“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.”

In a way, Anglo-Saxon poetry cannot be translated.

Dylan Thomas is now as much a case history as a chapter in the history of poetry.

In poetry, everything can be faked but the intensity of utterance.

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.

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.

What I’ve said before, only half in joke, is that everybody in Ireland is famous. Or, maybe better, say everybody is familiar.

Poetry is always slightly mysterious, and you wonder what is your relationship to it.

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.

Poetry is more a threshold than a path.

I suppose you inevitably fall into habits of expression.

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.

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.

Sonnet is about movement in a form.

I’ve been in the habit of helping people.

My experience is that prose usually equals duty – last minute, overdue-deadline stuff or a panic lecture to be written.

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.