Written by
Mark Doty |
When I heard he had entered the harbor,
and circled the wharf for days,
I expected the worst: shallow water,
confusion, some accident to bring
the young humpback to grief.
Don't they depend on a compass
lodged in the salt-flooded folds
of the brain, some delicate
musical mechanism to navigate
their true course? How many ways,
in our century's late iron hours,
might we have led him to disaster?
That, in those days, was how
I'd come to see the world:
dark upon dark, any sense
of spirit an embattled flame
sparked against wind-driven rain
till pain snuffed it out. I thought,
This is what experience gives us ,
and I moved carefully through my life
while I waited. . . Enough,
it wasn't that way at all. The whale
—exuberant, proud maybe, playful,
like the early music of Beethoven—
cruised the footings for smelts
clustered near the pylons
in mercury flocks. He
(do I have the gender right?)
would negotiate the rusty hulls
of the Portuguese fishing boats
—Holy Infant, Little Marie—
with what could only be read
as pleasure, coming close
then diving, trailing on the surface
big spreading circles
until he'd breach, thrilling us
with the release of pressured breath,
and the bulk of his sleek young head
—a wet black leather sofa
already barnacled with ghostly lice—
and his elegant and unlikely mouth,
and the marvelous afterthought of the flukes,
and the way his broad flippers
resembled a pair of clownish gloves
or puppet hands, looming greenish white
beneath the bay's clouded sheen.
When he had consumed his pleasure
of the shimmering swarm, his pleasure, perhaps,
in his own admired performance,
he swam out the harbor mouth,
into the Atlantic. And though grief
has seemed to me itself a dim,
salt suspension in which I've moved,
blind thing, day by day,
through the wreckage, barely aware
of what I stumbled toward, even I
couldn't help but look
at the way this immense figure
graces the dark medium,
and shines so: heaviness
which is no burden to itself.
What did you think, that joy
was some slight thing?
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Written by
John Betjeman |
Encase your legs in nylons,
Bestride your hills with pylons
O age without a soul;
Away with gentle willows
And all the elmy billows
That through your valleys roll.
Let's say goodbye to hedges
And roads with grassy edges
And winding country lanes;
Let all things travel faster
Where motor car is master
Till only Speed remains.
Destroy the ancient inn-signs
But strew the roads with tin signs
'Keep Left,' 'M4,' 'Keep Out!'
Command, instruction, warning,
Repetitive adorning
The rockeried roundabout;
For every raw obscenity
Must have its small 'amenity,'
Its patch of shaven green,
And hoardings look a wonder
In banks of floribunda
With floodlights in between.
Leave no old village standing
Which could provide a landing
For aeroplanes to roar,
But spare such cheap defacements
As huts with shattered casements
Unlived-in since the war.
Let no provincial High Street
Which might be your or my street
Look as it used to do,
But let the chain stores place here
Their miles of black glass facia
And traffic thunder through.
And if there is some scenery,
Some unpretentious greenery,
Surviving anywhere,
It does not need protecting
For soon we'll be erecting
A Power Station there.
When all our roads are lighted
By concrete monsters sited
Like gallows overhead,
Bathed in the yellow vomit
Each monster belches from it,
We'll know that we are dead.
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Written by
Barry Tebb |
I have no camera but imagination’s tinted glass
I cannot pass this crumbling dry stone wall
Without a break to catch the vistas of the chain of Pennine hills
That splash their shades of colour like mercury in the rising glass.
The June sun focuses upon the vivid grass,
The elder’s pale amber, the Victoria Tower’s finger
On the pulse of past shared walks, Emley’s mast
And the girl from there whose early death
We somehow took the blame for: her reach from the beyond.
Still troubles us, the only ones to mourn you, Chris,
Your corn-gold hair splayed like a longship’s mast
You sailed to Valhalla through a sea of passing loves,
The deceits of married men who took your beauty
For a moment’s gift then cast you with your seven year old son adrift.
The sun has gone but birdsong blunders on
As I take courage from the gone, the waving grass,
The sculptured pylons of my shadowed past.
|
Written by
Barry Tebb |
I struggled through streets of
Bricked-up, boarded-up houses,
Mostly burned-out, keeping
To the middle of the road,
Watching the abandoned gardens
With here and there a house
Still lived in, curtained
Against the daylight and distantly
I saw the iron railings of the school
I’d taught in thirty years before.
The same brick buildings, hop scotch
Squares and rounders posts
And the sign, ‘Welcome to Wyther Park
Primary School’. The wooden prefabs
Where I taught poetry nine till four
Replaced by newer prefabs of I don’t
Know what, hidden in trees with
Thirty years more growth, one playground
Grassed over, with benches and tables
Like a pub garden, yet there was the same
Innocence still, my inner sense declared.
I sat on a stone seat by the bridge
Over the canal, watching the pylons
Stretching away to Kirkstall Forge,
By the steps to the railway where
Once the station stood that took us
Every year to Flamborough Head.
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