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deserts

THE LAST CALIPH

Ataturk dissolved seven centuries
of the Sultanate and the British
cloaked-and-daggered the aging Sultan
by sea to San Remo and exile.
Ataturk made the Sultan’s middle aged
cousin, Abdülmecid II, Caliph.
He seemed to carry his descent, as it were,
from the Prophet as lightly as a Pope
from the Saviour. He liked the pomp
and the public circumstance of the role
so much Ataturk sent him packing too.

Classical composer, husband of four wives,
painter, lepidopterist, gardener,
a Victor Hugo fan and of Montaigne’s
Essays – especially perhaps ‘By
Divers Means Men Come To A Like End’ –
he went into exile on The Orient
Express en famille and lived in Paris
and Nice. ‘He may be seen strolling with a mien
of great dignity along the beach,’
wrote a foreign correspondent, ‘attired
in swimming trunks only, carrying
a large parasol.’ He died in his bed
in his house on Boulevard Suchet
as Paris was freed from the Nazis –
his beard, of which he was proud, still resplendent.
He was buried in Medina – Madinat
Al-Nabi, City of the Prophet –
as, officially, the last of the line.
It could have been worse. His seems to have been
a charmed, perhaps even charming, life –
with an enviable retirement, due,
in large part, to Ataturk’s shrewdness.

What would either of them have made of
caliphate proclamations from the deserts
of Syria and Iraq; stage-managed
beheadings broadcast worldwide; Semtex strapped
to the gut and the heart?

 

 

 

ALL THAT REMAINS

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

Among the plane trees, where cicadas screech,

a tumbled column has split. From the fracture,

fossils protrude. Did priests guess the stone

had been seabed? One tiny limpet shell,

its fluting immortalised before gods,

is proud to fingers caressing that other,

elusive, silent country. Slower

than acid rain, more rapacious than locusts,

on a sacred hill, a tinkling flock

of goats is making deserts. Last words

for poems are worm casts at ebb tide:

distinguished far off, close up are crudely

made, tell-tale leftovers.

 

 

 

LA CLEF DES CHAMPS

'La Clef Des Champs,' René Magritte, 1936




When the landscape breaks, shards of painted trees,

clouds, turf cascade in crystal slabs onto

the carpet – and the landscape is there still

on the next pane. Over the brow of the rise

are the world’s kingdoms: deserts silenced

by polished bone; uneasy rooms where

sepia furniture flowers; canvas; wood;

the gallery’s wall solid as money –

asservir le bourgeoisie through draughtmanship.

The artist’s mother was pulled from the Sambre,

a suicide – the night-dress shrouding

her face. When the world breaks…breaks…there is death

only or servitude.