38 Quotes by Eavan Boland

I was Irish; I was a woman. Yet night after night, bent over the table, I wrote in forms explored and sealed by English men hundreds of years before. I saw no contradiction.

At the age of seventeen, I left school. I went to university, and I wrote my first attempts at poetry in a room in a flat at the edge of the city.

One of the things women poets have been engaged in - among the other things they've been doing - is revising parts of the poetic self. Re-examining notions of the authority within the poem, and of the poem.

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?

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.

I was a foggy, erratic teenager: a fifth child, the last in the queue for conversation or attention.

I had started writing as a poet in a closed, post-Revival, claustrophobic world, where the shadows of the national upheaval and the intense effort - the intense self-conscious effort - to make a literary movement were still evident. Now we lived a life as writers that was more cosmopolitan, more open, that had more travel and exchange.

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.

As far as I was concerned, it was the absence of women in the poetic tradition which allowed women in the poems to be simplified. The voice of a woman poet would, I was sure, have precluded such distortion. It did not exist.