I
Curled
a snake of a road
uplifted on a bank
of mud falling
to a welter of mud
glistening gleaming
in the afternoon light
Underfoot
on the rough road
a green mossy
water-weed alive
out in the air
waits to be swept
over and again
by the evening tide
II
Let me stand still
from this relentless
passaging looking
attentive always
investigating the possibilities
of all the eye can see
within a footstep’s distance
an arm’s reach
a hand’s touch
Let me stand still
on this low **** wall
between estuary water
and a channel in the marsh
One - a lively blue
waved and winded
every which way
The other - a muddy brown
rippling in one direction
in slow procession
Let me stand still
but turn slowly
to mark the edges
of the sky’s horizon
turning clockwise
from the north
and return -
a whole sky seen
Let me stand in wonder
as flock and skein
a sky-squadron of geese
high-flying over head
southward out of a pool
of midday estuary light
to disappear beyond
the mainland shore
III
The boat keels over
so the line of her
below-water body
reveals a womanly self
that roundness
that beamyness
so rightly feminine
and now holding to herself
a heeling hull
full-breasted sails
taut in wind and water
IV
A drawing makes the ordinary important
It is a text that forgetting words for once
spells out the body's role in fashioning
our creative thought
*Its contours no longer
mark the edge
of what you’ve seen
but what you might become
- each mark a stepping stone
to cross a subject as if a river
and put it then - behind you*
V
Soon to be sloed
but wait a while . . .
its lovely flowers
must form first
on this shrub we call
Prunus Spinosa
the Blackthorn
Flowering against
the sky’s blue morning
as if it were -
a cloud of whiteness
a masking of lacework
spread on stiff branches
Yet here
in the garden below
this towered room
in which I write
the shrub has clothed
the end of the garden’s
marsh-facing wall
above and across
and on either side
spreading to newly-cut grass
falling on the pasture beyond
holding itself
purposefully against
the prevailing wind
VI
Silvery in gun-metal greyness
this evergreen edible shrub
(the Sea Purslane)
with mealy leaves
and star-shaped flowers
form a natural border
twixt shoreline path
and salt-sea strand
A hiding place
for ***** its leaves
hold fronds that take
a reddish hue
a delicate shade
welcome-colouring
in this marshness of mud
and brown water
VII
How fitting are the words
correctly scribed on the bench
by the wall in the orchard
next the pond on this fine
sunny day Certainly
‘The time has come, ‘
the Walrus said,
‘To speak of many things:
of shoes and ships
and sealing wax - of cabbages
and kings’.
Yes - this gentle morning
blessed by softest breeze
and shadow-playing light
has formed a place of peace
to summon thoughts
that hold no sense
except to scan so rightly
for the writer’s pen
the reader’s voice
Such random objects
fuel imagination’s play
this sunny day upon
the bench beside the wall
within the orchard
next the pond
VIII
By dancing shadows on the wall
a plaque records his gift:
orchard - pond - and all within
two garden walls
a rough masonry
variously gathered
rich in colour
mark and fissure
Four Italianate hives
cylindrically domed
precariously tiled
set at ends and in between
on fifty yards of facing walls
- as cotes for doves perhaps?
to coo and coo . .
when shadows
move and flicker
on the wall
to and fro to and fro
because he loved this island
so - he wished his memories
might live here and now
IX
Together on the sea wall
she said look
an owl on that fence
over there
Short-eared she said
and so silent
(with surreptitious step)
we advanced - it stirred
and lifting its broad-winged
body flowed into flight
with slow strong strokes
beating hard towards the sea
but changing its mind
(and poising on the wind)
returned to quarter
the field below
where we stood standing
rapt by its silent purpose
as it turned and tumbled
to get a better view
of whatever poor creature
lay beneath its
telescopic sight
X
Here to seek a stillness
I don’t own but claim
I do - so here and now
in this quiet corner
(my back to that rough-hewn wall
fluid with its dance of shadows)
I wait to hear to listen
and to know . . .
Seated on this bench inscribed
with Lewis Carol’s words
there is an invitation made
to take the time
to talk of many things
(if only to oneself)
Insignificant actions
Graceful words of love
Admiration and respect
for friends and simple pleasures -
We are so blest in all such things . . .
*believing always
a greater Providence
that (so to speak)
waits ahead of us*
Mar 28, 2017
Mar 28, 2017 at 7:18 AM UTC
I
Curled
a snake of a road
uplifted on a bank
of mud falling
to a welter of mud
glistening gleaming
in the afternoon light
Underfoot
on the rough road
a green mossy
water-weed alive
out in the air
waits to be swept
over and again
by the evening tide
II
Let me stand still
from this relentless
passaging looking
attentive always
investigating the possibilities
of all the eye can see
within a footstep’s distance
an arm’s reach
a hand’s touch
Let me stand still
on this low **** wall
between estuary water
and a channel in the marsh
One - a lively blue
waved and winded
every which way
The other - a muddy brown
rippling in one direction
in slow procession
Let me stand still
but turn slowly
to mark the edges
of the sky’s horizon
turning clockwise
from the north
and return -
a whole sky seen
Let me stand in wonder
as flock and skein
a sky-squadron of geese
high-flying over head
southward out of a pool
of midday estuary light
to disappear beyond
the mainland shore
III
The boat keels over
so the line of her
below-water body
reveals a womanly self
that roundness
that beamyness
so rightly feminine
and now holding to herself
a heeling hull
full-breasted sails
taut in wind and water
IV
A drawing makes the ordinary important
It is a text that forgetting words for once
spells out the body's role in fashioning
our creative thought
*Its contours no longer
mark the edge
of what you’ve seen
but what you might become
- each mark a stepping stone
to cross a subject as if a river
and put it then - behind you*
V
Soon to be sloed
but wait a while . . .
its lovely flowers
must form first
on this shrub we call
Prunus Spinosa
the Blackthorn
Flowering against
the sky’s blue morning
as if it were -
a cloud of whiteness
a masking of lacework
spread on stiff branches
Yet here
in the garden below
this towered room
in which I write
the shrub has clothed
the end of the garden’s
marsh-facing wall
above and across
and on either side
spreading to newly-cut grass
falling on the pasture beyond
holding itself
purposefully against
the prevailing wind
VI
Silvery in gun-metal greyness
this evergreen edible shrub
(the Sea Purslane)
with mealy leaves
and star-shaped flowers
form a natural border
twixt shoreline path
and salt-sea strand
A hiding place
for ***** its leaves
hold fronds that take
a reddish hue
a delicate shade
welcome-colouring
in this marshness of mud
and brown water
VII
How fitting are the words
correctly scribed on the bench
by the wall in the orchard
next the pond on this fine
sunny day Certainly
‘The time has come, ‘
the Walrus said,
‘To speak of many things:
of shoes and ships
and sealing wax - of cabbages
and kings’.
Yes - this gentle morning
blessed by softest breeze
and shadow-playing light
has formed a place of peace
to summon thoughts
that hold no sense
except to scan so rightly
for the writer’s pen
the reader’s voice
Such random objects
fuel imagination’s play
this sunny day upon
the bench beside the wall
within the orchard
next the pond
VIII
By dancing shadows on the wall
a plaque records his gift:
orchard - pond - and all within
two garden walls
a rough masonry
variously gathered
rich in colour
mark and fissure
Four Italianate hives
cylindrically domed
precariously tiled
set at ends and in between
on fifty yards of facing walls
- as cotes for doves perhaps?
to coo and coo . .
when shadows
move and flicker
on the wall
to and fro to and fro
because he loved this island
so - he wished his memories
might live here and now
IX
Together on the sea wall
she said look
an owl on that fence
over there
Short-eared she said
and so silent
(with surreptitious step)
we advanced - it stirred
and lifting its broad-winged
body flowed into flight
with slow strong strokes
beating hard towards the sea
but changing its mind
(and poising on the wind)
returned to quarter
the field below
where we stood standing
rapt by its silent purpose
as it turned and tumbled
to get a better view
of whatever poor creature
lay beneath its
telescopic sight
X
Here to seek a stillness
I don’t own but claim
I do - so here and now
in this quiet corner
(my back to that rough-hewn wall
fluid with its dance of shadows)
I wait to hear to listen
and to know . . .
Seated on this bench inscribed
with Lewis Carol’s words
there is an invitation made
to take the time
to talk of many things
(if only to oneself)
Insignificant actions
Graceful words of love
Admiration and respect
for friends and simple pleasures -
We are so blest in all such things . . .
*believing always
a greater Providence
that (so to speak)
waits ahead of us*
Here are ten poems written over a weekend in the former home of Norman Angell on Northey Island in the Blackwater Estuary, UK. The island is 60 acres of pasture and salt marsh joined to the mainland by a tidal causeway. These poems are my ‘marks’, drawings made in words, taking something from two matchless spring days surrounded by water and good company. Text in italics is taken variously from John Berger and Marilynne Robinson. See http://www.alicefox.co.uk/?p=2862
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