Category Seamus Heaney

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What we’re reading: Alan Hollinghurst, Samantha Harvey and Guardian readers on the books they enjoyed in December

Writers and Guardian readers discuss the titles they have read over the last month. Join the conversation in the comments

Ever since my father presented me with a copy of The Unicorn, beautifully translated into my mother tongue, I have been an ardent admirer of Iris Murdoch’s. I went on to read all of her novels, plays and poetry with great enthusiasm. Before Christmas, I returned to her penultimate novel, The Green Knight, having remembered very little of it. Yet from the very first page, I was reminded why I have always loved her work so deeply: the prose is rich, precise, disciplined and meticulously detailed; the many characters are so vividly rendered that none appears two-dimensional; each experiences and processes reality in a way that feels distinct and unmistakably individual; and the pacing of events feels perfectly judged. Although the novel is threaded with philosophical reflections on goodness and love, these never feel laboured or artificially imposed. Rather, they emerge naturally as an integral part of the novel’s dense and intricate tapestry.

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The best poetry books of 2025

From Seamus Heaney’s collected poems and Simon Armitage’s animal spirits, to prizewinners Karen Solie and Vidyan Ravinthiran

Many of 2025’s most notable collections have been powered by a spirit of wild experimentation, pushing at the bounds of what “poetry” might be thought to be. Sarah Hesketh’s 2016 (CB Editions) is a fabulous example: it takes 12 interviews with a variety of anonymous individuals about the events of that year and presents fragments of the transcripts as prose poems. The cumulative effect of these voices is haunting and full of pathos, as “they vote for whoever, and their life stays exactly the same”.

Luke Kennard and Nick Makoha also daringly remixed their source material and inspirations. The former’s latest collection, The Book of Jonah (Picador), moves the minor prophet out of the Bible into a world of arts conferences, where he is continually reminded that his presence everywhere is mostly futile. Makoha’s The New Carthaginians (Penguin) turns Jean-Michel Basquiat’s idea of the exploded collage into a poetic device. The result? “The visible / making itself known by the invisible.”

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The Poems of Seamus Heaney review – collected works reveal his colossal achievement

The complete works, including previously unpublished poems and expert notes, are brought together in one volume for the first time

Baudelaire introduced ordinary objects into poetry – likening the sky to a pan lid – and by doing so revolutionised poetic language. Likewise, Seamus Heaney introduced Northern Irish vernacular into the English lyric, peppering his lines with words like glarry, the Ulster word for muddy; kesh, from Irish ceis, a wickerwork causeway; and dailigone, “daylight gone” or dusk, from Ulster-Scots. It is this that gives his writing a mulchy richness and cultural resonance that remain unique in contemporary poetry. One of the key poems in North (1975) is a version of Baudelaire’s The Digging Skeleton, to which Heaney brings an Irish flavour – the skeletons dig the earth “like navvies”. It’s especially rich as digging for Heaney is also a metaphor for writing, while the archaeological metaphor resonates with the darkly symbolic bog poems.

Bringing all Heaney’s poems together in one volume, this collection lets us see for the first time all the archaeological layers that make up his oeuvre, from the talismanic Death of a Naturalist (1966) to the visionary long poem Station Island (1984), on to the parables of The Haw Lantern (1987) and the intimacies of The Human Chain (2010), the last volume published during the poet’s lifetime. A key poem in that collection, Chanson d’Aventure, describes his journey to hospital in an ambulance following a stroke: “Strapped on, wheeled out, forklifted, locked / In position for the drive”. The book also makes available at last Heaney’s prose poems, Stations (1975), released in a small press edition by Ulsterman Publications, which Heaney effectively kept under wraps as he felt the publication of Geoffrey Hill’s Mercian Hymns – “a work of complete authority” – had stolen his thunder in this form.

Ask me to translate what Loeb gives as
“In a retired vale…a sequestered grove”
And I’ll confound the Lethe in Moyola

By coming through Back Park down from Grove Hill
Across Long Rigs on to the riverbank –
Which way, by happy chance, will take me past

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Seamus Heaney’s unpublished poems to be released — read one exclusively here

The Poems of Seamus Heaney, out on Thursday, will feature all 12 of the revered Irish author’s collections alongside uncollected works and 25 poems yet to be published

A trove of unpublished poems by the late Irish poet Seamus Heaney is set to be printed alongside his collected and uncollected poems, published together for the first time.

The Poems of Seamus Heaney will feature his 12 collections interspersed with poems published in magazines, journals and newspapers, plus 25 poems selected from Heaney’s large number of unpublished works.

Chair, Pocket Knife, Guitar is an unpublished poem by Seamus Heaney extracted from The Poems of Seamus Heaney, edited by Rosie Lavan and Bernard O’Donoghue with Matthew Hollis, to be published by Faber & Faber on 9 October 2025 (£40). To support the Guardian order your copy at guardianbookshop.com. Delivery charges may apply.

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