Chapter Three explores the elegiac quality of three further collections, and Heaney’s shifting engagement with Catholicism as these develop. I explore how the tactile piety of relics lie behind the poems of North, even if drafts of these poems show how much Heaney redacted Catholic iconography in the published versions. I argue that in 1975, when North was published, the worsening sectarian climate may have encouraged Heaney to avoid language which might suggest a theology of intercession. Field Work contains a number of elegies for those killed in the Troubles and for several poets and friends of Heaney. However, I argue that the collection might also be read as an elegy for Heaney’s Catholic childhood. The note of elegy in these collections is most personal in The Haw Lantern, the first collection of poems published since the death of Heaney’s mother in 1984. ‘Clearances’, the sequence of sonnets written in memory of his mother, inform the whole collection, and in paying close attention to their drafts, I argue that Heaney’s complex engagement with Catholicism is somehow bound up with his relationship with his mother.