 0:15:01.340
<v S2>a pop song with them.

0:15:01.580 --> 0:15:04.380
<v S5>Love you. Yeah, yeah, yeah.

0:15:04.420 --> 0:15:06.380
<v S2>Like it's just not good enough. You have to find

0:15:06.380 --> 0:15:08.580
<v S2>another way of speaking. But then if you don't say love,

0:15:08.900 --> 0:15:11.180
<v S2>then if you don't say hold on. Are you not.

0:15:11.220 --> 0:15:14.420
<v S2>Are you, are you not saying you love me? And

0:15:14.460 --> 0:15:17.660
<v S2>then you know, but then what you really want is peace.

0:15:18.060 --> 0:15:20.300
<v S2>Could that conversation stop? And could we have it tomorrow?

0:15:20.340 --> 0:15:22.460
<v S2>I'm not say I'm not good at having this conversation

0:15:22.460 --> 0:15:24.380
<v S2>in the morning. I'm not good at having them in

0:15:24.380 --> 0:15:26.660
<v S2>the afternoon, and I'm not good at having the evening.

0:15:26.900 --> 0:15:29.740
<v S2>Where do you think our relationship is going? I said, well.

0:15:29.780 --> 0:15:31.820
<v S1>Is that your nightmare? Is that, is that is that like.

0:15:31.860 --> 0:15:34.740
<v S2>Well, I'm actually thinking of going to Saint Kilda, you know,

0:15:34.940 --> 0:15:37.260
<v S2>like I'm thinking of going to Bondi. That's where our

0:15:37.260 --> 0:15:39.380
<v S2>relationship is going. It's going to Bondi. If you're coming

0:15:39.380 --> 0:15:42.180
<v S2>with me and you know, there's a cost, but I

0:15:42.460 --> 0:15:45.700
<v S2>find how other people think about that just completely beyond me,

0:15:45.740 --> 0:15:46.060
<v S2>you know.

0:15:46.100 --> 0:15:47.979
<v S1>As in the people that want to sort of interrogate

0:15:47.980 --> 0:15:49.300
<v S1>that and know and have it.

0:15:49.300 --> 0:15:51.720
<v S2>Stated. I feel I feel this and I feel that

0:15:51.920 --> 0:15:54.720
<v S2>at some moments for you, I feel, I feel. Oh shut.

0:15:54.720 --> 0:15:55.040
<v S5>Up.

0:16:00.040 --> 0:16:08.800
<v S1>We'll be right back. Now, I wanted to ask you.

0:16:08.800 --> 0:16:11.960
<v S1>You've also written about the dangers of nationalism. You know,

0:16:12.000 --> 0:16:15.240
<v S1>I think you've written about Irish nationalism. So I'm just

0:16:15.240 --> 0:16:17.920
<v S1>wondering what you think now about the rise of nationalism

0:16:17.920 --> 0:16:20.080
<v S1>across the globe. You know, we're seeing it in Italy.

0:16:20.080 --> 0:16:23.560
<v S1>We're seeing it in Germany. Is it a trend that

0:16:23.560 --> 0:16:24.280
<v S1>worries you?

0:16:24.720 --> 0:16:29.480
<v S2>Um. It's appalling. When the IRA began the campaign in

0:16:29.480 --> 0:16:33.320
<v S2>the name of the Irish nation, just say in 1971, 72,

0:16:33.520 --> 0:16:35.000
<v S2>at the beginning, it might have looked like they were

0:16:35.000 --> 0:16:37.600
<v S2>defending their people, you know, against the British Army, against

0:16:37.600 --> 0:16:40.720
<v S2>Protestants against. But slowly it realized that, no, no, they

0:16:40.720 --> 0:16:42.560
<v S2>were on the rise and that they were doing this

0:16:42.600 --> 0:16:44.840
<v S2>in the name of some spiritual thing, putting car bombs

0:16:44.840 --> 0:16:48.960
<v S2>in the city. And, uh, I was 17 maybe, when

0:16:48.960 --> 0:16:50.800
<v S2>I started to think about it. And I came from

0:16:50.800 --> 0:16:53.450
<v S2>a nationalist family. My grandfather was imprisoned by the British

0:16:53.450 --> 0:16:56.330
<v S2>after the 1916 rebellion. My uncle, you know. So there

0:16:56.330 --> 0:17:00.650
<v S2>was a nationalist family and we were and and I suddenly, well,

0:17:00.770 --> 0:17:03.690
<v S2>gradually and then suddenly, really over those few years began

0:17:03.690 --> 0:17:07.170
<v S2>to think this is wrong, eh? Because putting a bomb

0:17:07.170 --> 0:17:08.770
<v S2>in a car in a city and blowing up people

0:17:08.770 --> 0:17:13.409
<v S2>is wrong. But B the ideology that only a strange,

0:17:13.450 --> 0:17:17.130
<v S2>withered ideology could give rise to this. And what is

0:17:17.130 --> 0:17:20.570
<v S2>the ideology? And therefore I just thought the whole idea

0:17:20.570 --> 0:17:25.370
<v S2>of us, us just the word us, we Catholics or

0:17:25.369 --> 0:17:29.090
<v S2>we Irish people? Or do you hate the British? Everyone

0:17:29.090 --> 0:17:30.889
<v S2>in Ireland I know had a great time in England

0:17:30.890 --> 0:17:32.530
<v S2>when they went there. If you wanted to see a

0:17:32.530 --> 0:17:34.890
<v S2>band film or if you wanted to get condoms in

0:17:34.890 --> 0:17:38.610
<v S2>the 70s, you went over from Wexford to Wales and

0:17:38.609 --> 0:17:41.090
<v S2>my mother, when she was coming back from a little holiday,

0:17:41.090 --> 0:17:42.690
<v S2>would come back with a big bag of corn for

0:17:42.690 --> 0:17:45.450
<v S2>various people she knew. That's called England, you know. The

0:17:45.490 --> 0:17:47.889
<v S2>enemy suddenly becomes a great place for your mother.

0:17:47.890 --> 0:17:48.770
<v S1>Sounds like a badass.

0:17:48.810 --> 0:17:51.230
<v S2>So? So, in other words, a lot of, um, the

0:17:51.230 --> 0:17:53.590
<v S2>things you were brought up believing about your own nation.

0:17:53.630 --> 0:17:53.950
<v S1>Yes.

0:17:53.990 --> 0:17:57.350
<v S2>Just just didn't didn't seemed to me that it would

0:17:57.350 --> 0:18:00.550
<v S2>only cause further grief and didn't mean anything. So. Yeah.

0:18:00.590 --> 0:18:04.870
<v S2>I mean, what's happening? Look, this business of migrants is

0:18:05.510 --> 0:18:08.470
<v S2>is really. See, politicians are afraid to make the argument

0:18:08.470 --> 0:18:13.230
<v S2>migrants are good. They make a society. What's the best

0:18:13.230 --> 0:18:16.070
<v S2>place to live? The place where there are most migrants.

0:18:16.109 --> 0:18:18.470
<v S2>Now how come? And this idea of migrants as the

0:18:18.470 --> 0:18:20.070
<v S2>enemy migrants are going to take your job because you

0:18:20.070 --> 0:18:22.950
<v S2>were so busy picking apples and strawberries. That was your job.

0:18:22.950 --> 0:18:25.429
<v S2>Your children wanted to do this too. They have PhDs

0:18:25.430 --> 0:18:28.389
<v S2>in picking apples and people are stealing your picking apple job.

0:18:28.390 --> 0:18:29.949
<v S2>Give me a break. You know, you go into a

0:18:29.950 --> 0:18:33.390
<v S2>nursing home. Who's there all night? The Lithuanian nurse. Because

0:18:33.390 --> 0:18:36.310
<v S2>the Irish nurse doesn't want to do that job. And so? So.

0:18:36.350 --> 0:18:38.350
<v S2>But even even if people are coming at the top

0:18:38.350 --> 0:18:42.150
<v S2>level to be our doctors, our engineers, our, you know. Yeah,

0:18:42.150 --> 0:18:44.949
<v S2>it's absolutely great to have. But, you know, the better

0:18:44.990 --> 0:18:47.150
<v S2>the more migrants, the better the society. So how come

0:18:47.150 --> 0:18:49.790
<v S2>then we let these groups emerge in which and I

0:18:49.880 --> 0:18:52.400
<v S2>have to say, um, there was a man called Malcolm

0:18:52.440 --> 0:18:55.880
<v S2>Turnbull who turned our stomachs in the world by saying

0:18:55.880 --> 0:18:58.800
<v S2>that no one could ever come into Australia who would

0:18:58.800 --> 0:19:01.359
<v S2>come by sea illegally, and that he would never be

0:19:01.359 --> 0:19:04.000
<v S2>let in even once. There would be no lift on that.

0:19:04.040 --> 0:19:05.959
<v S2>And he got Obama to agree to take people he

0:19:05.960 --> 0:19:08.560
<v S2>was keeping on an island. But, I mean, every country

0:19:08.600 --> 0:19:09.960
<v S2>did this in one way or another. There are a

0:19:09.960 --> 0:19:11.960
<v S2>lot of deportations from Ireland. There's no point in blaming

0:19:11.960 --> 0:19:15.240
<v S2>Malcolm Turnbull, but I do. And but but I mean,

0:19:15.280 --> 0:19:17.040
<v S2>the stuff that's going on in America at the moment

0:19:17.040 --> 0:19:18.840
<v S2>and the stuff that's going on in Germany and the

0:19:18.840 --> 0:19:22.000
<v S2>stuff that's going on in Spain and France over these outsiders,

0:19:22.000 --> 0:19:25.560
<v S2>these strangers in our house, these migrants, these men, they're

0:19:25.560 --> 0:19:29.320
<v S2>going to take our what? Take our what? And they're

0:19:29.320 --> 0:19:32.160
<v S2>going to actually build a great society. I mean, can

0:19:32.160 --> 0:19:37.080
<v S2>you imagine Yorkshire without its Pakistani and Indian populations? What

0:19:37.080 --> 0:19:40.080
<v S2>would you eat? So like, this has to stop this

0:19:40.080 --> 0:19:43.720
<v S2>nonsense about migrants because it's not true. And it seems

0:19:43.720 --> 0:19:46.520
<v S2>to me very close to a demonization, for example, of

0:19:46.520 --> 0:19:50.100
<v S2>Jewish people in Germany and Poland in the 1920s and

0:19:50.100 --> 0:19:54.619
<v S2>30s anti-Semitism began with the Big Lie. And this is

0:19:54.619 --> 0:19:56.899
<v S2>an equal. I mean, obviously it's not equal. You know,

0:19:56.940 --> 0:20:00.740
<v S2>nothing in history comes twice. But nonetheless, having to listen

0:20:00.740 --> 0:20:04.699
<v S2>to this nonsense and watching liberal politicians being mealy mouthed

0:20:04.700 --> 0:20:06.700
<v S2>about it and saying, oh, well, we do have to watch.

0:20:06.740 --> 0:20:08.860
<v S2>You know, we have to be very careful about including

0:20:08.859 --> 0:20:12.180
<v S2>in Ireland, our migration policy. We have to limit it,

0:20:12.180 --> 0:20:16.820
<v S2>and deportations even. This man, Keir Starmer, said something so

0:20:16.859 --> 0:20:20.660
<v S2>horrible the other day he talked about he didn't want

0:20:20.660 --> 0:20:23.700
<v S2>England to be a country of strangers. Well, I think

0:20:23.700 --> 0:20:26.939
<v S2>I know what he means. It might mean Irish people.

0:20:26.940 --> 0:20:29.500
<v S2>He might mean people from the Caribbean. Are they strangers

0:20:29.500 --> 0:20:32.220
<v S2>in England? Yeah. You know. And so he's just looking

0:20:32.220 --> 0:20:35.100
<v S2>for votes. Cheap votes. Anyway, that's my rant on that.

0:20:35.140 --> 0:20:37.580
<v S1>No. That's incredible. I mean, it's amazing to see you

0:20:37.580 --> 0:20:40.060
<v S1>so impassioned because. Because it's obviously something you care so

0:20:40.060 --> 0:20:40.940
<v S1>deeply about.

0:20:40.980 --> 0:20:43.340
<v S2>If Trump didn't have this enemy, what would he be

0:20:43.340 --> 0:20:43.980
<v S2>talking about?

0:20:44.180 --> 0:20:47.300
<v S1>It makes me wonder what you feel now, as you know,

0:20:47.300 --> 0:20:49.430
<v S1>because of course, like myself. And this is why I'm

0:20:49.430 --> 0:20:51.790
<v S1>obsessed with this. I'm from Canada and I live here.

0:20:51.830 --> 0:20:53.790
<v S1>Like so many people, of course, around the world, so

0:20:53.790 --> 0:20:55.630
<v S1>many of our listeners will be the same. They're from

0:20:55.630 --> 0:20:57.389
<v S1>one place, they're from another. I mean, Australia is a

0:20:57.390 --> 0:21:00.550
<v S1>country of migrants, of course, and you live half your

0:21:00.550 --> 0:21:02.710
<v S1>time in Los Angeles. So does that make you feel

0:21:02.710 --> 0:21:05.870
<v S1>more Irish, though? Because, you know, I know Mike Myers,

0:21:05.869 --> 0:21:08.629
<v S1>he's a Canadian comedian and he lives in America. And

0:21:08.630 --> 0:21:11.990
<v S1>he said, there's no one more Canadian than an expatriate Canadian.

0:21:11.990 --> 0:21:15.150
<v S1>And I definitely fall into that cliché. Is that you column?

0:21:15.150 --> 0:21:17.830
<v S2>Are you I mean, the thing that everyone Irish recognizes

0:21:17.830 --> 0:21:20.590
<v S2>and that maybe what Canadians recognize too, is that you

0:21:20.590 --> 0:21:23.350
<v S2>go to JFK in New York and you're getting the

0:21:23.350 --> 0:21:25.830
<v S2>flight back to Dublin. Yes, it's usually around 6:00 in

0:21:25.830 --> 0:21:27.510
<v S2>the evening, which means getting to the airport is such

0:21:27.510 --> 0:21:29.429
<v S2>a nightmare. Yes. And you're so worried about getting to

0:21:29.430 --> 0:21:31.110
<v S2>the airport being late that you forget what you're going

0:21:31.109 --> 0:21:34.550
<v S2>to witness now are the Irish, and you're going to

0:21:34.550 --> 0:21:36.590
<v S2>see them and they're going to talk like you. Some

0:21:36.590 --> 0:21:38.230
<v S2>they're going to look like you and they're going to

0:21:38.230 --> 0:21:40.670
<v S2>behave like you, meaning that if they're pushing a cart along,

0:21:40.670 --> 0:21:42.909
<v S2>they're never sure that this is the right thing to do.

0:21:42.950 --> 0:21:45.110
<v S2>They have a slightly worried look. They don't deal well

0:21:45.109 --> 0:21:49.369
<v S2>with authority. They're afraid or they're slightly aggressive. The men,

0:21:49.410 --> 0:21:52.090
<v S2>you know, and the men have that sort of that

0:21:52.130 --> 0:21:54.890
<v S2>sort of soft eyes that you get in Irish men.

0:21:54.930 --> 0:21:57.130
<v S2>But it could be a very hard jaw.

0:21:57.170 --> 0:21:58.090
<v S6>And what are the soft.

0:21:58.130 --> 0:21:59.530
<v S1>Eyes telegraphing vulnerability.

0:21:59.570 --> 0:22:00.129
<v S6>Like, what is it?

0:22:00.170 --> 0:22:02.330
<v S2>Yeah. You're home. It's all fine. You're all. We're all

0:22:02.369 --> 0:22:04.889
<v S2>together in this space. The cabin crew are all Irish.

0:22:04.930 --> 0:22:07.970
<v S2>Still on the air Lingus flights are all Irish. So

0:22:07.970 --> 0:22:09.890
<v S2>the woman in the middle of the night, as she's

0:22:09.890 --> 0:22:11.690
<v S2>passing you by, looks at you and says. Would you

0:22:11.690 --> 0:22:14.810
<v S2>like more tea? And straight from home. It's like exactly

0:22:14.810 --> 0:22:15.930
<v S2>what they used to say to you at home. Would

0:22:15.930 --> 0:22:16.490
<v S2>you like more tea?

0:22:16.530 --> 0:22:18.330
<v S6>No. Is this a good feeling or a bad feeling?

0:22:18.369 --> 0:22:21.050
<v S6>It's completely. When you first described it honestly. It's.

0:22:21.369 --> 0:22:24.730
<v S2>It is. It is frighteningly good. You know, suddenly you

0:22:24.730 --> 0:22:27.570
<v S2>realise all this stuff. I've been dealing with all these Americans,

0:22:27.570 --> 0:22:30.129
<v S2>and they're like their voices and their driving. Driving the

0:22:30.130 --> 0:22:32.930
<v S2>wrong side of the road. And they're like. They're just constant.

0:22:32.970 --> 0:22:37.530
<v S2>Like being being being American. It's so you can breathe

0:22:37.530 --> 0:22:39.730
<v S2>and you don't. You realise the amount of pressure you've

0:22:39.730 --> 0:22:43.929
<v S2>been under before and you're underplaying. It doesn't last, by

0:22:43.930 --> 0:22:47.740
<v S2>the way. It's quite a false piece of elation, but

0:22:47.740 --> 0:22:51.300
<v S2>it's real and everybody knows it. But it doesn't last.

0:22:51.500 --> 0:22:54.300
<v S1>It makes me wonder whether you have been thinking about

0:22:54.619 --> 0:22:57.380
<v S1>people who are exiled from their homes or threatened with exile.

0:22:57.420 --> 0:23:00.460
<v S1>You know, whether it's people in Ukraine or Gaza. Is

0:23:00.460 --> 0:23:02.580
<v S1>this something that you've been thinking much about?

0:23:02.619 --> 0:23:04.980
<v S2>I mean, I think part of the impulse behind Brooklyn was,

0:23:05.020 --> 0:23:06.900
<v S2>was to show what it's like to have to move

0:23:07.220 --> 0:23:10.100
<v S2>for economic reasons, in this case, to another country. The

0:23:10.100 --> 0:23:13.180
<v S2>initial loneliness, the strangeness, the homesickness, the sort of wrong

0:23:13.180 --> 0:23:17.500
<v S2>decisions made. And so, so that idea that migration itself

0:23:17.500 --> 0:23:20.140
<v S2>is not something you do in order to take things

0:23:20.140 --> 0:23:22.940
<v S2>from people. It brings its own pain. I think all

0:23:22.940 --> 0:23:25.220
<v S2>of us who come from societies where we can have

0:23:25.220 --> 0:23:26.820
<v S2>passports and where we can easily move from one place

0:23:26.820 --> 0:23:29.420
<v S2>to another, have to be aware that all around us

0:23:29.420 --> 0:23:31.780
<v S2>are now people who are moving for really good reasons,

0:23:31.780 --> 0:23:34.220
<v S2>and the idea that we're prejudiced against them or we're

0:23:34.220 --> 0:23:37.340
<v S2>blaming them for something or we're demonizing them is really horrible,

0:23:37.340 --> 0:23:39.820
<v S2>especially since we ourselves are so privileged.

0:23:41.500 --> 0:23:44.260
<v S1>Colm, it's been an absolute pleasure having you here.

0:23:44.300 --> 0:23:45.220
<v S2>Thank you very much. Thank you.

0:23:45.260 --> 0:24:00.280
<v S1>Thank you. Today's episode of The Morning Edition was produced

0:24:00.280 --> 0:24:04.080
<v S1>by myself and Josh towers, with technical assistance by Bella

0:24:04.080 --> 0:24:08.879
<v S1>Anne Sanchez. Our executive producer is Tammy Mills. Tom McKendrick

0:24:08.880 --> 0:24:11.719
<v S1>is our head of audio. To listen to our episodes

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0:24:35.720 --> 0:24:39.280
<v S1>Links are in the show. Notes. I'm Samantha Selinger. Morris.

0:24:39.440 --> 0:24:40.600
<v S1>Thanks for listening.