The first, made from staged approximations of history that bond the memory of experience to what is already understood as fact – this version of reality feels right, but is ultimately believed by preference. The second is a real reality. This one avoids rendering life into acts that represent a larger truth; instead, it is occupied with boring objectivity and the cold light of day. It is inescapable. The Poorhouse Revisited comes into the full fold of the Selected Stories mantra through the fact that Michael Higgins began his work by literally digging up a film about a famine-era gravedigger. Although this story is certainly true, its poetic resonance is almost too perfect. It unites those two approximations of reality, and presents a conflict between mistrusting and being jealous of the ‘truth’, but being generally impressed with the feeling of what is right and appropriate. Perhaps that is a suitable way to close the door on Selected Stories; the idea that remembered reality primarily develops out of how ‘we’ feel about reality. If art wants to represent reality, then the question of how realness is felt becomes deeply problematic, highly useful, and totally unavoidable.- Seán O Sullivan, Selected Stories Part 5: Four Is To Three, The Joinery