On the sex lives of the castrati.

On the parallel sadness of Thom Gunn and Elizabeth Bishop.

On the artist’s portrayal of violence and humanity.

In this excerpt from Colm Tóibín's Booker-nominated novel, Mary recounts the story of the raising of Lazarus from the dead.

"I know, because Marcus told me, that Mary and Martha, the two sisters of the dead boy, began to follow my son once they had heard the news of the lame walking and the blind seeing. And I understand that they would have done anything in those last silent days. They watched helplessly as their brother grew easily towards death in the same way as a source for a river, hidden under the earth, begins flowing and carries water across a plain to the sea. They would have done anything to divert the stream, make it meander on the plain and dry up under the weight of the sun. They would have done anything to keep their brother alive. They sent word to my son and they asked him to come but he did not. It was something I learned when I saw him myself, that, if the time was not right, he would not be disturbed by a merely human voice, or the pleadings of anyone he knew."

Exploring the relationship between authors and their parents.

It mattered to her that she could have, or might have, been a writer, and perhaps it mattered to me more than I fully understood. She watched my books appear with considerable interest, and wrote me an oddly formal letter about the style of each one, but she was, I knew, also uneasy about my novels. She found them too slow and sad and oddly personal. She was careful not to say too much about this, except once when she felt that I had described her and things which had happened to her too obviously and too openly. That time she said that she might indeed soon write her own book. She made a book sound like a weapon.