Blog - Page 8 of 21 - Connecting with Seamus Heaney

Settings xxi

The ‘Settings’ sequence presents a chain of backdrops against which personal events and dramas were played out. Within the dynamic period preceding Seeing Things when Heaney deliberately swooped on anything that stimulated memory or association (DOD 320), he allowed himself to be transported back by the poems that ‘came on’ to the sites, moments and emotions of previous experience, from where he weighed up what ‘in time … was extra, unforeseen and free’ (Markings I). The poem expresses a move away from the Catholic lessons to which Heaney was exposed as a boy (he might have said ‘overexposed’); his sole experience of firing an air-rifle (Once and only once) brought about a re-appraisal of soul, death and eternity. The […]

Settings xx

The ‘Settings’ sequence presents a chain of backdrops against which personal events and dramas were played out. Within the dynamic period preceding Seeing Things when Heaney deliberately swooped on anything that stimulated memory or association (DOD 320), he allowed himself to be transported back by the poems that ‘came on’ to the sites, moments and emotions of previous experience, from where he weighed up what ‘in time … was extra, unforeseen and free’ (Markings I). Behind every picture lurks a story. On tour the poet stands at a picture post-card site in Central Moscow (Red Square) and sifts what he sees against what he ‘knows’ about the Kremlin building: its brick wall ostensibly nothing out of the ordinary (unthreatening […]

Settings xix

The ‘Settings’ sequence presents a chain of backdrops against which personal events and dramas were played out. Within the dynamic period preceding Seeing Things when Heaney deliberately swooped on anything that stimulated memory or association (DOD 320), he allowed himself to be transported back by the poems that ‘came on’ to the sites, moments, models and emotions of primary experience, from where he weighed up what ‘in time … was extra, unforeseen and free’ (Markings I). Settings xix sets out a diorama of memory à la Heaney that features things that might play/ have played a role in its genesis. The reader peeks in as if from behind glass or through a peep-hole. Heaney paints a stage-set: something built […]

Settings xviii

The ‘Settings’ sequence presents a chain of backdrops against which personal events and dramas were played out. Within the dynamic period preceding Seeing Things when Heaney deliberately swooped on anything that stimulated memory or association (DOD 320), he allowed himself to be transported back by the poems that ‘came on’ to the sites, caricatures and emotions of primary experience, whence he weighs up what ‘in time … was extra, unforeseen and free’ (Markings I). A precocious youngster comments on a fall from power; his over-fifty-self credits that early discrimination. Attending a rural Ulster get-together of countrymen (fair-hill), young Heaney takes a dislike to a rope salesman. He watches the smutty routine of an individual who thinks highly of himself […]

Settings xvii

The ‘Settings’ sequence presents a chain of backdrops against which personal events and dramas were played out. Within the dynamic period preceding Seeing Things when Heaney deliberately swooped on anything that stimulated memory or association (DOD 320), he allowed himself to be transported back by the poems that ‘came on’ to the sites, subjects and emotions of primary experience, whence he weighs up what ‘in time … was extra, unforeseen and free’ (Markings I). All about ‘the myths surrounding eels’ (DOD93)! The poem sets an old wives’ tale alongside the non-scientific theory of an early classical scholar later discarded as poppycock. Heaney is taken by the eel’s alleged curative power useful to him at moments when his creative ‘blood […]

Settings xvi

The ‘Settings’ sequence presents a chain of backdrops against which personal events and dramas were played out. Within the dynamic of Seeing Things Heaney deliberately swooped on anything that stimulated memory or association (DOD 320), allowing himself to be transported back by the poems that ‘came on’ to the sites, substances and emotions of primary experience, whence he weighs up what ‘in time was extra, unforeseen and free’(Markings I). Heaney recalls a childhood rodent killer of massive proportions. Witnessed within the Heaney farmstead the deadly power of shop-bought Rat poison awakens myriad associations both contemporary and classical. Heaney’s young attention was particularly taken by the mystical change in the substance’s colouring, from dull, reddy-brown blood pudding to light-catching phosphorescent; its thick […]

Settings xv

The ‘Settings’ sequence presents a chain of backdrops against which personal events and dramas were played out. Within the dynamic of Seeing Things Heaney deliberately swooped on anything that stimulated memory or association (DOD 320), allowed himself to be transported back by the poems that ‘came on’ to the sites, moments and emotions of primary experience; his aim is to credit ‘marvels’ that he failed to recognize first time round. Heaney conceded in conversation with DOD (322) that the death of his father, Patrick, contributed to his sinking sense of being ‘unroofed’ at this stage in his life and may have influenced the re-evaluations that Seeing Things undertakes. Heaney relives a moment of revelation. His sensitivity to the compositional […]

Settings xiv

The ‘Settings’ sequence presents a chain of backdrops against which personal events and dramas were played out. Within the dynamic of Seeing Things Heaney deliberately swooped on anything that stimulated memory or association (DOD 320), willingly transported back by the poems that ‘came on’ to the sites and moments of primary experience; his aim is to credit the ‘marvels’ he failed to recognize first time round. The railway cutting close to Heaney’s childhood home in Mossbawn becomes the melting-pot in which his future was being formed. An ‘ordinary’ afternoon from the 1940s awakens within Heaney a sense of the extraordinary and is treated with classical splendour – a boy standing on his local railway trackfigured as an innocent abroad (seraph) […]

Settings xiii

The ‘Settings’ sequence presents a chain of backdrops against which personal events and dramas were played out. Within the dynamic of Seeing Things Heaney deliberately swooped on anything that stimulated memory or association (DOD 320), willingly transported back by the poems that ‘came on’ to the sites, sensations and moments of primary experience, whence he sets out to give the marvels that emerged the credit-rating they failed to achieve first time round. The rich tapestry of Heaney’s upbringing and his subsequent career and relationships are particularly suggestive of the decorative mountings into which priceless gemstones and rich memories are set both as invaluable personal items and poems of beauty. Settings xiii unfolds within a setting of sun-drenched languor: hints […]

Lightenings xii

The title of the first section, ‘Lightenings’, arrived by accident, when I found a dictionary entry that gives it to mean ‘a flaring of the spirit at the moment before death’. And there were also the attendant meanings of being unburdened and being illuminated, all of which fitted what was going on as the first poems got written (DOD321). The message that emerges is that Heaney accepted the ‘attendant meanings’ readily enough but had greater difficulty coming to terms with a definition linking imminent death with a soaring of the spirit; he finds an example that encapsulated his dilemma but does not solve it. He is weighing the Catholic teachings to which he was exposed against the doubts generated […]

Lightenings xi

The title of the first section, ‘Lightenings’, arrived by accident, when I found a dictionary entry that gives it to mean ‘a flaring of the spirit at the moment before death’. And there were also the attendant meanings of being unburdened and being illuminated, all of which fitted what was going on as the first poems got written (DOD321) Heaney offered his reader a clue as to how to ‘enter’ the poems: You could think of every poem in ‘Squarings’ as the peg at the end of a tent-rope reaching up into the airy structure, but still with purchase on something earthier and more obscure (DOD 320); So long for air to brighten, said Fosterling, Time to be dazzled and […]

Lightenings x

Heaney offered his reader a clue as to how to ‘enter’ the poems: You could think of every poem in ‘Squarings’ as the peg at the end of a tent-rope reaching up into the airy structure, but still with purchase on something earthier and more obscure (DOD 320). So long for air to brighten, said Fosterling. Time to be dazzled and the heart to lighten. Heaney’s observer sits astride a crag top at a quarry’s edge, close to a sheer drop (Overhang of grass) where Nature clings precariously but persistently to life (seedling birch). Heaney identifies himself as the lofty speaker (Rock-hob where you watched), a man in his fifties studying the cargoed brightness carried along by the laws of meteorology: ineffable (travelling/ […]

Lightenings ix

Heaney offers his reader a clue as to how to ‘enter’ the Squarings poems: You could think of every poem in ‘Squarings’ as the peg at the end of a tent-rope reaching up into the airy structure, but still with purchase on something earthier and more obscure (DOD 320); Three triplets revisit a childhood moment when child-Heaney felt totally happy, comfortable and secure; the final triplet reveals the sadness of a poet in his fifties for whom the loss of those who nursed him on that day undermines the old certainties. The insecurity generated by the scary boat movement at Inishbofin (Seeing Things I) is replaced: the craft in which they stand on Lough Neagh within a few miles […]

Lightenings viii

Heaney offered his reader a clue as to how to ‘enter’ the Squarings poems: You could think of every poem in ‘Squarings’ as the peg at the end of a tent-rope reaching up into the airy structure, but still with purchase on something earthier and more obscure (DOD 320); Early Christian and Celtic legend was prone to present mysterious, miraculous illusions to create a sense of awe in humble minds. Heaney’s version of the legend of Clonmacnoise (The annals say) unfolds in a space between the earth-bound world of a 6th century chapel and an airy, transcendent reality above; the staging provides a kind of ‘skylight’ through which a person may pass from one to the other. The monks, […]

Lightenings vii

The title of the first section, ‘Lightenings’, arrived by accident, when I found a dictionary entry that gives it to mean ‘a flaring of the spirit at the moment before death’. And there were also the attendant meanings of being unburdened and being illuminated, all of which fitted what was going on as the first poems got written (DOD321) Heaney offers his reader a clue as to how to ‘enter’ the Squarings poems: You could think of every poem in ‘Squarings’ as the peg at the end of a tent-rope reaching up into the airy structure, but still with purchase on something earthier and more obscure (DOD 320); Lightenings vi and vii form a double-sided coin: vi portrays Hardy as […]

Lightenings vi

The title of the first section, ‘Lightenings’, arrived by accident, when I found a dictionary entry that gives it to mean ‘a flaring of the spirit at the moment before death’. And there were also the attendant meanings of being unburdened and being illuminated, all of which fitted what was going on as the first poems got written (for example) the one about Thomas Hardy as a child on his back among a flock of sheep, gazing up at the heavens (DOD321). Heaney offers his reader a clue as to how to ‘enter’ the Squarings poems: You could think of every poem in ‘Squarings’ as the peg at the end of a tent-rope reaching up into the airy structure, […]

Lightenings v

Heaney offered his reader a clue as to how to ‘enter’ the Squarings poems: You could think of every poem in ‘Squarings’ as the peg at the end of a tent-rope reaching up into the airy structure, but still with purchase on something earthier and more obscure (DOD 320); all three aspects are clearly visible in this piece. So long for air to brighten, said Fosterling, Time to be dazzled and the heart to lighten. The material marble pitch of Lightenings iii is still to be seen forty years on thumbed in the concrete road while the concrete was still wet, whereas the school-friend who played with him at the time is half the world away (vanished Into Australia). The hieroglyph with […]

Lightenings iv

Heaney offered his reader a clue as to how to ‘enter’ the Squarings poems: You could think of every poem in ‘Squarings’ as the peg at the end of a tent-rope reaching up into the airy structure, but still with purchase on something earthier and more obscure (DOD 320). So long for air to brighten, said Fosterling, Time to be dazzled and the heart to lighten. Heaney composes a study in the production, transmission, reception and effects of sound as it impacts on a pleasure moment. The transcendental sounds of a dramatic performance ascend through the roofless structure of an earth-bound arena into infinite space. He is watching an open-air performance in a Roman theatre. As the spectacle develops he becomes […]

Lightenings iii

Heaney offered his reader a clue as to how to ‘enter’ the ‘Squarings’ poems: You could think of every poem ( ) as the peg at the end of a tent-rope reaching up into the airy structure, but still with purchase on something earthier and more obscure (DOD 320). So long for air to brighten, said Fosterling, Time to be dazzled and the heart to lighten. Heaney offers a master-class in describing, in the closest detail imaginable, what it takes to be a successful marble-shooter. Viewed through the lens of time a first order experience takes on new significance. Heaney runs through the infinite modulations of a childhood game played in the road outside Mossbawn farm, weighing up (squarings) […]

Lightenings ii

Heaney talked about the therapeutic role Glanmore played in his life : the formal purchase we’d arranged with Ann Saddlemyer restored us to the ‘beloved vale’ in Wicklow. Glanmore Cottage was available from then on as a completely silent place of writing, close to Dublin, no phone, no interruptions whatsoever. In fact, the second poem of the ‘Squarings’ sequence is an immediate act of thanksgiving for the cottage as a ‘bastion of sensation’. ‘Batten down’, it says. ‘Dig in. / Drink out of tin. Know the scullery cold’ -this was before we’d got the central heating. All that naturally sent a powerful surge through the system, as did the writing of ‘Fosterling’, which ended by stating that it was ‘Time to […]

Lightenings i

Heaney offered his reader a clue as to how to ‘enter’ the Squarings poems: You could think of every poem in ‘Squarings’ as the peg at the end of a tent-rope reaching up into the airy structure, but still with purchase on something earthier and more obscure (DOD 320). This first Lightening‘s airiness resides in the dazzling sky above, its earthiness in the roofless ‘Irish’ farmstead in which a vagrant figure waits ; its obscurity, more personal and complicated, derives from the poet’s own whirl of feelings involving the loss of both parents (‘the final unroofing of the world’ – DOD322) and his exposure to what Helen Vendler refers to as ‘unignorable annihilation’ (138). HV offers her own key to […]

Fosterling

‘That heavy greenness fostered by water’ The epigraph is taken from John Montague’s The Water Carrier in which the poet as a child fetched water for domestic use from two outdoor sources and recounts the emotions he still feels. Heaney’s Fosterling is here to sing the praises of that same landscape. The poet returns to the lost domain of childhood as a fosterling: before he reached twenty he had left his farming background behind and moved to Queen’s University Belfast as an undergraduate. Taken over by an entirely different lifestyle he would never permanently […]

The Sounds of Rain

in memoriam Richard Ellmann Richard David Ellmann: prominent American literary critic; biographer of the Irish writers James Joyce, Oscar Wilde, and William Butler Yeats. Ellman died in Oxford in 1987. Each panel of the triptych is framed within the sound of rain. Its centre-piece II showcases a fellow Nobel laureate and an academic from Harvard days … the poet reflects on comments they made. The side panels are rain-soaked: in I, as the poet emerges from sleep (then came to), Heaney is visited by mourning voices; in III, […]

Wheels within Wheels

The title’s reference to a ‘complicated system affected by secret or indirect influences’ (OED) is born out in practice. A fun moment provided young Heaney with an entrance into his developing self. Born an intelligent, inquisitive youngster on the family’s rural farm, he enjoyed the thrill of putting his bicycle to experimental use, carefully noting the ‘what-happened’. He discovered the spin, motion around a central axis, force fields, gravity, and deflections dictated by the laws of physics at an early age. I The poet’s first experience of working something out for himself (first reaI grip I ever got on things) involved the art of pedaling – not astride his bicycle, rather with the bike upside down on its seat […]

The Rescue

Nearly two decades have elapsed since Heaney published Somnambulist in Wintering Out. That very short poem was a ‘Wordsworthian’ dream of guilt and repentance closely following Summer Home in which Marie Heaney had been sorely tested by her husband. It demonstrated the poet’s use of a poetic dream to say ‘I am sorry’. The Rescue, similar in brevity and style, exposes the inner recesses of the poet’s consciousness. In a dream sequence that takes place in an arctic wasteland Heaney delivers his beloved from the snow. It demonstrated the poet’s use of a poetic dream to say ‘I love you’. Somewhere in a dream (drifts of sleep) the speaker chances upon his beloved in life-threatening circumstances (Buried to your […]