Your job is to find the detail and see where that takes you,” says Toibin. “Any time you write a novel or fiction, it’s just an idea that someone had. Toibin recreates Mary's awe, and the crowd's awe, but he also notes that Lazarus does not speak, nor seems to know where he is, and the wonder turns to quickly to profound dread. But to be dug out of the earth and reborn, in the sight of many, having been buried for days and left behind is, when you think about it, utterly terrifying. In performance Shaw memorably recreates the moment, as Mary watches her son raise a man from the dead. Of all the stories, of all the miracles, this is the one that is awe-inspiring.” Then I found that when I wrote it, it had taken pages. “When I was starting I intended that the Lazarus story, who Jesus raises from the dead, would be a small part, there would only be a glancing reference to it. Toibin admits that didn’t plan the play out in detail, although he did have in mind how it would go. If you give yourself the feeling first and then see what words come. It’s a question of actually inhabiting it,” he says. “No, because if you’re writing that it’s not a question of technically getting it down on the page.
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