Written by
Ruth Padel |
(After Pushkin)
Look at the bare wood hand-waxed floor and long
White dressing-gown, the good child's writing-desk
And passionate cold feet
Summoning music of the night - tumbrils, gongs
And gamelans - with one neat pen, one candle
Puttering its life out hour by hour.
Is "Tell Him I love him" never a good idea? You can't wish this
Unlived - this world on fire, on storm
Alert, till the shepherd's song
Outside, some hyper-active yellowhammer, bulbul,
Wren, amplified in hills and woods, tell her to bestow
A spot of notice on the dawn.
*
"I'm writing to you. Well, that's it, that's everything.
You'll laugh, but you'll pity me too. I'm ashamed of this.
I meant to keep it quiet. You'd never have known, if -
I wish - I could have seen you once a week. To mull over, day
And night, the things you say, or what we say together.
But word is, you're misogynist. Laddish. A philanderer
Who says what he doesn't mean. (That's not how you come across
To me.) Who couldn't give a toss for domestic peace -
Only for celebrity and showing off -
And won't hang round in a provincial zone
Like this. We don't glitter. Though we do,
Warmly, truly, welcome you.
*
"Why did you come? I'd never have set eyes
On a star like you, or blundered up against
This crazed not-sleeping, hour after hour
In the dark. I might have got the better of
My clumsy fury with constraint, my fret
For things I lack all lexica and phrase-book art
To say. I might have been a faithful wife; a mother.
But that's all done with. This is Fate. God.
Sorted. Here I am - yours, to the last breath.
I couldn't give my heart to anyone else.
My life till now has been a theorem, to demonstrate
How right it is to love you. This love is love to death.
*
"I knew you anyway. I loved you, I'm afraid,
In my sleep. Your eyes, that denim-lapis, grey-sea-
Grey-green blue, that Chinese fold of skin
At the inner corner, that shot look
Bleeping "vulnerable" under the screensaver charm,
Kept me alive. Every cell, every last gold atom
Of your body, was engraved in me
Already. Don't tell me that was dream! When you came in,
Staring round in your stripey coat and brocade
Vest, I nearly died! I fainted, I was flame! I recognized
The you I'd always listened to alone, when I wrote
Or tried to wrestle my scatty soul into calm.
*
"Wasn't it you who slipped through the transparent
Darkness to my bed and whispered love? Aren't you
My guardian angel? Or is this arrant
Seeming, hallucination, thrown
Up by that fly engineering a novel does
So beguilingly, or poems? Is this mad?
Are there ways of dreaming I don't know?
Too bad. My soul has made its home
In you. I'm here and bare before you: shy,
In tears. But if I didn't heft my whole self up and hold it there -
A crack-free mirror - loving you, or if I couldn't share
It, set it out in words, I'd die.
*
"I'll wait to hear from you. I must. Please let me hope.
Give me one look, from eyes I hardly dare
To look back at. Or scupper my dream
By scolding me. I've given you rope
To hang me: tell me I'm mistaken. You're so much in
The world; while I just live here, bent on jam
And harvest, songs and books. That's not complaint.
We live such different lives. So - this is the end. It's taken
All night. I'm scared to read it back. I'm faint
With shame and fear. But this is what I am. My crumpled bed,
My words, my open self. All I can do is trust
The whole damn lot of it to you."
*
She sighs. The paper trembles as she presses down
The pink wax seal. Outside, a milk mist clears
From the shimmering valley. If I were her guardian
Angel, I'd divide myself. One half would holler
Don't! Stay on an even keel! Don't dollop over
All you are, to a man who'll go to town
On his next little fling. If he's entranced today
By the way you finger your silk throat inside your collar,
Tomorrow there'll be Olga, Sally, Jane. But then I'd whisper
Go for it, petal. Nothing's as real as what you write.
His funeral, if he's not up to it. What we feel
Is mortal, and won't come again.
*
So cut, weeks later, to an outside shot: the same girl
Taking cover ("Dear God, he's here, he's come!")
Under fat red gooseberries, glimmering hairy stars:
The old, rude bushes she has hide-and-seeked in all
Her life, where mother commands the serfs to sing
While picking, so they can't hurl
The odd gog into their mouths. No one could spy
Her here, not even the sun in its burn-time. Her cheeks
Are simmering fire.
We're talking iridescence, a Red Admiral's last tremble
Before the avid schoolboy plunks his net.
Or imagine
*
A leveret - like the hare you shot, remember?
Which ran round screaming like a baby?
Only mine is shivering in papery winter corn,
While the hunter (as it might be, you) stomps his Hush
Puppies through dead brush. Everything's quiet.
She's waited - how long? - ages: stoking pebbly embers
Under the evening samovar, filling
The Chinese teapot, sending coils of Lapsang Suchong
Floating to the ceiling in the shadows, tracing O and E
In the window's black reflection, one finger
Tendrilling her own breath on the glass.
Like putting a shell to your ear to hear the sea
*
When it's really your own red little sparkle, the echo
Of marching blood. She's asking a phantom
World of pearled-up mist for proof
That her man exists: that gamelans and tumbrils
Won't evade her. But now, among
The kitchen garden's rose-haws, mallow, Pernod-
Coloured pears, she unhooks herself thorn by thorn
For the exit aria. For fade-out. Suddenly there he is
In the avenue, the man she's written to - Charon
Gazing at her with blazing eyes! Darth Vader
From Star Wars. She's trapped, in a house she didn't realize
Was burning. Her letter was a gate to the inferno.
........
(This poem appeared in Pushkin: An Anthology, ed. E. Feinstein, Carcanet 1999)
|
Written by
David Lehman |
"He gave her class. She gave him sex."
-- Katharine Hepburn on Fred Astaire and Ginger Rogers
He gave her money. She gave him head.
He gave her tips on "aggressive growth" mutual funds. She gave him a red rose
and a little statue of eros.
He gave her Genesis 2 (21-23). She gave him Genesis 1 (26-28).
He gave her a square peg. She gave him a round hole.
He gave her Long Beach on a late Sunday in September. She gave him zinnias
and cosmos in the plenitude of July.
He gave her a camisole and a brooch. She gave him a cover and a break.
He gave her Venice, Florida. She gave him Rome, New York.
He gave her a false sense of security. She gave him a true sense of uncertainty.
He gave her the finger. She gave him what for.
He gave her a black eye. She gave him a divorce.
He gave her a steak for her black eye. She gave him his money back.
He gave her what she had never had before. She gave him what he had had and
lost.
He gave her nastiness in children. She gave him prudery in adults.
He gave her Panic Hill. She gave him Mirror Lake.
He gave her an anthology of drum solos. She gave him the rattle of leaves in
the wind.
|
Written by
Billy Collins |
It seems these poets have nothing
up their ample sleeves
they turn over so many cards so early,
telling us before the first line
whether it is wet or dry,
night or day, the season the man is standing in,
even how much he has had to drink.
Maybe it is autumn and he is looking at a sparrow.
Maybe it is snowing on a town with a beautiful name.
"Viewing Peonies at the Temple of Good Fortune
on a Cloudy Afternoon" is one of Sun Tung Po's.
"Dipping Water from the River and Simmering Tea"
is another one, or just
"On a Boat, Awake at Night."
And Lu Yu takes the simple rice cake with
"In a Boat on a Summer Evening
I Heard the Cry of a Waterbird.
It Was Very Sad and Seemed To Be Saying
My Woman Is Cruel--Moved, I Wrote This Poem."
There is no iron turnstile to push against here
as with headings like "Vortex on a String,"
"The Horn of Neurosis," or whatever.
No confusingly inscribed welcome mat to puzzle over.
Instead, "I Walk Out on a Summer Morning
to the Sound of Birds and a Waterfall"
is a beaded curtain brushing over my shoulders.
And "Ten Days of Spring Rain Have Kept Me Indoors"
is a servant who shows me into the room
where a poet with a thin beard
is sitting on a mat with a jug of wine
whispering something about clouds and cold wind,
about sickness and the loss of friends.
How easy he has made it for me to enter here,
to sit down in a corner,
cross my legs like his, and listen.
|
Written by
Barry Tebb |
It was like chucking-out time
In a rough Victorian pub
Cherubic Dylan was first to go
Lachrymose but with a show
Of strength, yelling "Buggerall,
Buggerall, this is my boat-house
In Laugherne, these are my books,
My prizes, I ride every wave-crest,
My loves are legion. What’s this
You’re saying about fashion?
Others follow where I lead,
Schoolchildren copy my verse,
No anthology omits me
Put me down! Put me down!
George Barker was too far gone
To take them on
And moaned about a list
In a crystal cave of making beneath
The basement of the Regent Street
Polytechnic.
Edith Sitwell was rigid in a carved
High-backed chair, regally aloof,
Her ringed fingers gripping the arms,
Her eyes flashing diamonds of contempt.
"A la lampe! A la lampe!"
A serious fight broke out in the saloon bar
When they tried to turf Redgrove out:
His image of the poet as violent man
Broke loose and in his turtle-necked
Seaman’s jersey he shouted,
"Man the barricades!"
A tirade of nature-paths and voters
For a poetry of love mixed it with
The chuckers-out; Kennedy, Morley
And Hulse suffered a sharp repulse.
Heath-Stubbs was making death stabs
With his blindman’s stick at the ankles
Of detractors from his position under
The high table of chivalry, intoning
A prayer to raise the spirit
Of Sidney Keyes.
Geoffrey Hill had Merlin and Arthur
Beside him and was whirling an axe
To great effect, headless New Gen poets
Running amok.
Andrew Crozier was leading a counter-attack
With Caddy and Hinton neck and neck
And Silkin was quietly garrotting
While he kept on smiling.
Price Turner was so happy at the slaughter
He hanged himself in a corner
And Hughes brought the Great White Boar
To wallow in all the gore
While I rode centaur
Charles Tomlinson had sent for.
|
Written by
Stephen Dunn |
The sky in the trees, the trees mixed up
with what's left of heaven, nearby a patch
of daffodils rooted down
where dirt and stones comprise a kind
of night, unmetaphysical, cool as a skeptic's
final sentence. What this scene needs
is a nude absentmindedly sunning herself
on a large rock, thinks the man fed up
with nature, or perhaps a lost tiger,
the maximum amount of wildness a landscape
can bear, but the man knows and fears
his history of tampering with everything,
and besides to anyone who might see him
he's just a figure in a clearing
in a forest in a universe
that is as random as desire itself,
his desire in particular, so much going on
with and without him, moles humping up
the ground near the daffodils, a mockingbird
publishing its cacaphonous anthology,
and those little Calvinists, the ants,
making it all the more difficult
for a person in America
to close his office, skip to the beach.
But what this scene needs are wisteria
and persimmons, thinks the woman
sunning herself absentmindedly on the rock,
a few magnificent words that one
might want to eat if one were a lover
of words, the hell with first principles,
the noon sun on my body, tempered
by a breeze that cannot be doubted.
And as she thinks, she who exists
only in the man's mind, a deer grazes
beyond their knowing, a deer tick riding
its back, and in the gifted air
mosquitos, dragonflies, and tattered
mute angels no one has called upon in years.
|
Written by
Barry Tebb |
The Poetry School, The Poetry Book Society, The Poetry Business:
So much poetry about you’d think I’d want to shout, “Hurray, hurray,
Every day’s Poetry Day!” but I don’t and you don’t either-
You know its flim-flam on the ether, grants for Jack-the-lads
Of both sexes, poets who’ve never been seen in a little magazine
Then gone on to win the Oopla Prize and made baroque architecture
The subject of an O.U. lecture.
Seventy five pounds for a seminar on sensitivity in verse;
A hundred and fifty for an infinitely worse whole weekend of
‘Steps towards a personal fiction in post-modern diction’;
And the inevitable course anthology, eight pounds for eleven
Nameless poets Pascale Petit and Mimi Kahlvati carefully selected
From, well honestly! Who cares? God only knows how banal they’re
Bound to be. Budding Roddy Lumsdens, (Has anyone read a Roddy
Lumsden
Poem?) “Yeah! Yeah! Yeah!” his first collection short-listed here and
there -
The sheer hype’s enough to put me off for life.
I still write at bus-stops and avoid competitions like the plague.
I’m not lucky that way, I’ve still to win a single literary prize.
Is there one for every day of the year? And as for James Kirkup,
My mentor of forty-odd years, his name evokes blank stares; but
Look him up in ‘Who’s Who’, countless OUP collections, the best-
ever
Version of Val?ry’s ‘Cimeti?re Marin’, translations from eleven
tongues
Including Vietnamese. Is there nothing Jamie can do to please?
I help one poet to write and one to stay alive;
Please God help poor poets thrive.
|
Written by
Dale Harcombe |
All week, in this rented house,
sea spray and whispers of wind
weave through the eucalypts,
like a Sondheim melody.
Through the pewter leaves
the sea glimpsed from the wooden deck
is, at times, teal silk.
Other days it is grey.
Longing stirs like waves
about to break on the shore
and sometimes they lift
and swell like hope,
as they pound the sand.
From this wooden deck
far above the beach, the sand
has lost its power to cling and
irritate like problems unresolved.
Other times the waves rise and crest,
only to evaporate,
the way dreams do upon waking.
But I know, when I go home,
the sequin of sea spray will linger
on my eyelids, sleek
and beguiling as a promise.
© November 2002 Dale Harcombe
First published in ‘My cat cannot have friends in Australia,’ the anthology of the 2004 Wollongong poetry workshop.
|
Written by
Dale Harcombe |
Your ears will never hear sounds
that to me are ordinary as air.
From the hour that you were born
the tight white shell of silence
closed around you.
You edged away from friendship.
Silence clung and stung like sand,
smothering words before they could
break free.
Sand has a brittle sound
as it stutters underfoot.
But you are no longer like sand.
Though your ears will still never hear,
words gather, demanding as seagulls.
Now, you stretch wings towards the sky.
Glide closer to other lives.
Reach them with the rising tide
of your imperfect speech.
*first published Westerly 1993 - Republished Central Western Daily January 12, 1996
recently republished in ‘On Common Water’ the Ginninderra 10th birthday anthology
|
Written by
Barry Tebb |
You were the one I wanted most to know
So like yet unlike, like fire and snow,
The casual voice, the sharp invective,
The barbed wit, the lapsed Irish Protestant
Who never gave a ****, crossed the palms
Of the great and good with coins hot with contempt
For the fakers and the tricksters whose poetry
Deftly bent to fashion’s latest slant.
You wrote from the heart, feelings on your sleeve,
But feelings are all a master poet needs:
You broke all the taboos, whores and fags and booze,
While I sighed over books and began to snooze
Until your voice broke through the haze
Of a quarter century’s sleep. “Wake up you git
And bloody write!” I did and never stopped
And like you told the truth about how bad poetry
Rots the soul and slapped a New Gen face or two
And kicked some arses in painful places,
And so like you, got omitted from the posh anthologies
Where Penguin and Picador fill the pages
With the boring poetasters you went for in your rages,
Ex-friends like Harrison who missed you out.
You never could see the envy in their enmity.
Longley was the worst, a hypocrite to boot,
All you said about him never did come out;
I’ve tried myself to nail others of that ilk
Hither and thither they slide and slither
And crawl out of the muck white as brides’
Fat with OBE’s, sinecures and sighs
And Collected Poems no one buys.
Yet ‘Mainstrem’, your last but one collection,
I had to wait months for, the last borrower
Kept it for two years and likely I’ll do the same
Your poetry’s like no other, no one could tame
Your roaring fury or your searing pain.
You bared your soul in a most unfashionable way
But everything in me says your verse will stay,
Your love for your fourth and final wife,
The last chance marriage that went right
The children you loved so much but knew
You wouldn’t live to see grown up, so caught
Their growing pains and joys with a painter’s eye
And lyric skill as fine as Wordsworth’s best
they drank her welcome to his heritage
of grey, grey-green, wet earth and shapes of stone.
Who weds a landscape will not die alone.
Those you castigated never forgave.
Omitted you as casually as passing an unmarked grave,
Armitage, I name you, a blackguard and a knave,
Who knows no more of poetry than McGonagall the brave,
Yet tops the list of Faber’s ‘Best Poets of Our Age’.
Longley gave you just ten lines in ‘Irish Poets Now’
Most missed you out entirely for the troubles you gave
Accusing like Zola those poetic whores
Who sold themselves to fashion when time after time
Your passions brought you to your knees, lashing
At those poetasters when their puffed-up slime
Won the medals and the prizes time after time
And got them all the limelight while your books
Were quietly ignored, the better you wrote,
The fewer got bought.
Belatedly I found a poem of yours ‘Leeds 2’
In ‘Flashpoint’, a paint-stained worn out
School anthology from 1962. Out of the blue
I wrote to you but the letter came back ‘Gone away
N.F.A.’ then I tried again and had a marvellous letter back
Full of stories of the great and good and all their private sins,
You knew where the bodies were buried.
Who put the knife in, who slept with who
For what reward. They never could shut you up
Or put you in a pen or pay you off and then came
Morley, Hulse and Kennedy’s ‘New Poetry’
Which did more damage to the course of poetry
Than anything I’ve read - poets unembarrassed
By the need to know more than what’s politically
White as snow. Constantine and Jackie Kay
And Hoffman with the right connections.
Sweeney and O’Brien bleeding in all the politically
Sensitive places, Peter Reading lifting
Horror headlines from the Sun to make a splash.
Sansom and Maxwell, Jamie and Greenlaw.
Proving lack of talent is no barrier to fame
If you lick the right arses and say how nice they taste.
Crawling up the ladder, declaring **** is grace.
A talented drunken public servant
Has the world’s ear and hates me.
He ought to be in prison for misuse
Of public funds and bigotry;
But there’s some sparkle in his poetry.
You never flinched in the attack
But gave the devils their due:
The ‘Honest Ulsterman’ you founded
Lost its honesty the day you withdrew
But floundered on, publicly sighed and
Ungraciously expired as soon as you died.
You went with fallen women, smoked and sang and boozed,
Loved your many children, wrote poetry
As good as Yeats but the ignominy you had to bear
Bred an immortality impossible to share.
You showed us your own peccadilloes,
Your early lust for fame, but you learned
The cost of suffering, love and talent winning through,
Your best books your last, just two, like the letters
You wrote before your life was through.
The meeting you wanted could never happen:
I didn’t know about the stroke
That stilled your tongue and pen
But if you passed your mantle on to me
I’ll try and take up where you left off,
Give praise where praise is due
And blast the living daylights from those writers who
Betray the sacred art of making poetry true
To suffering and love, to passion and remorse
And try to steer a flimsy world upon a saner course.
|
Written by
Barry Tebb |
To Simon Jenner
NO ARMITAGE (I’d like to see his rage)
NO DUHIG (one dig long overdue)
NO GREENLAW (M & S might sue)
NO IMLAH (ditto the TLS)
NO CRICHTON SMITH or JAMIE
(Tuma’s not haggis-crazy)
NO CONSTANTINE (who’ll miss his donnish whine?)
NO LONGLEY (the QMP tick didn’t do the trick)
NO PORTER (long overdue for slaughter)
NO MAXWELL, MORRISON or MOTION
(to miss that lot I’d swim an ocean)
NO PATERSON, NO BURNSIDE,
NO SWEENEY or O’BRIEN
(triumphs of criticism by omission),
BUT WHY DID PRYNNE REFUSE TO BE IN?
-wilful obscurity, hidden grandiosity-
-what is this Prynne idolatry?
All those New Gen poets
Thwacked by omission
NOT EVEN PAULIN IS IN
NO DUNMORE OR DURCAN
O’DONOGHUE or BHATT
-you can hardly do better than that!
It really made my day
Pity it was too late for you
To review in ERATICA TWO
Note: QMP- Queen’s Medal for Poetry
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