Station Island

Heaney, Seamus

doi:10.2307/3856687

Cited by 9 publications

(3 citation statements)

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“…Cattle were the linchpin of the ancient Irish economy and society, 25 and the beef and dairy industry are still crucial sectors of the Irish economy today. Heaney's 'The First Kingdom' 26 echoes this ancient pedigree. Parker classified the poem as 'mock heroic' or pathetic, since the supposedly noble ('royal roads') is juxtaposed with the mundane and even vulgar ('cow paths').…”

Section: Meat and Meat-products (Quadrupeds)mentioning

confidence: 99%

‘Gilded Gravel in the Bowl’: Ireland’s cuisine and culinary heritage in the poetry of Seamus Heaney

Klitzing

2021

Folk Life

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Seamus Heaney's poetry is rich in detail about agricultural and food practices in his native Northern Ireland from the 1950s onwards, such as cattle-trading, butter-churning, eel-fishing, blackberry-picking or home-baking. Often studied from an ecocritical perspective, the abundance of agricultural and culinary scenes in Heaney's work makes a gastrocritical focus on food and foodways suitable. Food has been recognized as a highly condensed social fact, and writers have long tapped into its multi-layered meanings to illuminate sociocultural circumstances, making literature a valuable ethnographic source. A gastrocritical reading of Heaney's work from 1966 to 2010, drawing on Rozin's Structure of Cuisine, shows that the foodstuffs and culinary techniques featured in the poetry reflect historic and contemporary Irish cuisine and culture as explained by foodhistorical and folkloristic research, giving his work a particularly Irish cultural signature. In turn, Heaney's poetic sensibilities and language craft may contribute to our verstehen of Ireland's culinary heritage.

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Section: Meat and Meat-products (Quadrupeds)mentioning

confidence: 99%

‘Gilded Gravel in the Bowl’: Ireland’s cuisine and culinary heritage in the poetry of Seamus Heaney

Klitzing

2021

Folk Life

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“…As a stored treasure, the eating of a basketful of the blue-black berries may have been more of an honour than a humiliation, to face the trial ahead, reminiscent of the handful of blackberries eaten by Zweeloo Woman or the apple for Kayhausen Boy. As Heaney (1984) puts it in his poem 'Sloe Gin' , such fruits were both 'bitter and dependable' .…”

Section: 5mentioning

confidence: 99%

Bog bodies

Giles¹

2020

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Lindow Man on display (© The Trustees of the British Museum) 4.1a The formation of a raised bog (© Rowan May, ArcHeritage) 4.1b 1884 section through Lindow Moss bog (by J. C. Prestwich, from Norbury 1885, front plate, courtesy of the John Rylands Library, University of Manchester) 4.2 Wyatt Moss 1571, showing the small 'platts' ('bridges') and to the east, the deep pits known as the 'hell holes' (© National Archives, ref. MPC1/ 63) 4.3 The Corlea trackway, excavated by

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“…A friend and I parked her car at the end of a deep lane, where the woods opened out to grass and limestone, the only buildings immediately on the green a few houses and a recently abandoned Post Office, its windows 6 Jamie (2008). 7 Heaney (1984). …”

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confidence: 99%

'Soliloquies of suffering and consolation': Fiction as elegy and refusal

Burnside¹

2017

JBA

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Susan Stewart has said that in 'writing soliloquies of suffering and consolation … elegists have discovered … a powerful means of addressing the tensions between grief's inchoate emotion and social rituals of mourning.' Using work by Graham Swift, Adam Thorpe and Michael Bracewell, I will argue that such elegies have informed one important strand of British fiction over the last thirty years, where the growth of 'cultural totalitarianism' (cf. Jonathan Franzen) has engendered, on the one hand, a primal impulse to preserve individual integrity against societal control, and on the other, a profound grief for the consequent loss of communal and ritual life, as well as for the land itself, which has suffered significant degradation and damage over the same period, damage catalogued by a number of important eco-critical observers, with specific reference to Graham Harvey.Keywords: British fiction, eco-criticism, grief, community, Graham Swift, Adam Thorpe, Michael Bracewell, Graham Harvey. IWhen Princess Diana died, on 31 August 1997, an astonishing and, initially at least, spontaneous outburst of public grief was unloosed in these islands. As the fatal crash occurred in the Pont de l'Alma tunnel, I was visiting friends in Orkney, and so began the week reasonably far from the madding crowd; the sad events of that Paris night did, of course, register in Stromness and Kirkwall but, overall, the public response was more respectful than excessive: measured, thoughtful, humane, considered. Six days on, however, when I flew in to Glasgow I found George Square literally carpeted with floral tributes and, as I continued my homeward journey to Fife, I was struck by an almost palpable, and near-universal sense of grief. Two days later, on a trip through England ending in London, it became clear that, the denser the area of population in which I found myself, the more urgent, and the more puzzling, that grief became. By that time, of course, our politicians, not to mention the most narcissistic echelon of the celebrity class and, of course, The Media (it seems to have become accepted, or even de rigueur, to lump all of our press outlets together, good, bad and ugly) had jumped in to capitalise on the public mood, a mood at once powerful and lacking in focus, but even if these factors had not been present, the grief expressed in that massive, utterly sincere (though, in the end, short-lived) display-or, as I later came to see it, this performance-of communal, but not official, mourning could not be denied.At the same time, that public grief was becoming denatured. In some quarters, it was even becoming muddled and tawdry and I, like many others, began to doubt that it was all about this woman who, as decent and kind as she surely was, did not seem sufficiently commanding, or sufficiently complex, as a public figure, to invoke such strong feelings amongst so many. At the same time, we could all see that this grief was genuine and, though nobody asked then and few ask now what its true roots might be, I was convinced tha...

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Station Island

Cited by 9 publications

References 0 publications

‘Gilded Gravel in the Bowl’: Ireland’s cuisine and culinary heritage in the poetry of Seamus Heaney

‘Gilded Gravel in the Bowl’: Ireland’s cuisine and culinary heritage in the poetry of Seamus Heaney

Bog bodies

'Soliloquies of suffering and consolation': Fiction as elegy and refusal

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