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Saturday, 30 April 2011
I am the spirit of the wall,
I set the bounds beyond which none may pass.
My mission is to keep you separate, divide
by colour, race or creed,
by politics or class.
(I have no preference
as long as there is schism.)
I stand between you, sisters;
brothers; husbands; wives.
It is my shadow falls across your lives.
Believe me, I was there
through all those Berlin years
and still am at my damnedest
in the Arab / Jew divide.
I am the spirit that immured the Saint, the priest,
the awkward customer, so cannot bleat
if people hate me so, and scribble their abusive
words on me. I try to make amends:
I shelter their secluded gardens -
"walled" they call them - and their plants from winds
that otherwise would lay them low.
And so it is that ultimately I
am the divided one, who can be evil, harmless or
a force for good, a thing that children build in fun,
sometimes to dam a river with the likes of me.
And so my motives can be impish,
childish in the worst extreme or practical.
None of which excuses any wrong.
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
Friday, 29 April 2011
The End
This is the end,
the end of time, the end
of one expanding universe,
the end as it will be
for any closed creation.
See the light! Take note. No more
is it redshifted. All implodes,
expansion done
phase 2 in place
the universe now
recollapsing on itself,
its journey done.
All stars and planets,
galaxies and constellations,
all of us
in one mad rush
towards extinction
and that final
bigger bang.
The image was provided by Magpie Tales for this week's prompt.
Closed universes etc See here
Thursday, 28 April 2011
The Apparition of the Family : Chagall
In the process of creation this can be:
an angel host surrounds the artist as he paints,
they hymn the act in which he is engaged,
confirm the godliness of what he does.
We see Chagall before his easel, caught
off-guard it would appear, perhaps because
of those who form the angel choir:
no strangers here, no beings he might fear.
A dozen years it took him to complete,
to limn his daughter, wife and parents
(long since dead), his siblings and -
and here we reach the matter's heart, I'm sure -
the characters - stock characters - that long
have figured in his surreal art. They all are there:
the Jew who guards the Torah and the cow,
the female fiddler and the angel, straight
from heaven - having fallen from it in
some canvases. His paints and brushes
idle on his lap, his hand is on his heart,
a wistful look pervades his youthful face.
We may choose our friends, so we are told,
but not our relatives. Chagall found ways
not just to choose, but to create the souls
to see him through the spirit times ahead.
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
Wednesday, 27 April 2011
A Memory of War
Torn from dream
and very like a dream:
two half worlds
telescoped as one.
Asleep, my mother next to me,
my bed made up downstairs
on doctor's orders.
A sudden shock,
a scream, a pang
of fear and stab of pain
that take the breath from me
and savage me awake -
and there's my father,
motionless,
limbs spread like some crashed eagle
breathless too, on top of us,
his hard, white Air Raid Warden's hat
skewwhiff upon his head,
his gas mask on his back;
thick rubber-booted -
and the ceiling coming down on all of us,
the whole world turning white.
One thing I do remember vividly...
No, not the missing ceiling,
that was soon put right.
The French doors to the garden:
six glass panels, leaded;
assemblages of diamond shapes
and triangles of glass, now curved with grace,
convex, concave alternately.
You might have thought they'd been designed that way.
"Blast do do funny things," my Granddad said.
I don't recall them
ever being different, after that.
The house, like people that I'd get to know:
among its many wounds, this one
that no one thought to heal.
*
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
and very like a dream:
two half worlds
telescoped as one.
Asleep, my mother next to me,
my bed made up downstairs
on doctor's orders.
A sudden shock,
a scream, a pang
of fear and stab of pain
that take the breath from me
and savage me awake -
and there's my father,
motionless,
limbs spread like some crashed eagle
breathless too, on top of us,
his hard, white Air Raid Warden's hat
skewwhiff upon his head,
his gas mask on his back;
thick rubber-booted -
and the ceiling coming down on all of us,
the whole world turning white.
One thing I do remember vividly...
No, not the missing ceiling,
that was soon put right.
The French doors to the garden:
six glass panels, leaded;
assemblages of diamond shapes
and triangles of glass, now curved with grace,
convex, concave alternately.
You might have thought they'd been designed that way.
"Blast do do funny things," my Granddad said.
I don't recall them
ever being different, after that.
The house, like people that I'd get to know:
among its many wounds, this one
that no one thought to heal.
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
Tuesday, 26 April 2011
Mrs God
Mary, she calls herself,
Mary J, to be precise,
a graduate
of all the fat of catteries,
of option trading,
futures and derivatives,
commodities, all speculations,
all of which
she ditched for art...
and found "derivative"
a dirty word.
Telling Melvin Bragg
how Jesus Crucified
had been the greatest installation of them all,
it seemed that she was saying
so much more than that.
(Could more be possible?) At any rate,
she left us all expecting
there was more to come,
some way down the line.
Next thing we knew,
she's in the wilderness
(her one concession
to the history man);
fresh scorpions and honey
delivered on a daily basis
by private helicopter -
and arranging the odd broadcast
to tell the world she is The Christ,
a Messianic Mistress
refigured for the age.
The Gucci Christ,
the papers call her for a while,
until the title Mrs God takes root.
No prophets please, or analysts.
Forget the boxes that you thought you'd tick,
They're staying blank, the lot of them.
No miracles,
no virgin birth,
nothing out of kilter
with the modern age.
She doesn't preach
or heal the sick,
no followers, disciples,
hangers-on... except,
they do exist, and want to know
what they should do.
And as for miracles, there's just the one.
Asked where she came from,
all she says is: "Through the fire."
The story is of 9/11 and
a burning ball of debris
from The North Tower
floating down to earth,
landing softly,
then exploding outwards.
Trapped inside,
she walks out, needing plastic surgery,
but otherwise intact.
A miracle of sorts,
but who performed it?
Who believes it?
She calls it fantasy
and plays it time and time again
to build it into something more.
Not preaching, but campaigning,
advocating something new. She says:
the spirit life begins in fantasy,
but left there, is a sickly child
forsaken on the mountainside.
Pick up your sickly child,
she says, and bring it to the crèche.
God, if He Is God,
must be all-powerful,
able to reveal himself
as this unlikely Millionairess in
her limousine with darkened windows...
The question is: why would He, though?
She has a church-cum-gallery,
the crèche, a place
of videoes and installations,
each one capable
of messing with your head.
Then something happens.
Something extraordinary. This:
the world takes to itself -
and almost overnight -
the thought that it is entering
the epoch of the last extinction.
This changes everything:
not the fact of, the belief that.
That changes everything.
Across the continents
the people go to bed each night
and dream her videoes .
People who have never seen them in reality
are watching them in dreams.
And watching them, they're watching her,
the universal star -
and everything is possible
to those with power
to enter other people's dreams.
And everything they've ever
heard and half remembered
from teachers of the past,
from Sunday School and marriages,
from funerals and Christenings, from fragments
of the Talmud or the Mishnah,
Ta-ts'ang-ching or Tripitaka (The three
baskets) or the parables of Jesus
Christ (and many more - the
Buddhavacana texts maybe), all
little sticky bits that stick at times like these,
along with lives of common, unregarded things
like trees and clouds and emptiness
and moments lost in space.
She is the final arbiter
of what will come to pass,
a bird kept captive
on an ocean liner and set free
a thousand miles from land
to dream how land should be,
to dream the lore
whose messages are varied, mixed;
whose concepts have too many parts.
No more are they for simple hearts.
Her sermon in The Great Mall, for example:
"Blessed are they who work with chaos
for theirs is the beauty of heaven.
Blessed are the conservers of life's riches,
for they have understood Earth's first equation.
Blessed are the enquirers of the spirit,
for they shall be understood.
Blessed are the engineers of life,
for theirs is its foundation...."
and so on, and so on.
And if you dream that Earth has died,
then dream it back alive
again,
become a partner to the dream,
the solace of the trees is yours -
and in the trees is everything.
Mary J, to be precise,
a graduate
of all the fat of catteries,
of option trading,
futures and derivatives,
commodities, all speculations,
all of which
she ditched for art...
and found "derivative"
a dirty word.
Telling Melvin Bragg
how Jesus Crucified
had been the greatest installation of them all,
it seemed that she was saying
so much more than that.
(Could more be possible?) At any rate,
she left us all expecting
there was more to come,
some way down the line.
Next thing we knew,
she's in the wilderness
(her one concession
to the history man);
fresh scorpions and honey
delivered on a daily basis
by private helicopter -
and arranging the odd broadcast
to tell the world she is The Christ,
a Messianic Mistress
refigured for the age.
The Gucci Christ,
the papers call her for a while,
until the title Mrs God takes root.
No prophets please, or analysts.
Forget the boxes that you thought you'd tick,
They're staying blank, the lot of them.
No miracles,
no virgin birth,
nothing out of kilter
with the modern age.
She doesn't preach
or heal the sick,
no followers, disciples,
hangers-on... except,
they do exist, and want to know
what they should do.
And as for miracles, there's just the one.
Asked where she came from,
all she says is: "Through the fire."
The story is of 9/11 and
a burning ball of debris
from The North Tower
floating down to earth,
landing softly,
then exploding outwards.
Trapped inside,
she walks out, needing plastic surgery,
but otherwise intact.
A miracle of sorts,
but who performed it?
Who believes it?
She calls it fantasy
and plays it time and time again
to build it into something more.
Not preaching, but campaigning,
advocating something new. She says:
the spirit life begins in fantasy,
but left there, is a sickly child
forsaken on the mountainside.
Pick up your sickly child,
she says, and bring it to the crèche.
God, if He Is God,
must be all-powerful,
able to reveal himself
as this unlikely Millionairess in
her limousine with darkened windows...
The question is: why would He, though?
She has a church-cum-gallery,
the crèche, a place
of videoes and installations,
each one capable
of messing with your head.
Then something happens.
Something extraordinary. This:
the world takes to itself -
and almost overnight -
the thought that it is entering
the epoch of the last extinction.
This changes everything:
not the fact of, the belief that.
That changes everything.
Across the continents
the people go to bed each night
and dream her videoes .
People who have never seen them in reality
are watching them in dreams.
And watching them, they're watching her,
the universal star -
and everything is possible
to those with power
to enter other people's dreams.
And everything they've ever
heard and half remembered
from teachers of the past,
from Sunday School and marriages,
from funerals and Christenings, from fragments
of the Talmud or the Mishnah,
Ta-ts'ang-ching or Tripitaka (The three
baskets) or the parables of Jesus
Christ (and many more - the
Buddhavacana texts maybe), all
little sticky bits that stick at times like these,
along with lives of common, unregarded things
like trees and clouds and emptiness
and moments lost in space.
She is the final arbiter
of what will come to pass,
a bird kept captive
on an ocean liner and set free
a thousand miles from land
to dream how land should be,
to dream the lore
whose messages are varied, mixed;
whose concepts have too many parts.
No more are they for simple hearts.
Her sermon in The Great Mall, for example:
"Blessed are they who work with chaos
for theirs is the beauty of heaven.
Blessed are the conservers of life's riches,
for they have understood Earth's first equation.
Blessed are the enquirers of the spirit,
for they shall be understood.
Blessed are the engineers of life,
for theirs is its foundation...."
and so on, and so on.
And if you dream that Earth has died,
then dream it back alive
again,
become a partner to the dream,
the solace of the trees is yours -
and in the trees is everything.
Monday, 25 April 2011
Two Haiku
let Easter come when it will -
the tree peony.
cuttings hang like Christmas chains
from the spiders' silks
Sunday, 24 April 2011
Easter Sunday Morning
Easter Sunday Morning and the valley
black with cloud that hangs or feels like treacle
from the hills. Once more he scrapes the canvas
clean, or nearly so, and looks beyond the
window to the scene he thinks will serve him
well. Three days of passion and there's nothing
yet to show. His broad distemper brush swirls
down from right to left and leaves a trail of
darkly coloured paints. A change of hand, a
further swirl, before he scrubs more darkness
and the highlights disappear. A dry brush
indicates the upright for the cross, its
handle scratches in two arabesques. These
mark for him the way the body hangs.
New inspiration moves him, and a flash of
Gamboge yellow splits the clouds, allows the
sun to burst upon the scene. The minor
miracle... the major still to come. Not
long delayed: the arabesques have changed, no
longer mark the outlines of his clothes and
flesh, but have grown links between them. Formed a
ladder up to heaven? More than that: have
formed a double helix. Could anything
befit an Easter Sunday Morning more?
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
A Happy Easter to you all.
black with cloud that hangs or feels like treacle
from the hills. Once more he scrapes the canvas
clean, or nearly so, and looks beyond the
window to the scene he thinks will serve him
well. Three days of passion and there's nothing
yet to show. His broad distemper brush swirls
down from right to left and leaves a trail of
darkly coloured paints. A change of hand, a
further swirl, before he scrubs more darkness
and the highlights disappear. A dry brush
indicates the upright for the cross, its
handle scratches in two arabesques. These
mark for him the way the body hangs.
New inspiration moves him, and a flash of
Gamboge yellow splits the clouds, allows the
sun to burst upon the scene. The minor
miracle... the major still to come. Not
long delayed: the arabesques have changed, no
longer mark the outlines of his clothes and
flesh, but have grown links between them. Formed a
ladder up to heaven? More than that: have
formed a double helix. Could anything
befit an Easter Sunday Morning more?
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
A Happy Easter to you all.
Saturday, 23 April 2011
The Catwalk Queen
The catwalk queen
with perfect poise
each movement for
a moment poised
soft music plays
it might be dance
were not her steps
each one the same
choreographed
it has the grace
but is not dance.
Insouciant
within each skin
so lightly shed
dispassionate
with each new slink
the hundred eyes
that follow her
are led the same
old dance again.
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
with perfect poise
each movement for
a moment poised
soft music plays
it might be dance
were not her steps
each one the same
choreographed
it has the grace
but is not dance.
Insouciant
within each skin
so lightly shed
dispassionate
with each new slink
the hundred eyes
that follow her
are led the same
old dance again.
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
Friday, 22 April 2011
Good Friday Still Life
What should I put in my Still Life?
Not banjos or guitars,
Chianti bottles, samovars,
exquisite drapery
and through the open window there
some idyll to be seen.
No, pull the curtains, draw the blinds,
then slam the shutters shut.
Now fix them fast to wall and frame,
keep out the wind that blows.
Set on the boards the meanest fare;
no frills of sumptuous art or crafts
except a cross or crucifix
should be included there;
some water and a wholesome loaf
and something that will symbolise
the shadow cast by man.
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
Not banjos or guitars,
Chianti bottles, samovars,
exquisite drapery
and through the open window there
some idyll to be seen.
No, pull the curtains, draw the blinds,
then slam the shutters shut.
Now fix them fast to wall and frame,
keep out the wind that blows.
Set on the boards the meanest fare;
no frills of sumptuous art or crafts
except a cross or crucifix
should be included there;
some water and a wholesome loaf
and something that will symbolise
the shadow cast by man.
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
Thursday, 21 April 2011
Signs of the Arcane
Eat up your eggs and toast, my dear,
to celebrate the dead.
It's hardly proper fare, my dear,
but if you'll wipe your platter bare
the essence of our lore is there.
Remember we are Hung, my dear,
not those Manchu who rule,
who've banned us from our rightful ways,
who take no thought for China, dear,
nor Buddha or his school.
You need to wipe the platter bare
to see the broad design.
Our culture's there in every line
and every detail is a sign
of secrets that we share.
A bit late in the day, but only just got round to The Magpie Tales Monday prompt.
Wednesday, 20 April 2011
Block!
Brilliant as ever
away in midfield,
but frozen when
six yards from goal.
In writers' terms
they're suffering from
a form of strikers' block.
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
away in midfield,
but frozen when
six yards from goal.
In writers' terms
they're suffering from
a form of strikers' block.
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
Tuesday, 19 April 2011
The Fair Isle Pullover
My father's sister knitted it.
Too long, too loose (until it shrank),
the pattern all her own -
she called it "Viking Fair Isle" -
A small boy's world, as seen by her.
Around the waist, shapes on the prowl:
beneath them, grey and yellow lattice work -
perhaps the sea - became for me,
the gold and silver handle
of a Viking sword.
Then there were flowers in great profusion
I could not fit into my fantasy,
but put them on a cliff top. Later on,
it helped to know that longboats
had been called The Flowers of the Sea.
The West End gallery was small and hot,
the paintings jammed together on its walls.
I did not sense the danger of
that single bar electric fire beneath
The Way the World Will End.
The fantasy unrolled, the boats
still sailed their choppy, woolen sea -
except the burn hole grew, the threads
unravelling. When I was told it was beyond
repair, I saw the way the world might end.
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
Too long, too loose (until it shrank),
the pattern all her own -
she called it "Viking Fair Isle" -
A small boy's world, as seen by her.
Around the waist, shapes on the prowl:
beneath them, grey and yellow lattice work -
perhaps the sea - became for me,
the gold and silver handle
of a Viking sword.
Then there were flowers in great profusion
I could not fit into my fantasy,
but put them on a cliff top. Later on,
it helped to know that longboats
had been called The Flowers of the Sea.
The West End gallery was small and hot,
the paintings jammed together on its walls.
I did not sense the danger of
that single bar electric fire beneath
The Way the World Will End.
The fantasy unrolled, the boats
still sailed their choppy, woolen sea -
except the burn hole grew, the threads
unravelling. When I was told it was beyond
repair, I saw the way the world might end.
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
Monday, 18 April 2011
Brian
"A sod of a boy!"
He'd say it of himself.
"One of the lost."
"Billy changed all that."
Brian was a friend,
one of the best.
"No, Christ changed that,"
he would correct me - or himself -
"through Billy Graham".
You had to be impressed.
The proof was there
in what he was.
And so it happened that
when Billy came to Wembley
I was there,
expecting a lone act.
But Billy brought his pardner -
Roy Rogers and his horse.
Roy told us all
to "Saddle up yous hosses
and ride hard for the Lord!"
And that's how
Billy lost me -
and Jesus nearly did.
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
He'd say it of himself.
"One of the lost."
"Billy changed all that."
Brian was a friend,
one of the best.
"No, Christ changed that,"
he would correct me - or himself -
"through Billy Graham".
You had to be impressed.
The proof was there
in what he was.
And so it happened that
when Billy came to Wembley
I was there,
expecting a lone act.
But Billy brought his pardner -
Roy Rogers and his horse.
Roy told us all
to "Saddle up yous hosses
and ride hard for the Lord!"
And that's how
Billy lost me -
and Jesus nearly did.
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
Sunday, 17 April 2011
Caedmon
He sang as a bird might sing: clear,
full-bodied, matching every note
to the subtleties and splendours of a God who spoke.
But this was all in dream, in his small
private world. In ours
he had no rank or station, and he had no voice.
Yet just because he sang so in that dream
the power came to his life. He sang
of things he had not known before. His voice
thrilled through the pious monasteries. The bleak
religion of his day awoke to pray.
His world was shadowy;
the cattle alone for Caedmon were reality.
The Abbess Hilda was not real.
He knew her, of her, fed her cattle:
she remained
a symbol of his bread and butter.
Facing her across the hallowed study,
terrified to speak lest he should break the spell,
he felt the symbol change,
felt living water like a spring
well up from the abbess in her, welcome him.
The world had lost a servant, gained a limb .
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
full-bodied, matching every note
to the subtleties and splendours of a God who spoke.
But this was all in dream, in his small
private world. In ours
he had no rank or station, and he had no voice.
Yet just because he sang so in that dream
the power came to his life. He sang
of things he had not known before. His voice
thrilled through the pious monasteries. The bleak
religion of his day awoke to pray.
His world was shadowy;
the cattle alone for Caedmon were reality.
The Abbess Hilda was not real.
He knew her, of her, fed her cattle:
she remained
a symbol of his bread and butter.
Facing her across the hallowed study,
terrified to speak lest he should break the spell,
he felt the symbol change,
felt living water like a spring
well up from the abbess in her, welcome him.
The world had lost a servant, gained a limb .
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
Saturday, 16 April 2011
As man stands waiting
As man stands waiting on the waterfront -
one front of many fronts of all the waters of the earth,
the sea is taking over from the land
the way that something that is neither day nor night
is taking over from the sun and moon -
the ocean, which he's always felt emergent,
still moving forward from its days as primal soup,
has gone into reverse, moved with the sun and moon towards
a time that will not be, or if it is, will never end; a time
when light and dark will clasp each other. A last gasp
before the last extinction. Sea has ownership of sky,
has spawned a dozen whirlpools where the clouds once were.
Seen through careening walls of water,
a dark and greening sun.
Appropriate, that sea, his cradle,
is to take him back the way he was before:
his flesh and all the flesh and fowl that share the earth with him -
or have done until now.
The wind has tripled many times the height and strength of waves
and driven them against the last remaining land
to splinter them in spray.
That which was solid and eternal as the hills
has ebbed away.
This is my contribution for today to Writers Island's NATIONAL POETRY's Free Writing Month.
Friday, 15 April 2011
Inseparable Lovers
The pinks have lost their passion
and the evening reds have dimmed.
Soft dew, soft light, soft darkness hide the thoughts
of these inseparable lovers, earth and sun.
Their ardour done,
their hidden source of energy run dry,
they turn apart like two magnetic toys
that will return.
Moon and stars may smooth their counterpane,
but I will not intrude.
Who knows what promises these lovers dream
who eight swift hours from now
will stir to some pale, tender
and involuntary touch?
and the evening reds have dimmed.
Soft dew, soft light, soft darkness hide the thoughts
of these inseparable lovers, earth and sun.
Their ardour done,
their hidden source of energy run dry,
they turn apart like two magnetic toys
that will return.
Moon and stars may smooth their counterpane,
but I will not intrude.
Who knows what promises these lovers dream
who eight swift hours from now
will stir to some pale, tender
and involuntary touch?
Thursday, 14 April 2011
On the Optimum Conditions for Artistic Success - and Eternal Life
How wonderful to have a cave,
a womb-like structure all your own.
(For most, the cave is made of bone.)
How wonderful to have your own
obedient dominatrix
to ply the whip and concrete mix,
to drive you in and seal the door.
There's no way out. How wonderful,
to feel it's in your hands alone,
the magnum opus that you've known
was always there, the magic trick
to reinstate you with mankind.
How marvellous to hollow out
a space devoid of all but wall,
a space where only spirits call.
It needs no more to furnish all
the dream will need to come about.
You hang your fate upon the dream
and ride it like a rocking horse.
It bucks and kicks and throws you off -
until the day the cave has gone.
Wednesday, 13 April 2011
Decibels
Whisper your twelve decibels of love
to drown the heavy traffic's ninety-four.
Not for me the seven score
of jet or heavy metal
(though some love these
when thresholds ease
as hearts recalibrate their scales).
Outside is only amplitude
the loudness lies within
where pain and impercipience
define its narrow range.
A subtle change
of pressures in the air
frets through the fine combs of the ear
and makes no greater stir
than would a wayward lock of hair.
This is the aural frontier
where medium and creature meet,
where comb and hair in silence
turn base configurations into sound -
perhaps the most disfigured sounds on earth,
or Graham's 'one good sound',
the music nature makes occurring.
So now a reservation as I find myself preferring
even megadecibels (in patterned regularity)
to any soft dishelvelment of noise.
I will not hear the scream Munch heard,
so magnify for me the sound of birds
and cherish above all,
the sound of love.
to drown the heavy traffic's ninety-four.
Not for me the seven score
of jet or heavy metal
(though some love these
when thresholds ease
as hearts recalibrate their scales).
Outside is only amplitude
the loudness lies within
where pain and impercipience
define its narrow range.
A subtle change
of pressures in the air
frets through the fine combs of the ear
and makes no greater stir
than would a wayward lock of hair.
This is the aural frontier
where medium and creature meet,
where comb and hair in silence
turn base configurations into sound -
perhaps the most disfigured sounds on earth,
or Graham's 'one good sound',
the music nature makes occurring.
So now a reservation as I find myself preferring
even megadecibels (in patterned regularity)
to any soft dishelvelment of noise.
I will not hear the scream Munch heard,
so magnify for me the sound of birds
and cherish above all,
the sound of love.
Tuesday, 12 April 2011
Space
It's the invisibility of space
that makes it so appealing to the eyes.
It's what we cannot hear that makes each sound
a prized possession
and a silence so profound,
for silence too is spatial
and space a place for resonance.
We long for both,
appreciate
their attributes and shape,
the way they fold around us and become
one gown to hide our nakedness.
We wear it like a shroud.
that makes it so appealing to the eyes.
It's what we cannot hear that makes each sound
a prized possession
and a silence so profound,
for silence too is spatial
and space a place for resonance.
We long for both,
appreciate
their attributes and shape,
the way they fold around us and become
one gown to hide our nakedness.
We wear it like a shroud.
Monday, 11 April 2011
A Problem
It was always a problem
when I was a boy
that the dead we buried
would go to a heaven
above the sky.
I asked around,
the vicar first:
the dead we bury -
they go to heaven?
They do indeed!
Why do we launch them, then
in quite the wrong
direction?
He promised me a year or two
would see me understand.
He was wrong, of course:
it never did.
Though it's not a problem
for me these days,
I think it is for some.
A stone in the churchyard
reads "Father and husband,
John lies here,
departed this life
and raised to Heaven... "
when I was a boy
that the dead we buried
would go to a heaven
above the sky.
I asked around,
the vicar first:
the dead we bury -
they go to heaven?
They do indeed!
Why do we launch them, then
in quite the wrong
direction?
He promised me a year or two
would see me understand.
He was wrong, of course:
it never did.
Though it's not a problem
for me these days,
I think it is for some.
A stone in the churchyard
reads "Father and husband,
John lies here,
departed this life
and raised to Heaven... "
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