“The Ireland I now inhabit is one that these Irish contemporaries have helped to imagine.”

Manifesting that order of poetry where we can at last grow up to that which we stored up as we grew.

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.

Poems that come swiftly are usually the ones that you keep.

I think of the bog as a feminine goddess-ridden ground, rather like the territory of Ireland itself.

Your temperament is what you write with, but it’s also how you deal with the world.

When I first encountered the name of the city of Stockholm, I little thought that I would ever visit it, never mind end up being welcomed to it as a guest of the Swedish Academy and the Nobel Foundation.

It’s difficult to learn poems off by heart that don’t rhyme.

The end of art is peace.

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.

I suppose you could say my father’s world was Thomas Hardy and my mother’s D.H. Lawrence.

The amount of sensory material stored up or stored down in the brain’s and the body’s systems is inestimable. It’s like a culture at the bottom of a jar, although it doesn’t grow, I think, or help anything else to grow unless you find a way to reach it and touch it.

The completely solitary self: that’s where poetry comes from, and it gets isolated by crisis, and those crises are often very intimate also.

A public expectation, it has to be said, not of poetry as such but of political positions variously approvable by mutually disapproving groups.

Eternal life can mean utter reverence for life itself.

I came from a farming background, and my career was teaching.

We go to poetry, we go to literature in general, to be forwarded within ourselves.