By Heather Clark
This can be the 1st full-length learn of the intense interval of extreme poetic job in Belfast often called the Ulster Renaissance--a time while younger Northern Irish poets reminiscent of Seamus Heaney, Derek Mahon, Michael Longley, James Simmons, and Paul Muldoon started crafting their artwork, and tuning their voices via one another. Drawing commonly upon new archival fabric, in addition to own interviews and correspondence, The Ulster Renaissance argues that those poets' friendships and rivalries have been the most important to their self sustaining creative improvement. The publication additionally sheds new mild at the proposal of a collaborative Belfast coterie--often handled derisively by means of critics--and indicates that the poets often engaged in efforts to advertise a cohesive "Northern" literary neighborhood, specific from that which existed in London and Dublin. It means that it used to be this team spirit, at turns inclusive and confining, which eventually challenged the Belfast poets to discover their person voices.
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Extra resources for The Ulster Renaissance: Poetry in Belfast 1962-1972
Sample text
Mahon’s experience at Inst, which he entered in 1953, solidified his commitment to religious tolerance and, perhaps equally important, acquainted him with English and Irish poetry. ¹⁹ Mahon recalled that Yeats’s Sligo brought to mind the Glens of Antrim, where his family sometimes vacationed. Indeed, it must have come as an affirmation to learn that the arch-poet had considered an Irish rural backwater worthy of such praise. Just as Kavanagh and MacNeice had excited Longley, Yeats was an early source of literary kinship for Mahon.
Deane, ‘The Famous Seamus’, 64. ¹²⁷ Ibid. 79. ’¹²⁸ ¹²⁸ Longley, ‘The Empty Holes of Spring’, 55. Longley is here quoting a line from his poem ‘River & Fountain’. 2 The Belfast Group In 1960, literary life in Belfast had begun to stagnate. Although Sam Hanna Bell, Michael McLaverty, and Roy McFadden were still living and writing in the city, John Hewitt was away in Coventry and the Ulster literary magazine Rann had folded. When looking back, several Northern Irish poets remembered these years as particularly bleak.
In the afternoons he went to the Woodberry Poetry Room at Harvard’s Lamont Library, where Jack Sweeney, the Room’s caretaker, invited Mahon to read, work, and listen to poetry recordings. ⁹³ This meant that by the time Mahon arrived in Cambridge he was able to listen to records of his and Longley’s work. Sweeney also invited Mahon to dinner at his home in Beacon Hill, which impressed Mahon enormously. ⁹⁴ He later put out an eight-poem pamphlet called Design for a Grecian Urn, published in Boston by Erato Press, and spoke about contemporary poetry on a local radio station.