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It’s often said that good writing captures the poetry and rhythm of everyday life, and Heaney agrees that poets must pay attention to the immediacy of every action. The famous last line of his 1967 poem “Bogland”—“the wet centre is bottomless”—came to mind as he was pulling on a pair of trousers...

Author: NO WRITER ATTRIBUTED | Title: Getting Along Seamus-ly | 10/10/2002 | See Source »

...preceding the words and animating them is above all what Heaney calls “poetic emotion.” Since a poem has no will of its own, it’s a poets job to breathe life into it; this is not done by reflecting upon emotion or trying to recapture it “in tranquillity,” but by understanding the writing itself as a wholly new and active experience. Hence, ventures Heaney, writing begins with starting points like Yeats’ exaltation, Dickinson’s interior journeying or T.S. Eliot?...

Author: NO WRITER ATTRIBUTED | Title: Getting Along Seamus-ly | 10/10/2002 | See Source »

...hard to find, with life as rich and complex as it is. Contrary to what Harold Bloom has called “anxiety of influence,” Heaney proposes instead the “buoyancy of influence”: the dynamism of an old poem, with its wealth of experience, should offer something to get the young poet going...

Author: NO WRITER ATTRIBUTED | Title: Getting Along Seamus-ly | 10/10/2002 | See Source »

...even wrote a poem titled “Ode to the Cafe Pamplona...

Author: By Eugenia B. Schraa, CRIMSON STAFF WRITER | Title: Cafe Revamps Food, Not Image | 10/9/2002 | See Source »

...poem includes the lines, “When your steam machine roars/I hear bulls thunder through holy Pamplona/Your caffeine music kindles my veins...

Author: By Eugenia B. Schraa, CRIMSON STAFF WRITER | Title: Cafe Revamps Food, Not Image | 10/9/2002 | See Source »

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