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16 pages 32 minutes read

Seamus Heaney

Two Lorries

Fiction | Poem | Adult | Published in 1996

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Symbols & Motifs

Death

Though death plays a prominent role in much of the poem, he comes into his own as a concrete figure from the fifth stanza onwards: “Death walked out past her like a dust-faced coalman” (Line 28). Here, the speaker imagines Death as the handsome coalman he saw with his mother long ago, his memories linked by the two lorries—here, Death is the one driving it to its destination. Giving Death the face of the delivery man creates an interesting parallel between the two memories; the first time, the coalman invites the poet’s mother to join him, but she declines and returns to her housework—the work of the living. It is not until much later when he invites her again, and this time the reader is left to imagine her leaving with him in peace.

Other points in the poem personify Death with human activity, such as “Refolding body-bags, plying his load” (Line 29), where the reader can imagine him filling the lorry truck with the souls of the dead; and “heft a load of dust that was Magherafelt” (Line 37), finishing by taking the town itself. Notably, it is in these last stanzas that Heaney’s perspective turns from talking to himself to talking to another person, directing death as “you”. This begs the question of whether the poem in its entirety was meant for Death’s ears, whether he was listening all along since first appearing to his mother all those years ago.

Ashes

As one of the six core words of the sestina form, ashes appear at a minimum once per stanza. The first mention of them is in the “warm wet ashes” (Line 1) of a dying fire. Here, early in the poem, ashes are a controlled necessity for heating their home. In the second stanza, the poet remarks “the ashes / Will be the silkiest white” (Lines 7-8). This shows them as something to be coveted, to aspire to, as the whiter ashes show a better-quality coal. Later, this image of the white ashes will be echoed with another meaning. Into the third stanza, the mother “half-wip[es] ashes / With a backhand from her cheek” (Lines 16-17). The ashes are associated with domesticity, with comfortable living but also with a missed opportunity.

As the poem moves from one scene to another, ashes take on a more deadly connotation as the bus station in Magherafelt is reduced to “dust and ashes” (Line 23). This meaning is echoed again in the next two stanzas as a symbol of the destruction of the area and the people in it; how, like the coal of the poet’s childhood, they have been reduced to near-nothingness. The line “Listen to the rain spit in new ashes” (Line 36) echoes the imagery at the beginning of the poem, of the wet ashes and rain. Finally, as the poem closes on “filmed in silk-white ashes” (Line 39), the ashes circle back to their earlier meaning of warmth and peace.

Bags

Three types of bags appear over the course of the poem: coal bags, shopping bags, and body bags. Early in the poem, the lorry is described as a “half-stripped lorry / With its emptied, folded coal-bags” (Lines 10-11). This shows the reader how the bags are emptying as the truck goes through its route; when the bags are all empty and neatly folded, the coalman will be done with his work for the day. This is in sharp contrast to the parallel image later on, where the man is “plying his load / Empty upon empty” (Lines 29-30). This suggests the opposite: that the coalman arrived with empty coal bags and is filling them up one by one. This reverse imagery creates a powerful relationship between the two scenes.

The mother of the poem also appears with shopping bags in the fifth stanza; in the poet’s imagination, they are “full up with shovelled ashes” (Line 27), creating a juxtaposition between his positive memories of her and the horrors of the present. The shopping bags echo the earlier image of the feminine “nineteen-forties mother” (Line 15), and how out of place she seems in this place of chaos and death.

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