Your first novel, “Ravelling”, is now available. Why does this work hold such significance in your heart, and from where does the title derive its meaning?
“Ravelling” is a celebration of camaraderie, dialect, locality, and some good-natured banter. I hold this work dear because it lets me express the unique personalities of these imperfect champions – five young men with roots in the Liberties, happy with their ordinariness but with an intrinsic heroism. The term “Ravelling” can imply breaking apart or advancing towards disorder, but it can also denote the converse – an entwining or solidification of threads. Once upon a time, the weaving crafts flourished in the Liberties. I adore the notion of communities symbolised as textiles, either coming apart or merging together.
Your story unravels in Dublin’s Liberties, an area you made your home at 19, following your birth in London and upbringing in Dundalk. Do these locations manifest in your narrative, both personally and professionally?
I have always shared a strong affection for London’s vibrant energy and feel an undeniable affinity towards it whenever I am there. We relocated to Dundalk when I was but five. Maturing close to the seashore near Dundalk was a fabulous experience. I value the residents’ humour, their regional tones, and still maintain strong ties with my school friends. Quite a lot transpires in Dundalk, it being a border town lends it a certain charm. When I relocated to this section of Dublin, I was accompanied by a mix of friends from my home. This group was a unique presence, the only scholars navigating an area still grappling with a heroin outbreak. There was crime aplenty but not devoid of motive. Imperturbability was less pronounced when compared to a Saturday night on the Square in Dundalk. I arrived here and never once thought of leaving. My offspring were raised here. It’s an area teeming with vitality, an utopia for an author.
Your story’s character ensemble is notably diverse. Was it your intention to explore this modern, multicultural facet of Ireland?
Multiculturalism is a term frequently used, but in reality, my novel illustrates Dublin’s singular culture. Everyone, irrespective of their place of origin, is experiencing life in Dublin. That’s what I wished to portray – the perpetual cycle of cultural amalgamation and augmentation. Cultures that resist change, stagnate. Dublin’s culture is a spirited kaleidoscope, at times risky, but consistently vibrant.
Your narrative hinges on a group of Leaving Cert students – Deano, Hamza, Oisín, Karl, and Benit. Do any of these characters hold a special place for you?
I’m fond of all these characters. They’ve become a part of my thoughts and feelings. I can hear their voices, visualise their countenances. To single one out among them would be unfair.
“Can elements in your book be traced back to real life incidents or stories you’ve been privy to?
Without a doubt, almost every element in my book is rooted in my experiences, observations, and shared narratives. The multifaceted characters drawn are joyful composites of various individuals I’ve come across in life.
Your storytelling is known for its humour. How did you manage incorporating this with the book’s more sombre undertones?
The reality is that very few lives are void of happiness. Especially Irish folk, and Dubs more specifically, have a knack for comedy. They employ humour and positive outlook as tools to navigate through trying times, not to downplay the graveness of the issues that the young males in my novel grapple with. Yet, a touch of humour can be a source of resiliency during the darkest hours.
Was it daunting to create characters based on young men?
It was nothing of that sort. These were the lads whom I would encounter day in and day out – be it on the streets, in stores, at hurling games, in Synge Street (my son’s school), or around my own kitchen table. They evoked both laughter and tears in me. I devoted time to understand them and found their anecdotes in general quite amusing and interesting. The prospect of writing about mature, indecisive women doesn’t really appeal to me as I’m already living that narrative.
Your book Ravelling is compared to Trainspotting, White Teeth and Milkman for its depiction of urban life. Did these influence your work?
Trainspotting greatly influenced my work with its realistic and candid depiction of drug usage, not focusing solely on the horrors tied to it. White Teeth was inspirational with its grand narrative, lively personas, and humour. Milkman is an extraordinary work that tackles grim topics – child luring, pestering, brutal violence, yet tells a tale of an unassuming young woman, observing, surviving and thriving against all odds. It is wonderfully punctuated with humour and to me, a masterpiece.
Ravelling is set to be made into a TV series by Sleeper Films. Will you be adapting it for the screen? Can you provide us with more details?
We have a remarkable scriptwriter on the team. I’ll be participating at a later stage in the writing process. It’s quite exhilarating as all those involved are utterly captivated by the project.
Ravelling was originally expected to be published in 2022. Could you tell us why it was delayed?”
In summary, it’s me. I was recruited at the inaugural of March 2020 and suddenly, lockdown ensued. Concurrently, my family life was descending into chaos. The social communication vital for my writings disappeared largely. Being somewhat of a Taoist, I firmly believe that every element has its moment. The book couldn’t have emerged until this moment.
You’ve successfully completed the master’s course in creative writing from UCD. What lessons have you gathered?
UCD’s teaching staff was astonishing. The educational programme encouraged me to explore fresh ideas and share my work. Upon doing it, I achieved publishing and start gaining recognition. It was UCD that ignited my writing career.
Which assignments are currently on your plate?
At present, I’m engaged in penning down short narratives and reverting to square one with my second novel.
If given a chance, which authors, living or departed, would you love to have at your fantasia dinner party?
I would extend my invitation to Kurt Vonnegut, Roddy Doyle, Toni Morrison, Iain Banks, Patrick Kavanagh, Brendan Behan, Maeve Binchy, Nell McCafferty, Elif Shafak, and Joseph Conrad.
Do you have a favoured quote?
“For every individual as per his capabilities, to every individual as per his requirements.”
Who has won your favour as a fictional character?
Stephen Wraysford rests at the top in Sebastian Faulks’ Birdsong.
A book that could elicit some humour?
Esther Woolfson’s Corvus can induce laughter.
A book capable of stirring emotions?
Watership Down can incite tears.
The book ‘Ravelling’ is available at Lilliput Press.