POETRY

TREASON OF THE CLERKS

I have lived most of my life in the suburbs

of the ancient city of Chester, with its

walled centre of Roman, Saxon, and Norman

ramparts of cut sandstone. Even though

the city, a Royalist stronghold, was besieged

during the English Civil War, the walls

remained more or less intact until

the road traffic demands of commerce.

 

I went to a school in the old city,

a coveted school with two entrance exams.

It was one of many such establishments

in market towns across England created

by Thomas Cromwell from the assets

of the monastic abbeys his master,

King Henry, had seized: schools to manufacture

Protestant clerks to collect the King’s taxes.

The building, as our head master – himself

an Anglican cleric – used often to say,

was ‘in the shadow of the cathedral’ once

an abbey church. Was that pulpit rhetoric,

or an unintentional irony?

 

The city’s four main streets follow the routes

of the thoroughfares of the Roman Camp,

each leading to one of the four main gates.

They meet at The Cross. Nearby, in Northgate Street,

there used to be a tobacconist who sold

small Cuban cigarettes in packets of five.

 

Armed with supplies we doughty band of smokers

would leave the school premises each break,

cross Abbey Square (past the Bishop’s House),

down Abbey Street (past the Dean’s and Archdeacon’s),

and onto the walls near the Kaleyard Gate –

a postern, originally for the monks

to daily access and tend their rows

of vegetables outside the city walls.

Come shine or rain, tourist crowd or none

we would walk quickly to Phoenix Tower,

which has a phoenix – then the  emblem

of the Painters’ Guild – carved above the door.

 

The tower is popularly known as

King Charles’ – for Charles I is said to have

stood on the roof and watched his cavalry

routed by the Roundheads on Rowton Moor.

More likely he had climbed the narrow, spiral

staircase in one of the cathedral’s towers

to get the best view. After the regicide,

the Dean and Chapter, no doubt, made up

the story about the Phoenix Tower

 

I am sure we spoke of little else but

the Reformation and its aftermath –

the doomed monarch, the brief Commonwealth,

the cynical Restoration, those

centuries of violent bigotry in these

Celtic Islands, and England becoming

a global trading power – as we stood there,

privileged white boys in striped ties and blazers,

hurriedly inhaling cheap tobacco

from the Caribbean.

 

 

 

 

THE CASTLE AMUSEMENTS

The large corrugated iron shed – flaking

whitewash almost turned to grey – has been closed

and empty now since the last recession.

Some say the arcades of slot machines remain,

cobwebbed, darkened and muted, until

that last trumpet in an eye’s twinkle

resurrects their glare and the ring of money.

 

Visitors to the Plantagenet castle

opposite – driving up the corkscrew lane

from the coastal road – note the peeling plywood

nailed to the windows, and the fading sign

above the padlocked double doors up the steps,

where, beneath AMUSEMENTS, is the vestige

of CINEMA. Imagine, between the Wars –

on a stuffy summer night, the doors wide

for what little air there might be – the castle keep,

far, far above the sea, filled with sounds

from the rich arcades of Tinsel Town:

Laurel and Hardy singing “In the Blue

Ridge mountains of Virginia on the trail of

the Lonesome Pine…” – or Selznick’s Gone With The Wind,

and Atlanta burning.

 

 

THE JESSE TREE

To shape a life out of marble or granite

requires quarrying and carting, teams

of people and horses, and, out of bronze,

mined metals, a furnace, and a mould

crafted with lapidary precision.

But wood is ubiquitous – before navies

are commissioned, and sheep runs enclosed –

oak forests overlaying hills and valleys.

 

When folk live close to where they are born,

and history is what you are told by your kin,

and generations are short, and count;

when the priest says, “Jesse begat David the king

and David the king begat Solomon

all the way to Jesus”; when the priest says,

“Isaiah talks of Jesse as a tree”;

when your world is full of people with these names,

the Jordan seems only half a day’s journey

away, just beyond the next range of hills.

 

Sometimes ideas are like clouds, slow,

lumbering, or slight, whipped by the wind,

or lightning that hits the gut – like the fork

that fells the big oak near the river,

its torn-up roots like a man reclining.

So the wood carver creates, chisels and paints

Jesse and all his progeny, ascending

to the crown of the tree, the Son of God –

generations secure on an old man’s back.

 

 

 

HOMEWARD BOUND

Our travelling companions, in their many

thousands, are mostly old or middle aged –

here from all parts of this divided land,

here where a local man set off a bomb,

in this utilitarian, concrete arena

magicked into a digital theatre.

 

‘The Mississippi Delta is shining like

 a National guitar,’ sings the elderly,

almost diminutive troubadour

from New York City, still centre stage

with his acoustic guitar, ironic

and lyrical, after all this time.

 

‘And she said losing love is like a window

in your heart. Everybody sees you’re blown

apart. Everybody sees the wind blow…

 

He has a young man’s energy. His voice,

nearly pristine, is rasped with wisdom.

Imagine Cole Porter and Irving Berlin

touring the world with their own orchestras!

 

‘And sometimes when I’m falling, flying,

And tumbling in turmoil, I say, Whoa…

 

He is accompanied by an off-stage host

of engineers, technicians and crew,

and backed by a multi-talented,

cosmopolitan band of angels.

 

‘…I’ve reason to believe we will all

be received in Graceland.’

 

 

ROYALE DE LUXE

We’re crossing the Mersey on the Dazzle Boat

aka MV Royal Daffodil. A breeze

is blowing from the river’s mouth. Sun lights

the Cunard Building like a palazzo.

 

We’re crossing to see the Giants from Nantes

on the Pier Head and at Mann Island,

along The Strand and in Canning Dock –

here by way of the Loire, Biscay Bay,

the North Atlantic and the Irish Sea.

 

We’re standing with tens of thousands of others –

a dense gathering by St George’s Dock Gates

of sardined and cheerful human beings –

watching the Giant Uncle, who is

four storeys high and has melancholy eyes,

walk – with the aid of gantries and pulleys

and costumed human counterweights – towards us

down Water Street to meet the Little Boy,

a thoughtful-looking black child, with his dog.

 

We’re crossing on the Royal Iris home.

Our bodies’ imaginations still tingle

with street theatre. Scores of Liverpool’s

serious windows are burnished gaily

by the sun setting over the sea.

 

Note: Royale De Luxe

 

FROM AN ARMCHAIR

Through the large window at the end of the room

I can see, out in the April garden,

a sudden wind broadcasting the blossom,

from next door’s ancient pear tree, like snow flakes.

A female blackbird is collecting bedding

and struts of twigs and grass, and airlifting

them into the ivy that covers the fence.

 

On the CD player, between melody

and chords, a dead guitarist’s fingers

slide so poignantly across the strings and frets.

 

A black and white lithograph, fifty eighth

in a series of a hundred entitled

‘Berezy’, ‘Birches’, bought in Moscow’s

Izmailovsky Market – the May Putin

was first crowned – from the artist’s son, the father

fallen, like most of Russia on hard times, shows,

through a thicket, a tangle of leafless

birch trees, a stretch of water gleaming: beyond,

a low rise with a pale fence and a wooden

dacha small against an alabaster sky.

 

I write a couplet, in my head, that is

of such Arcadian perfection, of such

bucolic beauty, it stutters into

silence, like the light of fireflies in a jar.