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INNER MARSH FARM HIDE, BURTON MERE WETLANDS

David Selzer By David Selzer1 Comment1 min read684 views

We have made the longish walk from the car park

on the decking through the marsh marigolds.

Before us is a teeming shallow lagoon.

Beyond are mixed woods, pastoral farmland

and a white house on the ridge of what was

the coast of the estuary before

the river silted and the marsh grew.

Behind the hide is a railway embankment –

the thrum of the odd diesel from Neston

to Wrexham and back baffled by the noise

of the cacophonous colony

of black headed gulls nesting on a islet.

Unaided we spotted those – and a shelduck

with its fancy red stripe and two shovellers

with their iridescent heads but are helped

with avocet, black tailed godwits and ruff.

 

We are the OCD species. Each member

of this ‘parlement of foules’ has at least

two names and a full biography

in many languages. How self-absorbed

they are! A solitary, silent coot

seems oblivious of the flock of gulls.

 

Here are serious folk with serious gear –

some of it camouflaged – who speak in subdued

encyclopaedic tones: strangers, kindly

in this companionable wooden hut –

which is a testament to human

vision, diligence and engineering –

unafraid to talk to strangers in this

always now fearful, riven land with its

taxonomies of hate.

 

 

 

A DEFINITIVE HISTORY OF VENICE

LA SERENISSIMA

 

…stucco white as cuttlefish. In shadows,

a lion’s mouth utters advantage or blame.

The whitewashed stench of the prison inspires

the palace. An improbable city:

a wedding of sky, water, stone, lagoon –

colours luminously true to art, art

celebrating business, gold transformed to

lead, marble, canvas, paint. The lake dwellers’

ambition: exploitation and caprice…

 

 

 

 

A DEFINITIVE HISTORY OF VENICE

DECLINE AND FALL

 

Once, there were no panhandlers in La

Serenissima. Now there are four beggars –

men from Dalmatia, the old colonies,

and a Roma woman with no past.

Near the Rialto, two alternate

on the same pitch: heads sunk, hands out, their stories

in English on cardboard. The third plays

an accordion near the Accademia,

his history on plywood at his feet.

Only the woman, dark-eyed, distressed, who sits

anonymous, huddled, swaddled against the

long wall of the Ospedale Civile,

looks charity the tourist in the eye.  She

takes the last  vaporetto  for Torcello

– and disembarks somewhere in the dark lagoon:

but returns always as if she were any

other traveller on the chopped and dancing

water, under the pellucid sky, in the

serenity of the light.