“One doesn’t want one’s identity coerced.”

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.

I think childhood is, generally speaking, a preparation for disappointment.

I’m a firm believer in learning by heart.

I always had a superstitious fear of setting up a too well-designed writing place and then finding that the writing had absconded.

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.

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.

Even if the hopes you started out with are dashed, hope has to be maintained.

I spend almost every morning with mail.

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.