Download Seamus Heaney: The Making of the Poet by Michael Parker (auth.) PDF

By Michael Parker (auth.)

'...skilful and illuminating readings of person poems...It makes lucrative analyzing for an individual attracted to Heaney, poetry or Ireland.'- Phil Baker, Sunday occasions 'As a learn of the dwelling poet, Michael Parker's e-book is exemplary in its intimacy and tact. not just are the phrases of a sentient well-read critic alive on each web page, yet so too are these of Seamus Heaney's poetry and personality.' - Douglas Dunn, collage of St Andrews Seamus Heaney: The Making of the Poet offers the fullest account but of Heaney's formative years, and the reports, impacts and relationships - own, literary and political - that formed his poetic improvement. may still attract all these attracted to Heaney's paintings, normal readers, scholars, academics and lecturers.

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Additional info for Seamus Heaney: The Making of the Poet

Sample text

To return to the initial image of the previous chapter, these personalities and literary experiences furnished Heaney with a second anchor, strengthened his craft, and enabled him to undertake ever more ambitious and testing voyages into himself. For part of his postgraduate education course, early in 1962, Seamus Heaney was sent for his teaching practice to St Thomas Intermediate School, Ballymurphy, the school where he would eventually take up his first appointment. He regarded himself later as 'very fortunate in my school and in my Principal',5 for the headmaster was Michael McLaverty, a distinguished, but much underrated, writer of short stories.

Kavanagh's treatment of childhood, his success in transmuting the simplest of recollections into something magical and enduring, made a more lasting impression. Heaney's reading of The Green Fool in the reference section of Belfast Public Library, no doubt strengthened his feelings of affinity, and may even have set off a few stray sparks of memory that 'caught' in poems. In Chapter 3, 'Schooldays', he would have read how Kavanagh's love of poetry was kindled by a Marian hymn, 'Hail, Queen of Heaven/ The ocean star / Guide of the wanderer / Here below',35 and recalled his own pleasure in 'the litany of the Blessed Virgin', 'part of the enforced poetry in our household',36 Chapter 7 contains a fine description of blackberry-picking, in which cheery greed and sensuous delight combine as they do in Heaney's poem.

Seamus Heaney's most significant non-Irish 'find' during his poetic novitiate was his discovery of the work of Ted Hughes, when in November 1962 he borrowed Lupercal from Belfast Public Library. ) and a subtle use of full and half-rhymes. Although their visions of the controlling Force or forces in the universe differ profoundly, Hopkins and Hughes share an intense reverence for creation, making words and worlds blaze with a religious awe. The celebration of sublime power in poems such as 'Wind', 'October Dawn', 'Crow Hill' and 'Pennines in April', in which Nature's ancient technology triumphs over the 'little world of Man', must have had a tremendous appeal for Heaney, whose upbringing had stressed humility and awe.

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