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Under Milkwood

THE GRAIN LOFT

There are gaps between the Velux windows

and the blinds – intentional, of course,

to let in shafts of sunlight. At night

the sodium street lights make arrow shapes

on the bedroom’s walls. Raindrops the flood tide brings

slide like orangey, silvery glitter balls –

almost the colour of the wheat grains

that would have been piled on tarpaulins to dry

on the oak floorboards of this converted loft.

 

Thinking the street lights daylight herring gulls

halloo all night from chimney tops and gables.

Through the bathroom skylight constellations

glitter over the unpolluted mountains.

In this erstwhile granary a poet

and his muse are sleeping  – like Larkin’s

effigies who ‘would not think to lie so long’

or Thomas’s ‘two old kippers in a box’ –

as gulls call and stars turn.

 

 

 

IN MY CRAFT OR SULLEN ART

Whether from intellectual snobbery or a formally made choice
or wilful ignorance I genuinely cannot remember but,
while my peers strove to be tuned in to the Station of the Stars –
the shifting wave lengths of Luxembourg, and the easy wiles
of Horace Batchelor’s ‘Infra-draws’ and Jimmy Savile’s ‘Guys ‘n Gals’ –
I would listen, on a plastic Bush valve radio in my bedroom,
to the Third Programme and heard, one night, by chance,
in Richard Burtons’s malted baritone, ‘To begin at the beginning:
it is spring, moonless night in the small town, starless
and bible-black…’ and I knew then that the making of words –
the dark, solitary skill – would craft mind and heart, soul and brain.