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Death of a Naturalist (Anglais) Broché – 6 avril 2006

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Par KatyB le 11 septembre 2013
Format: Broché Achat vérifié
This book was on the list of textbooks for my childs school. However I read it myself and loved it. With a few words can make the reader imagine the scene he is describing - very observant. Would recommend for everyone. Loved particularily 'Blackberry Picking' and 'The mid-term break'.
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Commentaires client les plus utiles sur (beta) HASH(0x9765ba20) étoiles sur 5 14 commentaires
15 internautes sur 16 ont trouvé ce commentaire utile 
HASH(0x9771d594) étoiles sur 5 Excellent collection of poetry! 25 mai 2000
Par Jason P Ruel - Publié sur
Format: Broché
Skeptical at first, it was required reading [in university] that turned out to be welcome reading. Not only are the poems very well written [as would be expected from a winner of the Nobel Prize in Literature] but the way they are presented makes them all the more interesting. He approaches his own life, looking at his transition from childhood to adulthood and his decision of poetry over the rural life of his family.
Noteable poems in this volume include: Digging, Death of a Naturalist, The Early Surges, Lovers on Aran, Poem, and Synge on Aran. 34 poems in total.
13 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0x9771d5e8) étoiles sur 5 Poetry as Hard Labour (in a Good Way) 6 septembre 2000
Par Tom Adair - Publié sur
Format: Broché
Seamus Heaney's first collection of poems is an accessible and understated experiment in lyrical description. It was written in 1966 and what first strikes the contemporary is an adherence to metrical and rhyming (usually off-rhyming) patterns now considered undesirably strict. Much of the time Heaney smacks of Larkin - without (for this reader) the touch of Larkin's charismatic individuality. But one quickly appreciates the earnest craftsmanship of these poems. Indeed Heaney's characteristic equation of poetry with 'working', 'labouring', etc. is evident throughout these early pieces. 'Between my finger and my thumb / The squat pen rests. / I'll dig with it.': there are many instances here of words being forged or moulded or indeed excavated to create a construct of sincere meaning. This is what poetry is all about. Heaney has a strong, unambiguously masculine voice that can, at times, sound like sixteenth-century verse ('Scaffolding' reads like a latterday metaphysical poem). Elsewhere - despite a perhaps enervating lack of humour and whimsicality (although, on consideration, it is by no means a total lack) - these poems sound confident, clear-sighted and sensitive in the way that farmers are (gruffly) sensitive.
6 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x9771da20) étoiles sur 5 How the Irish Hold Their Poets Holy 31 août 2013
Par Wordsworth - Publié sur
Format: Broché
I began reading this first book of poetry by the Nobel Laureate from Ireland a few weeks ago. My wife and daughter were traveling on the Dingle Peninsula and stayed a few nights visiting Trinity College and drank pints of Guinness and Bushmills at the Temple Bar and witnessed the statues of James Joyce and Oscar Wilde in the greens of the great Gaelic capital. Ireland is an island which adores its poets, literary novelists and playwrights with a national ardor that I devoutly wish for my own country so immersed in commercial fare and cultural pap. Have you ever seen photos of the Library at Trinity College Dublin? It's where God goes to read on Sunday. I stayed at home to work and as the iPhone photos came in from Dublin, Galway, Coole, Adare and Dingle, I connected with my beloved family by reading the great Irish naturalist, Seamus Heaney. I finished this book without knowing that he had been so ill and he died the very next day. The timing of the death of this Nobel naturalist and my reading of him struck me as providentially uncanny. But what a magnificent literary legacy he leaves behind and one could see his prolific poetic gifts in this work, his first published collection which paints such a humble and humbling portrait of life among the farms and villages of rural Ireland. This is a hard life with grim realities. It's a life of tilling the boulder laden sod behind horses pulling a plough. Heaney writes about digging potatoes flashing white in soil from the spade and how blackberries ferment and turn green so soon after the picking. He writes about the ability of the Irish to endure great tempests blasting off the ocean. And about the grim business of shooting snipe at dawn. The writing is, at times, brutally frank in the way in which Robert Frost was later in life as a poet of the countryside of New England. Frost and Heaney had much in common in their respect and honest portraits of the simple life in the country. Both can bring vibrant images flying off the pages in 3D after only a few short, well chosen words. The writing is vivid, realistic, unsentimental and has the power to leave one stunned by the poet's discernment and rough sensibility at the conclusion of a poem. Some of this work is hard to read in a wince causing way because Heaney wants to show the reality of his existence as a naturalist with such gripping candor. At times, he almost seems intent upon sensationalism as in his poem about the drowning of kittens. I loved his poem about "The Trout" and his vision of the playwright Synge and lovers on the bare island of Aran. Heaney gives us a compelling portrait of a hard life in Ireland in his day. That he was destined to become a Nobel Laureate is evident from the beginning in this first collection. Pay homage to the great poet and read this work.
HASH(0x9771ddec) étoiles sur 5 "My grandfather cut more turf in a day / Than any other man on Toner's bog." 28 juin 2016
Par R. M. Peterson - Publié sur
Format: Broché Achat vérifié
DEATH OF A NATURALIST was Seamus Heaney's first published collection of poems. It appeared in 1966, when he was twenty-seven. Heaney grew up in a rural environment in Northern Ireland. Many of the poems, especially the early ones in the book, reflect that environment -- Heaney's love for it as well as his leave-taking of it. (Heaney was perhaps a little too squeamish to stay in the countryside, as reflected in the title poem.) Several poems deal with love and marriage. Most are personal; a few touch on larger matters, such as the Great Famine.

It is an impressive debut collection, worthy of a poet destined to be a Nobel Prize laureate. All of the poems have a formal structure, and many of them employ rhyme. There is one practice that I find overused: isolating a single word at the end of a line (the first word of the next sentence) or at the beginning of a line (the last word of the carry-over sentence). While few of the poems are profound or spark a desire to memorize, they all are comprehensible, almost all are engaging, and none are silly. Of the thirty-four poems, I marked nine to re-read at some indefinite time in the future, but I suspect that when I do pick up the book again I will re-read it in its entirety.

The longest poem covers three pages. The shortest is only nine lines. Entitled "Lovers on Aran" (the Aran Islands lie off the west coast of Ireland), here it is:

The timeless waves, bright, sifting, broken glass,
Came dazzling around, into the rocks,
Came glinting, sifting from the Americas

To possess Aran. Or did Aran rush
To throw wide arms of rock around a tide
That yielded with an ebb, with a soft crash?

Did sea define the land or land the sea?
Each drew new meaning from the waves' collision.
Sea broke on land to full identity.
HASH(0x9771dd98) étoiles sur 5 Last year I decided to read one of Seamus Heaney's ... 5 janvier 2015
Par E. Uram - Publié sur
Format: Broché Achat vérifié
Last year I decided to read one of Seamus Heaney's poems each morning, beginning with his first collection, Death of a Naturalist. I have two left in this volume. Every word is crafted with precision and care. The poetry is sublime.
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