I don't know anything about myself. Put it this way, there is no self. I believe that we're a compendium of personalities. We're whoever we meet. We … - John Banville

I never learned the names of the streets because I couldn't wait to get out. It was too small and I was bored. I was a pretentious little twerp and I had ideas above my station, which everyone should have. I was deeply ambitious but I was deeply dismissive of what was there and that was a mistake. Wexford was a fascinating town and so was the society. I remember a friend of mine telling me about wife-swapping parties that went on there and how people would throw their keys into the middle of a bowl. This was the late 1950s. I didn't believe a word of it. If I believed him and looked about, I would have found another version of Wexford. I'm not saying that I wanted to be at wife-swapping parties, but the Wexford I imagined wasn't necessarily the Wexford that was real. So I blinded myself and I was just as narrow-minded and blinkered as the people whom I despised there. That was a mistake.

But trying to be a painter did teach me to look at the world in a very particular way—looking very closely at things, at colors, at how things form themselves in space — and I've always been grateful for that. You have all this space, and you have a figure: what do you do with it? And in a way that’s what all art is. How do we find a place for our creatures, or inventions, in this incoherent space into which we’re thrown?

Every artist has a Dorian Gray slaving away in the attic.