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Claire Kilroy attended the \"First Intensive Seminar Week on Irish Studies\" that Dr Pilar Villar Argáiz organised at the University of Granada (from 15th to 18th of December 2015), where the writer gave a talk about her latest novel, The Devil I Know. The aim of this interview was both to understand how the post-Celtic Tiger social context motivated not only the content of this novel but also its formal features, and to map the correlation between these two aspects. Kilroy also speaks about the political and cultural background of her book, her literary heritage, the creative process behind the composition of this novel, its characterisation devices and narrative structure, and her next writing projects. Key Words. Celtic Tiger Period, Contemporary Irish Literature, Claire Kilroy, Irish Fiction, Post-Celtic Tiger Literature. Claire Kilroy acudió al \"Primer Seminario Intensivo sobre Estudios Irlandeses\" organizado por la Dra. Pilar Villar Argáiz en la Universidad de Granada (del 15 al 18 de Diciembre de 2015), en el que la escritora irlandesa habló de su última novela, The Devil I Know. El objetivo de esta entrevista se centra en comprender el contenido de la novela así como sus características formales, todo ello originado por el contexto social de Irlanda tras el periodo conocido como Tigre Celta. Se buscará por tanto trazar la correlación entre ambos aspectos en la novela. Kilroy también habla aquí sobre el trasfondo cultural y político de su novela, sobre su herencia literaria, sobre el proceso creativo detrás de esta obra, sus mecanismos de caracterización y de estructura narrativa, y sobre sus próximos proyectos. Palabras clave. Periodo del Tigre Celta, literatura irlandesa contemporánea, Claire Kilroy, ficción irlandesa, literatura post-Tigre Celta.

Some of [Claire Kilroy]'s characters are dead but won't lie down, like the crooked Larney with his incessant riddles. [Tristram] himself is a cause of surprise to people who'd heard he was dead. And an exorbitant dance-of-death furore overtakes the narrative as the Celtic Tiger shrinks to a paper tiger and the shaggy-dog aspects of the story are given free rein. If the tiger's replacement is an ill-used, but once cherished pony, it seems a fitting comedown following extremes of hebetude and roguery.

I'd never heard of such a thing until an internet trawl. \"I haven't experienced a single positive thought about this baby,\" I confessed to [Alan], and then cried at the baby's predicament, having a mother who couldn't love it. I watched another stay-at-home mum shake a rattle to her baby's delight, her lunch untouched because she hadn't time to eat any more, never mind go out and I thought, nope, I can't do this, it's too inane and I'm too selfish. But the ominously omnipresent figure in black reminded me that my imagination had been snuffed out and that this was my life now. This was being a mother. I wasn't making myself clear so I came straight out with it: when does the risk of miscarriage fall off? There's a point, isn't there (I persisted) when the risk plummets? You'll just have to learn to trust in the Blessed Mother, the midwife informed me, confirming that all the years of progress I had made towards enlightenment and freedom of thought counted for nothing. My money was no good here. I was just a brood mare.

The prostitution of the motherland to property developers begins in [Tristram]'s cession of his maternal inheritance, Hilltop, for an apartment complex whose value increases exponentially by the day. The ventures of the so-called \"Golden Circle\" hyperinflate to plans for a new urban quarter for Dublin, \"to annex London\", \"to purchase Britain\", Shanghai, the world. The wine drunk by these dreamers is \"rich in tannin\", blackening their lips, hearts, souls. They laugh \"in a medieval display of mettle\", padding around the boardroom \"in an exhausted delirium, the mark of the plague still staining their lips\". A blackly comic afflatus swells until its essential bathos punctures it. I was reminded of Ben Jonson's Sir Epicure Mammon and the Jacobean world of The Alchemist and Volpone - but [Claire Kilroy]'s banal modern clones lack lascivious imagination. \"They are all the same. Boyler, Coyler, Doyler, sitting sharpening their knives.\"