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Family Note

The idea for this collection of one hundred poems is not a new one. My father himself had contemplated such a book, particularly in later years, and had gone as far as discussing it with his editor and close confidants. The notion of a ‘trim’ selection appealed to him, and while he had chosen and edited Selected Poems 1965–1975, New Selected Poems 1966–1987 and Opened Ground: Selected Poems 1966–1996 – as well as many editions in translation – no single volume existed representing the entire sweep of his career, from first collection to last.

Now, almost five years after his death, we, his immediate family, have returned to that idea. By its very nature, this is a different selection from the one Dad might have made – or an independent editor, for that matter. We took the decision to draw from the twelve original collections (with two exceptions) and leave aside his translations of Sweeney Astray, Beowulf and others. It includes many of his best-loved and most celebrated poems, as well as others that were among his favourites to read and which conjure up that much-missed voice. However, we also made some choices that have special resonance for us individually: evocations of departed friends; remembered moments from a long-ago holiday; familiar objects from our family home. Each one of us – my mother, Marie, my brothers, Michael and Christopher, and I – approached the task with a lifetime’s memories, no one more so than my mother, who had to choose from a trove of love poems spanning fifty years. Perhaps inevitably, the resulting selection is imbued with personal recollections of our shared lives.

Yet we hope that everyone will find something here to cherish or be surprised by: that a newcomer will enjoy reading these poems for the first time, and that the long-time devotee might rediscover a forgotten favourite or simply listen again to the poetic voice as it changes and matures over the course of the years. Indeed, many readers will come to this book with their own particular memories and associations – of times when a poem helped to mark a moment of joy, perhaps, or offered consolation.

Finally, rather than being an ‘in memoriam’ volume, this collection is intended as a celebration of the extraordinary person who gave us these poems. He himself once said that he had begun to think of life as ‘a series of ripples widening out from an original centre’; we hope this book serves as a reminder of the power and vitality of his work, and a testament to its continuing life, rippling outwards with every new reader.

CATHERINE HEANEY

Digging

Between my finger and my thumb

The squat pen rests; snug as a gun.

Under my window, a clean rasping sound

When the spade sinks into gravelly ground:

My father, digging. I look down

Till his straining rump among the flowerbeds

Bends low, comes up twenty years away

Stooping in rhythm through potato drills

Where he was digging.

The coarse boot nestled on the lug, the shaft

Against the inside knee was levered firmly.

He rooted out tall tops, buried the bright edge deep

To scatter new potatoes that we picked

Loving their cool hardness in our hands.

By God, the old man could handle a spade.

Just like his old man.

My grandfather cut more turf in a day

Than any other man on Toner’s bog.

Once I carried him milk in a bottle

Corked sloppily with paper. He straightened up

To drink it, then fell to right away

Nicking and slicing neatly, heaving sods

Over his shoulder, going down and down

For the good turf. Digging.

The cold smell of potato mould, the squelch and slap

Of soggy peat, the curt cuts of an edge

Through living roots awaken in my head.

But I’ve no spade to follow men like them.

Between my finger and my thumb

The squat pen rests.

I’ll dig with it.

Death of a Naturalist

All year the flax-dam festered in the heart

Of the townland; green and heavy-headed

Flax had rotted there, weighted down by huge sods.

Daily it sweltered in the punishing sun.

Bubbles gargled delicately, bluebottles

Wove a strong gauze of sound around the smell.

There were dragonflies, spotted butterflies,

But best of all was the warm thick slobber

Of frogspawn that grew like clotted water

In the shade of the banks. Here, every spring

I would fill jampotfuls of the jellied

Specks to range on window-sills at home,

On shelves at school, and wait and watch until

The fattening dots burst into nimble-

Swimming tadpoles. Miss Walls would tell us how

The daddy frog was called a bullfrog

And how he croaked and how the mammy frog

Laid hundreds of little eggs and this was

Frogspawn. You could tell the weather by frogs too

For they were yellow in the sun and brown

In rain.

Then one hot day when fields were rank

With cowdung in the grass the angry frogs

Invaded the flax-dam; I ducked through hedges

To a coarse croaking that I had not heard

Before. The air was thick with a bass chorus.

Right down the dam gross-bellied frogs were cocked

On sods; their loose necks pulsed like sails. Some hopped:

The slap and plop were obscene threats. Some sat

Poised like mud grenades, their blunt heads farting.

I sickened, turned, and ran. The great slime kings

Were gathered there for vengeance and I knew

That if I dipped my hand the spawn would clutch it.

Blackberry-Picking

for Philip Hobsbaum

Late August, given heavy rain and sun

For a full week, the blackberries would ripen.

At first, just one, a glossy purple clot

Among others, red, green, hard as a knot.

You ate that first one and its flesh was sweet

Like thickened wine: summer’s blood was in it

Leaving stains upon the tongue and lust for

Picking. Then red ones inked up and that hunger

Sent us out with milk cans, pea tins, jam pots

Where briars scratched and wet grass bleached our boots.

Round hayfields, cornfields and potato drills

We trekked and picked until the cans were full,

Until the tinkling bottom had been covered

With green ones, and on top big dark blobs burned

Like a plate of eyes. Our hands were peppered

With thorn pricks, our palms sticky as Bluebeard’s.

We hoarded the fresh berries in the byre.

But when the bath was filled we found a fur,

A rat-grey fungus, glutting on our cache.

The juice was stinking too. Once off the bush

The fruit fermented, the sweet flesh would turn sour.

I always felt like crying. It wasn’t fair

That all the lovely canfuls smelt of rot.

Each year I hoped they’d keep, knew they would not.

Follower

My father worked with a horse-plough,

His shoulders globed like a full sail strung

Between the shafts and the furrow.

The horses strained at his clicking tongue.

An expert. He would set the wing

And fit the bright steel-pointed sock.

The sod rolled over without breaking.

At the headrig, with a single pluck

Of reins, the sweating team turned round

And back into the land. His eye

Narrowed and angled at the ground,

Mapping the furrow exactly.

I stumbled in his hobnailed wake,

Fell sometimes on the polished sod;

Sometimes he rode me on his back

Dipping and rising to his plod.

I wanted to grow up and plough,

To close one eye, stiffen my arm.

All I ever did was follow

In his broad shadow round the farm.

I was a nuisance, tripping, falling,

Yapping always. But today

It is my father who keeps stumbling

Behind me, and will not go away.

Mid-Term Break

I sat all morning in the college sick bay

Counting bells knelling classes to a close.

At two o’clock our neighbours drove me home.

In the porch I met my father crying –

He had always taken funerals in his stride –

And Big Jim Evans saying it was a hard blow.

The baby cooed and laughed and rocked the pram

When I came in, and I was embarrassed

By old men standing up to shake my hand

And tell me they were ‘sorry for my trouble’.

Whispers informed strangers I was the eldest,

Away at school, as my mother held my hand

In hers and coughed out angry tearless sighs.

At ten o’clock the ambulance arrived

With the corpse, stanched and bandaged by the nurses.

Next morning I went up into the room. Snowdrops

And candles soothed the bedside; I saw him

For the first time in six weeks. Paler now,

Wearing a poppy bruise on his left temple,

He lay in the four-foot box as in his cot.

No gaudy scars, the bumper knocked him clear.

A four-foot box, a foot for every year.

The Diviner

Cut from the green hedge a forked hazel stick

That he held tight by the arms of the V:

Circling the terrain, hunting the pluck

Of water, nervous, but professionally

Unfussed. The pluck came sharp as a sting.

The rod jerked with precise convulsions,

Spring water suddenly broadcasting

Through a green hazel its secret stations.

The bystanders would ask to have a try.

He handed them the rod without a word.

It lay dead in their grasp till, nonchalantly,

He gripped expectant wrists. The hazel stirred.

Twice Shy

Her scarf à la Bardot,

In suede flats for the walk,

She came with me one evening

For air and friendly talk.

We crossed the quiet river,

Took the embankment walk.

Traffic holding its breath,

Sky a tense diaphragm:

Dusk hung like a backcloth

That shook where a swan swam,

Tremulous as a hawk

Hanging deadly, calm.

A vacuum of need

Collapsed each hunting heart

But tremulously we held

As hawk and prey apart,

Preserved classic decorum,

Deployed our talk with art.

Our juvenilia

Had taught us both to wait,

Not to publish feeling

And regret it all too late –

Mushroom loves already

Had puffed and burst in hate.

So, chary and excited

As a thrush linked on a hawk,

We thrilled to the March twilight

With nervous childish talk:

Still waters running deep

Along the embankment walk.

Scaffolding

Masons, when they start upon a building,

Are careful to test out the scaffolding;

Make sure that planks won’t slip at busy points,

Secure all ladders, tighten bolted joints.

And yet all this comes down when the job’s done,

Showing off walls of sure and solid stone.

So if, my dear, there sometimes seem to be

Old bridges breaking between you and me,

Never fear. We may let the scaffolds fall,

Confident that we have built our wall.

Personal Helicon

for Michael Longley

As a child, they could not keep me from wells

And old pumps with buckets and windlasses.

I loved the dark drop, the trapped sky, the smells

Of waterweed, fungus and dank moss.

One, in a brickyard, with a rotted board top.

I savoured the rich crash when a bucket

Plummeted down at the end of a rope.

So deep you saw no reflection in it.

A shallow one under a dry stone ditch

Fructified like any aquarium.

When you dragged out long roots from the soft mulch

A white face hovered over the bottom.

Others had echoes, gave back your own call

With a clean new music in it. And one

Was scaresome, for there, out of ferns and tall

Foxgloves, a rat slapped across my reflection.

Now, to pry into roots, to finger slime,

To stare, big-eyed Narcissus, into some spring

Is beneath all adult dignity. I rhyme

To see myself, to set the darkness echoing.

The Forge

All I know is a door into the dark.

Outside, old axles and iron hoops rusting;

Inside, the hammered anvil’s short-pitched ring,

The unpredictable fantail of sparks

Or hiss when a new shoe toughens in water.

The anvil must be somewhere in the centre,

Horned as a unicorn, at one end square,

Set there immoveable: an altar

Where he expends himself in shape and music.

Sometimes, leather-aproned, hairs in his nose,

He leans out on the jamb, recalls a clatter

Of hoofs where traffic is flashing in rows;

Then grunts and goes in, with a slam and flick

To beat real iron out, to work the bellows.

The Peninsula

When you have nothing more to say, just drive

For a day all round the peninsula.

The sky is tall as over a runway,

The land without marks, so you will not arrive

But pass through, though always skirting landfall.

At dusk, horizons drink down sea and hill,

The ploughed field swallows the whitewashed gable

And you’re in the dark again. Now recall

The glazed foreshore and silhouetted log,

That rock where breakers shredded into rags,

The leggy birds stilted on their own legs,

Islands riding themselves out into the fog,

And drive back home, still with nothing to say

Except that now you will uncode all landscapes

By this: things founded clean on their own shapes,

Water and ground in their extremity.

Requiem for the Croppies

The pockets of our greatcoats full of barley –

No kitchens on the run, no striking camp –

We moved quick and sudden in our own country.

The priest lay behind ditches with the tramp.

A people, hardly marching – on the hike –

We found new tactics happening each day:

We’d cut through reins and rider with the pike

And stampede cattle into infantry,

Then retreat through hedges where cavalry must be thrown.

Until, on Vinegar Hill, the fatal conclave.

Terraced thousands died, shaking scythes at cannon.

The hillside blushed, soaked in our broken wave.

They buried us without shroud or coffin

And in August the barley grew up out of the grave.

Night Drive

The smells of ordinariness

Were new on the night drive through France:

Rain and hay and woods on the air

Made warm draughts in the open car.

Signposts whitened relentlessly.

Montreuil, Abbeville, Beauvais

Were promised, promised, came and went,

Each place granting its name’s fulfilment.

A combine groaning its way late

Bled seeds across its work-light.

A forest fire smouldered out.

One by one small cafés shut.

I thought of you continuously

A thousand miles south where Italy

Laid its loin to France on the darkened sphere.

Your ordinariness was renewed there.

The Given Note

On the most westerly Blasket

In a dry-stone hut

He got this air out of the night.

Strange noises were heard

By others who followed, bits of a tune

Coming in on loud weather

Though nothing like melody.

He blamed their fingers and ear

As unpractised, their fiddling easy

For he had gone alone into the island

And brought back the whole thing.

The house throbbed like his full violin.

So whether he calls it spirit music

Or not, I don’t care. He took it

Out of wind off mid-Atlantic.

Still he maintains, from nowhere.

It comes off the bow gravely,

Rephrases itself into the air.

Bogland

for T. P. Flanagan

We have no prairies

To slice a big sun at evening –

Everywhere the eye concedes to

Encroaching horizon,

Is wooed into the cyclops’ eye

Of a tarn. Our unfenced country

Is bog that keeps crusting

Between the sights of the sun.

They’ve taken the skeleton

Of the Great Irish Elk

Out of the peat, set it up,

An astounding crate full of air.

Butter sunk under

More than a hundred years

Was recovered salty and white.

The ground itself is kind, black butter

Melting and opening underfoot,

Missing its last definition

By millions of years.

They’ll never dig coal here,

Only the waterlogged trunks

Of great firs, soft as pulp.

Our pioneers keep striking

Inwards and downwards,

Every layer they strip

Seems camped on before.

The bogholes might be Atlantic seepage.

The wet centre is bottomless.

Anahorish

My ‘place of clear water’,

the first hill in the world

where springs washed into

the shiny grass

and darkened cobbles

in the bed of the lane.

Anahorish, soft gradient

of consonant, vowel-meadow,

after-image of lamps

swung through the yards

on winter evenings.

With pails and barrows

those mound-dwellers

go waist-deep in mist

to break the light ice

at wells and dunghills.

Broagh

Riverbank, the long rigs

ending in broad docken

and a canopied pad

down to the ford.

The garden mould

bruised easily, the shower

gathering in your heelmark

was the black O

in Broagh,

its low tattoo

among the windy boortrees

and rhubarb-blades

ended almost

suddenly, like that last

gh the strangers found

difficult to manage.

The Other Side

I

Thigh-deep in sedge and marigolds,

a neighbour laid his shadow

on the stream, vouching

‘It’s as poor as Lazarus, that ground,’

and brushed away

among the shaken leafage.

I lay where his lea sloped

to meet our fallow,

nested on moss and rushes,

my ear swallowing

his fabulous, biblical dismissal,

that tongue of chosen people.

When he would stand like that

on the other side, white-haired,

swinging his blackthorn

at the marsh weeds,

he prophesied above our scraggy acres,

then turned away

towards his promised furrows

on the hill, a wake of pollen

drifting to our bank, next season’s tares.

II

For days we would rehearse

each patriarchal dictum:

Lazarus, the Pharaoh, Solomon

and David and Goliath rolled

magnificently, like loads of hay

too big for our small lanes,

or faltered on a rut –

‘Your side of the house, I believe,

hardly rule by the Book at all.’

His brain was a whitewashed kitchen

hung with texts, swept tidy

as the body o’ the kirk.

III

Then sometimes when the rosary was dragging

mournfully on in the kitchen

we would hear his step round the gable

though not until after the litany

would the knock come to the door

and the casual whistle strike up

on the doorstep. ‘A right-looking night,’

he might say, ‘I was dandering by

and says I, I might as well call.’

But now I stand behind him

in the dark yard, in the moan of prayers.

He puts a hand in a pocket

or taps a little tune with the blackthorn

shyly, as if he were party to

lovemaking or a stranger’s weeping.

Should I slip away, I wonder,

or go up and touch his shoulder

and talk about the weather

or the price of grass-seed?

The Tollund Man

I

Some day I will go to Aarhus

To see his peat-brown head,

The mild pods of his eyelids,

His pointed skin cap.

In the flat country nearby

Where they dug him out,

His last gruel of winter seeds

Caked in his stomach,

Naked except for

The cap, noose and girdle,

I will stand a long time.

Bridegroom to the goddess,

She tightened her torc on him

And opened her fen,

Those dark juices working

Him to a saint’s kept body,

Trove of the turfcutters’

Honeycombed workings.

Now his stained face

Reposes at Aarhus.

II

I could risk blasphemy,

Consecrate the cauldron bog

Our holy ground and pray

Him to make germinate

The scattered, ambushed

Flesh of labourers,

Stockinged corpses

Laid out in the farmyards,

Tell-tale skin and teeth

Flecking the sleepers

Of four young brothers, trailed

For miles along the lines.

III

Something of his sad freedom

As he rode the tumbril

Should come to me, driving,

Saying the names

Tollund, Grauballe, Nebelgard,

Watching the pointing hands

Of country people,

Not knowing their tongue.

Out there in Jutland

In the old man-killing parishes

I will feel lost,

Unhappy and at home.

Wedding Day

I am afraid.

Sound has stopped in the day

And the images reel over

And over. Why all those tears,

The wild grief on his face

Outside the taxi? The sap

Of mourning rises

In our waving guests.

You sing behind the tall cake

Like a deserted bride

Who persists, demented,

And goes through the ritual.

When I went to the Gents

There was a skewered heart

And a legend of love. Let me

Sleep on your breast to the airport.

Westering

in California

I sit under Rand McNally’s

‘Official Map of the Moon’ –

The colour of frogskin,

Its enlarged pores held

Open and one called

‘Pitiscus’ at eye level –

Recalling the last night

In Donegal, my shadow

Neat upon the whitewash

From her bony shine,

The cobbles of the yard

Lit pale as eggs.

Summer had been a free fall

Ending there,

The empty amphitheatre

Of the west. Good Friday

We had started out

Past shopblinds drawn on the afternoon,

Cars stilled outside still churches,

Bikes tilting to a wall;

We drove by,

A dwindling interruption,

As clappers smacked

On a bare altar

And congregations bent

To the studded crucifix.

What nails dropped out that hour?

Roads unreeled, unreeled

Falling light as casts

Laid down

On shining waters.

Under the moon’s stigmata

Six thousand miles away,

I imagine untroubled dust,

A loosening gravity,

Christ weighing by his hands.

Mossbawn: Two Poems in Dedication

for Mary Heaney

1 Sunlight

There was a sunlit absence.

The helmeted pump in the yard

heated its iron,

water honeyed

in the slung bucket

and the sun stood

like a griddle cooling

against the wall

of each long afternoon.

So, her hands scuffled

over the bakeboard,

the reddening stove

sent its plaque of heat

against her where she stood

in a floury apron

by the window.

Now she dusts the board

with a goose’s wing,

now sits, broad-lapped,

with whitened nails

and measling shins:

here is a space

again, the scone rising

to the tick of two clocks.

And here is love

like a tinsmith’s scoop

sunk past its gleam

in the meal-bin.

2. The Seed Cutters

2 The Seed Cutters

They seem hundreds of years away. Brueghel,

You’ll know them if I can get them true.

They kneel under the hedge in a half-circle

Behind a windbreak wind is breaking through.

They are the seed cutters. The tuck and frill

Of leaf-sprout is on the seed potatoes

Buried under that straw. With time to kill,

They are taking their time. Each sharp knife goes

Lazily halving each root that falls apart

In the palm of the hand: a milky gleam,

And, at the centre, a dark watermark.

Oh, calendar customs! Under the broom

Yellowing over them, compose the frieze

With all of us there, our anonymities.

Funeral Rites

I

I shouldered a kind of manhood

stepping in to lift the coffins

of dead relations.

They had been laid out

in tainted rooms,

their eyelids glistening,

their dough-white hands

shackled in rosary beads.

Their puffed knuckles

had unwrinkled, the nails

were darkened, the wrists

obediently sloped.

The dulse-brown shroud,

the quilted satin cribs:

I knelt courteously

admiring it all

as wax melted down

and veined the candles,

the flames hovering

to the women hovering

behind me.

And always, in a corner,

the coffin lid,

its nail-heads dressed

with little gleaming crosses.

Dear soapstone masks,

kissing their igloo brows

had to suffice

before the nails were sunk

and the black glacier

of each funeral

pushed away.

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