Barry Callaghan in the news this time

Leanne Delap, in the Globe & Mail, writes about Barry, his writing area, and art among other things. (via bookninja.com)

It also helps work in the couple's amusing collections of Mexican death dolls and scenes; there is a feast of the dead scene: skeleton dolls seated at formal table, alongside their own "Christmas dinner" dining table. ("To remind guests of their inevitable destiny," says Mr. Callaghan.) As for most of his father's stuff, Mr. Callaghan has done something very unusual. He took his father's old study (where he long wrote, at more of a radiator cover than a proper desk) and filled it with his parents' family and professional remembrances. He added dark floral retro wallpaper, a striking red Venetian chandelier, and hung the portraits of Morley and Loretta taken in Paris and here at home on the same porch that Mr. Callaghan and Ms. Weissman Wilks love so much today.

"When I first finished this room," says Mr. Callaghan, "someone came in and said, 'Wow, a shrine; your life must be really overwhelmed by Morley.' I said, 'No, you're missing the point, I've banished him to here.' " He laughs.
Thus, the rest of the house is his and Claire's. Touring the living room, he hovers over an armchair. "It's really hard to pass this without sitting down," he says. "This is where I read in the morning." In fact, since Mr. Callaghan still writes in longhand, he uses the whole place as his study.