Written by
T S (Thomas Stearns) Eliot |
I
In my beginning is my end. In succession
Houses rise and fall, crumble, are extended,
Are removed, destroyed, restored, or in their place
Is an open field, or a factory, or a by-pass.
Old stone to new building, old timber to new fires,
Old fires to ashes, and ashes to the earth
Which is already flesh, fur and faeces,
Bone of man and beast, cornstalk and leaf.
Houses live and die: there is a time for building
And a time for living and for generation
And a time for the wind to break the loosened pane
And to shake the wainscot where the field-mouse trots
And to shake the tattered arras woven with a silent motto.
In my beginning is my end. Now the light falls
Across the open field, leaving the deep lane
Shuttered with branches, dark in the afternoon,
Where you lean against a bank while a van passes,
And the deep lane insists on the direction
Into the village, in the electric heat
Hypnotised. In a warm haze the sultry light
Is absorbed, not refracted, by grey stone.
The dahlias sleep in the empty silence.
Wait for the early owl.
In that open field
If you do not come too close, if you do not come too close,
On a summer midnight, you can hear the music
Of the weak pipe and the little drum
And see them dancing around the bonfire
The association of man and woman
In daunsinge, signifying matrimonie—
A dignified and commodiois sacrament.
Two and two, necessarye coniunction,
Holding eche other by the hand or the arm
Whiche betokeneth concorde. Round and round the fire
Leaping through the flames, or joined in circles,
Rustically solemn or in rustic laughter
Lifting heavy feet in clumsy shoes,
Earth feet, loam feet, lifted in country mirth
Mirth of those long since under earth
Nourishing the corn. Keeping time,
Keeping the rhythm in their dancing
As in their living in the living seasons
The time of the seasons and the constellations
The time of milking and the time of harvest
The time of the coupling of man and woman
And that of beasts. Feet rising and falling.
Eating and drinking. Dung and death.
Dawn points, and another day
Prepares for heat and silence. Out at sea the dawn wind
Wrinkles and slides. I am here
Or there, or elsewhere. In my beginning.
II
What is the late November doing
With the disturbance of the spring
And creatures of the summer heat,
And snowdrops writhing under feet
And hollyhocks that aim too high
Red into grey and tumble down
Late roses filled with early snow?
Thunder rolled by the rolling stars
Simulates triumphal cars
Deployed in constellated wars
Scorpion fights against the Sun
Until the Sun and Moon go down
Comets weep and Leonids fly
Hunt the heavens and the plains
Whirled in a vortex that shall bring
The world to that destructive fire
Which burns before the ice-cap reigns.
That was a way of putting it—not very satisfactory:
A periphrastic study in a worn-out poetical fashion,
Leaving one still with the intolerable wrestle
With words and meanings. The poetry does not matter.
It was not (to start again) what one had expected.
What was to be the value of the long looked forward to,
Long hoped for calm, the autumnal serenity
And the wisdom of age? Had they deceived us
Or deceived themselves, the quiet-voiced elders,
Bequeathing us merely a receipt for deceit?
The serenity only a deliberate hebetude,
The wisdom only the knowledge of dead secrets
Useless in the darkness into which they peered
Or from which they turned their eyes. There is, it seems to us,
At best, only a limited value
In the knowledge derived from experience.
The knowledge imposes a pattern, and falsifies,
For the pattern is new in every moment
And every moment is a new and shocking
Valuation of all we have been. We are only undeceived
Of that which, deceiving, could no longer harm.
In the middle, not only in the middle of the way
But all the way, in a dark wood, in a bramble,
On the edge of a grimpen, where is no secure foothold,
And menaced by monsters, fancy lights,
Risking enchantment. Do not let me hear
Of the wisdom of old men, but rather of their folly,
Their fear of fear and frenzy, their fear of possession,
Of belonging to another, or to others, or to God.
The only wisdom we can hope to acquire
Is the wisdom of humility: humility is endless.
The houses are all gone under the sea.
The dancers are all gone under the hill.
III
O dark dark dark. They all go into the dark,
The vacant interstellar spaces, the vacant into the vacant,
The captains, merchant bankers, eminent men of letters,
The generous patrons of art, the statesmen and the rulers,
Distinguished civil servants, chairmen of many committees,
Industrial lords and petty contractors, all go into the dark,
And dark the Sun and Moon, and the Almanach de Gotha
And the Stock Exchange Gazette, the Directory of Directors,
And cold the sense and lost the motive of action.
And we all go with them, into the silent funeral,
Nobody's funeral, for there is no one to bury.
I said to my soul, be still, and let the dark come upon you
Which shall be the darkness of God. As, in a theatre,
The lights are extinguished, for the scene to be changed
With a hollow rumble of wings, with a movement of darkness on darkness,
And we know that the hills and the trees, the distant panorama
And the bold imposing façade are all being rolled away—
Or as, when an underground train, in the tube, stops too long between stations
And the conversation rises and slowly fades into silence
And you see behind every face the mental emptiness deepen
Leaving only the growing terror of nothing to think about;
Or when, under ether, the mind is conscious but conscious of nothing—
I said to my soul, be still, and wait without hope
For hope would be hope for the wrong thing; wait without love,
For love would be love of the wrong thing; there is yet faith
But the faith and the love and the hope are all in the waiting.
Wait without thought, for you are not ready for thought:
So the darkness shall be the light, and the stillness the dancing.
Whisper of running streams, and winter lightning.
The wild thyme unseen and the wild strawberry,
The laughter in the garden, echoed ecstasy
Not lost, but requiring, pointing to the agony
Of death and birth.
You say I am repeating
Something I have said before. I shall say it again.
Shall I say it again? In order to arrive there,
To arrive where you are, to get from where you are not,
You must go by a way wherein there is no ecstasy.
In order to arrive at what you do not know
You must go by a way which is the way of ignorance.
In order to possess what you do not possess
You must go by the way of dispossession.
In order to arrive at what you are not
You must go through the way in which you are not.
And what you do not know is the only thing you know
And what you own is what you do not own
And where you are is where you are not.
IV
The wounded surgeon plies the steel
That questions the distempered part;
Beneath the bleeding hands we feel
The sharp compassion of the healer's art
Resolving the enigma of the fever chart.
Our only health is the disease
If we obey the dying nurse
Whose constant care is not to please
But to remind of our, and Adam's curse,
And that, to be restored, our sickness must grow worse.
The whole earth is our hospital
Endowed by the ruined millionaire,
Wherein, if we do well, we shall
Die of the absolute paternal care
That will not leave us, but prevents us everywhere.
The chill ascends from feet to knees,
The fever sings in mental wires.
If to be warmed, then I must freeze
And quake in frigid purgatorial fires
Of which the flame is roses, and the smoke is briars.
The dripping blood our only drink,
The bloody flesh our only food:
In spite of which we like to think
That we are sound, substantial flesh and blood—
Again, in spite of that, we call this Friday good.
V
So here I am, in the middle way, having had twenty years—
Twenty years largely wasted, the years of l'entre deux guerres
Trying to use words, and every attempt
Is a wholly new start, and a different kind of failure
Because one has only learnt to get the better of words
For the thing one no longer has to say, or the way in which
One is no longer disposed to say it. And so each venture
Is a new beginning, a raid on the inarticulate
With shabby equipment always deteriorating
In the general mess of imprecision of feeling,
Undisciplined squads of emotion. And what there is to conquer
By strength and submission, has already been discovered
Once or twice, or several times, by men whom one cannot hope
To emulate—but there is no competition—
There is only the fight to recover what has been lost
And found and lost again and again: and now, under conditions
That seem unpropitious. But perhaps neither gain nor loss.
For us, there is only the trying. The rest is not our business.
Home is where one starts from. As we grow older
The world becomes stranger, the pattern more complicated
Of dead and living. Not the intense moment
Isolated, with no before and after,
But a lifetime burning in every moment
And not the lifetime of one man only
But of old stones that cannot be deciphered.
There is a time for the evening under starlight,
A time for the evening under lamplight
(The evening with the photograph album).
Love is most nearly itself
When here and now cease to matter.
Old men ought to be explorers
Here or there does not matter
We must be still and still moving
Into another intensity
For a further union, a deeper communion
Through the dark cold and the empty desolation,
The wave cry, the wind cry, the vast waters
Of the petrel and the porpoise. In my end is my beginning.
|
Written by
Adrienne Rich |
First having read the book of myths,
and loaded the camera,
and checked the edge of the knife-blade,
I put on
the body-armor of black rubber
the absurd flippers
the grave and awkward mask.
I am having to do this
not like Cousteau with his
assiduous team
aboard the sun-flooded schooner
but here alone.
There is a ladder.
The ladder is always there
hanging innocently
close to the side of the schooner.
We know what it is for,
we who have used it.
Otherwise
it is a piece of maritime floss
some sundry equipment.
I go down.
Rung after rung and still
the oxygen immerses me
the blue light
the clear atoms
of our human air.
I go down.
My flippers cripple me,
I crawl like an insect down the ladder
and there is no one
to tell me when the ocean
will begin.
First the air is blue and then
it is bluer and then green and then
black I am blacking out and yet
my mask is powerful
it pumps my blood with power
the sea is another story
the sea is not a question of power
I have to learn alone
to turn my body without force
in the deep element.
And now: it is easy to forget
what I came for
among so many who have always
lived here
swaying their crenellated fans
between the reefs
and besides
you breathe differently down here.
I came to explore the wreck.
The words are purposes.
The words are maps.
I came to see the damage that was done
and the treasures that prevail.
I stroke the beam of my lamp
slowly along the flank
of something more permanent
than fish or weed
the thing I came for:
the wreck and not the story of the wreck
the thing itself and not the myth
the drowned face always staring
toward the sun
the evidence of damage
worn by salt and away into this threadbare beauty
the ribs of the disaster
curving their assertion
among the tentative haunters.
This is the place.
And I am here, the mermaid whose dark hair
streams black, the merman in his armored body.
We circle silently
about the wreck
we dive into the hold.
I am she: I am he
whose drowned face sleeps with open eyes
whose breasts still bear the stress
whose silver, copper, vermeil cargo lies
obscurely inside barrels
half-wedged and left to rot
we are the half-destroyed instruments
that once held to a course
the water-eaten log
the fouled compass
We are, I am, you are
by cowardice or courage
the one who find our way
back to this scene
carrying a knife, a camera
a book of myths
in which
our names do not appear.
|
Written by
David Berman |
A web of sewer, pipe, and wire connects each house to the others.
In 206 a dog sleeps by the stove where a small gas leak causes him
to have visions; visions that are rooted in nothing but gas.
Next door, a man who has decided to buy a car part by part
excitedly unpacks a wheel and an ashtray.
He arranges them every which way. It’s really beginning to take
shape.
Out the garage window he sees a group of ugly children
enter the forest. Their mouths look like coin slots.
A neighbor plays keyboards in a local cover band.
Preparing for an engagement at the high school prom,
they pack their equipment in silence.
Last night they played the Police Academy Ball and
all the officers slow-danced with target range silhouettes.
This year the theme for the prom is the Tetragrammaton.
A yellow Corsair sails through the disco parking lot
and swaying palms presage the lot of young libertines.
Inside the car a young lady wears a corsage of bullet-sized rodents.
Her date, the handsome cornerback, stretches his talons over the
molded steering wheel.
They park and walk into the lush starlit gardens behind the disco
just as the band is striking up.
Their keen eyes and ears twitch. The other couples
look beautiful tonight. They stroll around listening
to the brilliant conversation. The passionate speeches.
Clouds drift across the silverware. There is red larkspur,
blue gum, and ivy. A boy kneels before his date.
And the moon, I forgot to mention the moon.
|
Written by
Rudyard Kipling |
1911
When the Himalayan peasant meets the he-bear in his pride,
He shouts to scare the monster, who will often turn aside.
But the she-bear thus accosted rends the peasant tooth and nail.
For the female of the species is more deadly than the male.
When Nag the basking cobra hears the careless foot of man,
He will sometimes wriggle sideways and avoid it if he can.
But his mate makes no such motion where she camps beside the trail.
For the female of the species is more deadly than the male.
When the early Jesuit fathers preached to Hurons and Choctaws,
They prayed to be delivered from the vengeance of the squaws.
'Twas the women, not the warriors, turned those stark enthusiasts pale.
For the female of the species is more deadly than the male.
Man's timid heart is bursting with the things he must not say,
For the Woman that God gave him isn't his to give away;
But when hunter meets with husbands, each confirms the other's tale --
The female of the species is more deadly than the male.
Man, a bear in most relations-worm and savage otherwise, --
Man propounds negotiations, Man accepts the compromise.
Very rarely will he squarely push the logic of a fact
To its ultimate conclusion in unmitigated act.
Fear, or foolishness, impels him, ere he lay the wicked low,
To concede some form of trial even to his fiercest foe.
Mirth obscene diverts his anger --- Doubt and Pity oft perplex
Him in dealing with an issue -- to the scandal of The Sex!
But the Woman that God gave him, every fibre of her frame
Proves her launched for one sole issue, armed and engined for the same,
And to serve that single issue, lest the generations fail,
The female of the species must be deadlier than the male.
She who faces Death by torture for each life beneath her breast
May not deal in doubt or pity -- must not swerve for fact or jest.
These be purely male diversions -- not in these her honour dwells.
She the Other Law we live by, is that Law and nothing else.
She can bring no more to living than the powers that make her great
As the Mother of the Infant and the Mistress of the Mate.
And when Babe and Man are lacking and she strides unchained to claim
Her right as femme (and baron), her equipment is the same.
She is wedded to convictions -- in default of grosser ties;
Her contentions are her children, Heaven help him who denies! --
He will meet no suave discussion, but the instant, white-hot, wild,
Wakened female of the species warring as for spouse and child.
Unprovoked and awful charges -- even so the she-bear fights,
Speech that drips, corrodes, and poisons -- even so the cobra bites,
Scientific vivisection of one nerve till it is raw
And the victim writhes in anguish -- like the Jesuit with the squaw!
So it cames that Man, the coward, when he gathers to confer
With his fellow-braves in council, dare nat leave a place for her
Where, at war with Life and Conscience, he uplifts his erring hands
To some God of Abstract Justice -- which no woman understands.
And Man knows it! Knows, moreover, that the Woman that God gave him
Must command but may not govern -- shall enthral but not enslave him.
And She knows, because She warns him, and Her instincts never fail,
That the Female of Her Species is more deadly than the Male.
|
Written by
Edward Field |
The Baron has decided to mate the monster,
to breed him perhaps,
in the interests of pure science, his only god.
So he goes up into his laboratory
which he has built in the tower of the castle
to be as near the interplanetary forces as possible,
and puts together the prettiest monster-woman you ever saw
with a body like a pin-up girl
and hardly any stitching at all
where he sewed on the head of a raped and murdered beauty queen.
He sets his liquids burping, and coils blinking and buzzing,
and waits for an electric storm to send through the equipment
the spark vital for life.
The storm breaks over the castle
and the equipment really goes crazy
like a kitchen full of modern appliances
as the lightning juice starts oozing right into that pretty corpse.
He goes to get the monster
so he will be right there when she opens her eyes,
for she might fall in love with the first thing she sees as ducklings do.
That monster is already straining at his chains and slurping,
ready to go right to it:
He has been well prepared for coupling
by his pinching leering keeper who's been saying for weeks,
"Ya gonna get a little nookie, kid,"
or "How do you go for some poontang, baby?"
All the evil in him is focused on this one thing now
as he is led into her very presence.
She awakens slowly,
she bats her eyes,
she gets up out of the equipment,
and finally she stands in all her seamed glory,
a monster princess with a hairdo like a fright wig,
lightning flashing in the background
like a halo and a wedding veil,
like a photographer snapping pictures of great moments.
She stands and stares with her electric eyes,
beginning to understand that in this life too
she was just another body to be raped.
The monster is ready to go:
He roars with joy at the sight of her,
so they let him loose and he goes right for those knockers.
And she starts screaming to break your heart
and you realize that she was just born:
In spite of her big **** she was just a baby.
But her instincts are right --
rather death than that green slobber:
She jumps off the parapet.
And then the monster's sex drive goes wild.
Thwarted, it turns to violence, demonstrating sublimation crudely;
and he wrecks the lab, those burping acids and buzzing coils,
overturning the control panel so the equipment goes off like a bomb,
and the stone castle crumbles and crashes in the storm
destroying them all . . . perhaps.
Perhaps somehow the Baron got out of that wreckage of his dreams
with his evil intact, if not his good looks,
and more wicked than ever went on with his thrilling career.
And perhaps even the monster lived
to roam the earth, his desire still ungratified;
and lovers out walking in shadowy and deserted places
will see his shape loom up over them, their doom --
and children sleeping in their beds
will wake up in the dark night screaming
as his hideous body grabs them.
|
Written by
Keith Douglas |
Three weeks gone and the combatants gone
returning over the nightmare ground
we found the place again, and found
the soldier sprawling in the sun.
The frowning barrel of his gun
overshadowing. As we came on
that day, he hit my tank with one
like the entry of a demon.
Look. Here in the gunpit spoil
the dishonoured picture of his girl
who has put: Steffi. Vergissmeinnicht.
in a copybook gothic script.
We see him almost with content,
abased, and seeming to have paid
and mocked at by his own equipment
that's hard and good when he's decayed.
But she would weep to see today
how on his skin the swart flies move;
the dust upon the paper eye
and the burst stomach like a cave.
For here the lover and killer are mingled
who had one body and one heart.
And death who had the soldier singled
has done the lover mortal hurt.
|
Written by
Rudyard Kipling |
You may talk o' gin and beer
When you're quartered safe out 'ere,
An' you're sent to penny-fights an' Aldershot it;
But when it comes to slaughter
You will do your work on water,
An' you'll lick the bloomin' boots of 'im that's got it.
Now in Injia's sunny clime,
Where I used to spend my time
A-servin' of 'Er Majesty the Queen,
Of all them blackfaced crew
The finest man I knew
Was our regimental bhisti, Gunga Din.
He was "Din! Din! Din!
You limpin' lump o' brick-dust, Gunga Din!
Hi! slippery hitherao!
Water, get it! Panee lao! [Bring water swiftly.]
You squidgy-nosed old idol, Gunga Din."
The uniform 'e wore
Was nothin' much before,
An' rather less than 'arf o' that be'ind,
For a piece o' twisty rag
An' a goatskin water-bag
Was all the field-equipment 'e could find.
When the sweatin' troop-train lay
In a sidin' through the day,
Where the 'eat would make your bloomin' eyebrows crawl,
We shouted "Harry By!" [Mr. Atkins's equivalent for "O brother."]
Till our throats were bricky-dry,
Then we wopped 'im 'cause 'e couldn't serve us all.
It was "Din! Din! Din!
You 'eathen, where the mischief 'ave you been?
You put some juldee in it [Be quick.]
Or I'll marrow you this minute [Hit you.]
If you don't fill up my helmet, Gunga Din!"
'E would dot an' carry one
Till the longest day was done;
An' 'e didn't seem to know the use o' fear.
If we charged or broke or cut,
You could bet your bloomin' nut,
'E'd be waitin' fifty paces right flank rear.
With 'is mussick on 'is back, [Water-skin.]
'E would skip with our attack,
An' watch us till the bugles made "Retire",
An' for all 'is dirty 'ide
'E was white, clear white, inside
When 'e went to tend the wounded under fire!
It was "Din! Din! Din!"
With the bullets kickin' dust-spots on the green.
When the cartridges ran out,
You could hear the front-files shout,
"Hi! ammunition-mules an' Gunga Din!"
I shan't forgit the night
When I dropped be'ind the fight
With a bullet where my belt-plate should 'a' been.
I was chokin' mad with thirst,
An' the man that spied me first
Was our good old grinnin', gruntin' Gunga Din.
'E lifted up my 'ead,
An' he plugged me where I bled,
An' 'e guv me 'arf-a-pint o' water-green:
It was crawlin' and it stunk,
But of all the drinks I've drunk,
I'm gratefullest to one from Gunga Din.
It was "Din! Din! Din!
'Ere's a beggar with a bullet through 'is spleen;
'E's chawin' up the ground,
An' 'e's kickin' all around:
For Gawd's sake git the water, Gunga Din!"
'E carried me away
To where a dooli lay,
An' a bullet come an' drilled the beggar clean.
'E put me safe inside,
An' just before 'e died,
"I 'ope you liked your drink", sez Gunga Din.
So I'll meet 'im later on
At the place where 'e is gone --
Where it's always double drill and no canteen;
'E'll be squattin' on the coals
Givin' drink to poor damned souls,
An' I'll get a swig in hell from Gunga Din!
Yes, Din! Din! Din!
You Lazarushian-leather Gunga Din!
Though I've belted you and flayed you,
By the livin' Gawd that made you,
You're a better man than I am, Gunga Din!
|
Written by
Erin Moure |
Unspeakable. The word that fills up the
poem, that the head
tries to excise.
At 6 a.m., the wet lion. Its sewn plush face
on the porch rail in the rain.
Heavy rains later, & maybe a thunderstorm.
12 or 13 degrees.
Inside: an iris, candle, poster of the
many-breasted Artemis in a stone hat
from Anatolia
A little pedal steel guitar
A photograph of her at a table by the sea,
her shoulder blocked by the red geranium.
The sea tho invisible can be smelled by the casual watcher
Incredible salt air
in my throat when I see her.
"Suddenly you discover that you'll spend your entire life
in disorder; it's all that you have; you must learn to live
with it."
2
Four tanks, & the human white-shirted body
stopped on June 5 in Place Tian an Men.
Or "a red pullover K-Way." There is not much time left
to say these things. The urgency of that,
desire that dogged the body all winter
& has scarcely left,
now awaits the lilacs, their small white bunches.
Gaily.
As if their posies will light up
the curious old intentional bruise.
Adjective, adjective, adjective, noun!
3
Or just, lilac moon.
What we must, & cannot, excise from the head.
Her hand holding, oh, The New Path to the Waterfall?
Or the time I walked in too quickly, looked up
at her shirtless, grinning.
Pulling her down into the front of me, silly!
Sitting down sudden to make a lap for her...
Kissing the back of her leg.
4
Actually the leg kiss was a dream, later enacted
we laughed at it,
why didn't you do it
she said
when you thought of it.
The excisable thought, later
desired or
necessary.
Or shuddered at, in memory.
Later, it is repeated for the cameras
with such unease.
& now, stuck in the head.
Like running the motorcycle full-tilt into the hay bales.
What is the motorcycle doing in the poem
A. said.
It's an image, E. said back.
It's a crash in the head, she said.
It's a real motorcycle.
Afterthought 1
0 excise this: her back turned,
she concentrates on something
in a kitchen sink,
& I sit behind her,
running my fingers on
the table edge.
0 excise this.
Afterthought 2
& after, excise, excise.
If the source of the pain could be located
using geological survey equipment.
Into the sedimentary layers, the slippage,
the surge of the igneous intrusion.
Or the flat bottom of the former sea
I grew up on,
Running the motorcycle into the round
bay bales.
Hay grass poking the skin.
The back wet.
Hey, I shouted,
Her back turned to me, its location
now visible only in the head.
When I can't stand it,
I invent anything, even memories.
She gets up, hair stuck with hay.
I invented this. Yeow.
|
Written by
Charles Sorley |
I have not brought my Odyssey
With me here across the sea;
But you'll remember, when I say
How, when they went down Sparta way,
To sandy Sparta, long ere dawn
Horses were harnessed, rations drawn,
Equipment polished sparkling bright,
And breakfasts swallowed (as the white
Of eastern heavens turned to gold) -
The dogs barked, swift farewells were told.
The sun springs up, the horses neigh,
Crackles the whip thrice-then away!
From sun-go-up to sun-go-down
All day across the sandy down
The gallant horses galloped, till
The wind across the downs more chill
Blew, the sun sank and all the road
Was darkened, that it only showed
Right at the end the town's red light
And twilight glimmering into night.
The horses never slackened till
They reached the doorway and stood still.
Then came the knock, the unlading; then
The honey-sweet converse of men,
The splendid bath, the change of dress,
Then - oh the grandeur of their Mess,
The henchmen, the prim stewardess!
And oh the breaking of old ground,
The tales, after the port went round!
(The wondrous wiles of old Odysseus,
Old Agamemnon and his misuse
Of his command, and that young chit
Paris - who didn't care a bit
For Helen - only to annoy her
He did it really, K.T.A.)
But soon they led amidst the din
The honey-sweet -- in,
Whose eyes were blind, whose soul had sight,
Who knew the fame of men in fight -
Bard of white hair and trembling foot,
Who sang whatever God might put
Into his heart.
And there he sung,
Those war-worn veterans among,
Tales of great war and strong hearts wrung,
Of clash of arms, of council's brawl,
Of beauty that must early fall,
Of battle hate and battle joy
By the old windy walls of Troy.
They felt that they were unreal then,
Visions and shadow-forms, not men.
But those the Bard did sing and say
(Some were their comrades, some were they)
Took shape and loomed and strengthened more
Greatly than they had guessed of yore.
And now the fight begins again,
The old war-joy, the old war-pain.
Sons of one school across the sea
We have no fear to fight -
And soon, oh soon, I do not doubt it,
With the body or without it,
We shall all come tumbling down
To our old wrinkled red-capped town.
Perhaps the road up llsley way,
The old ridge-track, will be my way.
High up among the sheep and sky,
Look down on Wantage, passing by,
And see the smoke from Swindon town;
And then full left at Liddington,
Where the four winds of heaven meet
The earth-blest traveller to greet.
And then my face is toward the south,
There is a singing on my mouth
Away to rightward I descry
My Barbury ensconced in sky,
Far underneath the Ogbourne twins,
And at my feet the thyme and whins,
The grasses with their little crowns
Of gold, the lovely Aldbourne downs,
And that old signpost (well I knew
That crazy signpost, arms askew,
Old mother of the four grass ways).
And then my mouth is dumb with praise,
For, past the wood and chalkpit tiny,
A glimpse of Marlborough --!
So I descend beneath the rail
To warmth and welcome and wassail.
This from the battered trenches - rough,
Jingling and tedious enough.
And so I sign myself to you:
One, who some crooked pathways knew
Round Bedwyn: who could scarcely leave
The Downs on a December eve:
Was at his happiest in shorts,
And got - not many good reports!
Small skill of rhyming in his hand -
But you'll forgive - you'll understand.
|
Written by
Ruth Padel |
We're talking different kinds of vulnerability here.
These icicles aren't going to last for ever
Suspended in the ultra violet rays of a Dumfries sun.
But here they hang, a frozen whirligig of lightning,
And the famous American sculptor
Who scrambles the world with his tripod
For strangeness au naturel, got sunset to fill them.
It's not comfortable, a double helix of opalescent fire
*
Wrapping round you, swishing your bark
Down cotton you can't see,
On which a sculptor planned his icicles,
Working all day for that Mesopotamian magic
Of last light before the dark
In a suspended helter-skelter, lit
By almost horizontal rays
Making a mist-carousel from the House of Diamond,
*
A spiral of Pepsodent darkening to the shadowfrost
Of cedars at the Great Gate of Kiev.
Why it makes me think of opening the door to you
I can't imagine. No one could be less
Of an icicle. But there it is -
Having put me down in felt-tip
In the mystical appointment book,
You shoot that quick
*
Inquiry-glance, head tilted, when I open up,
Like coming in's another country,
A country you want but have to get used to, hot
From your bal masqu?, making sure
That what you found before's
Still here: a spiral of touch and go,
Lightning licking a tree
Imagining itself Aretha Franklin
*
Singing "You make me feel like a natural woman"
In basso profondo,
Firing the bark with its otherworld ice
The way you fire, lifting me
Off my own floor, legs furled
Round your trunk as that tree goes up
At an angle inside the lightning, roots in
The orange and silver of Dumfries.
*
Now I'm the lightning now you, you are,
As you pour yourself round me
Entirely. No who's doing what and to who,
Just a tangle of spiral and tree.
You might wonder about sculptors who come all this way
To make a mad thing that won't last.
You know how it is: you spend a day, a whole life.
Then the light's gone, you walk away
*
To the Galloway Paradise Hotel. Pine-logs,
Cutlery, champagne - OK,
But the important thing was making it.
Hours, and you don't know how it'll be.
Then something like light
Arrives last moment, at speed reckoned
Only by horizons: completing, surprising
With its three hundred thousand
*
Kilometres per second. Still, even lightning has its moments of panic.
You don't get icicles catching the midwinter sun
In a perfect double helix in Dumfriesshire every day.
And can they be good for each other,
Lightning and tree? It'd make anyone,
Wouldn't it, afraid? That rowan would adore
To sleep and wake up in your arms
*
But's scared of getting burnt. And the lightning might ask, touching wood,
"What do you want of me, now we're in the same
Atomic chain?" What can the tree say?
"Being the centre of all that you are to yourself -
That'd be OK. Being my own body's fine
But it needs yours to stay that way."
No one could live for ever in
*
A suspended gleam-on-the-edge,
As if sky might tear any minute. Or not for ever for long. Those icicles
Won't be surprise any more. The little snapped threads
Blew away. Glamour left that hill in Dumfries.
The sculptor went off with his black equipment.
Adzes, twine, leather gloves.
*
What's left is a photo of
A completely solitary sight
In a book anyone might open.
But whether our touch at the door gets forgotten
Or turned into other sights, light, form,
I hope you'll be truthful
To me. At least as truthful as lightning,
Skinning a tree.
THIS POEM WON THE 1996 National Poetry Prize
|