[The essays in Preoccupations] are freely admitted to be occasional pieces brought about by the life of a freelance writer rather than an academic critic, and none at all the worse for that, though I think that on balance they do throw more light on Heaney's own poetry than others'. Sometimes the writing wears its public responsibility too heavily, the language becoming orotund or tortuous…. Heaney must be as widely read and respected now as any living writer of poetry in English … in this country [England], perhaps because the detailed and sensuously vivid evocation of rural Ireland and childhood has appealed to urban poetry-readers on account of its 'distance': pastorally attractive but largely unchallenging. While Heaney is rightly cautious of turning Irish-English contentions and writing into a 'spectator sport', he has shown in North and Field Work … a desire to engage more directly with Ulster's contemporary pain…. What is clear from his verse and prose is that of all the Irish poets now writing [Heaney] has most actively and consistently worked to forge a new voice for Irish poetry, worked with a Yeatsian intensity for it. That doesn't mean that he is a similar kind of poet or that he is 'the best poet since W. B. Yeats': no poet at Heaney's time of life should be saddled with that kind of public approbation…. It undervalues the considerable virtues of poets like Montague, Murphy, Mahon and Longley, and makes it no easier, surely, for Heaney himself to find his 'befitting emblems of adversity'. (pp. 77-8)