Dylan Moran

I grew up in a house where there was lots of teasing and language play and laughter; it was very important. When I was a teenager, you wouldn't go to a bar and find lots of televisions everywhere. People were talking. Talk was the mental fire you would gather around in the evening. It occupied a big part of your existence.

Stand-up came naturally to me because people in Ireland talk. But that's not talking on panel shows; it is structured fun. It reminds me of some tragic aunt clapping her hands and bouncing into a room and announcing we should all play games... and if we don't we are all a rotten spoilsport.

DeLillo has said that he no longer feels a compulsion to write long, compendious books. In his later years, Saul Bellow said something similar. DeLillo, of course, has written very long in the past, notably with the 850-page Underworld (1997), and his story has been America.

I have 800 books of just Samuel Beckett's work, tons of his correspondence, personal letters that he wrote. I have copies of plays he used when he directed, so all of his handwritten notes are in the corners of the page.

In his enigmatic and cunning story 'The Crown of Feathers,' Isaac Bashevis Singer refuses to produce uncontradictory evidence of God's will but rather mixes all signals, jams the evidence, stalls every conclusion.