The piece on Beckett – which Tóibín wrote for the London Review of Books as a critique of the playwright's first volume of letters – goes on to show how Beckett sought a way to address Ireland in his work "without any reference to its mythology, its history, the amusing oddness of its people or the so-called lilt of its language." Tóibín maintains that Beckett found more inspiration in the paintings of Jack Yeats (the brother of poet William Butler Yeats) than in the work of any Irish writer, much the same way as the trailblazing young Hemingway strove toward a new literary style by studying the paintings of Cézanne.
Lacking the sensible nature of his father or brother, the dreamy, impractical Beckett was, says Tóibín, "the sort of young man who was made to break his poor mother's heart." While she fretted over his waywardness, he bunked with a bohemian aunt and uncle, distancing himself from his mother's "savage loving" as he would keep his distance from Ireland. Despite Beckett's self-imposed exile, both mother and motherland helped to form the writer he became, and found an oblique expression in his strange and austerely beautiful theatrical inventions.