POETRY

ACCIDENTS

A sudden heavy shower of summer rain

slows the early evening motorway

to a blood red blur of brake lights.

In my mirror, I see two cars collide,

career across the lanes – and others stop,

receding out of sight into the downpour…

 

I am thirteen and a half and tall for my age –

the year of Hungary and Suez;

am sitting on the red leather back seat

of an almost straight-from-the-showroom

Morris Minor (in the inexorable green),

having dined at Heathrow’s new, five star

restaurant and sampled hors d’oeuvre

and tasted Riesling for the first time;

am being driven back to Golder’s Green

by Yvette, the car’s owner, a fashion designer

and childhood friend of the other passenger,

Angela, my aunt, a night club pianist,

briefly home from Johannesburg –

both daughters of Tzarist refugees,

both light years from the Pale,

bleached blondes, smoking Sobranie

Black Russian in ivory cigarette holders;

am listening to these nubile women,

our daughter’s age now, talk acidly

of their exes, wearily of their dads

when a four door car, overtaking,

somewhere on the Great West Road,

comes seemingly too close and Yvette

swerves sharply right, her bumper

striking its fender with a metallic thump…

 

Fifty and more years later I forget

the dénouement. Certainly, no one died.

I think of you, somewhere perhaps without rain,

watching the sun set, perhaps wondering where I am,

why I am late, while I drive homewards.

 

Note: this piece has been subsequently published in ‘A Jar of Sticklebacks’ – http://www.armadillocentral.com/general/a-jar-of-sticklebacks-by-david-selzer.

 

 

 

THE GARDEN OF EARTHLY DELIGHTS

The left, centre and right panels of the tryptch, ‘Garden of Earthly Delights’, by Hieronymous Bosch circa 1510

 

Paradise flocks. Christ is blessing Adam, Eve

and, looking our way, us. We know, we

know – but a dirty trick to make evil

interesting! Lords and ladies teem: nude

armies on sensual manoeuvres.

In the nightmare, penis becomes knife, vulva

a cracked, open egg on tree-like legs –

and a man, elbow on the cut-away edge,

is unmoved. Hells’ punishments become our

crimes: towns burn; refugees drown; a man

is crucified in a harp. Hell’s commandants

play sonatas – and someone watches

and is indifferent.

 

 

 

CECIL AND PRECIOUS

RHODES MEMORIAL
Rhodes Memorial, Cape Town. © Sylvia Selzer 2009

 

‘Equal rights for all civilized men south of the Zambesi!’ Cecil Rhodes

 

I

 

Apparently, he loved the view from this spot –

the north east slopes of Table Mountain – indeed,

owned much of the foreground. The sycophants

of Cape Town built, with granite quarried

from the mountain itself, this monument –

with Doric columns and arcades (which he

so revered, apparently), bronze lions à la

Trafalgar Square and a pensive, almost

wistful, bust of Cecil, clergyman’s son,

diamond broker, chancer.

 

 

II

 

The wooden bench from which he so enjoyed

the view survives below the monument

and on which he might have preferred a brass plaque

but perhaps not. He bequeathed the mountainside

to the nation and so ensured its slopes

preserved. We brunched at the restaurant

among the pines. At the next table,

a Coloured waiter served an Asian man

and a Black woman Italian Tomato

Soup and Quiche of the Day.

 

The air was pellucid, alpine. Oddly,

a Marsh Harrier circled above us –

yet this was beautiful. The restaurant

suggested his wish had been achieved

though not, of course, quite as he intended!

Below were the airport, disused cooling towers,

the Guguletsu township and, out of sight,

beyond the mountains that bound the horizon,

his unrealised, longed for, imperial road

from the Cape to Cairo.

 

 

III

 

When we returned to our rented villa

in Newlands, Precious, our maid, was leaving

to catch her train for Guguletsu.

This was her first time at the villa

so she was nervous. She would be home before

nightfall but she must walk through the dark

in the morning, evading the tsotsis.

Her daughter had stayed on at school, planned

to go to Rhodes University, planned

to leave South Africa.

 

We could not assuage Precious’ fear. We thanked her

for looking after us. We became used

to the gratings on all of the windows.

We felt safe behind the garden’s high walls.

From the verandah, we watched the mist

pour down Table Mountain like dry ice –

and listened to a pair of Sugarbirds sing

in the Jacaranda. So nothing had changed

yet everything had changed.

 

 

IV

 

Someone in black spray paint had, as it were,

crossed out Rudyard Kipling’s words on the plinth

beneath the bust: THE IMMENSE AND BROODING

SPIRIT STILL SHALL QUICKEN AND CONTROL

LIVING HE WAS THE LAND AND DEAD HIS SOUL

SHALL BE HER SOUL. The same hand probably

had sprayed the plinth, at the foot of the steps,

with: ‘reject racist heroes’. It supports,

on a rearing bronze horse, a bronze horseman

looking for the future.

 

Note: the poem has subsequently been published at http://www.sylviaselzer.com/2015/06/14/the-rhodes-memorial-cape-town/.

 

A PARABLE

Ynys Goredd Goch, Menai Straits © Sylvia Selzer 2008

 

For Caroline Reeves

 

We pulled into the lay-by above the straits

so that our friend could see the view: Telford’s

iconic suspension bridge, beyond

the Carnedd Range and, below us, Ynys

Goredd Goch, Red Weir Island – a house,

out-buildings, disused fish trap, slipway –

surrounded by The Swellies, tidal whirlpools

and surges driven by the rocks and shoals.

 

A small crowd had gathered in the lay-by.

On the island, there was a smaller group.

Suddenly, there was the dull pulsing

of rotors. A Sea King arrived. Someone

in the crowd said someone in the crowd said

a drowning swimmer had been rescued

by someone on the island – and someone else

said the Sea King’s pilot was the heir to the

heir to the throne. How we do love the stuff

of legend! The swimmer, whoever he was,

was an ignorant fool. The pilot and crew,

whoever they were, were skilled, brave and selfless.

 

 

 

THE HARE AND THE STONE

And suddenly she is a hare, eyes bursting

with fear. Her husband snaps her neck. Fingers

smell of tea towels and dust. Their son gobbles

at her nipples, his father’s eyes unfocused.

She dreads the key in the lock. Sometimes,

she wakes to find him thrusting at her crotch.

She is a hare, paralysed on a cold,

edgeless ground…Even through windows stuck fast

with paint, dust whispers, gathering on lips.

If, like a surgeon, she were to cut him,

she would lay bare a pebble, smooth as glass,

nudging his heart. It is his ambition

sometimes to be a stone.

 

 

 

VALLE CRUCIS, LLANTYSILIO, LLANGOLLEN

David Selzer By David Selzer1 Comment1 min read1.8K views
Valle Crucis Abbey, Richard Wilson, circa 1760

 

 

Where willow stoops in curling shallows, May

stirs branches that creak like rigging or rub

like silk. The cuckoo sings its unsettling,

solemn roundelay. Sun gilds the abbey’s

west wall. The glassless rose window is a

blinded eye in a Romanesque skull –

indulgence in a wilderness. The Blood of

the Lamb coursed through the old ways of Keltoi,

Celtae, Celts. Time the dissembler leaches

the earth of language, artefact, intent.

 

A wall in the south transept was scorched by mishap

or mayhem. Dousing the flames, did the monks

break their vow? The Reformation empowered

even Trappists. Rulers destroy or endow

for glory. Defenders of parliament

effaced the cross (placed on a pagan mound)

carved to honour the Princes of Powys.

Even at the world’s furthest edge, even

beside an unkempt road through a valley,

was always a junction of opposites –

the classic, classical dichotomies

of the cerebellum and the soul, of

carapace and substance, tyranny and

learning. An oak tree, shaped like a brain, spins

the sun’s threads and is cleft, halved – fire and leaf.