In Northern Ireland, helicopters are not usually used to promote poetry.
SEAMUS HEANEYThe experiment of poetry, as far as I am concerned, happens when the poem carries you beyond where you could have reasonably expected to go.
More Seamus Heaney Quotes
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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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Eternal life can mean utter reverence for life itself.
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You can have Irish identity in the north and also have your Irish passport.
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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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It’s difficult to learn poems off by heart that don’t rhyme.
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I think childhood is, generally speaking, a preparation for disappointment.
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In a way, Anglo-Saxon poetry cannot be translated.
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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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As a young poet, you need corroboration, and that’s what publication does.
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Poetry is what we do to break bread with the dead.
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The murder of Sean Brown hurt my soul.
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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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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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Dylan Thomas is now as much a case history as a chapter in the history of poetry.
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The poet is on the side of undeceiving the world.
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The end of art is peace.
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I always believed that whatever had to be written would somehow get itself written.
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I came from a farming background, and my career was teaching.
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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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In poetry, everything can be faked but the intensity of utterance.
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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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My experience is that prose usually equals duty – last minute, overdue-deadline stuff or a panic lecture to be written.
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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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At home in Ireland, there’s a habit of avoidance, an ironical attitude towards the authority figure.
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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 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.
SEAMUS HEANEY