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“... Two of these speakers told Pizarro that ‘their lord the dead man agreed’ to his proposal, as Christopher Heaney describes in his chronicle of five hundred years of encounters with the lively Andean dead.Soon after capturing Atahualpa, the conquistadors looted the palace of his father, Huayna Capac. They took his gold ornaments but left his preserved ...”

“... had a palate coated o’er with brass who first risked the living morsel down his throat. Seamus Heaney offers ‘Oysters’ (‘Alive and violated’) as his opening. Opened at once are the oyster, the mouth, the meal and the book. It is at the start a delicious poem, not least in its play of the obdurate against the liquid:Our shells clacked on the ...”

“... The title-sequence of Seamus Heaney’s sixth collection finds him on Station Island, Lough Derg, more commonly known as St Patrick’s Purgatory. It’s the setting for a pilgrimage undertaken by thousands of Irish men and women each year. For three days they fast and pray, deprive themselves of sleep, and walk barefoot round the station ‘beds’ – circles of rough stones said to be the remains of monastic huts ...”

“... Towards​ the end of 1997, Seamus Heaney wrote to his friend Derek Mahon from Magdalen College, Oxford. ‘Amigo, Here briefly, at the fall of the leaf,’ he began, archly but affably. ‘The deer-park misty, the choir angelic, the heart aswim.’ Mahon had just published The Yellow Book, a collection of long-lined, sophisticated poems steeped in Baudelaire and the fin de siècle ...”

“... In an interview given in 1979, Seamus Heaney endorsed a fellow writer’s lament that ‘you feel bloody well guilty about writing.’ To judge by this new collection of critical essays, he still feels bloody well guilty about it. Indeed, the essays make the difficult relation between art and life – ‘let us put it more melodramatically and call them Song and Suffering’ – their main theme ...”

“... When​ the posthumous Collected Poems of W.H. Auden appeared in 1976, Seamus Heaney wrote an appreciative review for the magazine Hibernia in which he tolda story about a Ballymena listener calling the BBC one morning in 1969, after the Northern Ireland news had given a lot of coverage to speeches by civil rights leaders the previous evening ...”

“... that a ‘Northern Ireland Renaissance’ is ‘largely a journalistic entity’. Seamus Heaney, Derek Mahon, John Montague, Paul Muldoon, Seamus Deane, Michael Longley and their colleagues are from the North, and they are poets: but they are individual poets, not a school. They are not even two rival schools, though some of them have started ...”

“... place into the urban reservoir of their talent. MacDiarmid was crucial to him, and so was Seamus Heaney. The two names came together in the office one day when the paper was being put to bed. Karl is the only editor I’ve known who edited poems as if they were prose. It wasn’t beyond him to suggest the removal of lines or the scrapping of stanzas ...”

“... the millennial gift books already piling up on remainder tables, 1999 marked the appearance of Christopher Ricks’s successor to Arthur Quiller-Couch’s Oxford Book of English Verse, published a hundred years ago, revised in 1939, and followed in 1972 by Helen Gardner’s New Oxford Book; of the Longman Anthology of British Literature, a brashly ...”

“... it so, and no doubt they would not want to try. The Irish poets, even the potent figure of Seamus Heaney, are not outside these general tendencies, though no doubt some of the charisma of Ulster poets comes from the fact that distinction there is grimly real and community not a figure of speech. Such straightforwardness affords relief to a mainland poet’s ...”

“... a loudly answering chord from the settled centre! That is the predicament of Larkin, of Hughes, of Heaney: each of them initially supposing himself a marginal person speaking up for marginal people, yet forced to recognise – as the royalty statements convey their gratifying yet unnerving message – that the stance he had thought of as special was on the ...”

“... to even the least malignant of ironists’, whereas for others of us (Seamus Heaney, for one, who recently incorporated the poem – in Robert Pinsky’s superb translation – into a fervent lecture on poetry and political witness), ‘Incantation’ is a poem to freeze the spittled irony upon the lips of even the most malignant of ...”

“... to those who have one without the other. Those who have both will find that, among contemporaries, Christopher Reid and Michael Hofmann are classified as love poets but Craig Raine and Tony Harrison as blue versifiers. Only a few poets make both, including Seamus Heaney, who has two poems unworthy of him in the Whitworth ...”

“... need not care who should make the laws of a nation.’ But nationality still mattered: Seamus Heaney’s reaction to his inclusion in Blake Morrison and Andrew Motion’s 1982 Penguin Book of Contemporary British Poetry was ‘My passport’s green.’ Heaney, preoccupied with ‘the government of the tongue’, was ...”

“... the Return of the Sonnet is a creative, as well as Lit Crit, phenomenon, Tony Harrison and Seamus Heaney offer texts from The School of Eloquence, dis/continuous with Continuous, and from the autobiographical Clearances. Wallace Stevens could not be further from these political family sonnets. Indeed, no American – even one brought up here, like Levertov ...”