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.
SEAMUS HEANEYIn poetry, everything can be faked but the intensity of utterance.
More Seamus Heaney Quotes
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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.
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Whether it be a matter of personal relations within a marriage or political initiatives within a peace process, there is no sure-fire do-it-yourself kit.
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We go to poetry, we go to literature in general, to be forwarded within ourselves.
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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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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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Even if the last move did not succeed, the inner command says move again.
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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 think that water is immediately interesting. It’s just, as an element, it is full of life. It is associated with origin; it is bright – it reflects you.
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I credit poetry for making this space-walk possible.
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The faking of feelings is a sin against the imagination.
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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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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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Dylan Thomas is now as much a case history as a chapter in the history of poetry.
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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 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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Poetry is more a threshold than a path.
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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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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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Poetry is a domestic art, most itself when most at home.
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Write whatever you like!
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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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Even if the hopes you started out with are dashed, hope has to be maintained.
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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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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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