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chapel

THE OFFICE OF THE DEAD

The ruined, twelfth century limestone chapel

is Grade II Listed and the land owned

by the Welsh Assembly otherwise

it would have been converted into

somebody’s desirable holiday home

with views south through the empty windows

to woods and north down the moor’s sheep-cropped slope

across the sweeping, wind-surfing bay.

 

Who built the original chapel –

and the small side chapel with a vault

in the sixteenth century – or for what

specific purpose no one now knows.

For a time, in the eighteenth century,

local gentry used the place for private worship

then left it to the wind and their sheep.

The roof has gone and a boundary wall.

 

Maybe the original builders

hoped St Patrick would be wrecked again,

this time on the bay’s deceiving rocks –

had the altar ready for him to dispense

the body and the blood, to preach the faith

of fear and guilt in that hieratic tongue.

‘Peccantem me quotidie…Timor

mortis conturbat me..Deus, salva me.’

 

Not far from the chapel and next to the road

to the shore is a limestone cromlech,

its twenty five ton capstone placed on eight

two metre megaliths – each a metre in the earth –

perhaps five thousand years ago, and aligned,

like the chapel, more or less east and west,

and as enigmatic. We know nothing –

names, number – of the people buried there.

 

‘The fear of death confounds…’ Their remains

are catalogued in some museum

along with the pottery shards found by them.

A small child, a girl of five or so,

is flying a kite. It flutters noisily

like a prayer flag or a temporal banner

above the scant, abandoned chapel

and the emptied cromlech.

 

 

 

 

FOLLOWING THE CHAIN

The photograph could have been taken anywhere

they forged the Royal Navy’s anchor chains –

Dudley, Newcastle, Ponypridd or here

in Saltney, Chester, reclaimed marshland

near the river. Wherever the Sea Lords chose

to give the contract the chain makers

and their families moved – like funfair folk

or circus people – if they were able.

 

There are thirteen men in the picture – a shift

about to go on judging by the spotless

faces, arms and hands. They are not burly men

though their biceps were developed hauling,

rolling, beating, linking the molten iron.

There is no fat on them – despite the buckets

of draught beer the employer provided

to hydrate them in the purging foundry.

 

They are pale, working in the dark except

for the furnace glare. They have been posed –

by some Edwardian photographer

keen to record the locality –

in their full length leather aprons, some with caps,

some bare headed, three with mufflers to wipe

the sweat from their eyes, four with waistcoats.

They are sons of blacksmiths, grandsons, village lads,

from the coast, from the hills, from the valleys.

 

The ones in front are on one knee, with sledge hammers

and tongs, a length of chain at their feet. Unused

to cameras, some look at the lens – like two

kneeling – or away like the one at the back

with his tash and his thumbs in his waistcoat.

He was Simeon Harris – my wife’s grandad.

 

After the Great War the contract moved. He stayed –

married by then to his best friend’s widow,

responsible for two sets of children –

and never worked again, living on the dole,

the rare rabbit snared on the Duke’s estates,

the very occasional shared salmon

lifted without licence from the river,

his wife’s pittance for cleaning the chapel,

soup from the workhouse for breaking stones.

 

The day before he died – his wife scolding him

for idling – he sat, on the back step,

smoking a roll-up, his muffler hiding

the cancerous lump on his neck. My wife,

then nine years old, sat close. He whispered to her,

‘I feel bad today, love’.

 

 

Note: first published 2016.

 

 

 

FOLLOWING THE CHAIN

The photograph could have been taken anywhere

they forged the Royal Navy’s anchor chains –

Dudley, Newcastle, Ponypridd or here

in Saltney, Chester, reclaimed marshland

near the river. Wherever the Sea Lords chose

to give the contract the chain makers

and their families moved – like funfair folk

or circus people – if they were able.

 

There are thirteen men in the picture – a shift

about to go on judging by the spotless

faces, arms and hands. They are not burly men

though their biceps were developed hauling,

rolling, beating, linking the molten iron.

There is no fat on them – despite the buckets

of draught beer the employer provided

to hydrate them in the purging foundry.

 

They are pale, working in the dark except

for the furnace glare. They have been posed –

by some Edwardian photographer

keen to record the locality –

in their full length leather aprons, some with caps,

some bare headed, three with mufflers to wipe

the sweat from their eyes, four with waistcoats.

They are sons of blacksmiths, grandsons, village lads,

from the coast, from the hills, from the valleys.

 

The ones in front are on one knee, with sledge hammers

and tongs, a length of chain at their feet. Unused

to cameras, some look at the lens – like two

kneeling – or away like the one at the back

with his tash and his thumbs in his waistcoat.

He was Simeon Harris – my wife’s grandad.

 

After the Great War the contract moved. He stayed –

married by then to his best friend’s widow,

responsible for two sets of children –

and never worked again, living on the dole,

the rare rabbit snared on the Duke’s estates,

the very occasional shared salmon

lifted without licence from the river,

his wife’s pittance for cleaning the chapel,

soup from the workhouse for breaking stones.

 

The day before he died – his wife scolding him

for idling – he sat, on the back step,

smoking a roll-up, his muffler hiding

the cancerous lump on his neck. My wife,

then nine years old, sat close. He whispered to her,

‘I feel bad today, love’.

 

 

 

AMBITION

…autumn from the train…empty parks washed

in melancholy greens…slow smoke of leaves…

a Wendy House toppled…motorists,

on an underpass, stopped for the blue flash

of a passing emergency…doctor

and priest jostling beside the newly born

mess of humanity, head ballooning

with water, back cleaved, a tangle of entrails

and heart booming like presses: the measure

of our compassion…hospitals, chapels,

mills aspiring to grey horizons…

from the train, things in themselves – fallen

leaves, a tumbled playhouse…

 

 

 

 

LLECHWED SLATE CAVERNS, GWYNEDD

The quarried cavern is vast as the

proverbial cathedral or, perhaps more

properly, higher than a chapel ceiling.

Amidst the rubble on the floor is a caban,

a small, slate lean-to. Though on piecework,

the quarrymen, erstwhile farmers and shepherds

driven here by poverty, stopped, at noon,

to sing, recite, debate for an hour –

their knowledge the power to sustain them.