In this collection, as ever with Heaney, personal memory and humble domestic objects -- a whitewash brush, a sofa, a swing -- are endowed with talismanic significance, and throughout the collection he addresses his growing concerns, which inevitably include the political situation in his native Northern Ireland, in a poetry that never ceases to be ...
In this collection, as ever with Heaney, personal memory and humble domestic objects -- a whitewash brush, a sofa, a swing -- are endowed with talismanic significance, and throughout the collection he addresses his growing concerns, which inevitably include the political situation in his native Northern Ireland, in a poetry that never ceases to be fluid, alert, and completely truthful.
Fine in Fine dust jacket. 8vo; [x], 81,  pages. 0374267790. A smart Second Printing of the First American Edition in Fine condition in alike dust-jacket, SIGNED and dated by Nobel Prize laureate Seamus Heaney on the title page; After the publication of Seeing Things, Heaney continued to celebrate those moments when the challenges of "keeping going" are transformed into the possibility of new beginnings. Heaney was awarded the Nobel Prize in Literature for 1995 "for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past."
Fine in Fine jacket. 8vo-over 7¾"-9¾" tall. Signed & Dated by Author First US edition, first prnt. Signed and dated "19. xi.96" by Heaney on the front free endpage. Tight copy in Fine condition in a Fine dustjacket with an archival cover. Image of actual book; not a stock photo.
Fine. 0374267790. First American SIGNED LIMITED Edition. One of 200 numbered copies. Fine in green cloth, with a card box containing an audio cassette of the poet reading from his work. Enclosed in the publisher's black clo th slipcase. Oversubscribed upon publication. (B); Signed by Author(s)
Publishers Weekly, 1996-04-29 As the title suggests, this new collection from the 1995 winner of the Nobel Prize is a study in balance. Heaney reveals how simple things, such as a thimble or a swing, can hold the weight of history-and how history can alter the emotional weight of an object. "Two Lorries" takes the romantic innocence of a coalman's truck, circa 1940, with its driver who stops to flirt with the poet's mother, and measures it against a present-day "heavier, deadlier one, set to explode." Meanwhile, the poems revel in wordplay. A favorite tactic is the repetition of words within a lines or stanzas, which can yield such simplicity as in "Bisected sunlight in the sunlit yard," or be as savvy as a politico's speech: "Like the disregarded ones we turned against/ Because we'd failed them by our disregard." Heaney, at the peak of his career, is the fulcrum of two Irelands: one that is lyrical and lush with tradition and love; another that is ticking and could "catch the heart off guard and blow it open." (June)
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