An auction notice on an outhouse wall –
You with a harvest bow in your lapel,
Me with the fishing rod, already homesick
For the big lift of these evenings, as your stick
Whacking the tips off weeds and bushes
Beats out of time, and beats, but flushes
Nothing: that original townland
Still tongue-tied in the straw tied by your hand.
The end of art is peace
Could be the motto of this frail device
That I have pinned up on our deal dresser –
Like a drawn snare
Slipped lately by the spirit of the corn
Yet burnished by its passage, and still warm.
from Sweeney Redivivus
The Cleric
I heard new words prayed at cows
in the byre, found his sign
on the crock and the hidden still,
smelled fumes from his censer
in the first smokes of morning.
Next thing he was making a progress
through gaps, stepping out sites,
sinking his crozier deep
in the fort-hearth.
If he had stuck to his own
cramp-jawed abbesses and intoners
dibbling round the enclosure,
his Latin and blather of love,
his parchments and scheming
in letters shipped over water –
but no, he overbore
with his unctions and orders,
he had to get in on the ground.
History that planted its standards
on his gables and spires
ousted me to the marches
of skulking and whingeing.
Or did I desert?
Give him his due, in the end
he opened my path to a kingdom
of such scope and neuter allegiance
my emptiness reigns at its whim.
The Scribes
I never warmed to them.
If they were excellent they were petulant
and jaggy as the holly tree
they rendered down for ink.
And if I never belonged among them,
they could never deny me my place.
In the hush of the scriptorium
a black pearl kept gathering in them
like the old dry glut inside their quills.
In the margin of texts of praise
they scratched and clawed.
They snarled if the day was dark
or too much chalk had made the vellum bland
or too little left it oily.
Under the rumps of lettering
they herded myopic angers.
Resentment seeded in the uncurling
fernheads of their capitals.
Now and again I started up
miles away and saw in my absence
the sloped cursive of each back and felt them
perfect themselves against me page by page.
Let them remember this not inconsiderable
contribution to their jealous art.
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had withdrawn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 same,
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
the truest foretaste of your aftermath –
in that dilation
when the light opened in silence
and a car with wipers going still
laid perfect tracks in the slush.
from Settings
xiv
One afternoon I was seraph on gold leaf.
I stood on the railway sleepers hearing larks,
Grasshoppers, cuckoos, dog-barks, trainer planes
Cutting and modulating and drawing off.
Heat wavered on the immaculate line
And shine of the cogged rails. On either side,
Dog daisies stood like vestals, the hot stones
Were clover-meshed and streaked with engine oil.
Air spanned, passage waited, the balance rode,
Nothing prevailed, whatever was in store
Witnessed itself already taking place
In a time marked by assent and by hiatus.
xv
And strike this scene in gold too, in relief,
So that a greedy eye cannot exhaust it:
Stable straw, Rembrandt-gleam and burnish
Where my father bends to a tea-chest packed with salt,
The hurricane lamp held up at eye-level
In his bunched left fist, his right hand foraging
For the unbleeding, vivid-fleshed bacon,
Home-cured hocks pulled up into the light
For pondering a while and putting back.
That night I owned the piled grain of Egypt.
I watched the sentry’s torchlight on the hoard.
I stood in the door, unseen and blazed upon.
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 l
anguage 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.
Postscript
And some time make the time to drive out west
Into County Clare, along the Flaggy Shore,
In September or October, when the wind
And the light are working off each other
So that the ocean on one side is wild
With foam and glitter, and inland among stones
The surface of a slate-grey lake is lit
By the earthed lightning of a flock of swans,
Their feathers roughed and ruffling, white on white,
Their fully grown headstrong-looking heads
Tucked or cresting or busy underwater.
Useless to think you’ll park and capture it
More thoroughly. You are neither here nor there,
A hurry through which known and strange things pass
As big soft buffetings come at the car sideways
And catch the heart off guard and blow it open.
Perch
Perch on their water-perch hung in the clear Bann River
Near the clay bank in alder-dapple and waver,
Perch we called ‘grunts’, little flood-slubs, runty and ready,
I saw and I see in the river’s glorified body
That is passable through, but they’re bluntly holding the pass,
Under the water-roof, over the bottom, adoze,
Guzzling the current, against it, all muscle and slur
In the finland of perch, the fenland of alder, on air
That is water, on carpets of Bann stream, on hold
In the everything flows and steady go of the world.
The Blackbird of Glanmore
On the grass when I arrive,
Filling the stillness with life,
But ready to scare off
At the very first wrong move.
In the ivy when I leave.
It’s you, blackbird, I love.
I park, pause, take heed.
Breathe. Just breathe and sit
And lines I once translated
Come back: ‘I want away
To the house of death, to my father
Under the low clay roof.’
And I think of one gone to him,
A little stillness dancer –
Haunter-son, lost brother –
Cavorting through the yard,
So glad to see me home,
My homesick first term over.
And think of a neighbour’s words
Long after the accident:
‘Yon bird on the shed roof,
Up on the ridge for weeks –
I said nothing at the time
But I never liked yon bird.’
The automatic lock
Clunks shut, the blackbird’s panic
Is shortlived, for a second
I’ve a bird’s eye view of myself,
A shadow on raked gravel
In front of my house of life.
Hedge-hop, I am absolute
For you, your ready talkback,
Your each stand-offish comeback,
Your picky, nervy goldbeak –
On the grass when I arrive,
In the ivy when I leave.
MICHAEL LONGLEY
Wounds
Here are two pictures from my father’s head –
I have kept them like secrets until now:
First, the Ulster Division at the Somme
Going over the top with ‘Fuck the Pope!’
‘No Surrender!’: a boy about to die,
Screaming ‘Give ’em one for the Shankill!’
‘Wilder than Gurkhas’ were my father’s words
Of admiration and bewilderment.
Next comes the London-Scottish padre
Resettling kilts with his swagger-stick,
With a stylish backhand and a prayer.
Over a landscape of dead buttocks
My father followed him for fifty years.
At last, a belated casualty,
He said – lead traces flaring till they hurt –
‘I am dying for King and Country, slowly.’
I touched his hand, his thin head I touched.
Now, with military honours of a kind,
With his badges, his medals like rainbows,
His spinning compass, I bury beside him
Three teenage soldiers, bellies full of
Bullets and Irish beer, their flies undone.
A packet of Woodbines I throw in,
A lucifer, the Sacred Heart of Jesus
Paralysed as heavy guns put out
The night-light in a nursery for ever;
Also a bus-conductor’s uniform –
He collapsed beside his carpet-slippers
Without a murmur, shot through the head
By a shivering boy who wandered in
Before they could turn the television down
Or tidy away the supper dishes.
To the children, to a bewildered wife,
I think ‘Sorry Missus’ was what he said.
The Linen Industry
Pulling up flax after the blue flowers have fallen
And laying our handfuls in the peaty water
To rot those grasses to the bone, or building stooks
That recall the skirts of an invisible dancer,
We become a part of the linen industry
And follow its processes to the grubby town
Where fields are compacted into window-boxes
And there is little room among the big machines.
But even in our attic under the skylight
We make love on a bleach green, the whole meadow
Draped with material turning white in the sun
As though snow reluctant to melt were our attire.
What’s passion but a battering of stubborn stalks,
Then a gentle combing out of fibres like hair
And a weaving of these into christening robes,
Into garments for a marriage or funeral?
Since it’s like a bereavement once the labour’s done
To find ourselves last workers in a dying trade,
Let flax be our matchmaker, our undertaker,
The provider of sheets for whatever the bed –
And be shy of your breasts in the presence of death,
Say that you look more beautiful in linen
Wearing white petticoats, the bow on your bodice
A butterfly attending the embroidered flowers.
Between Hovers
in memory of Joe O’Toole
And not even when we ran over the badger
Did he tell me he had cancer, Joe O’Toole
Who was psychic about carburettor and clutch
And knew a folk cure for the starter-engine.
Backing into the dark we floodlit each hair
Like a filament of light our lights had put out
Somewhere between Kinnadoohy and Thallabaun.
I dragged it by two gritty paws into the ditch.
Joe spotted a ruby where the canines touched.
His way of seeing me safely across the duach
Was to leave his p
orch light burning, its sparkle
Shifting from widgeon to teal on Corragaun Lake.
I missed his funeral. Close to the stony roads
He lies in Killeen Churchyard over the hill.
This morning on the burial mound at Templedoomore
Encircled by a spring tide and taking in
Cloonaghmanagh and Claggan and Carrigskeewaun,
The townlands he’d wandered tending cows and sheep,
I watched a dying otter gaze right through me
At the islands in Clew Bay, as though it were only
Between hovers and not too far from the holt.
The Butchers
When he had made sure there were no survivors in his house
And that all the suitors were dead, heaped in blood and dust
Like fish that fishermen with fine-meshed nets have hauled
Up gasping for salt water, evaporating in the sunshine,
Odysseus, spattered with muck and like a lion dripping blood
From his chest and cheeks after devouring a farmer’s bullock,
Ordered the disloyal housemaids to sponge down the armchairs
And tables, while Telemachos, the oxherd and the swineherd
Scraped the floor with shovels, and then between the portico
And the roundhouse stretched a hawser and hanged the women
So none touched the ground with her toes, like long-winged thrushes
Or doves trapped in a mist-net across the thicket where they roost,
Their heads bobbing in a row, their feet twitching but not for long,
And when they had dragged Melanthios’s corpse into the haggard
And cut off his nose and ears and cock and balls, a dog’s dinner,
Odysseus, seeing the need for whitewash and disinfectant,
Fumigated the house and the outhouses, so that Hermes
Like a clergyman might wave the supernatural baton
With which he resurrects or hypnotizes those he chooses,
And waken and round up the suitors’ souls, and the housemaids’,
Like bats gibbering in the nooks of their mysterious cave
When out of the clusters that dangle from the rocky ceiling
One of them drops and squeaks, so their souls were bat-squeaks
As they flittered after Hermes, their deliverer, who led them
Along the clammy sheughs, then past the oceanic streams
And the white rock, the sun’s gatepost in that dreamy region,
The Penguin Book of Irish Poetry Page 64
