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Selected Poems 1988-2013

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A new edition of the later selected work of a Nobel Prize-winning poet

Often considered to be "the greatest poet of our age" ( The Guardian ), Seamus Heaney was awarded the Nobel Prize in Literature in 1995 "for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past." He saw poetry as a vocation and credited it with "the power to persuade the vulnerable part of our consciousness of its rightness in spite of the evidence of wrongness all around it, the power to remind us that we are hunters and gatherers of values." Paul Muldoon wrote that Heaney was "the only poet I can think of who was recognized worldwide as having moral as well as literary authority."
Shortly before his death in 2013, Seamus Heaney began to compile Selected Poems 1988�2013 , and although he was unable to complete the project, his choices have been followed here. This volume encapsulates the finest work from Seeing Things (1991) with its lines of loss and revelation; The Spirit Level (1996) where we experience "the poem as ploughshare that turns time / Up and over."; the landmark translation of Beowulf (1999); Electric Light (2001), a book of origins and oracles; and his final collections, District and Circle (2006) and Human Chain (2010), which limn the interconnectedness of being, our lifelines to our inherited past.

240 pages, Paperback

First published November 18, 2014

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About the author

Seamus Heaney

343Ìýbooks1,037Ìýfollowers
Works of Irish poet Seamus Justin Heaney reflect landscape, culture, and political crises of his homeland and include the collections Wintering Out (1972) and Field Work (1979) as well as a translation of Beowulf (1999). He won the Nobel Prize for literature in 1995.

This writer and lecturer won this prize "for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past."

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Displaying 1 - 16 of 16 reviews
Profile Image for Roger Brunyate.
946 reviews715 followers
June 26, 2018
Ìý
The Poem as Ploughshare

[NOTE: These reflections are inspired by both volumes of Heaney's selected poetry, the one listed here and its predecessor . They consider only one aspect of a very varied writer; I would hardly call them a review.]
I wanted to grow up and plough,
To close one eye, stiffen my arm.
All I ever did was follow
In his broad shadow round the farm.

I was a nuisance, tripping, falling,
Yapping always. But today
It is my father who keeps stumbling
Behind me, and will not go away.

These are the last two stanzas of "Follower," the fourth poem in the first volume. The poet recalls trudging eagerly behind his father as a child, "stumbling in his hob-nailed wake" as he guided the horse-drawn plough. But now in his mid-twenties, he has been off to college and university, learning the Latin and English classics, working not with plough but the pen. He has flown beyond his father, though still feeling the ties to the old soil. More than anything, it was the pathos of the push-pull forces of flight and return that struck me as I read through this extraordinary selection of Heaney's lifetime work.

Until I reviewed his translations of and Virgil's , I'm ashamed to say I had never read any Heaney. Which is amazing, because not only was he a Nobel Prize winner and by far the best-selling modern poet in Britain, he also hailed from my own part of the world, Northern Ireland. But with one important difference in that strife-torn country: I count myself British; Heaney never did. We both left home, traveled the world, taught at American universities (in his case, Harvard). But he kept coming back. In his poem "The Flight Path," he tells an anecdote of returning from New York, driving home from the airport, and being stopped at a roadblock:
When I answered that I came from 'far away',
The policeman at the roadblock snapped,
ÌýÌýÌýÌýÌýÌýÌýÌýÌýÌýÌýÌýÌýÌýÌýÌý'Where's that?'
He'd only half-heard what I said and thought
It was the name of some place up the country.

And now it is—both where I have been living
And where I left—a distance still to go
Like starlight that is light years on the go
From far away and takes light years arriving.
The Troubles in Northern Ireland erupted in bloodshed in Derry and Belfast the summer 1969. Heaney, aged 30, was far from his Ulster farm at the time, in Madrid. Helpless to intervene, he goes to the Prado and considers two paintings by Goya: one so immediate that it might have come from yesterday's newspaper, the other a timeless allegory of senseless violence. The whole poem is worth quoting:


While the Constabulary covered the mob
Firing into the Falls, I was suffering
Only the bullying sun of Madrid.
Each afternoon, in the casserole heat
Of the flat, as I sweated my way through
The life of Joyce, stinks from the fishmarket
Rose like the reek off a flax-dam.
At night on the balcony, gules of wine,
A sense of children in their dark corners,
Old women in black shawls near open windows,
The air a canyon rivering in Spanish.
We talked our way home over starlit plains
Where patent leather of the Guardia Civil
Gleamed like fish-bellies in flax-poisoned waters.

'Go back,' one said, 'try to touch the people.'
Another conjured Lorca from his hill.
We sat through death counts and bullfight reports
On the television, celebrities
Arrived from where the real thing still happened.

I retreated to the cool of the Prado.
Goya's 'Shootings of the Third of May'
Covered a wall—the thrown-up arms
And spasm of the rebel, the helmeted
And knapsacked military, the efficient
Rake of the fusillade. In the next room
His nightmares, grafted to the palace wall�
Dark cyclones, hosting, breaking: Saturn
Jewelled in the blood of his own children,
Gigantic Chaos turning his brute hips
Over the world. Also, that holmgang
Where two berserkers club each other to death
For honours's sake, greaved in a bog, and sinking.

He painted with his fists and elbows, flourished
The stained cape of his heart as history charged.


For anyone brought up in Ulster at the time, the fetid smell of flax being rotted to make linen lingers in the nostrils. And nobody who visited Spain would forget the sinister shiny uniform of the Guardia Civil, the police arm of what was still a fascist state, which the poet Lorca fought and died. Heaney may have been an exile, but fate put him in a place whose everyday resonances reminded him of the pain of his own country, forcing him to question his role. He would return home and write, describing violence but not urging it, giving readings to Catholic and Protestant alike. There are deaths in his poetry of the period, victims and killers, but he himself would neither be used for propaganda nor write verse of false consolation. Here is the opening and closing of his poem "Triptych":
There they were, as if our memory hatched them,
As if the unquiet founders walked again:
Two young men with rifles on the hill,
Profane and bracing as their instruments.

Who's sorry for our trouble?
Who dreamt that we might dwell among ourselves
In rain and scoured light and wind-dried stones?
Basalt, blood, water, headstones, leeches.

°Ú…]

From a cold hearthstone on Horse Island
I watched the sky beyond the open chimney
And listened to the thick rotations
Of an army helicopter patrolling.

A hammer and a cracked jug full of cobwebs
Lay on the window-sill. Everything in me
Wanted to bow down, to offer up,
To go barefoot, foetal and penitential.

And pray at the water's edge.
How we crept before we walked! I remembered
The helicopter shadowing our march at Newry,
The scared, irrevocable steps.
Heaney would soon move his young family down to the Republic of Ireland, becoming a full-time writer and exchanging his blue passport for a green. Increasingly, his life was spent in long visits to America and elsewhere, punctuated by periods of homecoming. I see the same pattern in his work, of widening ripples alternating with a quiet return to that still center. As a translator, for instance, he not only tackled the ancients such as Virgil, Ovid, and the Beowulf author, but also addressed modern texts in Czch, Polish, and Russian. His first major project, however, was the ancient Irish epic Buile Shuibhne, or Sweeney Astray, going back to his national roots to establish his own identity as a bard of Ireland.
Probably the most dense poem in the whole collection is the twelve-part Station Island, published in 1984. The title refers to the island in Lough Derg, a pilgrimage site also known as "Saint Patrick's Purgatory." Heaney had already visited it several times as a younger man, but now he goes in his imagination to consult with ghosts about his direction as a poet. As he wrote, "I needed to butt my way through a blockage, a pile-up of hampering stuff, everything that had gathered up inside me because of the way I was both in and out of the Northern Ireland situation. I wasn't actively involved, yet I felt dragged upon and put upon by it." He communes with figures from his childhood, teachers, priests, victims of sectarian violence, and a number of Irish writers ending with James Joyce, who advises him to lay down the burden of being a political voice:
Let go, let fly, forget
You've listened long enough. Now strike your note.

°Ú…]

ÌýÌýÌýÌýÌýÌýÌýÌýYou are raking at dead fires,
rehearsing the old whinges at your age.
That subject people's stuff is a cod's game,
infantile, like this peasant pilgrimage.

You lose more of yourself that you redeem
doing the decent thing. Keep at a tangent.
When they make the circle wide, it's time to swim

out on your own and fill the element
with signatures on your own frequency,
echo soundings, searches, probes, allurements,

elver-gleams in the dark of the whole sea.'


Even as "the dark of the whole sea" became increasingly his world, his center remained rooted, not in an idealized Ireland, but the farmland of Ulster where he had grown up; his "elver-gleams" recall the young eels famously raised in Lough Neagh, near his childhood home. "I learned, "he said, "that my local County Derry experience, which I had considered archaic and irrelevant to 'the modern world', was to be trusted. They taught me that trust and helped me to articulate it." His later collections contain many imagined returns to County Derry—including, in "The Poet's Chair," a repeat of the image of his father ploughing:
My father's ploughing one, two, three, four sides
Of the lea ground where I sit all seeing
At centre field, my back to the thorn tree
They never cut. The horses are all hoof
And burnished flank, I am all foreknowledge.
Of the poem as a ploughshare that turns time
Up and over. Of the chair in leaf
The fairy thorn is entering for the future.
Of being here for good in every sense.


======

Images:
ÌýÌýÌýÌýÌýÌý1. Ploughing by horse in Ireland
ÌýÌýÌýÌýÌýÌý2. Goya: Third of May, 1808
ÌýÌýÌýÌýÌýÌý3. Goya: Duel with Cudgels
ÌýÌýÌýÌýÌýÌý4. Station Island, Lough Derg
ÌýÌýÌýÌýÌýÌý5. Lough Neagh, near Heaney's birthplace
ÌýÌýÌýÌýÌýÌý6. Ancient rath near Heaney's birthplace
137 reviews
August 26, 2024
I read this on subway cars, buried deep in the hot earth, July in New York City. I read it poolside at the East Nashville YMCA, sunburning; I read it blearily early mornings, book in my left hand, my right pouring a thin stream of hot water over coffee grounds. There was so much beauty and depth here. I've never read work so committed to memory but just as committed in its refusal of nostalgia.

Some standouts:
"Postscript" (of course)
"Wraiths"
all the selections from Squarings ("Lightenings," "Settings," "Crossings," "Squarings")
"Two Lorries"
"The Little Canticles of Asturias"

Profile Image for Orlaith.
39 reviews
May 25, 2021
the final poem in here almost made me cry so 5/5 for making me feel something.
Profile Image for Sam.
18 reviews
December 8, 2023
“I saw you years from now
(More years than I’ll be allowed)�
AuthorÌý3 books7 followers
August 21, 2018
I didn't know what to expect of this book, admittedly I went into it completely blind and am glad I did. I have since purchased the companion collection and I am in awe. I highly recommend this collection to any readers who are bored of modern free firm; there are no wasted words in this book.
Profile Image for amanda.
79 reviews4 followers
July 27, 2024
“Worshipped language can’t undo / Damage time has done to you: / Even your peremptory trust / In words alone here bites the dust� (from ‘Audenesque�)

i’m being so normal and casual and chill about this. i’m definitely not on the verge of tears. no, certainly not.
Profile Image for Hunter Ross.
394 reviews186 followers
July 23, 2018
Love Seamus Heaney. This is a good collection of his poems. His poetry is always very vivid.
Profile Image for Andrew Dale.
63 reviews16 followers
June 1, 2024
I worked on this over the course of a whole year. Overall I really like his voice. The poems I think I liked the most were the descriptions of life in Ireland. I also liked the excerpt from his translation of Beowulf, which is really good and has a kind of hazy quality to it. There’s a fair bit of metaphor and obscure vocabulary at times but for the most part they are easy to appreciate.
Profile Image for Tim Hoiland.
412 reviews47 followers
February 5, 2025
"All these things entered you / As if they were both the door and what came through it. / They marked the spot, marked time and held it open."
Profile Image for World Literature Today.
1,190 reviews356 followers
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November 13, 2015
"Heaney himself preferred a poetry that was “unfussy and believable� and “the virtue of an art that knows its own mind.� His poetry is restrained and essential yet not terse, cramped, or epigrammatic. His poetics is willing to include “buttermilk and urine� in the same line but eschews flourish and ostentation. Though rhythmically formal, often written in masterful iambic pentameter lines, his verse has the feel of careful, natural speech (as Eliot said it should). We find a proportional balance to his use of imagery and rhythm as he focuses on the “real� world and ordinary lived experience." - Fred Dings, University of South Carolina
Profile Image for Edward Rathke.
AuthorÌý10 books147 followers
October 22, 2015
Been picking through this for a few months. Heaney writes long and densely worded poems, so it's not the kind of thing you can just sit down and tear through, but it's all very satisfying.

His poems are elegant in interesting ways and they tend to be very rural and proletarian. There's a lot of beauty and a lot of Irish in these poems, which makes me feel at home in them.

His understated way of discussing difficult topics, his love for the mundane and minute, and the way these all expand. Yeah, I can see what the fuss is about.
641 reviews5 followers
March 25, 2016
Thoughtful, Feeling Poetry

I have always liked Heaney's poetry and this collection is no exception. It contains some fine, subtle and yet emotional poems which sooth and awaken our humanity. A must read!
Profile Image for Matt.
46 reviews
April 14, 2015
An amazing command of English and wonderful allusions to the classics without being snooty. Have a dictionary and wikipedia on hand.
Profile Image for A..
254 reviews13 followers
July 8, 2016
Some lovely, nostalgic poems, mostly about childhood and family. Likely would have been more meaningful if I'd had more of an Irish background, but still has some appealing lines.
Displaying 1 - 16 of 16 reviews

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