District and Circle: Poems by Seamus Heaney

By Seamus Heaney

Seamus Heaney's new assortment begins "In an age of naked palms and solid iron" and ends as "The automated lock / clunks shut" within the eerie new stipulations of a menaced twenty-first century. of their haunted, virtually visionary readability, the poems assay the load and price of what has been held within the hand and within the reminiscence. pictures out of a adolescence spent secure from the horrors of worldwide struggle II – railway sleepers, a sledgehammer, the "heavyweight / Silence" of "Cattle out in rain" – are coloured by way of a strongly modern feel that "Anything can happen," and different photographs from the damaging current – a trip at the Underground, a melting glacier – are fraught with this related anxiety.

But District and Circle, which incorporates a variety of prose poems and translations, bargains resistance because the poet gathers his staying powers and stands his floor within the hiding locations of affection and excited language. In a series like "The Tollund guy in Springtime" and in numerous poems which "do the rounds of the district" – its recognized roads and rivers and timber, its customary and unusual ghosts – the gravity of memorial is remodeled into the grace of recollection. With extra savour and conviction than ever, Seamus Heaney keeps his belief within the obduracy of workaday realities and the secret of daily renewals.

District and Circle is the winner of the 2007 Poetry Now award and the 2006 T.S. Eliot Prize for Poetry.

*First released hardcover 2006*

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31 Standing by my bed In gold sandals Dawn that very moment awoke me ——SAPPHO I. — “ PURELY VISUAL”/LEUR RÔLE EST DONC PUREMENT SPECTACUL AIRE. MATISSE, JAZZ OR SHE FELL VERY SLOWLY TAKE: DRIVING through a pattern of girders and shadows 33 II. ” 34 GALLERY MATISSE, THE PIANO LESSON —“architectonic”: I read that—the shadowed stage left of his son’s face, a précis inverting the shaft of green (sunlight through a window) repeating the pyramid metronome. He’s not as young as he looks, the lad. Tick, tock.

Handle—as object; role of the; its shadow. [hand : envelope : letter : hand] 44 Action, once removed? ) Then again, mine . . Her gift—“in return”—from the first decade of our thirty-four-year correspondence, a selection of my letters now ‘returned to sender’ carefully mounted in a cord-tied, brocade-covered album, each in its opened, original envelope. - to 15-cent) stamps. Re-read with—Vermeer, maybe Hopper? Richter—fascinated apprehension, proceeding from (as Preface) a few notes from high school “still” folded for passing and set—like the envelopes—in photo corners: to unseat, unfold, hold one for reading.

Has painted the woman gazing, and background, her entire surroundings . . (save himself and that [unsaved] half)—a thought. ) 37 KOI (I) was doing my best to see them, what with the reflection 38 KOAN “Everyone knows the sound of two hands clapping. ” COINED ‘Violinisting’: coined. Then I leant on it. The practice of askew until skewed feels like comfort (“a learned thing”). Restful? Zzzz—then I slept on it—sawed, a swaying (pitched), tuning fork, metronome . . 39 awoke in the dark. Certainly electronic; I tried to listen in triplets or randomness—tick, tock—the lyric, based on a pendulum.

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