![]() In “Quarantine” the worst year of the famine, 1847, was encapsulated in a couple found frozen, he still carrying her, holding her feet against his breastbone to try to warm them. Emigration to America was a woman in a gansy-coat on the deck of the Mary Belle, holding her half-dead baby to her. The Troubles appeared, through an ancient television set, as “grey and greyer tears” and “moonlight-coloured funerals”. But she preferred to call it The Past: a place of shadows, fragments, defeats, rather than heroics. That everyday life was also not remote from history. The stopping of the tumble-dryer, like death, began “to bury/The room in white spaces.” An old florin, brushed on a shelf, turned into a silver salmon. In “Night Feed”, she noticed not only the rosy zipped sleeper, the hard suckling, the silt of milk left in the bottle, but the movements of earth and stars, and the “long fall from grace” as the feed ended. The life that was lived in a brick house could still have a visionary quality. She was too deeply read in the myths and epics of Ireland for it to be otherwise. Yet the all-too-ordinary often slipped into something else. A menstruating woman confronted the moon, “dulled by it/thick with it…a water cauled by her light…barren with her blood.” Shockingly, a wife who believed “I was not myself, myself” in her everyday dutifulness felt herself remade when her husband, coming home tight, split her lip and knuckled her neck “to its proper angle” and was grateful for his remodelling. So an anorexic torched her witch-body, its “curves and paps” until, “thin as a rib”, she could slip back into Adam again, “as if I had never been away”. The whole poetic tradition had to be scrubbed and abraded with the wash stones of resistance. Other “women’s subjects” needed tackling more forcefully. The surfaces of things could barely hold what was under them just as the small, routine gestures of many couples contained the unspoken steadfastness of love. But ordinariness, “dailiness”, was precisely what she wanted to capture. Certainly it was not named in Irish poetry. Much of this was so ordinary that it might have seemed unremarkable. They were full, too, of hidden satisfactions: a row of cups winking on their saucers, a copper pan well polished, fresh green celery feathers. #Small rockets backgammon full#They were full of small untidinesses and oversights which assumed huge importance, like the loaf forgotten by the cash register, or washing left wet. Her days now revolved round cooking, washing up, nappies, feeds lifting the kettle to the gas stove, setting her skirt over a chair to have it without creases for the morning. But once she was married and the mother of two small daughters, happy if she could jot down just one line or one image, that was not her life. If she were to write in the men’s style, with their assurance, she would fit right in, as she fitted into the clever literary conversations in the pubs round St Stephen’s Green when she was at Trinity College. Their own poems were not encouraged, as if they were women’s-magazine things that would defile the pure, visionary flow. No page recorded “the low music/of our outrage”. When they featured in the work they were mostly objectified, passive and silent. The poet was a hero, a seer, a towering figure (Yeats above all), whose themes were history, epic and elegy. There the voice was male, bardic, authoritative, grown sweet and self-confident on the flattery of princes. And it was missing almost entirely from Irish poetry. This sense of communality, which led her to be one of Ireland’s finest poets, was essentially a woman’s feeling. It was as if she was part of some great continuum, or stood in a place of myth, like the women singers she imagined in the hard west of Ireland whose mouths were filled with “Atlantic storms and clouded-over stars/and exhausted birds”. Yet these things were not simply visible to her. ![]() She would look at the buddleia, and at the lamplight glossing the leaves of the hedge. ![]() WHEN SUMMER nights were warm, Eavan Boland liked to stand in the front doorway of her small suburban house in Dundrum, outside Dublin. ![]()
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