The hitch down Spring Bank Holiday was back to this, Stumbling through high-rise canyons blocking views Of dandelions and desolation, lying thumb Raised up in hope and forced to thinkOf two nights earlier, when kiss on fumbling kiss Had come to nothing much,minds left to muse On after smoke and talk and all the drink,Tongues
Mum said he only used it once,the year I was born,fighting the tag An Older Dad,sporting trumped-up auburnin all of my baby photos. So what if he kayaked with me,dug an allotment,laid a lawn and its paving stones,swam and roller-skated,taught me a two-handed backhand? I learned to mention his white hairevery chance I got,feeling a
Absorbed by the TV in the corner, the pair of us on the sofa – but what of the space in between? The introduction of a rug or low table, nothing to obscure the picture. An emptiness remains: colourless, formless in either light or dark. Neither any use for it nor to it, we stare
i.m. Colin Falck (1934-2020) It arrived, a something out of nothing, to becomeThe last good poem you would make, as, out of the dumbSilence, words, knowing they belonged to other words,Lit and jostled on the lines, the end of season birdsAlong the wires which as one will rise and flock,Shaping the surrounding air to the
Dearest, I’d love to have your Tina to stay — what are aunts for? — but I’m not sure if it can be managed just now. I know you’d like her to have a change of scene after that business with her maths tutor (has he gone back to his family now, by the way?)
The fall of a girl’s hair, the flare of a skirt –the merciless daily things that break your heartare there for you to learn your skills from. The hurtof living is what stings us into art. Cool your desires to ice, then start to play.Compose it all like music: use what you need:secrets; strange worlds;
after Baudelaire Now comes the hour when a flower feelsPerfume evaporate as from a bowlOf incense, when sounds make the evening’s soulSad languorous waltzes so that the head reels. Perfumes evaporate as from a bowl,A mandolin’s strings pluck a heart that keels,Sad languorous waltzes so that the head reels;The sky sad, beautiful, will take its
Keep your distance – here be dragons Agues of all kinds blown in from the East Time to fear door-knobs, be wary of cheek-to-cheek Kiss nothing, stay Within the boundaries, do what they say Soon we won’t know ourselves, bolted Behind untouchable doors, masked Like smash-and-grab merchants or terrorists Or like surgeons Bent over
You were seven and hadn’t askedfor one in months, but the salt windhad whipped your energy away,before a piled-up plate of squidat our favourite place on the promhad left you sagging in your seat. Even as I threw you overa shoulder and braced for the trudgeto our house, my back was hintingat a future without
After a note by Jules Laforgue The melancholy of Van Goyen’s pale autumn marines.Sad, eternal wind – life in monotone – boats loaded to tipping point, drowned banks where melancholic cattle, submerged to the knee, nose for grass – windmill struts emaciated against the hills –the little village of thatched cottages on stilts where we
Life has changed into a matterof keeping an eye on yourself. What stage are we at? Should you be holding onat all costs, to your sincerity? When you close your eyes and catch upwith a sort of accelerated film,moving you in the direction of a bad end,is that what’s heading your wayor something remembered,or the
He’d reached the wood scrubbed up and clean,still drinking as a late sun flaredon windows like acetyleneas if the dusk could be repaired,while further in, turned submarine,thick shrubs clung to a footpath wherehe passed out as the pills kicked in,a dead man in cheap summerwareamongst the crows that kept an eyeon all such things that
the volcano I’d christened Mont D’Espoir or Mount Despair ‘Crusoe in England’, Elizabeth Bishop The twin peaks of Mont D’Espoir and Mount Despairkeep changing places and are hard to tellapart, with their simple
Before I arrive, I begin to walk.Early morning. The steps above Rosairedamp earth held into place by iron pins,white beads of water on the harbour’s crane,a milk churn cooling on the farmyard stone.Where were we? Up over the island’s spine, smell of the pines on a hot dusty track,travelling as she did, turning her backcurled
I was raised in the sky. For playmates I chose magpies and sparrows. On the high-wire I learned the language of clouds, of wind, and the balance of all things being equal. It’s where I found my feet, toed the line, while the butterflies and rain gave uptheir applause. I followed in her footsteps,heard her
For once, I’ve written on the reverse where and whenthe photographs were taken, the biro showing through on your lapel and down my cheek. It’s about a yearsince we met, we’re there in black and white, smartly attired after the wedding of friends east along the river, now launchedinto their life together while you show
One more dream – and may it prove the last of its kind to haunt me –where with a split-reed squawkI join a marching bandtowards the graveyard. My bent backleans earthwards, and notesno longer rise to a perfect pitch. At least I keep in step. Soonwe shall play The Saints, my restless feetBojangling, the big
The little dictionary lies open at A for Applewhere it all begins. I want to turn the pages, but the vitrine is a border crossing; my ageing face, stamped on its glass and my papers way out of date. Moths have been at work along the faded pink of a rabbit’s ear. It’s swiveled to
There was a young fellow from Ankara Who was a terrific wankera Till he sowed his wild oats With the help of a goat But he didn’t even stop to thankera. *Extempore limerick in conversation with Nicholas Farrell and Urs Gehriger for the Swiss newspaper Die Weltwoche. On the grounds of its spontaneity, it
The sun always grabs us by surprise its yolky wash on a pub wall the clumsy spill round the black legs of café tables. it rains so frequently it’s like the sea trying to climb out of its skin. The beach is a runnelled grey, an old man’s face in cardiac arrest. we have stopped