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240 pages, Paperback
First published November 18, 2014
I wanted to grow up and plough,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.
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.
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When I answered that I came from 'far away',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:
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.
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":![]()
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.
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There they were, as if our memory hatched them,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.
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.
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, forgetEven 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:
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.'![]()
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.
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