POETRY

THE SKELETON ARMY OF STEVEN STREET

Each Sunday the Salvationists would gather

at St Giles Cemetery – once the site

of a medieval leper hospital

set well beyond Chester’s city limits.

To the thud of the bass drum, to chords of brass,

to banners declaiming ‘Be just, and fear not!’,

to the singing of ‘A friend of Jesus,

O what bliss!’, uniformed they would march

onwards to a ‘Stronghold of Satan’ –

past the spot where, high above the river,

a Protestant and a Catholic

were burned to death a century apart.

 

Beside the canal, near the abattoir,

steam mill and lead works, was a purpose-built

enclave of constricted streets of back-to-back

lodging houses, public houses, gin shops.

Steven Street – perhaps three yards across

and fifty long – was the centre of the slum,

and home to hundreds of Irish Catholics

who were refugees from the Great Hunger.

 

The Salvation Army would march past the cramped,

noisome ghetto along the canal path

to ‘O boundless salvation!’. One Sunday, ‘Black

Sunday’, an ecumenical group

of English and Irish, Catholics

and non-Catholics – probably outrageously

drunk, as well as outrageously poor –

waited for the parade to pass by

the canal end of Steven Street, then followed

the last rank – mocking the hymns, hurling abuse,

dead rats, stones, and unfurling a raggedy

banner with a scrawled skull and crossbones.

Some Salvationists were seriously

assaulted, needing medical attention –

but the magistracy, concerned for Chester’s

tourist trade, considered the Sally Army

provocative, so bound over

the Steven Street ‘generals’ to keep the peace,

despite green-ink letters to the local press

railing against Fenians and Popery.

 

That year the British sent forty thousand troops

to land at Alexandria and invade

the Suez Canal Zone, the canal itself

being supposedly under threat. Steven Street –

or, rather, its straitened dwellings – was demolished

when I was a young man, and replaced with a block

of social housing. About twenty feet

of narrow road way, barely a car’s width,

remains – but not much else has changed: lives crippled

by accident, and the self-interest

of others; lives abridged by class, and want,

and bigotry; whole nations hoodwinked

by wonders and marvels, by abstractions;

consumed, diminished by avarice.

 

 

THE ISLE OF PORTLAND

The Bibby Stockholm – an accommodation

barge containing asylum seekers – is moored

in Portland harbour, from where quarried limestone,

laid down in the Late Jurassic period,

has been shipped for many centuries.

 

‘The star-filled seas are smooth to-night

From France to England strown;

Black towers above the Portland light

The felon-quarried stone.’

 

Not unreasonably it was assumed,

on social media, where he was named,

that the man who was heard screaming on the barge

at 3.00 a.m. was the one who later

committed suicide. It was, in fact,

someone else’s wretched, anguished son.

 

‘On yonder island, not to rise,

Never to stir forth free,

Far from his folk a dead lad lies

That once was friends with me.’

 

Text book neo-liberal economic

theory is operating here: the market

decides who may be given a chance to live.

To escape from havoc and torture,

to cross continents and shipping lanes,

requires some money, desperation, and courage.

 

‘Lie you easy, dream you light,

And sleep you fast for aye;

And luckier may you find the night

Than ever you found the day.’

 

Renowned for being both durable

and workable by masons, Portland stone

was used in building St Pauls Cathedral

in London, and the United Nations

in Manhattan, for example. If God

were to exist he or she would have to be

totally impervious to irony.

 

Note: the quoted verses in italics are the three quatrains that comprise A.E. Housman’s THE ISLE OF PORTLAND, number LIX in his A SHROPSHIRE LAD sequence.

 

 

 

THE HAZARD OF FAILURE

‘I know that I shall meet my fate

Somewhere among the clouds above…’

AN IRISH AIRMAN FORESEES HIS DEATH, W.B. Yeats

 

For David Press

 

One of the pitman painters from Ashington,

Jimmy Floyd, explained that he had depicted

the shed in a painting green like the grass

because he had run out of yellow

the intended colour. Better the wrong shade

than an allotment without a shed.

 

***

 

According to Gertrude Stein, that mistress

of ironies, the real and only reason

for Picasso’s Blue Period was

he had a lot of blue paint left over –

though the barefoot trio in the ‘Tragedy’

on that chill shore would be wretched and hopeless

in any colour from the spectrum: a man,

a woman, a child, the little boy

touching his father with one hand, the other

stretched towards his mother, who stands head bowed,

a little apart, watched helplessly by the man.

 

***

 

The poet, Refaat Alareer,

who was killed in an Israeli air strike,

foresaw his death. His last poem begins:

‘If I must die’. He says that after his death

‘you must live/to tell my story/to sell

my things/to buy a piece of cloth/and some strings’

and make a white kite ‘with a long tail’

so that a fatherless child in Gaza –

‘awaiting his dad who left in a blaze’ –

might look up, and momentarily

imagine ‘an angel is there’.

 

 

WILD GEESE ABOVE

I am standing at the kitchen sink stuffing

chicken thighs with sage and wrapping them

in prosciutto crudo, and am thinking

how much cooking and making poems

are analogous when I hear wild geese.

 

From the patio I see perhaps

half a dozen skeins, like strings of molecules,

flying towards the sunset, calling, calling.

They can see the shine of the marshes

they are homing to, and, if they knew it,

the darkening bulk of Halkyn Mountain

and, beyond, the pink-grey shimmering

of the Irish Sea. Suddenly, as evening

shades into night, blackbirds – territorial

as any gentry – in the birch tree,

and the plum, set up their warning rattle

at a neighbour’s cat, white as a cloud,

prowling behind the rhododendron.

 

I return to the kitchen, reflecting

on alarms and valedictions in

darkling gardens and still-bright skies – the sounds

a poem makes – and turn the oven on.

 

 

SAND FLATS AT WEST KIRBY

At low water the sand flats stretch unbroken

down the Dee estuary’s English coast

to the reed beds of Parkgate and Burton Marsh;

stretch beyond the islands in the river’s mouth –

Hilbre, Middle Eye and Little Eye –

towards the wind turbines in Liverpool Bay;

then along the head of the Peninsula,

past Meols, Leasowe, Wallasey and New Brighton,

to join the mudflats of the Mersey.

 

At low water the sand flats are safe to cross

to the islands – and you might feel you could walk

to that wind farm on Burbo Bank, or walk

to Wales and reach Snowdonia’s ranges,

despite the channels you cannot see,

and the waves encroaching which you cannot hear,

let alone see, because of the constant sound

of endless, restless, distant waters.

 

Here are such large skies of shifting clouds,

long veils of rain, unbroken sunlight –

such immense firmaments. This is a place

of horizons and mirage, of disquiet,

and exhilaration, like a lost element,

a lost dimension, as if you might glimpse

heaven or angels, or whatever else

may be at the world’s edge.

 

 

TERRITORY

We are sitting in a slate-roofed brick-built bower

in the ornamental gardens of our

favourite country house. A robin appears

on the flags at our feet. It cocks its head,

so as to better see us with its brown eye.

The three of us wait. Perhaps it has come

for crumbs. It hops under the bench – then flies off,

only to return almost immediately,

and resume its original position.

How fragile its legs seem, thinner than matchsticks,

snappable as twigs. It goes under the bench,

flies off again – and returns. This time

it hops up, and stands within a foot of my coat.

Its red breast close up and out of direct light

is a warm orange. It shats on the green bench.

Its excrement is whiter than snow on grass.

The three of us wait. It flies away,

and does not return. We have been warned.