Search results
Results from the WOW.Com Content Network
It has been described as the nearest thing in existence to an autobiography of Heaney. [1] O'Driscoll, who died on Christmas Eve 2012, was a poet, a friend of Heaney's and a student of his poetry. [2] The book is full of their conversations on poetry, life and so on. [3] It was first published in 2008 by Faber and Faber (ISBN 9780374269838).
REDCap (Research Electronic Data Capture) ... Download as PDF; Printable version; In other projects ... Text is available under the Creative Commons Attribution ...
It houses the Heaney Media Archive, a record of Heaney's entire oeuvre, along with a full catalogue of his radio and television presentations. [53] That same year, Heaney decided to lodge a substantial portion of his literary archive at Emory University as a memorial to the work of William M. Chace , the university's recently retired president.
In the preface, Heaney states his editor, Paul Keegan, encouraged him to create the book. Numerous essays in the book were previously published in earlier collections, namely 1980 Preoccupations, [2] 1988 The Government of the Tongue, 1995 The Redress of Poetry, and the 1989 collection of "Richard Ellmann Lectures in Modern Literature" given in Emory University titled The Place of Writing.
The book is a collection of Seamus Heaney's poems published between 1966 and 1996. It includes poems from Death of a Naturalist (1966), Door into the Dark (1969), Wintering Out (1972), Stations (1975), North (1975), Field Work (1979), Station Island (1984), The Haw Lantern (1987), Seeing Things (1991), and The Spirit Level (1996).
Heaney originally wanted to name the work “Polder.” His editor, Charles Monteith, insisted that Heaney change the title because readers may not be able to pronounce the word. Heaney then wanted the title “Easter Water,” but this name was also discarded in favor of the final name: Field Work.
But what makes Seamus Heaney's writing so fortifying is, partly, his temperament: his human chain is tolerant, durable, compassionate and every link is reinforced by literature." [3] Luke Smith of The Oxonian Review wrote, "Heaney is now 71, and Human Chain is his first book since the stroke. It should not surprise us, then, that the poems here ...
All poems, Eagleton wrote, make use of linguistic tricks to create the feeling of real phenomena, of restoring words to their full value, and Heaney liked that impression; "hence, perhaps, the rural-born Heaney's affection for Beowulf's burnished helmets and four-square, honest-to-goodness idiom, its Ulster-like bluffness and blood-spattered ...