Poems

We couldn’t get the parts to write this poem

Our metaphor container ship is dry-docked in Bratislava and our simile warehouse in Wuppertal has had to close its doors.   We apologise. Some figments, we believe, may still be in transit, but there are supply chain fractures due to disputes over paperwork.   We’re so sorry that we couldn’t get the parts but the task has not been helped by a generaldip in the market for lyricism in the West   and in the East by surveillance tactics to curb outbreaks of oxymorons, iambics, and randomenjambment. Rising divorce rates between   couplets has also been unprecedented and manyof the major manufacturers of pathetic fallacyhave changed profession, citing burn-out.

The Suitcase

She said she dreamedthat young once moreshe walked a roadthat led from nowhere   into nowhere,and, stopping, placedher name-tagged suitcase down.The question asked   inside her headwas this: ‘Shall I go on,walk on. Or turnand stay a while?’   She turned, and leftthe suitcase standing thereto be reclaimedsome other day   when she would need no proofof who she wasor where she was to go,the handle forming to her hand.

Deciduous

Inevitable autumnafter the excesses of summer:the year has simply nothing more to do.But look: the falling of each single leafis slow and indecisive, hesitantas if (like floating voters) they are notconvinced this is a good way to go;the necessary ending oftheir short aerial adventure – even asthey do the deciduous thing, andfollow the crowd.

The Basilica of the Holy Blood, Brugge

A squeeze-box performs outside:The tinny air is pumpingwThrough its half-forgotten song    Like a failing heart.   The sacred relic’s displayedIn its dull crystal and goldFor visitors to inspect    As they shuffle by.   The priests sit behind it, bored.They are no more concerned thanCustoms officials might be,    Suspicious of the queue.   The phial offers itselfAs contraband of a kind,A miraculous symbol    Taken from a corpse.   Who was this man, whose own songWe have taken for grantedOr heard only in snatches,    Worth his weight in blood?

Giverny (1887)

Thinking on it now, it was like living at sea beneath the whaleback hills, in those blue acres of lavender. Our house was a barge, its chimneys sharing our dreams with the sky. The barns were islands we would swim to through the fields, beyond the shoreline of the lane. Here, we would laze and snooze, sheltering from the unflinching gaze of the noonday sun. Marooned on our beds of hay, we would plot our escape – how one day we might slip away to Vernon, board the train to Paris and live as bohemians on the banks of the Seine, selling our paintings of the north, telling tales of the blue seas of Normandy.

Just Desserts

Whit Sunday, blustery heat, and you in three-piece suit to read the Second Lesson.   The day before, I’d excavated Arctic Rolls from ice-shelves in the local store’s deep freeze.   We ate them reverently, like miracles we didn’t quite believe in.   I threw up first and stayed in bed. You soldiered on through hymns of praise   till hot air swayed the church and God stopped leading you in upright ways,   an almighty adjustment that left you face down in the Benedictus, eating dust.

Duality

One day, my fellowoccupant of our cell,you’ll cease to followin my steps, to tell   me, looking throughour single window,about whatever viewyou’ve chosen for the day.   Somehow, absurdly,I’d foreseen collapse,my deserted body,our almost rhyming corpse,   and that you might walk awayjauntily singingto eternity. But, on the day,you only whisper, ‘I’m moving   to another cell, my dear.I’m sorry that we’re losingtouch. The last sound you’ll hearwill be the door closing.

Ladybirds

One summer I’d a plague of them –they looked so pretty in their red and black I didn’t mind them fluttering round but then I’d find one on my pillowor leaving smears across the panes.The boldest liked to totter on my fingerthen take me under her wing –it was lined with finest satinwhich she unfolded like a sheet.For months she hung around the windowtill a gust or rumour took her off. I remember the smooth curve of her backand how she’d tumble from the bed to fetch up madly wriggling on the floorhelpless as an overturned coracle.

Why I Don’t Like Trains

I don’t like trains – People get on who never get off againThey have given me flowerless distances and windows smashed with rainOffered me stations as big as cathedrals where no one spokeAnd no one sangYet when I was a child I loved the engines for their smoke.   Once they offered me soldiersOn country platforms looking for someone’sObscene lost-luggage bomb and the rat-squeak of military headphonesAnd when the food and drink was gone only the children spokeAnd no one sangThough it wouldn’t have hurt for someone to sing or crack a bad joke.

Paintbrush

Yes but, no but, the paintbrush seems to mutterAs I swish it back and forth across the weatherboard,Going with the grain then working against it,   The faded charcoal turning onyx, the wood made rich again,Less true to itself the blacker it getsBut beautiful, the knots like stubborn hearts,   Which is maybe what the brush is trying to say,Yes but, no but, the darkness deepening with each stroke,As if the world weren’t dark enough already.

Curmudgeons Anonymous

I thought about going to a support group. I looked into it in the yellow pages and other outmoded data sets. I came upon a strange group of surly Sues and churlish Chads. We sat around and made high-pitched whines for about an hour. It was a pre-verbal kind of vibe. Some of us barked. We were all royally pissed off by something or other but no one was allowed to say what. That was the beauty of it. In Week Two, we harmonised and made a lovely Whingey Symphony. A person from an Adult Ed course down the hall put their head round, looking for their dog, Brian Eno, who had strayed. We went full-scale Allegro con Moans.

Double Portrait

Just poster paint on coarse paper, pinned up with all the rest by the entrance to the school hall.   Miss Stephenson stopped me and told me she liked it. Or was she married by then? The class gave her   a soft toy at the end of term for her baby-to-be. In Autumn we sat subdued as she returned   childless, but brisk to make us all feel better.I missed the call to claim back my painting.   The photo, too, is lost: my father, semi-slumpedin the low foam chair, flapping his hand while talking,   a blurred gesture I stilled into silence, my mother with her upright posture, conscious of her figure,   her summer sling-backs, the ones she’d slip off to let the dog lick her feet, almost as a favour.

Too Much Holiday Reading

Without friends in low-doored cottagesBeside the lichened walls of churches,   Or wild associates in country pilesWith rotting sash windows,A sitting room just for the catsAnd drifts of broken-hearted furniture,   Or cousins who throw chaotic partiesIn that fine old barn beside the lakeWhere random guests rampage all summer nightAnd strip off intermittently for bathing,   And having no open-minded auntsWith famously hacked-about hairIn tiny little panelled flatsJust round the corner from this or that,   I wonder nonetheless –Were some of the above unearthed not far from here –If they might balk at the breath of my semi-detached, Its plastic double glazing and grey pebble dash,And their involuntary distaste give birth To an insurmountable awkwardnessCausing m.

Everywhere She Goes

Money is coarse. Her subjects take the taint.The humble glow. They smile their Sunday best.And everywhere she goes the Queen smells paint.   She’s there for them that is and them that ain’t.Toffs drop their aitches in the jabber-fest.Money is coarse. Her subjects take the taint.   Some pilgrims sell their souls to view the saint,her crown more halo than its jewels attest.And everywhere she goes the Queen smells paint.   Jewels outshine cash – imperially quaint,like stars, the wearer’s heavenly worth unguessed.Money is coarse. Her subjects take the taint.   Having paid her princes’ ransom in restraint,she pales, as shame starts rising in the west.And everywhere she goes the Queen smells paint.

Roués

Where did they flee to? Who wrote off their debtswhen, scuttled back into a gas mantled past,they left just this pair of foxed silhouettes inlaid to the depths of the shadows they cast?Their off-cuts, spiralled and coiled to the floor,were the shirts off their backs they left behindfor the brilliantined thief and the red-headed whorewho gave them the pox and robbed them both blind.   Brought out for the hanging, downlit, strung alongwith woodcuts and etchings from last season’s sale,mocked by a stag’s head knocked down for a songthey pose cock-a-hoop on a gold picture rail,price-tagged in guineas, cockeyed with surprise,sporting sold stickers, all set for their spree,two roués quick scissorwork snipped and excisednow fallen among the haute bourgeoisie.

Sister/Sestina

Death dropped its guillotine on my sister.She wouldn’t have seen it coming – she’s blind.Was blind: I haven’t got used to the tense.I confuse those still living with those past.What gets me through the evenings is drink.Ironic, that, since drink is what killed her.   I’m guessing it’s unlikely you met her.We were close, I think, though I’ve no other sisterTo compare. Small, curly-haired, fond of a drink,She was, by the end, officially blind:A woman so bright that nothing got pastHer could see only when the light was intense,   Which made every excursion a tenseAffair, for others as well as for her,Her hand clutching your arm as you steered her pastBanana skins and cracks.

The ghosts have lost their confidence

They need to start believing in themselves.Like the cartoon character who runsoff a cliff before the animatorhas drawn solid earth below they expected more certainty than this.Already out of their depth they hesitateat the edge of the sea and wonderhow it feels to dive into the waves. They gaze at the blue-grey eternitybut don’t know if they can swim.

The Antonine Plague

At first it was simply a mild irritation At his slightly buck-toothed expression. He carried on, convincingly enough, But then there was his lisp, you hardly heard it At first, but gradually it became unmissable: THs as Fs. It was tedious. He tended to begin with a slightly out-of-kilter Remark that caused you to pause, But then he expanded, rapidly; his voice Louder by the F, and there was no denial, Remonstration or disagreement. His own opinion poured out of him, Flooding the ears of his unwilling listeners.

Isaac Rosenberg 1917

(Poet and painter born in Bristol 1890, died on the Western Front April 1918. London art studio photo-portrait / National Portrait Gallery / 1917)     The lips are full, fish-like, a deep gulped breath in-held against the body’s bitter will;bottom lip swollen, mouthy as a carp,or a trumpeter’s lips bilged from over-practice.   The eyes expressionless, an inured glaze,a mildewed middle-distance empty stare,the glassy focus a shell-shattering nowhere.The sardonic rat has long riddled through   this seeing, the image stored and stowed inside,the mind already blown, brimming, and everything now numbed, anaesthetised.Later, a dawn raid, your bantam-body unidentified.