Composed toward the end of the first millennium, Beowulf is the elegiac narrative of the adventures of Beowulf, a Scandinavian hero who saves the Danes from the seemingly invincible monster Grendel and, later, from Grendel's mother. He then returns to his own country and dies in old age in a vivid fight against a dragon. The poem is about encountering the monstrous, defeating it, and then having to live on in the exhausted aftermath. In the contours of this story, at once remote and uncannily familiar at the beginning of the twenty-first century, Nobel laureate Seamus Heaney finds a resonance that summons power to the poetry from deep beneath its surface. Drawn to what he has called the four-squareness of the utterance in Beowulf and its immense emotional credibility, Heaney gives these epic qualities new and convincing reality for the contemporary reader.

Selected poems from a Nobel laureate

In 100 Poems, readers will enjoy the most loved and celebrated poems, and will discover new favorites, from The Cure at Troy to Death of a Naturalist. It is a singular and welcoming anthology, reaching far and wide, for now and for years to come.

Seamus Heaney had the idea to make a personal selection of poems from across the entire arc of his writing life, a collection small yet comprehensive enough to serve as an introduction for all comers. He never managed to do this himself, but now, finally, the project has been returned to, resulting in an intimate gathering of poems chosen and introduced by the Heaney family. No other selection of Heaney's poems exists that has such a broad range, drawing from the first to the last of his prizewinning collections.

The letters provide us with an intimate, multilayered understanding of this extraordinary poet's life and mind.

Every now and again I need to get down here, to get into the Diogenes tub, as it were, or the Colmcille beehive hut, or the Mossbawn scullery. At any rate, a hedge surrounds me, the blackbird calls, the soul settles for an hour or two.

In this astute selection from Seamus Heaney's vast correspondence, we are given direct access to the life and poetic development of a literary titan, from his early days in Belfast, through his controversial decision to settle in the Republic, to the gradual broadening of horizons that culminated in the award of the Nobel Prize in Literature and the years of international eminence that kept him heroically busy until his death.

Christopher Reid draws from both public and private archives to reveal this remarkable story in the poet's own words. Generous, funny, exuberant, confiding, irreverent, empathetic, and deeply thoughtful, The Letters of Seamus Heaney encompasses decades-long relationships with friends and colleagues, as well as an unstinted responsiveness to passing acquaintances.

Heaney's mastery of language is as evident here as it is in any of his writings; listening to his voice we find ourselves in the same room as a man whose presence enriched the world and whose legacy deepens our sense of what truly matters.

In this outstanding new translation, commissioned by Ireland's renowned Abbey Theatre to commemorate its centenary, Seamus Heaney exposes the darkness and the humanity in Sophocles' masterpiece, and inks it with his own modern and masterly touch.

Sophocles' play, first staged in the fifth century B.C., stands as a timely exploration of the conflict between those who affirm the individual's human rights and those who must protect the state's security. During the War of the Seven Against Thebes, Antigone, the daughter of Oedipus, learns that her brothers have killed each other, having been forced onto opposing sides of the battle. When Creon, king of Thebes, grants burial of one but not the treacherous other, Antigone defies his order, believing it her duty to bury all of her close kin. Enraged, Creon condemns her to death, and his soldiers wall her up in a tomb. While Creon eventually agrees to Antigone's release, it is too late: She takes her own life, initiating a tragic repetition of events in her family's history.

A brilliant and faithful rendering of the Anglo-Saxon epic from the Nobel laureate.

Composed toward the end of the first millennium of our era, Beowulf is the elegiac narrative of the adventures of Beowulf, a Scandinavian hero who saves the Danes from the seemingly invincible monster Grendel and, later, from Grendel's mother. He then returns to his own country and dies in old age in a vivid fight against a dragon. The poem is about encountering the monstrous, defeating it, and then having to live on in the exhausted aftermath. In the contours of this story, at once remote and uncannily familiar at the end of the twentieth century, Seamus Heaney finds a resonance that summons power to the poetry from deep beneath its surface.

Drawn to what he has called the four-squareness of the utterance in Beowulf and its immense emotional credibility, Heaney gives these epic qualities new and convincing reality for the contemporary reader.

But how to visualize the poet's story has always been a challenge for modern-day readers. In Beowulf: An Illustrated Edition, John D. Niles, a specialist in Old English literature, provides visual counterparts to Heaney's remarkable translation. More than one hundred full-page illustrations--Viking warships, chain mail, lyres, spearheads, even a reconstruction of the Great Hall--make visible Beowulf's world and the elemental themes of his story: death, divine power, horror, heroism, disgrace, devotion, and fame. This mysterious world is now transformed into one of material splendor as readers view its elegant goblets, dragon images, and finely crafted gold jewelry against the backdrop of the Danish landscape of its origins.

The title poem of this collection, set on an Irish island, tells of a pilgrim on an inner journey that leads him back into the world that formed him, and then forward to face the crises of the present. Writing in The Washington Post Book World, Hugh Kenner called this narrative sequence as fine a long poem as we've had in fifty years.

A new edition of the later selected work of a Nobel Prize-winning poet

Often considered to be the greatest poet of our age (The Guardian), Seamus Heaney was awarded the Nobel Prize in Literature in 1995 for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past. He saw poetry as a vocation and credited it with the power to persuade the vulnerable part of our consciousness of its rightness in spite of the evidence of wrongness all around it, the power to remind us that we are hunters and gatherers of values. Paul Muldoon wrote that Heaney was the only poet I can think of who was recognized worldwide as having moral as well as literary authority.
Shortly before his death in 2013, Seamus Heaney began to compile Selected Poems 1988-2013, and although he was unable to complete the project, his choices have been followed here. This volume encapsulates the finest work from Seeing Things (1991) with its lines of loss and revelation; The Spirit Level (1996) where we experience the poem as ploughshare that turns time / Up and over.; the landmark translation of Beowulf (1999); Electric Light (2001), a book of origins and oracles; and his final collections, District and Circle (2006) and Human Chain (2010), which limn the interconnectedness of being, our lifelines to our inherited past.

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).

A Boston Globe Best Poetry Book of 2011
Winner of the 2011 Griffin Poetry Prize
Winner of the 2011 Poetry Now Award

Seamus Heaney's new collection elicits continuities and solidarities, between husband and wife, child and parent, then and now, inside an intently remembered present--the stepping stones of the day, the weight and heft of what is passed from hand to hand, lifted and lowered. Human Chain also broaches larger questions of transmission, of lifelines to the inherited past. There are newly minted versions of anonymous early Irish lyrics, poems that stand at the crossroads of oral and written, and other hermit songs that weigh equally in their balance the craft of scribe and the poet's early calling as scholar. A remarkable sequence entitled Route 101 plots the descent into the underworld in the Aeneid against single moments in the arc of a life, from a 1950s childhood to the birth of a first grandchild. Other poems display a Virgilian pietas for the dead--friends, neighbors, family--that is yet wholly and movingly vernacular.

Human Chain also includes a poetic herbal adapted from the Breton poet Guillevic--lyrics as delicate as ferns, which puzzle briefly over the world of things and landscapes that exclude human speech, while affirming the interconnectedness of phenomena, as of a self-sufficiency in which we too are included

Between my fingers and my thumb
The squat pen rests.
I'll dig with it.

Selected Poems 1966-1987 assembles the groundbreaking work of the first half of Seamus Heaney's extraordinary career. This edition, arranged by the author himself, includes the seminal early poetry that struck readers with the force of revelation and heralded the arrival of an heir to Gerard Manley Hopkins, W. B. Yeats, and Robert Frost.
Helen Vendler called Heaney a poet of the in-between, and the work collected here dwells in the borderlands dividing the ancient and the contemporary, the mythic and the quotidian. Gathering poetry from his first seven collections, Selected Poems 1966-1987 presents the young man from County Derry, Northern Ireland, who emerged from a hidden, a buried life in Death of a Naturalist (1966), with his cherished poems Digging and Mid-term Break; the poet of conscience as bleak as he is bright in Whatever You Say Say Nothing and Singing School; and the astonishingly gifted, mature craftsman behind Field Work (1979) and Station Island (1984)--an artist uncannily attuned to the music of what happens, restlessly searching for images and symbols adequate to our predicament.
This volume, together with its companion Selected Poems 1988-2013, allows us to revisit the essential work of one of the great writers of our age through his own compilation.

As selected by the author, Opened Ground includes the essential work from Heaney's twelve previous books of poetry, as well as new sequences drawn from two of his landmark translations, The Cure at Troy and Sweeney Astray, and several previously uncollected poems. Heaney's voice is like no other--by turns mythological and journalistic, rural and sophisticated, reminiscent and impatient, stern and yielding, curt and expansive (Helen Vendler, The New Yorker)--and this is a one-volume testament to the musicality and precision of that voice. The book closes with Heaney's Nobel Lecture: Crediting Poetry.

The Spirit Level was the first book of poems Heaney published after winning the Nobel Prize in Literature in 1995. Reviewing this book in The New York Times Book Review, Richard Tillinghast noted that Heaney has been and is here for good . . . [His poems] will last. Anyone who reads poetry has reason to rejoice at living in the age when Seamus Heaney is writing.

The Cure at Troy is Seamus Heaney's version of Sophocles' Philoctetes. Written in the fifth century BC, this play concerns the predicament of the outcast hero, Philoctetes, whom the Greeks marooned on the island of Lemnos and forgot about until the closing stages of the Siege of Troy. Abandoned because of a wounded foot, Philoctetes nevertheless possesses an invincible bow without which the Greeks cannot win the Trojan War. They are forced to return to Lemnos and seek out Philoctetes' support in a drama that explores the conflict between personal integrity and political expediency.

Heaney's version of Philoctetes is a fast-paced, brilliant work ideally suited to the stage. Heaney holds on to the majesty of the Greek original, but manages to give his verse the flavor of Irish speech and context.

A masterpiece from one of the greatest poets of the century

In a momentous publication, Seamus Heaney's translation of Book VI of the Aeneid, Virgil's epic poem composed sometime between 29 and 19 BC, follows the hero, Aeneas, on his descent into the underworld. In Stepping Stones, a book of interviews conducted by Dennis O'Driscoll, Heaney acknowledged the significance of the poem to his writing, noting that there's one Virgilian journey that has indeed been a constant presence, and that is Aeneas's venture into the underworld. The motifs in Book VI have been in my head for years--the golden bough, Charon's barge, the quest to meet the shade of the father.

In this new translation, Heaney employs the same deft handling of the original combined with the immediacy of language and the sophisticated poetic voice that were on show in his translation of Beowulf, a reimagining which, in the words of James Wood, created something imperishable and great that is stainless--stainless, because its force as poetry makes it untouchable by the claw of literalism: it lives singly, as an English-language poem.

Seamus Heaney's new collection starts In an age of bare hands and cast iron and ends as The automatic lock / clunks shut in the eerie new conditions of a menaced twenty-first century. In their haunted, almost visionary clarity, the poems assay the weight and worth of what has been held in the hand and in the memory. Images out of a childhood spent safe from the horrors of World War II - railway sleepers, a sledgehammer, the heavyweight / Silence of Cattle out in rain - are colored by a strongly contemporary sense that Anything can happen, and other images from the dangerous present - a journey on the Underground, a melting glacier - are fraught with this same anxiety.
But District and Circle, which includes a number of prose poems and translations, offers resistance as the poet gathers his staying powers and stands his ground in the hiding places of love and excited language. In a sequence like The Tollund Man in Springtime and in several poems which do the rounds of the district - its known roads and rivers and trees, its familiar and unfamiliar ghosts - the gravity of memorial is transformed into the grace of recollection. With more relish and conviction than ever, Seamus Heaney maintains his trust in the obduracy of workaday realities and the mystery of everyday renewals.

District and Circle is the winner of the 2007 Poetry Now award and the 2006 T.S. Eliot Prize for Poetry.

Poems, 1965-1975 collects a decade of verse from Seamus Heaney, winner of the Nobel Prize in Literature and the most important Irish poet since Yeats (Robert Lowell).

This volume gathers nearly all of the poems from Heaney's first four collections: Death of a Naturalist (1966), Door into the Dark (1969), Wintering Out (1972), and North (1975).

Nobel laureate Seamus Heaney's first collection of prose, Preoccupations, begins with a vivid account of his early years on his father's farm in Northern Ireland and his coming of age as a student and teacher in Belfast. Subsequent essays include critical work on Gerard Manley Hopkins, William Wordsworth, John Keats, Robert Lowell, William Butler Yeats, John Montague, Patrick Kavanagh, Ted Hughes, Geoffrey Hill, and Philip Larkin.

Sweeney Astray is Seamus Heaney's version of the medieval Irish work Buile Suibne. Its here, Mad Sweeney, undergoes a series of purgatorial adventures after he is cursed by a saint and turned into a bird at the Battle of Moira. Heaney's translation not only restores to us a work of historical and literary importance but offers the genius of one of our greatest living poets to reinforce its claims on the reader of contemporary literature.