A POET IN WARTIME

Nuns clambered on the headland. Like scarabs,

they traversed the sage slope of limestone

to the hermit’s shrine. Marine creatures, landlocked,

awaited the sea’s coming. The poet

descended by funicular to the bay’s

elegant crescent of hotels. Mists

trailed the foothills of distant peaks. In saloons

of bevelled mirrors, his comrades sang

marching songs. A love poem formed like breath.

 

He crunched on innumerable pebbles.

Waves gasped and sighed, smoothing the wooden groynes.

Two aircraft, high, high above, dived, banked, climbed –

a predatory bond of whining vapour loops

interlocked like wire – until a spurt of flame.

In smoke, one spiralled like some gross leaf

under the horizon. By the sea wall,

a cormorant lay dead: nearby, a page

torn from Treasure Island. Unexpectedly,

he returned to childhood – holidays

in small rooms with giant wardrobes and tall beds;

a flying boat landing from beyond the blue,

feathering the briny; expensive strangers

embarking for Samarkand; at the Grand,

legerdemain. The sea flowed oyster.

 

Teatime arrived with its obligations,

allotments, chapels and a woman

methodically descending a ladder.

Drizzle suffused the geometrical skies

of barrack windows. The grey tide rasped.

The night was full of girls he would never see.

Nuns dreamt of scaling paradise. Fossils

and saint were locked in their diurnal chambers.

The poet approached sleep, dreaming of

water – purposeless, unmade, fulfilling –

and lavender seeds – in the small, azure

pomander, locked away, safe from winter –

changing slowly into air.

 

 

 

ANTIQUITY

Ancient Greeks preferred it to chronicles

for poetry is the art of maybe,

the alchemy which turns fact into song.

 

‘Antiochus honours the saviours of men,

the immortals, Asclepius of

the gentle hands, Hygeia, Panakeia.’

On the margins of barbarity

and wilderness,  a Greek army doctor

commissioned a recondite altar – found

some seventeen hundred years later

when Chester’s Market Hall, its pediment

topped with cornucopia, was flattened.

 

Centuries before the Twentieth

was stationed here, the most famous sculptor

working at Olympia, inscribed

his wine jug, ‘I belong to Pheidias’.

SHAZAM!

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Hereward The Wake - Last of the English!

 

The Lone Ranger gallops through the suburbs,

his sidekick on the smaller horse. Legends

gather, like tumbleweed – Beowulf, Robin Hood.

He’s making for the badlands of the best

hotel, where blue-chinned ones with foreign names,

amidst the liquor and the girls, conspire…

 

Elsewhere, no one is wholly innocent

but in rhetorical worlds – Question Time

in the House, the lounge of the Albion,

the Synod – there are only opposites.

‘Good’ and ‘evil’ have a human shape…

 

The gun smoke clears and everyone is dead.

“Long live Captain Marvel!”

 

LAMENT FOR BERSHAM IRON WORKS

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Not for the hard, life-denying graft of it

or the danger, not for the polluting smoke

or the banishing of bird song,

not for the exploitation and social

upheaval, least of all for its cannons

at Naseby, Bunker Hill, Waterloo,

but for its madness, the sheer reach of it,

the invention of it, the ambition,

the defiance, the rhythmical creak

of the horse-drawn gin pumping water

from the river, the sulphurous roars

of the furnace, the forge hammers pounding

through the ancient woods, along Offa’s Dyke,

their echoes dying…

 

CARLTON CENTRE, JOHANNESBURG – APRIL 2009

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As the city’s original centre is reclaimed

from anarchy by its citizens of colour,

this skyscraper – the tallest building in Africa –

built in the Apartheid era, in white Joburg,

begins to be used again: its shopping centre

and car parks thrive with consumerism,

and its fiftieth floor is a haven for lovers –

and a belvedere for occasional tourists.

 

We can see the township taxis jam the streets below,

washing lines on the roofs of re-occupied buildings,

the Mandela Bridge over the railway, the Market Theatre,

Hillbrow, the suburbs and, in the far distance,

the deserted ramparts of the gold reefs.

This place has survived. They have made it.

BOLOGNA LA GRASSA

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A roma woman, cradling a child, sits

cross-legged in a tie-and-dye dress and begs

from fur-coated women strolling beneath

the portico of the Pavaglione.

Enamelled photos of resistance fighters

are displayed on the side of the Town Hall.

Where the bomb blasted the station wall,

the crack has been crystallised in plate glass.

 

Nicolò Dell’Arca’s terracotta

pietà, its smug patron as Joseph

of Aramathea, with a concerned

angel as onlooker, portrays four women,

mothers petrified in distress, in despair,

in that grief which threatens breath and heartbeat.