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By Stuart Butchart, Jez Bird (Editors)

ISBN-10: 0946888647

ISBN-13: 9780946888641

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17. Heaney, ‘The Strand at Lough Beg’, Field Work, p. 17. Corcoran, Seamus Heaney, p. 136. Seamus Heaney and the Modern Irish Elegy 25 31 S. Heaney, interviewed by Melvyn Bragg for ITV, The South Bank Show, October 1991. 32 Heaney, ‘The Strand at Lough Beg’, Field Work, p. 18. 33 Ramazani, Poetry of Mourning, p. 346. 34 Heaney, ‘The Strand at Lough Beg’, Field Work, p. 18. 35 Heaney, ‘The Strand at Lough Beg’, Field Work, p. 18. 36 I am grateful to Louise Cole for this thoughtful observation. 37 S.

Often the psychological entrance to these situations occurs when the poet is near a physically liminal area such as a window, door, or space between water and land. The well-known poems ‘Digging’, ‘North’ and ‘Station Island’ illustrate this process particularly well. These poems have been consistently misunderstood by critics who have not grasped their portrayal of the particular poetic process Heaney has undergone to write them. His ability to enter into these meditative states and dwell in ambiguity has finally also enabled him to evolve a theory of poetry that redresses reality and creates a new space of poetic and political possibility, which in turn has helped him become an outstanding spokesman for the normalization of relations between Catholics and Protestants in Northern Ireland.

This passage is his explanation of how he comes to occupy this middle ground in which he is able to perceive elements beyond the grasp of the conscious mind; instead of terming it, as he has in ‘Magic’, the ‘pathway between speech and silence’, he describes this liminal state as something akin to a trance – ‘the moment when we are both awake and asleep’. Rhythm is his mantra that lulls him into this realm of contemplation, Poems without Frontiers 29 from which he is then able to interact with ‘those things that came from beyond the threshold of waking life’.

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Critically Endangered Birds: A Global Audit by Stuart Butchart, Jez Bird (Editors)

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