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roma

RIVERS OF BLOOD

I think of a freckly, fair haired lad

of fifteen, an Irish Traveller –

from that nomadic, hard grafting culture

spawned by the Great Famine. As he ran

from danger across a playing field

he tripped and was killed by two youths, fellow

Catholics with Irish surnames, one of whom

allegedly said, as he stamped with both feet

on the boy’s head, ‘He’s only a fucking

Gypsy.’ The judge did not consider the crime

racist. (Possibly the manifold

ironies had leached into his judgement

and atrophied it). Though it is no longer

legal to overtly, verbally or

otherwise, attack any Asians, Blacks,

Jews and/or Muslims per se for all Gypsies,

Travellers and/or Roma per se

it seems always to be open season.

 

They are tidal rivers the rivers of blood,

those prophesied, self fulfilling torrents

of violence, made to seem inevitable

as flash floods, typhoons, so unstoppable:

a metaphor that is flourished – when

political fortunes are at an ebb –

by scoundrels looking to float their boats

whatever the flotsam or the jetsam.

 

 

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.

 

 

 

 

BOLOGNA LA GRASSA

David Selzer By David Selzer0 Comments1 min read1.7K views

A roma woman, cradling a child, sits

cross-legged in a tie-and-dye dress and begs

from fur-coated women strolling beneath

the portico of the Pavaglione.

Enamelled photos of resistance fighters

are displayed on the side of the Town Hall.

Where the bomb blasted the station wall,

the crack has been crystallised in plate glass.

 

Nicolò Dell’Arca’s terracotta

pietà, its smug patron as Joseph

of Aramathea, with a concerned

angel as onlooker, portrays four women,

mothers petrified in distress, in despair,

in that grief which threatens breath and heartbeat.

 

 

PREPOSITIONS

ON THE PONTE SAN ANGELO

Three roma children

on New Year’s Day kindle a

fire from last year’s leaves.

IN SEVILLE

After rain, a girl

struts her stuff flamenco style:

no one notices.

BY THE A3

Four chestnut horses

flick their tails in the shade of

a horse chestnut tree.

AT KOM OMBO

Crocodiles, Pharaohs,

Romans, French, Turks, British gone:

only tourists, sand.

ON THE SHORTEST DAY

There is only one

theme: in death’s contemplation,

life’s celebration.