There is a recurring temptation for any nation, and for any writer who operates within its field of force, to make an ornament of the past: to turn the losses to victories and to restate humiliations as triumphs. Eavan Boland fieldforcehumiliation share on social
If a poet does not tell the truth about time, his or her work will not survive it. Past or present, there is a human dimension to time, human voices within it, and human griefs ordained by it. Eavan Boland dimensiongriefhuman Change image and share on social
When I was young, I struggled with authorship: with everything the word meant and failed to mean. Irish poetry was heavy with custom. Sometimes at night, when I tried to write, a ghost hand seemed to hold mine. Where could my life, my language fit in? Eavan Boland authorshipcustomfail share on social
The twentieth century had produced a literature in Ireland that kept a tense distance from the sources of faith - and for good reason. Irish writing had suffered a terrible censorship in the twentieth century. Eavan Boland censorshipcenturydistance share on social
In those years of the Fifties, in London and New York, I lived, without knowing it, in a time when the profoundest changes were happening: when a radical alteration was getting ready to happen in the way a society saw young girls. And, as a consequence, in the way they saw themselves. Eavan Boland alterationconsequencefifty share on social
I had grown up as an Irish poet in a country where the distance between vision and imagination was not quite as wide as in some other countries. Eavan Boland countrydistancegrow Change image and share on social
New voices in an old art - and women poets have been that for much more than a century - do not diminish the art through the category. They enrich it. They renew it with common quandaries of craft and innovation. The category simply allows the quandaries to be seen more clearly. Eavan Boland artcategorycentury share on social
During my twenties and thirties, my interest in the political poem increased as my apparent access to it declined. I sensed resistances around me. I was married; I lived in a suburb; I had small children. Eavan Boland accessapparentchild share on social
I know now that I began writing in a country where the word 'woman' and the word 'poet' were almost magnetically opposed. One word was used to invoke collective nurture, the other to sketch out self-reflective individualism. Both states were necessary - that much the culture conceded - but they were oil and water and could not be mixed. Eavan Boland begincollectiveconcede share on social
I began to write in an enclosed, self-confident literary culture. The poet's life stood in a burnished light in the Ireland of that time. Poets were still poor, had little sponsored work, and could not depend on a sympathetic reaction to their poetry. But the idea of the poet was honored. Eavan Boland beginburnishconfident share on social