Лучшие книги Шеймаса Хини

В книгу ирландского поэта, лауреата Нобелевской премии Шеймаса Хини включены избранные стихотворения из всех его двенадцати сборников, а также два примера "стихов на случай" (оба на русскую тему) и нобелевская лекция "Дань поэзии". Особенно представительны подборки из последних книг Хини: "Пересадка на кольцевую" (2006) и "Цепь человеческая" (2010).

Стихи крупнейшего ирландского поэта наших дней, лауреата Нобелевской премии Шеймаса Хини неоднократно печатались в России, но с его прозой мы знакомимся впервые. Между тем Хини признан не только одним из лучших англоязычных поэтов современности, но и выдающимся эссеистом. Темы, на которые он пишет, по преимуществу литературные: от средневековой ирландской лирики до Уильяма Йейтса и Джеймса Джойса, от современных английских авторов до Иосифа Бродского. Кроме статей из сборника "Чур, мое!" в данное издание вошли его нобелевская лекция и размышление о судьбах поэзии в XXI веке "Сызнова живем: поэзия и тысячелетие". Дополняет книгу подборка…

Двуязычный сборник стихотворений выдающегося ирландского поэта, лауреата Нобелевской премии Шеймаса Хини. Сборник снабжён предисловием Ш.Хини, его нобелевской лекцией и эссе "Сызнова живём: поэзия и тысячелетие", а также примечаниями Е.Гениевой и В.Скороденко. Издание осуществлено при поддержке организации "Распространение ирландской литературы" (IrelandLiterature Exchange / ldirmhalartan Litriocht Eireann, Dublin)

Poems exploring the theme of loss are joined by meditations on the conscience of the writer and exercises in an allegorical vein which will both surprise and delight the many admirers of his previous work.

This volume gathers nearly all of the poems from Heaney's first four collections: Death of a Naturalist (1966), Door into the Dark (1969), Wintering Out (1972), and North (1975).

A Boston Globe Best Poetry Book of 2011
Winner of the 2011 Griffin Poetry Prize
Winner of the 2011 Poetry Now AwardSeamus Heaney’s new collection elicits continuities and solidarities, between husband and wife, child and parent, then and now, inside an intently remembered present—the stepping stones of the day, the weight and heft of what is passed from hand to hand, lifted and lowered. Human Chain also broaches larger questions of transmission, of lifelines to the inherited past. There are newly minted versions of anonymous early Irish lyrics, poems that stand at the crossroads of oral and written, and other “hermit songs” that weigh equally in their balance the craft of scribe and the poet’s early calling as scholar. A remarkable sequence entitled “Route 101” plots the descent into the underworld in the Aeneid against single moments in the arc of a life, from a 1950s childhood to the birth of a first grandchild. Other poems display a Virgilian pietas for the dead—friends, neighbors, family—that is yet wholly and movingly vernacular.

Human Chain also includes a poetic “herbal” adapted from the Breton poet Guillevic—lyrics as delicate as ferns, which puzzle briefly over the world of things and landscapes that exclude human speech, while affirming the interconnectedness of phenomena, as of a self-sufficiency in which we too are included.

Seamus Heaney's new collection starts "In an age of bare hands and cast iron" and ends as "The automatic lock / clunks shut" in the eerie new conditions of a menaced twenty-first century. In their haunted, almost visionary clarity, the poems assay the weight and worth of what has been held in the hand and in the memory. Images out of a childhood spent safe from the horrors of World War II – railway sleepers, a sledgehammer, the "heavyweight / Silence" of "Cattle out in rain" – are colored by a strongly contemporary sense that "Anything can happen," and other images from the dangerous present – a journey on the Underground, a melting glacier – are fraught with this same anxiety.
But District and Circle, which includes a number of prose poems and translations, offers resistance as the poet gathers his staying powers and stands his ground in the hiding places of love and excited language. In a sequence like "The Tollund Man in Springtime" and in several poems which "do the rounds of the district" – its known roads and rivers and trees, its familiar and unfamiliar ghosts – the gravity of memorial is transformed into the grace of recollection. With more relish and conviction than ever, Seamus Heaney maintains his trust in the obduracy of workaday realities and the mystery of everyday renewals.

Originally published in 1969, Seamus Heaney's Door into the Dark continues a furrow so startlingly opened in his first collection, Death of a Naturalist (1966). With the sensuosness and physicality of language that would become the hallmark of his early writing, these poems graphically depict the author's rural upbringing, from the local forge to the banks of Lough Neagh, concluding in the preserving waters of the bogland and a look ahead to his next book, Wintering Out (1972).

This volume contains a selection of work from each of Seamus Heaney's published books of poetry up to and including the Whitbread prize-winning collection, The Haw Lantern (1987).

'His is 'close-up' poetry - close up to thought, to the world, to the emotions. Few writers at work today, in verse or fiction, can give the sense of rich, fecund, lived life that Heaney does.' John Banville

'More than any other poet since Wordsworth he can make us understand that the outside world is not outside, but what we are made of.' John Carey

Seamus Heaney had the idea to form a personal selection of poems from across the entire arc of his writing life, small yet comprehensive enough to serve as an introduction for all comers. He never managed to do this himself, and no other edition exists which has such a broad range, drawing from first to last of his prize-winning collections. But now, finally, the project has been returned to, resulting in an intimate gathering of poems chosen and introduced by the Heaney family. In 100 Poems, readers will enjoy the most loved and celebrated poems, as well as discovering new favourites. It is a singular and welcoming anthology, reaching out far and wide, now and for years to come.

Шеймас Гіні народився 1939 року в графстві Деррі, у Північній Ірландії. Перша збірка його поезій, "Смерть натураліста", вийшла друком у 1966 році. Відтоді опубліковано чимало його книжок: поезія, критика, переклади. - які принесли йому заслужену славу одного з провідних поетів його покоління.
Лауреат Нобелівської премії в галузі літератури (1995).

Thomas Flanagan became famous as the author of a trilogy of novels, starting with The Year of the French, about Ireland from the rebellion of 1798 to the civil war of the 1920s. But the novelist who began by reimagining the mental and physical world of eighteenth-century County Mayo had long been immersing himself, as a scholar, essayist, and reviewer, in the literature and history of his ancestral land.
In the nonfiction writings collected here, many of them unpublished in his lifetime, Flanagan brings what Christopher Cahill calls his "keen eye and strong gaze and sharp tongue" to reassessments of key figures of Irish culture. They range from Richard Brinsley Sheridan and Lord Edward Fitzgerald, through W. B. Yeats and James Joyce, Charles Stewart Parnell and Michael Collins, to contemporaries and friends like Brian Moore and Frank O’Connor, and American Irish like the Molly Maguires and the director John Ford.
Flanagan probes the tragically intertwined origins of celebrity and literary modernism in the careers of Irish-American writers such as F. Scott Fitzgerald, Eugene O’Neill, and John O’Hara. He reflects on what his own novels have taught him about the possibilities of historical fiction. And his thoughts on Irish-American identity sum up the long-pondered mixture of experience and scrutiny he brought to his heritage.
Witty, lively, and learned, this collection reveals that Thomas Flanagan was not only as a master of the historical novel but a writer who meditated broadly and deeply on the Ireland he once described as "a complex, profound, historical society, woven of many strands, some bright and some dark."

Whether autobiographical, topical, or specifically literary, these writings circle the central preoccupying questions of Seamus Heaney's career: "How should a poet properly live and write? What is his relationship to be to his own voice, his own place, his literary heritage and the contemporary world?"

Along with a selection from the poet's three previous collections of prose (Preoccupations, The Government of the Tongue, and The Redress of Poetry), the present volume includes Heaney's finest lectures and a rich variety of pieces not previously collected in volume form, ranging from short newspaper articles to radio commentaries. In its soundings of a wide range of poets -- Irish and British, American and Eastern European, predecessors and contemporaries -- Finders Keepers is, as its title indicates, "an announcement of both excitement and possession."

The poems in Seamus Heaney's collection The Spirit Level keep discovering the possibilities of 'a new beginning' in all kinds of subjects and circumstances. What is at stake, in poem after poem, is the chance of buoyancy and balance, physical, spiritual and political. Private memories, classical scenes, humble domestic objects - a whitewash brush, a sofa, a swing - are endowed with talismanic significance, while friends and relatives are invoked for their promise and steadfastness. Throughout the collection, Heaney addresses his concerns, which inevitably include the political situation in his native Northern Ireland, in a poetry that never ceases to be fluid, alert and completely truthful.

The powerful collection by the bestselling translator of "Beowulf"
"In the finland of perch, the fenland of alder, on air"
"That is water, on carpets of Bann stream, on hold"
"In the everything flows and steady go of the world."
--from "Perch"
Seamus Heaney's collection travels widely in time and space, visiting the sites of the classical world and revisiting the poet's childhood: rural electrification and the light of ancient evenings are reconciled within the orbit of a single lifetime. This is a book about origins (not least, the origins of words) and oracles: the places where things start from, the ground of understanding -- whether in Arcadia or Anahorish, the sanctuary at Epidaurus or the Bann valley in County Derry.
"Electric Light" ranges from short takes to conversation poems. The pre-Socratic wisdom that everything flows is held in tension with the elegizing of friends and fellow poets. These gifts of recollection renew the poet's calling to assign things their proper names; once again Heaney can be heard exting his word hoard and roll call in this, his eleventh collection.

Reissues Seamus Heaney's collection, which on its appearance in 1966 won the Cholmondeley Award, the E C Gregory Award, the Somerset Maugham Award, and the Geoffrey Faber Memorial Prize.

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.

With this collection, first published in 1975, Heaney located a myth which allowed him to articulate a vision of Ireland--its people, history, and landscape--and which gave his poems direction, cohesion, and cumulative power. In North, the Irish experience is refracted through images drawn from different parts of the Northern European experience, and the idea of the north allows the poet to contemplate the violence on his home ground in relation to memories of the Scandinavian and English invasions which have marked Irish history so indelibly.