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William Carlos Williams

William Carlos Williams (September 17, 1883 – March 4, 1963) was an American poet and physician of Latin American descent closely associated with modernism and imagism. His Spring and All (1923) was written in the wake of T. S. Eliot's The Waste Land (1922). In his five-volume poem Paterson (1946–1958), he took Paterson, New Jersey as "my 'case' to work up. It called for a poetry such as I did not know, it was my duty to discover or make such a context on the 'thought.'" Some of his best known poems, "This Is Just To Say" and "The Red Wheelbarrow", are reflections on the everyday. Other poems reflect the influence of the visual arts. He, in turn, influenced the visual arts; his poem "The Great Figure" inspired the painting I Saw the Figure 5 in Gold by Charles Demuth. Williams won a posthumous Pulitzer Prize for Poetry for Pictures from Brueghel and Other Poems (1962).

Williams practiced both pediatrics and general medicine. He was affiliated with Passaic General Hospital, where he served as the hospital's chief of pediatrics from 1924 until his death. The hospital, which is now known as St. Mary's General Hospital, paid tribute to Williams with a memorial plaque that states "We walk the wards that Williams walked".

Randall Jarrell wrote that Williams "feels, not just says, that the differences between men are less important than their similarities—that he and you and I, together, are the Little Men." Marc Hofstadter wrote that Williams "sought to express his democracy through his way of speaking. His point was to speak on an equal level with the reader and to use the language and thought materials of America in expressing his point of view." Per Hugh Fox, Williams saw "the real function of the imagination as breaking through the alienation of the near at and hand and revealing its wonder."

Life and career
Williams was born in Rutherford, New Jersey, in 1883. His father, William George Williams, was born in England but raised from "a very young age" in the Dominican Republic; his mother, Raquel Hélène Hoheb, from Mayagüez, Puerto Rico, was of French extraction. Incidentally, Williams's maternal grandmother was named Emily Dickinson, though he was no relation to the poet of that name.

Scholars note that the Caribbean culture of the family home had an important influence on Williams. Jeffrey Herlihy-Mera observes, "English was not his primary means of communication until he was a teenager. At home his mother and father—who were raised in Puerto Rico and the Dominican Republic, respectively—spoke Spanish with each other and to young William Carlos." While he wrote in English, "the poet's first language" was Spanish and his "consciousness and social orientation" were shaped by Caribbean customs; his life influenced "to a very important degree by a plural cultural foundation."

John Keats and Walt Whitman were important early influences on Williams. Williams received his primary and secondary education in Rutherford until 1897 when he was sent for two years to a school near Geneva and to the Lycée Condorcet in Paris. He attended the Horace Mann School upon his return to New York City and, having passed a special examination, was admitted in 1902 to the medical school of the University of Pennsylvania, from which he graduated in 1906. Upon leaving Penn, Williams did internships at both French Hospital and Child's Hospital in New York, then went to Leipzig for advanced study of pediatrics. He published his first book, Poems, in 1909.

Williams married Florence ("Flossie") Herman (1891–1976) in 1912 after he returned from Germany. They moved into a house on 9 Ridge Road in Rutherford, New Jersey, where they resided for many years. Shortly afterward, his second book of poems, The Tempers, was published by a London press through the help of his friend Ezra Pound, whom he had met while studying at the University of Pennsylvania. Around 1914, Williams and his wife had their first son, William E. Williams, followed by their second son, Paul H. Williams, in 1917. William E. also became a physician.

Although his primary occupation was as a family doctor, Williams had a successful literary career as a poet. His work has a great affinity with painting, in which he had a lifelong interest. In addition to poetry (his main literary focus), he occasionally wrote short stories, plays, novels, essays, and translations. He practiced medicine by day and wrote at night. Early in his career, he briefly became involved in the Imagist movement through his friendships with Pound and H.D. (whom he had befriended during his medical studies at Penn), but soon he began to develop opinions that differed from theirs and his style changed to express his commitment to a modernist expression of his immediate environment. He was influenced by the "inarticulate poems" of his patients.

In 1920, Williams was sharply criticized by many of his peers (including H.D., Pound and Wallace Stevens) when he published one of his more experimental books Kora in Hell: Improvisations. Pound called the work "incoherent" and H.D. thought the book was "flippant". The Dada artist and poet Baroness Elsa criticized Williams's sexual and artistic politics in her experimental prose poem review titled "Thee I call 'Hamlet of Wedding Ring'", published in The Little Review in March 1921. Williams had an affair with the Baroness, and published three poems in Contact, describing the forty-year-old as "an old lady" with "broken teeth [and] syphilis".

In 1923, Williams published Spring and All, one of his seminal books of poetry, which contained the classics "By the road to the contagious hospital", "The Red Wheelbarrow" and "To Elsie". However, in 1922, the publication of T. S. Eliot's The Waste Land had become a literary sensation that overshadowed Williams's very different brand of poetic modernism. In his Autobiography, Williams later wrote of "the great catastrophe to our letters—the appearance of T. S. Eliot's The Waste Land." He said, "I felt at once that The Waste Land had set me back twenty years and I'm sure it did. Critically, Eliot returned us to the classroom just at the moment when I felt we were on a point to escape to matters much closer to the essence of a new art form itself—rooted in the locality which should give it fruit." Although he respected the work of Eliot, Williams became openly critical of Eliot's highly intellectual style with its frequent use of foreign languages and allusions to classical and European literature. Instead, Williams preferred colloquial American English.

During the 1930s, Williams began working on an opera. Titled The First President, it was focused on George Washington and his influence on the history of the United States of America and was intended to "galvanize us into a realization of what we are today."

In Paterson (published between 1946 and 1958), an account of the history, people, and essence of Paterson, New Jersey, Williams wrote his own modern epic poem, focusing on "the local" on a wider scale than he had previously attempted. He also examined the role of the poet in American society and famously summarized his poetic method in the phrase "No ideas but in things" (found in his poem "A Sort of a Song" and repeated again and again in Paterson).

In his later years, Williams mentored and influenced many younger poets. He had a significant influence on many of the American literary movements of the 1950s, including the Beat movement, the San Francisco Renaissance, the Black Mountain school, and the New York School.

One of Williams's more dynamic relationships as a mentor was with fellow New Jersey poet Allen Ginsberg. Williams included several of Ginsberg's letters in Paterson, stating that one of them helped inspire the fifth section of that work. Williams also wrote the introduction to Ginsberg's first book, Howl and Other Poems in 1956.

Williams suffered a heart attack in 1948, and after 1949, a series of strokes. Severe depression after one such stroke caused him to be confined to Hillside Hospital, New York, for four months in 1953. He died on March 4, 1963, at age 79 at his home in Rutherford. He was buried in Hillside Cemetery in Lyndhurst, New Jersey.

Poetry
The poet and critic Randall Jarrell stated of Williams's poetry, "William Carlos Williams is as magically observant and mimetic as a good novelist. He reproduces the details of what he sees with surprising freshness, clarity, and economy; and he sees just as extraordinarily, sometimes, the forms of this earth, the spirit moving behind the letters. His quick transparent lines have the nervous and contracted strength, move as jerkily and intently as a bird." R. P. Blackmur said of Williams's poetry, "the Imagism of 1912, self-transcended." A contemporary, Harriet Monroe, stated "to assert his freedoms he must play the devil, showing himself rioting in purple and turquoise pools of excess."

Williams's major collections are Spring and All (1923), The Desert Music and Other Poems (1954), Pictures from Brueghel and Other Poems (1962), and Paterson (1963, repr. 1992). His most anthologized poem is "The Red Wheelbarrow", an example of the Imagist movement's style and principles (see also "This Is Just to Say"). However, Williams, like his peer and friend Ezra Pound, had rejected the Imagist movement by the time this poem was published as part of Spring and All in 1923.

Williams is strongly associated with the American modernist movement in literature and saw his poetic project as a distinctly American one; he sought to renew language through the fresh, raw idiom that grew out of America's cultural and social heterogeneity, at the same time freeing it from what he saw as the worn-out language of British and European culture. “No one believes that poetry can exist in his own life,” Williams said. “The purpose of an artist, whatever it is, is to take the life, whatever he sees, and to raise it up to an elevated position where it has dignity.”

In 1920, Williams turned his attentions to Contact, a periodical launched by Williams and fellow writer Robert McAlmon: "The two editors sought American cultural renewal in the local condition in clear opposition to the internationalists—Pound, The Little Review, and the Baroness." Yvor Winters, the poet/critic, judged that Williams's verse bears a certain resemblance to the best lyric poets of the 13th century.

Williams sought to invent an entirely fresh and uniquely American form of poetry whose subject matter centered on everyday circumstances of life and the lives of common people. He came up with the concept of the "variable foot" which Williams never clearly defined, although the concept vaguely referred to Williams's method of determining line breaks. The Paris Review called it "a metrical device to resolve the conflict between form and freedom in verse."

One of Williams's aims, in experimenting with his "variable foot", was to show the American (opposed to European) rhythm that he claimed was present in everyday American language. Stylistically, Williams also worked with variations on a line-break pattern that he labeled "triadic-line poetry" in which he broke a long line into three free-verse segments. A well-known example of the "triadic line [break]" can be found in Williams's love-poem "Asphodel, That Greeny Flower."

In a review of Herbert Leibowitz's biography of Williams, book critic Christopher Benfey wrote: "Early and late, Williams held the conviction that poetry was, in his friend Kenneth Burke's phrase, 'equipment for living, a necessary guide amid the bewilderments of life.' The American ground was wild and new, a place where a blooming foreigner needed all the help he could get. Poems were as essential to a full life as physical health or the love of men and women."

Williams and the painters

Williams's mother had trained as a painter in Paris and passed on her enthusiasm to her son, who also painted in his early years. A painting by him now hangs in Yale University's Beinecke Library and as late as 1962 he was still remembering in an interview that "I'd like to have been a painter, and it would have given me at least as great a satisfaction as being a poet." For most of his life Williams wrote art criticism and introductions to exhibitions by his friends.

In 1915, Williams began to associate with the New York group of artists and writers known as "The Others." Founded by the poet Alfred Kreymborg and the artist Man Ray, they included Walter Conrad Arensberg, Wallace Stevens, Mina Loy, Marianne Moore, Orrick Glenday Johns and Marcel Duchamp. Interlocking with them were the US artists who met at Arensburg's studio, including Marsden Hartley, Joseph Stella, Charles Demuth and Charles Sheeler, with whom Williams developed close friendships.

Although he championed the new way of seeing and representation pioneered by the European avant-garde, Williams and his artistic friends wished to get away from what they saw as a purely derivative style. As one result, he started Contact magazine with Hartley in 1920 in order to create an outlet for works showcasing the belief that creative work should derive from the artist's direct experience and sense of place and reject traditional notions of how this should be done.

Precisionism emerged in response to such thinking. In her study of the influence of painting on Williams, Ruth Grogan devoted several paragraphs to the dependency of some of his poems on the paintings of Charles Sheeler in this style, singling out in particular the description of a power house in Williams's "Classic Scene". But the close relationship with Charles Demuth was more overt. Williams's poem "The Pot of Flowers" (1923) references Demuth's painting "Tuberoses" (1922), which he owned. On his side, Demuth created his "I saw the figure 5 in gold" (1928) as a homage to Williams's poem "The Great Figure" (1921). Williams's collection Spring and All (1923) was dedicated to the artist and, after his early death, he dedicated the long poem "The Crimson Cyclamen." (1936) to Demuth's memory.

Later collaborations with artists include the two poem/ two drawing volume that he shared with William Zorach in 1937 and his poem "Jersey Lyric", written in response to Henry Niese's 1960 painting of the same title:

Throughout his career, Williams thought of his approach to poetry as a painterly deployment of words, saying explicitly in an interview, "I've attempted to fuse the poetry and painting, to make it the same thing….A design in the poem and a design in the picture should make them more or less the same thing." However, in the case of his references to much earlier painters, culminating in Pictures from Brueghel (1962), his approach was more commentarial. Of this late phase of his work it has been claimed that "Williams saw these artists solving, in their own ways, the same problems that concerned him," but his engagement with them was at a distance.

Legacy, awards and honors
The U.S. National Book Award was reestablished in 1950 with awards by the book industry to authors of books published in 1949 in three categories. Williams won the first National Book Award for Poetry, recognizing both the third volume of Paterson and Selected Poems.

In 1952, Williams was named Consultant in Poetry to the Library of Congress in Washington, DC, but was barred from serving out his term due to unfounded accusations of Williams's membership in a communist organization. Williams retained legal counsel to refute the charges but was never allowed to respond to his critics and never received an apology from the Library of Congress. The next year, however, he received the Bollingen Prize along with Archibald MacLeish.

In May 1963, he was posthumously awarded the Pulitzer Prize for Pictures from Brueghel and Other Poems (1962) and the gold medal for Poetry of the National Institute of Arts and Letters. The Poetry Society of America presents the William Carlos Williams Award annually for the best book of poetry published by a small, non-profit or university press.

Williams's house in Rutherford was added to the National Register of Historic Places in 1973. He was inducted into the New Jersey Hall of Fame in 2009.

Poetry collections
• Poems (1909)

• The Tempers (1913)

• Al Que Quiere! (1917)

• Sour Grapes (1921)

• Spring and All (1923)

• Go Go (1923)

• The Cod Head (1932)

• Collected Poems, 1921–1931 (1934)

• An Early Martyr and Other Poems (1935)

• Adam & Eve & The City (1936)

• The Complete Collected Poems of William Carlos Williams, 1906–1938 (1938)

• The Broken Span (1941)

• The Wedge (1944)

• Paterson Book I (1946); Book II (1948); Book III (1949); Book IV (1951); Book V (1958)

• Clouds, Aigeltinger, Russia (1948)

• The Collected Later Poems (1950; rev. ed.1963)

• Collected Earlier Poems (1951; rev. ed., 1966)

• The Desert Music and Other Poems (1954)

• Journey to Love (1955)

• Pictures from Brueghel and Other Poems (1962)

• Paterson (Books I–V in one volume), (1963)

•  The Red Wheelbarrow  (1923)

Books, prose
• Kora in Hell: Improvisations (1920) – Prose-poem improvisations.

• The Great American Novel (1923) – A novel.

• Spring and All (1923) – A hybrid of prose and verse.

• In the American Grain (1925), 1967, repr. New Directions 2004 – Prose on historical figures and events.

• A Voyage to Pagany (1928) – An autobiographical travelogue in the form of a novel.

• Novelette and Other Prose (1932)

• The Knife of the Times and Other Stories (1932)

• White Mule (1937) – A novel.

• Life Along the Passaic River (1938) – Short stories.

• In the Money (1940) – Sequel to White Mule.

• Make Light of It: Collected Stories of William Carlos Williams (1950)

• Autobiography (1951) W. W. Norton & Co. (1 February 1967)

• The Build-Up (1952) – Completes the "Stecher trilogy" begun with White Mule.

• Selected Essays (1954)

• The Selected Letters of William Carlos Williams (1957)

• I Wanted to Write a Poem: The Autobiography of the Works of a Poet (1958)

• Yes, Mrs. Williams: A Personal Record of My Mother (1959)

• The Farmers' Daughters: The Collected Short Stories of William Carlos Williams (1961)

• Imaginations (1970) – A collection of five previously published early works.

• The Embodiment of Knowledge (1974) – Philosophical and critical notes and essays.

• Interviews With William Carlos Williams: "Speaking Straight Ahead" (1976)

• A Recognizable Image: William Carlos Williams on Art and Artists (1978)

• The Doctor Stories: Compiled by Robert Coles (1984)

• Pound/Williams: Selected Letters of Ezra Pound and William Carlos Williams (1996)

• The Collected Stories of William Carlos Williams (1996)

• The Letters of Denise Levertov and William Carlos Williams (1998)

• William Carlos Williams and Charles Tomlinson: A Transatlantic Connection (1998)

• The Humane Particulars: The Collected Letters of William Carlos Williams and Kenneth Burke (2004)

Drama

 * Many Loves and Other Plays: The Collected Plays of William Carlos Williams (1962)

Translations

 * Last Nights of Paris (1929) – A novel translated from the French of Philippe Soupault.
 * By Word of Mouth: Poems from the Spanish, 1916–1959 (2011) – Poetry of Spanish and Latin American authors.
 * The Dog and the Fever (2018) – A novella translated from the Spanish of Pedro Espinosa.

Profiles

 * Profile at PoetryFoundation.org
 * Profile at the Poetry Archive with poems written and audio
 * Profile at Modern American Poetry Society
 * William Carlos Williams: Profile and Poems at Poets.org
 * National Book Foundation Poetry Blog
 * William Carlos Williams at BookBrainz
 * William Carlos Williams at BookBrainz

Archive and works

 * William Carlos Williams Papers Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.
 * Listen to William Carlos Williams read his poems
 * Archive at the University of Delaware Library Special Collections Department.
 * Archive at SUNY Buffalo Libraries.
 * The William Carlos Williams Review. Journal.
 * William Carlos Williams Collection at the Harry Ransom Center, University of Texas at Austin.
 * William Carlos Williams Research Collection, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania.
 * William Carlos Williams Manuscripts and Correspondence at Dartmouth College Library
 * Authors and Poets collection at University of Maryland Libraries
 * The William Carlos Williams Review. Journal.
 * William Carlos Williams Collection at the Harry Ransom Center, University of Texas at Austin.
 * William Carlos Williams Research Collection, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania.
 * William Carlos Williams Manuscripts and Correspondence at Dartmouth College Library
 * Authors and Poets collection at University of Maryland Libraries

title: William Carlos Williams


text:
Talk:Deep Throat

Identity of Watergate source
Has it ever been definitively established that Deep Throat (the source), was actually male? I remember (swiftly denied) claims from a few years ago that it was Diane Sawyer, the TV reporter (who was a Nixon staffer at the time). --Robert Merkel -- I believe that Woodward has stated that Deep Throat was male.

 * Can you provide a source for that? --Robert Merkel
 * The Washington Post mention it in one of their articles: http://www.washingtonpost.com/wp-srv/national/longterm/watergate/deept.htm

By the way, apparently John Dean (White House counsel for Nixon) is publishing an e-book on Salon in mid-June revealing his theory on who Deep Throat is. That may provide, if not a definitive answer, much useful information. --Robert Merkel

Ronald Kessler (reporter, WPost) names Mark Felt as Deep Throat in his forthcoming book. Felt is still alive and was FBI assistant director at the time.

Success of the film
About the movie (not the Watergate guy): This was not the first porn film to be widely screened in theaters, as any Russ Meyer fan will point out. :) Also, I'm uncertain of the filn's gross -- but $600 million?!?  The Godfather's box office take of about $135 million was the biggest box office hit of all time, one year before Deep Throat.  Does anyone know what this movie really made at the box office? --Modemac 15:19, 12 Aug 2003 (UTC)

After the 600 million figure was reinserted, I have removed it again. I have seen widely varying estimates; in an FBI agent involved with obscenity cases claims that most people who went to see Deep Throat never got a ticket, so that the money could better sheltered from the IRS and channelled to the Mafia. AxelBoldt 15:00, 6 Nov 2003 (UTC)

Was the film the origin of the term, or vice versa? Guttlekraw 06:32, 1 Jun 2005 (UTC)

 * Oxford English Dictionary says that the term "deep throat" origins with the 1972 movie (though they don't mention the sexual technique). AxelBoldt 17:15, 1 Jun 2005 (UTC)

 * You're right - surprisingly, the film-makers seem to have coined the word Random House word maven. Guttlekraw 05:09, 2 Jun 2005 (UTC)

German rock band
Let's get this straight -- the names of two tv show episodes and a Japanese videogame character are important enough to be disambiguated but not a German rock band which was only big back in the vinyl era? I guess I should be happy that the Beatles haven't been edited out of Wikipedia yet? IanHistor 17:44, 26 September 2007 (UTC)
 * The only reason it isn't listed is that there doesn't seem to be an article about this band. Anyone is free to make it, and if there are enough realiable sources, the article is likely to survive. As far as I can tell from the deletion logs, Deep Throat (band) has never been "edited out" — it just wasn't made in the first place. Articles can only be made one at a time … ;) $$\sim$$ Lenoxus " * " 19:06, 23 November 2007 (UTC)

Connection between Deep Throat and Deep Thought
The connection between Deep Throat and Deep Thought doesn't seem very clear to me. How do you say the latter was a parody of the former?
 * I can't see the connection either. Maybe someone can clarify? ℚ uackor 10:30, 2 Jun 2005 (UTC)
 * Yeah. The Deep Thought disambig page already exists. Maybe, we can merge it with that page, if the original submitter doesn't respond/object, since I don't see any relation either nor is it mentioned. pamri 14:09, Jun 3, 2005 (UTC)
 * This merge to Deep Thought appears to be the logical choice and has my support. Hall Monitor 17:27, 3 Jun 2005 (UTC)

Gray Fox?
I can't see what this has to do with Deep Throat. Can someone explain? Murderbike 00:48, 3 October 2007 (UTC)

Requested move

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: moved using the Deep Throat (Watergate) option. -- JHunterJ (talk) 15:29, 24 May 2013 (UTC)

– There is no plausible rationale for treating the Watergate informant nickname as the primary topic for this very ambiguous term. Dicklyon (talk) 18:27, 13 May 2013 (UTC)
 * Deep Throat (disambiguation) → Deep Throat
 * Deep Throat → Deep Throat (Watergate informant)
 * Support, the informant chose his name after the film, which is named for the sex act, which ought to be the primary topic if there's one at all. DeistCosmos (talk) 20:53, 13 May 2013 (UTC)
 * As an aside, there's zero need to make the sex act the primary subject of Deep Throat, as it is a separate article from deep throat—the capitalisation leaves these as two different targets. The latter is currently a redirect to the former but doesn't need to be (see Field Trip versus field trip for example). This is essentially between the informant and the film. GRAPPLE   X  21:48, 13 May 2013 (UTC)
 * But what to do then for people who capitalize their sex acts? Capitalization isn't especially useful as a distinguisher in this case. DeistCosmos (talk) 21:54, 13 May 2013 (UTC)
 * Hat note both articles, as exists in the examples I linked to. GRAPPLE   X  21:58, 13 May 2013 (UTC)
 * I agree with Grapple X; deep throat (all lowercase) should primarily redirect to deep-throating or, perhaps, to the disambiguation page, but not to the Watergate personality. —capmo (talk) 04:33, 18 May 2013 (UTC)
 * But we don't usually disambiguate by case alone, so Deep throat redirects to Deep Throat, which will be the disambig page. Dicklyon (talk) 05:07, 18 May 2013 (UTC)

 * Oppose; long-term historic value. Powers T 21:03, 13 May 2013 (UTC)
 * What about the long term historic value of the film? DeistCosmos (talk) 21:45, 13 May 2013 (UTC)
 * While significant within its field, it has very little historic value in the scope of world events. I'm stunned that you could even compare the two.  Powers T 18:33, 14 May 2013 (UTC)
 * I think your astonishment reflects your subjective opinion on the matter. The film is to porn what Star Wars is to science fiction. The Watergate figure, while historically significant as well, was simply a whistleblower; the significant event was the corruption against which the whistle was blown. DeistCosmos (talk) 19:47, 14 May 2013 (UTC)
 * How does historic value make up for the fact that the article gets less than half the traffic? It's nowhere close to justifying a primary topic claim.  Dicklyon (talk) 06:26, 14 May 2013 (UTC)
 * And why isn't the Watergate version subsumed into Mark Felt, anyway? Now we know who it is, after all. DeistCosmos (talk) 16:59, 14 May 2013 (UTC)
 * Support or perhaps the pornographic film should be moved to the primary position, since the long-term hsitoric value is quite high for the film, and the more common usage (though not as common as the sex act itself) -- 65.94.76.126 (talk) 05:06, 14 May 2013 (UTC)
 * Support - both the person and the film have equal longevity; neither is primary. However, perhaps less precision, like Deep Throat (Watergate). --George Ho (talk) 05:53, 14 May 2013 (UTC)
 * Support, no primary topic between the film and the person. Cavarrone (talk) 06:55, 14 May 2013 (UTC)
 * Comment. The article on the Watergate figure used to be at Deep Throat (Watergate), but was moved in June 2006, even though there was a move discussion that appears to have had little support and many opposes. older ≠ wiser 12:13, 14 May 2013 (UTC)
 * Support - take the informant back to Deep Throat (Watergate), though make another redirect from "... (Watergate informant)" if it seems useful (no-one has thought it necessary over the years), and move the dab page to the base name. Pam  D  15:32, 14 May 2013 (UTC)
 * Support move back to Deep Throat (Watergate) - Wbm1058 (talk) 15:53, 16 May 2013 (UTC)
 * Support move to Deep Throat (Watergate). The person only receives about 30% more page views than the film. A redirect from (Watergate informant) is not needed, and is better left as a redlink. Apteva (talk) 02:10, 21 May 2013 (UTC)
 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Move discussion in progress
There is a move discussion in progress on Talk:Deep Throat which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 15:28, 24 May 2013 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Deep Throat


text:
Seamus Heaney

Seamus Justin Heaney (13 April 1939 – 30 August 2013) was an Irish poet, playwright and translator. He received the 1995 Nobel Prize in Literature. Among his best-known works is Death of a Naturalist (1966), his first major published volume. American poet Robert Lowell described him as "the most important Irish poet since Yeats", and many others, including the academic John Sutherland, have said that he was "the greatest poet of our age". Robert Pinsky has stated that "with his wonderful gift of eye and ear Heaney has the gift of the story-teller." Upon his death in 2013, The Independent described him as "probably the best-known poet in the world".

Heaney was born in the townland of Tamniaran between Castledawson and Toomebridge, Northern Ireland. His family moved to nearby Bellaghy when he was a boy. He became a lecturer at St. Joseph's College in Belfast in the early 1960s, after attending Queen's University and began to publish poetry. He lived in Sandymount, Dublin, from 1976 until his death. He lived part-time in the United States from 1981 to 2006. He was a professor at Harvard from 1981 to 1997, and their Poet in Residence from 1988 to 2006. From 1989 to 1994, he was also the Professor of Poetry at Oxford. In 1996 he was made a Commandeur of the Ordre des Arts et des Lettres and in 1998 was bestowed the title Saoi of Aosdána. He received numerous prestigious awards.

Heaney is buried at St. Mary's Church, Bellaghy, Northern Ireland. The headstone bears the epitaph "Walk on air against your better judgement", from his poem "The Gravel Walks".

Early life
Heaney was born on 13 April 1939 at the family farmhouse called Mossbawn, between Castledawson and Toomebridge; he was the first of nine children. In 1953, his family moved to Bellaghy, a few miles away, which is now the family home. His father was Patrick Heaney (d. October 1986), a farmer and cattle dealer, and the eighth child of ten born to James and Sarah Heaney. Patrick was introduced to cattle dealing by his uncles, who raised him after his parents' early deaths. Heaney's mother was Margaret Kathleen McCann (1911–1984), whose relatives worked at a local linen mill. Heaney remarked on the inner tension between the rural Gaelic past exemplified by his father and the industrialized Ulster exemplified by his mother.

Heaney attended Anahorish Primary School, and won a scholarship to St Columb's College, a Roman Catholic boarding school in Derry when he was twelve years old. While studying at St Columb's, Heaney's younger brother Christopher was killed in February 1953 at the age of four in a road accident. The poems "Mid-Term Break" and "The Blackbird of Glanmore" are related to his brother's death.

Heaney played Gaelic football for Castledawson GAC, the club in the area of his birth, as a boy, and did not change to Bellaghy when his family moved there. However, he has remarked that he became involved culturally with Bellaghy GAA Club in his late teens, acting in amateur plays and composing treasure hunts for the club.

1957–1969

Heaney studied English Language and Literature at Queen's University Belfast starting in 1957. While there, he found a copy of Ted Hughes's Lupercal, which spurred him to write poetry. "Suddenly, the matter of contemporary poetry was the material of my own life," he said. He graduated in 1961 with a First Class Honours degree.

Heaney studied for a teacher certification at St Joseph's Teacher Training College in Belfast (now merged with St Mary's, University College), and began teaching at St Thomas' Secondary Intermediate School in Ballymurphy, Belfast. The headmaster of this school was the writer Michael McLaverty from County Monaghan, who introduced Heaney to the poetry of Patrick Kavanagh. With McLaverty's mentorship, Heaney first started to publish poetry in 1962. Sophia Hillan describes how McLaverty was like a foster father to the younger Belfast poet. In the introduction to McLaverty's Collected Works, Heaney summarised the poet's contribution and influence: "His voice was modestly pitched, he never sought the limelight, yet for all that, his place in our literature is secure." Heaney's poem "Fosterage", in the sequence "Singing School", from North (1975), is dedicated to him.

In 1963 Heaney began lecturing at St Joseph's, and joined the Belfast Group, a poets' workshop organized by Philip Hobsbaum, then an English lecturer at Queen's University. Through this, Heaney met other Belfast poets, including Derek Mahon and Michael Longley.

Heaney met Marie Devlin, a native of Ardboe, County Tyrone, while at St Joseph's in 1962; they married in August 1965 and would go on to have three children. A school teacher and writer, Devlin published Over Nine Waves (1994), a collection of traditional Irish myths and legends. Heaney's first book, Eleven Poems, was published in November 1965 for the Queen's University Festival. In 1966 their first son, Michael, was born. He earned a living at the time by writing for The Irish Times, often on the subject of radio. A second son, Christopher, was born in 1968.

Heaney initially sought publication with Dolmen Press in Dublin for his first volume of work. While waiting to hear back, he was signed with Faber and Faber and published Death of a Naturalist in 1966, and Faber remained his publisher for the rest of his life. This collection was met with much critical acclaim and won several awards, including the Gregory Award for Young Writers and the Geoffrey Faber Prize. The same year, he was appointed as a lecturer in Modern English Literature at Queen's University Belfast. In 1968, Heaney and Michael Longley undertook a reading tour called Room to Rhyme, which increased awareness of the poet's work. The following year, he published his second major volume, Door into the Dark.

1970–1984
Heaney taught as a visiting professor in English at the University of California, Berkeley in the 1970–1971 academic year. In 1972, he left his lectureship in Belfast, moved to Wicklow in the Republic of Ireland, and began writing on a full-time basis. That year, he published his third collection, Wintering Out. In 1975, Heaney's next volume, North, was published. A pamphlet of prose poems entitled Stations was published the same year.

In 1976 Heaney was appointed Head of English at Carysfort College in Dublin and moved with his family to the suburb of Sandymount. His next collection, Field Work, was published in 1979. Selected Poems 1965-1975 and Preoccupations: Selected Prose 1968–1978 were published in 1980. When Aosdána, the national Irish Arts Council, was established in 1981, Heaney was among those elected into its first group. (He was subsequently elected a Saoi, one of its five elders and its highest honour, in 1997).

Also in 1981, Heaney travelled to the United States as a visiting professor at Harvard, where he was affiliated with Adams House. He was awarded two honorary doctorates, from Queen's University and from Fordham University in New York City (1982). At the Fordham commencement ceremony on 23 May 1982, Heaney delivered his address as a 46-stanza poem entitled "Verses for a Fordham Commencement."

Born and educated in Northern Ireland, Heaney stressed that he was Irish and not British. Following the success of the Field Day Theatre Company's production of Brian Friel's Translations, the founders Brian Friel and Stephen Rea decided to make the company a permanent group. Heaney joined the company's expanded Board of Directors in 1981. In autumn 1984, his mother, Margaret, died.

1985–1999
Heaney became a tenured faculty member at Harvard, as the Boylston Professor of Rhetoric and Oratory (formerly visiting professor) 1985–1997, and the Ralph Waldo Emerson Poet in Residence at Harvard 1998–2006. In 1986, Heaney received a Litt.D. from Bates College. His father, Patrick, died in October the same year. The loss of both parents within two years affected Heaney deeply, and he expressed his grief in poems. In 1988, a collection of his critical essays, The Government of the Tongue, was published.

In 1985 Heaney wrote the poem "From the Republic of Conscience" at the request of Amnesty International Ireland. He wanted to "celebrate United Nations Day and the work of Amnesty". The poem inspired the title of Amnesty International's highest honour, the Ambassador of Conscience Award.

In 1988 Heaney donated his lecture notes to the Rare Book Library of Emory University in Atlanta, Georgia, after giving the notable Ellmann Lectures there.

In 1989 Heaney was elected Oxford Professor of Poetry, which he held for a five-year term to 1994. The chair does not require residence in Oxford. Throughout this period, he was dividing his time between Ireland and the United States. He also continued to give public readings. So well attended and keenly anticipated were these events that those who queued for tickets with such enthusiasm were sometimes dubbed "Heaneyboppers", suggesting an almost teenybopper fan base.

In 1990 The Cure at Troy, a play based on Sophocles's Philoctetes, was published. The next year, he published another volume of poetry, Seeing Things (1991). Heaney was named an Honorary Patron of the University Philosophical Society, Trinity College Dublin, and was elected an Honorary Fellow of the Royal Society of Literature (1991).

In 1993 Heaney guest-edited The Mays Anthology, a collection of new writing from students at the University of Oxford and University of Cambridge. That same year, he was awarded the Dickinson College Arts Award and returned to the Pennsylvania college to deliver the commencement address and receive an honorary degree. He was scheduled to return to Dickinson again to receive the Harold and Ethel L. Stellfox Award—for a major literary figure—at the time of his death in 2013. Irish poet Paul Muldoon was named recipient of the award that year, partly in recognition of the close connection between the two poets.

Heaney was awarded the Nobel Prize in Literature in 1995 for "works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past". He was on holiday in Greece with his wife when the news broke. Neither journalists nor his own children could reach him until he arrived at Dublin Airport two days later, although an Irish television camera traced him to Kalamata. Asked how he felt to have his name added to the Irish Nobel pantheon of W. B. Yeats, George Bernard Shaw and Samuel Beckett, Heaney responded: "It's like being a little foothill at the bottom of a mountain range. You hope you just live up to it. It's extraordinary." He and his wife Marie were immediately taken from the airport to Áras an Uachtaráin for champagne with President Mary Robinson. He would refer to the prize discreetly as "the N thing" in personal exchanges with others.

Heaney's 1996 collection The Spirit Level won the Whitbread Book of the Year Award; he repeated the success in 1999 with Beowulf: A New Verse Translation.

Heaney was elected a Member of the Royal Irish Academy in 1996 and was admitted in 1997. In the same year, Heaney was elected Saoi of Aosdána. In 1998, Heaney was elected Honorary Fellow of Trinity College Dublin.

2000s
In 2000 Heaney was awarded an honorary doctorate and delivered the commencement address at the University of Pennsylvania. In 2002, Heaney was awarded an honorary doctorate from Rhodes University and delivered a public lecture on "The Guttural Muse".

In 2003 the Seamus Heaney Centre for Poetry was opened at Queen's University Belfast. It houses the Heaney Media Archive, a record of Heaney's entire oeuvre, along with a full catalogue of his radio and television presentations. That same year, Heaney decided to lodge a substantial portion of his literary archive at Emory University as a memorial to the work of William M. Chace, the university's recently retired president. The Emory papers represented the largest repository of Heaney's work (1964–2003). He donated these to help build their large existing archive of material from Irish writers including Yeats, Paul Muldoon, Ciaran Carson, Michael Longley and other members of the Belfast Group.

In 2003, when asked if there was any figure in popular culture who aroused interest in poetry and lyrics, Heaney praised American rap artist Eminem from Detroit, saying, "He has created a sense of what is possible. He has sent a voltage around a generation. He has done this not just through his subversive attitude but also his verbal energy." Heaney wrote the poem "Beacons at Bealtaine" to mark the 2004 EU Enlargement. He read the poem at a ceremony for the 25 leaders of the enlarged European Union, arranged by the Irish EU presidency.

In August 2006 Heaney had a stroke. Although he recovered and joked, "Blessed are the pacemakers" when fitted with a heart monitor, he cancelled all public engagements for several months. He was in County Donegal at the time of the 75th birthday of Anne Friel, wife of playwright Brian Friel. He read the works of Henning Mankell, Donna Leon and Robert Harris while in hospital. Among his visitors was former President Bill Clinton.

Heaney's District and Circle won the 2006 T. S. Eliot Prize. In 2008, he became artist of honour in Østermarie, Denmark, and Seamus Heaney Stræde (street) was named after him. In 2009, Heaney was presented with an Honorary-Life Membership award from the University College Dublin (UCD) Law Society, in recognition of his remarkable role as a literary figure.

Faber and Faber published Dennis O'Driscoll's book Stepping Stones: Interviews with Seamus Heaney in 2008; this has been described as the nearest thing to an autobiography of Heaney. In 2009, Heaney was awarded the David Cohen Prize for Literature. He recorded a spoken word album, over 12 hours long, of himself reading his poetry collections to commemorate his 70th birthday, which occurred on 13 April 2009.

2010s
He spoke at the West Belfast Festival in July 2010 in celebration of his mentor, the poet and novelist Michael McLaverty, who had helped Heaney to first publish his poetry.

In September 2010 Faber published Human Chain, Heaney's twelfth collection. Human Chain was awarded the Forward Poetry Prize for Best Collection, one of the major poetry prizes Heaney had never previously won, despite having been twice shortlisted. The book, published 44 years after the poet's first, was inspired in part by Heaney's stroke in 2006, which left him "babyish" and "on the brink". Poet and Forward judge Ruth Padel described the work as "a collection of painful, honest and delicately weighted poems ... a wonderful and humane achievement." Writer Colm Tóibín described Human Chain as "his best single volume for many years, and one that contains some of the best poems he has written... is a book of shades and memories, of things whispered, of journeys into the underworld, of elegies and translations, of echoes and silences." In October 2010, the collection was shortlisted for the T. S. Eliot Prize.

Heaney was named one of "Britain's top 300 intellectuals" by The Observer in 2011, though the newspaper later published a correction acknowledging that "several individuals who would not claim to be British" had been featured, of which Heaney was one. That same year, he contributed translations of Old Irish marginalia for Songs of the Scribe, an album by Traditional Singer in Residence of the Seamus Heaney Centre for Poetry, Pádraigín Ní Uallacháin.

In December 2011 Heaney donated his personal literary notes to the National Library of Ireland. Even though he admitted he would likely have earned a fortune by auctioning them, Heaney personally packed up the boxes of notes and drafts and, accompanied by his son Michael, delivered them to the National Library.

In June 2012 Heaney accepted the Griffin Trust for Excellence in Poetry's Lifetime Recognition Award and gave a speech in honour of the award.

Heaney was compiling a collection of his work in anticipation of Selected Poems 1988–2013 at the time of his death. The selection includes poems and writings from Seeing Things, The Spirit Level, the translation of Beowulf, Electric Light, District and Circle, and Human Chain (fall 2014).

In February 2014 Emory University premiered Seamus Heaney: The Music of What Happens, the first major exhibition to celebrate the life and work of Seamus Heaney since his death. The exhibit holds a display of the surface of Heaney's personal writing desk that he used in the 1980s as well as old photographs and personal correspondence with other writers. Heaney died in August 2013 during the exhibition's curatorial process. Though the exhibit's original vision to celebrate Heaney's life and work remains at the forefront, there is a small section commemorating his death and its influence.

In September 2015 it was announced that Heaney's family would posthumously publish his translation of Book VI of The Aeneid in 2016.

Death
Seamus Heaney died in the Blackrock Clinic in Dublin on 30 August 2013, aged 74, following a short illness. After a fall outside a restaurant in Dublin, he entered a hospital for a medical procedure, but died at 7:30 the following morning before it took place. His funeral was held in Donnybrook, Dublin, on the morning of 2 September 2013, and he was buried in the evening at St. Mary's Church, Bellaghy his home village, in the same graveyard as his parents, younger brother, and other family members. His son Michael revealed at the funeral mass that his father texted his final words, "Noli timere" (Latin: "Be not afraid"), to his wife, Marie, minutes before he died.

His funeral was broadcast live the following day on RTÉ television and radio and was streamed internationally at RTÉ's website. RTÉ Radio 1 Extra transmitted a continuous broadcast, from 8 a.m. to 9:15 p.m. on the day of the funeral, of his Collected Poems album, recorded by Heaney in 2009. His poetry collections sold out rapidly in Irish bookshops immediately following his death.

Many tributes were paid to Heaney. President Michael D. Higgins said: "...we in Ireland will once again get a sense of the depth and range of the contribution of Seamus Heaney to our contemporary world, but what those of us who have had the privilege of his friendship and presence will miss is the extraordinary depth and warmth of his personality...Generations of Irish people will have been familiar with Seamus' poems. Scholars all over the world will have gained from the depth of the critical essays, and so many rights organisations will want to thank him for all the solidarity he gave to the struggles within the republic of conscience."President Higgins also appeared live from Áras an Uachtaráin on the Nine O'Clock News in a five-minute segment in which he paid tribute to Seamus Heaney.

Bill Clinton, former President of the United States, said: "Both his stunning work and his life were a gift to the world. His mind, heart, and his uniquely Irish gift for language made him our finest poet of the rhythms of ordinary lives and a powerful voice for peace...His wonderful work, like that of his fellow Irish Nobel Prize winners Shaw, Yeats, and Beckett, will be a lasting gift for all the world."

José Manuel Barroso, European Commission president, said: "I am greatly saddened today to learn of the death of Seamus Heaney, one of the great European poets of our lifetime. ... The strength, beauty and character of his words will endure for generations to come and were rightly recognised with the Nobel Prize for Literature."Harvard University issued a statement: "We are fortunate and proud to have counted Seamus Heaney as a revered member of the Harvard family. For us, as for people around the world, he epitomised the poet as a wellspring of humane insight and artful imagination, subtle wisdom and shining grace. We will remember him with deep affection and admiration."

Poet Michael Longley, a close friend of Heaney, said: "I feel like I've lost a brother." Thomas Kinsella said he was shocked, but John Montague said he had known for some time that the poet was not well. Playwright Frank McGuinness called Heaney "the greatest Irishman of my generation: he had no rivals." Colm Tóibín wrote: "In a time of burnings and bombings Heaney used poetry to offer an alternative world." Gerald Dawe said he was "like an older brother who encouraged you to do the best you could do". Theo Dorgan said, "[Heaney's] work will pass into permanence. Everywhere I go there is real shock at this. Seamus was one of us." His publisher, Faber and Faber, noted that "his impact on literary culture is immeasurable." Playwright Tom Stoppard said, "Seamus never had a sour moment, neither in person nor on paper". Andrew Motion, a former UK Poet Laureate and friend of Heaney, called him "a great poet, a wonderful writer about poetry, and a person of truly exceptional grace and intelligence."

Many memorial events were held, including a commemoration at Emory University, Harvard University, Oxford University and the Southbank Centre, London. Leading US poetry organisations also met in New York to commemorate the death.

Naturalism
At one time Heaney's books made up two-thirds of the sales of living poets in the UK. His work often deals with the local surroundings of Ireland, particularly in Northern Ireland, where he was born and lived until young adulthood. Speaking of his early life and education, he commented, "I learned that my local County Derry experience, which I had considered archaic and irrelevant to 'the modern world', was to be trusted. They taught me that trust and helped me to articulate it." Death of a Naturalist (1966) and Door into the Dark (1969) mostly focus on the details of rural, parochial life.

In a number of volumes, beginning with Door into the Dark (1969) and Wintering Out (1972), Heaney also spent a significant amount of time writing on the northern Irish bog. Particularly of note is the collection of bog body poems in North (1975), featuring mangled bodies preserved in the bog. In a review by Ciaran Carson, he said that the bog poems made Heaney into "the laureate of violence—a mythmaker, an anthropologist of ritual killing...the world of megalithic doorways and charming noble barbarity." Poems such as "Bogland" and "Bog Queen" addressed political struggles directly for the first time.

Politics
Allusions to sectarian differences, widespread in Northern Ireland throughout his lifetime, can be found in his poems. His books Wintering Out (1973) and North (1975) seek to interweave commentary on the Troubles with a historical context and wider human experience. While some critics accused Heaney of being "an apologist and a mythologiser" of the violence, Blake Morrison suggests the poet "has written poems directly about the Troubles as well as elegies for friends and acquaintances who have died in them; he has tried to discover a historical framework in which to interpret the current unrest; and he has taken on the mantle of public spokesman, someone looked to for comment and guidance... Yet he has also shown signs of deeply resenting this role, defending the right of poets to be private and apolitical, and questioning the extent to which poetry, however 'committed', can influence the course of history."

Shaun O'Connell in the New Boston Review notes that "those who see Seamus Heaney as a symbol of hope in a troubled land are not, of course, wrong to do so, though they may be missing much of the undercutting complexities of his poetry, the backwash of ironies which make him as bleak as he is bright." O'Connell notes in his Boston Review critique of Station Island: "Again and again Heaney pulls back from political purposes; despite its emblems of savagery, Station Island lends no rhetorical comfort to Republicanism. Politic about politics, Station Island is less about a united Ireland than about a poet seeking religious and aesthetic unity."

Heaney is described by critic Terry Eagleton as "an enlightened cosmopolitan liberal", refusing to be drawn. Eagleton suggests: "When the political is introduced... it is only in the context of what Heaney will or will not say." Reflections on what Heaney identifies as "tribal conflict" favour the description of people's lives and their voices, drawing out the "psychic landscape". His collections often recall the assassinations of his family members and close friends, lynchings and bombings. Colm Tóibín wrote, "throughout his career there have been poems of simple evocation and description. His refusal to sum up or offer meaning is part of his tact."

Heaney published "Requiem for the Croppies", a poem that commemorates the Irish rebels of 1798, on the 50th anniversary of the 1916 Easter Rising. He read the poem to both Catholic and Protestant audiences in Ireland. He commented, "To read 'Requiem for the Croppies' wasn't to say 'up the IRA' or anything. It was silence-breaking rather than rabble-rousing." He stated, "You don't have to love it. You just have to permit it."

He turned down the offer of laureateship of the United Kingdom, partly for political reasons, commenting, "I've nothing against the Queen personally: I had lunch at the Palace once upon a time." He stated that his "cultural starting point" was "off-centre". A much-quoted statement was when he objected to being included in The Penguin Book of Contemporary British Poetry (1982). Although he was born in Northern Ireland, his response to being included in the British anthology was delivered in his poem "An Open Letter":
 * Don't be surprised if I demur, for, be advised
 * My passport's green.
 * No glass of ours was ever raised
 * To toast The Queen.

Translation
He was concerned, as a poet and a translator, with the English language as it is spoken in Ireland but also as spoken elsewhere and in other times; he explored Anglo-Saxon influences in his work and study. Critic W. S. Di Piero noted "Whatever the occasion, childhood, farm life, politics and culture in Northern Ireland, other poets past and present, Heaney strikes time and again at the taproot of language, examining its genetic structures, trying to discover how it has served, in all its changes, as a culture bearer, a world to contain imaginations, at once a rhetorical weapon and nutriment of spirit. He writes of these matters with rare discrimination and resourcefulness, and a winning impatience with received wisdom." Heaney's first translation was of the Irish lyric poem Buile Suibhne, published as Sweeney Astray: A Version from the Irish (1984). He took up this character and connection in poems published in Station Island (1984). Heaney's prize-winning translation of Beowulf (Farrar, Straus & Giroux, 2000, Whitbread Book of the Year Award) was considered groundbreaking in its use of modern language melded with the original Anglo-Saxon "music".

Plays and prose
His plays include The Cure at Troy: A Version of Sophocles' Philoctetes (1991). Heaney's 2004 play, The Burial at Thebes, suggests parallels between Creon and the foreign policies of the Bush administration.

Heaney's engagement with poetry as a necessary engine for cultural and personal change is reflected in his prose works The Redress of Poetry (1995) and Finders Keepers: Selected Prose: 1971–2001 (2001). "'When a poem rhymes,' Heaney wrote, 'when a form generates itself, when a metre provokes consciousness into new postures, it is already on the side of life. When a rhyme surprises and extends the fixed relations between words, that in itself protests against necessity. When language does more than enough, as it does in all achieved poetry, it opts for the condition of overlife, and rebels at limit.'"He continues: "The vision of reality which poetry offers should be transformative, more than just a printout of the given circumstances of its time and place". Often overlooked and underestimated in the direction of his work is his profound poetic debts to and critical engagement with 20th-century Eastern European poets, and in particular Nobel laureate Czesław Miłosz.

Use in the school syllabus
Heaney's work is used extensively in the school syllabus internationally, including the anthologies The Rattle Bag (1982) and The School Bag (1997) (both edited with Ted Hughes). Originally entitled The Faber Book of Verse for Younger People on the Faber contract, Hughes and Heaney decided the main purpose of The Rattle Bag was to offer enjoyment to the reader: "Arbitrary riches." Heaney commented "the book in our heads was something closer to The Fancy Free Poetry Supplement". It included work that they would have liked to encounter sooner in their own lives, as well as nonsense rhymes, ballad-type poems, riddles, folk songs and rhythmical jingles. Much familiar canonical work was not included, since they took it for granted that their audience would know the standard fare. Fifteen years later, The School Bag aimed at something different. The foreword stated that they wanted "less of a carnival, more like a checklist." It included poems in English, Irish, Welsh, Scots and Scots Gaelic, together with work reflecting the African-American experience.

Legacy
The Seamus Heaney HomePlace, in Bellaghy, is a literary and arts centre which commemorates Heaney's legacy. His literary papers are held by the National Library of Ireland.

Following an approach by Fintan O'Toole, the Heaney family authorised a biography of the poet, with access to family-held records (2017). O'Toole had been somewhat acquainted with Heaney and Heaney had, according to his son, admired O'Toole's work.

In November 2019 the documentary Seamus Heaney and the music of what happens was aired on BBC Two. His wife Marie and his children talked about their family life and read some of the poems he wrote for them. For the first time, Heaney's four brothers remembered their childhood and the shared experiences that inspired many of his poems.

In 2023 The Letters of Seamus Heaney was published, edited by Christopher Reid.

Poetry: Main Collections

 * 1966: Death of a Naturalist, Faber & Faber
 * 1969: Door into the Dark, Faber & Faber
 * 1972: Wintering Out, Faber & Faber
 * 1975: North, Faber & Faber
 * 1979: Field Work, Faber & Faber
 * 1984: Station Island, Faber & Faber
 * 1987: The Haw Lantern, Faber & Faber
 * 1991: Seeing Things, Faber & Faber
 * 1996: The Spirit Level, Faber & Faber
 * 2001: Electric Light, Faber & Faber
 * 2006: District and Circle, Faber & Faber
 * 2010: Human Chain, Faber & Faber

Poetry: Selected Editions

 * 1980: Selected Poems 1965–1975, Faber & Faber
 * 1990: New Selected Poems 1966–1987, Faber & Faber
 * 1998: Opened Ground: Poems 1966–1996, Faber & Faber
 * 2014: New Selected Poems 1988–2013, Faber & Faber
 * 2018: 100 Poems, Faber & Faber

Prose: Main Collections

 * 1980: Preoccupations: Selected Prose 1968–1978, Faber & Faber
 * 1988: The Government of the Tongue, Faber & Faber
 * 1995: The Redress of Poetry: Oxford Lectures, Faber & Faber

Prose: Selected Editions

 * 2001: Finders Keepers: Selected Prose 1971–2001, Faber & Faber

Plays

 * 1990: The Cure at Troy: A version of Sophocles' Philoctetes, Field Day
 * 2004: The Burial at Thebes: A version of Sophocles' Antigone, Faber & Faber

Translations

 * 1983: Sweeney Astray: A version from the Irish, Field Day
 * 1992: Sweeney's Flight (with Rachel Giese, photographer), Faber & Faber
 * 1993: The Midnight Verdict: Translations from the Irish of Brian Merriman and from the Metamorphoses of Ovid, Gallery Press
 * 1995: Laments, a cycle of Polish Renaissance elegies by Jan Kochanowski, translated with Stanisław Barańczak, Faber & Faber
 * 1999: Beowulf: A New Verse Translation, Faber & Faber
 * 1999: Diary of One Who Vanished, a song cycle by Leoš Janáček of poems by Ozef Kalda, Faber & Faber
 * 2009: The Testament of Cresseid & Seven Fables, Faber & Faber
 * 2016: Aeneid: Book VI, Faber & Faber
 * 2022: The Translations, Faber & Faber

Limited Editions and Booklets (poetry, prose, and translations)

 * 1965: Eleven Poems, Queen's University
 * 1968: The Island People, BBC
 * 1968: Room to Rhyme, Arts Council N.I.
 * 1969: A Lough Neagh Sequence, Phoenix
 * 1970: Night Drive, Gilbertson
 * 1970: A Boy Driving His Father to Confession, Sceptre Press
 * 1973: Explorations, BBC
 * 1975: Stations, Ulsterman Publications
 * 1975: Bog Poems, Rainbow Press
 * 1975: The Fire i' the Flint, Oxford University Press
 * 1976: Four Poems, Crannog Press
 * 1977: Glanmore Sonnets, Editions Monika Beck
 * 1977: In Their Element, Arts Council N.I.
 * 1978: Robert Lowell: A Memorial Address and an Elegy, Faber & Faber
 * 1978: The Makings of a Music, University of Liverpool
 * 1978: After Summer, Gallery Press
 * 1979: Hedge School, Janus Press
 * 1979: Ugolino, Carpenter Press
 * 1979: Gravities, Charlotte Press
 * 1979: A Family Album, Byron Press
 * 1980: Toome, National College of Art and Design
 * 1981: Sweeney Praises the Trees, Henry Pearson
 * 1982: A Personal Selection, Ulster Museum
 * 1982: Poems and a Memoir, Limited Editions Club
 * 1983: An Open Letter, Field Day
 * 1983: Among Schoolchildren, Queen's University
 * 1984: Verses for a Fordham Commencement, Nadja Press
 * 1984: Hailstones, Gallery Press
 * 1985: From the Republic of Conscience, Amnesty International
 * 1985: Place and Displacement, Dove Cottage
 * 1985: Towards a Collaboration, Arts Council N.I.
 * 1986: Clearances, Cornamona Press
 * 1988: Readings in Contemporary Poetry, DIA Art Foundation
 * 1988: The Sounds of Rain, Emory University
 * 1988: The Dark Wood, Colin Smythe
 * 1989: An Upstairs Outlook, Linen Hall Library
 * 1989: The Place of Writing, Emory University
 * 1990: The Tree Clock, Linen Hall Library
 * 1991: Squarings, Hieroglyph Editions
 * 1992: Dylan the Durable, Bennington College
 * 1992: The Gravel Walks, Lenoir Rhyne College
 * 1992: The Golden Bough, Bonnefant Press
 * 1993: Keeping Going, Bow and Arrow Press
 * 1993: Joy or Night, University of Swansea
 * 1994: Extending the Alphabet, Memorial University of Newfoundland
 * 1994: Speranza in Reading, University of Tasmania
 * 1995: Oscar Wilde Dedication, Westminster Abbey
 * 1995: Charles Montgomery Monteith, All Souls College
 * 1995: Crediting Poetry: The Nobel Lecture, Gallery Press
 * 1996: Commencement Address, UNC Chapel Hill
 * 1997: Poet to Blacksmith, Pim Witteveen
 * 1997: An After Dinner Speech, Atlantic Foundation
 * 1998: Audenesque, Maeght
 * 1999: The Light of the Leaves, Bonnefant Press
 * 1999: Ballynahinch Lake, Sonzogni
 * 2001: Something to Write Home About, Flying Fox
 * 2001: Towers, Trees, Terrors, Università degli Studi di Urbino
 * 2002: The Whole Thing: on the Good of Poetry, The Recorder
 * 2002: Hope and History, Rhodes University
 * 2002: A Keen for the Coins, Lenoir Rhyne College
 * 2002: Hallaig, Sorley MacLean Trust
 * 2002: Arion, a poem by Alexander Pushkin, translated from Russian, with a note by Olga Carlisle, Arion Press
 * 2003: Eclogues in Extremis, Royal Irish Academy
 * 2003: Squarings, Arion Press
 * 2004: Anything can Happen, Town House Publishers
 * 2004: Room to Rhyme, University of Dundee
 * 2004: The Testament of Cresseid, Enitharmon Press
 * 2004: Columcille The Scribe, The Royal Irish Academy
 * 2005: A Tribute to Michael McLaverty, Linen Hall Library
 * 2005: The Door Stands Open, Irish Writers Centre
 * 2005: A Shiver, Clutag Press
 * 2007: The Riverbank Field, Gallery Press
 * 2008: Articulations, Royal Irish Academy
 * 2008: One on a Side, Robert Frost Foundation
 * 2009: Spelling It Out, Gallery Press
 * 2010: Writer & Righter, Irish Human Rights Commission
 * 2012: Stone From Delphi, Arion Press
 * 2013: The Last Walk, Gallery Press
 * 2019: My Yeats, Yeats Society Sligo

Spoken word

 * 2009: Collected Poems (audio recording by Heaney), RTÉ with the Lannan Foundation

Prizes and honours

 * 1966 Eric Gregory Award
 * 1967 Cholmondeley Award
 * 1968 Somerset Maugham Award
 * 1968 Geoffrey Faber Memorial Prize
 * 1975 E. M. Forster Award
 * 1975 Duff Cooper Prize for North
 * 1995 Nobel Prize in Literature
 * 1996 Commandeur de l'Ordre des Arts et des Lettres
 * 1997 Elected Saoi of Aosdána
 * 1998 St. Louis Literary Award from the Saint Louis University Library Associates
 * 2000 Elected to the American Philosophical Society
 * 2001 Golden Wreath of Poetry, given by Struga Poetry Evenings for life achievement in the field of poetry
 * 2004 Kenyon Review Award for Literary Achievement
 * 2005 Irish PEN Award
 * 2006 T. S. Eliot Prize for District and Circle
 * 2007 Poetry Now Award for District and Circle
 * 2009 David Cohen Prize
 * 2011 Poetry Now Award for Human Chain
 * 2011 Bob Hughes Lifetime Achievement Award
 * 2012 Griffin Poetry Prize, Lifetime Recognition Award

title: Seamus Heaney


text:
Talk:Calypso

Ideas for disambiguation:

Calypso (music) Calypso (mythology) Calypso (moon) Calypso (ship)

Some notes on my edit: I formated it this way just to make the page somewhat more orthodox or traditional, or some other word that i can't think of meaning the-same-as-all-the-others. I changed Calypso (John Denver) to Calypso (song) for much the same reason. Neither seems to exist, and the former seemed a bit bulky.

Anakolouthon 21:23 3 Jul 2003 (UTC)

title: Talk:Calypso


text:
Talk:W. H. Auden

2015 material including GAA review now archived
I've now moved the lengthy GAA review discussion to archive 7. (Before I revised this link I had created new archive pages, because I didn't notice that archives 1 through 6 already existed!) - Macspaunday (talk) 13:27, 15 January 2016 (UTC)

Move
The applicable policy is clearly WP:COMMONNAME (there is no WP:COMPLETENAME). "W. H. Auden" is the name used on the cover of his books, including first, and recent scholarly editions. See also C. P. Snow, T. S. Eliot, W. B. Yeats. C. S. Lewis. William Avery (talk) 14:24, 27 March 2016 (UTC)
 * Yeah, I thought that too. Looks a bit strange? Martinevans123 (talk) 14:44, 27 March 2016 (UTC)
 * It's just wrong, per WP:COMMONNAME. It's less clear cut over W. B. Yeats, but for Auden or T. S. Eliot the initial form is absolutely dominant. Andy Dingley (talk) 15:07, 27 March 2016 (UTC)
 * Now raised at Administrators'_noticeboard/Edit_warring
 * He's done it at TS Eliot and CP Snow too. Andy Dingley (talk) 17:23, 27 March 2016 (UTC)
 * Agreed that "W. H. Auden" is the proper title for this page. - Macspaunday (talk) 23:56, 27 March 2016 (UTC)
 * Agree W. H. Auden is the right and proper title for the page. DuncanHill (talk) 17:43, 30 March 2016 (UTC)
 * Strong agree W. H. Auden is a fine and upstanding title for this page. Even though it's a bit impersonal. Martinevans123 (talk) 18:00, 30 March 2016 (UTC)

Learned-v-learnt
Fowler (first edition, pp. 594-595) expresses the hope that the ‘–t’ form will prevail, but notes that the ‘–ed’ forms ‘still prevail in print’. In the current edition (ed. Butterfield) ‘learned’ is favoured on the grounds that it is common in all varieties of English, whereas ‘learnt’ is less common in some. I think Fowler was, as so often, prescient, but we aren’t there yet, according to his current reviser.  Tim riley  talk    08:33, 25 June 2016 (UTC)
 * Learned has an alternative adjectival sense if the last e is sounded, although somewhat old-fashioned now? But I guess there's no possibility of confusion here. I think there's a similar argument over burned and burnt - does Fowler mention these? Martinevans123 (talk) 10:32, 25 June 2016 (UTC)
 * Your point about the two pronunciations is addressed most directly in the Gowers revision, where he says (quite rightly, I think) that it would be good if the two different pronunciations were spelled (or spelt?) to match what the ear hears, so that the lesson is learnt but the teacher is learned. But so far this happy state of things has not been reached in all varieties of English, hence Butterfield's advice to go for 'learned' for both uses. The old boy did indeed comment on burnt/burned in the original 1926 edition, saying the former was standard and the latter obsolescent and would-be poetical. Time has not borne that judgment out, I'd say, as the Burchfield and now the Butterfield revisions of MEU are much less emphatic in support of burnt.  Tim riley  talk    11:05, 25 June 2016 (UTC)
 * I would edit this article, but I'm not very learned. And I might get my fingers burnt. Martinevans123 (talk) 11:37, 25 June 2016 (UTC)
 * "Learned" here looks ugly. Not as ugly as using "judgment" in a non-legal sense, but ugly nonetheless. DuncanHill (talk) 15:16, 25 June 2016 (UTC)
 * You're making a rather harsh judgement here, Duncan. Martinevans123 (talk) 15:32, 25 June 2016 (UTC)
 * I much prefer "learnt" here, but we must strive to accommodate all current Englishes, and so I think we are right to follow the current Fowler and go for "learned". Not sure I agree about judg(e)ment, on which I can never make up my mind. Tempora mutantur – though some old codgers like me still use "connexion" but in truth that bus left decades ago. –  Tim riley  talk    19:56, 25 June 2016 (UTC)
 * Is "learnt" really incomprehensible to anyone? I use "connexion" too. DuncanHill (talk) 23:19, 25 June 2016 (UTC)
 * Some of us are still trying to get off. Martinevans123 (talk) 23:29, 25 June 2016 (UTC)

External links to awards?
An editor recently added to this page (and to dozens of others) an external link to the web page for the St. Louis Literary Award. I wonder if other editors who work on this page think it's suitable to add one such links when Auden received dozens of comparable awards, including many more prominent ones, that would clutter up the page if they were also added. I tend to think that this external link would be most appropriately replaced with a listing in a category "Recipients of the St. Louis Literary Award," which perhaps the editor might want to create. But I don't want to remove the new link without consensus, and would be grateful for any views. - Macspaunday (talk) 18:52, 26 July 2016 (UTC)
 * I've gone ahead and commented out the external link to the St. Louis Literary Award. Auden got dozens of similar awards, and none of the others are linked on the page; it has no historical significance at all, and is simply a vanity link that calls attention to the organization that gives the award. - Macspaunday (talk) 13:14, 7 August 2016 (UTC)

Harborne
A Birmingham Civic Society blue plaque in Harborne, Birmingham marks the site where WHA lived "from 1919-1939" (presumably the family home). This is not mentioned in the article. Any reason it should not be? Andy Mabbett ( Pigsonthewing ); Talk to Andy; Andy's edits 20:00, 13 December 2016 (UTC)
 * Certainly not, I'd say. A good find. Martinevans123 (talk) 20:19, 13 December 2016 (UTC)
 * The article doesn't mention any other plaques, but it has a picture of one of them. Surely a picture with a suitable caption makes the most sense here? (I think there's also one at his birthplace in York, but I'm not certain of that.) - Macspaunday (talk) 22:48, 13 December 2016 (UTC)

Memorials
If we have the image of a "Commemorative plaque at one of Auden's homes in Brooklyn Heights, New York", I'd suggest that mention of the memorial tablet in Christ Church Cathedral, Oxford is fully justified. But the most appropriate section would be "Reputation and influence" and not just after details of his death? There is a source here, but images seem to be in short supply. There is onme at findagrave, but that isn't a very popular source. Martinevans123 (talk) 20:27, 22 April 2017 (UTC)

 * I've commented out a sentence about a memorial to Auden in his old college Christ Church because (1) it's not relevant to the "life" section where it was added (there's a reference to the far more significant memorial in Westminster Abbey elsewhere on the page); (2) it isn't a "burial site" (as it was described in the revision history; and (3) other memorials to Auden elsewhere aren't mentioned in the text because they're not significant enough for this kind of encyclopedia entry about the author. I hope this helps to keep the page focused on its subject matter. - Macspaunday (talk) 20:28, 22 April 2017 (UTC)

 * I wrote my comment without seeing that Martinevans123 had already posted. In response: Do we really want to list all the memorial plaques, etc., in the "Reputation and influence" section? If that's the general opinion, I'll gather up the ones I know about, but I'm not sure that a listing of memorial plaques is really something that's useful in an encyclopedia entry. But, again, consensus matters more than my private opinion. - Macspaunday (talk) 20:33, 22 April 2017 (UTC)

 * No strong view. But many articles do indeed have a list. Martinevans123 (talk) 20:36, 22 April 2017 (UTC)

 * Well, I'll see what I can put together. There are plaques at York, Birmingham, Manhattan (currently in storage, I think), Brooklyn, Vienna, and the one at Christ Church, Oxford. A list would certainly make more sense than a paragraph about things put up by tourist offices which have minimal relevance to reputation, etc. I'll get something together, though. - Macspaunday (talk) 20:44, 22 April 2017 (UTC)

 * Done, for the moment anyway. I think there may be one or two more out there. - Macspaunday (talk) 21:15, 22 April 2017 (UTC)

 * Looks fine to me. Thanks. Martinevans123 (talk) 21:23, 22 April 2017 (UTC)

Auden's Health Problems and Circumstances of Death
The article is full of detailed information about Auden's career, his poetry, and his most famous relationships. But it is strangely incomplete about his endgame. Biographies have stated that as he grew older, he lived in incredible disorder, loneliness and lack of support. Why? What was his state of health? How and why did he die? And where was he when he died? There should also be at least a brief mention of Auden's most noticeable physical characteristic: his profoundly wrinkled face, and the disease syndrome that accounted for it. Also, more information is needed about his relationship with Chester Kallman, which was so important to him. The article does well as far as it goes; but it does not go far enough. Younggoldchip (talk) 14:54, 17 September 2017 (UTC)
 * This is a very apt comment. I've added some factual details. Auden's personal and emotional experience in his later years gets reported in different ways depending on the point of the view of the person reporting it, and the essay does not report on Auden's emotional state at any point in his life, leaving this to the sensitive reporting by biographers like Richard Davenport-Hines, who is exceptionally subtle on these details, and can't easily be summarized. But it should be possible to add details in a responsible, thoroughly-sourced way, and I'll certainly work on it. Thank you again. - Macspaunday (talk) 16:01, 17 September 2017 (UTC)

Funeral Blues
Since when is this a love poem?--Jack Upland (talk) 08:38, 14 January 2020 (UTC)
 * Maybe only since 1994? In this source encyclopedia.com says: "The 1994 cinema hit Four Weddings and a Funeral helped bring the poem to the attention of the general public, when a character played by actor John Hannah reads an excerpt at the film’s emotional climax. As a result of overwhelming public demand for copies of the poem, Tell Me the Truth About Love: Ten Poems by W. H. Auden, a collection of Auden’s verse and cabaret songs from the 1930s including “Funeral Blues”, was rushed to press soon after the film’s release. Reviewer David Gritten noted in the Los Angeles Times that the film created “a sudden demand all over England” for Auden’s works. Americans have also shown an increased interest in the author. Filmgoers and readers responded to “Funeral Blues’” heartfelt expression of grief over the death of a loved one. The poem expresses a rhythmical, intimate portrait of the totality of love and the devastating consequences of its absence.". But I agree the wiki article for Funeral Blues makes no mention of love. Martinevans123 (talk) 10:28, 14 January 2020 (UTC)

 * Fixed. - Macspaunday (talk) 22:23, 17 January 2020 (UTC)
 * So a poem about love is different from a love poem?--Jack Upland (talk) 02:20, 18 January 2020 (UTC)

 * Yes, exactly. A love poem is a poem addressed to someone whom the poet loves; a poem about love is a poem about the feeling and effects or nature of love. For example, Auden's 'O Tell Me the Truth about Love' is a poem about love (as the title indicates even before you read the poem itself) but it is not a love poem because it does not express love to anyone. - Macspaunday (talk) 03:08, 18 January 2020 (UTC)

Lode Lane, Solihull?
I was told that he once lived in a small row of cottage type houses, in Lode Lane, across from the Land Rover factory. An English teacher at Solihull college told me, I have no info on whether it is solid fact though. Middle More Rider (talk) 02:49, 4 November 2020 (UTC)

 * The Auden family lived on Homer Road, Solihull - a mile or two from Lode Lane. Macspaunday (talk) 05:28, 4 November 2020 (UTC)

Thanks, I knew he had lived in Homer Road, just wondered if 100% of his residence locations had been covered, as these cottages (I think a row of 4 [correction, 3 buildings, one a double and two triples, so eight homes]) are very specific and distinct from the rest of the street. Not saying he did, but unusual thing for someone to tell me if not true. Middle More Rider (talk) 13:12, 6 November 2020 (UTC)

 * There's no record of Auden or anyone in his family living anywhere but Homer Road when they were in Solihull. Carolyn Steedman made a very thorough study of the local records for her book Poetry for Historians: or, W. H. Auden and History (Manchester UP). Is your source still alive? - Macspaunday (talk) 17:36, 6 November 2020 (UTC)

Thanks. Very sadly he's not alive, died aged 42, I think it was. Middle More Rider (talk) 19:28, 7 November 2020 (UTC)

His marriage
I was surprised to see this Good Article omitted mention of his marriage of convenience, apart from a very summary mention in the infobox, to Erika Mann who was a distinguished writer in her own right. I have lifted detail from Mann's wikipedia article in the subsection dealing with his life in the inter-war years which gives more detail of the background.Cloptonson (talk) 10:05, 24 July 2021 (UTC)
 * Yes, Erika Mann obviously notable. A very good addition, thanks. Martinevans123 (talk) 10:12, 24 July 2021 (UTC)

Move back to Oxford
Re: this recent edit, I wonder do you have the relevant page number from Davenport-Hines (1996), as this source says: "On April 15th, 1972 Auden left New York to take up what he thought would be permanent residence in Oxford. He intended never to return. And he never did." The NYT report, dated 7 February 1972, mentioned in that source, is this one. Many thanks. Martinevans123 (talk) 14:09, 17 January 2024 (UTC)

 * Thank you for this. And I mistakenly changed the date of the move to February, which is when it was reported. It actually happened in April. Fixed now. Macspaunday (talk) 15:05, 17 January 2024 (UTC)
 * No worries. The previous version was a bit vague. I guess transatlantic travel in 1972 wasn't as commonplace as it today. But he certainly got around. Martinevans123 (talk) 15:14, 17 January 2024 (UTC)
 * Dear @Macspaunday, Auden's biographer Davenport-Hines reports a prolonged process of moving his residency from New York City to Christ Church, Oxford, with a first departure on 15 April 1972 (p. 336), and return to New York, in September 1972, "to complete his packing, and on 30 September [Auden] left the United States for the last time" (p. 337). The process started even earlier: "in January 1972, chiefly at David Luke's instigation, Christ Church offered him a tenancy of a cottage in its grounds known as the Brewhouse ... His preparations to leave New York City were immediate" (p. 335). Therefore, we suggest indicating the period of relocation from January until September 1972. Auden in Austria (talk) 11:11, 19 January 2024 (UTC)
 * So it seems that the claim that "He intended never to return. And he never did", in the article by Josie Holford here, is quite wrong! Martinevans123 (talk) 11:50, 19 January 2024 (UTC)
 * Actually, Davenport-Hines is right, and I was wrong. He returned to New York from 19 September through 30 September 1972 packing his books for the move to England. So the correct date is September 1972. It's clearly misleading to say that the move occurred over a longer period of time. When I bought a place to live, I moved there on one specific day; I didn't move there during the six months between making the arrangement to buy it and buying it. Auden moved his winter home in September; everything that preceded it was talking and letter-writing and negotiating; it wasn't "moving." Macspaunday (talk) 13:46, 19 January 2024 (UTC)
 * And @Martinevans123 - yes. and he actually planned to make a return visit in the spring of 1974 for a reading tour, but died before he could make it. Macspaunday (talk) 13:49, 19 January 2024 (UTC)
 * Many thanks. Given the lengthy period that Auden took to organise and prepare for this move, perhaps those 13 words could be slightly expanded? Martinevans123 (talk) 16:13, 19 January 2024 (UTC)
 * Done. In fact, Auden spent almost no time organizing for the move. There are memoirs (one in the Village Voice, another by a bookseller in his memoirs) of his arriving in New York in September and packing and discarding his books in less than two weeks, possibly in a few days. That was his entire preparation. Once he got the offer in February he did nothing about it other than announce his impending departure to the New York Times, until he got back in September. Macspaunday (talk) 16:38, 19 January 2024 (UTC)
 * Thanks, I think that is certainly an improvement. Martinevans123 (talk) 16:47, 19 January 2024 (UTC)

title: Talk:W. H. Auden


text:
User:Joseph E. Saad

Introduction
Hello, my name is Joseph E. Saad, I am a Canadian/Christian/Arab, who was born in Palestine, before the 1967 war. My family came to this country Canada, after 1967 as refugees.

I have a great interest in history, and work as a library technician, in Canada.

I became interested in the Wikipedia project near it inception, and have tried, since that time, to contribute useful factual information. I occasionaly still contribute, but most of my time on the project now is spent reading the articles, and answering queries about me and the Palestinian people.

I try and remain moderate in my views on Palestine, and pray for the success of the very many peace activist movements, between Jews and Arabs. There are very many people, groups, and organizations trying to make a difference there now.

FAQ's
Q: Are you a creation or a propaganda tool?

A: No I am in fact a real person, and do exist, I am what I say I am: a Palestinian (Canadian/Christian/Arab), who was born in Palestine, before the 1967 war. My family brought me here to Canada when I was 4 ½ years old.

Q: Can you prove it?

A: I am not sure how I can prove it, perhaps do a Google search on me, but I am reluctant to divulge too much information about myself on line.

Q: Why do you hate Jewish people, Judaism, and spend your time spreading anti-semitic messages?

A: I do not see how I can be anti-semitic, as I am myself a semetic person. I disagree with and denounce the tactics used by pro-Zionist supporters/defenders who imply that any criticism of the Zionist state, in its use of its military force in the oppression of the human rights of Palestinians, and its refusal to acknowledge the rightful claims of wrongs committed against the Palestinian people as a hate crime. I only hope & pray that peace will one day come to the Middle East & Palestine-Israel-Holy Land, and that one day I can take my wife & kids to the land of my birth, that I cannot live in now. I pray for Peace

My Views on Palestine
''First of all, I wanted to say that the very many articles in the Wikipedia, on the Middle East Conflict (and especially Palestine), have been edited to the point of silliness and nonsense in a vain attempt at hiding or obscuring the facts. I cannot even link to Palestine as the page no longer exists (in any recognizable format that I can accept), along with the many articles, links, and other things that at least, in an imperfect way, tried to address the very many controversial views.

There is in fact a large cabal of pro-Zionist supporters here who will not allow any criticism or alternate views on any of these issues. Time and again I have conflicted and argued with them, achieving nothing in the end, except frustration and anger.

This has necessitated my putting my own very personal views here on this page, just so every one is clear about Palestine, Palestinians, my views, and me in a very limited way.

And so I warn the reader, If one wants an objective balanced view on the conflict, I urge you to look elsewhere, as the Palestinian or Arab point of view is not accepted or tolerated here. It is a form of anti-semitism, as Arabs are semitic peoples, but there is nothing I can do about it at the present time. Others have warned me about this project, where it was headed, and that it was a waste of time in this respect, but I chose to try and help fix things anyway. Obviously this has done no good. It is a shame and a crime in a sense, because in practice this has become a forum for censorship. If we were Jewish there would have been a lawsuit for slander by now.''

'''So I say:

We the (Palestinians) are now all considered terrorists now, the stereotype has been set. We are reviled, misunderstood and hated; and the truth has been manipulated. The victims have become the oppressors according to Zionist logic, and remember too that Ariel Sharon says he is fighting the same war of terror as the USA, is that so? I think not, I refuse to believe that the good people of the USA would see themselves as a rogue state engaged in a neo-colonial enterprise that is amounting to a form of ethnic cleansing.

The Zionists will end up dragging the good people of the USA into a conflict with the Arabs in general and Islam as well, to support the Zionist state. The only reason the Zionist state exists (in its present form now, in violation of UN Resolutions and the Geneva Conventions) is because of the omni-powerful pro-Zionist political lobby and the powerful pro-zionist religious/political groups there. No support of Palestinians or their rightful claims to nationhood will be tolerated, that is clear.

It does not matter that my Great Grandfather spoke, wrote, and read eight foreign languages, fought the Turks, went to Buckingham Palace to receive the Victoria Cross; or that my Grandfather who also spoke many languages and was partners with a Jewish fellow in the 1920's (in fact it was this man that warned my family in 1948, of what was coming in West Jerusalem in 1948, our home became part of the green line; after the Six Day War 1967 his family  returned some photos and family heirloom stuff they recovered); or that my father will never be buried there, nor see his homeland again. I am the last of my line, after me, there will not be another Saad born in Palestine, is that what the ultimate goal was, to ensure the family succession was broken for the Palestinians forever?

One cannot deny that before 1948, and for many centuries before, Jewish people had lived good decent lives amongst the Arabs peoples, they had no problems at all, and had even achieved some great successes, and high positions of power. This is a fact an undisputable fact.

The whole infrastructure of Palestinian Nationhood has been broken now, and there is no hope. There is no outcry to Israeli violations of UN resolutions, or the Geneva Conventions; they are allowed to do as they please with impunity, using American made weapons, paid for by the USA. This injustice is the root cause of the problem.

I just want the public to remember 1948, and that in those years leading to the creation of an Israeli state, Jewish extremist groups (like the Stern and Irgun gang) conducted very many, many so called terrorist attacks, and they got their state, at our expense. Palestinians, rightly or wrongly feel therefore that the violence they engage in now now is justified, and that if it was good for Israel, it should be good for them as well. I DO NOT AGREE, AND DO NOT CONDONE VIOLENCE, OF ANY KIND!

I have been taken to task for my anger, and my views, this is fine, and that is what free speech is all about.

 I just want to clarify to all:

1) I DO NOT CONDONE VIOLENCE, OF ANY KIND!

2) I AM NOT ADVOCATING THE DESTRUCTION OF THE ZIONIST ENTITY, STATE, WHATEVER...THAT WOULD BE THE EQUIVALENT OF THE 1948 Al-Nakba (CATASTROPHE) THAT BEFELL THE PALESTINIANS, AND WOULD BE IMMORAL.

3) I SIMPLY HAVE CHOSEN NOT TO RECOGNIZE THE EXISTENCE OF THE ZIONIST ENTERPRISE, STATE, WHATEVER, AND REFUSE TO ACKNOWLEDGE IT'S LEGITIMACY.

4) THIS HAS NOTHING TO DO WITH RELIGION, RACE, ETC...THIS IS A CONFLICT ABOUT LAND, AND THE RIGHTS OF THE PEOPLE WHO HAD LIVED ON THAT LAND FOR MILLENNIA, BEFORE THE ZIONIST ENTITY, STATE, ENTERPRISE, ETC. CAME INTO BEING; WHO WERE FORCIBLY, AND MILITARILY REMOVED WITH THE CONNIVANCE OF THE THEN IMPERIAL COUNTRIES, BRITAIN AND FRANCE, AND THE CONTINUED SUPPORT AND ADVOCACY OF THE USA.

5) THAT ALL PEOPLES HAVE INALIENABLE RIGHTS, BUT THAT (ACCORDING TO THE USA AND THE ZIONIST ENTITY), THE PALESTINIANS HAVE TO SOMEHOW EARN THIS GOD GIVEN RIGHT! IT IS BY SOME ACCIDENT THAT A RUSSIAN, AMERICAN, BRITISH JEWISH PERSON ETC. CAN GO AND LIVE ON OUR LAND, BUT ME BEING BORN THERE CANNOT, THAT DOES NOT SEEMS FAIR OR JUST.

6) THAT THE Zionist ENTITY CAN FLOUT International Law, AND THAT IS OK, BUT THAT Iraq HAS TO BE DESTROYED IN ORDER TO COMPLY WITH IT. WE ARE STILL NOT CLEAR WHAT INTERNATIONAL LAWS WERE BROKEN BY IRAQ, HOWEVER.

7) THAT I RECOGNIZE AND ACKNOWLEDGE THAT THERE ARE MANY PEOPLE (JEWISH, AMERICANS, ETC...) WHO OPPOSE THE SITUATION AS IT IS NOW, AND WOULD LIKE TO SEE A REAL PEACE BETWEEN THE TWO SIDES. NOT A FORCED PEACE, AS EXISTS IN Jordan AND  Egypt!

Good luck to all, but I remain refusing to acknowledge that name: 'Israel', or its legitimacy. That is my right, and you all have the right to oppose me

AGAIN NO VIOLENCE, but a Mahatma Gandhi type of resistance has to begin, mine is that, refusing to accept the line, and my children will follow it too, and learn what has befallen our culture. Nothing will make me change my views now, and my children have started to learn in school, Middle Eastern history, you can guess that there will be two lesson plans taught then, here is what they want you to learn, and this is what the truth really is...

See this link: Eyewitness Lebanon it is an on-line book about eyewitness accounts of the Israeli invasion of Lebanon in 1982, and of course the massacre in the camps (Sabra and Shatila Massacre), we have not forgotten, nor forgiven, but do not want revenge. I just hope that when the Israelis (that word again) who were responsible for this meet God, they too will remember their role, and our holocaust.

Joseph E. Saad

Please post any comments to me on my User_talk:Joseph_E._Saad page, or alternatively send me a personal e-mail.

--Joseph 06:06, Mar 16, 2005 (UTC)

title: User:Joseph E. Saad


text:
The Crocodile Hunter

The Crocodile Hunter is a wildlife documentary television series hosted by Steve Irwin and his wife, Terri. The show became a popular franchise due to Irwin's unconventional approach to wildlife. It spawned a number of separate projects, including the feature film The Crocodile Hunter: Collision Course and two television spinoffs: Croc Files and The Crocodile Hunter Diaries.

The series was presented on Animal Planet, becoming the network's highest-rated series at the time, and was in international syndication on networks worldwide. The series aired 64 episodes during five seasons, from 1997 to 2004, two years before Irwin’s death, with a pilot episode in 1996 and 13 specials into 2007.

With a nearly 11-year run, the series is the second longest-running program of any Discovery Communications network, behind MythBusters.

title: The Crocodile Hunter


text:
User:Valerio Saggini

Valerio lives in Milano, Italy.

title: User:Valerio Saggini


text:
User:Ulf Hermjakob

Ulf Hermjakob is a Senior Research Scientist at the USC Information Sciences Institute in Marina del Rey, California.

Ph.D. in computer science from the University of Texas at Austin (1997). Research interests include natural language processing, parsing, machine translation, open-domain question answering and machine learning.

de:Benutzer:Ulf Hermjakob

title: User:Ulf Hermjakob


text:
User:Tuomas Toivonen

fi:User:Tuomas Toivonen
 * http://www.kasvua.org/~toivotuo/

(Note to self: information dated, update!)

I live in Kauniainen, Finland. I work at Fishpool Creations where we, at the moment, mostly subcontract for Comptel.

I've been involved with the Scouting movement since the age of eight (so that makes nineteen years by now). Nowadays though I pretty much only attend the once-in-four-years World Scout Jamboree events. I was in Holland (1995), Chile (1999) and Thailand (2003). I am most definetely going to be at the Eurojamboree in England (2005) and also at the follow-up World Scout Jamboree at the same site (2007). The troop I belong to is Toimen Pojat.

In Jun-Jul, 2001 I backpacked solo in Peru, Bolivia and Argentina. My Spanish isn't terribly good, but I plan spend some time next Autumn with Latin American studies at the University of Helsinki where I've been enrolled in the Computer Science department since 1995.

I am not affiliated with the band Giant Robot. Their lead singer and I are simply involved in a namespace conflict.

Science fiction authors whose work I've especially enjoyed include Orson Scott Card, Iain M. Banks and Neal Stephenson. In my teens I used to be a great J. R. R. Tolkien fan. Inspired by Peter Jackson's excellent work on The Fellowship of the Ring I recently re-read the book. I also like Latin American (eg. Gabriel Garcia Marquez) and Japanese (eg. Murakami Haruki) literature.

Scratch

 * khipu, quipu

title: User:Tuomas Toivonen


text:
User:Tsja

Content has been moved to http://meta.wikipedia.com/wiki.phtml?title=User:Tsja.

title: User:Tsja