POETRY

NORTH

David Selzer By David Selzer5 Comments2 min read3.8K views

Flying north west to Reykjavik we kept pace

with the sunset – its reds, its oranges,

its prism of blues – but landed in darkness.

We were coached to our hotel past concrete

apartments, advertisement hoardings,

and neon lit diners that could have been

the outskirts of any large developing town.

 

Iceland has the landmass of Ireland,

the population of Coventry,

most of whom live in Reykjavik –

a calm, civic, prosperous, caring place

with its galleries, museums, libraries,

concert hall, university, and

hot water pumped from the geysers inland.

Nevertheless, surrounded by volcanoes,

we felt close to some northernmost frontier.

 

Its centre has the charm of San Francisco’s

North Beach, Fisherman’s Wharf, Pier 39.

We walked downhill to the old harbour

past wooden houses, expensive shops,

elegant graffiti, and steep cross streets.

On the pavement by the public library

was a waterlogged paperback copy

of ‘One Hundred Years of Solitude’.

 

Until the Celts and the Vikings came –

westering exiles, chancers, pilgrims;

seafarers and storytellers; thralls,

nobles, and the odd priest – the only mammal

was the arctic fox, here since the last ice age.

 

We left for the airport in daylight.

The landscape – deforested by all

the mammals except the fox – seemed tundra-like:

the rich, volcanic top soil exposed

against a backdrop of snowy mountains.

 

We flew along the southern coast eastwards.

When the city ends, there is only

the occasional homestead before the ocean

rolls below in sunlight, waters that might break

suddenly with imaginary whales

after we have passed – for we saw none

on our half-day excursion from Reykjavik

out into the North Atlantic’s gunmetal

grey spraying us, pitching us, bucking us.

Our tickets remain valid for future trips

forever until we see at least one

Blue, Humpback, Minke, Orcha or Sperm whale –

an honourable, optimistic deal.

 

 

THE SUMMERHOUSE

David Selzer By David Selzer0 Comments1 min read1.5K views

The gazebo is filled with the leftovers

of summer: six canvas chairs, a furled sun shade,

a striped windbreak and a wooden mallet,

a scattering of fine Welsh seashore sand,

a half full pack of citronella candles –

an optimistic, seasonal jumble

of soft remembrancers, soft echoes…

 

But if the polar ice were to melt –

though Goya’s giants might still club themselves

to death as they sink in a bog, and Borges’

two bald men might brawl still over a comb –

we would be murky seabed here, and this

fair weather kiosk bob to the surface

like the coffin in ‘Moby Dick’, while gulls

swirl above, and the Clwydian Range

become a scattered archipelago

of ferned and heathered islands briefly

darkling with survivors.

 

 

AT THE BRIDGE

When I was poorly my mother read to me

from Macaulay’s ‘Lays of Ancient Rome’:

Then out spoke brave Horatius, the Captain

of the Gate: “To every man upon

this earth, death cometh soon or late; And how

can man die better than facing fearful odds…”

He lived, was gifted land, and made in bronze.

 

But what I remember from those sickly days

is an image of the Captain, sword drawn,

and his two comrades. Behind them,

a second line of defence, they had fired

the only bridge across the Tiber.

Their duty was to stay the baying hordes

charging down the hillside towards them.

I see them now, three figures in a fiery

valley filled with flickering shadows,

waiting for the enemy.

 

 

CONVERT OR DIE

In a large chamber behind the colossal

Doric colonnades four columns deep –

Bernini’s ‘maternal arms of mother church’ –

that enclose both sides of St Peter’s Square

is an exhibition: How Christ Was Brought

To The New World. There are extensive maps

and long lists of dates, the occasional

Christian martyr’s cross or chasuble,

and illustrations of happy converts,

but not a hint of the laying waste

to inconvenient cultures, the blood

and lamentation, the casuistry,

the theft, and servitude.

 

 

LONGING AND DUTY

We visited the Vatican the first week

of January so there was only

a short queue for the Sistine Chapel,

and few visitors, once inside, to distract

from possibly Rome’s most famous work of art;

its gaudy magnificence; its lavish

genius; its conspicuous wealth; its

indulgent humanness; its celebration

of beauty, of flesh, and immortality.

 

Michelangelo, painter, architect,

sculptor and poet, spent months on his back

creating The Last Judgement on the ceiling –

a graphic history of prophesy.

One of the polymath’s sonnets ends:

‘…love makes perfect our friends here on earth

but death makes them more so in heaven’.

 

We left the Vatican via the Library

with its seventy thousand volumes.

There was an exhibition of illustrated

manuscript versions of Virgil’s works –

possibly the city’s most famous poet –

each much more than a millennium old,

fragments saved during the papacy’s

many epochs of acquisitiveness.

 

One illustration depicts Dido,

Queen of Carthage, on her funeral pyre.

She had been jilted by Aeneas, who left

to do his god-given duty to found Rome.

She killed herself with her ex-lover’s sword.

The poet has Aeneas – who had carried,

on his back,  his own aged father from Troy’s

burning ruins – watch the funeral pyre’s

receding flames as he sailed, almost due north,

across what would become Mare Nostrum.

 

 

ANGELS AND VANDALS

Everywhere in central Rome is sentient:

the Coliseum; St Peter’s Square;

the Spanish Steps; Castel Sant’ Angelo –

a towering, cylindrical building,

originally the Emperor Hadrian’s

mausoleum then a bolt hole for besieged

popes and, finally, for centuries,

a prison, and place of execution,

before becoming a museum.

 

We are approaching the castle this New Year’s Day

across the Ponte Sant Angelo, with its

ten sculptured, twice life-size, Baroque angels.

Beneath the Angel With The Crown Of Thorns

are three Roma children, a boy and two girls,

the latter dressed in long multi-coloured skirts,

their hair hidden by tightly wrapped scarves.

While the older girl begs,  the other two

are lighting some kindling they have brought.

 

The Castel Sant Angelo is the setting

for the final act of Puccini’s ‘Tosca’.

While Napoleon’s army is advancing –

so Rome will be sacked yet again –

Tosca, a famous soprano, stabs

the lecherous Scarpia, Chief of Police.

She thinks she has tricked him into saving

her lover – but the bullets the firing squad

discharges in the prison yard are real

and Cavaradossi, a painter, dies.

In her grief she sings, ‘O Scarpia,

avanti a dio!’, then runs up the steps

to the parapet – where we are standing –

and throws herself over the ramparts.

We can see the snow on the Apennines,

the Tiber flowing fast and olive below,

and, on the bridge, two armed policemen chasing

the children, whose small bonfire is blazing now.