POETRY

BLIGHTY WARD

After the halting journey from Calais,

via Waterloo and the main line north,

to be carried that autumn afternoon

in the estate’s wagons through the park gates,

past the grazing deer, to be greeted

on the front steps by his Lordship himself

with a small speech about sanctuary,

the first of the curable invalids –

trench foot, shell shock, TB – must have thought

they were in some temporary heaven.

 

They called it ‘Blighty Ward’ – the Garden Salon

with windows that overlooked the parterre

where the last of the roses were blooming.

Brisket, pork and occasional venison

and chrome ash trays to stub out your fags

and the always pretty nurses smelling

like girls, even his lordship’s own daughters,

they knew were too cushy by half for them.

Fattened, in spring they returned for the big push.

Those who survived would never tell, had no

permission to speak, were silent to the grave.

 

Someone still puts a small wooden cross

among the ferns in the Orangery

for the Gardener’s boy lost at Paschendaele.

No one ever spoke of the Cook’s conchie son –

of his courage refusing to bow

to the bidding of the officer class,

refusing to take the tainted shilling.

The red poppies grew in the ravaged soil.

They did not grow because of the dead.

They have been purloined – men and flowers.

 

 

 

AT THE ELEVENTH HOUR

The Armistice was agreed at 5.10 –

in Foch’s personal railway carriage

– among the cigar and brandy fumes.

The Chancellories of Europe knew

thirty minutes later. Big Ben was rung

for the first time in four years and gas lamps

lit in Paris. There was dancing, and streamers.

 

Foch insisted the truce would not take effect

until 11.00  – ostensibly

so the news could be keyed and carried to

each trench and dugout on the Western Front.

 

Thousands of soldiers were killed that morning.

The last to die – at 10.59 –

was Private Henry Günther from Baltimore,

advancing with comrades in ignorance

through the wild woodland of the Argonne.

The division’s history records: ‘Almost

as he fell, the gunfire died away

and an appalling silence prevailed’.

 

 

 

WITNESS THIS ARMY

During the interval, after act three

of Glinka’s opera, ‘Ivan Susannin’ –

pre-revolution, ‘A Life for the Tzar’ –

Stalin would leave his box at the Bolshoi.

In the fourth act, Ivan, the peasant, lures

the Polish Army out of Smolensk

and into a profound, winter forest.

They are lost. In the last act, they kill him.

Deep in the Katyn woods near Smolensk, pines

darkened the clearing where thousands, thousands

of Polish officers turned to earth.

So many crimes unpunished, dead unnamed.

‘O, Polnische Kamerad, wo sind

der Juden?’ ‘Majdanek, Chelmno, Oswiecim.’

An epoch has the tyrants it preserves,

even for an eggshell.

 

 

Note: The poem was first published on the site in January 2010

THE GOOD WAR

for Alan Horne

 

They seldom mentioned it and never

to the boys at the town’s Grammar School,

thinking they might mock it as vain-glory –

or just mock it, with their disregard

for school uniform, their penchant for

RAF great coats and graffited knapsacks,

their puzzlement on Remembrance Day,

and the Vietnam War flickering nightly.

 

It was usually only as an apt

aside, at break or dinner time, to those

of us young enough to be their sons,

about a colleague: Edward at Tobruk,

André a Japanese POW,

Ken at Dunkirk, Bernard the navigator

in a Mosquito, John on Sword Beach…

 

 

 

‘FOR I WILL CONSIDER MY CAT JEFFROY’

‘For he is a mixture of gravity and waggery.’  Christopher Smart

 

Unlike kind Kit Smart, incarcerated,

by his father-in-law, in bedlam –

and estranged from his children forever –

I do not have a cat. I have the neighbour’s.

I think there is only one though it dresses

in ginger, tortoiseshell, Friesian, motley,

whatever. It is ‘the Devil, who is death’

for it stalks the wren, the blackbird, the robin,

that sing and nest. Poor Christopher – busy hack,

fine poet – died a debtor, without Jeffroy,

in prison. Could he hear the red kites

long, sad whistle above the sewer

and the rats chatter? Our robins sang arias

all day. Now they have gone – for somewhere to breed

safe and sure from a cat of disguises –

leaving a clutch of sky blue eggs unhatched.

 

 

 

 

THE PAINTER

Her mother fixes a sheet of A4,

with a strip of masking tape top and bottom,

to the white board on the easel and ties

an apron round the little artist, who,

when she pulls the wrapping off the present

knows immediately what it is, holding

the child-size plastic palette exactly

as she should. Having chosen the colours –

her favourites: yellow, green, orange, red –

her mother places the paints in the wells.

She chooses a brush, begins, protrudes her tongue,

embodying concentration. There is

nothing random here. Her intellectual

eye intuitively knows where to place

each stroke – dry-brush, under-paint, scumble –

and paint over to create new colours

and shades, changing brushes for breadth, depth

and finesse – and knows when it is finished.

Untaught or, rather, unspoiled, she has begun

with abstraction: with colour, texture, form,

making them one, an aspiration

that transcends tens of millennia.