POETRY

FIGURES OF SPEECH

She is scooting on the South Bank, her four years
sailing without mishap through the crowds –
multi-national, multi-ethnic, mixed race
– like a skilled UN negotiator.
We stop – her choice – at the Galloper.
She rides sedately, grinning, on a painted
wooden horse. We stop again – our choice –
to watch an Australian with a travelled
face and lived-in voice reprise Houdini’s
cabinet trick. She is unimpressed
but enjoys the fifty metre sand pit
beyond the BFI. At the Tate,
she watches a brief video – over
and over – of Henri Matisse wielding
his draper’s scissors like a pen or brush.
(Later, she will cut us out of paper –
parents, grandparents, herself – and paint us
as cats). We leave for Chinatown and Dim Sum.

Dusk is settling in Trafalgar Square
as she eyes the forbidden pools. ‘Eng-er-lond,
Eng-er-lond,’ chant some youths from a lion’s plinth.
It is the World Cup’s first match at 10.00.
We cross to South Africa House where
a three piece band – drums, lead and bas guitar –
is playing ‘Money for Nothing’. She dances,
a Chinese tourist laughs and a rough sleeper
wakes from his pitch beneath a plane tree
and salutes us all with an empty bottle.

***

On holiday in Crete, à propos of
nothing, pleased with herself, she uttered
her first simile, ‘Sink like guitar.’
I think of that as we cross the river,
to return to our hotel near Waterloo,
and see the shimmering lights – and think of
Eliot’s ‘I had not thought death had undone
so many’ and Spenser’s ‘Sweet Thames, run softly
till I end my song!’ and feel the warmth of
love and mortality, the themes of
this harmonious day.

 

 

 

MARJORIE BEEBE’S BOTTOM

For Ian Craine

‘Marjorie Beebe is the greatest comic possibility that ever worked in my studio. I think she is destined to become the finest comedienne the screen has ever seen.’ Mack Sennett

 

Her bottom was a serious matter:
the butt, as it were, of numerous pratfalls
in many Mack Sennett two reelers – like
The Chumps, Campus Crushes and The Cowcatcher’s
Daughter – in which she was a capricious,
lubricious Columbine with witty eyes
and good teeth and various Harlequins,
who ended invariably as losers.
From Kansas City, her mother took her
on the Yellow Brick Road to Tinsel Town.
Beebe and Sennett became lovers, despite
or because of the thirty year difference,
so he knew her asset first hand so to speak.
From silents to talkies, slapsticks to wise cracks,
her Mid West accent playing well, then Mack goes bust
and Marjorie gradually disappears.
Was it the booze? She was certainly
a toper. Or, more likely, The Hays Code:
irony suppressed, vulgarity outlawed,
Puritan America triumphant!

 

Note: The poem was first published on the site in June 2011.

 

ADRIFT

Where part of the back wall of the scena

of the Greco-Roman amphitheatre

has collapsed, we can see the sun setting

on Etna, its smoke drifting like a veil

over the sea. The town’s orchestra –

of mandolins, lutes, guitars, double bass –

with its plangent, sentimental, heart-

rending timbre plays the prelude to act one

of Giuseppe Verdi’s ‘La Traviata’…

 

We saw the opera at the Bolshoi –

with its gilt chairs and the Romanov box

with the hammer and the sickle above –

the month Vladimir Putin was first crowned.

When we left the theatre in the soft dusk

of May there was a babushka begging.

In the Lubyanka metro station,

a drunken man rolled down the escalator…

 

As Venus appears in the south east,

the orchestra plays encores – ‘Volare’,

‘Torna a Surriento’, ‘Ritorna-me’.

The audience, mostly local, largely

female, sways and hums, secure, for that moment,

in its campanilismo, thinking of amore…

 

Small boats are approaching, in the thickening

dark, from North Africa and the Levant,

chartered by men – vessels overladen with

women and children, craft whose landfall, whose

free fall will set tolling each and every

bell in the frantic campanile.

 

 

THE SECOND TIME AS FARCE

So many colonisers here in this

terra amara, this bitter land –

from Ancient Greece to Bourbon Spain,

from Ancient Rome to Scandinavia,

from the Caliphate to Swabia – fitting

therefore that our cable car cabin

should be muti-lingual, each of us

keeping our space, averting our eyes.

 

As we descend from Via Luigi

Pirandello to Isola Bella,

past terraces with sun loungers, over

the Campo Sportivo and the tangled

scrub in the gorge, we hear suddenly

from the air itself it seems, from nowhere,

the first bars of ‘The Ride of the Valkyries’ –

those fateful sisters who will choose the half,

in battle, that shall be killed, the half that live.

 

There is a confident flurry of amused

Nordic voices: ‘Er vi i himmelen?’

(Are we in heaven?) ‘Eller helvede?’

(Or hell?) You whisper, ‘The Vikings are back!’

 

 

 

ICONOCLASTS

A young woman, with a babe in arms, sits

beneath a mosaic of the Virgin

and Child under a medieval arch and begs.

Set in the tower above them is a clock,

which plays ‘Ave, ave, ave Maria’.

The narrow space is clogged with tourists

from the cruise ships and the tour buses.

Most do not give. She might be Roma:

like the woman, begging with a toddler

near the amphitheatre, to whom we gave

but said nothing, did nothing seeing a

child of that age, though bonny enough,

play on the street. Something is wrong – such begging,

such indifference, such circumspection!

Have we all become senza anima

without soul – or do these mothers love

their children beyond shame?

 

 

 

VIA SALITA GIAFARI

The street is built into the steep mountainside,

hence ‘salita’, ‘slope’. It is a wide street of steps –

edged with granite, inlaid with pebbles

and set in cement bordered by brick.

 

***

 

From our balcony, there is an impassive,

inscrutable vista of the old town’s

semi-circular, interlocking

clay roof tiles of varying shades of

terracotta and the occasional

Moorish-style chimney – finally

the public gardens’ umbrella pines and

the Ionian Sea becoming sky.

 

***

 

At dusk, Arab street sellers climb the steps

slowly, their wares in torn sheets on their backs.

When the street light comes on a gecko appears

on the wall opposite and waits. Each time

a new video appears on the large

plasma screen in Piazza Vittorio

Emanuele walls even here flash blue.

 

***

 

Ten thousand residents of Taormina,

two million tourists each year – beginning

with Goethe – and such sounds… the commune’s band

on the Corso Umberto – brass playing

nostalgia, drums braggadocio;

enthusiastic French tourists in step

on the Via Don Bosco; petulant,

throaty Vespas on the narrow ring road;

dogs, out of sight in walled yards or hidden

by oleanders, yelping, baying;

a blackbird’s solitary ‘chook, chook’,

beneath the lemon trees and plumbago

on a neighbouring terrace; a quick bell

rung a dozen times for matins; the cruise ships’

sirens sounding, sounding… Tennesse

and Truman with their paramours laughing

freely on the terrace of the Caffé

Wunderbar; Taylor breaking a guitar

over Burton’s head in the Hotel

San Domenica; D.H. Lawrence

beating up Frieda just down the road from us

in the Villa Vecchia Fontana…

 

***

 

We have neighbours: the elegant woman,

opposite, with the basset hound, in a house

with raised grills on the windows and an ornate

wooden door set in an arch of marble;

someone, whom we never see, in the apartment

above, who whistles Vivaldi on the stairs;

in the apartment below, the Arab traders

smoking hash, talking quietly into the night –

their tee-shirts and cut-offs on an airer

outside their front door to dry in the dark;

the elderly owner of the Summer

Bazaar near the beach, who complains of Africans

selling their wares on the gritty sand,

and climbs down eighty steps and back each day

to descend and rise in the Funivia;

the beautiful girl, who, each morning

walks down to work at the alimentari

on the Via Timeo beside

the ruins of the Roman theatre…

***

 

A cloud burst brings water centimetres deep –

and laden with particles of pumice

from the mountain – cascading down the steps.

‘Giafari’ is a variant of

‘jafar’, Arabic for stream. Below us,

by the Arco Dei Cappucini,

a fountain flows from the rock – and watching

over us on the mountain’s edge are

the shrine to the Madonna of the Rock

and the walls of the Saracens’ Castle.