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’m not personally obsessed with death. At a certain age, the light that you live in is inhabited by the shades – it ’tis.
More Seamus Heaney Quotes
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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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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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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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Eternal life can mean utter reverence for life itself.
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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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Every time you read a poem aloud to yourself in the presence of others, you are reading it into yourself and them. Voice helps to carry words farther and deeper than the eye.
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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.
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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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The poet is on the side of undeceiving the world.
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The end of art is peace.
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In my early teens, I acquired a kind of representative status: went on behalf of the family to wakes and funerals and so on. And I would be counted on as an adult contributor when it came to farm work – the hay in the summertime, for example.
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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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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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My father and mother had no sense of entitlement for their children.
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I’ve said it before about the Nobel Prize: it’s like being struck by a more or less benign avalanche. It was unexpected, unlooked for, and extraordinary.
SEAMUS HEANEY






