You yourself don’t have to be shaken by mortal danger in order to feel your mortality.
SEAMUS HEANEYThe faking of feelings is a sin against the imagination.
More Seamus Heaney Quotes
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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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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.
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But that citizen’s perception was also at one with the truth in recognizing that the very brutality of the means by which the IRA were pursuing change was destructive of the trust upon which new possibilities would have to be based.
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I’m not personally obsessed with death. At a certain age, the light that you live in is inhabited by the shades – it ’tis.
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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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I have begun to think of life as a series of ripples widening out from an original center.
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In a way, Anglo-Saxon poetry cannot be translated.
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My father and mother had no sense of entitlement for their children.
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Poems that come swiftly are usually the ones that you keep.
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If poetry and the arts do anything, they can fortify your inner life, your inwardness.
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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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The completely solitary self: that’s where poetry comes from, and it gets isolated by crisis, and those crises are often very intimate also.
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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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The Ireland I now inhabit is one that these Irish contemporaries have helped to imagine.
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History says, ‘Don’t hope on this side of the grave.’
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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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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’m a firm believer in learning by heart.
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I suppose you inevitably fall into habits of expression.
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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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I’ve been in the habit of helping people.
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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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I don’t think my intelligence is naturally analytic or political.
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Memory has always been fundamental for me. In fact, remembering what I had forgotten is the way most of the poems get started.
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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.
SEAMUS HEANEY