Seamus Heaney: Listen Now Again

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Seamus Heaney: Listen Now Again Enjoy an immersive exhibition that guides you through Seamus Heaney's life and work.

13/10/2026
Ahead of our upcoming nature printing workshop, we are turning to the rich natural world of Seamus Heaney's Sweeney Astr...
12/10/2026

Ahead of our upcoming nature printing workshop, we are turning to the rich natural world of Seamus Heaney's Sweeney Astray. Open here at line 40, the poem is filled with leaves, berries, trees and birdsong, revealing Heaney's remarkable attentiveness to the details of the natural world.

Join us this weekend as we take inspiration from Heaney's words and create our own prints using the shapes and textures of autumn leaves.

📅 Saturday, 17 October 2026 | 2.00pm - 3.00pm
📍 Seamus Heaney: Listen Now Again, Bank of Ireland Cultural and Heritage Centre, Westmoreland Street, Dublin
➡️ For more details and to book your place, visit: https://www.nli.ie/exhibitions-events/alder-my-darling-nature-printing-workshop

Image Description: Photograph of a copy of Sweeney Astray by Seamus Heaney, showing Section 40 on page 32 and 33.

The text reads:
The bushy leafy oak tree
is highest in the wood,
the forking shoots of hazel
hide sweet hazel-nuts.

The alder is my darling,
all thornless in the gap,
Some milk of human kindness
coursing in its sap.

The blackthorn is a jaggy creel
Stippled with dark sloes;
Green watercress in thatch on wells
Where the drinking blackbird goes.

Sweetest of the leafy stalks.
The vetches strew the pathway;
The oyster-grass is my delight
And the wild strawberry.

From Sweeney Astray (1983)

Congratulations to Canadian writer Anne Carson who has been awarded the 2026 Nobel Prize in Literature.
08/10/2026

Congratulations to Canadian writer Anne Carson who has been awarded the 2026 Nobel Prize in Literature.

BREAKING NEWS
The 2026 Nobel Prize in Literature is awarded to the Canadian author Anne Carson, “for her bold and inventive oeuvre that, in playful dialogue with the classical tradition, has created new forms for contemporary literature.”

Anne Carson was born in 1950 in Toronto, Canada. In 1981, she published her doctoral thesis in Classics entitled ‘Odi et Amo Ergo Sum’, and has, throughout her entire career, combined poetry writing with translation work and teaching at various universities. Almost all her literary production has centred upon the intersection between the philologist’s obsession with words and the poet’s desire for new meaning. She has herself identified the etymology of words as the starting point for all her work. Her translations from Classical Greek may be regarded as independent works in their own right. Among these is her interpretation of Sappho’s poem fragments, ‘If Not, Winter’ (2002), along with tragedies such as Sophocles’s ‘Electra’ (2001) and ‘Antigone’ (2015) and Euripides’s ‘Bakkhai’ (2015).

In the 1990s, Carson published a series of notable works. Among these is ‘The Glass Essay’ in ‘Glass, Irony, and God’ (1995), which demonstrates the potential of the long poem where genre boundaries are seen to blur.

The same decade saw the publication of another work, often heralded as Carson’s greatest, entitled ‘Autobiography of Red: A Novel in Verse’ (1998). This demonstrates her eminent ability to actualise the classical literary tradition. With a precise feel for contemporary idioms and experiences, she takes as her starting point poem fragments by the sixth century BC Greek poet Stesichoros concerning the winged red monster Geryon.

Throughout her entire authorship, Carson with a light touch explores the possibilities of writing, a process by which the literary sketch has become of particular value to her. Bearing witness to this is ‘Float’ (2016), a work consisting of twenty-two chapbooks on different subjects, capable of being read in any order. Another is ‘Wrong Norma’ from 2024, a diverse combination of texts with a strongly performative aspect in which Carson crosses over into various artistic and academic fields. Her collaborations with visual artists and choreographers and with opera and theatre directors demonstrate the freedom with which she relates to literary expectations and rule systems. It is this that lies behind the outstanding importance her work since the 1990s has had for the international art and literature scene.

Anders Olsson
Chair of the Nobel Committee

Learn more about the 2026 Nobel Prize in Literature: https://bit.ly/4hnkhNO

Join us at Seamus Heaney: Listen Now Again this Saturday  for a discussion on  the ways Heaney reflected on his creative...
08/10/2026

Join us at Seamus Heaney: Listen Now Again this Saturday for a discussion on the ways Heaney reflected on his creative life, drawing on his own words in interviews, essays, and prose. Writing involved a lifelong process of reflection and change for the Nobel Prize winner. This exploration of Seamus Heaney and the Reflective Self will give a deeper appreciation of the poems and a clearer picture of the man behind them.
➡For more information and to book a ticket visit:
https://www.nli.ie/exhibitions-events/air-another-life-seamus-heaney-and-reflective-self

📸Image Description: Black and white photograph of Seamus Heaney with his hand raised to his forehead.

📷Image Credit: Seamus Heaney, Portraits at Dublin home, Bobbie Hanvey Photographic Archives, MS.2001.039, John J. Burns Library, Boston College, http://hdl.handle.net/2345/9424

‘Digging’ was written by Seamus Heaney in August 1964 and was first published in the New Statesman in December of that s...
05/10/2026

‘Digging’ was written by Seamus Heaney in August 1964 and was first published in the New Statesman in December of that same year. It is the opening poem of Heaney’s 1966 collection Death of a Naturalist. This poem is one of Heaney’s most well-known poems in which he is honouring the work of his father and grandfather. He knows that he must take a different path and instead of a spade, use of pen to dig his way through life. Heaney said that this poem is where he found his voice and where his feelings finally began turning into words.

"The great thing about him is his total grip on the home ground and his attentiveness to it, and at the same time his se...
02/10/2026

"The great thing about him is his total grip on the home ground and his attentiveness to it, and at the same time his sense of intellectual and artistic responsibility drawn from the farthest horizons."

On the anniversary of Brian Friel's passing, we share this wonderful quote from Heaney about his great friend. Friel and Heaney had corresponded briefly in the mid-60s about each other's work but didn't become friends until later that decade. They spent many a time in Friel's Donegal house with ceol agus craic. Heaney later joined Friel's theatre company in the 80s Field Day where Heaney's most quoted work The Cure at Troy was written.

📸Image description: Brian Friel and Seamus Heaney sitting on a bench looking at the camera in the Guildhall in Derry.

What's happening in October? 🎃For more details and booking, visit www.nli.ie📸Image description:Slide 1: Black text on bl...
01/10/2026

What's happening in October? 🎃
For more details and booking, visit www.nli.ie

📸Image description:

Slide 1: Black text on blue background reads What's on at Seamus Heaney Listen Now Again October 2026 and then a timetable of events. The events are elaborated on in further slides with the same dates and times on them.

Slide 2: An image of Seamus Heaney with his hand to his forehead captioned Air From Another Life: Heaney and the Reflective Self, Saturday 10th October, 2pm

Slide 3: An image of leaves and leaf printing on a poem captioned The Alder is my Darling: A Nature Printing Workshop, Saturday 17th October, 2pm

Slide 4: An image of Heaney sat next to a collection of teapots and mugs captioned Virtual Tour, Wednesday 21st October, 1pm

Slide 5: An image of the book Over Nine Waves by Marie Heaney with the caption Online Book Club, Friday 30th October, 1pm

Slide 6: An image of Patrick Heaney with the caption My Father's Shade Appearing: Reflections on Patrick Heaney, Saturday 31st October, 2pm

Slide 7: An image of a full guided tour happening with the caption Daily Tours, every Monday to Saturday at 2pm

We were delighted to see this wonderful drawing of a man in a Greek helmet on our blackboard this week. We totally agree...
30/09/2026

We were delighted to see this wonderful drawing of a man in a Greek helmet on our blackboard this week. We totally agree with the Greek influence on Heaney given his translations of some of Ancient Greece's most beloved plays.

📸Image description: a green chalk drawing of a bearded man with an Ancient Greek helmet resting on his forehead. Underneath is written: Seamus' words smell of Greece.

🍂We may not be facing the tundra's whistling brush but are starting into the change of seasons as so powerfully evoked i...
28/09/2026

🍂We may not be facing the tundra's whistling brush but are starting into the change of seasons as so powerfully evoked in this poem Tinder. What does the change of seasons mean to you?

📸Image description: Black text on a grey background reads:

Tinder

We picked flints,
Pale and dirt-veined,

So small finger and thumb
Ached around them;

Cold beads of history and home
We fingered, a cave-mouth flame

Of leaf and stick
Trembling at the mind's wick.

We clicked stone on stone
That sparked a weak flame-pollen

And failed, our knuckle joints
Striking as often as the flints.

What did we know then
Of tinder, charred linen and iron,

Huddled at dusk in a ring,
Our fists, our hope shrunken?

What could strike a blaze
From our dead igneous days?

Now we squat on cold cinder,
Red-eyed, after flames' soft thunder

And our thoughts settle like ash.
We face the tundra's whistling brush

With new history, flint and iron,
Cast-offs, scraps, nail, canine.

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Thursday 10am - 4pm
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Saturday 10am - 4pm

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