Written by
Les Murray |
To go home and wear shorts forever
in the enormous paddocks, in that warm climate,
adding a sweater when winter soaks the grass,
to camp out along the river bends
for good, wearing shorts, with a pocketknife,
a fishing line and matches,
or there where the hills are all down, below the plain,
to sit around in shorts at evening
on the plank verandah -
If the cardinal points of costume
are Robes, Tat, Rig and Scunge,
where are shorts in this compass?
They are never Robes
as other bareleg outfits have been:
the toga, the kilt, the lava-lava
the Mahatma's cotton dhoti;
archbishops and field marshals
at their ceremonies never wear shorts.
The very word
means underpants in North America.
Shorts can be Tat,
Land-Rovering bush-environmental tat,
socio-political ripped-and-metal-stapled tat,
solidarity-with-the-Third World tat tvam asi,
likewise track-and-field shorts worn to parties
and the further humid, modelling negligee
of the Kingdom of Flaunt,
that unchallenged aristocracy.
More plainly climatic, shorts
are farmers' rig, leathery with salt and bonemeal;
are sailors' and branch bankers' rig,
the crisp golfing style
of our youngest male National Costume.
Most loosely, they are Scunge,
ancient Bengal bloomers or moth-eaten hot pants
worn with a former shirt,
feet, beach sand, hair
and a paucity of signals.
Scunge, which is real negligee
housework in a swimsuit, pyjamas worn all day,
is holiday, is freedom from ambition.
Scunge makes you invisible
to the world and yourself.
The entropy of costume,
scunge can get you conquered by more vigorous cultures
and help you notice it less.
To be or to become
is a serious question posed by a work-shorts counter
with its pressed stack, bulk khaki and blue,
reading Yakka or King Gee, crisp with steely warehouse odour.
Satisfied ambition, defeat, true unconcern,
the wish and the knack of self-forgetfulness
all fall within the scunge ambit
wearing board shorts of similar;
it is a kind of weightlessness.
Unlike public nakedness, which in Westerners
is deeply circumstantial, relaxed as exam time,
artless and equal as the corsetry of a hussar regiment,
shorts and their plain like
are an angelic nudity,
spirituality with pockets!
A double updraft as you drop from branch to pool!
Ideal for getting served last
in shops of the temperate zone
they are also ideal for going home, into space,
into time, to farm the mind's Sabine acres
for product and subsistence.
Now that everyone who yearned to wear long pants
has essentially achieved them,
long pants, which have themselves been underwear
repeatedly, and underground more than once,
it is time perhaps to cherish the culture of shorts,
to moderate grim vigour
with the knobble of bare knees,
to cool bareknuckle feet in inland water,
slapping flies with a book on solar wind
or a patient bare hand, beneath the cadjiput trees,
to be walking meditatively
among green timber, through the grassy forest
towards a calm sea
and looking across to more of that great island
and the further tropics.
|
Written by
Wilfred Owen |
I
Happy are men who yet before they are killed
Can let their veins run cold.
Whom no compassion fleers
Or makes their feet
Sore on the alleys cobbled with their brothers.
The front line withers,
But they are troops who fade, not flowers
For poets' tearful fooling:
Men, gaps for filling
Losses who might have fought
Longer; but no one bothers.
II
And some cease feeling
Even themselves or for themselves.
Dullness best solves
The tease and doubt of shelling,
And Chance's strange arithmetic
Comes simpler than the reckoning of their shilling.
They keep no check on Armies' decimation.
III
Happy are these who lose imagination:
They have enough to carry with ammunition.
Their spirit drags no pack.
Their old wounds save with cold can not more ache.
Having seen all things red,
Their eyes are rid
Of the hurt of the colour of blood for ever.
And terror's first constriction over,
Their hearts remain small drawn.
Their senses in some scorching cautery of battle
Now long since ironed,
Can laugh among the dying, unconcerned.
IV
Happy the soldier home, with not a notion
How somewhere, every dawn, some men attack,
And many sighs are drained.
Happy the lad whose mind was never trained:
His days are worth forgetting more than not.
He sings along the march
Which we march taciturn, because of dusk,
The long, forlorn, relentless trend
From larger day to huger night.
V
We wise, who with a thought besmirch
Blood over all our soul,
How should we see our task
But through his blunt and lashless eyes?
Alive, he is not vital overmuch;
Dying, not mortal overmuch;
Nor sad, nor proud,
Nor curious at all.
He cannot tell
Old men's placidity from his.
VI
But cursed are dullards whom no cannon stuns,
That they should be as stones.
Wretched are they, and mean
With paucity that never was simplicity.
By choice they made themselves immune
To pity and whatever mourns in man
Before the last sea and the hapless stars;
Whatever mourns when many leave these shores;
Whatever shares
The eternal reciprocity of tears.
|
Written by
Barry Tebb |
Sitting in outpatients
With my own minor ills
Dawn’s depression lifts
To the lilt of amitryptilene,
A double dose for a day’s journey
To a distant ward.
The word was out that Simmons
Had died eighteen months after
An aneurism at sixty seven.
The meeting he proposed in his second letter
Could never happen: a few days later
A Christmas card in Gaelic - Nollaig Shona -
Then silence, an unbearable chasm
Of wondering if I’d inadvertently offended.
A year later a second card explained the silence:
I joined the queue of mourners:
It was August when I saw the Guardian obituary
Behind glass in the Poetry Library.
How astonishing the colour photo,
The mane of white hair,
The proud mien, the wry smile,
Perfect for a bust by Epstein
Or Gaudier Brjeska a century earlier.
I stood by the shelves
Leafing through your books
With their worn covers,
Remarking the paucity
Of recent borrowings
And the ommisions
From the anthologies.
“I’m a bit out of fashion
But still bringing out books
Armitage didn’t put me in at all
The egregarious Silkin
Tried to get off with my wife -
May he rest in peace.
I can’t remember what angered me
About Geoffrey Hill, quite funny
In a nervous, melancholic way,
A mask you wouldn’t get behind.
Harrison and I were close for years
But it sort of faded when he wrote
He wanted to hear no more
Of my personal life.
I went to his reading in Galway
Where he walked in his cosy regalia
Crossed the length of the bar
To embrace me, manic about the necessity
Of doing big shows in the Balkans.
I taught him all he knows, says aging poet!
And he’s forgotten the best bits,
He knows my work, how quickly
vanity will undo a man.
Tom Blackburn was Gregory Fellow
In my day, a bit mad
But a good and kind poet.”
I read your last book
The Company of Children,
You sent me to review -
Your best by so far
It seemed an angel
Had stolen your pen -
The solitary aging singer
Whispering his last song.
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