POETRY

FLYING TO JOHANNESBURG

 

1

 

This is no journey for old men. We have

too many entanglements, too many

memories. Too arduous to travel

south through a whole day or a whole night,

yet with too little time for unresolved,

unresolvable enigmas, day and night:

a single camel train in the Sahara;

sporadic bonfires in the Congo.

 

 

2

 

Whether Heathrow, Charles De Gaulle or Schipol,

after Security’s uncertainty,

there is the glare of Departures with its

faux glamour, its gimcracks, its gewgaws,

its profligacy – the entire world

to fly to. And the briefest moment

to observe the human condition:

our gestures, our rage, our laughter, our stories.

 

 

3

 

The clocks tick quickly at the world’s centre.

We must suddenly rush – into relentless,

blank walled, silent tunnels – excoriating

the effort and tedium of travel.

Yet the temporary optimism of take-off

revives – that two hundred tons and more

can ease into air, almost like a bird,

with all of manicured Europe beneath us!

 

 

4

 

As the undercarriage whirrs open and locks,

I remember the purpose of my journey,

thinking of the friends who are waiting,

whose struggles I can only imagine,

their stories monuments. So Joburg, Jozi,

the City of Gold does become ‘a country

for old men’ – who have lived long enough

to see, at last, a little justice done!

 

 

 

 

A JAR OF STICKLEBACKS

For a thousand years…are…as a watch

in the night.’ Psalm 90, The Authorized Version.

 

We are looking for Roary Lion and

Twit Whu Owl, my grand daughter and I –

sitting companionably side by side

on the sofa, she not yet one, me close

to the ‘days of my years’, as the psalmist says –

lifting the flaps on each of the pages

to find the beasts and release the sounds, she

concentrating like a biblical scholar

until, as a devil or an angel,

not unreasonably, boredom arrives.

She turns, climbs up her Grandpa, first tries to

remove his beard tuft by tuft, and then does

the old Milton Berle gag with his glasses

and laughs – and suddenly I remember

my grandpa, at my age now, his only

son recently dead, his two brothers,

Red Army officers, killed in action,

their families massacred at Babi Yar.

 

One day, with my mother, I netted

three sticklebacks in a pond on the Heath.

She carried them home in a jam jar.

I took it, insisting at four I could

go alone, up the back steps of the flats

to show Grandpa. I dropped it, watched it

shatter on the concrete. He heard my wails,

picked up the frantic fish, found a new vessel.

 

Twelve months ago you were someone we knew

nothing about but a heartbeat. Now you are

unmistakably, uniquely you –

a voracious wit, a chortling learner.

Nevertheless, it may be some time

before you decipher these signs, even

longer before they have meaning.

So, if you do, when you do, imagine me

holding up to the light, unbroken,

a jar with all your wishes, all your hopes.

 

Note: the poem was first published by Armadillo Central – http://www.armadillocentral.com/armadillo-central/a-jar-of-sticklebacks-david-selzer

 

 

 

A DEFINITIVE HISTORY OF VENICE

LA SERENISSIMA

 

…stucco white as cuttlefish. In shadows,

a lion’s mouth utters advantage or blame.

The whitewashed stench of the prison inspires

the palace. An improbable city:

a wedding of sky, water, stone, lagoon –

colours luminously true to art, art

celebrating business, gold transformed to

lead, marble, canvas, paint. The lake dwellers’

ambition: exploitation and caprice…

 

 

 

 

A DEFINITIVE HISTORY OF VENICE

PIAZZA DI SAN MARCO

 

After the sky has shaded from indigo

to sepia, when swifts have gone and pigeons

roost in the crepuscular arcades,

when the Basilica’s looted bronze horses

are illumined – where Rossano Brazzi

and Katherine Hepburn failed to meet

at any one of the five cafés in

Napoleon’s ‘most splendid drawing room

in Europe’, where Proust (holidaying

at the Danieli with mother) corrected

his translation of Ruskin and criticised

the risotto, where Casanova

evaded the watch – then the eclectic

clock tower, the three, competing string orchestras,

and the melancholy campanile

accompany gratis a young man, alone,

masked, waltzing on the marble pavement.

 

 

 

A DEFINITIVE HISTORY OF VENICE

BACINO DI SAN MARCO

 

From the Daniele’s restaurant terrace,

a bride and groom watch a shower of rain,

against the deep blue of the sky, approach

from the Adriatic, fall on the Lido,

San Lazzaro, La Giudecca, become

a foil for San Giorgio Maggiore,

La Dogana, La Salute, disappear

out of sight, somewhere over the lagoon.

 

As the late afternoon sun glows on wet

marble and the monogamous swifts return,

the man exclaims, ‘What a view we’ve got!,’

but the woman, ‘The light!’

 

 

 

A DEFINITIVE HISTORY OF VENICE

DECLINE AND FALL

 

Once, there were no panhandlers in La

Serenissima. Now there are four beggars –

men from Dalmatia, the old colonies,

and a Roma woman with no past.

Near the Rialto, two alternate

on the same pitch: heads sunk, hands out, their stories

in English on cardboard. The third plays

an accordion near the Accademia,

his history on plywood at his feet.

Only the woman, dark-eyed, distressed, who sits

anonymous, huddled, swaddled against the

long wall of the Ospedale Civile,

looks charity the tourist in the eye.  She

takes the last  vaporetto  for Torcello

– and disembarks somewhere in the dark lagoon:

but returns always as if she were any

other traveller on the chopped and dancing

water, under the pellucid sky, in the

serenity of the light.