Biography of Seamus Heaney
Seamus Justin Heaney was an Irish poet, playwright, translator and lecturer, and the recipient of the 1995 Nobel Prize in Literature. In the early 1960s he became a lecturer in Belfast after attending university there, and began to publish poetry. He lived in Sandymount, Dublin from 1972 until his death.
Heaney was a professor at Harvard from 1981 to 1997 and its Poet in Residence from 1988 to 2006. From 1989 to 1994 he was also the Professor of Poetry at Oxford and in 1996 was made a Commandeur de l'Ordre des Arts et Lettres. Other awards that Heaney received include the Geoffrey Faber Memorial Prize (1968), the E. M. Forster Award (1975), the PEN Translation Prize (1985), the Golden Wreath of Poetry (2001), T. S. Eliot Prize (2006) and two Whitbread Prizes (1996 and 1999). In 2012, he was awarded the Lifetime Recognition Award from the Griffin Trust For Excellence In Poetry. Heaney's literary papers are held by the National Library of Ireland.
Robert Lowell called him "the most important Irish poet since Yeats" and many others, including the academic John Sutherland, have echoed the sentiment that he was "the greatest poet of our age". Robert Pinsky has stated that "with his wonderful gift of eye and ear Heaney has the gift of the story-teller". Upon his death in 2013, The Independent described him as "probably the best-known poet in the world".
Heaney was born on 13 April 1939, at the family farmhouse called Mossbawn, between Castledawson and Toomebridge in County Londonderry, Northern Ireland; he was the first of nine children. In 1953, his family moved to Bellaghy, a few miles away, which is now the family home. His father, Patrick Heaney (d. October 1986), was the eighth child of ten born to James and Sarah Heaney. Patrick was a farmer, but his real commitment was to cattle-dealing, to which he was introduced by the uncles who had cared for him after the early death of his own parents.
Heaney's mother, Margaret Kathleen McCann (1911–1984), who bore nine children, came from the McCann family, whose uncles and relations were employed in the local linen mill, and whose aunt had worked as a maid for the mill owner's family. Heaney commented on the fact that his parentage thus contained both the Ireland of the cattle-herding Gaelic past and the Ulster of the Industrial Revolution; he considered this to have been a significant tension in his background. Heaney initially attended Anahorish Primary School, and when he was twelve years old, he won a scholarship to St. Columb's College, a Roman Catholic boarding school situated in Derry. Heaney's brother, Christopher, was killed in a road accident at the age of four while Heaney was studying at St. Columb's. The poems "Mid-Term Break" and "The Blackbird of Glanmore" focus on his brother's death.
Death and Reaction
Heaney died in the Blackrock Clinic in Dublin on 30 August 2013, aged 74, following a short illness. After a fall outside a restaurant in Dublin, he entered hospital the night before his death for a medical procedure but died at 7:30 the following morning before it took place. His funeral was held in Donnybrook, Dublin, on the morning of 2 September 2013, and he was buried in the evening at his home village of Bellaghy, in the same graveyard as his parents, young brother, and other family members. His son Michael revealed at the funeral mass that his father's final words, "Noli timere", were texted to his wife, Marie, minutes before he died.
A crowd of 81,553 spectators applauded Heaney for three minutes at an All-Ireland Gaelic football semi-final match on September 1. His funeral was broadcast live the following day on RTÉ television and radio, and was streamed internationally at RTÉ's website, while RTÉ Radio 1 Extra transmitted a continuous broadcast, from 8 a.m. to 9:15 p.m. on the day of the funeral, of his Collected Poems album, recorded by Heaney himself in 2009. His poetry collections sold out rapidly in Irish bookshops immediately following his death.
Many tributes were paid to Heaney. President Michael D. Higgins said: "...we in Ireland will once again get a sense of the depth and range of the contribution of Seamus Heaney to our contemporary world, but what those of us who have had the privilege of his friendship and presence will miss is the extraordinary depth and warmth of his personality...Generations of Irish people will have been familiar with Seamus' poems. Scholars all over the world will have gained from the depth of the critical essays, and so many rights organisations will want to thank him for all the solidarity he gave to the struggles within the republic of conscience." Higgins also appreared live from Áras an Uachtaráin on the Nine O'Clock News in a five-minute segment in which he paid tribute to Heaney.
Bill Clinton, former President of the United States, said: "Both his stunning work and his life were a gift to the world. His mind, heart, and his uniquely Irish gift for language made him our finest poet of the rhythms of ordinary lives and a powerful voice for peace...His wonderful work, like that of his fellow Irish Nobel Prize winners Shaw, Yeats, and Beckett, will be a lasting gift for all the world." José Manuel Barroso, European Commission president, said: "I am greatly saddened today to learn of the death of Seamus Heaney, one of the great European poets of our lifetime...The strength, beauty and character of his words will endure for generations to come and were rightly recognised with the Nobel Prize for Literature." Harvard University issued a statement: "We are fortunate and proud to have counted Seamus Heaney as a revered member of the Harvard family. For us, as for people around the world, he epitomised the poet as a wellspring of humane insight and artful imagination, subtle wisdom and shining grace. We will remember him with deep affection and admiration."
Poet Michael Longley, a close friend of Heaney, said: "I feel like I've lost a brother". Thomas Kinsella was shocked but John Montague said he'd known for some time the poet was not well. Playwright Frank McGuinness called Heaney "the greatest Irishman of my generation: he had no rivals". Colm Tóibín wrote: "In a time of burnings and bombings Heaney used poetry to offer an alternative world". Gerald Dawe said he was "like an older brother who encouraged you to do the best you could do". Theo Dorgan said "[Heaney's] work will pass into permanence. Everywhere I go there is real shock at this. Seamus was one of us", while Heaney's publisher Faber and Faber noted that "his impact on literary culture is immeasurable." Playwright Tom Stoppard said, "Seamus never had a sour moment, neither in person nor on paper". Andrew Motion, a former UK Poet Laureate and friend of Heaney, called him "a great poet, a wonderful writer about poetry, and a person of truly exceptional grace and intelligence".
Upon his death, Heaney's books made up two-thirds of the sales of living poets in the UK. His work often deals with the local surroundings of Ireland, particularly in Northern Ireland, where he was born. Speaking of his early life and education, he commented "I learned 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." Death of a Naturalist (1966) and Door into the Dark (1969) mostly focus on the detail of rural, parochial life.
Allusions to sectarian difference, widespread in Northern Ireland through his lifetime, can be found in his poems. His books Wintering Out (1973) and North (1975) seek to interweave commentary on 'The Troubles' with a historical context and wider human experience. While some critics accused Heaney of being "an apologist and a mythologizer" of the violence, Blake Morrison suggests the poet "has written poems directly about the Troubles as well as elegies for friends and acquaintances who have died in them; he has tried to discover a historical framework in which to interpret the current unrest; and he has taken on the mantle of public spokesman, someone looked to for comment and guidance... Yet he has also shown signs of deeply resenting this role, defending the right of poets to be private and apolitical, and questioning the extent to which poetry, however 'committed,' can influence the course of history."
Shaun O'Connell in the New Boston Review notes that "those who see Seamus Heaney as a symbol of hope in a troubled land are not, of course, wrong to do so, though they may be missing much of the undercutting complexities of his poetry, the backwash of ironies which make him as bleak as he is bright." O'Connell notes in his Boston Review critique of Station Island: "Again and again Heaney pulls back from political purposes; despite its emblems of savagery, Station Island lends no rhetorical comfort to Republicanism. Politic about politics, Station Island is less about a united Ireland than about a poet seeking religious and aesthetic unity".
Heaney is described by critic Terry Eagleton as "an enlightened cosmopolitan liberal", refusing to be drawn. Eagleton suggests: "When the political is introduced... it is only in the context of what Heaney will or will not say." Reflections on what Heaney identifies as "tribal conflict", favour the description of people's lives and their voices, drawing out the 'psychic landscape'. His collections often recall the assassination of his family members and close friends, lynchings and bombings. Colm Tóibín wrote, "throughout his career there have been poems of simple evocation and description. His refusal to sum up or offer meaning is part of his tact."
Heaney published “Requiem for the Croppies”, a poem that commemorates the Irish rebels of 1798, on the 50th anniversary of the 1916 Easter Rising. He read the poem to both Catholic and Protestant audiences in Ireland. He commented "To read ‘'Requiem for the Croppies'’ wasn't to say ‘up the IRA’ or anything. It was silence-breaking rather than rabble-rousing.” He stated “You don't have to love it. You just have to permit it.”
He turned down the offer of laureateship partly for political reasons, commenting "I’ve nothing against the Queen personally: I had lunch at the Palace once upon a time". He stated that his "cultural starting point" was "off centre". A much-quoted statement was when he objected to being included in The Penguin Book of Contemporary British Poetry (1982), despite being born in Northern Ireland. His response to being included in the British anthology was delivered in his poem, An Open Letter:
"Don't be surprised if I demur, for, be advised
My passport's green.
No glass of ours was ever raised
To toast The Queen."
He was concerned, as a poet and a translator, with the English language itself as it is spoken in Ireland but also as spoken elsewhere and in other times; the Anglo-Saxon influences in his work and study are strong. Critic W. S. Di Piero noted "Whatever the occasion, childhood, farm life, politics and culture in Northern Ireland, other poets past and present, Heaney strikes time and again at the taproot of language, examining its genetic structures, trying to discover how it has served, in all its changes, as a culture bearer, a world to contain imaginations, at once a rhetorical weapon and nutriment of spirit. He writes of these matters with rare discrimination and resourcefulness, and a winning impatience with received wisdom." Heaney's first translation came with the Irish lyric poem "Buile Suibhne", published as Sweeney Astray: A Version from the Irish (1984), a character and connection taken up in Station Island (1984). Heaney's prize-winning translation of Beowulf (Farrar, Straus & Giroux, 2000, Whitbread Book of the Year Award) was seen as ground-breaking in its use of modern language melded with the original Anglo-Saxon 'music'.
His works of drama includes The Cure at Troy: A Version of Sophocles' Philoctetes (1991). Heaney's 2004 play The Burial at Thebes makes parallels between Creon with the foreign policies of the Bush administration.
Heaney's engagement with poetry as a necessary engine for cultural and personal change, is reflected in his prose works The Redress of Poetry (1995) and Finders Keepers: Selected Prose, 1971–2001 (2002). "When a poem rhymes," Heaney wrote, "when a form generates itself, when a metre provokes consciousness into new postures, it is already on the side of life. When a rhyme surprises and extends the fixed relations between words, that in itself protests against necessity. When language does more than enough, as it does in all achieved poetry, it opts for the condition of overlife, and rebels at limit." He expands: "The vision of reality which poetry offers should be transformative, more than just a printout of the given circumstances of its time and place". Often overlooked and underestimated in the direction of his work is his profound poetic debts to and critical engagement with 20th-century Eastern European poets, and in particular Nobel laureate Czesław Miłosz.
Heaney's work is used extensively on school syllabi internationally, including the anthologies The Rattle Bag (1982) and The School Bag (1997) (both edited with Ted Hughes). Originally entitled The Faber Book of Verse for Younger People on the Faber contract, Hughes and Heaney decided the The Rattle Bag's main purpose was to offer enjoyment to the reader: "Arbitrary riches". Heaney commented "the book in our heads was something closer to The Fancy Free Poetry Supplement". It included work that they would have liked to encountered sooner as well as nonsense rhymes, ballad-type poems, riddles, folk songs and rhythmical jingles. Much familiar canonical work was not included, since they took it for granted that their audience would know the standard fare. Fifteen years later The School Bag aimed at something different. The foreword stated that they wanted "less of a carnival, more like a checklist." It included poems in English, Irish, Welsh, Scots and Scots Gaelic, together with work reflecting the African-American experience. Heaney's work is also the basis for a collaboration with Mohammed Fairouz who composed a choral setting of Heaney's poems.
Seamus Heaney's Works:
Poetry: Main Collections
1966: Death of a Naturalist, Faber & Faber
1969: Door into the Dark, Faber & Faber
1972: Wintering Out, Faber & Faber
1975: North, Faber & Faber
1979: Field Work, Faber & Faber
1984: Station Island, Faber & Faber
1987: The Haw Lantern, Faber & Faber
1991: Seeing Things, Faber & Faber
1996: The Spirit Level, Faber & Faber
2001: Electric Light, Faber & Faber
2006: District and Circle, Faber & Faber
2010: Human Chain, Faber & Faber
Poetry: Collected Editions
1980: Selected Poems 1965-1975, Faber & Faber
1990: New Selected Poems 1966-1987, Faber & Faber
1998: Opened Ground: Poems 1966-1996, Faber & Faber
Prose: Main Collections
1980: Preoccupations: Selected Prose 1968-1978, Faber & Faber
1988: The Government of the Tongue, Faber & Faber
1995: The Redress of Poetry: Oxford Lectures, Faber & Faber
2002: Finders Keepers: Selected Prose 1971-2001, Faber & Faber
1990: The Cure at Troy A version of Sophocles' Philoctetes, Field Day
2004: The Burial at Thebes A version of Sophocles' Antigone, Faber & Faber
1983: Sweeney Astray: A version from the Irish, Field Day
1992: Sweeney's Flight (with Rachel Giese, photographer), Faber & Faber
1993: The Midnight Verdict: Translations from the Irish of Brian Merriman and from the Metamorphoses of Ovid, Gallery Press
1995: Laments, a cycle of Polish Renaissance elegies by Jan Kochanowski, translated with Stanisław Barańczak, Faber & Faber
1999: Beowulf, Faber & Faber
1999: Diary of One Who Vanished, a song cycle by Leoš Janáček of poems by Ozef Kalda, Faber & Faber
2002: Hallaig, Sorley MacLean Trust
2002: Arion, a poem by Alexander Pushkin, translated from the Russian, with a note by Olga Carlisle, Arion Press
2004: The Testament of Cresseid, Enitharmon Press
2004: Columcille The Scribe, The Royal Irish Academy
2009: The Testament of Cresseid & Seven Fables, Faber & Faber
Limited Editions and Booklets (poetry and prose)
1965: Eleven Poems, Queen's University
1968: The Island People, BBC
1968: Room to Rhyme, Arts Council N.I.
1969: A Lough Neagh Sequence, Phoenix
1970: Night Drive, Gilbertson
1970: A Boy Driving His Father to Confession, Sceptre Press
1973: Explorations, BBC
1975: Stations, Ulsterman Publications
1975: Bog Poems, Rainbow Press
1975: The Fire i' the Flint, Oxford University Press
1976: Four Poems, Crannog Press
1977: Glanmore Sonnets, Editions Monika Beck
1977: In Their Element, Arts Council N.I.
1978: Robert Lowell: A Memorial Address and an Elegy, Faber & Faber
1978: The Makings of a Music, University of Liverpool
1978: After Summer, Gallery Press
1979: Hedge School, Janus Press
1979: Ugolino, Carpenter Press
1979: Gravities, Charlotte Press
1979: A Family Album, Byron Press
1980: Toome, National College of Art and Design
1981: Sweeney Praises the Trees, Henry Pearson
1982: A Personal Selection, Ulster Museum
1982: Poems and a Memoir, Limited Editions Club
1983: An Open Letter, Field Day
1983: Among Schoolchildren, Queen's University
1984: Verses for a Fordham Commencement, Nadja Press
1984: Hailstones, Gallery Press
1985: From the Republic of Conscience, Amnesty International
1985: Place and Displacement, Dove Cottage
1985: Towards a Collaboration, Arts Council N.I.
1986: Clearances, Cornamona Press
1988: Readings in Contemporary Poetry, DIA Art Foundation
1988: The Sounds of Rain, Emory University
1989: An Upstairs Outlook, Linen Hall Library
1989: The Place of Writing, Emory University
1990: The Tree Clock, Linen Hall Library
1991: Squarings, Hieroglyph Editions
1992: Dylan the Durable, Bennington College
1992: The Gravel Walks, Lenoir Rhyne College
1992: The Golden Bough, Bonnefant Press
1993: Keeping Going, Bow and Arrow Press
1993: Joy or Night, University of Swansea
1994: Extending the Alphabet, Memorial University of Newfoundland
1994: Speranza in Reading, University of Tasmania
1995: Oscar Wilde Dedication, Westminster Abbey
1995: Charles Montgomery Monteith, All Souls College
1995: Crediting Poetry: The Nobel Lecture, Gallery Press
1997: Poet to Blacksmith, Pim Witteveen
1998: Commencement Address, UNC Chapel Hill
1998: Audenesque, Maeght
1999: The Light of the Leaves, Bonnefant Press
2001: Something to Write Home About, Flying Fox
2002: Hope and History, Rhodes University
2002: Ecologues in Extremis, Royal Irish Academy
2002: A Keen for the Coins, Lenoir Rhyne College
2003: Squarings, Arion Press
2004: Anything can Happen, Town House Publishers
2005: The Door Stands Open, Irish Writers Centre
2005: A Shiver, Clutag Press
2007: The Riverbank Field, Gallery Press
2008: Articulations, Royal Irish Academy
2008: One on a Side, Robert Frost Foundation
2009: Spelling It Out, Gallery Press
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Seamus Heaney Poems
Late August, given heavy rain and sun For a full week, the blackberries would ripen. At first, just one, a glossy purple clot Among others, red, green, hard as a knot.
I sat all morning in the college sick bay Counting bells knelling classes to a close. At two o'clock our neighbors drove me home.
Between my finger and my thumb The squat pen rests; snug as a gun.
My father worked with a horse-plough, His shoulders globed like a full sail strung Between the shafts and the furrow. The horse strained at his clicking tongue.
Her scarf a la Bardot, In suede flats for the walk, She came with me one evening For air and friendly talk.
Death Of A Naturalist
All year the flax-dam festered in the heart Of the townland; green and heavy headed Flax had rotted there, weighted down by huge sods. Daily it sweltered in the punishing sun.
We have no prairies To slice a big sun at evening-- Everywhere the eye concedes to Encrouching horizon,
Requiem For The Croppies
The pockets of our greatcoats full of barley... No kitchens on the run, no striking camp... We moved quick and sudden in our own country. The priest lay behind ditches with the tramp.
Act Of Union
I To-night, a first movement, a pulse, As if the rain in bogland gathered head
And some time make the time to drive out west Into County Clare, along the Flaggy Shore, In September or October, when the wind And the light are working off each other
It is December in Wicklow: Alders dripping, birches Inheriting the last light, The ash tree cold to look at.
There, in the corner, staring at his drink. The cap juts like a gantry's crossbeam, Cowling plated forehead and sledgehead jaw. Speech is clamped in the lips' vice.
She taught me what her uncle once taught her: How easily the biggest coal block split If you got the grain and the hammer angled right.
for Michael Longley As a child, they could not keep me from wells And old pumps with buckets and windlasses.
A rowan like a lipsticked girl.
Between the by-road and the main road
Alder trees at a wet and dripping distance
Stand off among the rushes.
There are the mud-flowers of dialect
And the immortelles of perfect pitch
And that moment when the bird sings very close
To the music of what happens