Writing Too Much About Carrigskeewaun
Michael Longley’s new volume A Hundred Doors is slim and snug and almost weightless in the hand. He returns again, almost apologetically, to a place that changed his life: ‘I am writing too much about Carrigskeewaun.’
He is there for the millennium, at Christmas, at lambing time, and – for the first time – with his new grandson Benjamin: ‘This is your first night at Carrigskeewaun. / The Owennadornaun is so full of rain / You arrived in Paddy Morrisson’s tractor’.
And then abruptly, we are in the Berg Room at New York’s Public Library where Longley peeks at the field note-books of the war and nature poet Edward Thomas: ‘A shell blast killed Edward Thomas, a gust / That still rifles the pages in the library.’
At the end of the collection the poet loops back to Carrigskeewaun and imagines a time when ha has left the place for the last time: ‘I hope you discover something I’ve overlooked, / Greenshanks, say, two or three elegantly probing / Where sand from the white strand and the burial ground / Blows in.’