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Moel Famau

AFTER THE PANTOMIME

When all of the evils are back in their box,

and those who can have been paired in marriage –

to an ovation from an audience

of boy scouts, elderly innocents,

and coach parties from Rhyl and Wallasey –

we emerge into Theatr Clwyd’s bar.

We watch, in awe, through the long glass window,

a vestigial sunset above Moel Famau –

variegated layers of coral

beneath a looming indigo bank of cloud.

Below – in the darkening river valley

of ribbons of homes, old mine shafts, quarries,

used car dealerships, and the Alyn’s waters

out of sight over glacial stones –

a billow of smoke, snaking round houses

at the edge of Mold and onto the hillside,

is rising white as steam.

 

 

 

PEN BARRAS PASS

David Selzer By David Selzer2 Comments1 min read1.5K views

At the very top of the pass a crow is perched

on the car park’s dry stone wall. The bird’s

black magnificence is ruffled by the wind.

With two wing beats, as we approach, it lifts off,

above the narrow road down the escarpment,

into the thermals from the valley.

A market town and pastoral farmlands

are hundreds of dizzying feet below.

 

This range of towering hills stretches north

from moors of gorse and heather to the coast

with caravan parks and carousels.

The iron age hill forts on four of the peaks

are enigmatic. Who built them? Why?

Were they all linked – by messengers or beacons?

Did they trade? Imagine the same gods and stories?

And did the view westward, over the empty vale,

of distant, purple mountains, treed then,

or eastwards down the gradual slope

to that far, wooded plain, empty of cities,

inspire or terrorise?