“I think that water is immediately interesting. It’s just, as an element, it is full of life. It is associated with origin; it is bright – it reflects you.”

The group of writers I had grown up with in the ’60s – Derek Mahon, Michael Longley, James Simmons, John Hewitt, Paul Muldoon – formed a very necessary and self-sustaining group.

In a war situation or where violence and injustice are prevalent, poetry is called upon to be something more than a thing of beauty.

I’ve said it before about the Nobel Prize: it’s like being struck by a more or less benign avalanche. It was unexpected, unlooked for, and extraordinary.

Anyone born and bred in Northern Ireland can’t be too optimistic.

You yourself don’t have to be shaken by mortal danger in order to feel your mortality.

At home in Ireland, there’s a habit of avoidance, an ironical attitude towards the authority figure.

In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself.

I always believed that whatever had to be written would somehow get itself written.

Then as the years went on and my listening became more deliberate, I would climb up on an arm of our big sofa to get my ear closer to the wireless speaker.

I don’t think my intelligence is naturally analytic or political.

The kind of poet who founds and reconstitutes values is somebody like Yeats or Whitman – these are public value-founders.

In the United States, in poetry workshops, it’s now quite a thing to make graduate students learn poems by heart.

Memory has always been fundamental for me. In fact, remembering what I had forgotten is the way most of the poems get started.

The poet is on the side of undeceiving the world.

History says, ‘Don’t hope on this side of the grave.’

Nowadays, what an award gives is a sense of solidarity with the poetry guild, as it were: sustenance coming from the assent of your peers on the judging panel.