POETRY

D-DAY CELEBRATIONS

The TV presenter speaks of ‘sacrifice’.

She is al fresco on a purple sofa

with puce cushions. In the middle ground

are dignitaries, veterans, and a band.

Beyond are the War Graves Commission’s white ranks

of the British dead from Sword and Gold.

 

Only one speaker – beret, blazer, medals,

a RN signaller on a landing craft –

comes close to hinting that no one chose

to be a sacrifice. His speech is short,

even appropriately amusing,

and delivered unwaveringly

until the phrase, ‘My abiding memory’.

He halts, overcome – then repeats the words:

and, for the untold time, becomes a helpless

witness. The young squaddies he had joked with –

moments before the ramp clattered down –

were dead, floating with the tide toward the sand.

 

 

 

THE RÜSSELSHEIM MURDERS

I was Gratiano, Bassanio’s pal

in The Merchant of Venice. He ends the play

with an obscene pun. We were an ensemble

of drama teachers performing the piece

in English at Rüsselsheim’s Stadttheater,

the year after the Wall came down – so the pun

was probably lost somewhere in translation.

 

We were a couple of hours from the border.

One of our group became ill. The doctor,

treating her in the hostel where we stayed,

thought at first she was an ‘Ossie’. His rant

against ‘scroungers and beggars coming over

like an army’ was translated for us.

 

The theatre was part of the post-war re-birth.

The medieval centre of the city

had been razed by Allied bombing. Rüsselsheim

was a company town: Opel – making

first sewing machines then automobiles –

a General Motors subsidiary.

The population was ethnic Germans,

gastarbeiters and their families,

and US army personnel, from a  base

lined with tanks parked up for the next war

to be fought across the Great European Plain,

where herds of bison and wolf packs had roamed.

 

It was an orderly place. The stalls

for the weekly vegetable market

in Gräbenstrasse had their places

marked in white along a high, grey wall:

KAROTTE, KARTOFFELN, KOHL. Our hosts

had asked for Shakespeare. Who had chosen

The Merchant… was never clear. It was still

a poignant even controversial choice.

 

After one performance I was slow

removing my make up. All the others

had gone to a bar we had found on the banks

of the River Main. I left the Green room

by the wrong door, which locked itself behind me.

I was in the darkened foyer – all the front doors

locked, and no mobile phones then, of course.

I slept badly on a sofa until the caretaker,

a Turk, woke me at dawn. We spoke broken French

to each other. He mentioned the murders.

One of our hosts reluctantly told me more.

 

***

 

During an August air raid in ’44

on Osnabruck, a US Liberator,

a B24 nicknamed, ‘Wham Bam!

Thank You, Mam’, was downed by anti-aircraft fire.

The nine crew survived the crash – one was

hospitalized, the remaining eight entrained

for a twelve hour overnight journey,

through Rüsselsheim, for interrogation

at a centre near the Taunus Mountains,

north west of Frankfurt. In the early hours

of the next day, the RAF bombed

Rüsselsheim and its surrounding areas.

Frequently, the Americans and their guards

had to leave the train to take shelter.

 

The raid was intended to destroy

the Opel works –  which, in the event,

were largely untouched. Instead, nearly

two hundred were killed, mostly Opel

slave workers – and the Aldstadt was razed.

The raid had also wrecked the railway line

through Rüsselsheim. The fliers and their escorts

left the train, and marched through the city to find

the nearest undamaged rail and rolling stock.

 

The British and American strategies

re the bombing of civilians differed –

the former were for, the latter against –

informed, unsurprisingly, by politics.

The crew of the B24 were thought,

by some of Rüsselsheim’s citizens,

to be Canadians thus RAF:

Die Terrorflieger, Terror Fliers –

nearly half of whom were killed in action.

 

On Gräbenstrasse, a mob attacked them.

Four were shot execution style. The rest stoned

with rubble, from the air raid, littering the streets.

The unexamined corpses were taken

on a hand cart to the graveyard and hidden

beneath brambles. Two were alive and ran –

to be captured later. The rest were buried.

 

After the war, Rüsselsheim became

part of the American sector.

Liberated French and Polish labourers

told of the murders and the burials.

There was a trial of the main perpetrators –

some were hanged, some incarcerated.

 

***

 

That night in the foyer I had dreamt

of how Gratiano had gloated

at the Jew’s defeat and humiliation –

and then how Shylock, learning his daughter

had exchanged a precious stone for a monkey,

cried out, ‘it was my turquoise; I had it

of Leah when I was a bachelor:

I would not have given it for a

wilderness of monkeys’.

 

 

 

 

 

 

1746

The prisoners were dispersed across the north,

being too numerous for one assize –

many had followers, women and children:

a lost cause’s collateral damage.

 

An unrecorded number – of both rebels

and dependents – was held on the heath

a quarter of a mile due west of here

where I am researching and typing.

 

They wintered among the gorse and the heather.

Maybe there were tents, or perhaps bivouacs,

certainly for the guards. There was fresh water

from two meres – since filled in, and built on.

 

Some will have died in the snow and the rain

awaiting trial. Others, in the long nights,

will have absconded, desperate for the Spring,

and to see their own heathlands flower.

 

 

 

 

APPLES AND PEARS

For Alison and Georgia Robson

 

‘If I have seen further it is by standing on the shoulders of Giants.’ Isaac Newton

 

The ancient pear tree next door has not been pruned,

I would guess, for at least seventy years,

long before our time here, or the neighbours’.

It is now as large as a medium-sized oak,

with the remains of a magpie’s nest.

Its fruit, in these last days of summer, glow

a ruddy green; are plentiful, bountiful;

inedible, unusable even

for perry cider. The tree does what flora

is meant to do untrammelled – make seeds.

 

My occasional naps, lulled by the bees

in the ivy, beside our olive tree –

with its rare fruit the size of sheep droppings –

are interrupted randomly by the sounds

of falling pears: the slithering rush through leaves

to thud on the lawn, to thump on the summerhouse,

to gerthwang on something metallic.

Nevertheless our neighbours practise yoga

on the grass under the bombardment, dodging

the erratic proofs of Newton’s physics.

 

Isaac was born the year the Civil War began.

Soon after he graduated, Cambridge closed

for two years because of the plague. At home,

on the family’s Lincolnshire farmstead,

he split light into its spectrum colours,

developed differential calculus,

and one day noted the apple falling –

while the flocks of sheep grazed on enclosed fields.

 

My angels are busy on Jacob’s Ladder –

like apples and pears displayed on a barrow –

up the steps from the cellar to the hall,

up the stairs to the long window, from there

to the landing, and the stars. The blind giant

Orion had his servant Cedalion

stand on his shoulders, to guide him eastwards

to the vast healing sun.

 

 

 

 

 

DESTINATIONS & DESTINIES

Driving on education business to Crewe,

a quarter of a century ago,

I stopped for petrol on the Nantwich Road,

and there in a rack with Blur, Celine Dion

and Bon Jovi was Fred Astaire, Volume 2.

How my life changed! So many favourites

on one disc! I put the CD in the slot,

drove off the forecourt, and pressed the switch.

‘Heaven, I’m in heaven, And my heart beats

so that I can hardly speak, And I seem

to find the happiness I seek When

we’re out together dancing, cheek to cheek…’

and the track finished with his immortal feet

tap dancing in my company car.

 

I thought of Israel Beilin – as I parked

at the college to provide advice

on pedagogical strategies –

leaving school at eight to sell the New York

Daily News on the Lower East Side,

plugging songs at eighteen in Tin Pan Alley,

becoming Irving Berlin, auto-didact,

maestro of the music and the lyrics,

making witty, eclectic American

art from those spirited, Yiddisher streets.

 

When I drove away the car filled again

with Astaire’s light, pellucid voice: ‘Before

the fiddlers have fled Before they ask us

to pay the bill And while we still have that chance

Let’s face the music and dance.’

 

 

 

AUTUMN

When I return with mugs of peppermint tea

you are asleep in the October sunshine –

a fallen golden birch leaf at your feet,

a last wasp buzzing in your shadow.

We have grown old together, ancient

in our ways. But age is a wrinkled

masquerade. ‘Old clothes upon old sticks

to scare a bird,’ as Yeats wrote, at sixty,

a mere stripling. We seem sole survivors

of our youth and prime – so many dead

have fallen by the way. We have made a pact –

and will keep to it if chance permits –

to die, like the luckiest of monarchs

amongst their treasures, in our own bed.

I put the mugs gently down beside you

on the low, stained table we have had for years.

‘O body swayed to music, O brightening glance,

How can we know the dancer from the dance?’

Yeats asked. You wake, and smile.