is an innovative and constantly changing new uk poetry site. Sheer Poetry has sections for primary teachers and students, secondary teachers and students, and for university level and the general poetry reader. Here you will find poems, articles, workshops, interviews and essays, question sessions and more, about and by Carol Ann Duffy, Gillian Clarke, Seamus Heaney, Simon Armitage, and others.
To my knowledge, the majority of Heaney's poems were written/
published between 1960 and 1990, though many of the poems refer to his
childhood in the 1940's.
However, other studies have found partners or family members of long-term survivors of breast, prostate and colorectal (with no sign of recurrence), have similar health status and levels of anxiety and depression reported by the general UK population (Edwards and Clarke, 2004).
Seamus Heaney (b. 13 April 1939–d. 30 August 2013), Nobel Prize winner in 1995, is possibly the foremost poet in the English-speaking world. He has produced thirteen collections of poetry, spanning the years 1966 to 2010, all of which have been critically and commercially popular. His work is widely quoted, and there have been some fifty monographs and collections written about his poetry, with articles and reviews numbering in the hundreds if not the thousands at this stage. He has also written five collections of prose essays that examine the role of the aesthetic in public discourse, and he has given numerous lectures, opinion pieces, guided readings, and interviews. He has produced award-winning translations of and , as well as a well-received translation of the Anglo-Saxon epic , which won the Whitbread Book of the Year in 2000, a rare achievement for a book of poetry. His work has become part of the public sphere, and his lines from (“ . . . and hope and history rhyme”) were quoted by Bill Clinton during the Irish peace process, which brought an end to thirty years of violence in Northern Ireland. In terms of his commentary on public events, he has come to fill the role of a public intellectual, and his poetry has chronicled the personal and societal development in Ireland over the last forty years or so, and he has written in some depth about political and social issues. The Nobel citation spoke of “works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past,” and Heaney’s work is becoming increasingly important in the area of English literature and in the broadly cognate area of Irish studies, as he voices concerns and attitudes that resonate with the concerns of Irish people in the 21st century, as well as forging broader connections across the anglophone world. His prose is also becoming an increasing object of separate study, and its scope and range sees it crossing the borders of literary criticism into the realm of aesthetic thinking in many places. His work is both popular and critically acclaimed. He is increasingly looked to for comments on the state of Ireland and has made the practice of poetry more central to public discourse in Ireland and, by extension, in the public sphere in general.
Provides a focused study up to Station Island, which sees Heaney as a complex writer who grounds the general in the particular, and whose focus is on inwardness. There is a strong focus on the unconscious aspects of language in Heaney’s work, and on the subtlety of the poems in their dealing with reality.
The revised edition of a seminal book looks at Heaney’s work up to The Spirit Level, with a chapter on each book, as well as a chapter on his prose (pp. 209–233). It focuses on theme, style, and development of language in strong close readings, and ably explains references and contextual issues.
This is an enlightened early study of Heaney’s poetry up to Field Work, which sees him as a postmodern poet, challenging a consensus that hitherto had admired Heaney’s poetry “for not being modern” (p. 12). Heaney is seen through the lens of writers such as Barthes and in terms of mediating silence and speech.
Generally Heaney's poems are influenced by animals through his childhood experience, specifically within 'The Early Purges' and 'An Advancement of Learning'.
The transition from innocence to experience is portrayed very well in the “Mid-Term Break” by Seamus Heaney and “Oranges” by Gary Soto, despite the catalysts being from two very different situations....
"I have located Vico's Democratic Age in the post-Goethean nineteenth century, when the literature of Italy and Spain ebbs, yielding eminence to England with its renaissance of the Renaissance in Romanticism, and to a lesser degree to France and Germany. This is also the era where the strength of both Russian and American literature begins."
His language is often onomatopoeic as he describes the Comparing the poems the Follower and Digging In the two poems, follower and Digging Seamus Heaney paints vivid, sensuous descriptions of his childhood memories of rural, Irish life.
Offers a solid introduction to Heaney’s work. Situates the volumes, up to The Spirit Level, in a chronological and developmental context. Connections are made to the political context and to the development of Heaney’s approach to this context. Readings are broad and largely thematic.
It is my intention, then, in this essay, to document how Seamus Heaney’s reaction to violence in his homeland has affected his writings, with particular reference to the volume of poetry entitled “North”....
Both of these poems are linked because they are about Heaney’s early memories of death and how he coped with these difficult situations when he was a young.