~~~~~~~~~~~~ (the poetry) WORM
~~~~~~~~~~~~ 37
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Talking to Lord
Newborough
I'd perch beside your gravestone years
ago,
a boy who thought you old at
forty-three.
I knew you loved this quiet place, like
me.
We'd gaze towards Maentwrog far
below,
kindred spirits, and I'd talk to
you.
Sometimes I asked what it was like to die—
were you afraid? You never did
reply,
and silence rested lightly on us
two.
These days the past is nearer, so I
came
to our remembered refuge on the
hill,
expecting change yet finding little
there:
my village and the Moelwyns look the
same,
Saint Michael's Church commands the valley still—
but you, old friend, are younger than you were.
(Lt. William Charles Wynn, 1873-1916, 4th Baron Newborough,
whose grave overlooks the Vale of Ffestiniog in North
Wales)
© David Anthony
(Talking to Lord
Newborough: Editor's Choice of Paul Stevens,' I like the
wholly-integrated voice of this, which, despite the quiet
traditionalism of the form, still
manages to say something fresh. And I like too the way the poem is firmly
located within a sense
of place,
how it
creates its world for us in a few
lines.')
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The First War I Knew
(Civil
Defense)
It was constant, smoldering like
cigarettes
on black and white TV. Mom's
vacuum
transmitted beads of static, glittery
interference,
but no flash bright enough for The
Bomb.
On the public service
announcement,
a woman in a smoke-hued skirt
nipped
down a flight of stairs from city
sidewalk
to fallout shelter. I loved her sober face, the
click
of her high heeled descent, that echoey grown-up
tip
into
darkness.
Constant: white-shirted,
formal
announcers talking of Cuba. The round CD
badge
at two places on the dial of my mother's car
radio,
the tests of the Emergency Broadcast
System.
The day it said go to the basement and
pretend,
every kid on my block fled by the moaning
end
of the siren's take cover; no one used a
kick-stand,
just tossed his bike over. Except
Mom
practiced Mendelssohn's Songs Without
Words
on the piano, opened the sunporch
windows,
and sent me out to
play.
It was constant, until the war faded into
color—
jungle green, the rust of old blood. Then, for a
while,
it was gone. I never learned to walk in
heels.
I never learned to calmly run away.
© Christine Potter
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
He Fought in Desert Storm
so he reads a poem about an ambush—
how Corporal Tyrone Jackson grabbed
a machine gun and held off an entire company
of the Republican Guard allowing fourteen
of his comrades to take cover in the rubble
of a bombed-out building. A grenade ended
Jackson's life. When the audience realizes
he
was a Marine, they boo and make snide
comments. Before he begins his second piece,
the host takes the mic from his hand.
Later, in the parking lot of the Coffee Moon,
three young men who believe his poem
is warmongering, male-hegemonic tripe
beat the shit out of him. I watch.
Do not give them torches and gasoline.
Do not give them sheets to wear. Do not
give them a long board and a short board,
a hammer and nails. Do not let them bring
a rope, and wherever their pack of cars
stops to howl, let there be no
tree.
© Fred Longworth
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Quaker Meeting
A Quaker meeting house; a studied silence.
Child gathers all this seriousness of listening.
Twice in the hour somebody rises to speak
about ideas, not why her family's leaving.
She watches: how grained boards turn river, atlas;
imagines thought balloons moored in mid-air,
just out of reach; storms moulded in cracked plaster;
reads library spines and spells out emigration.
She hears old words, 'intolerance', 'Meeting for Sufferings'.
She knows she ought to remember what they mean,
looks up through high glass at the high tide of trees.
Non-one else raises their eyes above their searching.
The child draws. Later, someone speaks to her
about her ship, this coastline, that new world.
© Martyn
Halsall
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Letters from Crete
( i )
The orange Yamaha rasps, tears
the silence of the streets, echoes riot,
yammer along the shuttered walls.
The invading centaur, dark, erect and arrogant,
flicks his pony tail; light glints from cool shades.
One last rasp of revs and he is gone.
Silence resettles, dust glimmers in the air.
Beetle-black the bent dame busies,
sweeps the dust of Knossos from her path,
tidies her place and pride; grants me a glance.
Beyond the street, beyond the glimmering silence,
beyond the plumes of swept ruin, the Aegean
gleams.
A departing jet climbs over the city, soars with a bellow,
drags its shadow over the maze of streets.
We leave the back ways and the tall cool walls,
follow the aroma of roasting coffee
and the sea odours of the fish market,
drift with the crowds through the hot square.
( ii )
The folded paper on the chair
hides the bleak despatches.
White walls of the hotel are strutted
with shadows where stairways climb
and cut back baffling the perspectives.
In the pool, plunge of brown skin,
shot with gold, the dive spouts
syllables of bright water.
The sun burns on the sea’s tent
melts into the deep gloom of its heart.
The afternoon holds like a pent breath.
Light pins each of us, vulnerable in our frailty,
alone on the earth. We look to gather
our shattered civilities, these quiet times,
when the sun flares from polished cutlery,
light through wine dances over the cloth,
‘Vien Malika’ eloquent from a plucked guitar,
silhouettes of vine leaves on the floor.
Shadows beyond this enclave
crowd our sanctuary,
winds from the sea press in,
flap the corner of the tablecloth,
bulge the canopy,
shake the dusty leaves.
( iii
)
In the shade of a dark-leafed grove,
out of the sun, I rest and watch
the sea, far below, burnished shield-bright.
Blades of thorn and thistle knife
coronets of blue flowers,
fiery daisies blaze and poppies bleed.
In the silence and heat, the ass and goat
graze the long slow golden hours away.
An age ago farmers and shepherds toiled
here, turned the dry soil, until the gods
goaded them, toyed with their lives,
whispered of glory in other lands.
They left their dark-leafed olive groves
to venture on the blood-dark seas;
became
heroes and warriors.
Under the silent sky, women wept
and waited; the ass and goat grazed
the long dark years away.
Now lizards bask on broken columns
and the belled goat tolls doleful among thorns.
Wine and song memorialize the time,
the battle’s clamour, shouts of pain,
deaths on foreign hills,
flame and slaughter in the night;
tell how Jason’s sail cracked
and bellied in the fabling winds,
Odysseus tricked the Trojan gate
and Alexander bestrode the world.
( iv )
Under the brooding mountains,
the level plain burns at noon,
its seared skin drum for an August sun.
Down from the hills, over the arid fields, shapes
move through dust and stiff weeds, scrub and litter,
weary donkeys traipse under laden panniers.
The line of the mountains and sky merge
into the single coherence of the dazzling sea.
I await my departure, delayed.
A carafe gathers light, dances and streaks
cusped and winged patterns of Cretan sunlight,
on the white cloth. Pegasus and Medusa bleed and die.
Droplet, flame and nebulae, Hubble-views of earlier aeons,
shapes in the dance of glowing flames
views dreamed upon, now and once upon a childhood,
the vast dispersions of darkness,
the flare of gaseous masses
now convolute and billow over the table.
There tomorrow is as meaningless as yesterday,
words without use where only now is,
where sun neither rises nor sets
and no days dawn,
no flecks of gold and wine;
neither morning nor dusk.
Lids melt into a drowse,
the hum descends into a dream.
Here is only the long exhalation of forever
as the universe breathes.
A book slips from a sleeper’s hand.
Fans slowly stir the thick air.
Strangers to each other, trapped,
keep their space, distanced, locked-in selves
wait despatches to our worlds of donkey-tasks,
the chase of lives strapped to time,
ploddings over arid plains without horizons,
the daily task of scraping life into dry heaps.
Chimes!
Heads lift. Buttocks shift.
A soft female voice intones in Greek.
Hope flutters from its empty box,
dozing children whimper in complaint,
forgotten toys, litter, crusts and crumbs lay strewn.
Burdens are shouldered and ways sought.
© Arthur Seeley
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ithaca
(after C P
Cafavy)
Leave me no
photographs,
leave me
nothing
but a quick note scribbled in black biro on a memo
pad,
or if you
insist,
the postcard from
Ithaca:
Sun woke us early, went diving, caught an
octopus.
I remember
Ithaca,
arriving without sleep on the
ferry,
the old sand and olive trees with nothing to sell
me.
Two hands on this
postcard,
an unmatched
pair,
but the same sure, agile cross to the
T.
This
postcard—
dog-eared,
gloss-coated sea
cracked,
pine
trees bleached
yellow:
two greetings inscribed in pale
ballpoint,
ink over-franked
Airmail,
indenting the
card,
strong enough to
read.
© Matt Williams
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
April
She busied herself outside. He wrote a poem about
her
and a four-leaved
clover.
She knew it was not about her, but
him.
Did
she tell?
Never.
Why should she tell? She knew what she
knew.
Let him
discover
his own secrets. In her heart she
invoked
a makeless
lover
whose little pen neither fussed nor
scratched
and did not
cover
the world with words. How
soon
Spring’s over.
© Helena
Nelson
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Desperate Times, Desperate Measures
She will not stop at anything, it seems.
First she craved Nigel, who was after me,
now it's the stranger. Mad with jealousy,
she meddles with my own and Digby's dreams.
In mine she threatens she will spill the beans
on mannish Ethel and on me. The liar
scoffs, "I saw your eyes, full of desire,
gaze at her sturdy buttocks in tight jeans."
In his dreams, he already knows. She ties
him to the bed, caresses chest and thighs,
implants her name in Digby's future life—
Angie—embellished with pink curlicues.
This will be left of me: a palm-shaped bruise
that fades beneath the fingers of his
wife.
© michaela
a.gabriel
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Last Cricket of Summer
Under the wild white clematis,
one last defiant chirp, as behind
me, leaves clatter past.
© Christopher T.
George
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
On Visiting Lasseter's Cave
Here lay a man who chanced upon and lost
the way to paradise. A driven man,
he sought the way again, but somewhere crossed
the line that marked where fantasy began
and reason ended. He would leave no stone
unturned or track untravelled till the day
he rediscovered paradise. Alone,
he haunted wildernesses far away.
And down the years he wandered by unbeaten
paths, and traversed gibbered plains to grope
among the hieroglyphs and cuneiforms
of desert lore, seeking and seeking, till, eaten
hollow in mind and soul by rabid hope,
he grasped his dream and perished in its
arms.
© Peter Moltoni
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
What Mrs. Stannard
Said
Cut up National Geographic articles about Chinese
Opera
or Mickey Mantle. If you draw the baseball
bat
on the cover of your report, it isn't copying, even
if
you glue the words in, too. She takes you aside. She
says
pick someone who isn't in your family, someone
popular
like Meg Miller. Imitate her tight brown
ponytail,
her red cardigan and knee socks. She says how
much
happier you'll be, and calls your mother when
you
use new vocabulary in The Story of my Life. You stole
it
from somewhere, she says, perhaps Collier's
Encyclopedia.
But the words are the same ones you use over fish
sticks
and tartar sauce with your father. They aren't even
big.
You know that you're sad. The weight of your
childhood
is a new coat with stiff buttons. It's your own
fault
if you don't fasten the one at the top and catch
cold.
You secretly want to be Meg Miller. You beg your
mother
not to call the principal. Your mother says the
principal
is an ex-WAC who doesn't know the war is over.
Besides,
how could you look yourself up in an
encyclopedia?
You aren't famous. You know you will never
be.
In the bubbling fish tank, one gourami has
died
and is being eaten by the other. You stare at
them
from your place at the dinner table. It's
awful,
but at least now you can tell them
apart.
© Christine Potter
(What Mrs. Stannard
Said: Editor's Choice of M.A.Griffiths,' I found this a wonderfully evocative and understated description of
the sheer
uncomfortableness
of childhood
as experienced by an
intelligent child: the bewilderments, embarrassments and uncertainies, all
conveyed
in a very engaging
voice.')
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Two Old Blind Men From My
Childhood
Piano tuner Harry
Ziggenbein
materialized precisely once a
year.
No sense of humor, silent, and
austere,
he’d bristle at a hoot or monkey
shine.
The other, Frank, came home with dad to
dine
with us from time to time. He loved to
hear
my
mother play. We’d stalk him from the
rear
and make him guess our names, but that was
fine
with him.
When Harry put away his
tools,
he’d sit and, by some rule of
opposites,
conjure up ragtime like a
thaumaturge,
while Frank, although more tolerant of
fools
and disrespectful little
thimblewits,
would always ask for Chopin’s funeral
dirge.
© Vaughn Fritts
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Water Road
ended with sockets in a rock, sized up for ropes
by the 0 between finger and thumb, a frame for stars
in the navigator's hand, from Norway to Scotland
and the Bay of Shells, gouged deeper by dragon prows.
Water became shingle, became pasture, heather, rock
during that legend voyage when Magnus Barefoot
captained
a longboat overland to claim
"All the land you can sail round in a day."
All day his men hauled, sweating over the isthmus,
wrestling incline and drag, keel rawing shoulders,
jamming in scree, leached rakes among the birch fleets;
a ridge pause while chafed ropes were threaded for
descent.
He offered them gold if the boat was in the west loch
before the sky became a hoard of silver—
that was the story. Today, just this cored stone
and a similar breeze they judged to edge to landfall.
© Martyn Halsall
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Smells of Umbra
Fragrances have returned
to the loft at half-light;
I’m not sure why ginger
haunts the closet. We’ve fumigated
twice with vanilla,
like one adds to
milk-toast.
A
medicine man from Rancheria
shook his denial feather, chanted
in high Cherokee and low scat, but guests
still imagine an Asian odor.
I should invite them to my study to whiff
the fresh “Prince
Albert” burning
as spit and Cavendish
in my late grandfather's pipe.
© Jim Corner
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
For my Uncle
You were the one with an eye for the crowd.
In the grainy rain of celluloid,
the march of legs regular as pistons,
the greatcoats stiffly bonded row to row,
I should have known it would be you
who flashed out feathers like a bird of Paradise,
lit the greyness with your startling
smile,
broke the slope of guns to raise a cheerful hand,
saluting crowd and camera man.
© Gill McEvoy
( For my Uncle:
Editor's Choice of Kei
Miller,'I was quite impressed by the way it literally builds a picture,
each line bringing the image more
and more into focus. Ironic,
because the subject of the poem is a man in a blurry black and
white picture, standing with several other men
uniformly dressed.
But by the end of the poem when we too see the uncle clearly, standing out
from the crowd as it were, lighting up the entire
scene and waving;
we too feel warmth and affection towards him.
A fitting tribute.'
)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Concerning Mother
(a
sestina)
'Let's revisit last week's
conversation
and think through why the stories you make
up
concern abuse and cruel
sarcasm.
You said, I quote, My childhood seemed a
waste,
so many futile sunny days;
singing
Happy Birthday made me cry. I felt
diseased.
I wonder why you chose that
word—diseased,
not lonely, or anxious? Conversation—
you claimed it helped. Maybe the words
we
waste
stave off white space, and I, through you, make
up
a paltry life, and feel fulfilled
singing
from your hymn sheet. Was that your
sarcasm?'
'No, more like the crumbling edge.
Sarcasm
is just a puritan's social
disease'
smiles, takes notes, as if to say why
waste
your humour on a shrink; so I make
up
to please her, a bogus
conversation
with mother, how I hated her
singing.
'I cannot see her face; I hear her
singing,
a rich contralto voice; my
sarcasm—
shielding the cat's ears as she sang..''Why make
up
these tales? Last week's concerned childhood disease
-
your allergy to cats.'
Conversation
falters, costly moments go to
waste.
'Like litter blown across a weed strewn
waste,
her songs are lost..' ' No, think about her
singing.
I know how hard you find this
conversation,
don't hide behind your phony
sarcasm'
'Towards the end she lost her voice; the
disease
stole it. She mouthed the words, doing her make-up.
Memories I make up—my Mother’s
singing,
her terminal disease, the sarcasm
I waste today in ritual conversation.
© Alan Wickes
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Flysong
Is this piece of you,
deaf, dumb and
blind
that remains
behind
—worn out, cast off
shoe—
the sum of all our kind, or is that
madness?
Is
this shell of
you
that
has the smell of
you,
just a vessel for the worms and for the
flies?
If I find it’s
true
that it’s really
you,
and that heaven’s just another pack of
lies,
then I’ll stay with
you
for a day or
two,
till there’s nothing left of us except the
flies.
© Nigel Holt
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Meat
Packing
Don't stop to wipe the
gore
from your face, just
move
to the next set of
cuts.
Try to keep the keen on your
blade,
it's got to be sharp to
slice
through the beef without any
drag
on your bones, your
flesh.
With four thousand head a
day,
the grab and trim becomes your
world,
the fat on the floor, you
step
through the grume, it
splashes
your boots. But
don't
look down, watch the
knife,
the hilt in your hand, it
might
stick then fly and you're
packed
in close. As the belt speeds
up,
check your metal
apron,
cinch it tight, seven pounds of
mail
all that protects your belly and
back.
Hide the small wounds, ten
stitches
or less, the boss won't
look,
he's got numbers to
make.
Remember the speed of the
line,
think only of steel and
meat.
© Amy MacLennan
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The
Shed
(to Rudolph
Lewis)
I hope that you, old friend, toiling away
to fix the roof of your store
shed
all day for days in overwhelming heat,
the sweat of natural
Florida,
that makes this too-warm English
summer
seem temperate
again,
I hope you win. I hope your father’s
store
is gloried with the roof that it
deserves
I hope that you don’t
fall.
I want my friends in
Africa
pinned down in Mogadishu
by flying lead, not
nails,
to know about your shed.
I want as many people now
to know about your shed
as stand to learn from it,
because it’s more than
shed
we talking
here.
Fine as it no doubt is as shed,
this one is more than timber,
more than tar paper and
sweat,
more than determination,
more than a health and safety
risk,
more than some slabs of wood
arranged with more or less
regard
to canons of structural
integrity:
It is a thing of spirit,
creation of a living
poet.
Architecture. Frozen blues,
maybe.
Cathedrals come to
mind.
Not that they should come
en masse to make a pilgrimage,
although in fact when you have
gone
they might well come,
for few are famous while they
breathe,
and of the ones that are,
it would be better for us all
that they were not,
maybe.
The point is that this
shed
is getting
built.
Trees are our brothers.
They live and
die
just like John Barleycorn,
and willingly give up the sap
to win new life in service to their family.
This shed was once alive,
bi-placentate in form,
a joiner-up of earth and
sky
the fusion point in its green
sap
to all four
elements.
Like Shiva’s locks that broke the
flood
Its leaves gave shade from blazing
sun.
Trees give us unconditional love,
like dogs and
gods;
some
gods,
sadly
not all.
It died to find itself becoming
shed.
Frozen blues? In Florida now
the only frozen things
are found in white machines
humming beneath their
breath
just while the juice is
on.
Not frozen: solid
blues
from far away, blown out by Buddy Bolden,
crossing a river wider, deeper,
cooler than Pontchartrain
to celebrate one poet’s
work.
It’s up there with the wolf and owl
and in the end, I dare
say
up there with
Eli, Eli Lama
Sabacthani,
if all the Truth be
known.
The point is this:
this is a shed that’s going up.
Rudy is in the business of building sheds,
not breaking
them.
He does not use his strength to knock down
sheds.
He does not bulldoze
structures.
He brings no lethal force to bear on others’
work.
There are no bombs in Rudy’s
bag.
That’s all. That’s good. That’s all we need.
© Richard Lawson
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Thé Dansant 1910
The crisp eroticism of the waltz
is infinitely sexier to me,
(although admittedly inclined to schmaltz)
than tangos from the Argentine could be.
The strong 3/4 of Lehár and of Strauss—
libido under bombazine and lace:
tumescent tunes—unlikely that they'd dowse
the flames that flush décolleté and face.
A final sweep around the ballroom floor—
the swelling horns, the throbbing of the strings.
A dance-card filled: no room for any more,
and febrile words that make a heart grow wings.
Her breathlessness required smelling salts—
I
blame the man, the music and the waltz.
© Mitchell Geller
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Acknowledgements:
For my
Uncle previously appeared in 'Seam' magazine.
Meat Packing previously
appeared in 'Tattoo Highway#9'
Concerning
Mother previously in 'Loch Raven Review'
The Shed previously
appeared in 'ChickenBones' online Journal
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Author's
contact details:
David
Anthony.....................
http://www.davidgwilymanthony.co.uk
Martyn Halsall......................... martyn.halsall@ukonline.co.uk
Nigel
Holt............................. nigel_holt@yahoo.com
Arthur Seeley ......................
arthur007@blueyonder.co.uk Alan Wickes
..........................
http://www.alanwickes.com