And how what’s come upon is manifest
Only in light of what has been gone through.
Seventh heaven may be
The whole truth of a sixth sense come to pass.
At any rate, when light breaks over me
The way it did on the road beyond Coleraine
Where wind got saltier, the sky more hurried
And silver lamé shivered on the Bann
Out in mid-channel between the painted poles,
That day I’ll be in step with what escaped me.
The Rain Stick
for Beth and Rand
Up-end the rain stick and what happens next
Is a music that you never would have known
To listen for. In a cactus stalk
Downpour, sluice-rush, spillage and backwash
Come flowing through. You stand there like a pipe
Being played by water, you shake it again lightly
And diminuendo runs through all its scales
Like a gutter stopping trickling. And now here comes
A sprinkle of drops out of the freshened leaves,
Then subtle little wets off grass and daisies;
Then glitter-drizzle, almost-breaths of air.
Up-end the stick again. What happens next
Is undiminished for having happened once,
Twice, ten, a thousand times before.
Who cares if all the music that transpires
Is the fall of grit or dry seeds through a cactus?
You are like a rich man entering heaven
Through the ear of a raindrop. Listen now again.
Mint
It looked like a clump of small dusty nettles
Growing wild at the gable of the house
Beyond where we dumped our refuse and old bottles:
Unverdant ever, almost beneath notice.
But, to be fair, it also spelled promise
And newness in the back yard of our life
As if something callow yet tenacious
Sauntered in green alleys and grew rife.
The snip of scissor blades, the light of Sunday
Mornings when the mint was cut and loved:
My last things will be first things slipping from me.
Yet let all things go free that have survived.
Let the smells of mint go heady and defenceless
Like inmates liberated in that yard.
Like the disregarded ones we turned against
Because we’d failed them by our disregard.
A Sofa in the Forties
All of us on the sofa in a line, kneeling
Behind each other, eldest down to youngest,
Elbows going like pistons, for this was a train
And between the jamb-wall and the bedroom door
Our speed and distance were inestimable.
First we shunted, then we whistled, then
Somebody collected the invisible
For tickets and very gravely punched it
As carriage after carriage under us
Moved faster, chooka-chook, the sofa legs
Went giddy and the unreachable ones
Far out on the kitchen floor began to wave.
*
Ghost-train? Death-gondola? The carved, curved ends,
Black leatherette and ornate gauntness of it
Made it seem the sofa had achieved
Flotation. Its castors on tiptoe,
Its braid and fluent backboard gave it airs
Of superannuated pageantry:
When visitors endured it, straight-backed,
When it stood off in its own remoteness,
When the insufficient toys appeared on it
On Christmas mornings, it held out as itself,
Potentially heavenbound, earthbound for sure,
Among things that might add up or let you down.
*
We entered history and ignorance
Under the wireless shelf. Yippee-i-ay,
Sang ‘The Riders of the Range’, HERE IS THE NEWS,
Said the absolute speaker. Between him and us
A great gulf was fixed where pronunciation
Reigned tyrannically. The aerial wire
Swept from a treetop down in through a hole
Bored in the windowframe. When it moved in wind,
The sway of language and its furtherings
Swept and swayed in us like nets in water
Or the abstract, lonely curve of distant trains
As we entered history and ignorance.
*
We occupied our seats with all our might,
Fit for the uncomfortableness.
Constancy was its own reward already.
Out in front, on the big upholstered arm,
Somebody craned to the side, driver or
Fireman, wiping his dry brow with the air
Of one who had run the gauntlet. We were
The last thing on his mind, it seemed; we sensed
A tunnel coming up where we’d pour through
Like unlit carriages through fields at night,
Our only job to sit, eyes straight ahead,
And be transported and make engine noise.
Keeping Going
for Hugh
The piper coming from far away is you
With a whitewash brush for a sporran
Wobbling round you, a kitchen chair
Upside down on your shoulder, your right arm
Pretending to tuck the bag beneath your elbow,
Your pop-eyes and big cheeks nearly bursting
With laughter, but keeping the drone going on
Interminably, between catches of breath.
*
The whitewash brush. An old blanched skirted thing
On the back of the byre door, biding its time
Until spring airs spelled lime in a work-bucket
And a potstick to mix it in with water.
Those smells brought tears to the eyes, we inhaled
A kind of greeny burning and thought of brimstone.
But the slop of the actual job
Of brushing walls, the watery grey
Being lashed on in broad swatches, then drying out
Whiter and whiter, all that worked like magic.
Where had we come from, what was this kingdom
We knew we’d been restored to? Our shadows
Moved on the wall and a tar border glittered
The full length of the house, a black divide
Like a freshly opened, pungent, reeking trench.
*
Piss at the gable, the dead will congregate.
But separately. The women after dark,
Hunkering there a moment before bedtime,
The only time the soul was let alone,
The only time that face and body calmed
In the eye of heaven.
Buttermilk and urine,
The pantry, the housed beasts, the listening bedroom.
We were all together there in a foretime,
In a knowledge that might not translate beyond
Those wind-heaved midnights we still cannot be sure
Happened or not. It smelled of hill-fort clay
And cattle dung. When the thorn tree was cut down
You broke your arm. I shared the dread
When a strange bird perched for days on the byre roof.
*
That scene, with Macbeth helpless and desperate
In his nightmare – when he meets the hags again
And sees the apparitions in the pot –
I felt at home with that one all right. Hearth,
Steam and ululation, the smoky hair
Curtaining a cheek. ‘Don’t go near bad boys
In that college that you’re bound for. Do you hear me?
Do you hear me speaking to you? Don’t forget!’
And then the potstick quickening the gruel,
The steam crown
swirled, everything intimate
And fear-swathed brightening for a moment,
Then going dull and fatal and away.
*
Grey matter like gruel flecked with blood
In spatters on the whitewash. A clean spot
Where his head had been, other stains subsumed
In the parched wall he leant his back against
That morning like any other morning,
Part-time reservist, toting his lunch-box.
A car came slow down Castle Street, made the halt,
Crossed the Diamond, slowed again and stopped
Level with him, although it was not his lift.
And then he saw an ordinary face
For what it was and a gun in his own face.
His right leg was hooked back, his sole and heel
Against the wall, his right knee propped up steady,
So he never moved, just pushed with all his might
Against himself, then fell past the tarred strip,
Feeding the gutter with his copious blood.
*
My dear brother, you have good stamina.
You stay on where it happens. Your big tractor
Pulls up at the Diamond, you wave at people,
You shout and laugh above the revs, you keep
Old roads open by driving on the new ones.
You called the piper’s sporrans whitewash brushes
And then dressed up and marched us through the kitchen,
But you cannot make the dead walk or right wrong.
I see you at the end of your tether sometimes,
In the milking parlour, holding yourself up
Between two cows until your turn goes past,
Then coming to in the smell of dung again
And wondering, is this all? As it was
In the beginning, is now and shall be?
Then rubbing your eyes and seeing our old brush
Up on the byre door, and keeping going.
Two Lorries
It’s raining on black coal and warm wet ashes.
There are tyre-marks in the yard, Agnew’s old lorry
Has all its cribs down and Agnew the coalman
With his Belfast accent’s sweet-talking my mother.
Would she ever go to a film in Magherafelt?
But it’s raining and he still has half the load
To deliver farther on. This time the lode
Our coal came from was silk-black, so the ashes
Will be the silkiest white. The Magherafelt
(Via Toomebridge) bus goes by. The half-stripped lorry
With its emptied, folded coal-bags moves my mother:
The tasty ways of a leather-aproned coalman!
And films no less! The conceit of a coalman …
She goes back in and gets out the black lead
And emery paper, this nineteen-forties mother,
All business round her stove, half-wiping ashes
With a backhand from her cheek as the bolted lorry
Gets revved and turned and heads for Magherafelt
And the last delivery. Oh, Magherafelt!
Oh, dream of red plush and a city coalman
As time fastforwards and a different lorry
Groans into shot, up Broad Street, with a payload
That will blow the bus station to dust and ashes …
After that happened, I’d a vision of my mother,
A revenant on the bench where I would meet her
In that cold-floored waiting-room in Magherafelt,
Her shopping bags full up with shovelled ashes.
Death walked out past her like a dust-faced coalman
Refolding body-bags, plying his load
Empty upon empty, in a flurry
Of motes and engine-revs, but which lorry
Was it now? Young Agnew’s or that other,
Heavier, deadlier one, set to explode
In a time beyond her time in Magherafelt …
So tally bags and sweet-talk darkness, coalman.
Listen to the rain spit in new ashes
As you heft a load of dust that was Magherafelt,
Then reappear from your lorry as my mother’s
Dreamboat coalman filmed in silk-white ashes.
Damson
Gules and cement dust. A matte tacky blood
On the bricklayer’s knuckles, like the damson stain
That seeped through his packed lunch.
A full hod stood
Against the mortared wall, his big bright trowel
In his left hand (for once) was pointing down
As he marvelled at his right, held high and raw:
King of the castle, scaffold-stepper, shown
Bleeding to the world.
Wound that I saw
In glutinous colour fifty years ago –
Damson as omen, weird, a dream to read –
Is weeping with the held-at-arm’s-length dead
From everywhere and nowhere, here and now.
*
Over and over, the slur, the scrape and mix
As he trowelled and retrowelled and laid down
Courses of glum mortar. Then the bricks
Jiggled and settled, tocked and tapped in line.
I loved especially the trowel’s shine,
Its edge and apex always coming clean
And brightening itself by mucking in.
It looked light but felt heavy as a weapon,
Yet when he lifted it there was no strain.
It was all point and skim and float and glisten
Until he washed and lapped it tight in sacking
Like a cult blade that had to be kept hidden.
*
Ghosts with their tongues out for a lick of blood
Are crowding up the ladder, all unhealed,
And some of them still rigged in bloody gear.
Drive them back to the doorstep or the road
Where they lay in their own blood once, in the hot
Nausea and last gasp of dear life.
Trowel-wielder, woundie, drive them off
Like Odysseus in Hades lashing out
With his sword that dug the trench and cut the throat
Of the sacrificial lamb.
But not like him –
Builder, not sacker, your shield the mortar board –
Drive them back to the wine-dark taste of home,
The smell of damsons simmering in a pot,
Jam ladled thick and steaming down the sunlight.
Weighing In
The 56 lb weight. A solid iron
Unit of negation. Stamped and cast
With an inset, rung-thick, moulded, short crossbar
For a handle. Squared-off and harmless-looking
Until you tried to lift it, then a socket-ripping,
Life-belittling force –
Gravity’s black box, the immovable
Stamp and squat and square-root of dead weight.
Yet balance it
Against another one placed on a weighbridge –
On a well-adjusted, freshly greased weighbridge –
And everything trembled, flowed with give and take.
*
And this is all the good tidings amount to:
This principle of bearing, bearing up
And bearing out, just having to
Balance the intolerable in others
Against our own, having to abide
Whatever we settled for and settled into
Against our better judgement. Passive
Suffering makes the world go round.
Peace on earth, men of good will, all that
Holds good only as long as the balance holds,
The scales ride steady and the angels’ strain
Prolongs itself at an unearthly pitch.
*
To refuse the other cheek. To cast the stone.
Not to do so some time, not to break with
<
br /> The obedient one you hurt yourself into
Is to fail the hurt, the self, the ingrown rule.
Prophesy who struck thee! When soldiers mocked
Blindfolded Jesus and he didn’t strike back
They were neither shamed nor edified, although
Something was made manifest – the power
Of power not exercised, of hope inferred
By the powerless forever. Still, for Jesus’ sake,
Do me a favour, would you, just this once?
Prophesy, give scandal, cast the stone.
*
Two sides to every question, yes, yes, yes …
But every now and then, just weighing in
Is what it must come down to, and without
Any self-exculpation or self-pity.
Alas, one night when follow-through was called for
And a quick hit would have fairly rankled,
You countered that it was my narrowness
That kept me keen, so got a first submission.
I held back when I should have drawn blood
And that way (mea culpa) lost an edge.
A deep mistaken chivalry, old friend.
At this stage only foul play cleans the slate.
St Kevin and the Blackbird
And then there was St Kevin and the blackbird.
The saint is kneeling, arms stretched out, inside
His cell, but the cell is narrow, so
One turned-up palm is out the window, stiff
As a crossbeam, when a blackbird lands
And lays in it and settles down to nest.
New Selected Poems (1988-2013) Page 4
