Field Work is the record of four years during which Seamus Heaney left the violence of Belfast to settle in a country cottage with his family in Glanmore, County Wicklow. Heeding "an early warning system to get back inside my own head," Heaney wrote poems with a new strength and maturity, moving from the political concerns of his landmark volume North to a more personal, contemplative approach to the world and to his own writing. In Field Work he "brings a meditative music to bear upon fundamental themes of person and place, the mutuality of ourselves and the world" (Denis Donoghue, The New York Times Book Review).
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Seamus Heaney (1939-2013) received the Nobel Prize in Literature in 1995. His poems, plays, translations, and essays include Opened Ground, Electric Light, Beowulf, The Spirit Level, District and Circle, and Finders Keepers. Robert Lowell praised Heaney as the "most important Irish poet since Yeats."
Title Page,
Copyright Notice,
Dedication,
Acknowledgements,
Oysters,
Triptych,
I. After a Killing,
II. Sibyl,
III. At the Water's Edge,
The Toome Road,
A Drink of Water,
The Strand at Lough Beg,
A Postcard from North Antrim,
Casualty,
The Badgers,
The Singer's House,
The Guttural Muse,
In Memoriam Sean O'Riada,
Elegy,
Glanmore Sonnets,
September Song,
An Afterwards,
High Summer,
The Otter,
The Skunk,
Homecomings,
A Dream of Jealousy,
Polder,
Field Work,
Song,
Leavings,
The Harvest Bow,
In Memoriam Francis Ledwidge,
Ugolino,
Notes,
FSG Classics,
Books by Seamus Heaney,
Copyright,
Oysters
Our shells clacked on the plates.
My tongue was a filling estuary,
My palate hung with starlight:
As I tasted the salty Pleiades
Orion dipped his foot into the water.
Alive and violated
They lay on their beds of ice:
Bivalves: the split bulb
And philandering sigh of ocean.
Millions of them ripped and shucked and scattered.
We had driven to that coast
Through flowers and limestone
And there we were, toasting friendship,
Laying down a perfect memory
In the cool of thatch and crockery.
Over the Alps, packed deep in hay and snow,
The Romans hauled their oysters south to Rome:
I saw damp panniers disgorge
The frond-lipped, brine-stung
Glut of privilege
And was angry that my trust could not repose
In the clear light, like poetry or freedom
Leaning in from sea. I ate the day
Deliberately, that its tang
Might quicken me all into verb, pure verb.
Triptych
I
After a Killing
There they were, as if our memory hatched them,
As if the unquiet founders walked again:
Two young men with rifles on the hill,
Profane and bracing as their instruments.
Who's sorry for our trouble?
Who dreamt that we might dwell among ourselves
In rain and scoured light and wind-dried stones?
Basalt, blood, water, headstones, leeches.
In that neuter original loneliness
From Brandon to Dunseverick
I think of small-eyed survivor flowers,
The pined-for, unmolested orchid.
I see a stone house by a pier.
Elbow room. Broad window light.
The heart lifts. You walk twenty yards
To the boats and buy mackerel.
And to-day a girl walks in home to us
Carrying a basket full of new potatoes,
Three tight green cabbages, and carrots
With the tops and mould still fresh on them.
II
Sibyl
My tongue moved, a swung relaxing hinge.
I said to her, 'What will become of us?'
And as forgotten water in a well might shake
At an explosion under morning
Or a crack run up a gable,
She began to speak.
'I think our very form is bound to change.
Dogs in a siege. Saurian relapses. Pismires.
Unless forgiveness finds its nerve and voice,
Unless the helmeted and bleeding tree
Can green and open buds like infants' fists
And the fouled magma incubate
Bright nymphs. ... My people think money
And talk weather. Oil-rigs lull their future
On single acquisitive stems. Silence
Has shoaled into the trawlers' echo-sounders.
The ground we kept our ear to for so long
Is flayed or calloused, and its entrails
Tented by an impious augury.
Our island is full of comfortless noises.'
III
At the Water's Edge
On Devenish I heard a snipe
And the keeper's recital of elegies
Under the tower. Carved monastic heads
Were crumbling like bread on water.
On Boa the god-eyed, sex-mouthed stone
Socketed between graves, two-faced, trepanned
Answered my silence with silence.
A stoup for rain water. Anathema.
From a cold hearthstone on Horse Island
I watched the sky beyond the open chimney
And listened to the thick rotations
Of an army helicopter patrolling.
A hammer and a cracked jug full of cobwebs
Lay on the windowsill. Everything in me
Wanted to bow down, to offer up,
To go barefoot, foetal and penitential,
And pray at the water's edge.
How we crept before we walked! I remembered
The helicopter shadowing our march at Newry
The scared, irrevocable steps.
The Toome Road
One morning early I met armoured cars
In convoy, warbling along on powerful tyres,
All camouflaged with broken alder branches,
And headphoned soldiers standing up in turrets.
How long were they approaching down my roads
As if they owned them? The whole country was sleeping.
I had rights-of-way, fields, cattle in my keeping,
Tractors hitched to buckrakes in open sheds,
Silos, chill gates, wet slates, the greens and reds
Of outhouse roofs. Whom should I run to tell
...
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