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Posts Tagged ‘memory’

For Seamus

They do not die,
these poets,
they are absorbed,
slowly by the year,
feeding the tongue’s root,
weighing the worth of hearts,
swinging from page to page,
a rustle of birdsong in the morning,
a glimmer of twilit truth,
always gold,
not tarnished,
never fading.

Gone
In days
Muttering of war.
The postures
Of the scrubbed,
Dead eyed ones,
Once more decrying
Alternatives to destruction.
Their squealing slavering
Shall be spittle
In the breeze
On sea cliffs
Where your
Insistent gentle roar
Will bring wheels
Of gulls
And bees to drift
On warming slopes,
The sound of waves,
God breathing
As He too,
Rolls those lines
To and fro.

Once carved
And carried,
A pomander
Of sweet eyed
Clarity, a sword,
A vinegar, to cut
The fickle fat
Of lazy habit.
A new recognition,
A reconstruction
Of heaven
Where we stand.
Perfect
As it is,
Sweet sufferer,
But not of fools.

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The last week or so I have found time and space to push on with a few art-book projects I have been wanting to complete. One is a printed paper copy of “The House of Trees”. It is quite a long poem, but even so a little short for a stand-alone book – at least one that feels like a real book rather than a parish church guidebook! So I have been working out how to interleaf the text pages with image pages. Originally I was thinking of one image page facing each new section of the poem, but practically, because of the varying lengths of the sections, this did not work so well. So I have decided to greatly increase the number of images so that each spread has one image page facing the text page. This has the advantage of consistency, and also of increasing the number of pages to about eighty or ninety – quite a nice thickness! Luckily, I had taken quite a few photographs on the Isle of Skye, upon which the poem is based. On of the most interesting things on Skye was the number of high quality artist’s galleries. I was particularly attracted by several woodcut artists. Woodcut and print are a match made in heaven, so I tried to see if I could get that jewel-like light and dark richness by working with my images.

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I have used quite simple techniques (complexity is beyond my computer skills), mainly playing around with contrast and gradients. The end result depends quite a lot on the original colour photos, but I have managed to get some rich, deep tones that remind me of wood engravings, and others that more resemble aquatint etchings. Here are a few that I like. Most of the images I am happy to present as near abstracts, suggestions of landscapes, textures and grains of wood and stone. As they are complementing, rather than illustrating, the text, I want them to set an atmosphere as much as anything else.

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You may remember some of the photographs that I used to accompany “The House Of Trees” as I was writing it and posting it here earlier in the year. I have used some of the same images but made many of them more graphic.

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I expect I will try printing some of these out for myself on etching -type archive paper, to see haow they fare as objects in their own right.

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I hope the juxtaposition of panoramic spaces with close up textural detail will keep the interest of the eye as it moves from page to page.

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Somehow the tonal reversals suit the nostalgic, Otherworldly flavour, where mirroring and transformations are a common motif. Also somehow fits in with the eye of memory and metaphysical meditations also….

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DECADENT LINGERIE (dream stream)

Perhaps it was
the early sun,
The night sun,
Or the slim,
low dark moon.

But the halls
and chambers within,
The tales
and stuttered songs,
Were filled with dark
And strange, literate beings.

Wild, bohemian,
relics and collectors
Of the mythic
and the mundane.
A dream full
of forbidden rooms,
Reckless draperies,
swathed velvets,
Lascivious elegance,
experimental liaisons.

Good to see
the corridors of my mind
Disreputable and inhabited,
The forgotten,
the unfashionable,
Breeding experiences
Like there were no
Tomorrow.

Sculpting options,
Reviewing gestures,
Collecting ephemera.

Busy before the moral,
Busybody day curtailed
And manacled these lush
And poisonous flowers,
Slain by opprobrium…..

A very lush dream sequence. Dream buildings always carry a strong atmosphere. They are, after all, the dreamers represention of ‘self’ in some way. My own tend to self-construct around one of a few core architectures, based on real structures, elaborated or morphed together.
One is based on the classic Edinburgh tenamant. A stony, cavernous dimly lit open stone staircase leading up an unholy number of steps, on each landing, two doorways facing each other. The majority are 19th century constructions, so have an inner hall ( in my dream architecture this tends to be a large, square space with a confusing number of closed doors) leading to a variety of high-ceiling rooms with plaster mouldings….
Crossing the Meadows
Frosty autumn morning
Smell of barley and hops:
The brewery down
West End way.
Pale sunlight,
Pale water.
The loom of
Castle Rock.

More often, I construct a space cobbled together from my first flat in Birmingham. A solitary, disreputable maze of a building, again Victorian in construction, in a once elegant, turned seedy, part of town. Split into a bewildering Gormenghast of flats and bedsits inhabited by borderline lunatics, outcasts and keep-themselves-to-themselvers, in my dream constructions it sprouts an unlikely number of split levels, long, thin rooms, rusty balconies that overhang dark, deserted gardens. It breeds a nest of dark, vaguely familiar roads around it….
There is a place of
Poetry there,
Dark,
Colour of dust
And dried blood.
A place of confusions,
Lost directions,
Relict.

Most often, those inner spaces are based on Bridge Street Studios, an inner city canal warehouse complex ( probably now developed into expensive waterside penthouse flats), but when I was there many of the floors, abandoned by East Asian fabric manufacturing companies, had been taken over as the largest and cheapest (hottest, coldest, leakiest) artists’ studios in Birmingham. Divided up by partitions, often ghost towns of creativity, large open floors, huge windows, minimal electricity, always the risk of calamitous waterpipe bursts in cold winters. Again, a multitude of floors, a welter of staircases..
A place of exhibition
A place of seeking out
A hideout, a stakeout
A gathering of unlike minds
A flock of outliers
Dust,perfume,turpentine,
Dead leaves
Blown in,
Collected,
Collected.

Then there is the occassional tasteful Jungian set. A church or cathedral, often with internal growths of trees or other plant forms.. Which brings to mind a particular windswept . island dream, saint’s relics, boats leaving ( always leaving).

A fascination:
How,
From nowhere
Memory of an old dream
Jumps in,
Flavours with mood
Then scinters away
Drawing no conclusions…

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Photographs are from Chichester Cathedral, Ranga Hotel Iceland, traditional Japanese house, Yamanashi, Japan

Not sure if “scinters” was a word, but it is now! ( meaning: fragments, disintegrates, dissolves, flakes off, splinters, etc.)

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Illustration is ” bone white hollows”, a sketch for a piece of silver darkness.

A DEEPENING LOW

It shall return to silence soon enough,
So let the railing vent and blow.

They fall into nothingness:
Grains of irritation
That might turn to pearl
But instead accumulate
And smother for no good purpose
But decay.

And decay is within
That treasured storehouse,
That defining hall of measurement
Where all apparent becomes fixed
And sure.

All, all, fairy gold- dust and sticks.
No ell, no cubit, but all chains,
All a measure of inappropriate approximation,
Misreadings, misjudgments,
Missed, missing persons,
Never identified, lost;
Posted posters “Gone Missing”,
Abraded, disfigured by time
And unkind passings.

The subtle arc of self-destruction
So like flying, not falling.
But there it is:
A matter of perspective,
Parallax and doppler.
Red shift
As one by one
Certainties flicker out
Beyond reach.

I am, after all, it seems,
Defined by the shape
Of emptiness,
And maybe only that, too,
Is borrowed.

“And we scatter,
The many millions of us
In different directions,
Self-absorbed,
Constantly muttering
Our own names
Lest we forget ourselves……”

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Illustration is “bone claw moon”, a sketch for a silver design that may one day emerge from the mirk

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4.MOON AND MEMORY

there is no limit to the stretch of words
yet they shall snap back to the punch of present,
piquant, drenched, unpersuaded:
the insistent knot and never of this loss.

four times
(since severed heart turned stone, hope faded),
four times the moon has drained the palest light,
punctured, bled out, trespassed, wilted.

four times, too,
risen, filled, flowered again.
memory and forgetting is the long answer to all.
the longest of views: a levelling balm, recycled effulgence,
finally ingested, become ornament and unbound.

rippled eternal edge,
each falling is a misunderstood choreography –
taking wing, pushing out, interrogated possibility.
an orbit. a turning away and a turning towards.

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ON JADE BEACH

On Jade Beach,
Looking out west,
Indigo and white, the sea.
Ripples, woven ikat patterns
By the cold wind.

We could not tell
What was precious,
Nor what bestowed
Immortality:
Pockets weighed down
With smoothed fragments
Of beauty.

Dark pine leans out.
An arc of dark sand.
White, cold wind from the mountains.

These pebbles were mountains,
This sea, spring rains.
Looking for signs of heaven,
Dreaming of jade rivers.

Six foot of snow
Deep in the hills.
Inside the grass-roofed houses,
Warm and dark:
Silk-drying racks,
Rice-harvest regalia.

The big drum is silent
But its roundness
Fills up the valleys
All around.

Our footprints along the ice paths
Melted, flowed into the bay.
The cedars redden again with pollen,
Rust-red in the sharp sunlight.

On smooth black sand
The tide rolls a pebble
To and fro.

Your fingertips
Impressed on clay tea-bowl rim.
The fragrance of memory
Bitter and bright.

These roads we take
So winding,
It is difficult to recall
The last views of the sea,
The last of the sunset.
Go on,
We shall not be far behind.

Down to the sea
Looking for immortality.

*****

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BLEAK WIND

(no reason why
It should come up.
No reason why
It should not.
Remembering
The last time we saw you
Burdened but smiling
Far over the mountain passes
Down by the sea
Laughter along the shore
Dark pines listening
A bleak wind
Mountain still deep in snow)

****

THE WAY IT IS

no need to wait
no need to look back.
we are all following,
one by one.
the winding path
into deep mountain
stillness.

***
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WRAPPED (PALM SUNDAY)

1
Grey dawn,
layered in layers of grey cold,
slow long air from the east settles tasting
the heroic snows elsewhere.
Here, silence wrapped desolation descends.
A wan swirl of dun dreams.
A melancholic unpeeling of histories,
numbness, evaporated intent.
Childhood construction,
scattered pieces welded to a subtle unclear meaning:
The familiar dream city, desolate, bomb-cratered, boarded, arising from the ashes. Municipal pride shipwrecked in a desert of red brick dust and scaffolded projections of glory. The old world left two-storied, terraced, patiently queued by the cemetary gates. Buses wandering aimlessly down side roads. Lost, left, making wrong choices.

I do not desire
The dead, fish-eyed aspirations,
The autoqueued stumbling rhetoric cajolling
Of roll-sleeved leaders seeking voters
For their own small glory,
Their usurping family line
Estated and jodphured,
Upholstered and devious.

Slap down the earnest requirements, the limp wristed excuses, the exhortation to be more do more cost less pay more work more aspire before we expire. Ask not, just ask not, it will not be given away, it will not be forthcoming. Fire and fuel vapid contingencies flushed into space, down to earth bigotry, simple minded catatonia. The pioneer spirit ( you are on your own, no one watching, no one interested, investors elsewhere).

As ever, as ever, they are
Looking too large,
The vast distances requiring maps,
knowledge few possess,
stamina and drive this cannot sustain.
A glorious expression,
a summit,
a validation of effort.

All thought, an ornament of silence.
All action, an ornament of stillness.
All dreams, an ornament of the sun.
This night, an ornament of day.

Await. The ripples of despair dissipate.
Await. The certainties of revelation dissolve.
Look closely
And more closely still.

(Quick wren, brown as a nut,
Small as a mouse
Flits between
New skullcap leaves, tightly green.)

The breath, a means to attain stillness.
Stillness, a means to attain space.
Let the roar of despair flow through
The agitation of aspiration,
expectation, required value,
Desired worth,
The whining, wanting,
The acquisition of merit.

(I have spent the hours
Of all this day
Working smooth the white grain,
The holly, dense and silk.
Time accumulated emptiness,
A weight of seasons.

Its berries, dust
That staunches blood’s flow.
Red on red, drop congealed.
Sharp edge a sign, green bough
A promise,
White heart purged of roughness.
Content in the wood’s shade,
A straight arrow tip in sun and openness.)

The only rope preventing us from drowning in the past is the awareness and attention of the present. The past is not gone. It is our blood and bones, our footprints, our shadows of solidity. It is where our thoughts arise, and where our moments retire to layered wrapped story. It is not possible to rise above the past. Present and future are weavings of past matter. Present and futures – the past forgetting where it has come from. The past lost in its own convolutions. Active convolutions of the past, those we call ‘present’, those we call ‘future’. The present, the future, simply forgetting what it is, where it has been. ( Here already). There is no today, but a weave of threads coalescing for a short dance of now, then disintangling and holding new combinations.

Once trodden,
Grass becomes path.
Lost,
We are all lost
Following the lost
Before us.
Weaving backwards,
Forgetting and constructing
Limbs and hearts as we go,
Forgetting, remembering,
Breathing in, breathing out.
Looking backwards – the only way to see what happens next.

Sunlit road,
A dusty street,
One clear way.

2
Palm Sunday
Grey dawn wrapping grey dream.
Sound dulled, distant.
Long, cold air cooling
Any urge to grow.
Most of the land
Draped in snows, swathed in ice.

What the world wishes of us:
Indwelling silence.
The bare bones.
Focus on smaller,
much smaller horizons.

Here, the dead have been
Called from tombs,
Unswaddled,
Sunless flesh wakened,
Thoughts silent,
Unformed
Waiting for
Reasons to weigh
And qualify,
Reasons to care
Once more.

All the city streets
Deserted, unmapped.
Their names:
Keys to the past
Histories of empires,
Fictions.

It shall distil the dregs,
dream tales lost among dark, familiar paths.
This street somehow connected to that street, this world to that world.

Cascades of this and that memory,
Some are planets solid, planets vaporous,
planets ephemeral and singing,
all wrapped in weave of gravities,
disallowing other orbits.

So they pile and coalesce,
a story of maps,
place, striving, failing.
Yearning wrapped in reasons,
the goad to leave for more.

Overlain, overgrown,
traced on translucence,
prone to misinterpretation,
authorised blueprints,
the unmistakable smell of museums,
of school dinners.

Haves and have nots
all equally stretching thinly,
extending, for more, more of this
more of that
more of what we have
more of what we do not have.

Pulled thin to whistling, sighing dust. Dream wrapped in dream. Insistent of beginnings, insistent on following the path ahead, not dawdling, not noticing, not wasting time.

Apples of dust
in a Hell of drought-wrenched thirst.
Escape velocity is what we seek.
Wrapped in flesh,
expecting the earned right of wings:
for trying hard,
for believing,
for not becoming distracted,
for not asking questions.
Even the wise,
wrapped in that gravity,
reaching for the thin gruel of more.

The roar of crowds,
Full of moments.
Missing the weight of purpose
Missing the clues.
Choosing someone else
To be the victor
To be the hero
To be the sacrifice
To walk the road.
Wrapped.

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CHERISHING THE LONESOME

How is it that some songs come to fill us, define us, sum it all up, whilst others do not hold any heart for us? This morning the lines rose up ( snow frazen on the roof, a still day, cold, settled), of themselves, dragging their constellated nets of memory and feeling.

Do we become shaped by them or do they so perfectly will what we are so as to become part of us, entirely? History and identity coming down to radio songs and the secret shared discoveries of this voice or that voice, this tune, these words, these crashing chords. A selection of identities by sound. Naked pathways, already becoming set, though still unnamed, an internal hollowing out of clay, a sculpting of attitudes, an adoption of stance and gesture, a constant attempt to find the heart of a secret name, a true name that can only be found on the tip of the tongue, the back of the brain, perhaps the soul, perhaps the first link, the line of memory: I am this. This I am.

The way we choose to lie in sleep. The ways we choose. A confederation of paradox, a constellation of time-worn sink-holes, (the familar caves echoing, passages dark and shadows distorting, amplifying trains of thought). This name we have, this shape, this song, so deeply owned it has absorbed, coloured, flavoured all else. They have become us because they were the same as us. Their dance, our dance. Their view, our view. It is not complicated. It is not important. ( the spider web at the window is important. The way the cloud layers pink then blue is important. The echoing crow calling from the ash tree is important).

This ripple of words, digging and sifting, this song, the chorus, this artfulness, is a spinning within silence. A constant attempt to turn and turn, to see one’s own back. Slapstick ( it’s behind you), and it will always be behind you, spine holding everything up, unseen, a coathanger for tomorrow.

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I promised 47whitebuffalo that I would write something on the names of ancient Celtic tribes. This is not exactly what I originally had in mind, but it is how things seem to be arriving in these early grey deserts of pre-dawn!

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THE GIVING OF NAMES (a beginning)
1
The day alights wrapped in cloud,
A gift given to memory.
Trees wait, their eyes lidded,
Savouring those names rich and round –
The roots and seeds so swallowed,
Buried, taken up, changed.

Hollow sweet, the pierced song:
The puffed, cold-breasted birds
Chant, waiting for warmth.

Huddled all, by the crackled fickle flames,
Memory feeds
( shapes and faces, laughter, even).

The light is hungry for names.
It reaches behind ice-stiffened grasses,
Bitter ivy and brown yarrow.

Lost in fog and short horizons are we,
Diminished at each forgetting.

Remote, aimless paths are the paths we move
Without their remembrance.

Small-minded, shadowless,
Pinched and petty,
Fogged and mired do we proudly become:
Stretched ghosts without root or reason,
Withered, starless, slack-handed.

I shall sit, mind naked, pool eyed
Drinking rippled waters.
Stirring, stirring the surface patterns
Resolving, returning, resonant syllable.

A speckled, dull dunnock, unexpected sweet song.
A circling crow, mist moving, lifting a world,
Stumbling between doors of dream.

2
PRETANI
The first are the shaping ones,
The givers of form, far-famed,
Makers and singers.
Gold of sunlight, silver of moon, movement of stars,
Hammered, forged, chased into meaning.
The returning spirals,
A path in and out of time.

A clatter of magpies
Searching root, rock, wood, chill clear water.
A house for the invisible, clothing mystery.
The laughter of ravens,
The warm agreement of cattle.

These islands, named from them,
Whom no-one has superseded.
Their knots and philosophy
Sewn into the landscape,
The manifestors of story,
Witnesses of return.

3
REGINI
The upright ones, the proud ones,
The stiff ones, the tumescent ones.
Upholders, unbending.
A fountaining tree from our loins
Showering gold bowls of grain,
The seed of fat lands, high lands.
The tree of our lord, a king of horizons,
A shelter to all, a song of breezes,
A tumult of battle hymns.

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From Broadford

5

      The house at Luib

It is not the same,

There on the other side

Of Beinn na Caillich,

Beside the dark loch waters,

Still and brown.

Beside the heron-guarded

Loch of Ainort.

The houses of stone

Grey-walled,

Under shadows.

 

It is not silent,

The house at Luib.

For how can a thing

So merged with the world

Not be full

Of the whisperings of the world,

Its sighed breathings?

 

Not mice, though,

Amongst the rafters,

But birdsong.

Nothing but a thatch

Of cloud

And a drift of mist

Above

The moss-green

Tumbled walls.

 

No door

To open in welcome.

No scent of peat nor brose.

No fire at all,

Except the spark of sunrise

And embers at evening.

 

A house of trees,

Whip-thin and tall:

There together birch and rowan,

Maple and willow,

Carpeting the hearth,

Scattering green and gold

(more gold than this house

Ever saw before,

And of richer worth than metal:

Bestowing the soil,

Brightening the eye

On autumn paths).

 

Those who called this home

Shall be long, long gone.

Not sleeping near

Listening to the oystercatcher

On the shore,

The raven

On the slopes of Scalpay.

 

They will be lost

Across the seas.

Deserted by kindness,

Faces washed in salt,

Eyes empty of hope,

Hollowness growing

By the long mile.

 

And so it is

A house of trees,

A conversation

Of saplings.

This house empty of laughter,

Empty of singing.

No longer the home of men

Nor the smell of wood-smoke.

 

The bright trees growing,

Their root sinews sucking

The debris of memories:

Branches conversing together,

A chattering of leaves.

 

The old, sweet language

Sighing away

On the wind

Over the dark waters.

A soft calling

Of the lover to bed;

A hum, a song,

A tune for working;

By the fireside:

The telling of tales –

The day’s pouring,

Silver, gasping catch

Out on the wave.

 

So they have all become trees.

The memories growing to stories.

Casting seeds,

Changing with the seasons.

Our thoughts,

Boughs and branches.

Our intentions,

An agitation of leaves.

Our dreams,

Rooted hidden, out of sight

But deeper,

Deeper than we would even guess

Sustaining our place

Gripping rock:

The spinning world.

 

We would want for nothing

In our own place of belonging.

No distant yearning,

No sad lament

(except the lament of edges).

 

For always the living

Wraps the dead

As the ivy the stone

As the moss and lichen cling

’til they too become sky,

A dust

On the storm winds

Of autumn.

Beinn Na Caillich, Broadford

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