The faking of feelings is a sin against the imagination.
SEAMUS HEANEYThe 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.
More Seamus Heaney Quotes
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I suppose you could say my father’s world was Thomas Hardy and my mother’s D.H. Lawrence.
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In poetry, everything can be faked but the intensity of utterance.
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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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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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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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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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Poetry is a domestic art, most itself when most at home.
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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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In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself.
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The kinds of truth that art gives us many, many times are small truths. They don’t have the resonance of an encyclical from the Pope stating an eternal truth, but they partake of the quality of eternity. There is a sort of timeless delight in them.
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I came from a farming background, and my career was teaching.
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If poetry and the arts do anything, they can fortify your inner life, your inwardness.
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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.
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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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My father and mother had no sense of entitlement for their children.
SEAMUS HEANEY