I was not yet 30 years old and was working as a firefighter in the South Bronx's Engine Co. 82, probably the world's most active firehouse at the time. It was warm and sunny, the kind of leisurely Sunday that brought extra activity to the neighborhood and to its firefighters. We must have had 15 or 20 calls that day, the worst being a garbage fire in the rear of an abandoned building, which required a hard pull of 600 feet of cotton-jacketed hose.

Between alarms I would rush to the company office to read Captain Gray's copy of the Sunday New York Times. It was late in the afternoon when I finally got to the Book Review section. As I read it, my blood began to boil. An article blatantly stated what I took to be a calumny -- that William Butler Yeats, the Nobel Prize-winning light of the Irish Literary Renaissance, had transcended his Irishness and was forever to be known as a universal poet.

There were few things I was more proud of than my Irish heritage, and ever since I first picked up a book of his poems from a barracks shelf when I was in the military, Yeats had been my favorite Irish writer, followed by Sean O'Casey and James Joyce.

My ancestors were Irish farmers, fishermen and blue-collar workers, but as far as I can tell, they all had a feeling for literature. It was passed on to my own mother, a telephone operator, who hardly ever sat down without a book in her hands. And at that moment my own fingernails might have been soiled with the soot of the day's fires, but I felt as prepared as any Trinity don to stand up in the court of public opinion and protest. Not only that Yeats had lived his life and written his poetry through the very essence of his Irish sensibility, but that it was offensive to think Irishness -- no matter if it was psychological, social or literary -- was something to be transcended.

My stomach was churning, and I determined not to let an idle minute pass. Hey, Captain Gray. Could I use your typewriter? I asked.

The typewriter was so old that I had to use just one finger to type, my strongest one, even though I could type with all ten. I grabbed the first piece of clean paper I could find -- one that had the logo of the Fire Department of the City of New York across the top -- and, hoping there would be a break in the alarms for 20 minutes or so, wrote out a four-paragraph letter of indignation to the editor of the Sunday Book Review.

Throughout his poetry, I postulated, Yeats yearned for a messiah to lead Ireland out from under the bondage of English rule, and his view of the world and the people in it was fundamentally Irish.

Just as I addressed the envelope, the final alarm of my tour came in, and as I slid down the long brass pole, I felt unexpectedly calm, as if a great rock had been purged from the bottom of my stomach.

I don't know why I felt it my obligation to safeguard the reputation of the world's greatest poet, at least next to Homer and Shakespeare, or to inscribe an apologia for Irish writing. I just knew that I had to write that letter, in the same way a priest has to pray, or a musician has to play an instrument.

Until that point in my life I had not written much of value -- a few poems and short stories, the beginning of a coming-of-age novel. I knew that my writing was anything but refined. Like a beginning artist who loves to draw, I understood that the more one draws, or writes, or does anything, the better the end result will be, and so I wrote often to better control my writing skills, to master them. I sent some material to various magazines and reviews but found no one willing to publish me.

It was a special and unexpected delight, then, when I learned something I'd written would finally see print. Ironically it wasn't one of my poems or short stories -- it was my letter to the Times. I suppose the editor decided to publish it because he was first attracted by the official nature of my stationery (was his staff taking smoke breaks out on the fire escape?), and then by the incongruity of a ghetto firefighter's using words like messianism, for in the lines below my letter it was announced that I was a New York City firefighter. I'd like to think, though, that the editor silently agreed with my thesis.

I remember receiving through the fire department's address about 20 sympathetic and congratulatory letters from professors around the country. These letters made me feel like I was not only a published writer but an opinion maker. It was as if I was suddenly thrust into being someone whose views mattered.

I also received a letter from True magazine and one from The New Yorker, asking for an interview. It was the latter that proved momentous, for when an article titled Fireman Smith appeared in that magazine, I received

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