The writing of this book began in earnest in March 2019. Una Mannion was with me from early scratchings on the page to literally typing responses to the copy edits for me when I was too sick to do it myself. Without her, there simply wouldn’t be a book. I inflicted the final draft of Trespasses on Michael Nolan; his consideration and good opinion meant the world to me. Susan McKay’s nordie female gaze and attention to detail were invaluable in the last stages of writing. (She is also some craic.) Thanks to Réaltán Ní Leannáin for putting manners on my medicore Gaeilge at very short notice and for not making me feel thick.

Trespasses opens and closes with an imaginary sculpture inspired by the work of Sligo-based artist Bettina Seitz. I am indebted to Bettina for inspiration, and for describing how she makes her beautiful ghosts.

Thanks to Margaret Halton, John Ash, Rebecca Sandell and Patrick Walsh of PEW Literary. Very special thanks to my unbelievably brilliant and lovely agent Eleanor Birne; what a completely insane three years we’ve had.

To Sarah-Jane Forder: not only are you an exceptional copyeditor, but your patience and kindness are boundless.

Thanks to Rebecca Saletan, my wonderful editor at Riverhead, for a massive injection of clarity and energy in the last stretch, and to Catalina Trigo.

So many people at Bloomsbury helped me with this book. I am grateful to you all, but thanks especially to the unbelievably amazing Ros Ellis; there is no one I would rather get on the next train with. Huge thanks also to Stephanie Rathbone for being great at everything, Lauren Whybrow for keeping all the balls in the air with such humour and Cormac Kinsella for seeing no problems where I see many. Thanks to Greg Heinimann for yet another staggeringly beautiful cover… it made me fall in love with the title. As for you, Alexis Kirschbaum, my brilliant editor, thank you for having a vision of what this book could be when I could not always see it myself, and for making me want to do my very best. You are something else.

Lastly, thanks to my family and friends for everything. I would name you all, but somehow there are more of you than ever. Which, considering I have hardly left the house in two years, is a bit mad.

A NOTE ON THE AUTHOR

A NOTE ON THE AUTHOR

LOUISE KENNEDY grew up a few miles from Belfast. She is the author of the acclaimed short-story collection, The End of the World Is a Cul de Sac, and is the only woman to have been shortlisted twice for the Sunday Times Audible Short Story Award (2019 and 2020). Before starting her writing career, she spent nearly thirty years working as a chef. She lives in Sligo.