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Seamus Heaney (/ˈʃeɪməs ˈhiːni/; born 13 April 1939) is an Irish poet, playwright, translator, lecturer and recipient of the 1995 Nobel Prize in Literature. Born at Mossbawn farmhouse between Castledawson and Toomebridge, he now resides in Dublin.

As well as the Nobel Prize in Literature and writing Heaney has received the Geoffrey Faber Memorial Prize (1968), the E. M. Forster Award (1975), the PEN Translation Prize (1985), the Golden Wreath of Poetry (2001), T. S. Eliot Prize (2006) and two Whitbread Prizes (1996 and 1999). He has been a member of Aosdána since its foundation and has been Saoi since 1997. He was both the Harvard and the Oxford Professor of Poetry and was made a Commandeur de l'Ordre des Arts et Lettres in 1996. Heaney's literary papers are held by the National Library of Ireland. On 6 June 2012, he was awarded the Lifetime Recognition Award from the Griffin Trust For Excellence In Poetry.

Heaney's mother, Margaret Kathleen McCann, came from the McCann family, whose uncles and relations were employed in the local linen mill, and whose aunt had worked as a maid for the mill owner's family. The poet has commented on the fact that his parentage thus contains both the Ireland of the cattle-herding Gaelic past and the Ulster of the Industrial Revolution; he considers this to have been a significant tension in his background. Heaney initially attended Anahorish Primary School, and when he was twelve years-old, he won a scholarship to St. Columb's College, a Roman Catholic boarding school situated in Derry. Heaney's brother, Christopher, was killed in a road accident at the age of four, while Heaney was studying at St. Columb's. The poems "Mid-Term Break" and "The Blackbird of Glanmore" focus on his brother's death.


Work

Heaney's books make up two-thirds of the sales of living poets in the UK. His work often deals with the local surroundings of Ireland, particularly in Northern Ireland, where he was born. Speaking of his early life and education, he commented "I learned that my local County Derry experience, which I had considered archaic and irrelevant to 'the modern world' was to be trusted. They taught me that trust and helped me to articulate it." Death of a Naturalist (1966) and Door into the Dark (1969) mostly focus on the detail of rural, parochial life. Allusions to sectarian difference, widespread in Northern Ireland through his lifetime, can be found in his poems. His books Wintering Out (1973) and North (1975) seek to interweave commentary on 'The Troubles' with a historical context and wider human experience. Whilst some critics have accused Heaney of being "an apologist and a mythologizer" of the violence, Blake Morrison suggests the poet "has written poems directly about the Troubles as well as elegies for friends and acquaintances who have died in them; he has tried to discover a historical framework in which to interpret the current unrest; and he has taken on the mantle of public spokesman, someone looked to for comment and guidance... Yet he has also shown signs of deeply resenting this role, defending the right of poets to be private and apolitical, and questioning the extent to which poetry, however 'committed,' can influence the course of history." Shaun O'Connell in the New Boston Review notes that "those who see Seamus Heaney as a symbol of hope in a troubled land are not, of course, wrong to do so, though they may be missing much of the undercutting complexities of his poetry, the backwash of ironies which make him as bleak as he is bright." O'Connell notes in his Boston Review critique of Station Island: "Again and again Heaney pulls back from political purposes; despite its emblems of savagery, Station Island lends no rhetorical comfort to Republicanism. Politic about politics, Station Island is less about a united Ireland than about a poet seeking religious and aesthetic unity". Heaney is described by critic Terry Eagleton as "an enlightened cosmopolitan liberal", refusing to be drawn. Eagleton suggests: "When the political is introduced... it is only in the context of what Heaney will or will not say." Reflections on what Heaney identifies as "tribal conflict", favour the description of people's lives and their voices, drawing out the 'psychic landscape'. His collections often recall the assassination of his family members and close friends, lynchings and bombings. Colm Tóibín wrote, "throughout his career there have been poems of simple evocation and description. His refusal to sum up or offer meaning is part of his tact."[40] Heaney published “Requiem for the Croppies” on the 50th anniversary of the 1916 Easter Rising, a poem that commemorates the Irish rebels of 1798. He has read the poem to both Catholic and Protestant audiences in Ireland. He commented "To read ‘'Requiem for the Croppies'’ wasn't to say ‘up the IRA’ or anything. It was silence-breaking rather than rabble-rousing.”[48] He stated “You don’t have to love it. You just have to permit it.” He turned down the offer of laureateship partly for political reasons, commenting "I’ve nothing against the Queen personally: I had lunch at the Palace once upon a time". He stated that his "cultural starting point" was "off centre". His most commonly cited political statement came in 1982 when he objected to being included in an anthology of British poetry, despite being of Northern Irish birth. He has lived in the Republic of Ireland since 1972 and claimed his Irish rather than British nationality, responding

“Be advised my passport’s green.
No glass of ours was ever raised
to toast the Queen.” 

He is concerned as a poet and a translator, with the English language itself, as it is spoken in Ireland but also as spoken elsewhere and in other times; the Anglo-Saxon influences in his work and study are strong. Critic W. S. Di Piero noted "Whatever the occasion, childhood, farm life, politics and culture in Northern Ireland, other poets past and present, Heaney strikes time and again at the taproot of language, examining its genetic structures, trying to discover how it has served, in all its changes, as a culture bearer, a world to contain imaginations, at once a rhetorical weapon and nutriment of spirit. He writes of these matters with rare discrimination and resourcefulness, and a winning impatience with received wisdom." Heaney's first translation came with the Irish lyric poem "Buile Suibhne", published as Sweeney Astray: A Version from the Irish (1984), a character and connection taken up in Station Island (1984). Heaney's prize-winning translation of Beowulf (Farrar, Straus & Giroux, 2000, Whitbread Book of the Year Award) was seen as ground-breaking in its use of modern language melded with the original Anglo-Saxon 'music'. His works of drama includes The Cure at Troy: A Version of Sophocles' Philoctetes (1991). Heaney's 2004 play The Burial at Thebes makes parallels between Creon with the foreign policies of the Bush administration.

Heaney's engagement with poetry as a necessary engine for cultural and personal change, is reflected in his prose works The Redress of Poetry (1995) and Finders Keepers: Selected Prose, 1971–2001 (2002). "When a poem rhymes," Heaney wrote, "when a form generates itself, when a metre provokes consciousness into new postures, it is already on the side of life. When a rhyme surprises and extends the fixed relations between words, that in itself protests against necessity. When language does more than enough, as it does in all achieved poetry, it opts for the condition of overlife, and rebels at limit." He expands: "The vision of reality which poetry offers should be transformative, more than just a printout of the given circumstances of its time and place". But what is often overlooked and underestimated in the direction of his work is his profound poetic debts to and critical engagement with 20th-century Eastern European poets, and in particular Nobel laureate Czeslaw Milosz. 

Heaney's work is used extensively on school syllabi internationally, including the anthologies The Rattle Bag (1982) and The School Bag (1987) (both edited with Ted Hughes). Originally entitled The Faber Book of Verse for Younger People on the Faber contract, Hughes and Heaney decided the The Rattle Bag's main purpose was to offer enjoyment to the reader: "Arbitrary riches". Heaney commented "the book in our heads was something closer to The Fancy Free Poetry Supplement". It included work that they would have liked to encountered sooner as well as nonsense rhymes, ballad-type poems, riddles, folk songs and rhythmical jingles. Much familiar canonical work was not included, since they took it for granted that their audience would know the standard fare. Fifteen years later The School Bag aimed at something different. The foreword stated that they wanted "less of a carnival, more like a checklist." It included poems in English, Irish, Welsh, Scots and Scots Gaelic, together with work reflecting the African-American experience. Heaney's work is also the basis for a collaboration with Mohammed Fairouz  who composed a choral setting of Heaney's poems.