Memory has always been fundamental for me. In fact, remembering what I had forgotten is the way most of the poems get started.
SEAMUS HEANEYI don’t do as many readings as I used to. There was a time when I was on the road a lot more, at home in Ireland, in Britain, in Canada and the States, a time when I had more stamina and appetite for it.
More Seamus Heaney Quotes
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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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One doesn’t want one’s identity coerced.
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I’ve been in the habit of helping people.
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You can have Irish identity in the north and also have your Irish passport.
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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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It’s difficult to learn poems off by heart that don’t rhyme.
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I always believed that whatever had to be written would somehow get itself written.
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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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It is very true to say that work done by writers is quite often an attempt to give solid expression to that which is bothering them. They feel they have got it right if they express the stress.
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I don’t do as many readings as I used to. There was a time when I was on the road a lot more, at home in Ireland, in Britain, in Canada and the States, a time when I had more stamina and appetite for it.
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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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The murder of Sean Brown hurt my soul.
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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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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 more a threshold than a path.
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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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Manifesting that order of poetry where we can at last grow up to that which we stored up as we grew.
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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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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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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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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 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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Poetry is what we do to break bread with the dead.
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I think childhood is, generally speaking, a preparation for disappointment.
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I suppose you inevitably fall into habits of expression.
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Poetry is always slightly mysterious, and you wonder what is your relationship to it.
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