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.
SEAMUS HEANEYYour temperament is what you write with, but it’s also how you deal with the world.
More Seamus Heaney Quotes
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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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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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I’ve been in the habit of helping people.
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My father and mother had no sense of entitlement for their children.
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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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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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At home in Ireland, there’s a habit of avoidance, an ironical attitude towards the authority figure.
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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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The poet is on the side of undeceiving the world.
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I always believed that whatever had to be written would somehow get itself written.
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I credit poetry for making this space-walk possible.
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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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Even if the last move did not succeed, the inner command says move again.
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I think childhood is, generally speaking, a preparation for disappointment.
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I think of Dermot Healy as the heir to Patrick Kavanagh.
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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.
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A public expectation, it has to be said, not of poetry as such but of political positions variously approvable by mutually disapproving groups.
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I think the first little jolt I got was reading Gerard Manley Hopkins – I liked other poems… but Hopkins was kind of electric for me – he changed the rules with speech, and the whole intensity of the language was there and so on.
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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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My experience is that prose usually equals duty – last minute, overdue-deadline stuff or a panic lecture to be written.
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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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It’s difficult to learn poems off by heart that don’t rhyme.
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In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself.
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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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Write whatever you like!
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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.
SEAMUS HEANEY