*** tiddy um,
    tiddy um,
    tiddy um tum tum.
My knees are loose-like, my feet want to sling their selves.
I feel like tickling you under the chin-honey-and a-asking: Why Does a Chicken Cross the Road?
When the hens are a-laying eggs, and the roosters pluck-pluck-put-akut and you-honey-put new potatoes and gravy on the table, and there ain't too much rain or too little:
        Say, why do I feel so gabby?
        Why do I want to holler all over the place?.    .    .
Do you remember I held empty hands to you
    and I said all is yours
    the handfuls of nothing?.    .    .
I ask you for white blossoms.
I bring a concertina after sunset under the apple trees.
I bring out "The Spanish Cavalier" and "In the Gloaming, O My Darling."

The orchard here is near and home-like.
The oats in the valley run a mile.
Between are the green and marching potato vines.
The lightning bugs go criss-cross carrying a zigzag of fire: the potato bugs are asleep under their stiff and yellow-striped wings: here romance stutters to the western stars, "Excuse ... me...".    .    .
Old foundations of rotten wood.
An old barn done-for and out of the wormholes ten-legged roaches shook up and scared by sunlight.
So a pickax digs a long tooth with a short memory.
Fire can not eat this ******* till it has lain in the sun..    .    .
The story lags.
The story has no connections.
The story is nothing but a lot of banjo plinka planka plunks.

The roan horse is young and will learn: the roan horse buckles into harness and feels the foam on the collar at the end of a haul: the roan horse points four legs to the sky and rolls in the red clover: the roan horse has a rusty jag of hair between the ears hanging to a white star between the eyes..    .    .
In Burlington long ago
And later again in Ashtabula
I said to myself:
  I wonder how far Ophelia went with Hamlet.
What else was there Shakespeare never told?
There must have been something.
If I go bugs I want to do it like Ophelia.
There was class to the way she went out of her head..    .    .
Does a famous poet eat watermelon?
Excuse me, ask me something easy.
I have seen farmhands with their faces in fried catfish on a Monday morning.

And the Japanese, two-legged like us,
The Japanese bring slices of watermelon into pictures.
The black seeds make oval polka dots on the pink meat.

Why do I always think of ******* and buck-and-wing dancing whenever I see watermelon?

Summer mornings on the docks I walk among bushel peach baskets piled ten feet high.
Summer mornings I smell new wood and the river wind along with peaches.
I listen to the steamboat whistle hong-honging, hong-honging across the town.
And once I saw a teameo straddling a street with a hayrack load of melons..    .    .
******* play banjos because they want to.
The explanation is easy.

It is the same as why people pay fifty cents for tickets to a policemen's masquerade ball or a grocers-and-butchers' picnic with a fat man's foot race.
It is the same as why boys buy a nickel's worth of peanuts and eat them and then buy another nickel's worth.
Newsboys shooting craps in a back alley have a fugitive understanding of the scientific principle involved.
The jockey in a yellow satin shirt and scarlet boots, riding a sorrel pony at the county fair, has a grasp of the theory.
It is the same as why boys go running lickety-split
away from a school-room geography lesson
in April when the crawfishes come out
and the young frogs are calling
and the pussywillows and the cat-tails
know something about geography themselves..    .    .
I ask you for white blossoms.
I offer you memories and people.
I offer you a fire zigzag over the green and marching vines.
I bring a concertina after supper under the home-like apple trees.
I make up songs about things to look at:
    potato blossoms in summer night mist filling the garden with white spots;
    a cavalryman's yellow silk handkerchief stuck in a flannel pocket over the left side of the shirt, over the ventricles of blood, over the pumps of the heart.

Bring a concertina after sunset under the apple trees.
Let romance stutter to the western stars, "Excuse ... me..."

She said, ‘You are funny, the way you set yourself up the moment we arrive. You look into every room to see if it’s suitable as a place to work. Is there a table? Where are the plugs? Is there a good chair at the right height? If there isn’t, are there cushions to make it so? You are funny.’
 
He countered this, but his excuse didn’t sound very convincing. He knew exactly what she meant, but it hurt him a little that she should think it ‘funny’. There’s nothing funny about trying to compose music, he thought. It’s not ‘radio in the head’ you know – this was a favourite expression he’d once heard an American composer use. You don’t just turn a switch and the music’s playing, waiting for you to write it down. You have to find it – though he believed it was usually there, somewhere, waiting to be found. But it’s elusive. You have to work hard to detect what might be there, there in the silence of your imagination.
 
Later over their first meal in this large cottage she said, ‘How do you stop hearing all those settings of the Mass that you must have heard or sung since childhood?’ She’d been rehearsing Verdi’s Requiem recently and was full of snippets of this stirring piece. He was a) writing a Mass to celebrate a cathedral’s reordering after a year as a building site, and b) he’d been a boy chorister and the form and order of the Mass was deeply engrained in his aural memory. He only had to hear the plainsong introduction Gloria in Excelsis Deo to be back in the Queen’s chapel singing Palestrina, or Byrd or Poulenc.
 
His ‘found’ corner was in the living room. The table wasn’t a table but a long cabinet she’d kindly covered with a tablecloth. You couldn’t get your feet under the thing, but with his little portable drawing board there was space to sit properly because the board jutted out beyond the cabinet’s top. It was the right length and its depth was OK, enough space for the board and, next to it, his laptop computer. On the floor beside his chair he placed a few of his reference scores and a box of necessary ‘bits’.
 
The room had two large sofas, an equally large television, some unexplainable and instantly dismissible items of decoration, a standard lamp, and a wood burning stove. The stove was wonderful, and on their second evening in the cottage, when clear skies and a stiff breeze promised a cold night, she’d lit it and, as the evening progressed, they basked in its warmth, she filling envelopes with her cards, he struggling with sleep over a book.
 
Despite and because this was a new, though temporary, location he had got up at 5.0am. This is a usual time for composers who need their daily fix of absolute quiet. And here, in this cottage set amidst autumn fields, within sight of a river estuary, under vast, panoramic uninterrupted skies, there was the distinct possibility of silence – all day. The double-glazing made doubly sure of that.
 
He had sat with a mug of tea at 5.10 and contemplated the silence, or rather what infiltrated the stillness of the cottage as sound. In the kitchen the clock ticked, the refrigerator seemed to need a period of machine noise once its door had been opened. At 6.0am the central heating fired up for a while. Outside, the small fruit trees in the garden moved vigorously in the wind, but he couldn’t hear either the wind or a rustle of leaves.  A car droned past on the nearby road. The clear sky began to lighten promising a fine day. This would certainly do for silence.
 
His thoughts returned to her question of the previous evening, and his answer. He was about to face up to his explanation. ‘I empty myself of all musical sound’, he’d said, ‘I imagine an empty space into which I might bring a single note, a long held drone of a note, a ‘d’ above middle ‘c’ on a chamber ***** (seeing it’s a Mass I’m writing).  Harrison Birtwistle always starts on an ‘e’. A ‘d’ to me seems older and kinder. An ‘e’ is too modern and progressive, slightly brash and noisy.’
 
He can see she is quizzical with this anecdotal stuff. Is he having me on? But no, he is not having her on. Such choices are important. Without them progress would be difficult when the thinking and planning has to stop and the composing has to begin. His notebook, sitting on his drawing board with some first sketches, plays testament to that. In this book glimpses of music appear in rhythmic abstracts, though rarely any pitches, and there are pages of written description. He likes to imagine what a new work is, and what it is not. This he writes down. Composer Paul Hindemith reckoned you had first to address the ‘conditions of performance’. That meant thinking about the performers, the location, above all the context. A Mass can be, for a composer, so many things. There were certainly requirements and constraints. The commission had to fulfil a number of criteria, some imposed by circumstance, some self-imposed by desire. All this goes into the melting ***, or rather the notebook. And after the notebook, he takes a large piece of A3 paper and clarifies this thinking and planning onto (if possible) a single sheet.
 
And so, to the task in hand. His objective, he had decided, is to focus on the whole rather than the particular. Don’t think about the Kyrie on its own, but consider how it lies with the Gloria. And so with the Sanctus & Benedictus. How do they connect to the Agnus Dei. He begins on the A3 sheet of plain paper ‘making a map of connections’. Kyrie to Gloria, Gloria to Credo and so on. Then what about Agnus Dei and the Gloria? Is there going to be any commonality – in rhythm, pace and tempo (we’ll leave melody and harmony for now)? Steady, he finds himself saying, aren’t we going back over old ground? His notebook has pages of attempts at rhythmizing the text. There are just so many ways to do this. Each rhythmic solution begets a different slant of meaning.
 
This is to be a congregational Mass, but one that has a role for a 4-part choir and ***** and a ‘jazz instrument’. Impatient to see notes on paper, he composes a new introduction to a Kyrie as a rhythmic sketch, then, experimentally, adds pitches. He scores it fully, just 10 bars or so, but it is barely finished before his critical inner voice says, ‘What’s this for? Do you all need this? This is showing off.’ So the filled-out sketch drops to the floor and he examines this element of ‘beginning’ the incipit.
 
He remembers how a meditation on that word inhabits the opening chapter of George Steiner’s great book Grammars of Creation. He sees in his mind’s eye the complex, colourful and ornate letter that begins the Lindesfarne Gospels. His beginnings for each movement, he decides, might be two chords, one overlaying the other: two ‘simple’ diatonic chords when sounded separately, but complex and with a measure of mystery when played together. The Mass is often described as a mystery. It is that ritual of a meal undertaken by a community of people who in the breaking of bread and wine wish to bring God’s presence amongst them. So it is a mystery. And so, he tells himself, his music will aim to hold something of mystery. It should not be a comment on that mystery, but be a mystery itself. It should not be homely and comfortable; it should be as minimal and sparing of musical commentary as possible.
 
When, as a teenager, he first began to set words to music he quickly experienced the need (it seemed) to fashion accompaniments that were commentaries on the text the voice was singing. These accompaniments did not underpin the words so much as add a commentary upon them. What lay beneath the words was his reaction, indeed imaginative extension of the words. He eschewed then both melisma and repetition. He sought an extreme independence between word and music, even though the word became the scenario of the music. Any musical setting was derived from the composition of the vocal line.  It was all about finding the ‘key’ to a song, what unlocked the door to the room of life it occupied. The music was the room where the poem’s utterance lived.
 
With a Mass you were in trouble for the outset. There was a poetry of sorts, but poetry that, in the countless versions of the vernacular, had lost (perhaps had never had) the resonance of the Latin. He thought suddenly of the supposed words of William Byrd, ‘He who sings prays twice’. Yes, such commonplace words are intercessional, but when sung become more than they are. But he knew he had to be careful here.
 
Why do we sing the words of the Mass he asks himself? Do we need to sing these words of the Mass? Are they the words that Christ spoke as he broke bread and poured wine to his friends and disciples at his last supper? The answer is no. Certainly these words of the Mass we usually sing surround the most intimate words of that final meal, words only the priest in Christ’s name may articulate.
 
Write out the words of the Mass that represent its collective worship and what do you have? Rather non-descript poetry? A kind of formula for collective incantation during worship? Can we read these words and not hear a surrounding music? He thinks for a moment of being asked to put new music to words of The Beatles. All you need is love. Yesterday all my troubles seemed so far away. Oh bla dee oh bla da life goes on. Now, now this is silliness, his Critical Voice complains. And yet it’s not. When you compose a popular song the gap between some words scribbled on the back of an envelope and the hook of chords and melody developed in an accidental moment (that becomes a way of clothing such words) is often minimal. Apart, words and music seem like orphans in a storm. Together they are home and dry.
 
He realises, and not for the first time, that he is seeking a total musical solution to the whole of the setting of those words collectively given voice to by those participating in the Mass.
 
And so: to the task in hand. His objective: to focus on the whole rather than the particular.  Where had he heard that thought before? - when he had sat down at his drawing board an hour and half previously. He’d gone in a circle of thought, and with his sketch on the floor at his feet, nothing to show for all that effort.
 
Meanwhile the sun had risen. He could hear her moving about in the bathroom. He went to the kitchen and laid out what they would need to breakfast together. As he poured milk into a jug, primed the toaster, filled the kettle, the business of what might constitute a whole solution to this setting of the Mass followed him around the kitchen and breakfast room like a demanding child. He knew all about demanding children. How often had he come home from his studio to prepare breakfast and see small people to school? - more often than he cared to remember. And when he remembered he became sad that it was no more.  His children had so often provided a welcome buffer from sessions of intense thought and activity. He loved the walk to school, the first quarter of a mile through the park, a long avenue of chestnut trees. It was always the end of April and pink and white blossoms were appearing, or it was September and there were conkers everywhere. It was under these trees his daughter would skip and even his sons would hold hands with him; he would feel their warmth, their livingness.
 
But now, preparing breakfast, his Critical Voice was that demanding child and he realised when she appeared in the kitchen he spoke to her with a voice of an artist in conversation with his critics, not the voice of the man who had the previous night lost himself to joy in her dear embrace. And he was ashamed it was so.
 
How he loved her gentle manner as she negotiated his ‘coming too’ after those two hours of concentration and inner dialogue. Gradually, by the second cup of coffee he felt a right person, and the hours ahead did not seem too impossible.
 
When she’d gone off to her work, silence reasserted itself. He played his viola for half an hour, just scales and exercises and a few folk songs he was learning by heart. This gathering habit was, he would say if asked, to reassert his musicianship, the link between his body and making sound musically. That the viola seemed to resonate throughout his whole body gave him pleasure. He liked the ****** movement required to produce a flowing sequence of bow strokes. The trick at the end of this daily practice was to put the instrument in its case and move immediately to his desk. No pause to check email – that blight on a morning’s work. No pause to look at today’s list. Back to the work in hand: the Mass.
 
But instead his mind and intention seemed to slip sideways and almost unconsciously he found himself sketching (on the few remaining staves of a vocal experiment) what appeared to be a piano piece. The rhythmic flow of it seemed to dance across the page to be halted only when the few empty staves were filled. He knew this was one of those pieces that addressed the pianist, not the listener. He sat back in his chair and imagined a scenario of a pianist opening this music and after a few minutes’ reflection and reading through allowing her hands to move very slowly and silently a few millimetres over the keys.  Such imagining led him to hear possible harmonic simultaneities, dynamics and articulations, though he knew such things would probably be lost or reinvented on a second imagined ‘performance’. No matter. Now his make-believe pianist sounded the first bar out. It had a depth and a richness that surprised him – it was a fine piano. He was touched by its affect. He felt the possibilities of extending what he’d written. So he did. And for the next half an hour lived in the pastures of good continuation, those rich luxuriant meadows reached by a rickerty rackerty bridge and guarded by a troll who today was nowhere to be seen.
 
It was a curious piece. It came to a halt on an enigmatic, go-nowhere / go-anywhere chord after what seemed a short declamatory coda (he later added the marking deliberamente). Then, after a few minutes reflection he wrote a rising arpeggio, a broken chord in which the consonant elements gradually acquired a rising sequence of dissonance pitches until halted by a repetition. As he wrote this ending he realised that the repeated note, an ‘a’ flat, was a kind of fulcrum around which the whole of the music moved. It held an enigmatic presence in the harmony, being sometimes a g# sometimes an ‘a’ flat, and its function often different. It made the music take on a wistful quality.
 
At that point he thought of her little artists’ book series she had titled Tide Marks. Many of these were made of a concertina of folded pages revealing - as your eyes moved through its pages - something akin to the tide’s longitudinal mark. This centred on the page and spread away both upwards and downwards, just like those mirror images of coloured glass seen in a child’s kaleidoscope. No moment of view was ever quite the same, but there were commonalities born of the conditions of a certain day and time.  His ‘Tide Mark’ was just like that. He’d followed a mark made in his imagination from one point to another point a little distant. The musical working out also had a reflection mechanism: what started in one hand became mirrored in the other. He had unexpectedly supplied an ending, this arpegiated gesture of finality that wasn’t properly final but faded away. When he thought further about the role of the ending, he added a few more notes to the arpeggio, but notes that were not be sounded but ghosted, the player miming a press of the keys.
 
He looked at the clock. Nearly five o’clock. The afternoon had all but disappeared. Time had retreated into glorious silence . There had been three whole hours of it. How wonderful that was after months of battling with the incessant and draining turbulence of sound that was ever present in his city life. To be here in this quiet cottage he could now get thoroughly lost – in silence. Even when she was here he could be a few rooms apart, and find silence.
 
A week more of this, a fortnight even . . . but he knew he might only manage a few days before visitors arrived and his long day would be squeezed into the early morning hours and occasional uncertain periods when people were out and about.
 
When she returned, very soon now, she would make tea and cut cake, and they’d sit (like old people they wer

Handel

played on a concertina

in the dreamy hours

of a June night

spent

on the shores

of the far reaches

of Connemara

as we confessed

many sorrows

and ample joys

with a northern glint

in the sky.

Stairs fly as straight as hawks;
Or else in spirals, curve out of curve, pausing
At a ledge to poise their wings before relaunching.
Stairs sway at the height of their flight
Like a melody in Tristan;
Or swoop to the ground with glad spread of their feathers
Before they close them.

They curiously investigate
The shells of buildings,
A hollow core,
Shell in a shell.

Useless to produce their path to infinity
Or turn it to a moral symbol,
For their flight is ambiguous, upwards or downwards as you please;
Their fountain is frozen,
Their concertina is silent.

By the Spanish Arch
a few kind crusty folks
talk in the March sunlight.

Soft incantations of sweet trad
spill from a concertina, tin whistle
and fiddle, sloshing out an ambiance.

An old fella' makes a poor man's black velvet,
The ladies drink Estrella Galicia and San Miguel.
Another lad jokes: my grief counselor died last week

but he was so **** good I didn't care.

A motley crew, good-natured and friendly,
Drawn to session like moths to a flame;
Always I wonder whether I belong.

"I think in his heart Frodo is still in love with the Shire:
The woods, the fields…little rivers. I'm old Gandalf.
I know I don't look it, but I'm beginning to feel it"

I

I learnt this week
that time and distance
can be friends to memory
their respective lengths
only wet and sharpen
the edge of love

but for us dear friend
we hold hard to hope
that we may
one day soon
share the present
and live each moment
in each other's heart.

II

Hearing you on Holkham beach
- whose soul is greater than the ocean
whose spirit stronger than the sea -
did I doubt for a moment
that you, though buffeted
by a cold east wind
would never age for me,
nor fade, nor die.
Nor you for me (she said)
Goodbye, my love,
a thousand times goodbye.
Write me well (she said)
and turned and ran.

III

The Reedham ferry was but a river's width
and yet I stood at the water's brink
and watched the reeds quiver in the wind,
watched the rain splatter on the puddled path.

All around to the human eye
this valley, a plain of grassland
broken only by reed-fringed pools,
was a gentle, unpeopled, easy place.

The absence of relief left
no fixed frame of reference.
Places apart from one another
would concertina and merge.

Tempted to cross I waved a no
to the ferryman in his quayside hut
then turned and walked quickly
back down the long, low road.

In her closet next to a shirt
hangs a concertina pleated skirt
she slips it on with grace and ease
the tiny pleats are there to please
like a million shimmering crystal shards
all tightly pressed like a pack of cards
as she moves they sway and dance
upon her legs they tickle and prance
the feeling makes her smile and shiver
which makes the pleats start to quiver
they skim and flatter her  hips and ***
like the majestic rays of a rising sun
such carnal delights found in a skirt
as she hangs it back next to the shirt.

Hallelujah Simpkins, Syllogism Brown,
Wandered up to Barkingside to walk around the town.
Does it make you wonder, when they ring the bell,
How they press the ***** keys and sing along as well?
Syllogism wondered so he climbed the tower to see;
Hallelujah, Simpkins said, I know that I am free.

Hallelujah Simpkins, Pendlebury Jane,
Hurried to the hospital and hurried home again.
Does it make you wonder, when they run so fast,
How they know they'll ever reach the hospital at last?
Pendlebury wondered even though she couldn't run,
Hallelujah, Simpkins said, today I have a son.

Hallelujah Simpkins, Academic Smith,
Never et an orange if they couldn't eat the pith.
Does it make you wonder, if oranges can float,
Why they catch the Underground and never catch a boat?
Academic wondered so he went and caught the train;
Hallelujah, Simpkins said, and said it once again.

Hallelujah Simpkins, Concertina Flight,
Hear the song the angels sing in Dagenham tonight!
Does it make you wonder, climbing Heaven's stair,
How you'd speak to Hallelujah Simpkins, if he's there?
Simpkins only wondered whom he followed as he soared;
Hallelujah, Simpkins said, and glory to the Lord!

I’d like to learn piano,

Or something more obscure.

Maybe the concertina,

But I am not yet quite sure.


http://tansyroake.weebly.com/new-word-poems

Red jagged rocks are mirrored by a calming lake,
A boy stands there, restless, shrouded in a woolly jumper,
Above his head brooding clouds echo his unsettled mood,
They roll and roar across the sky, no purpose, no restraint,
Then, a moment of clarity—peace to the madness,
It flickers,
Then it falls,
Let it fall,
A perfect pure snow flake,
Winter’s first,
Swirling, curling….buffeted by cruel winds,
The boy now subdued, enchanted by this concertina of beauty,
In the scene’s ephemeral light he sees his desires,
This charming flake will quell his smouldering fires.

Now a drink fuelled room of pent-up angst and dumb excess,
The boy in the jumper observes a hedonistic scene,
Red eyes gleam, full of passion and lust,
But in this room full of people; just one caught his sight,
A brown curled beauty of the cold New Zealand night,
The boy, subdued now, in her eyes glimpses something,
Her brimming brown orbs flicker,
He falls,
Let him fall,
Deep within he sees his reflection,
A boy in a woolly jumper looks back,
In HER eyes he sees it again,
Snow’s first flake, pure and right,
He is content.

< So how far back can you go then ?
How far down the Rope of Songs can you go ?
You were a Rocker weren't you, you liked Rock n' Roll
In the 80's you had a Walkman, you'd be listening to tapes and songs on the radio
You also wanted to be a drummer once, you loved the power and energy there
But what about the early days though, I'm interested particularly in the early days
How far back can you go I wonder
Yea! How far back and what memories do they bring up ? >

Back in the 70's watching Top of the Pops every Thursday evening on the BBC, essential viewing
With its exciting Whole Lotta Love intro
It was something exciting, thrilling
Waiting to see your favourite Band
And to see the Charts, how they were doing
In the Seventies there was Glam Rock, my eldest brother and me we were always arguing and fighting with one another, sibling rivalry I suppose
If he supported United then I'd have to support City...silly stuff
He liked the band Slade whereas I liked...I supported Marc Bolan and T-Rex
Solid Gold East Action I really liked that song
It was very fast, he rarely did fast songs Marc
Telegram Sam..."you're my main man"
Metal Guru..."is it true"
Twentieth Century Boy..."I wanna be your toy"
The hair on your neck would stand up when he'd come on...
Slade were good though, secretly I liked Slade too, they had great songs
*** on feel the Noise/ Girls grab the boys..
Coz I luv you...Mama we'er all crazy now...
Skweeze me Pleeze me "You know how to squeeze me..."
But there were lots of other good bands and so many great songs
We used to play cards for small money...pennies, a series of different card games, and we'd put on records while we played
We even learned to play Chess and we started a Chess League between us,
We'd always listen to the music as we played.

The Sweet's "Blockbuster" with its intro of police sirens, it spent about 5 weeks at No.1 in the UK Charts...
It reminds me of...of Fish that song...Fish on Fridays, we used to have fish every Friday, I didn't like fish there was bones in it
I wouldn't eat it then Mam would get angry
One time she took a mouthful of my fish trying to prove there were no bones in it
Then suddenly she started to cough and splutter and choke
A Bone had actually got caught in her throat
I thought it was my fault, I thought I'd killed her
She had to go to hospital to get it out
I was going to tell her "I told you the fish was dangerous"
That memory just came back to me when I thought of that song and that time

Yea! I liked Marc Bolan and T-Rex, songs like Metal Guru, Twentieth Century Boy
I remember I didn't like the lyric "Twentieth Century Boy/ I wanna be your toy"
It sounded silly to me that lyric, I suppose I wanted things to make sense
And when he did that song "New York City" with the lyric
"Did you ever see a woman coming out of New York City with a frog in her hand"
I thought then he was maybe losing it a bit
< You...you were a very serious child then weren't you ? >
I suppose I was...like a lot of children are...maybe I just wanted things to make sense.

< I'm interested in the early days, even the very early days and the memories you have
How far back can you go ? What about the funny novelty songs ? >
Chuck Berry had a No. 1 with "My Ding a Ling" playing with his Ding a Ling, we all thought it was very funny
Stayed at No. 1 for several weeks
"Gimme that thing, gimme gimme that thing (or Ding)" was another funny song
"Mouldy Old Dough" by Lieutenant Pigeon a keyboard song with the constant refrain of just "Mouldy Old Dough"
Cat Stevens had a song "I can't keep it in/ I gotta let it out/ gotta show the world..."
Novelty songs were important, they'd interest even your parents
They'd pass a comment "Ha! Ha! That's a funny song"
< And there were sad songs too, weren't there, really sad songs ? >
"Billy don't be a hero don't be a fool with your life" by Paper Lace about a young bride trying to talk her young fiancee out of going off to war, he doesn't listen and never comes back, he gets killed
The Government sends her a letter, she throws it away...
"Seasons in the Sun" by Terry Jacks, 'Goodbye Michelle my little one/
We've known each other since we were nine or ten/ We climbed hills and trees skinned our knees...ABC's / O! Michelle it's hard to die when all the birds are singing in the sky..."
You'd nearly be in tears listening to it.
We used to buy Top of the Pops compilation records with lots of hits on them
Sometimes Mom would like a song, 'Stay with me' by the band Blue Mink
"Stay with me, lay with me/ Love me for longer..."
Always reminds me of my Mom that song
'Killing me softly with your song' Roberta Flack was another
'Tie a yellow ribbon round the old oak tree..."
At school every Friday the teacher would have a spelling test, I used win it a lot, I was good at spelling
The teacher used to give some sweets as a prize, I used bring them home to my Mum.

The Eurovision Song contest (all the European countries would put forward a song), I remember being let stay up to watch Abba win in 1974 with 'Waterloo'
In their fabulous outfits...they looked like Stars, Giants to us, Norse legends from Sweden.  They were amazing!
And what about our own Dana, the young Irish girl from Derry who won the Eurovision for Ireland for the first time with 'All kinds of everything...remind me of you"
I was too young to be allowed to stay up to watch that one
But you could probably hear the adults shouting for Joy from the room below
Happy Nay amazed to see one of our own having done so well, being recognised, flying the flag for Ireland
And then there was seeing Thin Lizzy playing 'Whiskey in the Jar' on Top of the Pops, the first Irish Rock band ever to appear on the show
It was so exciting watching them on our old Black and white TV...an Irish Band one of your very own up there on the World stage
And what about Gilbert O'Sullivan from Waterford I think reaching No. 1 in the Charts with his lovely song 'Clair'
We thought it was a love song but at the end it was revealed it was in fact about a little girl he used babysit for...so sweet.
We used to get comics and magazines secondhand, bought at jumble sales (remember jumble sales)
There was a music magazine for young kids, mainly for girls I think
It was called 'Jackie', there'd be a few in our bundle
They'd have big pictures of all the current hearthrobs
Donny Osmond, David Cassidy, the Bay City Rollers
The young fans would go crazy for their idols
I remember Donny Osmond singing Puppy Love and his version of The Twelfth of Never...
"I'll love you till the bluebells forget to bloom
I'll love you till the clover has lost its perfume
I'll love you till the poets run out of rhyme
Until the Twelfth of Never/ And that's a long long time"...
They were beautiful words about loving, a forever love
And Baby I love you by The Ronettes "Baby I love you/ I love everything about you...
All singing about this wonderful mysterious thing called...called Love.

<Can you go back further than that?>
When we'd go up the village where the amusement arcade was
There'd be songs playing, there were dreamy songs
Albatross by Fleetwood Mac, A whiter shade of Pale by Procol Harum
There was an instrumental I remember called "Sylvia" by the Dutch band Focus
There was a lovely leggy blonde girl named Sylvia in my class at school
And yes! I think she was actually from Holland
(We had a few foreign girls in our class)
Y'know I think she fancied me...did Sylvia
She used to smile at me a lot.
I have a memory of being at the fairground in the Summer with its swing boats and bumper cars
It's roundabouts with the horses and swings, the shooting gallery, the stall for throwing rings over things and taking a prize home
I remember candy floss and ice cream cones
I remember playing the penny slot machines in the amusement arcade, all the different machines
I remember a song "California Man" by The Move... wonderful Summer days.

In the Sixties an Elvis or a Beatles film was a big deal
I remember A Hard Days Night in brilliant black and white
And then "Help" in wonderful colour
Trying to get a fabulous Ring off Ringo the drummer's finger... great songs
Watching The Banana Splits "One Banana Two Banana Three Banana Four/All Bananas going right through the door...
Remember The Monkees"Hey!Hey! We're The Monkees/You never know where we'll be found... We're the young generation and we got something to say"
Last Train to Clarksville, I'm a Believer... great songs too
Remember The Age of Aquarius "This is the age of Aquarius..."
The Sixties yeah!

<Did your Mom and Dad have a Singles collection, the old 45's. Do you remember?>
On our old Dansette record player Roy Orbison singing In Dreams and its B side Sharadoba a magical Egyptian sounding song
And also It's Over about a love affair breaking up
And its wonderful B side Indian Wedding, that was my favorite song among the 45's
It told the story of Yellow Hand and White Feather two Indians getting married
But then going off into the swirling snow never to return
Gone to the Land of the Rising Sun...
You'd listen to them over and over again those songs and that wonderful haunting voice.
<And what were you thinking about, what would be running through your mind when you'd be listening to those songs?>
I remember I wanted to be special that I'd have some special powers and be able to do great things
Something that would make me stand out and that people would be amazed
Maybe some of the girls too, would be very impressed.
My Dad he liked Jim Reeves, he had a lovely velvety smooth voice
He sang Billy Bayou 'Billy Billy Bayou watch where you go/ You're walking on quicksand/ Walk slow/ Billy Billy Bayou watch what you say/ A pretty girl is gonna get you one of these days...
He sang a lot of slow love songs "Put your sweet lips a little closer to the phone and let believe that we're together all alone...
Anna Marie... Anna Marie
Four Walls to know me...

<Tell me about Christmas, the Christmas songs?>
Christmas was a magical time in our house, we'd have the Christmas tree with all the decorations and coloured lights on it
We'd have long concertina like decorations going from wall to wall, so colourful
And lots of glittery things
The songs... Slade singing 'Happy Christmas Everybody', Wizard singing 'I wish it could be Christmas everyday', Mud singing 'It'll be lonely this Christmas (without you to hold)' sounded like Elvis
Johnny Mathis singing 'When a child is born',
'Little Drummer Boy'...
In those days because of school and family you had a strong sense of belonging, having friends, attending birthdays and sports and community events and church
I remember the Christmas party in Primary school (Kindergarten), you had to bring your own treats
I'd only have some biscuits and diluted orange juice
Most people were relatively poor in those days
I was a bit embarrassed having so little
There was one boy and all he had was a bottle of milk to bring
Some used make fun of him, kids could be cruel sometimes.

I remember the teacher brought in a tape recorder once and taped every boy and girl's voice and then he'd play them back
I used dread when my voice would come up
'Cos suddenly the whole class would erupt in laughter
For some reason my voice sounded funny when taped
Even the teacher used smile
I felt so humiliated nay destroyed with them all laughing at me...
I remember... I remember singing the Christmas Carol 'Angels we have heard on high' with its chorus
"Glo..ooria, Gloria in Excelsis Deo"
It was Latin I think but I didn't know this
I thought we were singing "Gloria in a Chelsea stable"
I thought to myself "Jesus must be a supporter of Chelsea football/soccer club" heh!
We had Perry Como's Christmas album with the story of 'Frosty the Snowman' and 'The Christmas Song' ...
"chestnuts roasting on an open fire/ Jack Frost nipping at your nose/ Yuletide carols being sung by a choir/ And folks dressed up like Eskimos..."
And Bing Crosby of course, singing White Christmas
I think we all dreamed of a White Christmas
At school we'd sing 'Away in a Manger' and 'The First Nowell'
Y'know if I sing those songs even now to myself, I can... I can almost remember...

<What about the other songs you learned at school, funny songs, sad songs and the memories they bring up? >
There was a song 'Those were the days (my friend we thought they'd never end)' it was in the Charts
I think the teacher taught us it
The people in the song would be having a great time laughing and drinking and dancing in the taverns
But as they'd grow older their lives would change and they'd get lonelier and sadder...
'Puff the Magic Dragon' I remember there was a very sad bit in this song
Puff and his childhood friend would have so many great adventures together
But then one day, his friend he came no more (he'd found other toys to play with)
Poor Puff was left bereft, he slowly slunk back into his cave... this used to make me sad...
We did patriotic songs 'Roddy McCorley' (goes to die on the Bridge of Toom today)
We had a songbook at school, I still have it
It had lots of old folk songs
Oh! Susanna, Skip to my Lou, The Camptown Races
"Michael Finnegan beginagin/ He had hairs on his chinagin/ Poor old Michael Finnegan"
We used laugh at that song
"What are we going to do with the drunken sailor... early in the morning "
'Marching through Georgia' "Hurra! Hurra! We bring the Jubilee/ Hurra! Hurra! The flag that sets us free...a rousing song
The teacher would play a musical instrument, a melodica I think it was called
She'd blow into it and it had keys on top that'd she'd finger to create the notes
She divided the class into those who could sing and the others, the Crows she called us who couldn't
I was among the Crows
It made me feel bad being called a Crow.
In Primary school we used to play soccer during the breaks
It was usually the Boys from the Housing Estate versus the rest of us from the Village
There was never any tactics, the whole team en masse would just run after the ball LoL
I remember I used to get angry sometimes probably because of something someone had said to me
When I was angry I'd become like The Incredible Hulk
I'd go through the whole lot of them, beat them all
I was Unstoppable
I was the first boy in my class to ever score a goal using my head
The school would also have soccer leagues and we'd get put onto teams
But we were so small compared to the bigger older boys we'd hardly ever get a touch of the ball
But I... I managed to get a goal once which was unheard of from someone in our year
I was so happy.... delighted! My teacher even announced it to the whole class
That I'd scored... I was so chuffed
When I went home and told my parents though they didn't seem to think it was anything special....
My Dad he liked accordion music, he liked The Alexander Brothers from Scotland
They had a song 'Nobody's Child'
"I'm Nobody's Child, no one to love me/ No mother's kisses no mother's smiles/ I'm like a flower just growing wild..."

I used to sleep alone in my room
You'd be afraid there in the Dark on your own
There'd be a nightlight on the wall all lit up
A religious picture, the ****** Mary holding the child Jesus
I'd get Mom to leave the door open so I could faintly hear the voices downstairs
Sometimes I couldn't hear anything and I'd be afraid everybody had gone and left me
So I'd get up and sit on the landing listening
There was a few times when I'd actually go down the stairs
I'd be so relieved to see them all still there
I used sing songs in the dark to keep the fear away, songs we learned at school
"We're going to the Zoo Zoo Zoo/ How about You You You/ You can come too too too..."
Old MacDonald had a farm E-I-E-I O! and on that farm he had some...
"10 green bottles standing on a wall/ And if one green bottle should accidentally fall/ There'd be nine green bottles standing on the wall...
Sometimes I used recite poems we'd learned
"Two little blackbirds singing in the sun/ One flew away and then there was one... One little brick wall lonely in the sun/ Waiting for the blackbirds to come and sing again "
I also remember trying to recite to myself the multiplication tables...

<There were funny rhymes and nursery rhymes wasn't there? >
Christmas is coming/ The Goose is getting fat/ Please put a penny in the old Man's hat/ If you haven't got a penny a halfpenny will do/ If you haven't got a halfpenny God bless you...
Hickory Dickery dock/ The mouse ran up the clock...
They could be strangely violent sounding
Jack and Jill went up the hill/To fetch a pail of water/ Jack fell down and broke his crown/ And Jill came tumbling after...
Humpty Dumpty sat on a wall/ Humpty Dumpty had a great fall...
Three blind mice/ See how they run/ They all run after the farmer's wife/ She cuts off their tails with a carving knife...
Girls are made of all things nice... sugar and spice/What are little boys made of/ Frogs and snails and puppy dogs tails...
Adam and Eve went up my sleeve and never came down till Christmas Eve...
I remember the early games we played, Snakes and Ladders, Ludo, Tiddlywinks trying to flick little plastic counters into a tiny plastic bucket, also playing draughts and marbles...

<Can you go back any further ? >
My Mom singing in the kitchen doing her daily chores singing some song off the radio
Dickie Rock an Irish showband singer singing
"Come back to stay/ And promise me you'll never stray/ I promise that I'll be true...
Sean Dunphy another Irish singer singing "If I could choose" (came second in the Eurovision Song contest)
Tom Jones 'The Green green grass of Home '
There was a lot of easy listening type songs on the radio Burt Bacharach type songs
Andy Williams, Englebert Huberdinck (Please release me let me go/ I don't love you anymore), Doris Day maybe
There's a lot I can't remember now
Val Doonican another Irish singer who'd made it big in the UK
(Had his own TV program for many years on the BBC)
He had a big hit with the song "Walk Tall"
"Walk tall and look the world right in the eye/That's what my mother told me when I was about knee high...
I remember one magical Christmas we got a present of a plastic projector
It came with several slides, they had wonderfully colourful cartoony pictures on them that told a story
We'd turn off all the lights and project it onto the wall
I remember it was like magic, the colours they were so vivid, they were like the colors off stained Glass windows...
The colour of things was very important when you were a kid, they'd almost create feelings inside of you
Colours came first... before words ever did
We often didn't understand the grown ups with their big words...
I remember getting collections of different kinds of toy soldiers and then staging battles
I remember collecting little toy Dinky cars they were called, that was their brand
And Matchbox cars (another brand) ... even today when I see certain colours of cars I am reminded of those old toy cars I used to play with... strange

<What are your earliest memories then? >
There was a question I always wanted to ask the adults but I never did, I thought it kind of funny and didn't want them to laugh at me
The question was "Why does Life always show me ?" An existentialist question even then.

We lived by the sea so you'd be lulled to sleep every night by the flowing up and flowing back of the sea... the tide... its gentle swaying back and forth motion
We had a black cloth picture/painting on the wall, a night scene with swans on a lake and an exotic house in the background with the Moon shining
It was so quiet and peaceful to look at...
My bedroom wallpaper had lovely red or pinkish roses
There was a colourful flower design sewn onto my pillowcase
It used to be lovely getting into bed with fresh linen...
I remember I used to get funny dreams even then, sometimes scary dreams
But I remember you were always safe 'cos in the dream you had a special ring you could put on and then the scary dream would go away (I've often wondered after was that maybe where Tolkien got his inspiration for The Lord of the Rings and Wagner the music composer for his music opera "The Ring")

<Can you go back...any further ? >
Going back further, you're almost falling off the edge of the world there
To a time... to a time when there were no words
When a child comes into the world they have no words
There's only... only The Silence... The Great Silence,
Silence is a strange thing, you can hear Silence
The fact that you can hear it means it must be changing from moment to moment
It too is just like a music, it's probably the first music
Without it there could be no other
The Music of the Spheres someone once called it
It just stays there in the background... glistening... your constant companion
Probably the first sound you ever heard, and probably the last you'll ever hear
It can grow very loud
It wasn't threatening, there were no monsters in it
Not until you went to school and learned words and heard scary stories
Did the monsters come
Words they can cast shadows... sometimes very long shadows...
There was a cot with wooden bars, I remember having a blanket with lovely warm colors on it, soft light blues and yellows, wooly sheep, Bo Peep or Bears or something
We had a golden coloured curtain with lots of designs on it in the bedroom
I remember if you looked hard enough you'd start to see faces in the curtain
Sometimes they would frighten me, they'd look very sharp and angry looking or maybe very sad unhappy looking...
I suppose today I still see faces, in my mind, in the great curtain of all my memories, all those I ever met and knew...

I remember looking at my Mom's face and not knowing what she was
Babies their a complete clean slate, have no words, they know nothing of this world
Gradually they warm to their Mom's affections and come to trust her and bond with her.
Because you had no words when very young there'd be huge gaps in your consciousness
When your consciousness would be completely clear and still
The silence and stillness would envelop you
... and there was something else... something else there... something deep in the silence
Out of it would come something very strange and quite wonderful
It'd come upon you suddenly...it was like your consciousness was changing, opening up
It was like you were descending into some great... some great complex
Your eyes would be closed but still you could see it and feel it... you were part of it
And it was so natural and so familiar...it was where you came from...it was Home
There was a first part that would lead into another part... and then another, all different
Yea, it had several stages and you'd pass through each stage from the outside going inward right to the very last stage... the very Source of Life itself
And you'd be completely at ease with yourself, you'd be completely at Home there
It'd come every night... that Special thing.,. that Special Place
Y'know sometimes when I see a little baby asleep in its pram, I know... I know where they are
Their away now, away in that Special Place
Far faraway from this world of care, so peaceful and so quiet there
Guarded by unknowingness and the Great Silence
With no fear or confusion there to bedevil it
Knowing only a relaxation so deep and a great Stillness within...

But me! I was the youngest in my house, I was always fighting with my brothers
And I was a terrible worrier just like my Mother
I'd be worried about school and the teachers, and trying to understand my (school) lessons
And there'd always be problems, arguments, confusions... humiliations and cruel harsh words spoken
At night I remember I used shake my head vigorously as if trying to rid my mind
Of words that had been spoken, words that hurt or stung...or confused me
I used bump my head gently against the wall
But no! I couldn't escape them... my peace it was broken now...it was gone
And that Special Place just like in the song Puff the Magic Dragon
It came no more...it was lost to me.

I suppose this is all I can remember, all I can recall
I guess this is where I must have come in
I suppose I must have reached the end... the End of my Rope here.

I am a refugee from the City upon a Hill.

My homeland once a resounding light to the nations; has become a convulsing black hole, threatening to devour any semblance of civility.

My City, once a radiant promontory of enlightenment, its illumination of liberty’s searing torch revered, it’s practical striving for democratic wisdom shaping the long arc of the moral universe emulated by people of good will across the globe; now lies in state as a mordant corpse, serenaded by a funereal chorus of laughing griffins, a dead patriarch surrounded by the ruins of a once opulent now sacked city, a bygone home to the scattered disassemblage of a once noble people.

I recoil from the rancor of extreme partisanship, the gerrymandered apportionment of citizenship rights, the buoyant vindictiveness celebrated by small minded ignorance.

The blind allegiance to jingoistic nationalism, the adulation of Blueline authoritarianism, the fealty to imperial militarism and the dangerous trajectory of it’s awful consequence yet to come, enthralls me with dread.

Compelled patriotism enforced by threats of faux patriots, amoral ammosexuals, their small hands stroking quick triggers of long guns, genuflecting in mastabutory glee to the preeminence of 2nd Amendment atrocities, angling crosshairs of resentments to firmly fix a promise of ghoulish body counts, a rationalized apocalypse a captive people must suffer to underwrite profiteering gunrunners who blindly defile the constitutional tenets of life, liberty and happiness, the blood splattered keystones of our true exceptionalism.

Xenophobia and racialism, are stoked and celebrated by the City’s chief executive, his impish smile mouths Blood and Soil sloganeering, he solemnly salutes the Confederate flag while cheering torchlight processions of enraged White Nationalists marching to the drum of the Grand Republic’s midnight dirge along the once hallowed trail of Jeffersonian Democracy and a sacred place of secular enlightenment and higher learning. His gleeful decrees tweet the destruction of families and his police agents mouth holy scriptures to justify the imprisonment of children.  These vandals rhapsodically paint images of phantasmagoric nightmares trampling and mocking democratic ideals, resurrecting long settled conflicts, terrible tests a once great City rose to extinguish, now swelling numbers of craven citizens ardently embrace Klansmen, insurrectionists and ****’s as righteous brethren.

The madness of chauvinism and racial supremacy has fully metastasized within the body politic, polluting the mind, infecting the bloodline with a virulent strain of a white blood cell disease coursing through the veins of republican citizenship.

A City stolen from the Native inhabitants, ethnically cleansed and its former inhabitants remanded to the prisons of reservations, a City constructed on the backs of chattel slaves, erected on the graves of exploited wage laborers, provisioned by the ruthless denigration of the earth’s bounty, law and order mandated by criminalizing the marginalized, repressing the civil liberties of outliers and subjecting women to a perpetual status as the second *** underclass; has failed to repent and steadfastly refuses to make reparations for its sinful past has made the City uninhabitable.

The embrace of tolerance and diversity is the balm, the curate that can salve the oozing sores crippling the City. Nativist prejudice is a long protracted path that City citizen’s find impossible to exit. The malevolence that consumes the mind and moves the soul of a desperately spiteful people, who take delight and find it necessary to dehumanize and imprison alien races and creeds to maintain vapid notions of superiority, profane the ideals of a republican calling. They ruefully ignore the beacon of light warning of the dangerous shoals that lay ahead. The ideals of the great democratic experiment on course to be dashed on the jagged rocks of ignorance, fear, and anger. The doomed City has set a course that endangers its embargoed citizens. Travelling in steerage, a captive body, believing they are on a course for the rebirth of the City’s greatness are emboldened and chained by the delusions of their self destructive steadfast resentments.

My home City has become unknown to me.  I have become a stranger in this strange land. What was once beloved has become insufferable. What was once treasured has become burdensome. The familiar has become fully alien. A terrible avenging apparition haunts and mocks people of good will. My heart is disheveled. My spirit bruised. My body literally aches from the wounds exacted from the deconstruction of my beloved metropolis.

I stand stranded at the border of incivility. Bewildered I peer through a protective wall of concertina wire, eyeing the imprisoned haughty souls of fully enfranchised citizens, bellowing self righteous psalms, singing interminable lamentations of terminal ignorance.

Condemned by their belief in the salvation of violence and recrimination, secure in their faith that their moat of self righteousness shelters them from the gulags of perdition they eagerly proclaim for others, feeling recused from the bane of sinfulness by meager tithes, tumidity and scriptural specificity and the sweet delusional conviction they are the chosen tribe of God’s favor; their aspirations viscerally dashed in blizzards of metaphysical illusion strewn like meaningless confetti onto a passing parade of barbarians who have taken the City as its grandest prize.

Sadly I must withdraw from my beloved City. I retreat to a refuge where the barbarians dare not enter. Their ignorance and stasis weds them to a place far from my sanctuary of choice. May my sanctuary restoreth my soul!

I find refuge in the temples of jazz. I sing arias of lucent improvisation. The freedom of unbridled expression reinvigorates the mind, alighting the emanation of our better angels. The music calibrates my soul with the syncopated beat of an irrepressible life force, the humanity of my welling heart swells on the sonorous oxygen of a lyrical free spirit.

I take refuge in our vanishing mountain wilderness. The natural world offers a solace of solitude, a unrequited impression of scale and a transcendent communion immune from the trampling cacophony of gleeful vandals running rampant through the streets of the City. In winter the summits are capped in crowns of viginal snow, spring awakens a dormant flora, autumn leaves shout the chorus of a seasons glory and summer flowers bloom in multitudes of brilliant colors marking a startling contrast to the fifty shades of gray tattooed onto the City’s restive souls by the purveyors of power.

I find respite on the friendly banks of rivers and breeze swept ocean shores. The perfume wafting along a rivers streaming eddies or a briney snort gulped from the foam of a cresting wave invigorates the lungs, strengthens the heart and clears the mind. The flow of living water heals lifes wounded spirit. It quenches a thirst for justice and nourishes the hope of freedom for all incarcerated souls. The ceaseless roll of the ocean waves prove the enduring power and inevitability of liberty.

I find a good refuge in books. Here I discover a fleeting glimpse of our forgotten love of knowledge and pursuit of truth and rational thought. Enlightenment is the plot of every storyline.

I take refuge in art. I escape into the multiple dimensions of aesthetic beauty trouncing the twittering banality of fad, pornographic affectations and consumer fethishism. Glimpsing beauty while beauty is there to behold and the diligent practice of its creation is an answer to a higher calling.

I take refuge in my dog. Unconditional love and trusted friendship are values at peril in a transactional world; virtues nobily demonstrated and freely given by our canine and feline friends.

I take refuge in late night comedy. Working the midnight shift, whistling past the graveyard with a hearty laugh helps to while away the desperate hours. The rancid fruits of our labor leave a bitter taste in our mouths, humor is the bread of life that clears the palate and makes the terrible sufferable.

My lasting sanctuary is the stronghold of faith, forbearance and tolerance. I trust the long arc of justice will bend toward the righteous and offer a pathway of redemption for all desecrated souls.

I take refuge in the Blues. Let my lamentations turn to songs of joy and deliverance.

I take refuge in prayer. May my places of exile restore and heal my denigration. May God deliver us to a good destination. May our generational wanderings in the desert of desolation end in the discovery of a good place of habitation.

In the solitude of prayer may I experience catharsis, may my petitions find an open ear, may I achieve clarification, may my pious supplication be genuine , my conviction firm, a direction found, a decision made, a call to action clear.  May I become a healer of the breach.

May Your grace be sufficient for me.

I declare my exile over. I will return to my City. I will attempt to rekindle the extinguished flame of liberty to dispel the darkness enveloping my City.

Selah.

Mark Almond: The City

Puyallup
6/30/18
jbm

Time and distance has conspired
to make our love brave concertina wire,
while this may be an over statement of our case,
nonetheless, you and I have the wounds to prove it.

The crab scuttles along the sand,
The tide scuttles over the shore,
A lifeless jellyfish washed up by waves,
In its seaside grave, forevermore.

Dolphins jumping out of the the water,
Over the read sun
Under blue blankets of waves,
On the bed of its horizon.

The seagulls look on and laugh,
The fishes listen and smile,
We will swim in the shallow sea,
And then walk for a while.

Watching the ships return from their voyage,
As they sail slowly into the marina,
The sailors walk by us - nodding-
Into the café brimming with sounds of a concertina.

We stay there 'till the sun's daily death,
In the crowed café under the moon,
And over the skull session, you asked in my ear;
'Shall we leave later or soon?'

It doesn't really matter much to me,
I ask you what do you think,
Taking the endmost of wealth from my pocket,
It is enough for one last drink.

Now, the sea-turtles are gone to bed,
The seagulls, away they have flown,
Drink to health and stub out that cigarette,
For it is time to go home.

-Jamie F. Nugent

the light tore through her eyes
as she rolled in the green grass
laughing through her tears
as she watched the sun’s demise

and seeing the sky turn from arctic to indigo
she lifted herself from the earthen bed
rosy cheeks aglow

tumbling drunkenly down cobbled ground
hearing the concertina player’s refrain
the air cradling the forte of the sound
and the breeze thickened with the cool evening veil
so she walked
past the mosaic homes,
sleeping in their wake,
somewhat yearning for the mundane
and her heart begins to ache

for she slept
not in the cotton sheets of a sun-warmed bed
nor in the arms of another
because her eyes streamed storms
and she belonged to the wild

waltzing between cities that she had long forgotten
gently removing the bandages of long-healed wounds
bright unsure eyes like a child

and though her hair was held in beautiful black drapes
and her body clothed in a flowing white dress
her curiosity like a little boy’s traipse

her heart roared fires
spitting with ash and flame
her mind like a tiger
no man could tame

she was a living breathing storm
calm on its surface
fickle to transform

so as she rolled through the grass
watching the sun’s demise
golden fires blazed in her eyes.

~ for Paul Eluard

This prison isn't so bad.
Though the nights are cold,
tree roots break in to warm him.
The guards hum Mozart arias
which are profoundly comforting
and the food drives away
all expectations of hunger.
The sun is black but reassuring;
the moon has gone missing.
The books he doesn't have pass the time.
The caresses of absent women soothe his body.
Many birds choose not to sing
but invisible cats purr delightfully.
Often he is offered parole,
but can't imagine a better situation
and chooses to remain in his comfy cell.
Solitude sings sweet remembered songs
and all the trenches are far away.
Sometimes he misses the smells of flowers
but that soon passes and anyway
grass sprouts in the yard
surrounded by concertina wire.
Sometimes butterflies light upon it,
deliciously anomalous.
Nothing occupies him every day;
He is comfortable here and plans to stay.
   - mce

If people can’t see the writing on the wall by now, they’ll never wake up. A military does not transport tons (TONS) of concertina wire, out in the open-not caring if it is seen, unless it is going to be used for something SOON. This wire is used for two things. Keeping enemies out (used to form military wire obstacles), or keeping prisoners in. The cost for transport, manpower to ***** the wire and manufacturing far out way the cost for using the amount we are seeing transported for merely an exercise.
The U.S. military, and other U.S government agencies, are spending way too much time and money for training. Our country’s leaders are scared to death, they are preparing for something big. The speed at which everything is being conducted, prepositioning of assets/ assets relocated, signals to me that whatever has them scared-is just around the corner.
We have China building islands to preposition assets and conducting large scale exercises, and we have Russia in the Ukraine fighting against U.S. equipped and trained troops, and conducting unprecedented military exercise (largest in their country’s history). We have both China and Russia building their own banking systems (AIIB/BRICS) to conduct trade and invest money + they have developed their own money wiring swift system (CHIPS)-circumventing what has always been used.
The Middle Eastern GCC countries are now forming a stonger military alliance so they can efectively operate jointly militarily together in the future, and they have been disusing limiting military weapons contracts with the U.S. They plan to purchase more hardware from their European allies. Why, because the U.S. will no longer be reliable, that’s right, we’ll be too busy dealing with chaos in our own country + weapons manufacturing will come to a complete halt, and they know it.
I believe the 500 days of climate chaos spoken about by the French Foreign Minister, with John Kerry standing at his side, has everything to do with all this. When the real chaos begins: super storms, quakes and volcanos, the U.S will be at its weakest. Much of our military will be oversees, and if you are in the military, plan on being stuck overseas. All Emergency Response Assets: National Guard, FEMA, Red Cross, DHS and other agencies will be overwhelmed. And this is when the U.N will intervene, and all our enemies, from all corners of the earth, will begin their invasion.
The most disturbing part of all this: It has all been planned, we have all been sold out to the global government corporate enterprise. And in case anyone wants to know who is paving the way, who is in charge, who will light the way? All you have to do is tune into the Popes address to our U.S. Congress (first time in history) and his address to the U.N. a few days later - this coming September. He will be the calming voice, the voice of reason, who will begin the process of unifying everyone. If you are not concerned, you should start becoming concerned, because in order for this man’s message to have the correct impact: answers for despair, fear and desperation, things are going to have to be getting pretty bad.
And all this is the perfect example of: Order out of Chaos. This is your New World Order people. I’ll leave you with this, and let it sink in: In a Short Time, This Will Be a Long Time Ago.
SealMan…

I bit in to it.
Explode,
Gunpowder in a cherry stone.
The flavours fit together like a jigsaw, then drifted apart like countries on an ocean;
Heat from old coals on a young tongue that hadn't tasted the world.
Fluid concertina accordion flavour -too many colours spoil the canvas.

It's a short sentence but I've never said it.
Let something like that drop and it goes on long after it stops.
The ripples spread beyond their little puddle confines
The echoes ricochet through the fullest of minds
The gravity of the sentiment is enough to tug the moon from the sky.

Or cause the vessels of hope I've come to know as my eyes to change.
Fill up.

Martini glasses left out in the rain.

I rolled into that city
sometime after midnight,
had been fighting
my peepers from closing
since sunset.

I wore shades to hide my eyes,
sixteen hours on the interstate
had made me feel like toast,
less than human,
a bit comatose
& I needed a room.

My pointed boots
accented my slim jeans
& I moved through
the lobby with ease,
as if I were a ghost.

I could feel the disease
in that place,
bars were in the windows
& hookers glanced
around nervously.
The concertina wire
should have been a clue.

And without a sound,
I slithered back
to my spaceship
& moved southward,
onward toward El Paso.

With one more to go,
I floored myself
into hyperspace,
had to get
out of that place
fast,
vroom vroom.

purple Lupines
create a foreground effect
below glistening concertina wire
as the morning sun shines down
the prison in April blooms forth
despite itself –

goslings, tan with black spots
stop traffic
forcing recognition of nature
in a place void of hope
springtime blessing the groundskeepers
and those fortunate enough to have been given yard time
blue skies only corrupted by chemical spray –

        laughing inmates break my concentration as a pigeon lands on  
           barred windows
               a cool breeze creeps in diluting the stale air

education floor buzzes with activity
as forgotten men seek to become more
better
different
I sit encouraged by light bulbs –

crackling radio signals the line movement
round two of handshakes and polite jokes
another hour and twenty minutes of magic
I quietly sit back and smile at the scene laid before me
no student has more fire for education
than a man who thought himself less than nothing

icy breath sends neck hairs
to attention
frozen bleakness takes the shape of
crystalized dew
speckling the wall
twenty feet high solid concrete
concertina wire decorations
‘tis the season –
holiday bliss as reminiscent prisoners
wax nostalgic
and shift sad eyes when discussing
dry turkey
with beaten and battered cranberries
logistically, the state could not afford
all the trimmings for 3000
so donated feast materials
get the highest of praise –
raising toasts
to over-bearing guards
as the time of year
transcends fear and mere hatred
together they spend another Christmas
inmates and officer
blessed in an un-holy union –

morning sunlight danced across the concertina
diamonds glittering along the edge
of the prison walls
the prison walls
yellow finches played in the weight pile
chipping and bouncing
among the sweat and grime
sweat and grime
voices echoed down the corridor, shouts and whoops
yard will definitely be open today
all day on the track
on the track
rows of men in blue endlessly circling
some go home, new ones join the march
incarceration as industry
incarceration as industry
the inmates enter the education building and smile
for a few hours a day they are students not numbers
I use their first names
their first names
the sunlight brightens everyone’s mood
as it is the bringer of life
shining down on all of us equally
all of us equally –

wire coils with evenly spaced teeth,
shredded the clothing from beneath,
experience is a teacher, tangled and torn,

out,

getting no where, so no point to seethe,
fabric strips draped on a concertina wreath,
technique is a quality, better used and worn-

out!

lost!, lose!, loose!, free the beast, free the beast!,
into the rabble, into the pen of fractured plates,
***** the grey, matters not, just find that ten per-

cent!

wounded heart, bent aging knees, cannot rise,
to run away uphill against the wind, no surprise
no one will answer, the silent cry, or the loud sh-

out!

empty places, empty faces, reflected sour silhouettes,
every fifth bullet traces and arcs in the night sky,
why can't violence be allowed the right to die

out-

right? Left, right left, get in step with techno sounds,
dance all night, while the para-military do the rounds,
around the wire obstacles, to keep her away, keep her

out!

arise
   in small steps go up in cadence
go higher in volume raise intensity feel
the growth tap a foot fast then faster soft then
louder tap tap tap    beat against the floor keep pace call out
   my name  I am
the maestro you are a prima donna
this concertina is playing this our heart strings plucked sweetness and sound growing in volume in density I scream hear your bravo!!!
I return, Bellissimo!!!

I rumbled
around Folsom prison
today
& watched the water
tumble over the dam.
I saw the concertina
wrapped tightly
at the top
of the fences
& wondered if
the armed boys in the tower
would shoot me
if I took off my boots
to swim
in the cool
refreshing waters.

Then I thought to myself,
"Naw, I'd better not,
think I'll swim a mile
or two away,
it's safer that way!"

I met you for the first time
Rather unexpectedly
On a Thursday night
An upstairs gig in town
Hadn't been in quite some while
And you, no never before

I arrive before the show
A lone man and concertina
Play a weeping lament
For the lost children of Aran
And the hopes they carried
To the devil of a western sea
It was standing room only
Save a few lonely seats
At occupied and chattering tables
For which i dared not tread
So I slunk to the shadows
To a half wall
Left side of the bar
And watched it all
As another now enters
I swear he's wearing my coat
He's younger but shorter than me
My soul knows that i wear it better
Yet it is he that unifies tables
That I but watch from afar
As introductions are made
Strangers transform
To like minded souls  
No more lonely seats remain
Only lonely half walls
And half sentences of the mind
As once again,
I don't want to be
Who it is
I am left to be
Of who it is
I am meant to be

The show commences
And it does not take long
For the singer to introduce you
Through words and through song
Violet Gibson as Irish as can be
But it is to Rome
In a year long gone
That you go
To leave your mark
And to a fascist dictator
You fired your shot
Grazing Mussolini's' miserable snout
You aimed to ****
But it was not your day
As the crowds howl  
They lead you away
Mad as a box of frogs and old rags
That is what they say
As they expel you back
To dear old blighty
Our old colonial foe
Not ten years since
Your country rose to be free
You find yourself back
Incarcerated in an asylum
For life and for death
A window
A blackbird
A rose garden
All that you are left to possess
For you never get to go free
Unrepentant and unbowed
A violet not a rose
As once again,
You remain steadfastly proud
Of who it is
You were left to be
Who it is
You were meant to be

The ideas percolate,
in minutes, or hours,
maybe Days, Weeks, Even
                                                years.
But in the moment,
                                  they pour,
       in the moment,
                                   they are,
            the moment,
                                   voiced.
Choices like razor wire,
concentration becomes concertina,
frustrated silencers take the sound
from the words that explode, that explode
like a flocking group of birds,
                                                     and take flight,
in the air around,
the turbulence surround you,
their number dumfound you and the head
                                                                ­          above the watery tears,
                                                                ­ go ahead give into your fears,
go speak in rhymes,
write with a right legged limp while
your head pivots and swivels without focus,
pop the pills and mainline, you bought the hocus pocus,
the revelation describes things in numbers swarming locusts,
you been seeing that trip
across the desert for hours,
how does it feel to be in charge of the powerless?

Instead of plugging into power lines with power cords, looking for out-
lets,
use **** up white lines,
you pretend to be an energized bunny
this isn't funny.

In the moment straight and sane
in the moment sobered by pain,
In the moment stinking thinking
takes
          a
back
          seat,
you have a friend you ignore,
you keep the lifestyle and hit
repeat,
you are after all, in control, right up until your last breath.
you are after all............................................your last breath.

How crazy was when
When everyone saw
how quickly my fingers fired

Like a flare from a flare gun
It was hot
Much hotter
Hotter than an affair with an affluent women

Still I said
"Let's stay in the freezer"
Because believe it or not
I'm a geezer who finds life
Easier when it's whittled down to slow motion.

It ended before it began
Time is of the essence
I knew this wasn’t true
“I’ll always be there for you.”
Words from a man, a creature with cornucopias
The chaser of red flags 🚩

I’m twenty now, still, I am chasing to be
grown! if my concertina memory serves me right
I was happier younger, when I was acting
depressed and had no bills.
I got therapy and love, now.

Unfortunately, I must go,
The clock is ticking.
The end of my childhood has arrived.

Lawrence Hall
Mhall46184@aol.com
https://hellopoetry.com/lawrence-hall/
poeticdrivel.blogspot.com

                        An Orderly Transition of Power, They Say

             Is’t night’s predominance, or the day’s shame
             That darkness does the face of earth entomb
             When living light should kiss it?

                              -Macbeth II.iiii.9-11

On Inauguration Day there should be:

Children waving sparklers, avenues of light
High school bands and Boy Scouts in formation
Merriment along streets scrubbed clean and bright
A happy people in love with their nation

But we are given:

Soldiers, concertina wire strung between Corinthian columns, secret service, chain-link fencing, police, checkpoints, soldiers, roadblocks, secret service, rooftop marksmen, police, missile batteries, soldiers, no-go zones, secret service, lockdowns, police, lockouts, soldiers, security gates, secret service, identification checks, police, radar, soldiers, radios, secret service, body scans, police, x-rays, soldiers, sniffer dogs, secret service, permits, police, passes, soldiers, patdowns, secret service, badges, police, questions, soldiers

Fear

Why?

Clay

A shoulder of clay cut with runnels
set to music, round notes, fat plucked

chords sustained in eternal cascade
from the concertina of the spooling Manistee

above Red Bridge, blue blazes worn
smartly by these still, mute sentinels,

their averted gaze twining into
graceful arches that usher us from one

moment to the next, fine capillary
weave stretched over rib of stabbing light

that illuminates slick kaolin veins,
a surgical tent to conceal rending fingers

plunged into the wound, our faces
smeared, the trees thrilling to our howls.

2 inch tree tops dot the skyline
red brick beneath housing the insane
education office desk
overlooking bars, concertina, and walls
promoting freedom of mind
in a maximum security facility /


he pops his head in asking if he is in trouble
pleading a case before there is a crime
smiling and offering smooth reassurance.
both of us hope I am not speaking out of turn…..


                         there is always a chance I am full of ****

we part ways as he heads to chow
I click clack the keyboard in time
chapel choir muffled bellowing
behind them, radio’s crackle with line movement /

Camping,
we discuss the stars.
Augustine's thesis depicts the history
of the world as universal warfare
between God and the Devil.

From <https://en.wikipedia.org/wiki/TheCityof_God>

And my mentor,
once Balaam's talkin'assets warning vision,
bids me recall fools rushing in, where angels fear
to tread, eh, see the banner,
- agape. slack-jaw. Awe-some neighbor's flag
do not tread on me, I am already sliced to bits.
-it seems to me… to say, don't you read history?

Believe me, it was the mob, the mob maddened me,
yes, it did, it did, I think I may recall it did seem

they scorned the exposure,
when the curtain parted and the secret obsession,
became magnificent, if you can imagine
the torment of the unbelievers who must know,
now, how could there be unbelievers in hell, hell
one must imagine,
go look for reason to bring to the table

in the peace talks, McNamara was asked if
he read history, at all, had he never read
how this mind in agreement to be we,
the people who take life from
and give care to this land.
We remained free.
The land was taken, not our story.
Given to us by our ancestors, who taught us
the middle way, we win a war by fighting least.
True,
and lying least, being open, fishing in murky ponds
with lemon shaped frag grenades, the new kind.
plenty dead fish,

ten bucks a pop.
and there are those who swear
by these, a chosen weapon
for a wise man duel,

Elijah, drench the would, watch what we heard happens.

It was super-natural, no lie, but in this realm of words,
the burning in the bosum heated seven times hotter than wont

the image in the made up mind, said nothing,


The depths of not knowing, Kerouac,
had Moriarity, playing the role Ken Kingman,
plays in today's excursion into the wonder years.

I can decide I have the whole cast in mind,
people I grew up with, became the thing I was,
a being born to roam this earth's barren places,
picking up pieces of all that has been held in tales.

Intuitive knowing, often linked to a so-called gut
reaction, as when one is dared to dive into water,
which may or may not be deep,
plan for shallow, be ready for deep. And
dive, don't jump.

Jumpers believe, down deep, this dive-- blah,

no flow, so so slow, some secret sauce missing,
some means to an end in sight, some next
we land on our feet and, it is us, once more,

the year after Vietnam, when the war was still going,
but my part was done, I had been trained and rebrained.

Fitted with a military mind that found comfort,
in polishing boot toes and buckle brass, any brass really,

I once used four standard footlocker sized cans of Brasso,
to prepare a big brass bed for sale at the Alamo Thriftshop,
in Hollywood, on Vine, west side,
across from Hollywood Ranch Market, and the White Castle.

Burnished brass, is a beauty I find richer than Gold,
for many reasons I may put forth, conatus, new big idea
word containing sense of something at the core, more
than noise, meaning, yes, meaning
Spinoza used, and I may judge its use, once he defines his term.

What is the meaning of me, relative to the words in books,
billions searchable, by me, using tools I watched evolve,
always, sense first sence of sets in theories, kindness,
likeness, aspects, as seen clearly---

this is that, return of the king, the crowned head,
the wanderer, man and his horse and his dog, satisfied.

Moksha is the horse, Sati is the dog, I am the saddle *****.

Hand to hand hand grenades,
order out of chaos, leaves a dent, in tented tavernacle choir

concertina wire, I am on the outside of,
how does this happen, I might ask, but as you may have learned

this is a trope in a neverending story told to myself in solitaire.

And now, I spend my time thinking through it,
as it happens, using tech that is as magic now as ever was,

but part of me paid attention, in crypto-school,
part of me did endure the mandatory drill morse code
five letter pattern, random faction find FTA reoccuring,

the signal is hope, yes, hope we find the answer,
yessir, I put that on my helmet to say what we all say,
with these plastic forks with one prong, onward finger,
remember the answer was once known, we must tell the world.

That is why I fight, sir, yessir, very good, thank you,
three day pass bull shat, in front of god and eve'body,
just
but for foolish jesting, ha
like god don't make jokes, you ever seen a golden Hemoroid?

Floating above
A silken sea-

Gielgud reciting
Poems-

A universe my
Little concertina