of working as the only thing that worked –
the vulgarity of expecting ever
gratitude or admiration, which
would mean a stealing from him.
The way his fortitude held and hardened
because he did what he knew.
His forehead like a hurled boule
travelling unpainted space
behind the apple and behind the mountain.
The Old Icons
Why, when it was all over, did I hold on to them?
A patriot with folded arms in a shaft of light:
the barred cell window and his sentenced face
are the only bright spots in the little etching.
An oleograph of snowy hills, the outlawed priest’s
red vestments, with the redcoats toiling closer
and the lookout coming like a fox across the gaps.
And the old committee of the sedition-mongers,
so well turned out in their clasped brogues and waistcoats,
the legend of their names an informer’s list
prepared by neat-cuffs, third from left, at rear,
more compelling than the rest of them,
pivoting an action that was his rack
and others’ ruin, the very rhythm of his name
a register of dear-bought treacheries
grown transparent now, and inestimable.
In Illo Tempore
The big missal splayed
and dangled silky ribbons
of emerald and purple and watery white.
Intransitively we would assist,
confess, receive. The verbs
assumed us. We adored.
And we lifted our eyes to the nouns.
Altar-stone was dawn and monstrance noon,
the word ‘rubric’ itself a bloodshot sunset.
Now I live by a famous strand
where seabirds cry in the small hours
like incredible souls
and even the range wall of the promenade
that I press down on for conviction
hardly tempts me to credit it.
On the Road
The road ahead
kept reeling in
at a steady speed,
the verges dripped.
In my hands
like a wrested trophy,
the empty round
of the steering wheel.
The trance of driving
made all roads one:
the seraph-haunted, Tuscan
footpath, the green
oak-alleys of Dordogne
or that track through corn
where the rich young man
asked his question –
Master‚ what must I
do to be saved?
Or the road where the bird
with an earth-red back
and a white and black
tail, like parquet
of flint and jet,
wheeled over me
in visitation.
Sell all you have
and give to the poor.
I was up and away
like a human soul
that plumes from the mouth
in undulant, tenor
black-letter Latin.
I was one for sorrow,
Noah’s dove,
a panicked shadow
crossing the deer path.
If I came to earth
it would be by way of
a small east window
I once squeezed through,
scaling heaven
by superstition,
drunk and happy
on a chapel gable.
I would roost a night
on the slab of exile,
then hide in the cleft
of that churchyard wall
where hand after hand
keeps wearing away
at the cold, hard-breasted
votive granite.
And follow me.
I would migrate
through a high cave mouth
into an oaten, sun-warmed cliff,
on down the soft-nubbed,
clay-floored passage,
face-brush, wingflap,
to the deepest chamber.
There a drinking deer
is cut into rock,
its haunch and neck
rise with the contours,
the incised outline
curves to a strained
expectant muzzle
and a nostril flared
at a dried-up source.
For my book of changes
I would meditate
that stone-faced vigil
until the long dumbfounded
spirit broke cover
to raise a dust
in the font of exhaustion.
Villanelle for an Anniversary
A spirit moved, John Harvard walked the yard,
The atom lay unsplit, the west unwon,
The books stood open and the gates unbarred.
The maps dreamt on like moondust. Nothing stirred.
The future was a verb in hibernation.
A spirit moved, John Harvard walked the yard.
Before the classic style, before the clapboard,
All through the small hours of an origin,
The books stood open and the gates unbarred.
Night passage of a migratory bird.
Wingflap. Gownflap. Like a homing pigeon
A spirit moved, John Harvard walked the yard.
Was that his soul (look) sped to its reward
By grace or works? A shooting star? An omen?
The books stood open and the gates unbarred.
Begin again where frosts and tests were hard.
Find yourself or founder. Here, imagine
A spirit moves, John Harvard walks the yard,
The books stand open and the gates unbarred.
(1986)
from THE HAW LANTERN (1987)
For Bernard and Jane McCabe
The riverbed, dried-up, half-full of leaves.
Us, listening to a river in the trees.
Alphabets
I
A shadow his father makes with joined hands
And thumbs and fingers nibbles on the wall
Like a rabbit’s head. He understands
He will understand more when he goes to school.
There he draws smoke with chalk the whole first week,
Then draws the forked stick that they call a Y.
This is writing. A swan’s neck and swan’s back
Make the 2 he can see now as well as say.
Two rafters and a cross-tie on the slate
Are the letter some call ah, some call ay.
There are charts, there are headlines, there is a right
Way to hold the pen and a wrong way.
First it is ‘copying out’, and then ‘English’,
Marked correct with a little leaning hoe.
Smells of inkwells rise in the classroom hush.
A globe in the window tilts like a coloured O.
II
Declensions sang on air like a hosanna
As, column after stratified column,
Book One of Elementa Latina,
Marbled and minatory, rose up in him.
For he was fostered next in a stricter school
Named for the patron saint of the oak wood
Where classes switched to the pealing of a bell
And he left the Latin forum for the shade
Of new calligraphy that felt like home.
The letters of this alphabet were trees.
The capitals were orchards in full bloom,
The lines of script like briars coiled in ditches.
Here in her snooded garment and bare feet,
All ringleted in assonance and woodnotes,
The poet’s dream stole over him like sunlight
And passed into the tenebrous
thickets.
He learns this other writing. He is the scribe
Who drove a team of quills on his white field.
Round his cell door the blackbirds dart and dab.
Then self-denial, fasting, the pure cold.
By rules that hardened the farther they reached north
He bends to his desk and begins again.
Christ’s sickle has been in the undergrowth.
The script grows bare and Merovingian.
III
The globe has spun. He stands in a wooden O.
He alludes to Shakespeare. He alludes to Graves.
Time has bulldozed the school and school window.
Balers drop bales like printouts where stooked sheaves
Make lambdas on the stubble once at harvest
And the delta face of each potato pit
Was patted straight and moulded against frost.
All gone, with the omega that kept
Watch above each door, the good-luck horseshoe.
Yet shape-note language, absolute on air
As Constantine’s sky-lettered IN HOC SIGNO
Can still command him; or the necromancer
Who would hang from the domed ceiling of his house
A figure of the world with colours in it
So that the figure of the universe
And ‘not just single things’ would meet his sight
When he walked abroad. As from his small window
The astronaut sees all that he has sprung from,
The risen, aqueous, singular, lucent O
Like a magnified and buoyant ovum –
Or like my own wide pre-reflective stare
All agog at the plasterer on his ladder
Skimming our gable and writing our name there
With his trowel point, letter by strange letter.
Terminus
I
When I hoked there, I would find
An acorn and a rusted bolt.
If I lifted my eyes, a factory chimney
And a dormant mountain.
If I listened, an engine shunting
And a trotting horse.
Is it any wonder when I thought
I would have second thoughts?
II
When they spoke of the prudent squirrel’s hoard
It shone like gifts at a nativity.
When they spoke of the mammon of iniquity
The coins in my pockets reddened like stove-lids.
I was the march drain and the march drain’s banks
Suffering the limit of each claim.
III
Two buckets were easier carried than one.
I grew up in between.
My left hand placed the standard iron weight.
My right tilted a last grain in the balance.
Baronies, parishes met where I was born.
When I stood on the central stepping stone
I was the last earl on horseback in midstream
Still parleying, in earshot of his peers.
From the Frontier of Writing
The tightness and the nilness round that space
when the car stops in the road, the troops inspect
its make and number and, as one bends his face
towards your window, you catch sight of more
on a hill beyond, eyeing with intent
down cradled guns that hold you under cover,
and everything is pure interrogation
until a rifle motions and you move
with guarded unconcerned acceleration –
a little emptier, a little spent
as always by that quiver in the self,
subjugated, yes, and obedient.
So you drive on to the frontier of writing
where it happens again. The guns on tripods;
the sergeant with his on-off mike repeating
data about you, waiting for the squawk
of clearance; the marksman training down
out of the sun upon you like a hawk.
And suddenly you’re through, arraigned yet freed,
as if you’d passed from behind a waterfall
on the black current of a tarmac road
past armour-plated vehicles, out between
the posted soldiers flowing and receding
like tree shadows into the polished windscreen.
The Haw Lantern
The wintry haw is burning out of season,
crab of the thorn, a small light for small people,
wanting no more from them but that they keep
the wick of self-respect from dying out,
not having to blind them with illumination.
But sometimes when your breath plumes in the frost
it takes the roaming shape of Diogenes
with his lantern, seeking one just man;
so you end up scrutinized from behind the haw
he holds up at eye-level on its twig,
and you flinch before its bonded pith and stone,
its blood-prick that you wish would test and clear you,
its pecked-at ripeness that scans you, then moves on.
From the Republic of Conscience
I
When I landed in the republic of conscience
it was so noiseless when the engines stopped
I could hear a curlew high above the runway.
At immigration, the clerk was an old man
who produced a wallet from his homespun coat
and showed me a photograph of my grandfather.
The woman in customs asked me to declare
the words of our traditional cures and charms
to heal dumbness and avert the evil eye.
No porters. No interpreter. No taxi.
You carried your own burden and very soon
your symptoms of creeping privilege disappeared.
II
Fog is a dreaded omen there but lightning
spells universal good and parents hang
swaddled infants in trees during thunderstorms.
Salt is their precious mineral. And seashells
are held to the ear during births and funerals.
The base of all inks and pigments is seawater.
Their sacred symbol is a stylized boat.
The sail is an ear, the mast a sloping pen,
the hull a mouth-shape, the keel an open eye.
At their inauguration, public leaders
must swear to uphold unwritten law and weep
to atone for their presumption to hold office –
and to affirm their faith that all life sprang
from salt in tears which the sky-god wept
after he dreamt his solitude was endless.
III
I came back from that frugal republic
with my two arms the one length, the customs woman
having insisted my allowance was myself.
The old man rose and gazed into my face
and said that was official recognition
that I was now a dual citizen.
He therefore desired me when I got home
to consider myself a representative
and to speak on their behalf in my own tongue.
Their embassies, he said, were everywhere
but operated independently
and no ambassador would ever be relieved.
Hailstones
I
My cheek was hit and hit:
sudden hailstones
pelted and bounced on the road.
When it cleared again
something whipped and knowledgeable
had withdrawn
and left me there with my chances.
I made a small hard ball
of burning water running from my hand
just as I make this now
out of the melt of the real thing
smarting into its absence.
II
To be reckoned with, all the sa
me,
those brats of showers.
The way they refused permission,
rattling the classroom window
like a ruler across the knuckles,
the way they were perfect first
and then in no time dirty slush.
Thomas Traherne had his orient wheat
for proof and wonder
but for us, it was the sting of hailstones
and the unstingable hands of Eddie Diamond
foraging in the nettles.
III
Nipple and hive, bite-lumps,
small acorns of the almost pleasurable
intimated and disallowed
when the shower ended
and everything said wait.
For what? For forty years
to say there, there you had
Opened Ground Page 16
