Boland has argued that "good nature poets are always subversive" and, though she did not identify as a nature poet, she compares her praxis to theirs: "their lexicon is the overlooked and the disregarded. . . . They single out the devalued and make a deep, metaphorical relation between it and some devalued parts of perception." Boland's engagement with the "natural" rarely provides a focus for analyses of her work, which predominantly attend to the poet's own frequently identified

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... : her relationship to history, especially Irish history, and her role as an Irish woman writing within and against a largely male-dominated tradition. However, both of these issues of ambivalent and insecure identification and situatedness are implicitly connected to cultural constructions of the "natural." This essay traces Boland's negotiation with a legacy of Irish women's silence by considering the appearance of the nonhuman animal in her verse, which evolves from traditional metaphor to a figure that challenges representational norms and expectations, thereby transvaluing the signifying power of silence and questioning the status of language itself, particularly as a uniquely human construct.