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

By Michael Parker (auth.)

'...skilful and illuminating readings of person poems...It makes worthwhile examining for someone drawn to Heaney, poetry or Ireland.'- Phil Baker, Sunday occasions 'As a examine 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, college of St Andrews Seamus Heaney: The Making of the Poet offers the fullest account but of Heaney's formative years, and the stories, impacts and relationships - own, literary and political - that formed his poetic improvement. should still entice all these attracted to Heaney's paintings, common readers, scholars, academics and lecturers.

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Sieves that experience for its significance. The significant experience, so ingested, spends a period in the depths of the mind forming relationships with other material similarly collected and stored. 40 During this critical period between Spring 1962 and Autumn 1963, several other Celtic voices helped in the 'bedding'41 of the poet's ear. E. course at St Joseph's College of Education, Andersontown, Belfast, in 1962 he wrote an extended essay on 'Ulster literary magazines', which brought him into contact with writers such as W.

13 In 1939 he settled permanently in Dublin, and in the course of the 1950s edited his own periodical, Kavanagh's Weekly, along with his brother, Peter. The numerous articles and autobiographical essays produced during these years are gathered in his Collected Pruse, but he is best known for his long poem, The Great Hunger (1942), his autobiography, The Green Fool (1938) and his novel, Tarry Flynn (1948). 1 4 Although Kavanagh later came to reject The Great Hunger as lacking the discipline and detachment of great Art, less censorious commentators, Heaney amongst them, have recognised its significance in modern Irish literature, and valued its linguistic and technical richness, and its honest, passionate portrayal of a contemporary hunger.

I live times distilled from times past', he writes, but makes no attempt to incarnate the physical, sensual reality he knew. George McWhirter writes: Seamus wrapped himself in a label, which was a true disguise. He went round calling himself a 'parnassian'. Maybe he should have called his poetry 'proto-parnassian: there was a notion of A Good Anchor: Home and Education, 1939-61 25 fine style and in that (implied) the feeling that the fine style was yet to find its substance. 121 The next edition of Gorgon from February 1960 contains 'Aran' by 'Seamus J.

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