I

Before the sea the sound of sea, before the wind a mask of wind placed on the face, before the rain the touch of rain on the cheek. The lee shore of this finger of land is a gathered turbulence of tea-coloured, leaf-curling wave upon wave, wholly irregular, turning, folding, falling. No steady crash and withdrawal hiss, but a chaos of breaking and turning over, no rhyme or reason, and far, far up the beached misted shore. There, do you see? - suddenly appearing in the waves’ turmoil a raft of concrete, metalled, appearing to disappear, the foreshore’s strategic sixty year old litter shifting and decaying slowly under the toss of water and wind.
 
II
 
From the lighthouse steps to the sea fifty yards no more: the path, a brief facing of the wind and spit of rain, then turning the back to it see the complexity of low vegetation holding its own on the shallow earth-invading sand and rolled leaves of marram grass. Sea Buckthorn is the dominant plant, not yet berried with its clustered inedible oil-rich orange fruits. The leaves, slight, barely 5cm long, but in profusion, clustering upward, splaying out and upward on thin branches, hiding the wind in its density, never more than chest high, so the eye looks down, sees the plane of the leaves, long, thin, suddenly tapered, dense, stiff, thorny.
 
III
 
You said, ‘look the door is curved.’ And it was. In the late afternoon light filtering through the oblong window 150’ into the grey sky the panelled wood was honeyed. Covered with a well-varnished frottage of swirled marks, some of the wood itself, some of gathering age and infestation, the single window’s light blazed a small white rectangle on the larger rectangle of the door. The passage outside the door too narrow for the eye to take in the whole door straight on, one has to move past and catch its form obliquely.
 
IV
 
The curve, the long four-mile curve of the finger into the afternoon mist and sea cloud. From the road: only seen the smooth ebbing tide waters retreating from the archipelagos of mud and sand and slight vegetation of rusted grass.  From the road: only heard over the marramed banks the sea’s sound of waves’ confusion and winds’ turmoil. Follow the fade of the curve’s progress in the echo of distance. It paints itself from the brush of the eye, the sea a grey resist. This spreading away is a long breath taken . . . then expelled from the lungs of looking. You can’t quite hold it all in one view so you’ll build the image in sections, assembling and projecting across two adjoining landscape sheets as if the spiral binding isn’t there. The resulting image when digitally joined will describe the negative space of sea of sky, silent and uncluttered by marks. Only the curve of the land will collect the drawn, a vertical stroke here for a lighthouse, a slight smudge for the lifeboat station.
 
V
 
From the road looking south to an invisible North Shore, the mist hiding the true horizon, there is layer upon layer of horizontal bands: of grass, of mud, of nested water around mud, wet sand, layered water, mud-black, water-grey, a dull sky-reflected white of a sheltered sea, and patterning everywhere, dots of birds near and distant. Then, in the very centre, a curlew in profile, its long downward curving bill dipping for worms into the wet sand and mud. Breeding on summer moorland, wading winter estuaries, this somewhat larger than other waders here, so distinctive with its heavy, calm stance.

It’s the morning after the last heart session
Eyes open but brain still crackling with static and white noise
When I try it again
Hoping to get pen to paper
Before consciousness can recover sufficiently to intervene
And proffer pretty syntax to the poem
Hold the mind blank
And stack the words in rows of green growth
Like garden beds
That only need time and attention to bear fruit
Let truth come from some other place
Than reason or left brain
Or the extensive vocabulary
Meticulously indexed in the cranial cavity
Somewhere near the brain stem
Or maybe in the DNA
As C, T, G, and A
Storing data like binary only twice as complex
The recall mechanism operating in the darkness of our comprehension
Apprehension of its failure threatening to leave the poem unfinished
Unillustrated
Uncalibrated
Un-fact checked
Like that matters somehow
Like the facts are important in art
Like the right brain has no sense of propriety
Just as surely as the heart tells lies in gibberish
A chattering maelstrom of syllables in a cyclonic vacuum
And yet somehow the heart speaks with perfect clarity
Uncluttered rhythm
Timing and flow
So you know there is more going on here than we fully understand
Lend a hand to help decipher the intentions of a part of yourself wayward from the rest of you
Leading to a collapse of the ego
And a blurring of the lines between you and I
Turning discrete data into continuous
On the fly
On the run
Under sun and and moon and sky
Until the day that even death fails to be discrete
Or even an event any more important than a fire
Converting energy from one form to another

Pounding bass.
Sub-sonic strobes.
Synthetic smoke.
Alone on the dance-floor
I was glad to see another
clubbers curves move in rhythm;
Uninhibited by the foot tapping brigade
who watched with intensity.

You edged ever closer
Till our smiles became infectious.
An uncertain bond of understanding,
amid an endless rush of acidic bleeps.
Uncluttered.
Uncrowded.
Mystically shrouded in transient beats,
we strangers come together in unity

Your hips move to the pneumatic bass
as transient hardhouse and
tribal breakbeats embrace,
The foot tappers again resume,
Spontaneous rushes
and some sulphur that is sour to taste.

We may have unzipped and consumed
to electronic tunes,
but the tune remains the same -
Beautiful stranger dream a dream for me
because now all we have between us is
Rain.

Would that a recollection could expire;
Not in the fuzzled hedgerows of old age,
But here amidst the furrows of a sage
And active mind -- A rustle of attire;
A scent, familiar, quickening desire;
A voice as soft as silence on a stage --
Unbundled straws like kindling to the page
That sets this enigmatic heart afire --
Would that I could entreat vacuity
To bar a thought, to keep it squarely shuttered,
Preventing it from creeping back inside --
The vacant plots might cleanse my memory,
Might numb an ache and leave a mind uncluttered --
The healing of a vast unfeeling void.

Then again, I was changed then
Each day I renew
Sleep like in a cocoon
Emerge with wings anew
unwritten by yesterday's
Weighty legs ground dwelling
Ways, days are numbered wings are fluttered, my crypt will be in the future, today I soar, uncluttered.

Ex's

I am a part of all of them
even the ones I hate.
Maybe especially the ones I hate.

They are transferred paint
after the fender ******
at the unfortunate intersection
of fate and bad timing.

Not enough damage to make a difference.
Not even enough impression that
you care to be bothered changing your schedule
to repair it.

But every time you leave the house,
and on every lap around the chariot,
you see a trespassing color screaming
of either their bad decision.........or yours.

Sometimes it seems there are more accidents
than pleasant Sunday drives.
I suppose most encounters must be accidents
until we find the uncluttered road to our destiny.

L.E. was life shift
and napkins.
I didn't even know I needed napkins
when I had paper towels in the house.
I Jones for napkins these days.

D.B. was college
and fashion.
Shiny shoes moved her to the soul of my feet.
Now Kiwi polish
smells like foreplay to me.

N.R. was forbidden
and my piano teacher.
I hated practice, she loved to kiss
The oral exam was one of my best finals.
I like tests more than most people today.

J.T. was a cougar
and Tchaikovsky connoisseur.
Maturity was uncovered, along with adult lessons
about carpet knap and fireplaces.
I am Pavlov's dog in the strings of Symphony #6.

L.J. was adventure
and abandon.
She is a grassy carpet over a live train tunnel
in a memory I should regret, but don't.
She is the crossbeam in my permanent smile.

I am an estrogen inspired creation
finding purpose in soft fleshy motivation.
I am who I am
because of their compunctions and compulsions.
They scraped off on me
in the kamikaze journey to fight loneliness.
But in the dive I learned -
grace is humbling when you don't deserve it,
toilet paper has a perfect delivery direction,
I get the right side of the bed,
you shouldn't say anything
you don't want to hear again,
it's my job to take out the trash,
shutting your mouth sooner than you think
is almost always the better choice,
you can never have enough closet space,
and some experiences are so good
that you should never try to repeat them again.

She may be gone forever.
And we may not be able to have
a decent conversation for the rest of our lives.
But God knows
I'll always have napkins.

This board is not on the wall. It rests on a worktable against a wall. It’s almost the length of the table, perhaps a foot short. On top of the board its wooden frame makes a shelf ideal for photographs or cards to balance precariously, photographs and cards too precious to pin. Today there are five, yes they change from day to day, and today (from left to right) there’s an original drawing in walnut ink of a winter field, a photo of two children looking from a cliff top towards a peninsula’s end, a card called Autumn Spey from a lithograph by Angie Lewin, an invitation to a gallery opening, and a What’s On brochure – from another gallery – showing some unusual tapestry.

The Notice Board is 100 x 60 cm. The wooden frame is slight, probably home-made, but well-made, with a dark brown hessian surface. Not that you can see much of the surface as it is covered with stuff: photographs, images, poems, pictures, cards, quotations, a prayer, an origami bird, a doctor’s prescription, a piece of tapestry, an invitation, an address, lists galore, a cheque or two, a diagram (of a knot), a concert program. Not everything can be seen directly as many items are shared by a single pin and hidden four, even six, notices deep. Every so often the items are unpinned and consigned to a folder and filed, and so the process of choosing and pinning starts over again. This can happen after a holiday, returning uncluttered by days walking the cliff paths with only the quiet sea to gaze at and the cottage blissfully free of things known, things owned.  So when back at the desk, in front of the notice board, it seems right to be beginning again.

Mozart’s Linz Symphony is playing quietly in the background. It’s that time of day when music is sometimes allowed to frame work at this desk and blot out the going home noise of buses in the city street moving away from the stop three floors below. Linz, the capital of Upper Austria and now a large industrial city straddling the banks of the Danube, once gave its name to Linzertorte, a cake of jam, cloves, cinnamon, and almonds, and this remarkable symphony by Mozart. The composer had only just married his Constanza and wrote to his long suffering father:

When we reached the gates of Linz . . . , we found a servant waiting there to drive us to Count Thun's, at whose house we are now staying. I really cannot tell you what kindnesses the family are showering on us. On Tuesday, November 4, I am giving a concert in the theatre here and, as I have not a single symphony with me, I am writing a new one at break-neck speed, which must be finished by that time. Well, I must close, because I really must set to work.

And set to work he did. He had just 4 days to compose, write the parts (though Constanza helped), and rehearse an orchestra. Such is life for the working composer, even today. Maybe not a summons from a beneficent Count, but a phone-call from a producer with a deadline. It is the film or TV score to be composed at break-neck speed. And it can be done, believe me. It may not be sublime as Mozart, but it gets done: there are ways and means.

But this is today’s background, and as these words are written the gracious siciliano of the Symphony No.36 plays away. Such a tender confection.

Looking up at the notice board where does one start? Each pinned piece is a divertissement, an aide memoire to times, events, places, and people. It is a mixture of the colourful, the curious, the necessary, the unusual, the nostalgic, and the personally precious. These things are the qualifications required to occupy a place on this board.

But now Haydn takes over the musical background, Symphony No.88. No descriptive name here, just his wonderful music: his first symphony to score trumpets and timpani, and with more than a touch of Turkish in the Minuetto and Finale.

So close your eyes now (let’s listen to Haydn for a while), then slowly open them and choose from the notice board what first catches your attention.

It’s a coloured sketch of flowers on an A5 sheet of cartridge paper. It is outlined delicately in pen, coloured variously with pastels, green, orange, purple, red. The vase is a glass bowl. It’s set on a window-sill and there’s the frame of a window faintly rendered. There’s no artifice in the arrangement. These are flowers from a garden, picked and now firmly ****** into the bowl. Immediately the long, quiet east-facing room comes alive to colour. It’s in shade now the sun has moved since midday when the flowers arrived after a journey of 40 miles in a hot car wrapped in moist newspaper and silver foil. It is a special gift and its beauty remains vivid for days. When visitors visited gentle comments are made on their fresh colours.

At night when the room is only lit by a standard lamp standing by a pale yellow settee the flowers sleep in the darkness, holding a vivid memory of a day of colour and light. A recording of the Schumann quartets plays passionately during the ‘close to the end of summer’ evenings. Hands are held, and between movements there is an occasional exploratory kiss. Such was their collective fear of passion overcoming other endeavours . . .

In the early morning time when she slept in the room next door oblivious to his wakefulness he would enter the long studio room with its four windows to find the first sunlight patterning the floor. The flowers were wide-awake, their perfume rich in the still morningtime. He would stand entranced to see such beauty brought from her city garden; the first of many gifts he would come to treasure. His sketch was an amateur’s, but four summers past it continued to give much joy and dear memories. It had something of the solemnity of Mozart’s siciliano, and if an image could be said to have a right tempo, it had a right tempo, a gracefulness roughly hewn perhaps, but full of grace.

Now I'm in the turnips and string beans of poetry:
It's like, you think you'll grow up some day
And live in a two story house with swimming pool,
And a two car garage, with a six pack driveway.
Things turn out differently, though you might think
You'd spend whole days devouring Dickinson, Keats, and Shelley,
Drinking fine wines with tidbits of exotic cheese.

Then you find out you'll live in a one car rented garage apartment,
Over a couple always yelling or making love-
There's no in-between; and you never know which it'll be
And if you're mistaken for the significant other you might get
Bopped with a lady's spiked heel or an army boot.

Then you find out that you're the couple
But you're always too busy to make love;
Love is no longer scheduled like bowling night,
It all depends on uncluttered horizontal surfaces and spare minutes-
And the wine turns into beer, when you can afford it
And the nightly budget pizza is the only dough you'll get
It's constipating; but the words still get squeezed out.

And the poets you're reading now aren't dead:
They're urbanely unkempt, and you know them personally,
All their quirky habits; writing poems at bus stops
In a voluble rush; writing words on cafe napkins,
On discarded want ads and torn paper sacks;
And none of them are well known, and none of them are rich.

But they're poets all the same, they live and breathe
The written word, and you're no different, certainly no better,
All of you shooting up words and slang nightly,
Weighing out the soul of the latest idiom,
Choking on cheap cigar smoke and wishing you'd written that,
And thinking you could have done it worse-
And suddenly some night, you look around you

You realize you're living poetry, and you don't care anymore
About rich and famous- because now it's your addiction;
None of that mattered anyway, for only poetry holds any reality now.
Everything else is imaginary, and all the poets started out this way;
Nobody knew them or gave a rat's ***,
And they went on writing just the same
As if it were the most important job on earth they'd been given.