I think of the bog as a feminine goddess-ridden ground, rather like the territory of Ireland itself.
SEAMUS HEANEYI spend almost every morning with mail.
More Seamus Heaney Quotes
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I’m very conscious that people dear to me are alive in my imagination – poets in particular.
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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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Poetry is always slightly mysterious, and you wonder what is your relationship to it.
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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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In a war situation or where violence and injustice are prevalent, poetry is called upon to be something more than a thing of beauty.
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What I’ve said before, only half in joke, is that everybody in Ireland is famous. Or, maybe better, say everybody is familiar.
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I think childhood is, generally speaking, a preparation for disappointment.
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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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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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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 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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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.
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Dylan Thomas is now as much a case history as a chapter in the history of poetry.
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Your temperament is what you write with, but it’s also how you deal with the world.
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There is risk and truth to yourselves and the world before you.
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It’s difficult to learn poems off by heart that don’t rhyme.
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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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As a young poet, you need corroboration, and that’s what publication does.
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I suppose you could say my father’s world was Thomas Hardy and my mother’s D.H. Lawrence.
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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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Poetry is more a threshold than a path.
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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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Tom Sleigh’s poetry is hard-earned and well founded. I great admire the way it refuses to cut emotional corners and yet achieves a sense of lyric absolution.
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In Northern Ireland, helicopters are not usually used to promote poetry.
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I always believed that whatever had to be written would somehow get itself written.
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