by
Dale Harcombe
Frail as smoke, she drifts
through the crowded train,
bringing with her
the cold ashes of poverty.
Without a word, her bruise-blue eyes
try to niggle each passenger
to part with coins or a note.
The sign pleads her story:
Three children in foster care.
Like promises of happier times, some
passengers toss hard-edged confetti
at her, before hiding behind
newspapers or over-loud
conversations. Others dismiss
her like an errant child
with swift, silent shakes of their heads.
I look at her canescent face
and know I have seen her before,
on a grey, Sydney day in George Street.
‘Homeless, hungry, and cold’
her sign read then, as she curled
like a cloud on the footpath
near Town Hall.
In the dusk of a blustery day,
people, toting bags emblazoned
with designer labels, walked past.
Their gaze sliding away from her like water,
they turned toward the nimbus
of lights across the street, glittering
like angels in the trees.
I walked on too, then wished I had
turned back. But the tide
flowed against me.
With nothing else to give
I came home and wrote a poem.
© May 2003 Dale Harcombe
First published Artlook February 2005
|
by
Craig Raine
On my desk, a set of labels
or a synopsis of leeks,
blanched by the sun
and trailing their roots
like a watering can.
Beyond and below,
diminished by distance,
a taxi shivers at the lights:
a shining moorhen
with an orange nodule
set over the beak,
taking a passenger
under its wing.
I turn away, confront
the cuckold hatstand
at bay in the corner,
and eavesdrop (bless you!)
on a hay-fever of brakes.
My Caran d'Ache are sharp
as the tips of an iris
and the four-tier file
is spotted with rust:
a study of plaice
by a Japanese master,
ochres exquisitely bled.
Instead of office work,
I fish for complements
and sport a pencil
behind each ear,
a bit of a devil,
or trap the telephone
awkwardly under my chin
like Richard Crookback,
crying, A horse! A horse!
My kingdom for a horse!
but only to myself,
ironically: the tube
is semi-stiff with stallion whangs,
the chairman's Mercedes
has windscreen wipers
like a bird's broken tongue,
and I am perfectly happy
to see your head, quick
round the door like a dryad,
as I pretend to be Ovid
in exile, composing Tristia
and sad for the shining,
the missed, the muscular beach.
|
by
Anne Sexton
My business is words. Words are like labels,
or coins, or better, like swarming bees.
I confess I am only broken by the sources of things;
as if words were counted like dead bees in the attic,
unbuckled from their yellow eyes and their dry wings.
I must always forget who one words is able to pick
out another, to manner another, until I have got
somethhing I might have said...
but did not.
Your business is watching my words. But I
admit nothing. I worth with my best, for instances,
when I can write my praise for a nickel machine,
that one night in Nevada: telling how the magic jackpot
came clacking three bells out, over the lucky screen.
But if you should say this is something it is not,
then I grow weak, remembering how my hands felt funny
and ridiculous and crowded with all
the believing money.
|
by
Kenneth Patchen
We go out together into the staring town
And buy cheese and bread and little jugs with
flowered labels
Everywhere is a tent where we put on our whirling
show
A great deal has been said of the handless serpents
Which war has set loose in the gay milk of our
heads
But because you braid your hair and taste like
honey of heaven
We go together into town to buy wine and
yellow candles.
|
by
Rg Gregory
fancy shooting a man dead for an old label
but think
if there weren't any old labels
nobody would ever be shot dead
and all those poor people
whose livelihood depends on making guns
would have to be left to starve
make up your mind
who would you sooner see living
men with bullets in them
or thousands of ordinary people
going about their decent business
there's a lot to thank old labels for
|