Nationality: Irish. Born: Sligo in 1950. Education: University College, Dublin. Career: Co-founder, Irish Writers Co-operative, 1974. Lives in Bray, County Wicklow. Awards: Arts Council bursary, 1976; Guardian Fiction prize, 1979; Cannes Film Festival Palme d'Or, 1986; Sorrento Film Festival De Sica award, 1986; New York Film Critics Circle award, Best Screenplay, 1992; Alexander Korda award, Best British Film, Best Direction, 1993; Writers Guild American Screen award, Best Screenplay Written Directly for Screen, 1993; Academy Award, Best Writing, Screenplay Written Directly for Screen 1993; Golden Lion award, Venice Film Festival, 1996; Crystal Isis award, Brussels International Film Festival, 1998; Silver Raven award, Brussels International Festival of Fantasy Film, 1999.

PUBLICATIONS

Novels

The Past. London, Cape, and New York, Braziller, 1980.

The Dream of a Beast. London, Chatto and Windus, 1983; New York, Random House, 1989.

Sunrise with Sea Monster. London, Chatto and Windus, 1994; NewYork, Random House, 1995.

Nightlines. New York, Random House, 1995.

Short Stories

Night in Tunisia and Other Stories. Dublin, Co-op, 1976; London, Writers and Readers, 1979.

Collected Fiction. London, Vintage, 1997.

Uncollected Short Stories

"A Bus, a Bridge, a Beach" and "The Old-Fashioned Lift," in Paddy No More. Nantucket, Massachusetts, Longship Press, 1978.

"The Artist" and "The Photographer," in New Writing and Writers 16. Atlantic Highlands, New Jersey, Humanities Press, 1979.

Plays

Screenplays:

Angel (Danny Boy), 1982; London, Faber, 1989; The Company of Wolves, with Angela Carter, 1984; Mona Lisa, with David Leland, 1986; London, Faber, 1986; High Spirits, 1988; London, Faber, 1989; We're No Angels, 1989; The Miracle, 1991; The Crying Game, 1992; Interview with the Vampire, 1994; Michael Collins, Geffen Pictures, 1996; published as Michael Collins: Screenplay and Film Diary, New York, Plume, 1996; (With Patrick McCabe), The Butcher Boy, Warner Brothers, 1997; (With Bruce Robinson), In Dreams, DreamWorks, 1999; The End of the Affair, 1999.

*

As always the man leaves his suburban house every morning for the city, walking past the hissing lawn-sprinklers to the station where people wait for trains that hardly ever come. In his office he works on a drawing for a campaign to advertise the scent of musk, whose animal attraction is peculiarly appropriate to the relationship developing between himself and the woman who has given him the commission. They meet and couple at the zoo, where escaping animals rustle and chatter in the undergrowth. Back home the man's loved ones regard him with mingled pain and unease as his appearance and behaviour degenerate to the point where he must be restrained.

But the flimsy doors of locked suburban bedrooms are not made for the caging of beasts. Out there in those decaying streets, a destiny is calling. In a phantasmagoria of frightening apocalyptic intensity, as the storm finally breaks over the city and indeed the world, the beast achieves an apotheosis that is both awesome and heartrendering.

Published in 1983 by Chatto & Windus.