Creak of her voice like the pump’s handle.
Nights when a full moon lifted past her gable
It fell back through her window and would lie
Into the water set out on the table.
Where I have dipped to drink again, to be
Faithful to the admonishment on her cup,
Remember the Giver, fading off the lip.
The Strand at Lough Beg
In memory of Colum McCartney
All round this little island, on the strand
Far down below there, where the breakers strive,
Grow the tall rushes from the oozy sand.
DANTE, Purgatorio, I, 100–103
Leaving the white glow of filling stations
And a few lonely streetlamps among fields
You climbed the hills towards Newtownhamilton
Past the Fews Forest, out beneath the stars –
Along that road, a high, bare pilgrim’s track
Where Sweeney fled before the bloodied heads,
Goat-beards and dogs’ eyes in a demon pack
Blazing out of the ground, snapping and squealing.
What blazed ahead of you? A faked road block?
The red lamp swung, the sudden brakes and stalling
Engine, voices, heads hooded and the cold-nosed gun?
Or in your driving mirror, tailing headlights
That pulled out suddenly and flagged you down
Where you weren’t known and far from what you knew:
The lowland clays and waters of Lough Beg,
Church Island’s spire, its soft treeline of yew.
There you once heard guns fired behind the house
Long before rising time, when duck shooters
Haunted the marigolds and bulrushes,
But still were scared to find spent cartridges,
Acrid, brassy, genital, ejected,
On your way across the strand to fetch the cows.
For you and yours and yours and mine fought shy,
Spoke an old language of conspirators
And could not crack the whip or seize the day:
Big-voiced scullions, herders, feelers round
Haycocks and hindquarters, talkers in byres,
Slow arbitrators of the burial ground.
Across that strand of yours the cattle graze
Up to their bellies in an early mist
And now they turn their unbewildered gaze
To where we work our way through squeaking sedge
Drowning in dew. Like a dull blade with its edge
Honed bright, Lough Beg half shines under the haze.
I turn because the sweeping of your feet
Has stopped behind me, to find you on your knees
With blood and roadside muck in your hair and eyes,
Then kneel in front of you in brimming grass
And gather up cold handfuls of the dew
To wash you, cousin. I dab you clean with moss
Fine as the drizzle out of a low cloud.
I lift you under the arms and lay you flat.
With rushes that shoot green again, I plait
Green scapulars to wear over your shroud.
Casualty
I
He would drink by himself
And raise a weathered thumb
Towards the high shelf,
Calling another rum
And blackcurrant, without
Having to raise his voice,
Or order a quick stout
By a lifting of the eyes
And a discreet dumb-show
Of pulling off the top;
At closing time would go
In waders and peaked cap
Into the showery dark,
A dole-kept breadwinner
But a natural for work.
I loved his whole manner,
Sure-footed but too sly,
His deadpan sidling tact,
His fisherman’s quick eye
And turned observant back.
Incomprehensible
To him, my other life.
Sometimes, on his high stool,
Too busy with his knife
At a tobacco plug
And not meeting my eye,
In the pause after a slug
He mentioned poetry.
We would be on our own
And, always politic
And shy of condescension,
I would manage by some trick
To switch the talk to eels
Or lore of the horse and cart
Or the Provisionals.
But my tentative art
His turned back watches too:
He was blown to bits
Out drinking in a curfew
Others obeyed, three nights
After they shot dead
The thirteen men in Derry.
PARAS THIRTEEN, the walls said,
BOGSIDE NIL. That Wednesday
Everybody held
His breath and trembled.
II
It was a day of cold
Raw silence, wind-blown
Surplice and soutane:
Rained-on, flower-laden
Coffin after coffin
Seemed to float from the door
Of the packed cathedral
Like blossoms on slow water.
The common funeral
Unrolled its swaddling band,
Lapping, tightening
Till we were braced and bound
Like brothers in a ring.
But he would not be held
At home by his own crowd
Whatever threats were phoned,
Whatever black flags waved.
I see him as he turned
In that bombed offending place,
Remorse fused with terror
In his still knowable face,
His cornered outfaced stare
Blinding in the flash.
He had gone miles away
For he drank like a fish
Nightly, naturally
Swimming towards the lure
Of warm lit-up places,
The blurred mesh and murmur
Drifting among glasses
In the gregarious smoke.
How culpable was he
That last night when he broke
Our tribe’s complicity?
‘Now you’re supposed to be
An educated man,’
I hear him say. ‘Puzzle me
The right answer to that one.’
III
I missed his funeral,
Those quiet walkers
And sideways talkers
Shoaling out of his lane
To the respectable
Purring of the hearse …
They move in equal pace
With the habitual
Slow consolation
Of a dawdling engine,
The line lifted, hand
Over fist, cold sunshine
On the water, the land
Banked under fog: that morning
When he took me in his boat,
The screw purling, turning
Indolent fathoms white,
I tasted freedom with him.
To get out early, haul
Steadily off the bottom,
Dispraise the catch, and smile
As you find a rhythm
Working you, slow mile by mile,
Into your proper haunt
Somewhere, well out, beyond …
Dawn-sniffing revenant,
Plodder through midnight rain,
Question me again.
Badgers
When the badger glimmered away
into another garden
you stood, half-lit with whiskey,
sensing you had disturbed
some soft returning.
The murdered dead,
you thought.
But could it not have been
some viol
ent shattered boy
nosing out what got mislaid
between the cradle and the explosion,
evenings when windows stood open
and the compost smoked down the backs?
Visitations are taken for signs.
At a second house I listened
for duntings under the laurels
and heard intimations whispered
about being vaguely honoured.
And to read even by carcasses
the badgers have come back.
One that grew notorious
lay untouched in the roadside.
Last night one had me braking
but more in fear than in honour.
Cool from the sett and redolent
of his runs under the night,
the bogey of fern country
broke cover in me
for what he is:
pig family
and not at all what he’s painted.
How perilous is it to choose
not to love the life we’re shown?
His sturdy dirty body
and interloping grovel.
The intelligence in his bone.
The unquestionable houseboy’s shoulders
that could have been my own.
The Singer’s House
When they said Carrickfergus I could hear
the frosty echo of saltminers’ picks.
I imagined it, chambered and glinting,
a township built of light.
What do we say any more
to conjure the salt of our earth?
So much comes and is gone
that should be crystal and kept
and amicable weathers
that bring up the grain of things,
their tang of season and store,
are all the packing we’ll get.
So I say to myself Gweebarra
and its music hits off the place
like water hitting off granite.
I see the glittering sound
framed in your window,
knives and forks set on oilcloth,
and the seals’ heads, suddenly outlined,
scanning everything.
People here used to believe
that drowned souls lived in the seals.
At spring tides they might change shape.
They loved music and swam in for a singer
who might stand at the end of summer
in the mouth of a whitewashed turf-shed,
his shoulder to the jamb, his song
a rowboat far out in evening.
When I came here first you were always singing,
a hint of the clip of the pick
in your winnowing climb and attack.
Raise it again, man. We still believe what we hear.
The Guttural Muse
Late summer, and at midnight
I smelt the heat of the day:
At my window over the hotel car park
I breathed the muddied night airs off the lake
And watched a young crowd leave the discothèque.
Their voices rose up thick and comforting
As oily bubbles the feeding tench sent up
That evening at dusk – the slimy tench
Once called the ‘doctor fish’ because his slime
Was said to heal the wounds of fish that touched it.
A girl in a white dress
Was being courted out among the cars:
As her voice swarmed and puddled into laughs
I felt like some old pike all badged with sores
Wanting to swim in touch with soft-mouthed life.
Glanmore Sonnets
For Ann Saddlemyer
our heartiest welcomer
I
Vowels ploughed into other: opened ground.
The mildest February for twenty years
Is mist bands over furrows, a deep no sound
Vulnerable to distant gargling tractors.
Our road is steaming, the turned-up acres breathe.
Now the good life could be to cross a field
And art a paradigm of earth new from the lathe
Of ploughs. My lea is deeply tilled.
Old ploughsocks gorge the subsoil of each sense
And I am quickened with a redolence
Of farmland as a dark unblown rose.
Wait then … Breasting the mist, in sowers’ aprons,
My ghosts come striding into their spring stations.
The dream grain whirls like freakish Easter snows.
II
Sensings, mountings from the hiding places,
Words entering almost the sense of touch,
Ferreting themselves out of their dark hutch –
‘These things are not secrets but mysteries,’
Oisin Kelly told me years ago
In Belfast, hankering after stone
That connived with the chisel, as if the grain
Remembered what the mallet tapped to know.
Then I landed in the hedge-school of Glanmore
And from the backs of ditches hoped to raise
A voice caught back off slug-horn and slow chanter
That might continue, hold, dispel, appease:
Vowels ploughed into other, opened ground,
Each verse returning like the plough turned round.
III
This evening the cuckoo and the corncrake
(So much, too much) consorted at twilight.
It was all crepuscular and iambic.
Out on the field a baby rabbit
Took his bearings, and I knew the deer
(I’ve seen them too from the window of the house,
Like connoisseurs, inquisitive of air)
Were careful under larch and May-green spruce.
I had said earlier, ‘I won’t relapse
From this strange loneliness I’ve brought us to.
Dorothy and William – ’ She interrupts:
‘You’re not going to compare us two …?’
Outside a rustling and twig-combing breeze
Refreshes and relents. Is cadences.
IV
I use to lie with an ear to the line
New and Selected Poems Page 7
