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Posts Tagged ‘landscape photography’

DAY DISSOLVING

Falling waters,

thread white,

tumbling.

.

from that small distance,

the wheeling raven,

soundless.

.

So woven together

are the layers of the day:

a plaid of wind ripples the lake surface,

as if it were about to say something.

.

we shall dissolve

from light

into light.

.

slowly, slowly

down the side of Y Garn

roll clouds

mixed with sunlight.

.

the view

slides sideways

and is erased.

there is a new silence

that comes

just before the rain.

.

this season-

a balance point

clustered at branch tips.

.

we shall dissolve

from light

into light.

.

on dark smudged slopes,

the shout

of purple heathers.

a scree of broken moments,

small enough

to commit to memory.

.

falling waters

woven together.

moments such as these

make and melt worlds.

.

we shall dissolve

from light

into light.

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DHRUPAD 23 ( Pema Özer in Autumn drift)

Slow slow slowly now

slowly now taste the shapes the sounds as they form

as they fall as they flow slow with the colours of autumn

slow the autumn falling slow to mists and coming going coming mists

slow no need to seek the means the meaning to move on.

Sun will not set sun will not rise sun standing still at midnight at midday

as if as if that sage, enjoying his beer enjoying the warmth of a lazy afternoon

dusty road in the mountains distant waterfalls sheep bleating

stop stop stop the sun and hold it there, slow slow to savour moments

out of inside of within wrapped up in time time time, the breath slow slow,

the words slow slow, the same the same the same, but not exactly not precisely,

not a landscape flickers by a landscape moulded forgot seen forgot seen seen

inhabited become sun-filled,

and the trees all autumn and slow breath, fall of leaves and drifting mists

and star-filled, star-filled, the river roaring darkness like that, like that,

that is like this, like this, slow slow unfolding with no end a measured walk

a stroll another beer,

watching time relax

and stay a while

.

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SUGARLOAF (Cambrian Rift)

It is a sweet hill – the steep border between

The nodding bracken and the water meadows.

.

A straight road to heaven,

Last descendent of those ancient hills

That sit before the throne.

.

A knife-edge of rock slicing the wriggling roads.

.

Climb up it, and you shall see wonders

Where silence tumbles into cold wind.

.

Below, trees sway ranked in autumn colours.

They await the battle of winter.

.

Here, the tattered sky catches in grasses

And thin earth throbs with distance.

.

Road and river, far below, glow golden –

The land made soft by the flow of Towy

Fades down to the warmer west,

Down to the sea beyond horizon’s hills.

.

Breath and heart and hope rise here:

Who would not long for wings?

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SOLSTICE LIGHT

Listen, listen, the slow light of solstice morning.

Time shuddering, time standing still.

A word wind muttering indistinct, its rhythms and intent

As steady as oars would be, as steady as oar strokes across a glassy sea.

Listen, listen. We were all in one band, a magnificent number.

Heading west ( always heading west into darkness there, into the mists).

One raised his voice – the song we all knew.

One of those songs whose words would be ridiculous, banal,

Without the tune. Whose chorus impossibly united the living and the lost.

The glass sea slid by. Time ran out.

Some said it was a hard coming of it that year, but it was not.

It was not. It was as easy as breathing.

The reasons, so reasonable. The logic, implacable.

The rhetoric, bombastic and irrefutable.

.

The watchmen were silent, uncommunicative.

Impossible it was to know the minds of the doorkeepers.

We were there to free the imprisoned,

There to reclaim what had been lost,

There to carry home what had been taken.

Voiceless one by one we fell into silence there.

Burning bright as phosphor bombs falling from the air.

Bright as sparks hammered from the anvil.

The prize was claimed, as it always is,

The light released, the cave broken upon,

The tomb unsealed, the spell broken, the curse trod down.

But the world now, irrevocably changed.

Seven with breath, seven with tears still falling,

Seven tired and justified. Seven wan and clustered stars

Backward looking, racing on.

In a world, in a morning, not ours.

.

The slim waning moon floating into the stormy dawn,

Losing its light minute by minute. No longer noticed.

Fading into day.

I have cast out on the grass, seeds for the small brown birds,

For the hungry and the cold.

The eagles and the hawks have gone. The songsters silent,

The stately waterbirds, the watching herons forgotten in the fluttering rush.

I shall sing the names, uphold the excuse,

a psalmist counting off lines in a cold cell: the cajoling verses of warrior kings

For fickle vengeful gods, the rosary of blood red beads, the genealogies,

Until the shivering silver-edged awen fails, tumbling into mute silence,

Voiceless watching an unextraordinary morning.

.

If we had not been so strident, so golden,

Could we have passed the doors unscathed?

Had we understood what was asked of us,

Has we not mistaken guileless honesty as elaborate deception,

A trick to catch us out,

Could we be in those halls still feasting?

There with no needs to forget,

no weight of dust and falling radiant starlight upon us.

No need to elaborate the litany of the dead,

Compose harmonious laments, gather together the names,

as if they meant anything any more, as if we remembered

Their bright eyes, their smiles, their warm strong hands,

Their words around the fires.

.

The ashes are cold and must be cleared now.

Reset the hearth. Begin again.

The splash of sweeping oars and the crack of canvas receding.

Our bright futures looking westwards: the new approaching night.

It is not what it could be,

Not what was promised.

But it is what it is.

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SHADOWS

These lines – the chiselled shadows of words.

Consonants moth-whispered, vowels, lichen-grown.
.

A sunlit porch and laughter.

.
Light swings round the mountain

throwing a cooling shadow

across wood and field.

.
Ghosts do not tip-toe here.

As if they own the place, as if they always have,

Squeezing us between regret and reminiscence,

stained by poetry, small life blooming

on cold fallen hearths.

.
Their lilt of names and

who lived where

and who they loved

and who they hated,

whose sheep on which pasture,

whose son left and lost in another war,

whose daughter run off to a bigger life.

.
Pipesmoke and murmurs,

paraffin and oiled rags.

.
The long light stretches between October trees.

In the cities the streetlights flicker on.

On the farms ashes raked,

Cold stoves chivied back to life.

Small lives shadowed by greater things.

.
The chink of tools, the warm scent of sawdust.

.
A gentle downward slope into night.

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JOHN PRICE ‘BEULAH’

Between heaven and earth

John Price, there, was a blackbird before rain,

a song thrush in the evening.

He kept to small lanes

and taught others his delight

at the end of a hard day.

Carpenter, son of a carpenter,

between the rolling roads and rising views,

between Llangammarch and Beulah,

he measured with a clear eye

the mortice and tenon of his rhymes,

turning the tune, tapping home the notes.

His voice heard mellifluous

by the hills and rivers,

by the gathered singing poor,

by maid and shepherd,

by schoolchildren and labourers.

To sing in chains

is to watch the chains

dissolve.

John Price ‘Beulah’ was born in Llangammarch. He learned his music from a couple of skilled local music teachers, particularly the ‘sol fa’ systems of notating music. Apart from a couple of years in America, where quite a lot of his music was published, he spent his life as an estate carpenter, teaching music and local choirs around the Irfon valley in his spare time. He was a prolific and influential hymn writer in the early 20th century, and also wrote many popular songs. His work did much to promote local choirs, so central to the characher of Welsh rural life.

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Larches

The way colours remain long into the grey autumn.

The way the hanging cones resemble syllables

Lingering on the tongue’s tip,

Or kanji haiku brushed carefully careless.

The way these larches let go and dance

On pale cooling hills.

The way images blur and smudge but remain themselves:

Brushstrokes of careless, magnified light.

An autumn aesthetic: nostalgic patterns floating.

Delicacy and decay: look close and the world

Disappears into light.

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DHRUPAD 22 (empty)

Empty,

emptied the skies,

unwoven by soaring diving swallows suddenly not there

suddenly silent as the still silvered edged trees,

dusted time-dusted, picked out in the

more slanted light suddenly now.

The clouds pouring in now pouring in the winds.

Still warm the sun still warm

though the nights grow cool now.

The days are set,

the days are settled,

they nestle down on quietened fields

in the quiet ripening

fields where the slow pheasants pause

and pick and move on.

There will be the

wheeling words of red kites soon and buzzards soon

their own spells their own

summoning autumn songs

high in the blue and dazzling dazzling heights of

tumbled skies

and the grain nodding heavy

and the hazels winking

and the ash

trees longing to let go,

to let go.

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SUMMER RIVER

Golden edged

Summer river

Rocks cooling their toes.

Golden river

Summer gnats

All diminuendo

Cooling their old bones

Grey worn rocks in summer heat

Squatting in midstream

Soft summer rivers

Water folding up sunlight

Shoals of darting fish

High summer

We see them gather

To cool their feet:

These venerable rocks

Dreaming in the slow waters

Time flows silent

By the river side

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IMG_3096

Here is my entry to the Llanwrtyd Eisteddfod this year. Entries were in Welsh and English, as usual from all over Wales. The first place (as proper), went to an experienced Welsh-language poet. I was lucky enough to come second.
There are about a couple of months to think through the subject that is chosen each year, which allows enough time to allow ideas to collect and flow. It is not the way I work very often, but usually the first few trials turn out to be the ones I submit. Two poems that survived the process are here below.

Y LLYN (rivers stand still)

It is a palimpsest of all silences
where rivers stand still a while to watch the sky.
A rainbow lake, a grey lake, weathered with the dust of things.
A song in chains, a perfect replica of night.

If you wake here before dawn
(woken by a dream or by a drift of light),
you will see all the valley drowned in mist.
The hilltops, all islands, in a lake of white dew.
Then there is almost nothing as silent as this –
the slow change as breath of light rises
and things of day stir to wake.

All the poets are commingled here
as glimmering fishes, dancing together, dancing apart.
Their mouths silently working, feeding on rhyme and reason.
They hunt the fire within the lake
so they may become someone else.
(Taliesin nods, smiles and winks).

There is not a breath across its surface,
not a moment it does not reflect upon.
In its black belly walk memories and bones of things:
Bones of snow, bones of ice, bones of sheep,
Knuckle-bones of disappointment, sinews of remorse.
This poets’ house contrived of wind and water,
held so still in the patient hands of old valleys,
(for loss is loss and never to be forgotten).

A plaid of wind ripples the lake surface –
as if it were about to say something.

“Gorwydd”

Y LLYN (johnny tomorrow)

Johnny Tomorrow, always returning to the lake that drowned his childhood.
Cool eyes gaze skywards measuring the rain, and the sedges rattling
like the last breath of one happy to be leaving, dust-filled
and with too much darkness to carry on living much beyond the grey lake morning.
He has marked the spot where his ash shall settle,
committed to memory the cloud patterns and the play of ripples along the shore.

How long has Fannog farmhouse been beneath the steel cold waters?
How long its walls become wet caves for tiny fishes?
All the past has dimmed now in fluid liquid distance,
all the present rocking ungainly on doubtful waves.
Only the future is certain: that these clouds shall build and build then pass.
And there shall be a sweet warm breeze of blackberries
from the stretched and torn blue sky high above Dinas
and skylarks, skylarks, skylarks, visible and invisible
(like angels singing the praises of the Almighty).

Johnny Tomorrow, measuring days, rearranging the sorrows of the past.
Beneath each clear reflected memory there is a deeper current, more felt than seen.
As if he knows he should once have offered the best cheeses, the best bread,
the best grain, again and again, until the waters slipped silky aside
and he would be given the joy he patiently awaited, the beauty he dreamed.
For a time, for a time, a sort of perfection, a mirror clear of ripples.
Until the undoing, when all the bright things, all the brightnesses,
walk away without a word, without a look backwards, and all the dreams
silently walking into the slow blue waters as if nothing had been there,
a slow diminishing of rippled surfaces until a perfect sky, a perfect hill,
closes the door on anything other than here and now.

Johnny Tomorrow, waiting for the triple sacrifice, willing to let go
of yesterday, of today, of tomorrow – all those cold chains released,
offered up and sinking into the deep dark waters,
become sediment, settled, longing to be forgotten.
Now, now free, he, too, sinks.
He floats, he rises, knowing not which is sky, which is water,
which is tree, which the root of his tongue’s exultant shout.

Walking into sunrise with no shadow, all music merged into one breath,
bright-browed and open, he whispers: ‘Upon a lake, that is not a lake,
there rests a boat, that is not a boat’.
And the lake, at least, understands.
The doors swing wide and just like this, like this,
he enters the lake’s eye, the depths of an older tale.
It will be a bright tomorrow over the green hills.
A gentle rain rustling across the water, and mayflies dancing.

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