Best Selling Books by Seamus Heaney

An updated version of Seamus Heaney''s New Selected Poems 1966-1987, which has been expanded to include work from two subsequent collections, Seeing Things and the award-winning The Spirit Level, as well as poems not previously published.

Seeing Things (1991), as Edward Hirsch wrote in The New York Times Book Review, "is a book of thresholds and crossings, of losses balanced by marvels, of casting and gathering and the hushed, contrary air between water and sky, earth and heaven." Along with translations from the Aeneid and the Inferno, this book offers several poems about Heaney''s late father.

"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.

Three modern poets look at Frost''s work and legacy.

In this English translation of poems written by Ozef Kalda, which were set to music by Leos Janacek, the folktale of a farmer''s boy who abandons his home because he has fallen in love with a gypsy is told.

«Nel canone di Seamus Heaney La lanterna di biancospino occupa un posto importante di riflessione, di recupero, si può dire quasi di silloge di momenti del percorso del suo autore, per un nuovo slancio e per una riconquista di freschezza comunicativa.» Come osserva Francesca Romana Paci nell''introduzione, The Haw Lantern è una raccolta dotata di struttura unitaria e va letta dunque come sistema. Un sistema in cui si mantiene vivo il coraggio di una ricerca «fondata nel reale, ricerca dei confini e del senso del reale stesso, del rapporto della mente con il reale, della verità nella contraddizione, dell''equilibrio tra tensioni opposte, della libertà pur nella indiscussa permanenza di legami importanti: questo è il cuore della poetica di Heaney, il vero argomento di tutta la sua poesia, il suo vero, continuo oggetto d''indagine».

Questa e una raccolta di 21 poesie del Premio Nobel per la Letteratura 1995, Seamus Heaney, tratte da ""The Spirit Level,"" nella traduzione italiana di Erminia Passannanti. L''espressione "fortuna letteraria" e particolarmente idonea a descrivere il percorso compiuto dall''opera di Seamus Heaney nell''arco di un ventennio. L''assegnazione del Nobel per la Letteratura, nel 1995, a questo autore, mentre rappresentava il massimo tributo a un''arte poetica che aveva saputo guadagnarsi un successo di portata mondiale, focalizzava l''attenzione dell''opinione pubblica su tutta la poesia irlandese contemporanea prodotta nel nord dell''isola, e dunque, in modo indiretto, sui primi seri tentativi di una sistemazione politica del conflitto civile in nord-Irlanda.

A collection of more than 400 hundred poems from all around the world.

Heaney here scrutinizes the work of several poets, British and Irish, American and European, whose work he considers might call into question the rights of poetic utterance. The author asks whether the voice of the poet should be governed, or whether it should be the governor.

Spiral-bound ruled notebook (98 pages ; 28 cm) containing handwritten drafts of poems written between September 1970 and February 1971, and copies (45 pages), primarily typescript, with emendations in the author''s hand. With letter of transmittal, undated, from the author to James D. Hart (identifying poems that are scheduled for publication) and a final draft of the poem, "Toast," presented to Hart.