My point is there’s a hidden Scotland in anyone who speaks the Northern Ireland speech. It’s a terrific complicating factor, not just in Northern Ireland, but Ireland generally.
SEAMUS HEANEYIn the United States, in poetry workshops, it’s now quite a thing to make graduate students learn poems by heart.
More Seamus Heaney Quotes
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Sonnet is about movement in a form.
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I think the first little jolt I got was reading Gerard Manley Hopkins – I liked other poems… but Hopkins was kind of electric for me – he changed the rules with speech, and the whole intensity of the language was there and so on.
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I’ve been in the habit of helping people.
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My father and mother had no sense of entitlement for their children.
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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.
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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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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.
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The fact of the matter is that the most unexpected and miraculous thing in my life was the arrival in it of poetry itself – as a vocation and an elevation almost.
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A public expectation, it has to be said, not of poetry as such but of political positions variously approvable by mutually disapproving groups.
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What I’ve said before, only half in joke, is that everybody in Ireland is famous. Or, maybe better, say everybody is familiar.
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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.
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In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself.
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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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Tom Sleigh’s poetry is hard-earned and well founded. I great admire the way it refuses to cut emotional corners and yet achieves a sense of lyric absolution.
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Dylan Thomas is now as much a case history as a chapter in the history of poetry.
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