POETRY

MAM CYMRU

The purple, jagged rocks on the island’s shore

were molten lava from volcanoes –

mere craters for aeons now – across the straits,

and limestone boulders in the hinterland

the slow detritus of the last ice age.

 

RAF Typhoons have flown from their air base,

ten miles or so from here, every day,

leaving the island with their stormy thunder,

over the mountainous Llyn Peninsula

out into the north east Atlantic,

as if it were quite another sea.

 

This island was Mam Cymru, the granary

of Wales. Its ubiquitous, redundant mills

are unmarked monuments to a past

bountiful, precarious, and brutal.

 

 

 

 

THE PICNIC

At the end of a dull August afternoon,

two little girls, sisters perhaps, in hijabs,

and a stocky boy of ten or so,

and two women, probably their mother

and grandmother, dressed in woollen hijabs

and abayas, are preparing to picnic.

They lay out a tartan rug, and Tesco bags,

on that part of the Green closed to vehicles:

between the low stone wall – beyond which

is the narrow walk along the sea wall,

and occasional notices of bye laws

strictly prohibiting the feeding of gulls –

and the small standing stones of the eisteddfod

from before the war. The coach parties have gone,

so they must have driven here – where few

pass through on their way to somewhere else –

along the winding, bosky corniche

beside the Straits. They sit on a tartan rug,

and share the foil packets from the bags.

The boy notices a seagull waiting near,

and asks if he may feed it with a crust.

The younger woman gestures as if such things

were bountiful now. He leaves the rug,

and throws the bread to the bird, which gobbles it

cautiously. His sisters ask for crusts

to join the boy. Almost immediately

the grass is covered with a flock of

seemingly frantic wings, a maelstrom

of dark grey and white, a turbulence

of harsh, jeering cries. The children flinch,

then run to their mother who gathers them in.

The grandmother, putting food and drink

to one side, pulls up the tartan blanket,

charges the gulls, waving the rug like a flag.

The flock rises silently – then settles

behind the standing stones… ‘After the battle,’

sing the bards, ‘after the battle, hearths

are desolate, birds gather, a woman keens…’

 

 

 

AT ROSCOLYN

Caernavon Bay is below, and to the west

the Irish Sea. The restive winds and waves

are lulled now to a breath, to a swell.

In the distance the London-Holyhead train

crosses the causeway. A multi-decked ferry

from Dublin is entering the harbour.

 

After the Druids hid, and the Romans left,

there came a multitude of saints, mostly

martyrs, not infrequently princesses,

renowned in death for healing the heart’s anguish.

St Gwenfaen – ‘Blessed White Rock’ – was one such.

Roscolyn’s plain parish church dominates

the high ground where her cloistered cell had been.

 

Someone has put a bench outside the churchyard,

perhaps for those returning from the saint’s well

on the headland, their torment gone, abated.

The dry stone walls and sheep-grazed fields stretch

in a soundless haze this kind summer evening.

 

 

 

MANY A SUMMER

As usual Uncle Tacko is trundling

his Flea Circus to the end of the pier,

and the Island Princess is embarking

for a trip up the Straits and around

Ynys Seiriol with its nesting puffins,

its elderberry woodland purpling.

And the dogged chambers of my heart, open

and close, open, close, like an harmonium.

 

All the familiar sounds – the Flea Circus crowd,

the paddlers in the pool, the revellers

on the hotel lawn next door – carry

to this balcony like paper lanterns.

Who would have thought that, like war babies

from Surbiton holidaying per annum

always in Bournemouth or Bognor Regis,

we would count the benches here every year,

value each of the stanchions of the pier,

the stones of the castle, the courthouse, the gaol.

I see you crossing the Green towards the house.

The medicated chambers of my furtive

heart are humming, like a Welsh male voice choir,

‘The more I see you as years go by’.

 

 

Note: Uncle Tacko’s Flea Circus: http://www.prom-prom.com/acts/uncle-tackos-flea-circus/

DRIVING INTO THE DARK

For Annabel Honor-Lissi

 

In those stark dreams when sleep shades into waking,

dreams that haunt the light like a taste in the mouth,

or a name half-remembered, half-forgotten,

I am always travelling – this dawn

along the black tops and the turnpikes,

from the Texas Panhandle north east

to Casco Bay, Maine. Ahead is the thought

of moments, or a non-stop two day drive:

from the sun-belt’s stubborn, garish pandemic;

via the fame of Dallas, the sentient

battlefields of the civil war, the rusting

foundries of the east, to stand on the bay’s

windy shore; and contemplate an island,

where black and white war refugees lived

as one – until the prospect of profit

evicted them, and dug up their graves.

The New Meadows River and the Atlantic

swirl round the verdant ruin of Malaga.

Are lost chances ever redeemable?

But no dreams end where they should. The sun

is already setting as I cross

the Red River into Arkansas.

A storm is coming westwards from the Great Plains.

The darkness I am driving into gleams

with centuries of rain.

 

 

 

 

THE CLARINET

I listened to Artie Shaw and Benny Goodman.

I liked the keys’ silver superstructure,

and the ebony stick with its subtle bell,

and its tones – mellow, lustrous, shrill, caressing.

So, to and from school, I chose to pass

a second-hand shop with a clarinet

on display in its eclectic window.

I saved for a year. ‘No,’ said the man. Next day

it was gone from the display forever.

 

My daughter took up the instrument

unprompted. Her daughter has followed.

I like to think that an ancestor of ours

was clarinettist in a klezmer band

with a cymbalist and a violinist,

in Bialystok, Lvov, or Kishinev,

walking and playing from shetl to shetl,

marking life’s circle of weddings

and funerals with that joyous music –

before the world was set on fire.