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.
SEAMUS HEANEYAs writers and readers, as sinners and citizens, our realism and our aesthetic sense make us wary of crediting the positive note.
More Seamus Heaney Quotes
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Poetry is more a threshold than a path.
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Anyone born and bred in Northern Ireland can’t be too optimistic.
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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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It’s difficult to learn poems off by heart that don’t rhyme.
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Poetry is a domestic art, most itself when most at home.
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There is risk and truth to yourselves and the world before you.
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I always believed that whatever had to be written would somehow get itself written.
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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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Poetry is what we do to break bread with the dead.
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If poetry and the arts do anything, they can fortify your inner life, your inwardness.
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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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I think of Dermot Healy as the heir to Patrick Kavanagh.
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My experience is that prose usually equals duty – last minute, overdue-deadline stuff or a panic lecture to be written.
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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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In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium 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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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.
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I’m a firm believer in learning by heart.
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I think childhood is, generally speaking, a preparation for disappointment.
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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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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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Dylan Thomas is now as much a case history as a chapter in the history of poetry.
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My father and mother had no sense of entitlement for their children.
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Write whatever you like!
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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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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.
SEAMUS HEANEY