Poems

Poem after Three Words by Anne Truitt, Sculptor (1921-2004)

Private, intimate, sensate;  breaching that homeless ache beyond the reach of language,  to make sculptures that seem  to float just above the ground,  narrow columns, six feet high, clothed in succulent colours;  sentinels in communion, sensate spirits always reaching upward, into the light, letting go the personal to know the divine. Age eleven Anne longs to escape from the private gloom of home; is given a red and white bicycle, explores her home town, mapping Easton’s grid pattern, cycling north,  south, east and west, memorising its layout, until she knows every alley, finds in a neglected yard, a strange being, a mirror ball reflecting the town, the trees, her own face turned comical.

Fifteen Years and Counting

Today, fifteen years later and counting, your formal raincoat still belongs to me. It’s the black one you bought for funerals when your own old age was fast approaching. I’d leave it at home, safe from rips or stains, but every time I head for the trade fair and shrug it on in the hotel lobby,  it pauses to give me an awkward hug.

Ex-Boxer

We didn’t smirk at his comb-over. After work he trained the juniors at Holden Lane gym. Always chewing. At the twitch of his shoulder we’d duck forwards, knowing he’d go for our bollocks, twist them. And not just us, always full of it: contracts manager, market inspector, fire officer, no one safe.

Plodding

I am plodding around the pondbecause exercise is good for me.Even when it’s pouring with rainI am plodding around the pond. Today, on a bench beside the pond,there’s a boy and girl sittingon a bench in the rain neither talkingnor touching, together but not together. Three times I plod around the pond –exercise being good for me – and onthe third time when it is still rainingand the two are still sitting thereneither talking nor touching, togetherbut not together, my desperate heartcan bear it no longer. I stop and accostthem. Can you not hold hands? I ask. Not a word does the girl say but her facelights up like someone just coming aliveand she takes the boy’s hand. Then I amskipping – no, too rash – I am ploddingaround the pond, exercise being good for me.

Signature

Rather than who were picking upthe big bonuses, it was his signatureI’d look for when signing for my wages.Just another bloke on the gang,no particular accent or hairstyle,but his handwriting – in fountain pen,not the Sellotape-bound birodangling from the clipboard –wouldn’t have been out of placein a shipping company’s ledgeror even a Book of Hours.

Erik Satie is Alone

I have decided I know nothing and to start from there. To start with a folk song I heard across some field near Argentière perhaps fifteen years ago. The man singing had a poor voice but failure is most of life. The cracked pot, the stumble, the harvest in too late. I would like music to take us not too far from that. I think of villagers with oak-mallets and old hammers bashing at stakes as if ensuring the dead stay underground or stamping and railing at them for their deaths, jealous of their heavy deaths, those who are filled with earth. Jealous of their deaths with all the regret of life. I am hanging silences between thin black notes.

The Stick

You can hear it coming down the road: the stick of old age. No Yeats. No rage. Insistent, pervasive, it permeates the brain like acid. Like an insistent stain. Inside the carapace it works its insidious way into the very heart of existence. There to stay. Silent inside the darkness  hidden from all evidence, it finds its way alone into the very marrow, through the bone. The tap, tap, tap of time beating its threatening percussions on the brain.  Insistent. Like pain. Not a hint of wind. From leaves, not the slightest stir. The sky clear.

Injury Time

Your parents, like mine a decade ago, are hauling themselves around their own home like a team of exhausted footballers who’ve given up on finding a winner but are still chasing an equaliser in the ninety-third minute to make up for the chances they’ve missed throughout the match, knowing full well that the final whistle is set to be blown any moment now.

Interloper

That brush I happened uponin our dimly lit outhouse, onemother used whilst I was in her bellyand all through my childhood. Its bristles worn shorter than a fingernail,I wrapped it in Saturday’s Finaland tied it with string, put it in for exchangeon a day he was too rushed to check. Clearly not one of the firm’s,they displayed it down the offices,hung it up on the wall, an exampleof how far he’d driven his men.

Painting Days

In memory of Bruce Chilton  Those unhurried afternoons we stood at our easels, muddying canvas with paint from a dinner plate. Schubert’s Trout Sonata on Radio 3. Tea stone cold, we were more Pete and Dud than Monet and Renoir, barely exchanging a word while the sun washed the room with light.  Occasionally, taken with the music, he’d give voice to a note or phrase, forgetting perhaps I was there.  There’d be a stop for a pipe; a pause for lunch – always sandwiches and soup. ‘Could I trouble you for some mustard?’ A little cricket talk, perhaps, or something about his motorcycle, some nuisance with the carburettor, or a tie he had his eye on in Jarrolds (‘But not at that price’).

A Belfast Stroll

Our walking-tour guide says sealsfor sails and crayeen for crown, leads usalong the Lagan to 70 foot Nualawith the Hula (aka The Beacon of Hope).For every jab at the IRA, there’s a quipagainst the UVF. Ask me my politics, my religion,you can’t shock me. A gauntlet thrownwith an ironic smile: to rip himby the roots, box and label,here where lamp posts flash allegianceand street names are fuses. The secret leaks into how we listen,refuses to break covenantwith neutrality, shields tribal DNAfrom trip wires of language.Some call them freedom fighters,some say terrorists, but I say bastards! Only joking – I say paramilitaries.

Daylight

Day coming up on a dimmer switch, taking over from the night shift, colour starting, warming to the touch, as day comes up on a dimmer switch. It isn’t time’s bright promises so much as light’s quiet praise that is the gift of day coming up on a dimmer switch, taking over from the night shift.

Short-cuts

They say a trodden path is sounder For ghosts of feet that went before. And though it feels familiar We tend to choose this long way round. But is it even true it’s longer? Most byways offer to the eye Extraordinary delights denied To those who join the trudging throng. I’ll slip through the restricted quarter And leave the main road for a track That shows no sign of winding back: A short cut isn’t always short. I wouldn’t want to get there sooner, The absolute, my destiny. It’s hard enough to plan that journey. There is no short-cut to the moon. The truly human is the truant, The sense that truth only resides Just to one side of things, beside The route that shoulders blindly through.

In Praise of Newsprint

The first newspaper after the cyclone was surprisingly welcome, not so much for the news but for the paper itself, the newsprint, with its soft spot-colour, cartoons, non-jittery ads and above all for the puzzle pages aching for the press of biro and unhurried completion. Welcome, too, the simple foldable feel of it, just me and the daily rag, the global hordes pressing behind my personal screen negated for a bit, and me and the world none the worse for it.

There is Within Us Eternal Spring

Who are we to wish the clocks reverse and we are back to spring? Who would deny the falling leaves, the receding hairline of autumn? Who would wish away the change in air, hope to transformation? The elegance of gusty days, leaves flying in eddies of reminiscences, a quiet comfort to becalm the storm, to listen to the fury, out there, elsewhere. We embrace autumn and even winter has its charms, embraced in wonder. Time is a ghost, but we aren’t yet, we welcome new horizons, waiting.

Days

How slow the days pass, creep like this river as it slides slovenly under its stone hoop the floating leaves like pencil shavings. There is too much time. John posts a poem on being blazered up for school. I read it, smell new shoes, remember my High School badge, the braid, the Latin tag. ‘We sow, we water but it’s God that gives life to the seed’ (‘and pays the compound interest’) Father quipped but I was young, I didn’t understand. Nor did I know how long that clear, untrodden life of mine might stretch, be like this river, nosing its way somewhere with me in tow.

Cups and Bowls

The kettle doesn’t know it needs a cup To hold the water it was plugged to boil: Where was the I when nature thought me up? When air entered my lungs, made me uncoil? Now that the body starts to flinch and falter, There’s no way that the I is getting out. Nature persists as circumstances alter. The cup’s the part that’s broken, not the spout. Again, what of the primal soup so-called? What consciousness was lurking in that gloop To meet the grateful bowl that holds our brains? Brimful, our life, and what it all contains Is nothing but the sight of death, forestalled By stubborn hope of something more than soup.

Orwell’s Allotment

We’d see him digging in tweeds, as gangly  as a trellis of snap beans, his footprints like sinkholes in the earth. This is where  the plots thickened; his tie slung over his  collar, his shoulder pressed to the shovel.  Tired of the schoolroom, he swapped  chalk for trowel, tending the sorrel coming  up for air. The allotment was his Innisfree,  humming tunelessly with the bees, bothered  only by robins and chiffchaffs. Unlike Yeats,  he knew that one bean-row was enough.   But it never seemed to do him good.  As sickly as a blighted marrow, his skin was pale as parsnip.

By Candlelight

We read poetry to each other by flickering glow,  leaning into lilting seas, an eloquent calling,  a mesmerising renewal, our whole world opens up before us, clear light, sensation of sand on  toes, warm and delicate as future memories, feelings of spring, a quiet warming of lives to all that’s to come. Voices gently tremble, so close to each other now, an opening up  of hearts and flowers. Candles flicker in distant breeze, articulation of poetry’s sacred grace,  something so powerful to articulate the stars, the whole universe is in our hands, lush oasis in the tempest, words and lips hold such power, books fall to the floor, the night is ours alone.

A Thousand Ships

That must have been a fairly happy day — squeezed together in the booth and making silly faces. I found the four-leaf photo in a folder from some fifty years ago — she a beauty, me a gurning extra — and wonder how she fared, what stars and headlands she steered by… That year we hitched round Holland, stayed in houseboats and a Javan commune, paid homage to the Van Goghs and the Rembrandts. No trace of her on the nosy internet — though she may have assumed another name. I’m left with the hope, whoever she became, happier days befell her. A fledgling actor, she took the silent part of Helen in Marlowe’s play.