Michael D Higgins leads tributes to Michael Longley: ‘One of the greatest poets that Ireland has ever produced’

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Michael D Higgins leads tributes to Michael Longley: ‘One of the greatest poets that Ireland has ever produced’
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President and fellow writers celebrate the legacy of one of Ireland’s finest poets

. I regarded him as a peerless poet with at least three poetic lives. It is, however, the generosity of his heart, and the lovely cadence of a voice of love and friendship that I will most remember.

I think it is appropriate to quote the final two lines of that poem, which recall a classic reference in response to loss, which express the terrible and beautiful essence of what it is to forgive:Michael Longley worked for artists’ welfare and his company was treasured by us all. In the course of a distinguished career with the Arts Council of Northern Ireland, Michael worked to support, encourage and nurture creativity in the most generous and inclusive way possible.

His work, which I love, was both Classical and intimate; it paid attention to small living things and large historical canvases; it was tender, sometimes quite strange, and touched with mystery. Michael was also a fighter. As an advocate for the art form and a practitioner he seemed tireless, travelling to read from his latest selected poems,, just a few months ago. As a friend, he was supportive, funny and often scurrilous.

He’d called himself, in a previous interview, a “failed hermit” but was happy to be at large for his readers that evening. To lean on A Personal Statement, his writing seemed, always, to want to believe the evidence of its eyes, and grew out of a lifetime of close, concentrated – devoted, even – attention paying.

He deplored what he called “Troubles trash”, admired the “almost poetic precision and suggestiveness” of the Good Friday Agreement. Once during an interview, he told me about reading his poem The Ice Cream Man on the radio. The ice-cream man, to whose shop the poet used to bring his child, had been murdered, a victim of the Northern conflict.

He did not read Ceasefire that night. He told me he had misgivings about that poem, which was published in The Irish Times days after the IRA announced its ceasefire in 1994 and has become one of his best-known works. It might have been “a bit middle class, a bit presumptuous,” he said: “Who am I to say people should forgive?” He said he’d met a man a few days after the poem appeared who told him he had admired it, but he was not ready for it.

It pleases me that the portrait of Michael by his good friend the painter Jeffrey Morgan, which hangs in the Waterfront Gallery in Belfast, has Michael sitting in my very basic cottage in a green armchair I had rescued from a skip in Barcelona. It was the early nineties.

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