“I credit poetry for making this space-walk possible.”

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.

Without needing to be theoretically instructed, consciousness quickly realizes that it is the site of variously contending discourses.

There’s never going to be a united Ireland, you know.

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.

As a young poet, you need corroboration, and that’s what publication does.

My father was a creature of the archaic world, really. He would have been entirely at home in a Gaelic hill-fort. His side of the family, and the houses I associate with his side of the family, belonged to a traditional rural Ireland.

The murder of Sean Brown hurt my soul.

I’ve always associated the moment of writing with a moment of lift, of joy, of unexpected reward.

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.