The kinds of truth that art gives us many, many times are small truths. They don’t have the resonance of an encyclical from the Pope stating an eternal truth, but they partake of the quality of eternity. There is a sort of timeless delight in them.
SEAMUS HEANEYThere’s never going to be a united Ireland, you know.
More Seamus Heaney Quotes
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There is risk and truth to yourselves and the world before you.
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Anyone born and bred in Northern Ireland can’t be too optimistic.
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Poetry is what we do to break bread with the dead.
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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.
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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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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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A person from Northern Ireland is naturally cautious.
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The gift of writing is to be self-forgetful, to get a surge of inner life or inner supply or unexpected sense of empowerment, to be afloat, to be out of yourself.
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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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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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In poetry, everything can be faked but the intensity of utterance.
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I’m not personally obsessed with death. At a certain age, the light that you live in is inhabited by the shades – it ’tis.
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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.
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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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I’ve been in the habit of helping people.
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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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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 think my intelligence is naturally analytic or political.
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One doesn’t want one’s identity coerced.
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Nowadays, what an award gives is a sense of solidarity with the poetry guild, as it were: sustenance coming from the assent of your peers on the judging panel.
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I have begun to think of life as a series of ripples widening out from an original center.
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Poetry is always slightly mysterious, and you wonder what is your relationship to it.
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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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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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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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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 HEANEY