POETRY

THE CHAIR

Most second hand books, in my experience,

except perhaps for a certain easement

in their binding, show no perceptible signs of

previous owners, and those that do offer

only glimpses of the lives of others –

a fatuous marginal note, a Madras

curry stain. Some, however, present

a mystery of sorts – for instance,

I have arrived at page 15 of an English

translation of José Saramago’s

short story, The Chair – in his collection

The Lives of Things – to find somebody

has been there before me. A page corner –

dreadful habit! – has been turned down or rather

up, since it is the bottom corner,

and so obscured some text. In addition

the page has been marked by the stub of a ticket

for the Pompidou Centre, Paris, France,

11.40, March 1st, 2014.

 

We are at the point in the story

where the woodworm has thoroughly done its job.

The chair finally collapses when

the old man, whose chair it is, sits on it

for what will be the last time. He begins

to fall, and, on the next page, will bang his head

on the floor, and thus begin his slow demise.

The story ends: ‘Let us go to the window.

What do you think of this month of September?

We have not had such weather in a long time’.

 

The tale, which is a sort of allegory,

and also a protracted joke, is about

the death of Oliveira Salazar,

Portugal’s dictator of more than

thirty five years.  Despite Saramago,

however, there are some who claim a deck chair

collapsed under the tyrants’ weight, others

that he slipped in the bath. The haemorrhage

that resulted from hitting his head

took nearly two years to kill him. He believed,

though he had been replaced by another

the September he hit the floor,

he was still in office. Power seems to be

an illusion encouraged by others.

 

For whatever reason the visitor

to Centre Pompidou that Saturday

will have learned none of this, not only

leaving this particular yarn unfinished

but the whole collection of which it is the first.

Possibly he or she was distracted

by the exhibition in Gallerie 3,

PAPARAZZI! – the power of illusion.

 

 

 

MOONLIGHT

The full moon, part hidden by a wispy cloud

tinged grey with spring rain, lights the walls of the mill

and a tree in leaf at the water’s edge.

An oil lamp has been lit in a small window.

The water wheel begins to turn. The millstones,

their grinding muffled, judder the earth.

The creamy race pours from the wheel back

into the river thickened by the rain,

which is already falling on moorland

and its abandoned, shattered, moonlit crofts.

 

On the opposite bank a young girl

looks up briefly. She is alone, kneeling

in the shadows above a shallow inlet.

Only her bonnet and smock catch the dim light,

and the small bundle she has placed before her.

The abundant waters tumble past.

 

 

 

 

RAIN

Heavy rain flung against the window panes

wakes me in the dark. In the lull before

the next gust I hear your breath, a sound

I have known now for most of my life.

A spate of raindrops patters on the glass.

Faraway, on the kitchen windowsill,

are pots of bulbs – crocus and daffodil –

sprouting in the early morning gloom.

 

The sun will approach first via low, wet hills

cleft into valleys, then ancient salt pans, dew ponds,

and hedgerows tangled with blackthorn and dog rose.

And you might be awake, hearing my breath.

You are my talisman, my totem, muse,

scourge, sanctifier, love.

 

 

FOOL’S GOLD

Threatened in the wild, razed for firewood, its bark

once the repository of prayers,

this Himalayan birch – planted to screen us

from our neighbour’s blind back bedroom windows

or vice versa – has, almost overnight

it seems, in a tardy autumn, turned

from pastoral green to gold, the gilt

of palaces and of temples, a wind-

shivered, aureate filigree, tear-shaped,

that burnishes the heart. When leaves have gone

bricks and pebble-dash where nothing happens

will appear obscurely as if through fingers

spread wide to mitigate the sunlight.

A sliver of bark like a leaf of paper

will catch in the bamboo beneath the tree.

Maybe this year or next we will inscribe,

with the finest brush, the Sanskrit prayer:

‘May we never quarrel!’.

 

 

 

COMMERCE

By eyes as blue as heaven we are appraised,

and found wanting. Their owners jostle away

squealing. In open sheds high on the moor

hundreds of pinkish pigs, bred in Scotland

to be slaughtered in the Home Counties,

are fattening. Out among the heather

and abandoned bell pits, whose worked-out coal seams

are long grown over, Blackface sheep graze safely.

 

East, over the sea – blue too today,

and with an oil tanker sailing north –

is the rest of Europe, and, out of sight,

the AI and the East Coast line: West,

the Cheviots, and Eildon Hill’s three peaks

over the border, and centuries

of banditry between.

 

 

 

 

HERITAGE

From this part of the Hall the pit’s winding gear –

now defunct, of course – is clearly visible

above a line of oaks and beeches

a mile or so across fields and hedges.

A narrow coal seam was opened up

nearly a quarter of a mile below,

and subsidence, now fixed, cracked the chapel walls.

Visitors note the different shades of plaster,

and that the stained glass windows were undamaged –

then stroll among flower beds, along

espaliered walks, across well-tended lawns

loud with children’s cries. Hundreds of yards beneath

are abandoned tunnels, unworked coal seams.