Written by
Paul Muldoon |
I am stretched out under the lean-to
Of an old tobacco-shed
On a farm in North Carolina.
A cardinal sings from the dogwood
For the love of marijuana.
His song goes over my head.
There is such splendour in the grass
I might be the picture of happiness.
Yet I am utterly bereft
Of the low hills, the open-ended sky,
The wave upon wave of pasture
Rolling in, and just as surely
Falling short of my bare feet.
Whatever is passing is passing me by.
I am with Raleigh, near the Atlantic,
Where we have built a stockade
Around our little colony.
Give him his scallop-shell of quiet,
His staff of faith to walk upon,
His scrip of joy, immortal diet—
We are some eighty souls
On whom Raleigh will hoist his sails.
He will return, years afterwards,
To wonder where and why
We might have altogether disappeared,
Only to glimpse us here and there
As one fair strand in her braid,
The blue in an Indian girl's dead eye.
I am stretched out under the lean-to
Of an old tobacco-shed
On a farm in North Carolina,
When someone or other, warm, naked,
Stirs within my own skeleton
And stands on tip-toe to look out
Over the horizon,
Through the zones, across the Ocean.
The cardinal sings from a redbud
For the love of one slender and shy,
The flight after flight of stairs
To her room in Bayswater,
The damson freckle on her throat
That I kissed when we kissed Goodbye.
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Written by
Paul Muldoon |
Even as we speak, there's a smoker's cough
from behind the whitethorn hedge: we stop dead in our tracks;
a distant tingle of water into a trough.
In the past half-hour—since a cattle truck
all but sent us shuffling off this mortal coil—
we've consoled ourselves with the dregs
of a bottle of Redbreast.
Had Hawthorne been a Gael,
I insist, the scarlet A on Hester Prynne
would have stood for "Alcohol.
"
This must be the same truck whose taillights burn
so dimly, as if caked with dirt,
three or four hundred yards along the boreen
(a diminutive form of the Gaelic bóthar, "a road,"
from bó, "a cow," and thar
meaning, in this case, something like "athwart,"
"boreen" has entered English "through the air"
despite the protestations of the O.
E.
D.
):
why, though, should one taillight flash and flare
then flicker-fade
to an afterimage of tourmaline
set in a dark part-jet, part-jasper or -jade?
That smoker's cough again: it triggers off from drumlin
to drumlin an emphysemantiphon
of cows.
They hoist themselves onto their trampoline
and steady themselves and straight away divine
water in some far-flung spot
to which they then gravely incline.
This is no Devon
cow-coterie, by the way, whey-faced, with Spode
hooves and horns: nor are they the metaphysicattle of Japan
that have merely to anticipate
scoring a bull's-eye and, lo, it happens;
these are earth-flesh, earth-blood, salt of the earth,
whose talismans are their own jawbones
buried under threshold and hearth.
For though they trace themselves to the kith and kine
that presided over the birth
of Christ (so carry their calves a full nine
months and boast liquorice
cachous on their tongues), they belong more to the line
that's tramped these cwms and corries
since Cuchulainn tramped Aoife.
Again the flash.
Again the fade.
However I might allegorize
some oscaraboscarabinary bevy
of cattle there's no getting round this cattle truck,
one light on the blink, laden with what? Microwaves? Hi-fis?
Oscaraboscarabinary: a twin, entwined, a tree, a Tuareg;
a double dung-beetle; a plain
and simple hi-firing party; an off-the-back-of-a-lorry drogue?
Enough of Colette and Céline, Céline and Paul Celan:
enough of whether Nabokov
taught at Wellesley or Wesleyan.
Now let us talk of slaughter and the slain,
the helicopter gunship, the mighty Kalashnikov:
let's rest for a while in a place where a cow has lain.
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Written by
Paul Muldoon |
Why Brownlee left, and where he went,
Is a mystery even now.
For if a man should have been content
It was him; two acres of barley,
One of potatoes, four bullocks,
A milker, a slated farmhouse.
He was last seen going out to plough
On a March morning, bright and early.
By noon Brownlee was famous;
They had found all abandoned, with
The last rig unbroken, his pair of black
Horses, like man and wife,
Shifting their weight from foot to
Foot, and gazing into the future.
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Written by
Paul Muldoon |
I was making my way home late one night
this summer, when I staggered
into a snow drift.
Her eyes spoke of a sloe-year,
her mouth a year of haws.
Was she Aurora, or the goddess Flora,
Artemidora, or Venus bright,
or Anorexia, who left
a lemon stain on my flannel sheet?
It's all much of a muchness.
In Belfast's Royal Victoria Hospital
a kidney machine
supports the latest hunger-striker
to have called off his fast, a saline
drip into his bag of brine.
A lick and a promise.
Cuckoo spittle.
I hand my sample to Doctor Maw.
She gives me back a confident All Clear.
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Written by
Paul Muldoon |
Comes to mind as another small
upheaval
amongst the rubble.
His eye matches exactly the bubble
in my spirit-level.
I set aside hammer and chisel
and take him on the trowel.
The entire population of Ireland
springs from a pair left to stand
overnight in a pond
in the gardens of Trinity College,
two bottle of wine left there to chill
after the Act of Union.
There is, surely, in this story
a moral.
A moral for our times.
What if I put him to my head
and squeezed it out of him,
like the juice of freshly squeezed limes,
or a lemon sorbet?
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Written by
Paul Muldoon |
When the master was calling the roll
At the primary school in Collegelands,
You were meant to call back Anseo
And raise your hand
As your name occurred.
Anseo, meaning here, here and now,
All present and correct,
Was the first word of Irish I spoke.
The last name on the ledger
Belonged to Joseph Mary Plunkett Ward
And was followed, as often as not,
By silence, knowing looks,
A nod and a wink, the master's droll
'And where's our little Ward-of-court?'
I remember the first time he came back
The master had sent him out
Along the hedges
To weigh up for himself and cut
A stick with which he would be beaten.
After a while, nothing was spoken;
He would arrive as a matter of course
With an ash-plant, a salley-rod.
Or, finally, the hazel-wand
He had whittled down to a whip-lash,
Its twist of red and yellow lacquers
Sanded and polished,
And altogether so delicately wrought
That he had engraved his initials on it.
I last met Joseph Mary Plunkett Ward
In a pub just over the Irish border.
He was living in the open,
in a secret camp
On the other side of the mountain.
He was fighting for Ireland,
Making things happen.
And he told me, Joe Ward,
Of how he had risen through the ranks
To Quartermaster, Commandant:
How every morning at parade
His volunteers would call back Anseo
And raise their hands
As their names occurred.
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Written by
Paul Muldoon |
My eldest sister arrived home that morning
In her white muslin evening dress.
'Who the hell do you think you are
Running out to dances in next to nothing?
As though we hadn't enough bother
With the world at war, if not at an end.
'
My father was pounding the breakfast-table.
'Those Yankees were touch and go as it was—
If you'd heard Patton in Armagh—
But this Kennedy's nearly an Irishman
So he's not much better than ourselves.
And him with only to say the word.
If you've got anything on your mind
Maybe you should make your peace with God.
'
I could hear May from beyond the curtain.
'Bless me, Father, for I have sinned.
I told a lie once, I was disobedient once.
And, Father, a boy touched me once.
'
'Tell me, child.
Was this touch immodest?
Did he touch your breasts, for example?'
'He brushed against me, Father.
Very gently.
'
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Written by
Paul Muldoon |
To think that, as a boy of thirteen, I would grapple
with my first pineapple,
its exposed breast
setting itself as another test
of my will-power, knowing in my bones
that it stood for something other than itself alone
while having absolutely no sense
of its being a world-wide symbol of munificence.
Munificence—right? Not munitions, if you understand
where I'm coming from.
As if the open hand
might, for once, put paid
to the hand-grenade
in one corner of the planet.
I'm talking about pineapples—right?—not pomegranates.
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Written by
Paul Muldoon |
It begins with one or two soldiers
And one or two following
With hampers over their shoulders.
They might be off wildfowling
As they would another Christmas Day,
So gingerly they pick their steps.
No one seems sure of what to do.
All stop when one stops.
A fire gets lit.
Some spread
Their greatcoats on the frozen ground.
Polish vodka, fruit and bread
Are broken out and passed round.
The air of an old German song,
The rules of Patience, are the secrets
They'll share before long.
They draw on their last cigarettes
As Friday-night lovers, when it's over,
Might get up from their mattresses
To congratulate each other
And exchange names and addresses.
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Written by
Paul Muldoon |
Two Workmen were carrying a sheet of asbestos
down the main street of Dingle;
it must have been nailed, at a slight angle,
to the same-sized gap between Brandon
and whichever's the next mountain.
Nine o'clock.
We watched the village dogs
take turns to spritz the hotel's refuse-sacks.
I remembered Tralee's unbiodegradable flags
from the time of the hunger-strikes.
We drove all day past mounds of sugar-beet,
hay-stacks, silage-pits, building-sites,
a thatched cottage even—
all of them draped in black polythene
and weighted against the north-east wind
by concrete blocks, old tyres; bags of sand
at a makeshift army post
across the border.
By the time we got to Belfast
the whole of Ireland would be under wraps
like, as I said, 'one of your man's landscapes'.
'Your man's? You don't mean Christo's?'
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