I feel myself part of something. Not only being part of a community but part of an actual moment and a movement of Irish writing and art. That sense of being part of the whole thing is the deepest joy.
SEAMUS HEANEYI 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.
More Seamus Heaney Quotes
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In the United States, in poetry workshops, it’s now quite a thing to make graduate students learn poems by heart.
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History says, ‘Don’t hope on this side of the grave.’
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I’m a firm believer in learning by heart.
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Poems that come swiftly are usually the ones that you keep.
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Then as the years went on and my listening became more deliberate, I would climb up on an arm of our big sofa to get my ear closer to the wireless speaker.
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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.
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Poetry is what we do to break bread with the dead.
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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.
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In Northern Ireland, helicopters are not usually used to promote poetry.
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Loyalism, or Unionism, or Protestantism, or whatever you want to call it, in Northern Ireland – it operates not as a class system, but a caste system.
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I always had a superstitious fear of setting up a too well-designed writing place and then finding that the writing had absconded.
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Sonnet is about movement in a form.
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If poetry and the arts do anything, they can fortify your inner life, your inwardness.
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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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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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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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As writers and readers, as sinners and citizens, our realism and our aesthetic sense make us wary of crediting the positive note.
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What I’ve said before, only half in joke, is that everybody in Ireland is famous. Or, maybe better, say everybody is familiar.
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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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Poetry is more a threshold than a path.
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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 experiment of poetry, as far as I am concerned, happens when the poem carries you beyond where you could have reasonably expected to go.
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I think of Dermot Healy as the heir to Patrick Kavanagh.
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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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Even if the hopes you started out with are dashed, hope has to be maintained.
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It’s difficult to learn poems off by heart that don’t rhyme.
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