1

It was one of those clear,sharp.mustless days
        That summer and man delight in.
Never had Heaven seemed quite so high,
Never had earth seemed quite so green,
Never had the world seemed quite so clean
Or sky so nigh.
        And I heard the Deity’s voice in

  The sun’s warm rays,
        And the white cloud’s intricate maze,
And the blue sky’s beautiful sheen.

         2

I looked to the heavens and saw him there,—
        A black speck downward drifting,
Nearer and nearer he steadily sailed,
Nearer and nearer he slid through space,
In an unending aerial race,
       This sailor who hailed
       From the Clime of the Clouds.—Ever shifting,

  On billows of air
        And the blue sky seemed never so fair,
And the rest of the world kept pace.

         3

On the white of his head the sun flashed bright;
        And he battled the wind with wide pinions,
Clearer and clearer the gale whistled loud,
Clearer and clearer he came into view,—
Bigger and blacker against the blue.
        Then a dragon of cloud
        Gathering all its minions
            Rushed to the fight,
        And swallowed him up in a bite;
And the sky lay empty clear through.

         4

Long I watched.   And at last afar
        Caught sight of a speck in the vastness;
Ever smaller,ever decreasing,
Ever drifting,drifting awayInto the endless realms of day;
        Finally ceasing.
        So into Heaven’s vast fastness
           Vanished that bar
Of black,as a fluttering star
Goes out while still on its way.

         5

So I lost him.   But I shall always see
            In my mind
The warm,yellow sun,and the ether free;
The vista’s sky,and the white cloud trailing,
        Trailing behind,—
And below the young earth’s summer-green arbors,
And on high the eagle,—sailing,sailing
        Into far skies and unknown harbors

She sent it to me as a text message, that is an image of a quote in situ, a piece of interpretation in a gallery. Saturday morning and I was driving home from a week in a remote cottage on a mountain. I had stopped to take one last look at the sea, where I usually take one last look, and the phone bleeped. A text message, but no text.  Just a photo of some words. It made me smile, the impossibility of it. Epic poems and tapestry weaving. Of course there are connections, in that for centuries the epic subject has so often been the stuff of the tapestry weaver’s art. I say this glibly, but cannot name a particular tapestry where this might be so. Those vast Arthurian pieces by William Morris to pictures by Burne-Jones have an epic quality both in scale and in subject, but, to my shame, I can’t put a name to one.

These days the tapestry can be epic once more - in size and intention - thanks to the successful, moneyed contemporary artist and those communities of weavers at West Dean and at Edinburgh’s Dovecot. Think of Grayson Perry’s The Walthamstowe Tapestry, a vast 3 x 15 metres executed by Ghentian weavers, a veritable apocalyptic vision where ‘Everyman, spat out at birth in a pool of blood, is doomed and predestined to spend his life navigating a chaotic yet banal landscape of brands and consumerism’.  Gosh! Doesn’t that sound epic!

I was at the Dovecot a little while ago, but the public gallery was closed. The weavers were too busy finishing Victoria Crowe’s Large Tree Group to cope with visitors. You see, I do know a little about this world even though my tapestry weaving is the sum total of three weekends tuition, even though I have a very large loom once owned by Marta Rogoyska. It languishes next door in the room that was going to be where I was to weave, where I was going to become someone other than I am. This is what I feel - just sometimes - when I’m at my floor loom, if only for those brief spells when life languishes sufficiently for me be slow and calm enough to pick up the shuttles and find the right coloured yarns. But I digress. In fact putting together tapestry and epic poetry is a digression from the intention of the quote on the image from that text - (it was from a letter to Janey written in Iceland). Her husband, William Morris, reckoned one could (indeed should) be able to compose an epic poem and weave a tapestry.  

This notion, this idea that such a thing as being actively poetic and throwing a pick or two should go hand in hand, and, in Morris’ words, be a required skill (or ‘he’d better shut up’), seemed (and still does a day later) an absurdity. Would such a man (must be a man I suppose) ‘never do any good at all’ because he can’t weave and compose epic poetry simultaneously?  Clearly so.  But then Morris wove his tapestries very early in the morning - often on a loom in his bedroom. Janey, I imagine, as with ladies of her day - she wasn’t one, being a stableman’s daughter, but she became one reading fluently in French and Italian and playing Beethoven on the piano- she had her own bedroom.

Do you know there are nights when I wish for my own room, even when sleeping with the one I love, as so often I wake in the night, and I lie there afraid (because I love her dearly and care for her precious rest) to disturb her sleep with reading or making notes, both of which I do when I’m alone.
Yet how very seductive is the idea of joining my loved one in her own space, amongst her fallen clothes, her books and treasures, her archives and precious things, those many letters folded into her bedside bookcase, and the little black books full of tender poems and attempts at sketches her admirer has bequeathed her when distant and apart. Equally seductive is the possibility of the knock on the bedroom / workroom door, and there she’ll be there like the woman in Michael Donaghy’s poem, a poem I find every time I search for it in his Collected Works one of the most arousing and ravishing pieces of verse I know: it makes me smile and imagine.  . .  Her personal vanishing point, she said, came when she leant against his study door all warm and wet and whispered 'Paolo’. Only she’ll say something in a barely audible voice like ‘Can I disturb you?’ and with her sparkling smile come in, and bring with her two cats and the hint of a naked breast nestling in the gap of the fold of her yellow Chinese gown she holds close to herself - so when she kneels on my single bed this gown opens and her beauty falls before her, and I am wholly, utterly lost that such loveliness is and can be so . . .

When I see a beautiful house, as I did last Thursday, far in the distance by an estuary-side, sheltering beneath wooded hills, and moor and rock-coloured mountains, with its long veranda, painted white, I imagine. I imagine our imaginary home where, when our many children are not staying in the summer months and work is impossible, we will live our ‘together yet apart’ lives. And there will be the joy of work. I will be like Ben Nicholson in that Italian villa his father-in-law bought, and have my workroom / bedroom facing a stark hillside with nothing but a carpenter’s table to lay out my scores. Whilst she, like Winifred, will work at a tidy table in her bedroom, a vase of spring flowers against the window with the estuary and the mountains beyond. Yes, her bedroom, not his, though their bed, their wonderful wooden 19C Swiss bed of oak, occupies this room and yes, in his room there is just a single affair, but robust, that he would sleep on when lunch had been late and friends had called, or they had been out calling and he wanted to give her the premise of having to go back to work – to be alone - when in fact he was going to sleep and dream, but she? She would work into the warm afternoons with the barest breeze tickling her bare feet, her body moving with the remembrance of his caresses as she woke him that morning from his deep, dark slumber. ‘Your brown eyes’, he would whisper, ‘your dear brown eyes the colour of an autumn leaf damp with dew’. And she would surround him with kisses and touch of her firm, long body and (before she cut her plaits) let her course long hair flow back and forward across his chest. And she did this because she knew he would later need the loneliness of his own space, need to put her aside, whereas she loved the scent of him in the room in which she worked, with his discarded clothes, the neck-tie on the door hanger he only reluctantly wore.

Back to epic poetry and its possibility. Even on its own, as a single, focused activity it seems to me, unadventurous poet that I am, an impossibility. But then, had I lived in the 1860s, it would probably not have seemed so difficult. There was no Radio 4 blathering on, no bleeb of arriving texts on the mobile. There were servants to see to supper, a nanny to keep the children at bay. At Kelmscott there was glorious Gloucestershire silence - only the roll and squeak of the wagon in the road and the rooks roosting. So, in the early mornings Morris could kneel at his vertical loom and, with a Burne-Jones cartoon to follow set behind the warp. With his yarns ready to hand, it would be like a modern child’s painting by numbers, his mind would be free to explore the fairy domain, the Icelandic sagas, the Welsh Mabinogion, the Kalevara from Finland, and write (in his head) an epic poem. These were often elaborations and retellings in his epic verse style of Norse and Icelandic sagas with titles like Sigurd the Volsung. Paul Thompson once said of Morris  ‘his method was to think out a poem in his head while he was busy at some other work.  He would sit at an easel, charcoal or brush in hand, working away at a design while he muttered to himself, 'bumble-beeing' as his family called it; then, when he thought he had got the lines, he would get up from the easel, prowl round the room still muttering, returning occasionally to add a touch to the design; then suddenly he would dash to the table and write out twenty or so lines.  As his pen slowed down, he would be looking around, and in a moment would be at work on another design.  Later, Morris would look at what he had written, and if he did not like it he would put it aside and try again.  But this way of working meant that he never submitted a draft to the painful evaluation which poetry requires’.

Let’s try a little of Sigurd

There was a dwelling of Kings ere the world was waxen old;
Dukes were the door-wards there, and the roofs were thatched with gold;
Earls were the wrights that wrought it, and silver nailed its doors;
Earls' wives were the weaving-women, queens' daughters strewed its floors,

And the masters of its song-craft were the mightiest men that cast
The sails of the storm of battle down the bickering blast.
There dwelt men merry-hearted, and in hope exceeding great
Met the good days and the evil as they went the way of fate:
There the Gods were unforgotten, yea whiles they walked with men,

Though e'en in that world's beginning rose a murmur now and again
Of the midward time and the fading and the last of the latter days,
And the entering in of the terror, and the death of the People's Praise.

Oh dear. And to think he sustained such poetry for another 340 lines, and that’s just book 1 of 4. So what dear reader, dear sender of that text image encouraging me to weave and write, just what would epic poetry be now? Where must one go for inspiration? Somewhere in the realms of sci-fi, something after Star-Wars or Ninja Warriors. It could be post-apocalyptic, a tale of mutants and a world damaged by chemicals or economic melt-down. Maybe a rich adventure of travel on a distant planet (with Sigourney Weaver of course), featuring brave deeds and the selfless heroism of saving companions from deadly encounters with amazing animals, monsters even. Or is ‘epic’ something else, something altogether beyond the Pixar Studios or James Cameron’s imagination? Is the  ‘epic’ now the province of AI boldly generating the computer game in 4D?  

And the epic poem? People once bought and read such published romances as they now buy and engage with on-line games. This is where the epic now belongs. On the tablet, PlayStation3, the X-Box. But, but . . . Poetry is so alive and well as a performance phenomenon, and with that oh so vigorous and relentless beat. Hell, look who won the T.S.Eliot prize this year! Story-telling lives and there are tales to be told, even if they are set in housing estates and not the ice caves of the frozen planet Golp. Just think of children’s literature, so rich and often so wild. This is word invention that revisits unashamedly those myths and sagas Morris loved, but in a different guise, with different names, in worlds that still bring together the incredible geographies of mountains and deserts and wilderness places, with fortresses and walled cities, and the startling, still unknown, yet to be discovered ocean depths.

                                    And so let my tale begin . . . My epic poem.

                                                 THE SEAGASP OF ENNLI.
       A TALE IN VERSE OF EARTHQUAKE, ISLAND FASTNESS, MALEVOLENT SPIRITS,
                                                AND REDEMPTIVE LOVE.

Their boat turned in towards us
ready to board our vessel
to take us to their island,
a fastness, craggy, bleak, treeless.

To winter peat fires, gales, darkness,
weird northern tales of gods and trolls,
black nights seared by bright light curtains,
a violent Viking heritage.

A place where cold sea and ocean
overturn the crippled sea stacks,
our lives in the boarding party's
hands and our skilful Shetland pilot.

A thousand peaks: no more birds in flight.
Ten thousand paths: all trace of people gone.

In a lone boat, rain cloak and hat of reeds.
An old man’s fishing the cold river snow.

I am alone in this mountain fastness, on a steep downward path in the deepest shadow. I play with the twelve characters of Lui Tsung-yaun’s poem. How few poems tell of the desolation of winter. The coming of Spring, the passing of Autumn? Yes. But the onset of Winter? Even my sharp memory only recalls a meagre handful of poems to this season: the time of the first snows. Against all good sense I set out from Stone Village too late in the year: now I search for comforting word images to accompany me on this journey. Just below the snowline I pass through a stunted forest of ancient walnut trees almost leafless; the unrelenting wind has dispatched them crinkled brown into the valley below. I see there a winding river. I see its distant lake. I think of this poem known since my teenage years, puzzled over that one could see in one sweep of the horizon a thousand peaks. Here are that thousand and more if the ranks of limestone pillars in these mountains can be counted as peaks. I count them as peaks. And those thousand paths? At every turn there is some fresh way falling into the valley, or a faint trail rising to the heights. But this path I tread asserts itself on the traveller. Its stones are worn and the excrement of passing pack animals sticks to my boots.

Last night a cave, tonight I will reach the village of Psnumako. My former guide provided its name with a disdain he could not hide. When questioned he warned me not to enter without a stout staff against the mastiffs that guard each house, supposedly ******* during the day but apt to break their bonds at the smell of a stranger.

The steep and ever steeper descent brings pain to my knees. At this hour of the day my body would prefer to climb to the heights, but descend I must. The cold, the damp cold begins to stiffen weary limbs. I am tired from a day’s travel, tired from three hard climbs, two descents and this, my third, to complete before nightfall. I enter a narrow gorge loud with clamour of running water, cascade upon cascade flowing from the heights, falling fast to the river soon to interrupt my path. I shall have to force a crossing. What passed for a bridge were two fallen pines lashed together.  Now they lie akimbo a little distant, thrown apart like sticks by the spring flood as the deep snows melt. I must divest myself of boots and lower garments and wade across, stumbling on stones up to my waist in swift waters, terrified under the weight of my pack that I will fall and be swept under and along. To travel alone at such moments is foolhardy, but on this cold afternoon I have no choice.

I am so intent on preparing for this crossing it is only when I reach the end of the path that I notice snow is falling, its flakes sharp and white against the dark-water flow. The whirl and turn of the water mesmerises. Fatigue, fatigue embraces me, a day’s fatigue holds me fast on the river’s stony side. I close my eyes and hear the water rush and place myself into the protection of a mountain charm learnt from a passing traveller. Dwarfed by the size of his burden I see him negotiate a narrow path high above a chasm; he walked trance-like to the intoning of this charm.

It is soon done, the cold crossing, and with a lighter step I walk the remaining leagues to the lake-side and sight of the village. There are the faintest sparks of light amongst the silhouettes of houses. Animals are being brought in from the home fields against the night. A sudden shout, the barking of dogs, and now the snow falls thick and fast.

The guttural dialect here is barely discernable as speech. We are from different worlds this shepherd and I who meet at the stupa guarding the village entrance. This is not a Buddhist shrine but an acknowledgement of some mountain giant of terrifying aspect. The shepherd sees my official insignia and nods, knowing I will require shelter. He utters what may be a welcome, but could be a warning, and leads me forth. The mastiffs leap and bay as I pass between the primitive two-storey houses, animals below, humankind above. He disappears. I stop and wait. He returns with a woman who beckons me to climb the ladder to what may be her home. A widow perhaps? She is alone unless the rank darkness hides a man or child. But there is none. I hear animals move and grunt under the floor, a mat of dirt and straw. There is a sleeping loft, a cooking corner. I can see little else. But I am out of the snow, the biting wind, the cold. She pulls at my cloak, wet and caked with ice. There is a bowl placed in my hands; a rough tea. I speak a greeting, but there is no reply just a rustle of straw as she moves across the room.

The stupor of a journey’s pause is upon me. After three days on the trail to the heights I am numb with fatigue. I need food and sleep. I need rest before a final trek into the wilderness. Beyond Psnumako Lake known paths end. Except for the tracks used by shepherds to move their flocks to different seasonal pastures, there is wilderness. I hope for guidance, for the whereabouts of the sages who, in the winter months I am told, leave their reed huts on the heights for caves in the lower valleys. I shall be patient, remain here a little while. I am now immune to the discomfort and dirt of travel. That is how it is. That is how is must be. I miss only the mental absorption of writing, the caress of the brush on a scroll. In my home in Louyang I keep brush and paper close to hand; wherever I may be I can write, even in, especially in, the privy. If a line comes to me I can write it down. Here there is only the comfort of memory.

To think that in the past I wrote of this mountain wilderness out of my imagination and the descriptions of others. I once thought of these remote places as havens of spiritual liberation.

In the hills there is the sound of zither.
White clouds stay over shaded peaks,
Red flowers shine in the sunlit woods
Rocks are washed in the stream like jade;

How very different is the reality of it all; in this emerging winter world of mist, where the sun rarely visits and most living things have departed, where wind colours silence and one’s footfall becomes consolation. The sound of stone rubbing stone on the path is the eternal present. There have been days when only a distant crow moves in the landscape. Lammergeyers are known in these parts, but I have yet to see one. If there are wild beasts, they shun me.

As this bowl of tea cools in my hands but warms my frozen fingers I form pictures of the past day on its dark surface. Before dawn from the mouth of a river cave I sensed changes in the qualities of darkness that have hidden the heights above me. Then a perceptible line appeared and divided the mountain from the sky. That line became variegated; there were trees bristling on the highest rocks. It appears that at this hour the prevalent mist settles in the valleys leaving the sky clear.

The woman comes to me. She kneels to untie my boots. She looks with a curious innocence at my strangeness, the distortion of my face, the cleft palette, the deformed upper lip, the squint of my left eye. She is kindly as I give her my best smile though my face seems frozen still. There is a whisper, a prayer of welcome possibly. Then she bows her head, unravels a long scarf to reveal a mane of oiled hair, and sets about removing my boots. I see only the top of her head, a severe parting, hair held tightly in wooden combs. I close my eyes to bring to mind the image of Xaoli, so slight in comparison, her butterfly hands flittering into and around my sleeves, her seeing touch mapping out the extent of me, each piece of clothing, only later my face.

My reverie is broken by the entrance of two men. They squat behind the woman and, after taking in my ugliness and my hairpins of office, patiently wait for her to finish and retire. We stand and bow, then sit again amongst the straw.

‘Honoured Lord, I am Yun. You have travelled from Stone Village? And beyond?’

I pass him the Emperor’s seal he cannot read, but remain silent.

‘You are seeking those who live in the heights? The village only sees their servants, young boys sent for a goat or flasks of barley spirit. They bring herbs our women favour. Some have seen their huts when seeking lost animals. Now it is said they are gathered in the caves like animals waiting for the spring moon.’

‘When was the village last visited by their kind?’

‘ Hanlu, my Lord, the time of cold dew, two boys appeared with a pony. There was trading. They brought Chrysanthemum flowers and herbs for two geese and wine. They left scrolls for passage to Stone Village. Now the snows fall we may not see them until the Spring’

‘How far are your summer pastures? Have you any who would guide me there ?’

‘We do not seek these places after the first snows. The sages haunt the region beyond Chang Mountain. Before the 11th moon you might pass into the valley of Lidong where it is believed their caves lie, but to return before the Spring will not be possible.’

‘How many days there?’

‘Allow four. A difficult way, unmarked, rarely trodden, much climbing. There is one here who we could send with you – part of the way, and at a price, My Lord. Dahan travelled two seasons since as groom to a party of six with ponies, but then in late Spring.’

‘I will stay three days.’

‘Just so My Lord. Xiu Li will see to your wishes.’

And they depart, Yun’s companion has remained silent throughout, though searched my face continually. By the door he places his hand against the stout bag that carries my lute. ‘Guqin’, he says tenderly.

This instrument is my pass to the community of the reclusive. I am renown for my songs and their singing. My third-best guqin has not left its bag since Stone Village and I fear damage despite all my care on the path.

Later, as the village mastiffs gradually cease their baying as the quarter moon rises I take this instrument and place it across my lap. Its seven silk strings I wipe with a cloth and gently tune with its tasselled pegs. I then prepare myself through meditation to avoid the intrusion of distracting thoughts. With my eyes closed I allow my hands to seek out and name each part of guqin: from the Forehead of the Top Board, to the String Eyes, the Dew Collector, The Mountain, Shoulder and Phoenix Wings, past the Waist, the Hat Lines and the Dragon’s Beard, to the Dragon’s Gums and thence to the Inner Top Board. I can feel the Pillar of Heaven – the sound post – has moved a little in my recent travels. So too the Pillar of Earth – but with care I move both to their rightful positions. And so on naming the inner and outer parts of each of the two boards that make up the guqin. I begin to regulate my breathing and allow the fingers of my left hand to stroke and touch, to press and oscillate in the manner of vibrato. Zhoa Wenji describes twenty-three kinds of vibrato. I feel in turn each of the hui, the thirteen gold studs that mark the harmonic nodes and allow me to play the guqin by touch alone. In these moments of preparation I hear the words of my teacher: a good player makes sounds that are plentiful but not confused. As the moon reflecting on water, so the sounds are together but not combined. Like wind in the pines, they are combined but also spread out. Such sounds are valued for their lightness. Avoid the addition of inappropriate  "guest" sounds. This is the refined theory of the guqin. To be knowledgeable about music, one must seek this, then one can realize its beauty.

I have tuned to the Huangzhong mode. The song *Amidst Mountains Thinking of an Old Friend I have brought to mind. I recall the words of The Slender Hermit who says of this piece that its interest lies in holding cherished thoughts, but having no way to tell these to anyone. There are emotions about the present time, longings and laments for the past, but there is no way to express any of this. And so this piece.

In this poor reed hut the room is filled with mist and haze,
how far away are the things I love;
the old plum tree seems exhausted, its flowers about to die,
the mountains are lonely and I am nostalgic for past times.
The moon shines brightly on this lovely evening,
from this distance I think of my old friend and wonder where he is.
The green of the mountains never fades,
but before I know it my hair will turn white;
the moon is waning and flowers wither,
Old friend, I dream constantly of meeting you.
How hard it is to recall the joy of our last meeting!
With the many mountain ranges,
and its hidden tigers and coiled dragons,
I am unable return to you in Chang An.
The road is distant, the tall trees make the road dark,
and the world is vast.

I mourn Aquila and Lyra
separated by the Milky Way like the cowherd and weaving girl,
on the ground we are separated by 1,000 li
in the sky we are each in a separate place,
though our passions remain strong
There has been no warm correspondence,
there is restraint to the bright harmony,
and the flowing streams are swallowed by the setting sun.

The thought of this song of mid autumn touches me before its words have issued from my lips. I play the last two lines in harmonics and sing.

1737

Rearrange a “Wife’s” affection!
When they dislocate my Brain!
Amputate my freckled *****!
Make me bearded like a man!

Blush, my spirit, in thy Fastness—
Blush, my unacknowledged clay—
Seven years of troth have taught thee
More than Wifehood every may!

Love that never leaped its socket—
Trust entrenched in narrow pain—
Constancy thro’ fire—awarded—
Anguish—bare of anodyne!

Burden—borne so far triumphant—
None suspect me of the crown,
For I wear the “Thorns” till Sunset—
Then—my Diadem put on.

Big my Secret but it’s bandaged—
It will never get away
Till the Day its Weary Keeper
Leads it through the Grave to thee.

When descends on the Atlantic
    The gigantic
Storm-wind of the equinox,
Landward in his wrath he scourges
    The toiling surges,
Laden with seaweed from the rocks:

From Bermuda’s reefs; from edges
    Of sunken ledges,
In some far-off, bright Azore;
From Bahama, and the dashing,
    Silver-flashing
Surges of San Salvador;

From the tumbling surf, that buries
    The Orkneyan skerries,
Answering the hoarse Hebrides;
And from wrecks of ships, and drifting
    Spars, uplifting
On the desolate, rainy seas;—

Ever drifting, drifting, drifting
    On the shifting
Currents of the restless main;
Till in sheltered coves, and reaches
    Of sandy beaches,
All have found repose again.

So when storms of wild emotion
    Strike the ocean
Of the poet’s soul, erelong
From each cave and rocky fastness,
    In its vastness,
Floats some fragment of a song:

From the far-off isles enchanted,
    Heaven has planted
With the golden fruit of Truth;
From the flashing surf, whose vision
    Gleams Elysian
In the tropic clime of Youth;

From the strong Will, and the Endeavor
    That forever
Wrestle with the tides of Fate;
From the wreck of Hopes far-scattered,
    Tempest-shattered,
Floating waste and desolate;—

Ever drifting, drifting, drifting
    On the shifting
Currents of the restless heart;
Till at length in books recorded,
    They, like hoarded
Household words, no more depart.

Over the surging tides and the mountain kingdoms,
Over the pastoral valleys and the meadows,
Over the cities with their factory darkness,
Over the lands where peace is still a power,
Over all these and all this planet carries
A power broods, invisible monarch, a stranger
To some, but by many trusted. Man's a believer
Until corrupted. This huge trusted power
Is spirit. He moves in the muscle of the world,
In continual creation. He burns the tides, he shines
From the matchless skies. He is the day's surrender.
Recognize him in the eye of the angry tiger,
In the sign of a child stepping at last into sleep,
In whatever touches, graces and confesses,
In hopes fulfilled or forgotten, in promises

Kept, in the resignation of old men -
This spirit, this power, this holder together of space
Is about, is aware, is working in your breathing.
But most he is the need that shows in hunger
And in the tears shed in the lonely fastness.
And in sorrow after anger.

Thousand minstrels woke within me,
"Our music's in the hills; "—
Gayest pictures rose to win me,
Leopard-colored rills.
Up!—If thou knew'st who calls
To twilight parks of beech and pine,
High over the river intervals,
Above the ploughman's highest line,
Over the owner's farthest walls;—
Up!—where the airy citadel
O'erlooks the purging landscape's swell.
Let not unto the stones the day
Her lily and rose, her sea and land display;
Read the celestial sign!
Lo! the South answers to the North;
Bookworm, break this sloth urbane;
A greater Spirit bids thee forth,
Than the gray dreams which thee detain.

Mark how the climbing Oreads
Beckon thee to their arcades;
Youth, for a moment free as they,
Teach thy feet to feel the ground,
Ere yet arrive the wintry day
When Time thy feet has bound.
Accept the bounty of thy birth;
Taste the lordship of the earth.

I heard and I obeyed,
Assured that he who pressed the claim,
Well-known, but loving not a name,
Was not to be gainsaid.

Ere yet the summoning voice was still,
I turned to Cheshire's haughty hill.
From the fixed cone the cloud-rack flowed
Like ample banner flung abroad
Round about, a hundred miles,
With invitation to the sea, and to the bordering isles.

In his own loom's garment drest,
By his own bounty blest,
Fast abides this constant giver,
Pouring many a cheerful river;
To far eyes, an aërial isle,
Unploughed, which finer spirits pile,
Which morn and crimson evening paint
For bard, for lover, and for saint;
The country's core,
Inspirer, prophet evermore,
Pillar which God aloft had set
So that men might it not forget,
It should be their life's ornament,
And mix itself with each event;
Their calendar and dial,
Barometer, and chemic phial,
Garden of berries, perch of birds,
Pasture of pool-haunting herds,
Graced by each change of sum untold,
Earth-baking heat, stone-cleaving cold.

The Titan minds his sky-affairs,
Rich rents and wide alliance shares;
Mysteries of color daily laid
By the great sun in light and shade,
And, sweet varieties of chance,
And the mystic seasons' dance,
And thief-like step of liberal hours
Which thawed the snow-drift into flowers.
O wondrous craft of plant and stone
By eldest science done and shown!
Happy, I said, whose home is here,
Fair fortunes to the mountaineer!
Boon nature to his poorest shed
Has royal pleasure-grounds outspread.
Intent I searched the region round,
And in low hut my monarch found.
He was no eagle and no earl,
Alas! my foundling was a churl,
With heart of cat, and eyes of bug,
Dull victim of his pipe and mug;
Woe is me for my hopes' downfall!
Lord! is yon squalid peasant all
That this proud nursery could breed
For God's vicegerency and stead?
Time out of mind this forge of ores,
Quarry of spars in mountain pores,
Old cradle, hunting ground, and bier
Of wolf and otter, bear, and deer;
Well-built abode of many a race;
Tower of observance searching space;
Factory of river, and of rain;
Link in the alps' globe-girding chain;
By million changes skilled to tell
What in the Eternal standeth well,
And what obedient nature can,—
Is this colossal talisman
Kindly to creature, blood, and kind,
And speechless to the master's mind?

I thought to find the patriots
In whom the stock of freedom roots.
To myself I oft recount
Tales of many a famous mount.—
Wales, Scotland, Uri, Hungary's dells,
Roys, and Scanderbegs, and Tells.
Here now shall nature crowd her powers,
Her music, and her meteors,
And, lifting man to the blue deep
Where stars their perfect courses keep,
Like wise preceptor lure his eye
To sound the science of the sky,
And carry learning to its height
Of untried power and sane delight;
The Indian cheer, the frosty skies
Breed purer wits, inventive eyes,
Eyes that frame cities where none be,
And hands that stablish what these see:
And, by the moral of his place,
Hint summits of heroic grace;
Man in these crags a fastness find
To fight pollution of the mind;
In the wide thaw and ooze of wrong,
Adhere like this foundation strong,
The insanity of towns to stem
With simpleness for stratagem.
But if the brave old mould is broke,
And end in clowns the mountain-folk,
In tavern cheer and tavern joke,—
Sink, O mountain! in the swamp,
Hide in thy skies, O sovereign lap!
Perish like leaves the highland breed!
No sire survive, no son succeed!

Soft! let not the offended muse
Toil's hard hap with scorn accuse.
Many hamlets sought I then,
Many farms of mountain men;—
Found I not a minstrel seed,
But men of bone, and good at need.
Rallying round a parish steeple
Nestle warm the highland people,
Coarse and boisterous, yet mild,
Strong as giant, slow as child,
Smoking in a squalid room,
Where yet the westland breezes come.
Close hid in those rough guises lurk
Western magians, here they work;
Sweat and season are their arts,
Their talismans are ploughs and carts;
And well the youngest can command
Honey from the frozen land,
With sweet hay the swamp adorn,
Change the running sand to corn,
For wolves and foxes, lowing herds,
And for cold mosses, cream and curds;
Weave wood to canisters and mats,
Drain sweet maple-juice in vats.
No bird is safe that cuts the air,
From their rifle or their snare;
No fish in river or in lake,
But their long hands it thence will take;
And the country's iron face
Like wax their fashioning skill betrays,
To fill the hollows, sink the hills,
Bridge gulfs, drain swamps, build dams and mills,
And fit the bleak and howling place
For gardens of a finer race,
The world-soul knows his own affair,
Fore-looking when his hands prepare
For the next ages men of mould,
Well embodied, well ensouled,
He cools the present's fiery glow,
Sets the life pulse strong, but slow.
Bitter winds and fasts austere.
His quarantines and grottos, where
He slowly cures decrepit flesh,
And brings it infantile and fresh.
These exercises are the toys
And games with which he breathes his boys.
They bide their time, and well can prove,
If need were, their line from Jove,
Of the same stuff, and so allayed,
As that whereof the sun is made;
And of that fibre quick and strong
Whose throbs are love, whose thrills are song.
Now in sordid weeds they sleep,
Their secret now in dulness keep.
Yet, will you learn our ancient speech,
These the masters who can teach,
Fourscore or a hundred words
All their vocal muse affords,
These they turn in other fashion
Than the writer or the parson.
I can spare the college-bell,
And the learned lecture well.
Spare the clergy and libraries,
Institutes and dictionaries,
For the hardy English root
Thrives here unvalued underfoot.
Rude poets of the tavern hearth,
Squandering your unquoted mirth,
Which keeps the ground and never soars,
While Jake retorts and Reuben roars,
Tough and screaming as birch-bark,
Goes like bullet to its mark,
While the solid curse and jeer
Never balk the waiting ear:
To student ears keen-relished jokes
On truck, and stock, and farming-folks,—
Nought the mountain yields thereof
But savage health and sinews tough.

On the summit as I stood,
O'er the wide floor of plain and flood,
Seemed to me the towering hill
Was not altogether still,
But a quiet sense conveyed;
If I err not, thus it said:

Many feet in summer seek
Betimes my far-appearing peak;
In the dreaded winter-time,
None save dappling shadows climb
Under clouds my lonely head,
Old as the sun, old almost as the shade.
And comest thou
To see strange forests and new snow,
And tread uplifted land?
And leavest thou thy lowland race,
Here amid clouds to stand,
And would'st be my companion,
Where I gaze
And shall gaze
When forests fall, and man is gone,
Over tribes and over times
As the burning Lyre
Nearing me,
With its stars of northern fire,
In many a thousand years.

Ah! welcome, if thou bring
My secret in thy brain;
To mountain-top may muse's wing
With good allowance strain.
Gentle pilgrim, if thou know
The gamut old of Pan,
And how the hills began,
The frank blessings of the hill
Fall on thee, as fall they will.
'Tis the law of bush and stone—
Each can only take his own.
Let him heed who can and will,—
Enchantment fixed me here
To stand the hurts of time, until
In mightier chant I disappear.
If thou trowest
How the chemic eddies play
Pole to pole, and what they say,
And that these gray crags
Not on crags are hung,
But beads are of a rosary
On prayer and music strung;
And, credulous, through the granite seeming
Seest the smile of Reason beaming;
Can thy style-discerning eye
The hidden-working Builder spy,
Who builds, yet makes no chips, no din,
With hammer soft as snow-flake's flight;
Knowest thou this?
O pilgrim, wandering not amiss!
Already my rocks lie light,
And soon my cone will spin.
For the world was built in order,
And the atoms march in tune,
Rhyme the pipe, and time the warder,
Cannot forget the sun, the moon.
Orb and atom forth they prance,
When they hear from far the rune,
None so backward in the troop,
When the music and the dance
Reach his place and circumstance,
But knows the sun-creating sound,
And, though a pyramid, will bound.

Monadnoc is a mountain strong,
Tall and good my kind among,
But well I know, no mountain can
Measure with a perfect man;
For it is on Zodiack's writ,
Adamant is soft to wit;
And when the greater comes again,
With my music in his brain,
I shall pass as glides my shadow
Daily over hill and meadow.

Through all time
I hear the approaching feet
Along the flinty pathway beat
Of him that cometh, and shall come,—
Of him who shall as lightly bear
My daily load of woods and streams,
As now the round sky-cleaving boat
Which never strains its rocky beams,
Whose timbers, as they silent float,
Alps and Caucasus uprear,
And the long Alleghanies here,
And all town-sprinkled lands that be,
Sailing through stars with all their history.

Every morn I lift my head,
Gaze o'er New England underspread
South from Saint Lawrence to the Sound,
From Katshill east to the sea-bound.
Anchored fast for many an age,
I await the bard and sage,
Who in large thoughts, like fair pearl-seed,
Shall string Monadnoc like a bead.
Comes that cheerful troubadour,
This mound shall throb his face before,
As when with inward fires and pain
It rose a bubble from the plain.
When he cometh, I shall shed
From this well-spring in my head
Fountain drop of spicier worth
Than all vintage of the earth.
There's fruit upon my barren soil
Costlier far than wine or oil;
There's a berry blue and gold,—
Autumn-ripe its juices hold,
Sparta's stoutness, Bethlehem's heart,
Asia's rancor, Athens' art,
Slowsure Britain's secular might,
And the German's inward sight;
I will give my son to eat
Best of Pan's immortal meat,
Bread to eat and juice to drink,
So the thoughts that he shall think
Shall not be forms of stars, but stars,
Nor pictures pale, but Jove and Mars.

He comes, but not of that race bred
Who daily climb my specular head.
Oft as morning wreathes my scarf,
Fled the last plumule of the dark,
Pants up hither the spruce clerk
From South-Cove and City-wharf;
I take him up my rugged sides,
Half-repentant, scant of breath,—
Bead-eyes my granite chaos show,
And my midsummer snow;
Open the daunting map beneath,—
All his county, sea and land,
Dwarfed to measure of his hand;
His day's ride is a furlong space,
His city tops a glimmering haze:
I plant his eyes on the sky-hoop bounding;—
See there the grim gray rounding
Of the bullet of the earth
Whereon ye sail,
Tumbling steep
In the uncontinented deep;—
He looks on that, and he turns pale:
'Tis even so, this treacherous kite,
Farm-furrowed, town-incrusted sphere,
Thoughtless of its anxious freight,
Plunges eyeless on for ever,
And he, poor parasite,—
Cooped in a ship he cannot steer,
Who is the captain he knows not,
Port or pilot trows not,—
Risk or ruin he must share.
I scowl on him with my cloud,
With my north wind chill his blood,
I lame him clattering down the rocks,
And to live he is in fear.
Then, at last, I let him down
Once more into his dapper town,
To chatter frightened to his clan,
And forget me, if he can.
As in the old poetic fame
The gods are blind and lame,
And the simular despite
Betrays the more abounding might,
So call not waste that barren cone
Above the floral zone,
Where forests starve:
It is pure use;
What sheaves like those which here we glean and bind,
Of a celestial Ceres, and the Muse?

Ages are thy days,
Thou grand expressor of the present tense,
And type of permanence,
Firm ensign of the fatal Being,
Amid these coward shapes of joy and grief
That will not bide the seeing.
Hither we bring
Our insect miseries to the rocks,
And the whole flight with pestering wing
Vanish and end their murmuring,
Vanish beside these dedicated blocks,
Which, who can tell what mason laid?
Spoils of a front none need restore,
Replacing frieze and architrave;
Yet flowers each stone rosette and metope brave,
Still is the haughty pile *****
Of the old building Intellect.
Complement of human kind,
Having us at vantage still,
Our sumptuous indigence,
O barren mound! thy plenties fill.
We fool and prate,—
Thou art silent and sedate.
To million kinds and times one sense
The constant mountain doth dispense,
Shedding on all its snows and leaves,
One joy it joys, one grief it grieves.
Thou seest, O watchman tall!
Our towns and races grow and fall,
And imagest the stable Good
For which we all our lifetime *****,
In shifting form the formless mind;
And though the substance us elude,
We in thee the shadow find.
Thou in our astronomy
An opaker star,
Seen, haply, from afar,
Above the horizon's hoop.
A moment by the railway troop,
As o'er some bolder height they speed,—
By circumspect ambition,
By errant Gain,
By feasters, and the frivolous,—
Recallest us,
And makest sane.
Mute orator! well-skilled to plead,
And send conviction without phrase,
Thou dost supply
The shortness of our days,
And promise, on thy Founder's truth,
Long morrow to this mortal youth.

I sew therefore I am. This is what women do she thought, even with the television on, muttering and flickering in the corner. But its turning on was but a reflex action to being alone when she came down stairs after reading to her child, and the sitting room empty of his presence. Only the cats occupied her chair where she now sat and sewed.

For once her sewing pile had his nightshirt, a tear at the bottom, a missing button. It was old, well-worn, of a light blue stripe. That was what he wore in bed, and, as he invariably read to her each night, she would slip her hand inside the shirt, across his stomach to a place she had discovered at the top of his pelvis that seemed to be there for her hand to rest. One night she had felt the tear and thought, I must mend this.

She knew something of the feminist canon: Rozsika Parker's Subversive Stitch lay browsed but unread on her bookshelf. The impact of the book was enough: that the relationship between women’s lives and embroidery had brought sewing out from the private world of female domesticity into the fine arts and created a breakthrough in art history and criticism. She remembered writing that somewhere in a student essay. But mending clothes was hardly fine art. And then she remembered Sashiko, the ‘little stabs’, that functional stitching of clothes in Japan.

They had met at the station for a 30-mile train journey to a nearby city. It was a blue-cold December day and they had felt warmed by seeing from the train window a covering of snow on the ploughed fields. She had worn her grey coat with the green lining and an indigo blue-pattern scarf, a swinging denim skirt and orange-patterned top. Tights and boots. He: she had forgotten. Funny that, remembering what she had worn, but for the man she was beginning to feel so hopelessly in love with, and by the end of that day, hold in her heart, seemingly, for evermore, she could not remember. His old brown jacket perhaps . . . No, she couldn’t be certain.

He had loved the exhibition. It was an unencountered world, though he had experienced Japan, but not, as he said (at length), the rural fastness of an offshore island where women were loggers and men were firemen. It was the simplicity of the stitch that captured his attention, the running white-cotton stitch on the blue indigo workware, occasionally a red thread on a decorative piece – a fireman’s tunic. This was stitching about mending, reinforcing a worn area by stitching on a new patch, and in doing so novel patterns evolved, so novel that this traditional stitch became an inspiration for Reiko Sudo, Hideko Takahshi, and the cutting edge textile designers of 20C Japan. It was reuse that made sense.

He had loved the names of the stitches: passes in the mountain, fishing nets, the interlaced circles of two birds in flight, woven bamboo, the seven treasures of Buddha.  She remembered the proximity of him, touching his arm to show, and sometimes just to touch his arm – yes, he was wearing that old brown coat. It was before they were lovers, but she was sure then they were in love, and it seemed impossible and quite wrong to be in this large gallery, flowing too and fro, apart then together, apart then together. She thought: he knows how I want to be when looking at such things; I need space. And she supposed he needed space too because the moment they entered the gallery he left her alone. But that coming together was, and remained ever after, a warm thing, and she remembered that day being a little aroused by it being so.

Later, they had walked a short way from the gallery to a tiny cottage-like bookshop he knew, a bookshop full of impossibly large books on art and architecture. He had something to find: The Crystal Chain Letters – architectural fantasies Bruno Taut and his circle by Ian Boyd Whyte. There had been her favourite  Mark Hearld cards and his collaged pictures in the window. She went upstairs and knelt on the wooden floor to take out the books on gardens on the lowest shelves. The winter sun had poured through a nearby window, warming her face till it glowed. But she was already glowing inside. And he came and knelt behind her. He rested his head on her shoulder and she had turned and put her arms around him. They had kissed, a delicate, exploratory, yet to be lovers kiss that had made her feel weaker than she already felt. She knew she would remember that moment, and she had, here on her chair years later, now in a different sitting room from the one she had returned to that evening without him, returning to her husband and children. And she had missed him beyond any measure and written to him the next day, a letter written in her head before she had slept, and then the following morning, with the children at school, she had lain on her bed and calmly touched herself to remember his kiss, their kiss.

Prince Niou had removed himself from Kaoru’s company and the warmth of the wood-burning stove. Under the shelter of the steep karawa eaves he stood to watch the snow, to watch it fall, fall relentlessly, relentlessly. But for the biting cold he might have been watching the blossoms fall and scatter, those intricate, delicate flowers that, as you looked up at them in the trees, were in tessellation with the sky. It was Kisaragi (late February) when winter shows little sign that spring might appear. So now the time of deep snows in the mountain fastness where Kaoru’s family estates straddled part of the necessary journey from Edo to Kyoto.
 
The snowfall mesmerized Niou. It held such a purity of disordered motion, He stretched out his arm to feel the soft touch of the flakes on his embroidered sleeve. He imagined Ukifune’s touch would be like that of this falling snow, a pattering of fingers, a sweep of her long, long hair. She, Kaoru’s mistress, had left earlier in the afternoon to journey safely across the mountain passes to her lakeside home before the heavy snow fall set in. He had been close witness to Kaoru’s passion for this delicate flower picked from across the mountains to grace his country house his wife would never visit in winter. And now Prince Niou had, in just two days of polite proximity, lost his heart and all reason to this girl-woman, this woman-girl. She seemed beyond conventional description such was her beauty and her graceful manner. When her eyes rose to his he lost the composure he knew his station demanded. But Kaoru in his own infatuation and glowing with the pleasuring he and Ukifune enjoyed seemed oblivious to the Prince’s covert gaze.
 
This evening Kaoru had already drunk more than was sensible. But darkness was drawing in, and the duties, what little he allowed himself, were over for the day, except to entertain his eminent friend. He had allowed himself to be carefully boastful of Ukifune’s charms and beauty. His words made frequent veiled suggestions of their moments of pleasure together in this winter world of silence where lovers would part the screens and stand folded in each other’s arms to witness the white world of snowfall decorate the mountain landscape.
 
Prince Niou had already decided that as his friend fell into stupor then sleep, and that would be soon, he would set out across the snows to seek Ukifune’s path, to capture her for himself, to declare his love and passion. As she left he had passed a note to her maid telling her not to be surprised by a night-time visitation. He knew that a journey in falling snow would take many hours and it would probably be dawn before he could approach her mountain retreat, a small house by a lake. There, it seemed, she withdrew from the complexities of court life to find the peace and balance necessary to sustain her beauty. She had described the joy of witnessing the intricate twilights and blood red dawns of winter, of watching the birds rise from and return to the oft-frozen lake. She and her maid would drift idly in her boat watching the black, dense water lap too and fro, until the cold required a return to warmth and comfort.
 
It was to be a hard journey. Niou, though prepared with stout boots, an extra cloak and shawl, knew he would flounder into drifts along way. Only his long staff would save him from ignominy. His saw his path blessed by the light of a half moon and together with a myriad of stars arching across the heavens, he would triumph. He had borrowed items of Kaoru’s clothing, his hat and staff, his bag and winter cloak. To all intents and purposes as he approached Ukifune’s home he would appear as his soon to be cuckolded friend. His thoughts remained fixed on  Ukifune. He longed for the moment when she would raise her eyes to him from her pillow, in surprise, in wonder he hoped. He considered how his cold body would join with her warm body in the infinite caress of love’s first passionate meeting. He would then carry her wrapped in her bed coverings to her boat and, having secured her comfort, pole out into the lake and there join with her as the moon looked down from the dawn sky.
 
Later they would exchange poems:
 
Niou
​Snow upon hill, ice along frozen rivers:
​​There for you I trod, yet for all that never lost
​​The way to be lost in you.
 
Ukifune​
*Quicker than the snow, swirling down at last
​​To lie by a frozen lake, I think I shall
​​Melt away while aloft yet in mid sky.

Honourable Younger Sister,

This village is a world of stone. Lanes, houses, courtyard walls, towers, pavilions, tables, benches are all hewn from ancient red rock. The stone streets are lustrous with the passage of feet and shine in the moonlight; tomorrow they will glisten in the morning rain. After six days on the path into the mountains I finally rest at this inn. Here I can buy light: to write in this loft whilst the house sleeps, though a dutiful daughter dozes against the foot of the stair-ladder to serve me should I require sustenance. Frightened by my ugliness I summoned up my sweetest voice for her and soon there was a shy smile and downcast eyes. These are long nights for the village poor, but few here as poor as those whose shelters I sought on the path. Tonight I miss the steaming breath and ceaseless rustle of the animals brought indoors for warmth and security. My travelling robes are already filthy, but my body remains clean. As soon as I depart each night’s shelter I search for a stream to strip and wash thoroughly in the ice-cold water.

Dear sister, we have both been taught that the function of letter-writing is to unburden the mind of its melancholy thoughts in the form of elegant colours; its purpose to state one’s feelings without reserve. My thoughts turn constantly on whether I have it in me to ‘summon the recluse’. Have I the stamina, the patience, the resolve to seek out these elusive souls? Such thoughts induce fear rather than melancholy, fear of failure.

Already my journey into these mountains has crossed the season of late autumn into that of early winter. I am told the russet-red leaves and pink berries of the Ash, the deceptive Rowan and speckled-leafed Lace set the mountainside alight as the sun rises into a clear sky. For me clouds hang all day in the steep valleys, and so hide the heights where the solitary ones are believed to live. They alone see with the dawn the mountain peaks aflame   It is only in the very late afternoon that the sun melts the clouds, breaks through, and enlivens the landscape, turning it gold, then amber, and a final dull red before the blue blackness of dusk descends. Beyond this village my sources tell me there is real wilderness, and paths are few. I am to be my own guide.

You and I are so adept at the play of words. Our honoured father encouraged us, and as custodian of the Imperial Archives he knew how words could be arranged to both conceal and reveal; we played with the characters as other children played with coloured stones. So with the poems we call “Chao Yin”, let us play with verb “Chao” as both to seek and to summon. Chu Hsi, a courtier of that prince of Huai-nan, was sent into the wilderness to summon an errant official back to his post. His poems speak of terrors of the mountains, their ‘murky depths sending shivers of fright’ of ‘the caves of leopards and tigers’, and of the deep forest where ‘a man climbs from fear’. The poetic form uses “Chao” as in the ancient ceremonial song “Chao ***”. This calls on a dead person’s soul to re-enter the body, so ‘a summoning of the soul’. In those times such poems argued against the recluse, the withdrawn one, and sought a return. Today there is this feeling abroad that we need to consort with the recluse, to taste his solitude. Does the solitary life speak of the ineffable Way? Or is it in the search for the solitary one that a moment of enlightenment may present itself? As the saying goes: ‘to travel one must surely uncover truth’. In my bones I feel ready to invert this old poetic form. I must summon the spirit of the recluse out of the mountain fastness, but not seek his return. I need to touch his ways, see evidence of his mountain life, for a while to walk his paths breathing the same air. In my heart I expect nothing but his absence. I foresee I may reach his shelter and find his gate ajar, though the embers of the hearth still warm. He will be on some distant peak gathering herbs. If on a precipitous path I was to turn a corner and find him before me I have no words prepared. For the moment it seems I am exploring an idea through this summoning and seeking, not a living, breathing body.

Tomorrow I shall reconnoitre. My official hairpin and staff will command any audience, but for reliable answers, I am far from confident. There is always talk, rumours, sightings. The common people respect these beings as kindly mountain spirits and guardians of the wilderness. At the fork in a path, by the crossing place of a stream, corn, persimmons and millet are left for them. Such offerings will be replaced in time by the rarest mountain herbs, wild fruits, the skin of leopard or bear.

Your last letter spoke of ‘following my path into the mountains’. You have always defied convention, so it would be no surprise to find you here on my return, although I think your Lord would not sanction it. He would find such a request unfathomable. I am still perplexed at your situation, that you, the most homely of women should be so favoured, so adorned, and yet so free. It is that confidence you hold to yourself.  

To me, you have always been the essence of woman. What knowledge I possess of your kind comes from you alone. The infrequent gropings that occasionally present themselves I have only dismissed. An hour in your company smoothes and stills both soul and body. Your movements and gestures are always quiet and true, as are your woven words that sing in my memory on the path.

I read your letter
And savoured your words,
Your sorrowful songs of separation.
I can almost imagine your face before me
And I sigh and sob out of control.
When will we meet again
To amuse ourselves with prose and verse?
How can I tell you of my misery
Except with these woven words?

Have I remembered your poem correctly? I expected no response to my own lines on our separation. On the very morning of my departure your scroll arrived. I delayed to read it, delaying further to know your words: to carry them in my memory on my journey. In our respective verse we follow the way of tradition: the lonely woman in her room; the man travelling far from home. How many thousand poems describe this antithesis?

My life has always been sheltered by the expectations of scholarship, the requirements of official rank, and more recently acclaim due to my songs and poems. This journey begins a new page, as a seeker and summoner. Follow my path deeper into the mountains, be at my side when I rest, calm my fear of the heights and the depths of dark ravines, reveal to me the words to paint the scene. Know that I share with you everything that is to come, without reservation.

Remember the words of Lun Yu: ‘The good man delights in mountains. The wise man delights in water’. In these mountains the sound of water is present everywhere.

A stony spring rinses bits of jade
Minnows now and then emerge, and disappear.
Here what need of my silk-strung gujin? –
The mountain water has its own crystal song.

Your brother Zuo Si

May I for my own self song’s truth reckon,
Journey’s jargon, how I in harsh days
Hardship endured oft.
Bitter breast-cares have I abided,
Known on my keel many a care’s hold,
And dire sea-surge, and there I oft spent
Narrow nightwatch nigh the ship’s head
While she tossed close to cliffs. Coldly afflicted,
My feet were by frost benumbed.
Chill its chains are; chafing sighs
Hew my heart round and hunger begot
Mere-weary mood. Lest man know not
That he on dry land loveliest liveth,
List how I, care-wretched, on ice-cold sea,
Weathered the winter, wretched outcast
Deprived of my kinsmen;
Hung with hard ice-flakes, where hail-scur flew,
There I heard naught save the harsh sea
And ice-cold wave, at whiles the swan cries,
Did for my games the gannet’s clamour,
Sea-fowls, loudness was for me laughter,
The mews’ singing all my mead-drink.
Storms, on the stone-cliffs beaten, fell on the stern
In icy feathers; full oft the eagle screamed
With spray on his pinion.
    Not any protector
May make merry man faring needy.
This he little believes, who aye in winsome life
Abides ’mid burghers some heavy business,
Wealthy and wine-flushed, how I weary oft
Must bide above brine.
Neareth nightshade, snoweth from north,
Frost froze the land, hail fell on earth then
Corn of the coldest. Nathless there knocketh now
The heart’s thought that I on high streams
The salt-wavy tumult traverse alone.
Moaneth alway my mind’s lust
That I fare forth, that I afar hence
Seek out a foreign fastness.
For this there’s no mood-lofty man over earth’s midst,
Not though he be given his good, but will have in his youth greed;
Nor his deed to the daring, nor his king to the faithful
But shall have his sorrow for sea-fare
Whatever his lord will.
He hath not heart for harping, nor in ring-having
Nor winsomeness to wife, nor world’s delight
Nor any whit else save the wave’s slash,
Yet longing comes upon him to fare forth on the water.
Bosque taketh blossom, cometh beauty of berries,
Fields to fairness, land fares brisker,
All this admonisheth man eager of mood,
The heart turns to travel so that he then thinks
On flood-ways to be far departing.
Cuckoo calleth with gloomy crying,
He singeth summerward, bodeth sorrow,
The bitter heart’s blood. Burgher knows not—
He the prosperous man—what some perform
Where wandering them widest draweth.
So that but now my heart burst from my breast-lock,
My mood ’mid the mere-flood,
Over the whale’s acre, would wander wide.
On earth’s shelter cometh oft to me,
Eager and ready, the crying lone-flyer,
Whets for the whale-path the heart irresistibly,
O’er tracks of ocean; seeing that anyhow
My lord deems to me this dead life
On loan and on land, I believe not
That any earth-weal eternal standeth
Save there be somewhat calamitous
That, ere a man’s tide go, turn it to twain.
Disease or oldness or sword-hate
Beats out the breath from doom-gripped body.
And for this, every earl whatever, for those speaking after—
Laud of the living, boasteth some last word,
That he will work ere he pass onward,
Frame on the fair earth ‘gainst foes his malice,
Daring ado, …
So that all men shall honour him after
And his laud beyond them remain ’mid the English,
Aye, for ever, a lasting life’s-blast,
Delight mid the doughty.
    Days little durable,
And all arrogance of earthen riches,
There come now no kings nor Cæsars
Nor gold-giving lords like those gone.
Howe’er in mirth most magnified,
Whoe’er lived in life most lordliest,
Drear all this excellence, delights undurable!
Waneth the watch, but the world holdeth.
Tomb hideth trouble. The blade is layed low.
Earthly glory ageth and seareth.
No man at all going the earth’s gait,
But age fares against him, his face paleth,
Grey-haired he groaneth, knows gone companions,
Lordly men are to earth o’ergiven,
Nor may he then the flesh-cover, whose life ceaseth,
Nor eat the sweet nor feel the sorry,
Nor stir hand nor think in mid heart,
And though he strew the grave with gold,
His born brothers, their buried bodies
Be an unlikely treasure hoard.

I've not only lost reality
I lost the taste of saltiness
the granular sand 'tween my toes feel
the rush of flesh
being peeled back open
sharing throes wetness kisses
unabashedness
track of tracks
where are they going
on into a distance I am stunted frozen
wide eyed  stunned
at the fastness it
happened

With them my limitations were removed I was not suffering from any of the eye ailments

Although I need a gift that only She could supply a seeing heart not the closed blind one

That I posses in the counseling of her tenderness I found the best that was hidden from

Me tools that bind but all they contain is the Unattainable mystery a knowing heart

Of intuition’s magic lens without distortion through tears and a heart that is exalted by

Them we tarry in bending light that probes and produces crystal clarity from sea sights

That shapes a mind that is far reaching with great depths of expression pressure alone

Can give fortunes of wisdom by destiny’s Design Mountain and streams flow into

Dreams Uncommon the swirling of expectations cross with true reckoning of a soul

Unchained and guided only by purity set in the bedrock of emotional stead fastness so

Needed in so many places of disquiet he who rules the mind wins the mind at times will

Bridge itself with spiritual insights of character and enterprise one so outfitted cannot

Know long term failure with so much power she does hold me at times spell bound I feel

Wistful with a twinge of listlessness I choose to characterize it as auto pilot where great

Productivity is discovered when you learn to trust look into her full vision it will capture

All that is void and troublesome and replace it with active creativity there is solidarity

That is in your power to engage the quote she is not just a pretty face is more than just

Cute its factual the vibrancy left unclaimed makes us build with inferior mortar we are

Set To build a life and we deny our selves because from these liquids’ pools come

Salutation reflection the stirring of instinct the water shed of well being the treading of

Paths set fire by glory within her is nobility and airy truth of stature one that is gleaming

The light so strong that darkness has no effect into these pools of delight one enters



Smitten by charm that disarms all caution unspoken is the invitation nothing less one is assured of privacy  it’s like a long lost remembrance of such

Eloquence you slip within its holding power and dissolve a violin plays in quiet shadows

You walk with the feeling that you’re drifting through many yesterdays and your heart

Beats strongly of great promises for tomorrow the world of structures begin to vanish

One by one as walls of resistance falls away in her continued gaze you stand riveted in

Joy you are the only two in the world just two hearts beating the thunder of a water fall

Can be heard then felt by such emotional weight you are tossed and tumbled in the

Current’s freedom called forth by ecstasy masterful completeness grips you both and

Won’t let go you are conquers you are explorers of different worlds you go deeper

Returning becomes vague two voyagers who see the world anew there is only laughter

In this circus you are on a high wire and you have no fear as you hold hands all

Contention dissolved in this sea of love and friend here is the greatest part these eyes

Are only for you enjoy your relationship with your beloved

Eleanor stepped from the rear platform of the caboose as they were sidelined to let a freight
Pass she mused how she loved freight trains how romantic they were the gust of night air from the
Passing train that and the sound the train made was intoxicating she too was a piece of heaven she only
Had a blanket wrapped around her body just above her breast her blonde hair was wet it had deep
Comb lines she presented the highest qualities of womanhood freshness innocence a wild freedom a
Tenderness her face expressed a look of longing a yearning the call that commanded wonder she picked
Up the natural richness from the golden sunset as they traveled west the silver stream that was wide in
The river they ran alongside for many miles this night it had been her bathing pool bemusement and
Wistfulness came from her eyes and played on her face there to was a sadness a mystery that spoke of
Pain she was travelling with a music troupe on the cheap she stated to stroll in the dark up the length of
The train first she encountered the only Spanish man in the group he was setting with his back against
The train on the rail at first quiet and thoughtful was his tune you visualized walking down the dark quiet
Street of a Spanish village then he increased with a fastness you could hear Olay the scene quickly
Changed to the famed bull fight in the great arena he played slow and softly making you feel the
Tenseness as the great Matador faced the great beast the first pass was letter perfect the grace the cape
Moved in a half circle then he spoke Toro the bull charged but in the blink of an eye the Matador saw
The bull turn his head with those massive horns it caught him in the side and then the terror of a human
Doll being tossed and stomped the cadence of the guitar told it all the day would go to the bull glory and
Honor would go to the dead Matador she continued to walk as the guitar sound faded only to be picked
Up by the sound of a rich trumpet it pierced the sweet night the distant pine seemed to sway in
Appreciation the lone Coyote not to be out done howled his plaintive cry to the magnetic moon the
Expanse of the dark southwest night was the fulfilling and telling of the tale many ghost rose that night
Native American people always on the move in their nomadic way the wild mustang were real they
Stood grazing in the lush grass just across the river Eleanor with her rich creamy skin seemed as a dream
Passing between them made perfection call out from a night train

There is a place down below,
Where the mockingbird used to crow,
Under the earth in sweet melody,
Of times gone past, and times gone needily.
In this magical place, I wander,
Speaking of times yonder,
And I speak to my friend,
About this mystical trend,
We work together underneath Charon’s Moon.
In this hell we call, soon.
We wait patiently and talk about revenge.
Ironically that it is the lies we spin, careenage,
Quicker and quickless, fast and fastness,
Speeding our demise and yours,
Upon fates sick web.

I SAW IT THEN,
What I SEE EVEN NOW
The future of MAN and the WOMAN he held dear!
And oh, the woe that lied WITHIN
The laughter so MALICIOUS
And the daughter NEVERAFTER
They all combined for some SICK DISEASE
Something I could not help but SNARL at!
I prayed then for the first time in my LIFE,
Let me take their HEARTS, their BRAINS,
Look at them MOTHER, look at their FAILURES,
What have the done, if not KILLED EACH OTHER.

And then I cried, alone once again.
My friend never there, left me again.
And my tears pooled almost high enough today,
To **** me forever.
Maybe tomorrow when I wake up forgetting again.

Love’s Lexicon
 
I must make a new vocabulary.
My dear, the words I’ve used in those
Over and over descriptions, signifying all you are,
Are well and past their sell-by-date, should
End their shelf-life here and now. No longer can I
Form their letters truly without knowing well
I test love’s patience . . . and your own.
 
So in desperation’s way
I adopt a different lexicon
Offer you, my love,
a fresh taxonomy.
 
concave the slapp
pressure inbuilt
evenly glassed
held held holdingnow
but ambulatory
moons at full stretch
figuration tempering
notonce twicemore
pressure wieghedupon
beyond breath’s exhale
membraneous goldening
frecklation the hands’ fastness
eyerich sightedkeen here
gone awaygone away
bodystretched senticle
smoooth
  
A Proper Poem
 
Poised to conjure music
from the nothing air, and
with only some frivolous
verse to guide me,
I rest momentarily
to watch the screen of my mind
show your dear self to me:
the sweet flow of your body
uncovered in the shower;
that dance of choosing clothes
and dressing. I have sometimes
watched and wondered,
wondered that you could be
quite as you are.
So precious in my sight,
so very precious.

Water’s Kiss**
 
I shall only write you
very short poems of love
so you can taste them
in one gulp as you might
from a Highland stream
unpolluted, soft,
peat -filtered, cold,
and bubbled with air
from falling across stones
into your cupped hand.
My love, bring now
this water’s kiss
to your waiting lips.

The moon shone on the trees and found
The trees were paler than the moon.
The wind was a peroxide stain
That stabbed, wormlike, toward the veiled fastness of my brain
The wind that skinned me ‘til I stood, naked and raw;
The corner of my mouth cradled a pestilential sore.
My throat was lined and thin and wan
As though it held the cranium of an antique and parasitic swan.
I turned my mouth toward the origin of my demise
And said,
“ I vowed to die amongst the trees
While human hands removed my clothes, and closed my crusted eyes
And human voices stilled my vague unease
But this will do for now.”
A crow wheeled above as I keeled over in the dust and saw
The sacred steepled chapel of somebody’s fleshless body
Writhe beside me, and in hollow whispers fall;
I closed my eyes and ushered in the shadows as the night began to crawl.

There are a thousand darknesses
That lie ahead
To escape the fastness
Of our marital bed.

So much to lose
Time, money, emotional life
I have to choose
To wield the knife,

To cut the bond
The spirit, the law
To wave the wand
Extract your claws

I won't return
I can't go back
The light I discern,
The tunnel, the track.

A one-way journey,
Committed and sure,
The way to be free,
To close the door.

Goodbye, you hell-cat,
Goodbye, once-loved,
A whirlwind, a witch's hat,
A doldrum, velvet-gloved.

You are wild, you are calm,
First you love, then despise,
I was lost in your charm,
Fooled by your disguise

I run free, I'm alive,
I can't help you find peace,
Adieu, my future arrives,
This blessed release.

It is the tipping point
the harvest well begun
its end in sight
an early morning
retreated to past
five on the clock

mist lay on
the meadowed fields
observed the pond
held tight to the trees

walking the empty road
camera in hand
to catch the chill earliness
in the far fields then back
through the uncared-for orchard
past the forked-fingered ash
still quite still -
the night air collapsing
as the sun rose

Darjeeling
in the white bone-china cup
a kiss of milk
comforting this delicate tea

and light everywhere
between three windows
our table her gifts
from the shoreline
shadowed hard-edged
whilst the back-lit screen
blinks and waits for words

my story blended from fact
pestled into fiction
itself a background
to a further fiction
from a past in ancient time
where each image described
takes aim at the resonant heart
of every exquisite moment


Eight Sketches in a Notebook

I

into a western sky
the sun finds cloudspace
to enter and set
well above the sea’s horizon
and for a while its rays
glimmer upward onto shards
holding remnants of the day’s
unreflected light


II

not a hut of straw and rushes
on a far mountain fastness
this a walled stockade all but moated
gardened inside its bounds
a miniature railway said to surround
a six-cornered house facing seaward
and towards a lagoon on whose banks
little terns nest from April to June
a mirror of light upon which
the solitary soul might dwell


III

rock guardian
standing
mid-beach

its debris
spilled
to water’s edge

still as still as
no wind or wave
pools dark depths

further out
the sea shimmers
ablaze with reflections


IV

hiding an anxiety of hair
a headscarf blue
and spotted white
reveals an ear
and below a sturdy neck
on round shoulders
her bare arms fall to quiet hands
next to thighs trousered  
knee-length to gentle calves
falling further onto bare feet
stood standing on course sand
at the sea’s murmuring edge


V

here the rock opens
its lips to a kiss of light
but deep inside remains
a dark sheltering secret
blackness impenetrable
wide enough for a storm’s
intrusion of water and wind
but beyond such darkness
possibly nothing
- a closed door
of rock?


VI

from my canvas chair
on the flags outside
the white French doors
this drawing – from where
the garden gate once was
a gap between
the honey-suckled hedge
and the long low cottage
above an ash tree waving
its fingered branches
in the afternoon breeze
fresh over the hill
from the sea’s shore
hardly a mile away


VII

the land points seaward
to an island light
a mile off-shore

on a shingled beach
sliced by the sea’s knife
cattle wandered yesterday

in the mist-driven rain we
sleeked wet as dogs approached
on the headland’s path


VIII

littered the land lies
with interruptions
interventions of the built

past beside present
ends amongst beginnings

complex histories
to delve deeper into
on this northern shore

If life is a race
I am sorry
Am not an athlet
Am tired of running
Here and there
Exhausted
Life should be a journey
Ups and downs are fine
But, fastness
I am afraid
I am sick of it

I love you with every shred of me,
But I do so from the desert fastness,
Where the sun boils away sentiment,
Where softness is a dried crust
And silica blows rounding off
The edges of loving intent,

I love you from a high mountain peak,
Where oxygen is scarce to be found,
Where blizzard driven snow suffocates loving intention,
And an avalanche will ****
Any motion towards a heart
No matter how much love there is behind,

I love you from the deep ocean,
Far from the warmth of any sun,
Where stygian darkness rules,
Where unimaginable pressure squeezes
The joy and vibrancy from every cell
Even as it sinks slowly to oblivion,

And I shall love you,
From beneath a marble slab,
Below the mown turf of the burial yard,
From the sanctity of a closed casket,
Held closed by screws and
The earth's embrace,

And I love you from these locations
Because therein you arent,
You are absent from these places,
From receipt of my love,
From reciprication
And here I remain,

Because you have placed me there.

Draw nigh
wounded starling,
dwell among
the woodland fastness;
come under its canopy,
upon the bough's
fractal patterns;
mend your wings,
rest your thoughts;
in time you too will mentor
fledglings, the jackdaws
and sand martins,
teaching them
to safely yonder fly.

Hearken, seeking hero:
Hear a scalding skald song!
Venture bold and bravely,
Bring a vintner victuals,
Sup on mead of mulling!
Mete the morning's merry,
Fortress; stand in fastness,
Fear no sorrow stalking.

Between the edges of my frame, all is bare for you to see,

The inside of me is forced to abide your scrutiny,

I cannot close my legs, I've lost control of this part of me,

There is judgement in your stare, but I am not outside looking in

It is a shame that you carry opinions when all I feel is one word,

And you all would know it but for the glass wall in front of me.

And the stone wall behind.



Listen to her voice, from the depths of her darkness,

Where all things will lie, in the everlasting fastness,

The intangible whirling that crosses her back,

The soft coolness that penetrates it and soon goes back,

On top of which all things come to her for their nap,

For when awake all they do is take from her womb,

It is their tomb, it will also be their doom.



Your blood flows warm inside you but you feel the ice under your skin,

You know the feel of her skin, thus recognition shouldn't perhaps wear thin,

Why do you assume intelligence, takes the form of the loud spoken?

We are not even remotely beholden.

You sound like a braying ***,

I really should not give you a pass

The human condition;

Let me give you my fear, this is how I care for you.

somewhere there beyond the night
behind the bright sunshine
in the middle of  the field
where the cornstalks stood and the wheat waves still
stand in the blue light the red night
the white
clouds is a dream
of America
and no man not one
can
take away the fastness
the strength the two hundred years
of welcoming
of free speech
of immigrants awaking in a land free
to her hand above
holding that
torch for
we are America,
let us remember that.

I dream a dream of skill,
I gather pictures of best practice
(methods best enacted off the couch.)
I house,
crisp corners, soaring beams and posts
where gawkers marvel, ‘cos
the high is feeling good. I see
the woods
and watch the owners.
(What good grip they have! enough to claim
what they could never care for-
let the lessers sing their lives!)
I drive a drive
not fast enough for fastness-makers,
flaunting logos, polished chrome,
I drive a loan.

None say it, none will ever hear
these soft confessions to
the “here” I hold right now
in its un-good. I slip
a “should” on, halfway,
dumping it for snacks and cons -
I run for miles
to lose it on the lawn.

And as I break, I pause to
watch a bit to see how not to fail.
I land in jail. The wardens
never speak to me,
the only copy of the key
described in stories, but
they’ve scattered every page.
And every day I fail
to reconstruct it out of naught,
I age.

I’ve been reading a lot of poetry for quite a few years and maybe this is just me, as in some quirky bias I suffer, or misapprehension about poetry, but much of what I read doesn’t feel much like poetry at all. Now, one can rightfully argue that poetry can be anything, and that’s okay because if we take a look at poetry’s history what we see is a continuum of thesis and antithesis, flagging us who read the stuff that anything goes. So where does that leave us? I might argue that since there are so many distinct kinds of poems that a definition alludes us all together and when we hear the noun p o e t r y, we can only assign the familiar poetic shape as its definitive territory, meaning a few words in a line that are stacked up on each other, which we generally think of as verse with multiplied stacks fulfilling our expectation of poem. I’m thinking if we want to go with that poetry digresses to a linguistic charmless flat land characteristic of prose, relative to at least some of the poetic writing that is highly lyrical, sonically potent, novel, intonated, linguistically muscular, and dynamically connective to the reader. Poetry can take creative liberties that prose customarily does not or cannot take. Poetry may have different linguistic needs like different kinds of English. For example, articles may be absent towards a more concentrated synthesis for phrasing, a lyrical lilt, stream of consciousness boarding on the abstract et al.
Being a poet is born of a feeling that a face may be a liquid surface. That time is malleable, and that there is always something going on in-between the lines gleaned from inexplicable moments of inner disjuncture or a hesitating breath.
Poetry may facilitate that mind may emerge from the concrete objective into the mirrors of the marvelous or uncanny like a burped half avocado and fish head at 2 am in the morning transmuting into a torrent of dormice and angels in delirious avenues of falling stars and looking glasses.
Poetry may address intersectional dimensionality populated by visions and voices of primordial undercurrents, that stories may not lend themselves to. Poetry may be metalinguistic and a fragment of the inner life both collective and individuated. Poetry may work from the inside out without referencing the temporal, locational, and name it and claim it nouns and pronouns typical of prose. So, here’s the poetry problem. Why is it that 99% of the poetry I read here and places like it remain basically written just like prose, linguistically and sonically vacuous, largely bereft of similes, metaphors and all the other strategic devices that can make poetry progressive, inventive and deeply resonate, except of course that they are stacked and columned giving the appearance of poems?
~~~~~
EXAMPLES OF POEMS THAT CAN BE CALLED POETRY
Ballad in A
BY CATHY PARK HONG
A Kansan plays cards, calls Marshall
a crawdad, that barb lands that rascal a slap;
that Kansan ******* scats,
camps back at caballada ranch.
Hangs kack, ax, and camp hat.
Kansan’s nag mad and rants can’t bask,
can’t bacchanal and garland a lass,
can’t at last brag can crack Law’s *****,
Kansan’s cantata rang at that ramada ranch,
Mañana, Kansan snarls, I’ll have an armada
and thwart Law’s brawn,
slam Law a **** mass war path.
Marshall’s a marksman, maps Kansan’s track,
calm as a shaman, sharp as a hawk,
Says: That dastard Kansan’s had
and gnaws lamb fatback.
At dawn, Marshall stalks that ranch,
packs a gat and blasts Kansan’s ***
and Kansan gasps, blasts back.
A flag ***** at half-mast.~~~~~
Ocean of Earth

BY GUILLAUME APOLLINAIRE
TRANSLATED BY RON PADGETT
To G. de Chirico
I have built a house in the middle of the Ocean
Its windows are the rivers flowing from my eyes
Octopi are crawling all over where the walls are
Hear their triple hearts beat and their beaks peck against the windowpanes
House of dampness
House of burning
Season’s fastness
Season singing
The airplanes are laying eggs
Watch out for the dropping of the anchor
Watch out for the shooting black ichor
It would be good if you were to come from the sky
The sky’s honeysuckle is climbing
The earthly octopi are throbbing
And so very many of us have become our own gravediggers
Pale octopi of the chalky waves O octopi with pale beaks
Around the house is this ocean that you know well
And is never still
Translated from the French
Source: Poetry (October 2015)~~~~~

On Earth We’re Briefly Gorgeous
BY OCEAN VUONG
i
Tell me it was for the hunger
& nothing less. For hunger is to give
the body what it knows
it cannot keep. That this amber light
whittled down by another war
is all that pins my hand
to your chest.
i
You, drowning
between my arms —
stay.
You, pushing your body
into the river
only to be left
with yourself —
stay.
i
I’ll tell you how we’re wrong enough to be forgiven. How one night, after
backhanding
mother, then taking a chainsaw to the kitchen table, my father went to kneel
in the bathroom until we heard his muffled cries through the walls.
And so I learned that a man, in ******, was the closest thing
to surrender.
i
Say surrender. Say alabaster. Switchblade.
Honeysuckle. Goldenrod. Say autumn.
Say autumn despite the green
in your eyes. Beauty despite
daylight. Say you’d **** for it. Unbreakable dawn
mounting in your throat.
My thrashing beneath you
like a sparrow stunned
with falling.
i
Dusk: a blade of honey between our shadows, draining.
i
I wanted to disappear — so I opened the door to a stranger’s car. He was divorced. He was still alive. He was sobbing into his hands (hands that tasted like rust). The pink breast cancer ribbon on his keychain swayed in the ignition. Don’t we touch each other just to prove we are still here? I was still here once. The moon, distant & flickering, trapped itself in beads of sweat on my neck. I let the fog spill through the cracked window & cover my fangs. When I left, the Buick kept sitting there, a dumb bull in pasture, its eyes searing my shadow onto the side of suburban houses. At home, I threw myself on the bed like a torch & watched the flames gnaw through my mother’s house until the sky appeared, bloodshot & massive. How I wanted to be that sky — to hold every flying & falling at once.
i
Say amen. Say amend.
Say yes. Say yes
anyway.
i
In the shower, sweating under cold water, I scrubbed & scrubbed.
i
In the life before this one, you could tell
two people were in love
because when they drove the pickup
over the bridge, their wings
would grow back just in time.
Some days I am still inside the pickup.
Some days I keep waiting.
i
It’s not too late. Our heads haloed
with gnats & summer too early
to leave any marks.
Your hand under my shirt as static
intensifies on the radio.
Your other hand pointing
your daddy’s revolver
to the sky. Stars falling one
by one in the cross hairs.
This means I won’t be
afraid if we’re already
here. Already more
than skin can hold. That a body
beside a body
must make a field
full of ticking. That your name
is only the sound of clocks
being set back another hour
& morning
finds our clothes
on your mother’s front porch, shed
like week-old lilies.
Source: Poetry (December 2014)
~~~~~
SOMETIMES WE’VE GOT TO READ IT TO KNOW WHAT IT IS.

You always say
Ow well and I
appreciate that
But you know what?
Such a coping skill
I'm just intrigued
also a bit sad, I guess
The phones, the fastness,
a vastness, non-communication
and commuting, I guess
I think of you yet do you think 
back at me? It was on
the radio they said to leave
politics to politicians
The world is unjust, amidst
rumours and facts, and
will always be so try
do the little things
as little as possible
for the bigger corporations
with a carbon footprint
I guess I just discovered
I very wish for love
connection, a kiss and
you showing me
the blue flowers
the grey water
Indeed not that much
to ask, she said

It happened that the fight was lost
And she and her retinue took flight
Ferrying by night across the bay
To the island of the guarding light

Where in the small comfort
Of a deserted, half-ruined fort
Those who remained loyal
Made ready for their encirclement.

And as morning dawned, sails appeared
Seeking the promise of final vengeance
And she, taking counsel with her defenders,
Agreed it best to leave to avoid disgrace

Boarding a skiff brought full-sailed
To the wave-beaten broken walls
Of an ancient quay in shadow -
Breaking out into the crimson dawn.

And when those who loved her
Were overwhelmed and put to slaughter
Her enemies found her gone
With only her last pitiable treasures

Left for ransack and despoiling -
Though a servant boy, a beloved slave
Sought to save his life the while
By betraying the manner of her escape.

Then the winds fell quiet and the skiff
Became becalmed. At first sighted
And then hunted down by long ships,
The sea-hounds of their wronged lord,

Bearing down with their oarsmen
Chanting of her treachery and oath-breaking:
Of her poisoning of the cellar meads
At the treaty gathering for her betrothal.

She the long-limbed, wilful beauty,
Enchanter of the warder troops
Sent by her father to accompany her,
Unwilling to bend to the needs

Of dealings and the apportionment of lands,
She who took the gifts and dowry
And divided spoils among the conspirators
Promising the sacred ring to the boldest on her behalf.

Brought at last to the fastness keep
Of her dishonourable suitor and his father,
Her followers slaughtered or enslaved,
War now afoot across the wide lands,

She refused to kneel before the throne
And was cast down with violence
Summarily judged the instigator of evil
A harpy who had raised the flames of hatred.

At which the old king, at his son’s bequest
Asked whether there was anything to be said
And she in reply promised a song so wistful
And yet so wise it might save her life.

‘Sing then to those who you would ****
Those who may still die in battle at your behest’
Said the king:‘Let us hear the siren song
For you are surely now within our power’.

At which she rose upright to answer boldly:
‘Kinsmen and Foemen alike, I am no chattel
To be bought or sold, gifted or pledged,
To settle feuds or mark out or borders

And my song is only the song of freedom -
I was not the cause of your ****** skirmishes,
Your enmities and intransigence existed
Before I was bright-arrayed and brought in offering’.

Though my song condemns me, I save myself
For life is of little worth if lived beholden.

I dreamt and wondered on a distant land
While mystic witches cast a twilight spell
With oaths of runes and carven bones at hand
In deep reflection at the fateful well

From which the tidings from the depths unfold
A curse that any future life must fail
When those betraying honour see it sold
And stain of gold is left to tell the tale.

There are much better mortal gifts to gain
There is a prize my sacred self holds strong
A treasure that will grace an inner realm
To which the best of me may yet belong.

The die is cast as I affirm my right -
Safeguarding freedom in the fading light’.

The wind is cold, the night is long.
I never sleep.  You are gone.
Swirls of pain
surround me and I leave my
body behind.

I cling to the fastness of thought,
somersault through millennia
to witness you through the
blinkless eye of light.

Time is an illusion.  We met
in the unformed moment of
creation, chased each other
around the universe.  A
cosmology of wonder.

Now, at the last,  
moments of my life
collapse down  
death like ivy on
winter bricks.

Caroline Shank

You sit-unmoved-
In your Mountain fastness.

The tree Spirits frolic,
Hiding, slipping trunk
To trunk until, uncertain-

Your Belief transcends.

A single tear ploughs
One runnel down a silted
Cheek
And the Flood some day

Shall unleash a grim
Vengeance on those who
Forgot-

Our place in Nature
Ruptured,

We hasten toward
The failing Cliff

Have in had, adding a wink
**** to truer sight...
Does a friends smile, ever stink?
Letting eye's wonder, can I save my own might?

The opinion of a surprised mess:
I have named deliberate
Sought cause, condition in succinct bests
Should a friend, have my world for sates?

Meaning...
Anticipation, is a cowards clue
Fate; fastness to a harrowed gleaning
Of what went where, and who?

Silly votes, at a guidance's ear
Requite the time, I saw straight
The door's of dependency, which consider
The risen order to love, a seeking of fate...

Might, passion be it?
Sense, with a sweet hour to cope
The rue of the truth, so finished a wit
That to some, a futures more, just may be hope