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.
SEAMUS HEANEYIn a war situation or where violence and injustice are prevalent, poetry is called upon to be something more than a thing of beauty.
More Seamus Heaney Quotes
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The kind of poet who founds and reconstitutes values is somebody like Yeats or Whitman – these are public value-founders.
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The gift of writing is to be self-forgetful, to get a surge of inner life or inner supply or unexpected sense of empowerment, to be afloat, to be out of yourself.
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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.
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Sonnet is about movement in a form.
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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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The Ireland I now inhabit is one that these Irish contemporaries have helped to imagine.
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Poetry is always slightly mysterious, and you wonder what is your relationship to it.
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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 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.
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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.
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The faking of feelings is a sin against the imagination.
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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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There’s never going to be a united Ireland, you know.
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Poetry is a domestic art, most itself when most at home.
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I think of the bog as a feminine goddess-ridden ground, rather like the territory of Ireland itself.
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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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In my early teens, I acquired a kind of representative status: went on behalf of the family to wakes and funerals and so on. And I would be counted on as an adult contributor when it came to farm work – the hay in the summertime, for example.
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We go to poetry, we go to literature in general, to be forwarded within ourselves.
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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.
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Even if the hopes you started out with are dashed, hope has to be maintained.
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The amount of sensory material stored up or stored down in the brain’s and the body’s systems is inestimable. It’s like a culture at the bottom of a jar, although it doesn’t grow, I think, or help anything else to grow unless you find a way to reach it and touch it.
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Without needing to be theoretically instructed, consciousness quickly realizes that it is the site of variously contending discourses.
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I always had a superstitious fear of setting up a too well-designed writing place and then finding that the writing had absconded.
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If poetry and the arts do anything, they can fortify your inner life, your inwardness.
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I’m very conscious that people dear to me are alive in my imagination – poets in particular.
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Your temperament is what you write with, but it’s also how you deal with the world.
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