It feels appropriate to be writing this appreciation of Michael Longley for this magazine published out of Leeds University’s School of English as it was the last place I met Michael and Edna together. He read from his last book, Ash Keys, and she spoke next morning on Edward Thomas as an eco-poet. I was reminded then of a story Michael told me about the time Geoffrey Hill invited him over to read and when Michael phoned Edna after, Geoffrey asked to speak to her. ‘Did you catch the BBC radio broadcast of The Mystery of the Charity of Charles Peguy Edna?’ ‘Sorry Geoffrey; I was watching Boys from the Blackstuff!’

I liked the anecdote because it showed both to be attentive to the urgent world about them and how it bore down on their lives. In Michael’s case, he could make his background in the classics as immediately relevant as Tony Harrison; Michael’s sonnet ‘Ceasefire’ captured the imagination of everyone from academics to paramilitaries. Before I met Michael I had worked in Belfast and had some sense of what an achievement this was but there was an irresistible feeling of closure hanging over its final couplet: ‘I get down on my knees and do what must be done  And kiss Achilles’ hand, the killer of my son.’

My actual first meeting with Michael was on an Arvon course he taught at Lumb Bank with Paul Muldoon which profoundly affected my understanding of what contemporary poetry can do. They were a good partnership and while Paul ...