The problem as you get older, is that you become more self-aware. At the same time, you have to surprise yourself. There’s no way of arranging the surprise, so it is tricky.
SEAMUS HEANEYThe faking of feelings is a sin against the imagination.
More Seamus Heaney Quotes
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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.
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I believe we are put here to improve civilisation.
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Memory has always been fundamental for me. In fact, remembering what I had forgotten is the way most of the poems get started.
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Since I was a schoolboy, I’ve been used to being recognized on the road by old and young, and being bantered with and, indeed, being taunted.
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In a war situation or where violence and injustice are prevalent, poetry is called upon to be something more than a thing of beauty.
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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.
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The experiment of poetry, as far as I am concerned, happens when the poem carries you beyond where you could have reasonably expected to go.
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The Ireland I now inhabit is one that these Irish contemporaries have helped to imagine.
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In Northern Ireland, helicopters are not usually used to promote poetry.
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If you go into an underground train in London – probably anywhere, but chiefly in London – there’s that sense of almost entering a ghostly dimension. People are very still and quiet; they don’t exchange many pleasantries.
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My language and my sensibility are yearning to admit a kind of religious or transcendent dimension. But then there’s the reality: there’s no Heaven, no afterlife of the sort we were promised, and no personal God.
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I would say that something important for me and for my generation in Northern Ireland was the 1947 Education Act, which allowed students who won scholarships to go on to secondary schools and thence to university.
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I think childhood is, generally speaking, a preparation for disappointment.
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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.
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But that citizen’s perception was also at one with the truth in recognizing that the very brutality of the means by which the IRA were pursuing change was destructive of the trust upon which new possibilities would have to be based.
SEAMUS HEANEY