Vitruviana

for Felim Egan Heaney composes a sequence featuring three static graphic art shapes: a two-dimensional Renaissance drawing that Heaney realizes he once once copied in three dimensions as a youngster at the seaside; a much earlier sacred mural revamped for the twentieth; finally a Dublin Bay ‘canvas’ capturing in words the painting of an abstract artist who lived and worked there and to whom the poem is dedicated. Old postcards of Portstewart reveal the natural deep pool in which boy-Heaney on vacation could immerse himself and did (waded in up to the chest), then found his floating balance (half-suspended) and adopted a Vitruvian pose: (legs wide apart … arms stretched sideways  buoyant to the fingertips), the sea level with his […]