Pub Date : 2023-03-01DOI: 10.1353/eir.2023.a910475
Bobbie Hanvey
Photographing Seamus Bobbie Hanvey in 1972 I was living in Cassidy’s Flats at 124 Saul Street, Down-patrick, Co. Down, and still working as a psychiatric nurse in the Downshire Hospital. There was plenty of room in Cassidy’s Flats: a big living room, a bedroom, a kitchen, and another big room that I turned into a darkroom. I spent most of my time in there. A pot of fresh vegetable soup was simmering on the stove with the marrow from the bone stamping its authority on the bubbling brew. Snowflakes melted on the footpath outside, but nobody noticed. The kitchen door swung open, and the tall, mighty frame of my good friend, the filmmaker, broadcaster, and folk singer David Hammond wearing big shiny boots and a tweed cap stepped in. “Bobbie, meet Seamus Heaney,” he said. “Doctor Hanvey, I presume!” “Near enough, Seamus. You’re very welcome to Saul Street. Would yourself and David like a bowl of soup?” “Now you’re talking,” said Seamus. “That’s a big pot, I might take two,” laughed Hammond. And he did! As a flurry of white bread was being broken and quickly dipped in soup, Seamus told me that he and his wife Marie were moving to live near Ashford in County Wicklow where they had rented a house. He would need his car taxed in Northern Ireland, and since there was a tax office in Downpatrick, he asked if I would do the needful and tax it for him every year for the next three years. I said that wouldn’t be a problem and I would be delighted to do so. At that time, it was cheaper to tax your car in Northern Ireland than in the Irish Republic. After visiting the tax office and collecting the disc for Seamus’s first car—a second-hand, dark-blue Volkswagen Beetle, registration [End Page 249] number JI 5751—I hot-footed it to the local post office, and within an hour or so it was on its way to County Wicklow. In 1979 I photographed his wife Marie’s sister Helen’s wedding in Dublin, and in 1985 I wrote Seamus a note. Dear Seamus, I hope your car is going well. I’m sure you haven’t forgotten the times when I got it taxed when you hadn’t a penny! I was sorry to hear that your clutch packed in near Athy in County Kildare. Do you think a photo-session at a time of your choosing would be possible? Love to Marie. Yours sincerely, Bobbie I photographed Seamus many times down the years, and one of my favorite shots of him features on the cover of the book Stepping Stones: Interviews with Seamus Heaney by Dennis O’Driscoll. The others that I liked were those where he wore his father’s jacket, topcoat, hat, and Wellington boots and carried his walking stick (see figures 4, 5, and 6). These were taken in a peat bog near Bellaghy, Co. Derry, where he grew up. Ten years after the bog session I met up with Seamus at a family wedding. “Bobbie, do you remember the day when you photographed me wearing my father’s gear?” “Yes, I do. Soft oul’ rain on the sod that day.” “Well, what I want to say to you is, you would never get me to do that again.” “Fair enough, Seamus, but dress
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Pub Date : 2023-03-01DOI: 10.1353/eir.2023.a910463
Maureen Kennelly
Seamus Heaney: Afterlives in Ireland’s Public Domain Maureen Kennelly (bio) More than any other artist of his generation, Seamus Heaney naturalized the art of poetry in everyday life. I begin by tracing his moral and aesthetic grounding in his rural Irish roots—but then consider why Heaney’s work remains so fully a part of Irish consciousness a full decade after his death. Through their enduring afterlives presence, Heaney’s words have increasingly become threaded into the public domain, a phenomenon visible not only in Ireland’s response to its 2013 loss, but also in the founding of a range of exhibitions and institutions devoted to exploring, displaying, and supporting his influence on Irish society—including the work of countless visual arts and musicians. In “Something to Write Home About,” an early essay in Finders Keepers (51–62), Heaney recalls how as a toddler he had removed the slats from his cot, remembering the contact that his warm feet made with the cold floor. He remembers the “immediate sensation of surprise; and then something deeper, more gradual, a sensation of consolidation and familiarity, the whole reassuring foundation of the earth coming up into you” (55). He continues, describing the feeling of being in two places at once—and the sensation of finding a space inside himself that he could still enter years after through the memory of his feet on the cold cement. This sense of groundedness is also reflected in “The Loose Box” in Electric Light: “You’ve found your feet in what ‘surefooted’ means / And in the ground of your own understanding—” (15). “In Time,” a poem dedicated to a new granddaughter Síofra and first published in The New Yorker soon after his death, again refers to that grounded sensation Heaney recalls from his own childhood: Your bare foot on the floorKeeps me in step; the powerI first felt come up through [End Page 128] Our cement floor long agoPalps your sole and heelAnd earths you here for real.1 Popular Afterlives Evidence of Heaney’s influence in the public domain might be found in the behavior of those who attended Croke Park on 2 September 2013 for the All-Ireland National Gaelic Football semifinal championship. In a moment expressing the grief of a nation, eighty thousand football fans stood in a hushed silence—and then applause—in Dublin’s national sporting stadium just two days after the poet’s death. Heaney was revered for many reasons in Ireland, and although the announcer acclaimed the poet for his literary accomplishments, he also affectionately noted that Heaney had played junior football in Castledawson as a boy.2 No stranger to such large sporting arenas, Heaney had appeared, with the Russian poet Andrei Voznesenski, at a series of immense basketball stadiums in the course of a career of public readings that forged deep connections with huge audiences in Ireland—and worldwide. The final line of Heaney’s midcareer poem “Alphabets” focuses on the artistry of a Bellaghy craftsman on the family ga
谢默斯·希尼:爱尔兰公共领域的后生莫林·肯纳利(传记)与同时代的任何一位艺术家相比，谢默斯·希尼将诗歌艺术融入了日常生活。我首先追溯了他在爱尔兰农村的道德和美学基础，然后思考为什么希尼的作品在他去世整整十年后仍然是爱尔兰意识的一部分。希尼的遗言在后世流传，越来越多地进入公共领域，这一现象不仅体现在爱尔兰对2013年失去希尼的回应上，也体现在一系列展览和机构的建立上，这些展览和机构致力于探索、展示和支持希尼对爱尔兰社会的影响，其中包括无数视觉艺术和音乐家的作品。希尼在《发现者与守门人》(finding Keepers, 51-62)早期的一篇文章《有些事要写回家》(Something to Write Home About)中回忆了他在蹒跚学步时如何从婴儿床上取下板条，回忆起他温暖的脚与冰冷的地板的接触。他记得“当时的惊讶感;然后是一种更深刻、更渐进的感觉，一种巩固和熟悉的感觉，整个大地的坚实基础向你袭来”(55)。他继续描述自己同时身处两个地方的感觉，以及在自己内心找到一个空间的感觉，多年后，他仍然可以通过脚踩在冰冷的水泥上的记忆进入这个空间。这种接地气的感觉也反映在《电灯》中的“松散的盒子”中:“你已经在‘脚踏实地’的意思中找到了你的脚/在你自己理解的基础上找到了你的脚——”(15)。《及时》(In Time)是一首献给新孙女Síofra的诗，在希尼去世后不久首次发表在《纽约客》(The new Yorker)上。这首诗再次提到了希尼回忆起自己童年时的那种脚踏实地的感觉:你光着脚踩在地板上，让我保持步伐;很久以前，我第一次感受到的力量是从我们的水泥地面上来的，踩着你的脚掌，踩着你的脚跟，把你真正地埋在这里2013年9月2日，在克罗克公园观看全爱尔兰国家爱尔兰足球半决赛的观众的行为可以看出希尼在公共领域的影响力。在诗人去世两天后，八万名球迷在都柏林国家体育馆内肃静起立，然后鼓掌，表达了一个国家的悲痛。希尼在爱尔兰受人尊敬的原因有很多，尽管解说员称赞这位诗人的文学成就，但他也亲切地指出，希尼小时候曾在卡斯尔道森踢过少年足球希尼对这种大型体育场馆并不陌生，他曾与俄罗斯诗人安德烈·沃兹涅先斯基(Andrei Voznesenski)一起出现在一系列巨大的篮球场，在他的公共阅读生涯中，与爱尔兰乃至全世界的大量观众建立了深厚的联系。希尼在职业生涯中期创作的诗歌《字母表》(Alphabets)的最后一行，聚焦于贝拉吉家族(Bellaghy)工匠在山墙上的艺术表现:或者像我自己在沉思之前的凝视一样，所有人都热切地注视着梯子上的泥水匠，掠过我们的山墙，用他的抹刀尖，一个接一个地写着我们的名字。(HL 3) 2013年8月30日，希尼匆忙接受心脏手术，他给妻子发了最后一条短信，都柏林街头艺术家梅瑟(Maser)将这条短信抄写在都柏林城市山墙的一端;这位诗人的拉丁语单词“noli timere”——翻译成“不要害怕”——被印在都柏林波多贝罗社区的那堵墙上(图1)。山墙在希尼的诗歌中经常出现——与粘土、水井、水泵一起出现——将他乡村出生地贝拉吉的山墙与他在都柏林的另一堵山墙联系起来似乎是恰当的，都柏林是他生命最后四十年的城市住所。梅瑟的致敬已经成为无数游客的热门目的地，表明希尼在爱尔兰流行文学和国际文化中前所未有的地位。单击查看大图查看全分辨率图1。“梅瑟，不要害怕。”2013年，梅瑟拍摄。得到梅瑟的许可。一个……
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Pub Date : 2023-03-01DOI: 10.1353/eir.2023.a910472
Annemarie Ní Churreáin, Kelly Sullivan
Annemarie Ní Churreáin Annemarie Ní Churreáin and Kelly Sullivan annemarie ní churreáin is from the Donegal Gaeltacht. Her collections include Bloodroot (Doire Press, 2017), Town (The Salvage Press, 2018) and The Poison Glen (The Gallery Press, 2021). She is a recipient of the Irish Arts Council’s Next Generation Artist Award, a co-recipient of The Markievicz Award and a former literary fellow of Akademie Schloss Solitude (Germany). Ní Churreáin is editor of issue 140 of Poetry Ireland Review and she is the new poetry editor of The Stinging Fly. ________ Annemarie Ní Churreáin and Kelly Sullivan communicated by email between April and August 2023. This interview has been edited and condensed for clarity. kelly sullivan: Do you remember when you first encountered Heaney’s poetry? annemarie ní churreáin: My first encounter with Heaney was through “Mid-Term Break” (Death of A Naturalist, 1966). I was a schoolgirl living at home with my family in northwest Donegal and my parents, who were also foster carers, had recently relinquished a young infant from their care. I remember that overnight the house fell into a deep, flowering quiet. I packed away the infant cot, the blankets, the bottle sterilizing equipment into the attic. It was not, of course, a death, but it was a deathly absence. What I recognized in Heaney’s poem was what it means to be a child among adults bewildered by grief. When I later sat with North in my hands I was not yet old enough to absorb the full impact of the poems, but I found myself every bit as moved by the solemnity of the body laid out in the bog as I had been by the solemnity of the deceased child laid out in the coffin. These were my first early lessons in language as ceremony. [End Page 209] sullivan: Were you actively working on your own poetry at that time? ní churreáin: I was not actively working on my first poetry collection until I undertook an M.Phil. in creative writing at Trinity College Dublin in 2009, but even as a child I’d been in the habit of tinkering with language. Gaeilge (Irish) is my first tongue, and living between it and English gave me an early instinct for the transformative nature of language. It also rooted in me the sense that language is of a place. I grew up in the 1980s, flanked on one side by the Atlantic Ocean and on the other by a troubled political border, so I was alert to what language under pressure sounds like. It was a landscape full of shadows and echoes, and it exposed me to the relationship between story and place. At the same time, the people I was raised among were mostly preoccupied with the ordinary, day-to-day challenges of trying to survive. My father cut turf, fished on trawlers, brought milk from house to house. My mother hosted Irish-language students and in the off-season months knit Aran jumpers to order. To this day I’m drawn to take whatever raw material I have at hand and to make out of it a thing by which I can survive. Poetry has always been an extension of the pla
Annemarie Ní Churreáin Annemarie Ní Churreáin和Kelly Sullivan Annemarie ní churreáin来自多尼戈尔爱尔兰语。她的作品包括《血根》(Doire出版社，2017)、《小镇》(The Salvage出版社，2018)和《毒谷》(The Poison Glen) (The Gallery出版社，2021)。她是爱尔兰艺术委员会下一代艺术家奖的获得者，马尔基维茨奖的共同获得者，也是德国孤独学院的前文学研究员。Ní Churreáin是《爱尔兰诗歌评论》第140期的编辑，也是《刺蝇》的新任诗歌编辑。________ Annemarie Ní Churreáin和Kelly Sullivan在2023年4月至8月间通过电子邮件进行了沟通。为清晰起见，本采访经过编辑和浓缩。凯利·沙利文:你还记得你第一次看到希尼的诗是什么时候吗?annemarie ní churreáin:我与Heaney的第一次接触是通过《中期休息》(1966年《自然主义者之死》)。当时我还是个女学生，和我的家人住在多尼戈尔西北部，我的父母也是寄养者，他们最近放弃了一个年幼的婴儿。我记得，一夜之间，房子陷入了深深的、繁花盛开的宁静之中。我把婴儿床、毯子、瓶子消毒设备打包进了阁楼。当然，这不是死亡，而是死亡的缺席。我从希尼的诗中认识到，在被悲伤迷惑的成年人中间做一个孩子意味着什么。后来，当我捧着诺斯坐下来的时候，我还不够大，还不能完全吸收这些诗的影响，但我发现自己被躺在沼泽里的尸体的庄严所感动，就像我被躺在棺材里的死去的孩子的庄严所感动一样。这是我早期学到的把语言当作仪式的第一课。沙利文:那时候你在积极创作自己的诗歌吗?ní churreáin:在获得哲学硕士学位之前，我并没有积极地创作我的第一本诗集。2009年，我在都柏林三一学院获得了创意写作的学位，但即使是在我还是个孩子的时候，我就有了摆弄语言的习惯。盖尔语(爱尔兰语)是我的第一语言，生活在它和英语之间让我很早就对语言的变化本质有了直觉。这也让我觉得语言是有位置的。我成长于20世纪80年代，一边是大西洋，一边是混乱的政治边界，所以我对压力下的语言听起来很警觉。这是一个充满阴影和回声的风景，它让我接触到故事和地点之间的关系。与此同时，在我成长的环境中，大多数人都专注于为生存而面临的日常挑战。我父亲割草皮，用拖网渔船捕鱼，挨家挨户送牛奶。我母亲接待说爱尔兰语的学生，在淡季的几个月里，她会根据客户的要求编织Aran套头衫。直到今天，我都被吸引着，不管我手头有什么原材料，我都要把它变成一种我赖以生存的东西。诗歌一直是我来自的地方及其文化的延伸。沙利文:你对希尼作品的第一反应之一就是“语言即仪式”，我对这种观点很感兴趣。你认为当你开始写自己的诗时，你对这个概念的感觉改变了吗?ní churreáin:让我倒回去纠正一下自己，因为更准确地说，North是我第一次学习英语的仪式。我已经通过自己的母语盖尔语，在潜意识中获得了这些知识。我的祖母玛丽·塞德格(Mary Thaidhg)给我灌输了对口述传统的坚定信念。她满脑子都是她十几岁时在纽约的民间传说、治疗方法、迷信和荒诞故事。她还很会骂人。诅咒往往是把一个东西拉得离你更近;讽刺的是，它付出的是一种……
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Pub Date : 2023-03-01DOI: 10.1353/eir.2023.a910464
Kelly Sullivan
After 2013: Poems and Poets in Conversation* Kelly Sullivan (bio) This special issue focusing on the legacy of Seamus Heaney a decade after his death features interviews with nine poets about his influence and his continuing presence in Irish culture. These poets also contribute new work that show their diverse range of styles. They were selected with one specific criteria in mind: each published a first full-length collection after Seamus Heaney’s death in 2013. Several have already released a second collection or have one forthcoming, and many were educated and mentored by poets who worked with Heaney. Collectively, they represent an exciting new generation of poets and show how poetry from Ireland has changed over the last decades. Although the writers I interviewed are publicly associated with Irish literary culture, not all of them grew up in Ireland or Northern Ireland. They thus reflect the changing face of publishing on the island, with names and backgrounds that differ from what we may have thought of as Irish twenty years or even a decade ago. More than a third of the poets were born and grew up in other countries, including the Democratic Republic of Congo, the United States, and India—reflecting a shift from centuries of outward migration. Several serve as book publishers or as editors of journals, including Poetry Ireland Review and The Stinging Fly. In such roles, they help expand access to publishing through initiatives like Skein Press’s Play It Forward Fellowships. Nidhi Zak/Aria Eipe describes this work as “trying to break down barriers for people, but also to challenge the [End Page 137] literary and art sectors to expand the idea of what Irish culture is: to be more reflective of the contemporary and cosmopolitan society in which we live.” Nearly all of the poets interviewed first encountered Seamus Heaney in secondary school, mostly through studying for the Junior Certificate and Leaving Certificate qualifications or on the A-level exams in Northern Ireland that determine where students will be placed in higher education. Generally, they first studied Heaney’s early pastoral poems from Death of a Naturalist, and for some, reading Heaney in school was a life-changing experience. Victoria Kennefick described the hush and attention that fell across all grade levels at her small, one-room national school when her teacher read “Mid-Term Break.” Heaney’s ubiquitous presence on the literary curricula of secondary schools throughout the island meant that for these writers—and indeed, for a generation of readers, as Stephen Sexton puts it—”the idea of an Irish poem is pretty much a Heaney poem.” But a few of the poets spoke of their need to break through what they experienced as a sometimes inhibiting association of Heaney’s style with the Irish lyric. Ultimately, however, they suggest that such an early influence helped shape their sense of the power and of the restraint required of that form. A few others had unusual encounters with
本期特刊聚焦于谢默斯·希尼去世十年后的遗产，采访了九位诗人，探讨他对爱尔兰文化的影响和他在爱尔兰文化中的持续存在。这些诗人还贡献了新的作品，展示了他们风格的多样性。他们的选择有一个特定的标准:在2013年谢默斯·希尼去世后，每个人都出版了第一本完整的作品集。有几个人已经出版了第二部作品集，或者即将出版一部，许多人都受到了与希尼一起工作的诗人的教育和指导。总的来说，他们代表了令人兴奋的新一代诗人，并展示了爱尔兰诗歌在过去几十年里的变化。虽然我采访的作家都公开与爱尔兰文学文化联系在一起，但并非所有人都在爱尔兰或北爱尔兰长大。因此，他们反映了岛上出版业的变化，他们的名字和背景与我们二十年前甚至十年前所认为的爱尔兰人不同。超过三分之一的诗人在其他国家出生和长大，包括刚果民主共和国、美国和印度，这反映了几个世纪以来向外移民的转变。有几个人担任图书出版商或期刊编辑，包括《爱尔兰诗歌评论》和《刺蝇》。在这样的角色中，他们通过Skein Press的Play It Forward Fellowships等项目帮助扩大出版渠道。Nidhi Zak/Aria Eipe将这项工作描述为“试图为人们打破障碍，同时也挑战文学和艺术部门，以扩大爱尔兰文化的概念:更多地反映我们所生活的当代和世界性社会。”几乎所有接受采访的诗人都是在中学时第一次遇到谢默斯·希尼的，他们大多是在参加初级证书和毕业证书资格考试或北爱尔兰的A-level考试时遇到的。A-level考试决定了学生将在哪里接受高等教育。一般来说，他们首先学习希尼的早期田园诗歌《一个博物学家之死》，对一些人来说，在学校阅读希尼是一次改变人生的经历。维多利亚·肯纳菲克(Victoria Kennefick)描述了她所在的一所只有一个房间的国立小学，当老师念到“期中休息”时，所有年级的学生都安静下来，全神贯注。希尼无处不在地出现在全岛中学的文学课程中，这意味着对于这些作家——事实上，对于一代读者来说，正如斯蒂芬·塞克斯顿所说——“爱尔兰诗歌的概念基本上就是希尼诗。”但也有一些诗人表示，他们需要突破希尼的风格与爱尔兰抒情诗之间有时令人压抑的联系。然而，他们最终认为，这种早期的影响有助于塑造他们对权力的认识，以及这种形式所需的约束。还有一些人与希尼和他的诗歌有着不寻常的接触。对于格蕾丝·威伦茨来说，西莫斯·希尼是她在纽约西村长大的十几岁时读过的众多诗人之一。后来，当她进入哈佛大学时，她非正式地与他一起翻译爱尔兰诗歌，这是一次幸运的相遇，影响了她作为诗人的工作。Wilentz的作品证明了她精心调整的耳朵，以及她在与Heaney合作中寻找精确图像或声音技能的奉献精神。Nidhi Zak/Aria Eipe在印度接受了大部分早期教育，并通过阅读Heaney的诺贝尔奖演讲而结识了Heaney。她中学时的诗歌只写英国浪漫主义诗歌，直到2017年搬到爱尔兰后，她才开始写自己的诗歌。值得注意的是，费伯和费伯仅在四年后就出版了她的第一本书。在这里接受采访的人还展示了当代爱尔兰诗歌的风格范围，这反映了希尼对质疑抒情可以做什么以及我们如何重新创造它的兴趣。埃普玩弄形式的创新和具体的——或更有视觉基础的——诗歌。她的处女作《小神的预兆》用数学序列来组织漫长的……
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Pub Date : 2023-03-01DOI: 10.1353/eir.2023.a910470
Julie Morrissy, Kelly Sullivan
Julie Morrissy Julie Morrissy and Kelly Sullivan julie morrissy, with degrees in creative writing, law, and literature, was the first Poet-in-Residence at the National Library of Ireland. Her project Radical! Women and the Irish Revolution comprises a poetry pamphlet and a podcast series. She has been supported by the National Endowment for the Humanities, the Newman Fellowship, the Arts Council of Ireland “Next Generation” Award, and the MAKE Theatre Award. Her first collection, Where, the Mile End, was published by Book*hug Press (Canada) and tall-lighthouse (United Kingdom). She will deliver the 2023 Hibernian Lecture at the University of Notre Dame. ________ Julie Morrissy and Kelly Sullivan spoke via Zoom on 23 January 2023 and again in September. This interview has been edited for length and clarity. kelly sullivan: Since you grew up in Ireland, I imagine you knew about Seamus Heaney as a poet early on, but do you remember when you first encountered his poetry? julie morrissy:: I do remember because he was on my Leaving Certificate course and probably also on my Junior Certificate course for students in their early teens. That would have been the first time that I consciously encountered his work and spent time studying it. But he was in the orbit here as well. I was aware of Heaney before I was teenager—especially because my grandparents had lived in the North and loved poetry. I think for Junior Cert “Mid-Term Break” was on the course, and for Leaving Certificate I remember “Twice Shy” and “Badger.” [End Page 189] sullivan:: You mentioned that your grandparents were from the North. Did you think of Heaney as a poet from the North at that time? morrissy:: Yes, since that was the way my teachers framed him on the Leaving Certificate course. The poets that my teacher selected for us—which may be different for someone else of my generation —were Heaney, Michael Longley, and Eavan Boland. Longley and Heaney were taught in conversation with each other, and themes about Northern Ireland were emphasized in their work and in relation to each other’s work—whereas Boland was taught separately. sullivan:: Although Heaney’s early work seems so connected to his northern Irish identity, his language and sound moves into something more like an international style. I was thinking about that change in Heaney in relation to your poetry and particularly your first book, Where, the Mile End, which is very international—geographically but also stylistically. morrissy: Much of the internationalism and mobility in my poetry probably comes from my experience of living in other places. When I was younger, I was very North American focused with literature. The only time I intently studied Irish poetry was for the Leaving Certificate. I went from that to earning a North American literature M.A. and then a doctorate in creative writing which was not specifically concentrated on Irish Studies—although Irish literature of course informed the work. The Leaving Certifica
朱莉·莫里西拥有创意写作、法律和文学学位，是爱尔兰国家图书馆第一位驻馆诗人。她的项目Radical!《妇女与爱尔兰革命》包括一本诗歌小册子和一个播客系列。她得到了国家人文基金会、纽曼奖学金、爱尔兰艺术委员会“下一代”奖和MAKE戏剧奖的支持。她的第一部小说集《Where, the Mile End》由Book hug出版社(加拿大)和tall-lighthouse出版社(英国)出版。她将于2023年在圣母大学发表“冬眠讲座”。________朱莉·莫里西和凯利·沙利文分别于2023年1月23日和9月通过Zoom进行了交谈。为了篇幅和清晰度，这篇采访经过了编辑。凯利·沙利文:因为你在爱尔兰长大，我想你很早就知道谢默斯·希尼是一个诗人，但你还记得你第一次看到他的诗是什么时候吗?朱莉·莫里西:我记得很清楚，因为他上过我的毕业证书课程，可能也上过我为青少年开设的初级证书课程。那是我第一次有意识地接触他的作品，并花时间研究它。但他也在这里的轨道上。在我十几岁之前，我就知道希尼——尤其是因为我的祖父母住在北方，喜欢诗歌。我记得初中证书的课程是“期中休息”，毕业证书的课程是“两次害羞”和“獾”。沙利文:你提到过你的祖父母来自北方。你当时认为希尼是一位来自北方的诗人吗?莫里西:是的，因为那是我的老师在毕业证书课程上诬蔑他的方式。老师为我们挑选的诗人是希尼、迈克尔·朗利和伊凡·博兰，这对我们这一代的其他人来说可能会有所不同。朗利和希尼在谈话中被教导，关于北爱尔兰的主题在他们的作品中被强调，并与彼此的作品联系起来，而博兰则是分开教的。沙利文:虽然希尼的早期作品似乎与他的北爱尔兰身份息息相关，但他的语言和声音更像是一种国际风格。。我在想希尼的变化和你的诗歌有什么关系，尤其是你的第一本书《在哪里，英里尽头》，这本书在地理上和风格上都非常国际化。莫里西:我诗歌中的国际主义和流动性很大程度上可能来自我在其他地方的生活经历。当我年轻的时候，我非常关注北美的文学。我唯一一次专心学习爱尔兰诗歌是为了准备毕业证书。从那以后，我获得了北美文学硕士学位，然后又获得了创意写作的博士学位，这个学位并不是专门研究爱尔兰研究的——尽管爱尔兰文学当然影响了我的作品。毕业证书主要包括早期和一些中期的希尼，所以我不知道我自己写作的国际主义是否与他的诗歌有关。但在爱尔兰，诗歌比我在其他地方所经历的更深入我们的日常生活。诗歌被用作仪式——在公共场合或纪念活动中吟诵——但它也进入日常生活。有一些诗贴在DART上，最近还有一些诗贴在垃圾桶上(笑)。很奇怪!我们被诗歌包围着，很有可能希尼后来的诗会在我的意识中出现，而我却无法直接找到参考。沙利文:你认为希尼在爱尔兰的公共或日常诗坛中有特别大的影响力吗?莫里西:我不这么认为。特别是随着更多的日常可见性——就像dart上的公共诗歌一样——人们的注意力往往集中在早期职业和年轻诗人身上。我们肯定会在典礼上听到很多希尼和叶芝的作品——就像拜登总统最近访问爱尔兰一样。但我不认为希尼的存在是多余的，因为体重…
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Pub Date : 2023-03-01DOI: 10.1353/eir.2023.a910462
Geraldine Higgins
Seamus Heaney’s Desks: Stages of Writing Geraldine Higgins (bio) “I never used to understand why anyone wants to visit a writer’s house: aren’t the books enough? What would you really learn by staring at Martin Amis’s desk or Philip Roth’s kitchen table?”1 recalling his travels with Seamus Heaney in a memorial tribute, Andrew O’Hagan describes a visit to the Robert Burns Birthplace Museum in Scotland that featured an exhibition called The Tam O’Shanter Experience. Their friend Karl Miller joked that there would one day be a “Seamus Heaney Experience.” Heaney replied, “That’s right. It’ll be a few churns and a confessional box.”2 Now, ten years after his death, fans of the poet can visit two such Irish “Experiences”: Bellaghy’s Seamus Heaney HomePlace in Northern Ireland and Dublin’s Seamus Heaney: Listen Now Again in the Republic (figure 1; figure 2). The locations of each bookend the poet’s life, representing the roots and the branches, as it were, of his early years on the farm in rural county Derry and the forty years of his working life in Dublin. Heaney lived or wrote in four significant houses in Ireland— Mossbawn in Bellaghy, Ashley Avenue in Belfast, Glanmore Cottage in Wicklow, and Sandymount in Dublin—none of which were available to be transformed into writer’s house museums open to visitors after his death in 2013. These stepping stones from Bellaghy to Belfast and from Wicklow to Dublin are marked by the poet’s deliberate decision to validate his two rural residences, Mossbawn and Glanmore, rather than either of his city homes as dwellings inspiring [End Page 97] Click for larger view View full resolution Figure 1. Seamus Heaney HomePlace, Bellaghy, Co. Derry, Northern Ireland. Photograph by permission of the Seamus Heaney HomePlace. Click for larger view View full resolution Figure 2. Exterior of Seamus Heaney: Listen Now Again, National Library of Ireland, at the Bank of Ireland Cultural Centre, Dublin, 2018. Photograph by Geraldine Higgins. [End Page 98] his writing. By positioning these symbolic places of writing in the broader context of writers’ museums and literary tourism, this essay examines how various iterations of Seamus Heaney’s desk are used to authenticate the writer’s presence in different locations. Although Simon Goldhill scoffs at the idea that we might learn anything about writers by viewing their furniture, the writer’s desk suggests otherwise. It is a magical object, a symbol of the creative marriage between writers and their work, touched in sickness and health, in frustration and inspiration. The material surface of the desk brings together the elements of writing—the page, the pen, and the living hand—components that have remained unchanged in staging the scene of writing for centuries despite technological advances. Focusing on the cultural work that the writer’s desk must do, I discuss the display of Heaney’s desk at three different exhibitions: the Seamus Heaney HomePlace in Bellaghy, County Derry; Seamus H
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Pub Date : 2023-03-01DOI: 10.1353/eir.2023.a910473
Victoria Kennefick, Kelly Sullivan
Victoria Kennefick Victoria Kennefick and Kelly Sullivan victoria kennefick’s debut collection Eat or We Both Starve (Carcanet, 2021) won the Seamus Heaney First Collection Poetry Prize and the Dalkey Book Festival Emerging Writer of the Year Award. It was shortlisted for the T. S. Eliot Prize, the Costa Poetry Book Award, the Derek Walcott Prize for Poetry, and the Butler Literary Prize. A University College Dublin/Arts Council of Ireland Writer-in-Residence 2023, Victoria is a poetry editor for the online journal bath magg. ________ Kelly Sullivan spoke with Victoria Kennefick via Zoom on 24 February 2023. This interview has been edited for length and clarity. kelly sullivan: Do you remember when you first encountered Seamus Heaney’s poetry? Was it in a school course or was it on your own? victoria kennefick: I remember the moment clearly and so viscer-ally. I went to a very small national school in Shanagarry, Co. Cork, with three grades in the same room together. It was a very intense and crazy environment. We did a lot of Irish and maths, so whenever we moved into English I was thrilled, especially if we read poetry. And we did quite a lot of poetry. I distinctly remember the day that we read “Mid-Term Break.” I must have been ten or eleven and can still remember where the poem was on the page in the book and the picture that was next to it. When a teacher read it aloud to us, the other classes that were supposed to be working away on other topics stopped what they were doing to listen. I remember being incredibly moved by the extent of the loss in the poem. Later, when I realized that it was Heaney’s own brother, [End Page 218] I understood what a profound effect that must have had on him as a boy. “Mid-Term Break” has always an important poem in Heaney’s oeuvre because it’s the one that most Irish people know after encountering it in primary school. It offers insight into Heaney’s beginnings as a poet because of its focus on a life altering event for a sensitive child. I believe this sudden awareness of mortality in addition to the intensity of living in Northern Ireland must have changed his trajectory about what he was going to do with his life—about how life can shift on a penny. The poem broke my heart and still does each time I read it. sullivan: When you were in school and reading Heaney, were you also writing poetry? Did you think of yourself as a poet then? kennefick: I’m glad you asked the question as if it was a normal thing to feel like a poet—because it didn’t feel normal to me. I didn’t understand who I was, but once I could understand language and certainly once I could hold a pen, I felt as if I were a poet. Writing poetry was the only job I wanted or could do [laughter] although it didn’t seem to be a viable one. And yet there were all these poets. I felt I was in this lost liminal space. Both my mother’s and father’s families learned poems by rote as children and were always spouting bits of Shakespeare and long poems like
维多利亚·肯纳菲克的处女作《要么吃饭，要么我们都饿死》(Carcanet出版社，2021年出版)获得了谢默斯·希尼首集诗歌奖和达尔基图书节年度新进作家奖。它曾入围t·s·艾略特奖、科斯塔诗歌图书奖、德里克·沃尔科特诗歌奖和巴特勒文学奖。维多利亚是都柏林大学学院/爱尔兰艺术委员会2023年驻校作家，她是在线期刊bath magg的诗歌编辑。________凯利·沙利文于2023年2月24日通过Zoom与维多利亚·肯纳菲克进行了交谈。为了篇幅和清晰度，这篇采访经过了编辑。凯利·沙利文:你还记得你第一次看到谢默斯·希尼的诗是什么时候吗?是学校的课程还是你自己的?维多利亚·肯纳菲克:我清楚地记得那一刻，如此真切。我上的是位于科克郡沙纳加里的一所很小的国立学校，三个年级的学生在同一个教室里。这是一个非常紧张和疯狂的环境。我们做了很多爱尔兰语和数学，所以每当我们进入英语时，我都很兴奋，特别是当我们读诗的时候。我们写了很多诗。我清楚地记得我们读《期中假期》的那一天。我当时一定是十岁或十一岁，还记得那首诗在书上的什么地方，以及它旁边的图片。当一位老师大声朗读给我们听时，其他应该继续学习其他主题的班级就会停下手头的工作去听。我记得我被诗中失去的程度深深打动了。后来，当我意识到这是希尼的亲哥哥时，我明白了这对他小时候一定产生了多么深远的影响。《期中休息》一直是希尼作品中很重要的一首诗，因为这首诗是大多数爱尔兰人在小学读到的。它提供了希尼作为诗人的开端的洞察力，因为它关注的是一个敏感的孩子改变生活的事件。我相信这种对死亡的突然意识，加上在北爱尔兰的紧张生活，一定改变了他的人生轨迹，改变了他的人生轨迹，改变了他的人生轨迹，改变了他的人生轨迹，改变了他的人生轨迹。这首诗伤透了我的心，直到现在我每次读它都伤透了心。沙利文:当你在学校读希尼的时候，你也写诗吗?那时候你觉得自己是个诗人吗?肯尼菲克:我很高兴你问这个问题，好像觉得自己像个诗人是一件很正常的事情——因为对我来说，这并不正常。我不明白我是谁，但一旦我能听懂语言，当然一旦我能握笔，我觉得自己好像是一个诗人。写诗是我唯一想做或能做的工作(笑)，尽管它似乎不可行。然而有那么多诗人。我觉得我在这个迷失的空间里。我父母的家人从小就死记硬背诗歌，他们总是滔滔不绝地背诵莎士比亚的诗和《夜莺颂》(Ode to a Nightingale)等长诗，这是一项需要大声背诵的严肃任务。所以诗歌是我经历的重要组成部分，即使我不知道在实际层面上我能把它放在哪里。当我读到《期中休息》时，当我接触到更多希尼的作品时，我感到一种认同感——一种他也是一个敏感的“儿童诗人”的感觉。我相信他是在经历了他哥哥去世的可怕经历后才成为这个角色的。我也有一种纪念的责任感——纪念一个特殊的时刻;即使在我还是个孩子的时候，希尼所表现出的责任感也让我产生了共鸣。沙利文:你是什么时候开始出版诗歌的?肯尼菲克:我花了一段时间才出版诗歌，因为我不知道如何(笑)，而且作为一个年轻人……
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Pub Date : 2023-03-01DOI: 10.1353/eir.2023.a910468
Stephen Sexton, Kelly Sullivan
Stephen Sexton Stephen Sexton and Kelly Sullivan stephen sexton’s first book If All the World and Love Were Young received the Forward Prize for Best First Collection. Sexton was also awarded the E. M. Forster Award from the American Academy of Arts and Letters and the Rooney Prize for Irish Literature in 2020; he won the National Poetry Competition in 2016 and received an Eric Gregory Award in 2018. Cheryl’s Destinies was published in 2021 and was shortlisted for the Forward Prize for Best Collection. Both collections will be published by Wake Forest University Press in 2023. ________ Kelly Sullivan interviewed Stephen Sexton over Zoom on 13 February 2023. This is an edited and shortened version of that conversation. kelly sullivan: I know you grew up in the north of Ireland. I’m wondering if you remember when you first encountered Seamus Heaney’s poetry? stephen sexton: It would have been as a teenager, and I’m guessing I was probably fourteen, fifteen, sixteen. I know that we were looking at chiefly early works, the Death of a Naturalist poems. sullivan: Were you already interested in poetry at that point? Or was that a later development for you? sexton: I think I was. English classes were the ones I liked most, but I don’t know if I was interested in poetry, as such. When I was much younger—it was probably busy-work in class as a little kid—we were told to write a poem. And I distinctly remember the feeling of doing that: the feeling of talking myself to the end of the line, having to find a rhyme, and loving the search through my vocabulary for that rhyme. But by the time I got to Heaney in my teens, it’s probably fair to say I was more interested in poetry as something I wrote—as [End Page 171] the experience of making, rather than earnestly thinking about other people’s work. So I was aware of his poems, but not properly, not in a mature way. sullivan: Were you also reading Ciaran Carson and other writers at that time? Or was it just whatever was on the course at the moment that you were absorbing? sexton: I‘d say mostly what was on the course. I was reading a lot—pretty much all of the Goosebumps horror novel series by R. L. Stein. But I imagine with poetry I probably wasn’t reading anything that wasn’t on the course. We read fairly standard work in the curriculum—maybe Wilfred Owen, Thomas Hardy, Philip Larkin. I was talking to my colleague Leontia Flynn recently about Larkin, who was in Belfast for some time. We talked about this strange feeling that, perhaps embarrassingly, we were more drawn to Larkin than to Heaney. Certainly at that age when I was reading poetry, Larkin was much more thrilling to me. There was something about his tidiness— not exactly foreignness. But something about Heaney’s writing seemed supremely local in a way that was too close for me to see it properly then. I grew up in the countryside, so those poems didn’t feel like objects of artifice, and I couldn’t really see them as poems. I saw them as out the window.
斯蒂芬·塞克斯顿斯蒂芬·塞克斯顿的第一本书《如果世界和爱都年轻》获得了最佳处女作奖。塞克斯顿还于2020年获得了美国艺术与文学学院颁发的e.m.福斯特奖和鲁尼爱尔兰文学奖;他在2016年赢得了全国诗歌比赛，并在2018年获得了埃里克·格雷戈里奖。谢丽尔的《命运》于2021年出版，并入围了最佳选集奖。这两部作品集将于2023年由维克森林大学出版社出版。________ Kelly Sullivan于2023年2月13日通过Zoom采访了Stephen Sexton。以下是经过编辑的简短版对话。凯利·沙利文:我知道你在爱尔兰北部长大。我想知道你是否记得你第一次看到谢默斯·希尼的诗是什么时候?斯蒂芬·塞克斯顿:那应该是我十几岁的时候，我猜我大概十四、十五、十六岁吧。我知道我们主要看的是早期作品，《自然主义者之死》沙利文:那时候你已经对诗歌感兴趣了吗?还是你后来才这么做的?司事:我想是的。英语课是我最喜欢的，但我不知道我是否对诗歌感兴趣。在我小得多的时候——可能是小时候课堂上很忙的事——我们被要求写一首诗。我清楚地记得这样做的感觉:把自己说到最后，必须找到一个押韵的感觉，喜欢在我的词汇中寻找押韵的感觉。但当我十几岁来到希尼的时候，可以说我对诗歌更感兴趣的是我写的东西——作为创作的经历，而不是认真思考别人的作品。所以我知道他的诗，但不是很恰当，不是很成熟。沙利文:那时候你也读过卡森和其他作家的作品吗?或者仅仅是你正在吸收的课程内容?司事:我认为主要是赛道上的东西。我读了很多——几乎所有r·l·斯坦的《鸡皮疙瘩》恐怖小说系列。但我想，关于诗歌，我可能不会读任何课程之外的东西。我们在课程中阅读相当标准的作品——也许是威尔弗雷德·欧文、托马斯·哈代、菲利普·拉金。我最近和我的同事莱昂西娅·弗林谈论拉金，他在贝尔法斯特待了一段时间。我们谈到了一种奇怪的感觉，也许有些尴尬，我们更喜欢拉金而不是希尼。当然，在我读诗的那个年纪，拉金对我来说更令人兴奋。他有一种整洁的感觉——并不完全是外国人。但希尼的作品似乎有一种极其地方性的东西，当时我看得太近了，根本看不清。我是在农村长大的，所以那些诗感觉不像是技巧的产物，我也不觉得它们是诗。我看到他们在窗外。菲利普·拉金并没有离开窗外。他与众不同。沙利文:有意思的是，你觉得自己离希尼的世界太近了。你在哪里长大的?司事:我在唐郡长大，离贝尔法斯特正好9英里，但最重要的是那是乡村。我们住在乡下一所被农场包围的房子里。后窗边有几头牛，自然世界真的近在眼前。虽然我们都不是农民，但我们周围都是农民。沙利文:我也很好奇你对希尼在诗坛的存在感。你是皇后大学的博士。这里是Seamus Heaney创意写作中心。希尼死的时候你在吗?塞克斯顿:我从2011年到2012年在这里获得了硕士学位。然后我继续攻读博士学位，紧接着……
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Pub Date : 2023-03-01DOI: 10.1353/eir.2023.a910461
Bernard O’Donoghue, Rosie Lavan
Collecting Heaney’s Poems, Familiar and Unfamiliar Bernard O’Donoghue (bio) and Rosie Lavan (bio) Seamus heaney’s death on 30 August 2013 ended a career in poetry that spanned more than half a century. As this special issue of Éire-Ireland indicates, readers continue to encounter the vibrant afterlives of Heaney’s career. His reputation and legacy rest primarily on the twelve volumes of poetry he published with Faber and Faber. Since his death, Faber has been nourishing Heaney’s readers with releases such as 100 Poems (2018) and reissues of his landmark collections, including the 2016 edition of Death of a Naturalist and the 2017 edition of Field Work. Central to these efforts over the past decade has been the commissioning of four major new volumes: Heaney’s translations, letters, and poems as well as the first full-length biography by Fintan O’Toole. Marco Sonzogni’s Translations of Seamus Heaney appeared in 2022,1 and Christopher Reid’s Letters of Seamus Heaney was published in 2023. As editors of the forthcoming The Poems of Seamus Heaney, our task is to compile a comprehensive edition—in other words to gather all the poems Heaney published in the original twelve volumes and in any known print publications to which he contributed since the late 1950s. This article explains the editorial principles governing our selection and arrangement of the poems published under Heaney’s authority as well as those published posthumously—now offered between the covers of one inclusive book. We highlight examples of works we find especially compelling that illustrate the diversity of [End Page 77] Heaney’s uncollected poems and the significance of placing them in sequence alongside those he chose to collect in the twelve volumes. We also consider how Heaney’s national and international profiles governed the reception and afterlives of certain key poems and how his decisions to revise (or not to revise) can be traced through the textual histories of his work. In this respect, our editorial task has been immeasurably enriched by the archival resources that Heaney made available for readers, particularly the extensive collection of papers he delivered himself to the National Library of Ireland (NLI) in 2011. That archive, along with the significant collection held at Emory University and holdings in libraries and special collections in Ireland, the United Kingdom, and the United States, are indispensable resources for constructing the narrative of Heaney’s life in print. Since the availability of these remarkable collections to researchers provides glimpses of the range of Heaney’s unpublished poetry, our forthcoming edition will include a number of previously unpublished poems. Such newly available works present unique questions for us as editors, but they are—we trust—unquestionable gifts to his readers. Principles of Inclusion At a memorial event for Seamus Heaney at Cambridge University in 2014, Roy Foster asserted that Heaney, like W. B. Yeats, wrote “book
2013年8月30日，谢默斯·希尼去世，结束了他长达半个多世纪的诗歌生涯。正如Éire-Ireland这期特刊所显示的那样，读者们继续遇到希尼事业中充满活力的晚年。他的声誉和遗产主要取决于他与费伯和费伯出版的十二卷诗集。自希尼去世以来，费伯一直在出版《100首诗》(2018年)等作品，并再版了他的标志性文集，包括2016年版的《一个博物学家之死》和2017年版的《田野工作》，以丰富希尼的读者。在过去的十年里，这些努力的核心是委托出版了四部主要的新书:希尼的译本、信件和诗歌，以及芬坦·奥图尔的第一部长篇传记。马可·松佐尼的《谢默斯·希尼译本》出版于2022年，克里斯托弗·里德的《谢默斯·希尼书信》出版于2023年。作为即将出版的《谢默斯·希尼诗集》的编辑，我们的任务是编纂一个全面的版本——换句话说，收集希尼自20世纪50年代末以来发表的所有12卷原版诗歌，以及他在任何已知的印刷出版物上发表的诗歌。这篇文章解释了我们选择和安排希尼授权出版的诗歌的编辑原则，以及那些在希尼死后出版的诗歌——现在在一本包含书的封面之间提供。我们突出了一些我们认为特别引人注目的作品，这些作品说明了希尼未收集的诗歌的多样性，以及将它们与他选择收集在12卷中的诗歌按顺序排列的重要性。我们还考虑希尼的国内和国际形象如何影响某些关键诗歌的接受和后世，以及他修改(或不修改)的决定如何可以通过他作品的文本历史来追溯。在这方面，Heaney为读者提供的档案资源极大地丰富了我们的编辑任务，特别是他于2011年向爱尔兰国家图书馆(NLI)提交的大量论文。这些档案，连同埃默里大学的重要藏品，以及爱尔兰、英国和美国的图书馆和特别藏品，是构建希尼生活叙事的不可或缺的资源。由于这些杰出的诗集的可用性为研究人员提供了希尼未发表诗歌范围的一瞥，我们即将出版的版本将包括一些以前未发表的诗歌。这些新获得的作品给我们这些编辑提出了独特的问题，但我们相信，它们是给读者的无可置疑的礼物。2014年，在剑桥大学纪念谢默斯·希尼(Seamus Heaney)的活动上，罗伊·福斯特(Roy Foster)断言，希尼和叶芝(w.b. Yeats)一样，写的是“书”，而不是“诗集”无论我们把希尼的书看成是“书”还是“集”，从《一个博物学家之死》到《人链》，他的12本原著中的每一卷都有着清晰而持久的连贯性。因此，我们选择保留Faber and Faber在1966年至2010年间出版的这12卷诗歌作为我们的核心内容，形成即将出版的卷的脊柱此外，由诗人或其权威在其职业生涯的各个时期发表的未收集的诗歌在新卷中发挥了重要作用。由于它将包括这些出版的作品，按时间顺序穿插在12本核心书籍之间，读者将能够找到希尼在谢默斯·希尼诗集中发表的所有诗歌。在2013年诗人去世后出现在各种出版物上的那些诗歌中，我们依靠他们的编辑来获得文本的权威。最后，一些档案中未发表的诗歌也将首次在本卷中发表。希尼诗歌的许多“精选”版本在塑造他的诗歌作品的接受方面发挥了关键作用，这表明我们即将出版的版本具有恢复性的维度。希尼的诗集选集在他年轻时就出版了。
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