Monthly Archives

October 2020

APPLES AND PEARS

For Alison and Georgia Robson

 

‘If I have seen further it is by standing on the shoulders of Giants.’ Isaac Newton

 

The ancient pear tree next door has not been pruned,

I would guess, for at least seventy years,

long before our time here, or the neighbours’.

It is now as large as a medium-sized oak,

with the remains of a magpie’s nest.

Its fruit, in these last days of summer, glow

a ruddy green; are plentiful, bountiful;

inedible, unusable even

for perry cider. The tree does what flora

is meant to do untrammelled – make seeds.

 

My occasional naps, lulled by the bees

in the ivy, beside our olive tree –

with its rare fruit the size of sheep droppings –

are interrupted randomly by the sounds

of falling pears: the slithering rush through leaves

to thud on the lawn, to thump on the summerhouse,

to gerthwang on something metallic.

Nevertheless our neighbours practise yoga

on the grass under the bombardment, dodging

the erratic proofs of Newton’s physics.

 

Isaac was born the year the Civil War began.

Soon after he graduated, Cambridge closed

for two years because of the plague. At home,

on the family’s Lincolnshire farmstead,

he split light into its spectrum colours,

developed differential calculus,

and one day noted the apple falling –

while the flocks of sheep grazed on enclosed fields.

 

My angels are busy on Jacob’s Ladder –

like apples and pears displayed on a barrow –

up the steps from the cellar to the hall,

up the stairs to the long window, from there

to the landing, and the stars. The blind giant

Orion had his servant Cedalion

stand on his shoulders, to guide him eastwards

to the vast healing sun.

 

 

 

 

 

DESTINATIONS & DESTINIES

Driving on education business to Crewe,

a quarter of a century ago,

I stopped for petrol on the Nantwich Road,

and there in a rack with Blur, Celine Dion

and Bon Jovi was Fred Astaire, Volume 2.

How my life changed! So many favourites

on one disc! I put the CD in the slot,

drove off the forecourt, and pressed the switch.

‘Heaven, I’m in heaven, And my heart beats

so that I can hardly speak, And I seem

to find the happiness I seek When

we’re out together dancing, cheek to cheek…’

and the track finished with his immortal feet

tap dancing in my company car.

 

I thought of Israel Beilin – as I parked

at the college to provide advice

on pedagogical strategies –

leaving school at eight to sell the New York

Daily News on the Lower East Side,

plugging songs at eighteen in Tin Pan Alley,

becoming Irving Berlin, auto-didact,

maestro of the music and the lyrics,

making witty, eclectic American

art from those spirited, Yiddisher streets.

 

When I drove away the car filled again

with Astaire’s light, pellucid voice: ‘Before

the fiddlers have fled Before they ask us

to pay the bill And while we still have that chance

Let’s face the music and dance.’

 

 

 

AUTUMN

When I return with mugs of peppermint tea

you are asleep in the October sunshine –

a fallen golden birch leaf at your feet,

a last wasp buzzing in your shadow.

We have grown old together, ancient

in our ways. But age is a wrinkled

masquerade. ‘Old clothes upon old sticks

to scare a bird,’ as Yeats wrote, at sixty,

a mere stripling. We seem sole survivors

of our youth and prime – so many dead

have fallen by the way. We have made a pact –

and will keep to it if chance permits –

to die, like the luckiest of monarchs

amongst their treasures, in our own bed.

I put the mugs gently down beside you

on the low, stained table we have had for years.

‘O body swayed to music, O brightening glance,

How can we know the dancer from the dance?’

Yeats asked. You wake, and smile.

 

 

 

ROSEBUD

‘It is the most humble day of my life,’ Rupert Murdoch

 

Beech trees, in full leaf, more than a hundred years

high in the park a street away from here,

rise sheer like raggedy cliffs, a last hurrah

of pragmatic philanthropy – like Rome

before the fall – amid the indifferent

splendour of empire: town halls designed

like palaces, museums like town halls.

It dies spluttering in Flanders mud, choking

in dugouts on Gallipoli’s cliffs.

 

Rupert Murdoch’s dad, a Sydney Sun (sic)

hack, who had the ears, surprise surprise,

of politicos north and south, exposed

Anzac carnage on Ottoman shores,

and brought the boys back just after Christmas –

so doing good through cunning, his means

justified by his goal, the goal always right.

 

As Citizen Kane aka Randolph Hearst –

one of the first tycoons of the gutter press,

war monger, dirt disher, future mangler –

lay dying, “Rosebud,” was the last he said:

a small, wooden sledge, the name in floral white,

his curtailed childhood tangible among the

vast, serried desert of his acquisitions.

 

High above the beeches of St James Park

the Dirty Digger watches from his penthouse

as white pelicans – a gift from Russia

for Charles II, who knew a thing or two

about dads – rise from the lake in the park,

fly towards the Palace then wheel back

over Horse Guards and the MOD,

the birds – their call a grunt and a whine – for some,

a symbol of the Passion on the Cross.

The Breaker of the English-speaking world plots

what lie he will tell Death.

 

 

Note: the poem has subsequently been published in EAP: THE MAGAZINE Winter 2012: Errors of the Gods – https://exterminatingangel.com/rosebud/

CONFUSED ALARMS

One of my favourites poems is Dover Beach.

I read it first at school when I was fifteen.

It seemed a fine thing to have written –

evocative, erudite, sonorous,

personal. Matthew Arnold, the advocate

of ‘sweetness and light’, honeymooned abroad

the year of the Great Exhibition.

Returning to England they stayed the night

at the Lord Warden Hotel – before taking

the train to London – no doubt to recover

from the paddle steamer that ferried them

across the English Channel, a craft,

though independent of the wind, tossed

by the waves, whose swaddled passengers travelled

au dehors. The poem begins ‘The sea

is calm tonight.’ From his window he can see

across to the French coast where a light gleamed

briefly. He calls his wife to his side,

and they listen to ‘the grating roar’ of the tide,

the unceasing waves shifting the pebbles.

 

For Arnold Great Britain was not the land

of ingenuities the Crystal Palace

hymned but of Blake’s dark factories. ‘…the world

Hath really neither joy, nor love, nor light,

Nor certitude, nor peace, nor help for pain…’

What would he have thought of us who measure

this country’s wealth in Costa coffee spoons,

eschew the Europe whose cultural heritage

is ours, make dishonour a virtue,

and still send tens of thousands of children

hungry to shared beds in inadequate rooms!

‘And we are here as on a darkling plain

Swept with confused alarms of struggle and flight,

Where ignorant armies clash by night.’