“I’m very conscious that people dear to me are alive in my imagination – poets in particular.”

I’m not personally obsessed with death. At a certain age, the light that you live in is inhabited by the shades – it ’tis.

My father and mother had no sense of entitlement for their children.

The experimental poetry thing is not my thing. It’s a programme of the avant-garde: basically a refusal of the kind of poetry I write.

Without needing to be theoretically instructed, consciousness quickly realizes that it is the site of variously contending discourses.

There’s never going to be a united Ireland, you know.

Whether it be a matter of personal relations within a marriage or political initiatives within a peace process, there is no sure-fire do-it-yourself kit.

As a young poet, you need corroboration, and that’s what publication does.

My father was a creature of the archaic world, really. He would have been entirely at home in a Gaelic hill-fort. His side of the family, and the houses I associate with his side of the family, belonged to a traditional rural Ireland.

I credit poetry for making this space-walk possible.

The murder of Sean Brown hurt my soul.

I’ve always associated the moment of writing with a moment of lift, of joy, of unexpected reward.

In a way, Anglo-Saxon poetry cannot be translated.

Dylan Thomas is now as much a case history as a chapter in the history of poetry.

In poetry, everything can be faked but the intensity of utterance.

One of the best descriptions of the type of writer I am was given by Tom Paulin, who described himself as a ‘binge’ writer – like a binge drinker. I go on binges.

The Heaneys were aristocrats, in the sense that they took for granted a code of behavior that was given and unspoken. Argumentation, persuasion, speech itself, for God’s sake, just seemed otiose and superfluous to them.