In poetry, everything can be faked but the intensity of utterance.
SEAMUS HEANEYWhether 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.
More Seamus Heaney Quotes
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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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I don’t think my intelligence is naturally analytic or political.
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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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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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I always believed that whatever had to be written would somehow get itself written.
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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 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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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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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.
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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 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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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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You yourself don’t have to be shaken by mortal danger in order to feel your mortality.
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I think of the bog as a feminine goddess-ridden ground, rather like the territory of Ireland itself.
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Poetry is always slightly mysterious, and you wonder what is your relationship to it.
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