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.
SEAMUS HEANEYMy 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.
More Seamus Heaney Quotes
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Every time you read a poem aloud to yourself in the presence of others, you are reading it into yourself and them. Voice helps to carry words farther and deeper than the eye.
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Eternal life can mean utter reverence for life itself.
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When I first encountered the name of the city of Stockholm, I little thought that I would ever visit it, never mind end up being welcomed to it as a guest of the Swedish Academy and the Nobel Foundation.
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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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I’ve always associated the moment of writing with a moment of lift, of joy, of unexpected reward.
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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.
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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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You yourself don’t have to be shaken by mortal danger in order to feel your mortality.
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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 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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There is risk and truth to yourselves and the world before you.
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As writers and readers, as sinners and citizens, our realism and our aesthetic sense make us wary of crediting the positive note.
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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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I have begun to think of life as a series of ripples widening out from an original center.
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My father and mother had no sense of entitlement for their children.
SEAMUS HEANEY