HEART GALLERY

you step forth
from your bath
as if

you were
a Bonnard
come alive

spread yourself
across crisp cool sheets
as sensationally

sensuous
as a Modigliani ****
or a Noguchi sculpture

here you
Matisse
if only

for a brief
moment now so
Ernst

now so
playfully
Picasso...ish

I smile
as you
Vermeer

"Come here & kiss me!"
you my Magritte
you my Dali

You my laughing
walking talking
'art gallery

!YOU AGAIN!

Your summer dress
comes to rest

upon the balcony

hung up on a thin
wire hanger

(an exotic bird)        

it cries for your body
weeps at being

parted from you
& your curves

a pool of tears
collects at its hem

as longingly it dreams of
the touch of your skin

asleep now
in the sun.

Later that evening
frightened by the approaching storm

it tries to escape
the clamour of its hanger

almost flies off
beyond the reach of my hands

run away to sea
seeking for further horizons.

I calm it
tame its panic

fold it tenderly

carry it like a dreaming
child

lay it to rest
at the foot of the bed

where all night long it sleeps
at your feet

awaiting your footstep

the sunshine
of being

you
again.

SCATTERED DREAMS

Whenever I fell
asleep

my father came
& cupped me in his hands

carried me to bed

as if I were as precious
as water
in a hot dry land

or draped like discarded clothing
on a couch...in a garden
on a bench or a beach

I would be gathered up

& awake to find myself
back in the safety of my own bed.

And I would have thought
I had flown

or being magically
transported by a spell

but it was only
the ordinary
magic of my father

cradling me
in his arms

gathering up the littlest
of my scattered dreams

stroking my hair

& tip-toeing backwards
out of the room

his voice
full of tenderness

casting a spell

“Good night son...goodnight...goodnight.”


*


Gold and other such treasure? Forget it...my Da was my treasure trove...moments like these richer than the most precious of gems. My Da was priceless...every second of him was untold riches.

SUCH A SUNNY DAY

the objects
in his pocket

have lost
their identity

their significance
to anyone but him

a hairy comb
photo of an unknown

woman
who can she be

a torn-in-two
train ticket

chewing gum
much masticated

yet put back
in his blazer's breast pocket

small change
a penny and a sixpence and

a button
from the cuff

no clue as to who
he had been

before the water claimed him
as its own

the disgust and fascination
of those

passersby who continue
to pass by

it such
a sunny day

for death to
intrude this way

the miscellany of objects
ownerless now

the waters of the Liffey
calm and unmoved

*

I was just coming up to O'Connell Bridge and the bus got snarled in traffic. It was a beautiful beautiful sunny day and as I gazed idly out of the window a body, sodden and shapeless but still all too human was being winched out of the river. So we were forced to witness this before the bus finally made it to the bridge. It was startling and cut like an emotional knife through the fabric of the perfect day.

My girlfriend at the time told of a friend of hers who had sometime last year thrown herself into the Liffey so that added an extra dimension to the horror. Everyone who had met her on that last day said she seemed so happy and were amazed that she had done so because "...it was such a sunny day." She only had a comb and a button and small change in her pocket...all she owned. A human life shrunk to so little.

"...A HEAP OF BROKEN IMAGES. . ."

She would sit beside him
like a distant constellation

trying on what it felt like
to be human.

He observed her
through the telescope of his hate

as if a scientific study
of her distaste

would make her more
understandable to him

but
it didn't.

He remained earthbound.
She an ever expanding universe.

At night they lay like grey
alabaster effigies on a tomb

the close but not touching
classic cliché

except for the cobwebs joining their hands
the odd broken fingers...the chipped chins.

Both pious in the death
of this their marriage.

They tried to resurrect
their long ago selves

who had ate up all
the promises made

before vomiting up
all they had said

like drunks unaware
of puke in their hair

Now *** was engaged in
although boring beyond belief.

He said nothing.
She cried.

Affairs offering little
or no relief

from the prison
of their bodies.

Both their lives
like kitsch touristy souvenirs

gathering dust
on an un-dusted shelf

tatty flamenco dancer
chipped porcelain matador

how they saw
what they used to be.

As if life were a cat
and would with a swipe of a paw

knock them off
broken upon the floor.

How two humans
could come to such an impasse. . ?

Don't. . .
even ask.

HOW COULD THE STARS. . .

how could the stars
have forgotten you
you who held them in

the surprise of your eyes
floated them through
your wind blown hair

& untangled them
from the tortured branches
of trees

when they had lost their way
or forgotten
who they were

you who had spoken of them
when they were silent
& couldn’t find words

spoke to them
so tenderly
shaping them into poems

now the sky is bereft
only the darkness speaks
as the stars search...seek for you

HISTORY. . .HAPPENS.

It is 11.32
in 1132 and  - now.

A sunset sets fire
to Kildare

burns it to the ground.

Night takes the town
in its arms.

Memory sets fire to time.

I, a mind invisible
( divisible by all )

move through the pages
of history

slip silently through
the ages

an unobserved
observer.

The ghost I've
yet to be.

The latitude of now
the longitude of then

the ****** flux
of history.

Voices scattered throughout time
( spoken in a 16th century accent )

whisper to me
greedily

wanting to be
remembered.

". . .the successor of Brigit
was betrayed

carried off...put into a man's bed
forced to submit to him."

"I hear you..!" I say
". . .I hear you!

". . .seven score killed
in Cill Dara...most of it burnt..!

The Chronicles tell
the tattered tale.

The voices once again
lost in the wind.

Diarmud Mac Murrough's
violence on Kildare

happens all over
again and again

written upon the wind.

The **** of the abbess
destroying the divinity

of her authority
her harmony.

A woman baptises
her new born

with milk
as in the old way.

The fires of her age
flickering across her frightened face.

Brigit born anew.

Time tamed
comes to my side

licks my hand
like some mythical hound.

"Take me back..."
I command
". . .to my own now!"

"Now!"
I cry.

Out of the Silken Thomas
one two and three inebriated

merrymakers sway and spill
out into the Christmas of I984.

One big one small and one very very tall
together they sing

informing the yet-to-be
of what is lost and past.

"Rejoyce!" the snow says:
"...snow falling faintly through the universe

and falling faintly...upon the living and the dead."

I tell the night
that is already passing into

the great beyond.

"Remember O Thou Man
Oh Thou Man, oh Thou Man.

Remember, O Thou Man
Thy time is spent.

Remember, O Thou Man
How thou camest to me then

And I did what I can
therefore re. . ."

*

Walking through Kildare one passes through all the history still hanging in the air...once one has heard the voices of those who have passed before us...it is impossible not to hear them ever again...the air is stained with the history of their times and the soul cannot but soak up all that has happened.
Brighid reappears in various guises in various times and seems part historic, part mythic, part Christian, part pagan. One of her dualities is that she is herself but also an incarnate representative of Mary.
She is the protectress of dairymaids and is associated with February lambing day (one of the four primary Gaelic holy days, Imbolc, meaning "bag of cream" or "butter-womb"). She was born herself by manifesting from a bucket of milk being carried out the door by her mother, a milkmaid. And the Irish Catholic Church, before it came under the aegis of the Roman Catholic Church, baptised in milk rather than water. My Auntie Nelly used to put the sign of the cross on the flanks of our cows by dipping her fingers in the milk.
As the first abbess of Kildare ( Church of the Oak ****-dara ) she was followed by an unbroken line of abbesses who commanded great respect from the people and were responsible through the saint’s order for maintaining by precise ritualistic means a continuous fire ignited by St. Brighid before her death in ca. 522. The abbesses were assisted in this by 19 nuns. With the sack of Kildare the fire of centuries was finally snuffed out.
The **** of the Abbess of Kildare in 1132 destroyed her sanctity and rendering her unfit for her office. MacMurrough imposed in her place a kinswoman of his own.
Her **** paved the way for the Norman occupation of Ireland.
James Joyce was intensely proud of being born on February 02, lambing day, that is on Imbolc, which by the old reckoning shares the claim for being St. Bridgid's Day along with February. The Celtic day was measured in a lunar manner like the extant Semitic calendars so that a calendar day begins at sunset, not midnight). Joyce considered St. Brighid to be his muse and liked to have his works first issued on February 02 to honour her.
She is invoked in all post-Chamber Music work. As St. Bride Brighid continues to maintain her abbey, now a "finishing establishment" for the "The Floras . . . a month's bunch of pretty maidens." She is Maria in "Clay," the moocow in Portrait, the old milk woman in Ulysses, the maid in Exiles, the broken branch in "Tilly," (one means allowed to stoke the sacred fire at Kildare was to wave air over it with a branch), and a thousand references to milk and things bovine in FW.
The Norman-Anglo Conquest of Ireland began in 1169, when a mercenary invasion force from Norman-occupied Wales captured Wexford and Waterford. A year later they took Dublin, and over the next century, 75% of Ireland would fall. Dermot MacMurrough's wily reign of deceit, beginning in 1132, paved the way for the Norman occupation.