Seamus Heaney

Singing School

1. The Ministry of Fear for Seamus Deane Well, as Kavanagh said, we have lived In important places. The lonely scarp Of St Columb’s College, where I billeted For six years, overlooked your Bogside. I gazed into new worlds: the inflamed throat Of Brandywell, its floodlit dogtrack, The throttle of the hare. In the first week I was so homesick I couldn’t even eat The biscuits left to sweeten my exile. I threw them over the fence one night In September 1951 When the lights of houses in the Lecky Road Were amber in the fog. It was an act Of stealth. Then Belfast, and then Berkeley. Here’s two on’s are sophisticated, Dabbling in verses till they have become A life: from bulky envelopes arriving In vacation time to slim volumes Despatched `with the author’s compliments’. Those poems in longhand, ripped from the wire spine Of your exercise book, bewildered me— Vowels and ideas bandied free As the seed-pods blowing off our sycamores. I tried to write about the sycamores And innovated a South Derry rhyme Withhushedandlulledfull chimes forpushedandpulled. Those hobnailed boots from beyond the mountain Were walking, by God, all over the fine Lawns of elocution. Have our accents Changed? ‘Catholics, in general, don’t speak As well as students from the Protestant schools. ’ Remember that stuff? Inferiority Complexes, stuff that dreams were made on. ‘What’s your name, Heaney? ’ ‘Heaney, Father. ’ ‘Fair Enough. ’ On my first day, the leather strap Went epileptic in the Big Study, Its echoes plashing over our bowed heads, But I still wrote home that a boarder’s life Was not so bad, shying as usual. On long vacations, then, I came to life In the kissing seat of an Austin 16 Parked at a gable, the engine running, My fingers tight as ivy on her shoulders, A light left burning for her in the kitchen. And heading back for home, the summer’s Freedom dwindling night by night, the air All moonlight and a scent of hay, policemen Swung their crimson flashlamps, crowding round The car like black cattle, snuffing and pointing The muzzle of a Sten gun in my eye: ‘What’s your name, driver? ’ ‘Seamus . . . ’ Seamus? They once read my letters at a roadblock And shone their torches on your hieroglyphics, ‘Svelte dictions’ in a very florid hand. Ulster was British, but with no rights on The English lyric: all around us, though We hadn’t named it, the ministry of fear. 2. A Constable Calls His bicycle stood at the window-sill, The rubber cowl of a mud-splasher Skirting the front mudguard, Its fat black handlegrips Heating in sunlight, the ‘spud’ Of the dynamo gleaming and cocked back, The pedal treads hanging relieved Of the boot of the law. His cap was upside down On the floor, next his chair. The line of its pressure ran like a bevel In his slightly sweating hair. He had unstrapped The heavy ledger, and my father Was making tillage returns In acres, roods, and perches. Arithmetic and fear. I sat staring at the polished holster With its buttoned flap, the braid cord Looped into the revolver butt. ‘Any other root crops? Mangolds? Marrowstems? Anything like that? ’ ‘No. ’ But was there not a line Of turnips where the seed ran out In the potato field? I assumed Small guilts and sat Imagining the black hole in the barracks. He stood up, shifted the baton-case Farther round on his belt, Closed the domesday book, Fitted his cap back with two hands, And looked at me as he said goodbye. A shadow bobbed in the window. He was snapping the carrier spring Over the ledger. His boot pushed off And the bicycle ticked, ticked, ticked. 3. Orange Drums, Tyrone, 1966 The lambeg balloons at his belly, weighs Him back on his haunches, lodging thunder Grossly there between his chin and his knees. He is raised up by what he buckles under. Each arm extended by a seasoned rod, He parades behind it. And though the drummers Are granted passage through the nodding crowd, It is the drums preside, like giant tumours. To every cocked ear, expert in its greed, His battered signature subscribes ‘No Pope’. The goatskin’s sometimes plastered with his blood. The air is pounding like a stethoscope. 4. Summer 1969 While the Constabulary covered the mob Firing into the Falls, I was suffering Only the bullying sun of Madrid. Each afternoon, in the casserole heat Of the flat, as I sweated my way through The life of Joyce, stinks from the fishmarket Rose like the reek off a flax-dam. At night on the balcony, gules of wine, A sense of children in their dark corners, Old women in black shawls near open windows, The air a canyon rivering in Spanish. We talked our way home over starlit plains Where patent leather of the Guardia Civil Gleamed like fish-bellies in flax-poisoned waters. ‘Go back,’ one said, ‘try to touch the people. ’ Another conjured Lorca from his hill. We sat through death-counts and bullfight reports On the television, celebrities Arrived from where the real thing still happened. I retreated to the cool of the Prado. Goya’s ‘Shootings of the Third of May’ Covered a wall—the thrown-up arms And spasm of the rebel, the helmeted And knapsacked military, the efficient Rake of the fusillade. In the next room, His nightmares, grafted to the palace wall— Dark cyclones, hosting, breaking; Saturn Jewelled in the blood of his own children, Gigantic Chaos turning his brute hips Over the world. Also, that holmgang Where two berserks club each other to death For honour’s sake, greaved in a bog, and sinking. He painted with his fists and elbows, flourished The stained cape of his heart as history charged. 5. Fosterage for Michael McLaverty ‘Description is revelation!’ Royal Avenue, Belfast, 1962, A Saturday afternoon, glad to meet Me, newly cubbed in language, he gripped My elbow. ‘Listen. Go your own way. Do your own work. Remember Katherine Mansfield—I will tell How the laundry basket squeaked. . . that note of exile. ’ But to hell with overstating it: ‘Don’t have the veins bulging in your Biro. ’ And then, ‘Poor Hopkins!’ I have theJournals He gave me, underlined, his buckled self Obeisant to their pain. He discerned The lineaments of patience everywhere And fostered me and sent me out, with words Imposing on my tongue like obols. 6. Exposure It is December in Wicklow: Alders dripping, birches Inheriting the last light, The ash tree cold to look at. A comet that was lost Should be visible at sunset, Those million tons of light Like a glimmer of haws and rose-hips, And I sometimes see a falling star. If I could come on meteorite! Instead I walk through damp leaves, Husks, the spent flukes of autumn, Imagining a hero On some muddy compound, His gift like a clingstone Whirled for the desperate. How did I end up like this? I often think of my friends’ Beautiful prismatic counselling And the anvil brains of some who hate me As I sit weighing and weighing My responsibletristia. For what? For the ear? For the people? For what is said behind-backs? Rain comes down through the alders, Its low conducive voices Mutter about let-downs and erosions And yet each drop recalls The diamond absolutes. I am neither internee nor informer; An inner émigré, grown long-haired And thoughtful; a wood-kerne Escaped from the massacre, Taking protective colouring From bole and bark, feeling Every wind that blows; Who, blowing up these sparks For their meagre heat, have missed The once-in-a-lifetime portent, The comet’s pulsing rose.