The small hours chimed sweetly away so next thing it was
The cock on the ridge-tiles.
And now this is ‘an inheritance’ –
Upright, rudimentary, unshiftably planked
In the long long ago, yet willable forward
Again and again and again, cargoed with
Its own dumb, tongue-and-groove worthiness
And un-get-roundable weight. But to conquer that weight,
Imagine a dower of settle beds tumbled from heaven
Like some nonsensical vengeance come on the people,
Then learn from that harmless barrage that whatever is given
Can always be reimagined, however four-square,
Plank-thick, hull-stupid and out of its time
It happens to be. You are free as the lookout,
That far-seeing joker posted high over the fog,
Who declared by the time that he had got himself down
The actual ship had stolen away from beneath him.
from Glanmore Revisited
I Scrabble
in memoriam Tom Delaney, archaeologist
Bare flags. Pump water. Winter-evening cold.
Our backs might never warm up but our faces
Burned from the hearth-blaze and the hot whiskeys.
It felt remembered even then, an old
Rightness half-imagined or foretold,
As green sticks hissed and spat into the ashes
And whatever rampaged out there couldn’t reach us,
Firelit, shuttered, slated and stone-walled.
Year after year, our game of Scrabble: love
Taken for granted like any other word
That was chanced on and allowed within the rules.
So ‘scrabble’ let it be. Intransitive.
Meaning to scratch or rake at something hard.
Which is what he hears. Our scraping, clinking tools.
II The Cot
Scythe and axe and hedge-clippers, the shriek
Of the gate the children used to swing on,
Poker, scuttle, tongs, a gravel rake –
The old activity starts up again
But starts up differently. We’re on our own
Years later in the same locus amoenus,
Tenants no longer, but in full possession
Of an emptied house and whatever keeps between us.
Which must be more than keepsakes, even though
The child’s cot’s back in place where Catherine
Woke in the dawn and answered doodle doo
To the rooster in the farm across the road –
And is the same cot I myself slept in
When the whole world was a farm that eked and crowed.
V Lustral Sonnet
Breaking and entering: from early on
Words that thrilled me far more than they scared me –
Even when I’d ‘come into my own’
And owned a house, a man of property
Who lacked the proper outlook. I would never
Double-bar the door or lock the gate
Or draw the blinds or pull the curtains over
Or give ‘security’ a second thought.
But all changed when I took possession here
And had the old bed sawn on my instruction
Since the only way to move it down the stair
Was to cut the frame in two. A bad action,
So Greek with consequence, so dangerous,
Only pure words and deeds secure the house.
VII The Skylight
You were the one for skylights. I opposed
Cutting into the seasoned tongue-and-groove
Of pitch pine. I liked it low and closed,
Its claustrophobic, nest-up-in-the-roof
Effect. I liked the snuff-dry feeling,
The perfect, trunk-lid fit of the old ceiling.
Under there, it was all hutch and hatch.
The blue slates kept the heat like midnight thatch.
But when the slates came off, extravagant
Sky entered and held surprise wide open.
For days I felt like an inhabitant
Of that house where the man sick of the palsy
Was lowered through the roof, had his sins forgiven,
Was healed, took up his bed and walked away.
A Pillowed Head
Matutinal. Mother-of-pearl
Summer come early. Slashed carmines
And washed milky blues.
To be first on the road,
Up with the ground-mists and pheasants.
To be older and grateful
That this time you too were half-grateful
The pangs had begun – prepared
And clear-headed, foreknowing
The trauma, entering on it
With full consent of the will.
(The first time, dismayed and arrayed
In your cut-off white cotton gown,
You were more bride than earth-mother
Up on the stirrup-rigged bed,
Who were self-possessed now
To the point of a walk on the pier
Before you checked in.)
And then later on I half-fainted
When the little slapped palpable girl
Was handed to me; but as usual
Came to in two wide-open eyes
That had been dawned into farther
Than ever, and had outseen the last
Of all of those mornings of waiting
When your domed brow was one long held silence
And the dawn chorus anything but.
A Royal Prospect
On the day of their excursion up the Thames
To Hampton Court, they were nearly sunstruck.
She with her neck bared in a page-boy cut,
He all dreamy anyhow, wild for her
But pretending to be a thousand miles away,
Studying the boat’s wake in the water.
And here are the photographs. Head to one side,
In her sleeveless blouse, one bare shoulder high
And one arm loose, a bird with a dropped wing
Surprised in cover. He looks at you straight,
Assailable, enamoured, full of vows,
Young dauphin in the once-upon-a-time.
And next the lowish red-brick Tudor frontage.
No more photographs, however, now
We are present there as the smell of grass
And suntan oil, standing like their sixth sense
Behind them at the entrance to the maze,
Heartbroken for no reason, willing them
To dare it to the centre they are lost for …
Instead, like reflections staggered through warped glass,
They reappear as in a black and white
Old grainy newsreel, where their pleasure-boat
Goes back spotlit across sunken bridges
And they alone are borne downstream unscathed,
Between mud banks where the wounded rave all night
At flameless blasts and echoless gunfire –
In all of which is ominously figured
Their free passage through historic times,
Like a silk train being brushed across a leper
Or the safe conduct of two royal favourites,
Unhindered and resented and bright-eyed.
So let them keep a tally of themselves
And be accountable when called upon
For although by every golden mean their lot
Is fair and due, pleas will be allowed
Against every right and title vested in them
(And in a court where mere innocuousness
Has never gained approval or acquittal).
Wheels within Wheels
I
The first real grip I ever got on things
Was when I learned the art of pedalling
(By hand) a bike turned upside down, and drove
Its back whee
l preternaturally fast.
I loved the disappearance of the spokes,
The way the space between the hub and rim
Hummed with transparency. If you threw
A potato into it, the hooped air
Spun mush and drizzle back into your face;
If you touched it with a straw, the straw frittered.
Something about the way those pedal treads
Worked very palpably at first against you
And then began to sweep your hand ahead
Into a new momentum – that all entered me
Like an access of free power, as if belief
Caught up and spun the objects of belief
In an orbit coterminous with longing.
II
But enough was not enough. Who ever saw
The limit in the given anyhow?
In fields beyond our house there was a well
(‘The well’ we called it. It was more a hole
With water in it, with small hawthorn trees
On one side, and a muddy, dungy ooze
On the other, all tramped through by cattle).
I loved that too. I loved the turbid smell,
The sump-life of the place like old chain oil.
And there, next thing, I brought my bicycle.
I stood its saddle and its handlebars
Into the soft bottom, I touched the tyres
To the water’s surface, then turned the pedals
Until like a mill-wheel pouring at the treadles
(But here reversed and lashing a mare’s tail)
The world-refreshing and immersed back wheel
Spun lace and dirt-suds there before my eyes
And showered me in my own regenerate clays.
For weeks I made a nimbus of old glit.
Then the hub jammed, rims rusted, the chain snapped.
III
Nothing rose to the occasion after that
Until, in a circus ring, drumrolled and spotlit,
Cowgirls wheeled in, each one immaculate
At the still centre of a lariat.
Perpetuum mobile. Sheer pirouette.
Tumblers. Jongleurs. Ring-a-rosies. Stet!
Fosterling
That heavy greenness fostered by water
JOHN MONTAGUE
At school I loved one picture’s heavy greenness –
Horizons rigged with windmills’ arms and sails.
The millhouses’ still outlines. Their in-placeness
Still more in place when mirrored in canals.
I can’t remember not ever having known
The immanent hydraulics of a land
Of glar and glit and floods at dailigone.
My silting hope. My lowlands of the mind.
Heaviness of being. And poetry
Sluggish in the doldrums of what happens.
Me waiting until I was nearly fifty
To credit marvels. Like the tree-clock of tin cans
The tinkers made. So long for air to brighten,
Time to be dazzled and the heart to lighten.
from Squarings
Lightenings
i
Shifting brilliancies. Then winter light
In a doorway, and on the stone doorstep
A beggar shivering in silhouette.
So the particular judgement might be set:
Bare wallstead and a cold hearth rained into –
Bright puddle where the soul-free cloud-life roams.
And after the commanded journey, what?
Nothing magnificent, nothing unknown.
A gazing out from far away, alone.
And it is not particular at all,
Just old truth dawning: there is no next-time-round.
Unroofed scope. Knowledge-freshening wind.
ii
Roof it again. Batten down. Dig in.
Drink out of tin. Know the scullery cold,
A latch, a door-bar, forged tongs and a grate.
Touch the crossbeam, drive iron in a wall,
Hang a line to verify the plumb
From lintel, coping-stone and chimney-breast.
Relocate the bedrock in the threshold.
Take squarings from the recessed gable pane.
Make your study the unregarded floor.
Sink every impulse like a bolt. Secure
The bastion of sensation. Do not waver
Into language. Do not waver in it.
iii
Squarings? In the game of marbles, squarings
Were all those anglings, aimings, feints and squints
You were allowed before you’d shoot, all those
Hunkerings, tensings, pressures of the thumb,
Test-outs and pull-backs, re-envisagings,
All the ways your arms kept hoping towards
Blind certainties that were going to prevail
Beyond the one-off moment of the pitch.
A million million accuracies passed
Between your muscles’ outreach and that space
Marked with three round holes and a drawn line.
You squinted out from a skylight of the world.
v
Three marble holes thumbed in the concrete road
Three decades after the marble-player vanished
Into Australia. Three stops to play
The music of the arbitrary on.
Blow on them now and hear an undersong
Your levelled breath made once going over
The empty bottle. Improvise. Make free
Like old hay in its flimsy afterlife
High on a windblown hedge. Ocarina earth.
Three listening posts up on some hard-baked tier
Above the resonating amphorae.
vi
Once, as a child, out in a field of sheep,
Thomas Hardy pretended to be dead
And lay down flat among their dainty shins.
In that sniffed-at, bleated-into, grassy space
He experimented with infinity.
His small cool brow was like an anvil waiting
For sky to make it sing the perfect pitch
Of his dumb being, and that stir he caused
In the fleece-hustle was the original
Of a ripple that would travel eighty years
Outward from there, to be the same ripple
Inside him at its last circumference.
vii
(I misremembered. He went down on all fours,
Florence Emily says, crossing a ewe-leaze.
Hardy sought the creatures face to face,
Their witless eyes and liability
To panic made him feel less alone,
Made proleptic sorrow stand a moment
Over him, perfectly known and sure.
And then the flock’s dismay went swimming on
Into the blinks and murmurs and deflections
He’d know at parties in renowned old age
When sometimes he imagined himself a ghost
And circulated with that new perspective.)
viii
The annals say: when the monks of Clonmacnoise
Were all at prayers inside the oratory
A ship appeared above them in the air.
The anchor dragged along behind so deep
It hooked itself into the altar rails
And then, as the big hull rocked to a standstill,
A crewman shinned and grappled down the rope
And struggled to release it. But in vain.
‘This man can’t bear our life here and will drown,’
The abbot said, ‘unless we help him.’ So
They did, the freed ship sailed, and the man climbed back
Out of the marvellous as he had known it.
ix
A boat that did not rock or wobble once
Sat in long grass one Sunday afternoon
In nineteen forty-one or
two. The heat
Out on Lough Neagh and in where cattle stood
Jostling and skittering near the hedge
Grew redolent of the tweed skirt and tweed sleeve
I nursed on. I remember little treble
Timber-notes their smart heels struck from planks,
Me cradled in an elbow like a secret
Open now as the eye of heaven was then
Above three sisters talking, talking steady
In a boat the ground still falls and falls from under.
x
Overhang of grass and seedling birch
On the quarry face. Rock-hob where you watched
All that cargoed brightness travelling
Above and beyond and sumptuously across
The water in its clear deep dangerous holes
On the quarry floor. Ultimate
Fathomableness, ultimate
Stony up-againstness: could you reconcile
What was diaphanous there with what was massive?
Were you equal to or were you opposite
To build-ups so promiscuous and weightless?
Shield your eyes, look up and face the music.
xii
And lightening? One meaning of that
Beyond the usual sense of alleviation,
Illumination, and so on, is this:
A phenomenal instant when the spirit flares
With pure exhilaration before death –