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Nigel Morgan Nov 2012
for Jennie in gratitude*

For days afterwards he was preoccupied by what he’d collected into himself from the gallery viewing. He could say it was just painting, but there was a variety of media present in the many surrounding images and artefacts. Certainly there were all kinds of objects: found and gathered, captured and brought into a frame, some filling transparent boxes on a window ledge or simply hung frameless on the wall; sand, fixed foam, paper sea-water stained, a beaten sheet of aluminium; a significant stone standing on a mantelpiece, strange warped pieces of metal with no clue to what they were or had been, a sketchbook with brooding pencilled drawings made fast and thick, filling the page, colour like an echo, and yes, paintings.
 
Three paintings had surprised him; they did not seem to fit until (and this was sometime later) their form and content, their working, had very gradually begun to make a sort of sense.  Possible interpretations – though tenuous – surreptitiously intervened. There were words scrawled across each canvas summoning the viewer into emotional space, a space where suggestions of marks and colour floated on a white surface. These scrawled words were like writing in seaside sand with a finger: the following bird and hiraeth. He couldn’t remember the third exactly. He had a feeling about it – a date or description. But he had forgotten. And this following bird? One of Coleridge’s birds of the Ancient Mariner perhaps? Hiraeth he knew was a difficult Welsh word similar to saudade. It meant variously longing, sometimes passionate (was longing ever not passionate?), a home-sickness, the physical pain of nostalgia. It was said that a well-loved location in conjunction with a point in time could cause such feelings. This small exhibition seemed full of longing, full of something beyond the place and the time and the variousness of colour and texture, of elements captured, collected and represented. And as the distance in time and memory from his experience of the show in a small provincial gallery increased, so did his own thoughts of and about the nature of longing become more acute.
 
He knew he was fortunate to have had the special experience of being alone with ‘the work’ just prior to the gallery opening. His partner was also showing and he had accompanied her as a friendly presence, someone to talk to when the throng of viewers might deplete. But he knew he was surplus to requirements as she’d also brought along a girlfriend making a short film on this emerging, soon to be successful artist. So he’d wandered into the adjoining spaces and without expectation had come upon this very different show: just the title Four Tides to guide him in and around the small white space in which the art work had been distributed. Even the striking miniature catalogue, solely photographs, no text, did little to betray the hand and eye that had brought together what was being shown. Beyond the artist’s name there were only faint traces – a phone number and an email address, no voluminous self-congratulatory CV, no list of previous exhibitions, awards or academic provenance. A light blue bicycle figured in some of her catalogue photographs and on her contact card. One photo in particular had caught the artist very distant, cycling along the curve of a beach. It was this photo that helped him to identify the location – because for twenty years he had passed across this meeting of land and water on a railway journey. This place she had chosen for the coming and going of four tides he had viewed from a train window. The aspect down the estuary guarded by mountains had been a highpoint of a six-hour journey he had once taken several times a year, occasionally and gratefully with his children for whom crossing the long, low wooden bridge across the estuary remained into their teens an adventure, always something telling.
 
He found himself wishing this work into a studio setting, the artist’s studio. It seemed too stark placed on white walls, above the stripped pine floor and the punctuation of reflective glass of two windows facing onto a wet street. Yes, a studio would be good because the pictures, the paintings, the assemblages might relate to what daily surrounded the artist and thus describe her. He had thought at first he was looking at the work of a young woman, perhaps mid-thirties at most. The self-curation was not wholly assured: it held a temporary nature. It was as if she hadn’t finished with the subject and or done with its experience. It was either on-going and promised more, or represented a stage she would put aside (but with love and affection) on her journey as an artist. She wouldn’t milk it for more than it was. And it was full of longing.
 
There was a heaviness, a weight, an inconclusiveness, an echo of reverence about what had been brought together ‘to show’. Had he thought about these aspects more closely, he would not have been so surprised to discovered the artist was closer to his own age, in her fifties. She in turn had been surprised by his attention, by his carefully written comment in her guest book. She seemed pleased to talk intimately and openly, to tell her story of the work. She didn’t need to do this because it was there in the room to be read. It was apparent; it was not oblique or difficult, but caught the viewer in a questioning loop. Was this estuary location somehow at the core of her longing-centred self?  She had admitted that, working in her home or studio, she would find herself facing westward and into the distance both in place and time?
 
On the following day he made time to write, to look through this artist’s window on a creative engagement with a place he was familiar. The experience of viewing her work had affected him. He was not sure yet whether it was the representation of the place or the artist’s engagement with it. In writing about it he might find out. It seemed so deeply personal. It was perhaps better not to know but to imagine. So he imagined her making the journey, possibly by train, finding a place to stay the night – a cheerful B & B - and cycling early in the morning across the long bridge to her previously chosen spot on the estuary: to catch the first of the tides. He already understood from his own experience how an artist can enter trance-like into an environment, absorb its particularness, respond to the uncertainty of its weather, feel surrounded by its elements and textures, and most of all be governed by the continuous and ever-complex play of light.
 
He knew all about longing for a place. For nearly twenty years a similar longing had grown and all but consumed him: his cottage on a mountain overlooking the sea. It had become a place where he had regularly faced up to his created and invented thoughts, his soon-to-be-music and more recently possible poetry and prose. He had done so in silence and solitude.
 
But now he was experiencing a different longing, a longing born from an intensity of love for a young woman, an intensity that circled him about. Her physical self had become a rich landscape to explore and celebrate in gaze, and stroke and caress. It seemed extraordinary that a single person could hold to herself such a habitat of wonder, a rich geography of desire to know and understand. For so many years his longing was bound to the memory of walking cliff paths and empty beaches, the hypnotic viewing of seascaped horizons and the persistent chaos of the sea and wild weather. But gradually this longing for a coming together of land, sea and sky had migrated to settle on a woman who graced his daily, hourly thoughts; who was able to touch and caress him as rain and wind and sun can act upon the body in ever-changing ways. So when he was apart from her it was with such a longing that he found himself weighed down, filled brimfull.
 
In writing, in attempting to consider longing as a something the creative spirit might address, he felt profoundly grateful to the artist on the light blue bicycle whose her observations and invention had kept open a door he felt was closing on him. She had faced her own longing by bringing it into form, and through form into colour and texture, and then into a very particular play: an arrangement of objects and images for the mind to engage with – or not. He dared to feel an affinity with this artist because, like his own work, it did not seem wholly confident. It contained flaws of a most subtle kind, flaws that lent it a conviction and strength that he warmed to. It had not been massaged into correctness. The images and the textures, the directness of it, flowed through him back and forward just like the tides she had come far to observe on just a single day. He remembered then, when looking closely at the unprotected pieces on the walls, how his hand had moved to just touch its surfaces in exactly the way he would bring his fingers close to the body of the woman he loved so much, adored beyond any poetry, and longed for with all his heart and mind.
I could be sailing down the Seine
doing it again,
erasing
and it's
amazing that I always do.

A tower block kid
who
couldn't get rid of his
fear of heights

streets and council lights
they all look the same
to me,
nights in which I run free
and
days in which I pay,

but it's forgotten when
I put the radio on
when I linger on
the melody

she touches scars that heal
and I feel,
I always
feel,
BOOK I

S.  Patrick. You who are bent, and bald, and blind,
With a heavy heart and a wandering mind,
Have known three centuries, poets sing,
Of dalliance with a demon thing.

Oisin. Sad to remember, sick with years,
The swift innumerable spears,
The horsemen with their floating hair,
And bowls of barley, honey, and wine,
Those merry couples dancing in tune,
And the white body that lay by mine;
But the tale, though words be lighter than air.
Must live to be old like the wandering moon.

Caoilte, and Conan, and Finn were there,
When we followed a deer with our baying hounds.
With Bran, Sceolan, and Lomair,
And passing the Firbolgs' burial-motmds,
Came to the cairn-heaped grassy hill
Where passionate Maeve is stony-still;
And found On the dove-grey edge of the sea
A pearl-pale, high-born lady, who rode
On a horse with bridle of findrinny;
And like a sunset were her lips,
A stormy sunset on doomed ships;
A citron colour gloomed in her hair,

But down to her feet white vesture flowed,
And with the glimmering crimson glowed
Of many a figured embroidery;
And it was bound with a pearl-pale shell
That wavered like the summer streams,
As her soft ***** rose and fell.

S.  Patrick. You are still wrecked among heathen dreams.

Oisin. "Why do you wind no horn?' she said
"And every hero droop his head?
The hornless deer is not more sad
That many a peaceful moment had,
More sleek than any granary mouse,
In his own leafy forest house
Among the waving fields of fern:
The hunting of heroes should be glad.'

'O pleasant woman,' answered Finn,
"We think on Oscar's pencilled urn,
And on the heroes lying slain
On Gabhra's raven-covered plain;
But where are your noble kith and kin,
And from what country do you ride?'

"My father and my mother are
Aengus and Edain, my own name
Niamh, and my country far
Beyond the tumbling of this tide.'

"What dream came with you that you came
Through bitter tide on foam-wet feet?
Did your companion wander away
From where the birds of Aengus wing?'
Thereon did she look haughty and sweet:
"I have not yet, war-weary king,
Been spoken of with any man;
Yet now I choose, for these four feet
Ran through the foam and ran to this
That I might have your son to kiss.'

"Were there no better than my son
That you through all that foam should run?'

"I loved no man, though kings besought,
Until the Danaan poets brought
Rhyme that rhymed upon Oisin's name,
And now I am dizzy with the thought
Of all that wisdom and the fame
Of battles broken by his hands,
Of stories builded by his words
That are like coloured Asian birds
At evening in their rainless lands.'

O Patrick, by your brazen bell,
There was no limb of mine but fell
Into a desperate gulph of love!
'You only will I wed,' I cried,
"And I will make a thousand songs,
And set your name all names above,
And captives bound with leathern thongs
Shall kneel and praise you, one by one,
At evening in my western dun.'

"O Oisin, mount by me and ride
To shores by the wash of the tremulous tide,
Where men have heaped no burial-mounds,
And the days pass by like a wayward tune,
Where broken faith has never been known
And the blushes of first love never have flown;
And there I will give you a hundred hounds;
No mightier creatures bay at the moon;
And a hundred robes of murmuring silk,
And a hundred calves and a hundred sheep
Whose long wool whiter than sea-froth flows,
And a hundred spears and a hundred bows,
And oil and wine and honey and milk,
And always never-anxious sleep;
While a hundred youths, mighty of limb,
But knowing nor tumult nor hate nor strife,
And a hundred ladies, merry as birds,
Who when they dance to a fitful measure
Have a speed like the speed of the salmon herds,
Shall follow your horn and obey your whim,
And you shall know the Danaan leisure;
And Niamh be with you for a wife.'
Then she sighed gently, "It grows late.
Music and love and sleep await,
Where I would be when the white moon climbs,
The red sun falls and the world grows dim.'

And then I mounted and she bound me
With her triumphing arms around me,
And whispering to herself enwound me;
He shook himself and neighed three times:
Caoilte, Conan, and Finn came near,
And wept, and raised their lamenting hands,
And bid me stay, with many a tear;
But we rode out from the human lands.
In what far kingdom do you go'
Ah Fenians, with the shield and bow?
Or are you phantoms white as snow,
Whose lips had life's most prosperous glow?
O you, with whom in sloping vallcys,
Or down the dewy forest alleys,
I chased at morn the flying deer,
With whom I hurled the hurrying spear,
And heard the foemen's bucklers rattle,
And broke the heaving ranks of battle!
And Bran, Sceolan, and Lomair,
Where are you with your long rough hair?
You go not where the red deer feeds,
Nor tear the foemen from their steeds.

S.  Patrick. Boast not, nor mourn with drooping head
Companions long accurst and dead,
And hounds for centuries dust and air.

Oisin. We galloped over the glossy sea:
I know not if days passed or hours,
And Niamh sang continually
Danaan songs, and their dewy showers
Of pensive laughter, unhuman sound,
Lulled weariness, and softly round
My human sorrow her white arms wound.
We galloped; now a hornless deer
Passed by us, chased by a phantom hound
All pearly white, save one red ear;
And now a lady rode like the wind
With an apple of gold in her tossing hand;
And a beautiful young man followed behind
With quenchless gaze and fluttering hair.
"Were these two born in the Danaan land,
Or have they breathed the mortal air?'

"Vex them no longer,' Niamh said,
And sighing bowed her gentle head,
And sighing laid the pearly tip
Of one long finger on my lip.

But now the moon like a white rose shone
In the pale west, and the sun'S rim sank,
And clouds atrayed their rank on rank
About his fading crimson ball:
The floor of Almhuin's hosting hall
Was not more level than the sea,
As, full of loving fantasy,
And with low murmurs, we rode on,
Where many a trumpet-twisted shell
That in immortal silence sleeps
Dreaming of her own melting hues,
Her golds, her ambers, and her blues,
Pierced with soft light the shallowing deeps.
But now a wandering land breeze came
And a far sound of feathery quires;
It seemed to blow from the dying flame,
They seemed to sing in the smouldering fires.
The horse towards the music raced,
Neighing along the lifeless waste;
Like sooty fingers, many a tree
Rose ever out of the warm sea;
And they were trembling ceaselessly,
As though they all were beating time,
Upon the centre of the sun,
To that low laughing woodland rhyme.
And, now our wandering hours were done,
We cantered to the shore, and knew
The reason of the trembling trees:
Round every branch the song-birds flew,
Or clung thereon like swarming bees;
While round the shore a million stood
Like drops of frozen rainbow light,
And pondered in a soft vain mood
Upon their shadows in the tide,
And told the purple deeps their pride,
And murmured snatches of delight;
And on the shores were many boats
With bending sterns and bending bows,
And carven figures on their prows
Of bitterns, and fish-eating stoats,
And swans with their exultant throats:
And where the wood and waters meet
We tied the horse in a leafy clump,
And Niamh blew three merry notes
Out of a little silver trump;
And then an answering whispering flew
Over the bare and woody land,
A whisper of impetuous feet,
And ever nearer, nearer grew;
And from the woods rushed out a band
Of men and ladies, hand in hand,
And singing, singing all together;
Their brows were white as fragrant milk,
Their cloaks made out of yellow silk,
And trimmed with many a crimson feather;
And when they saw the cloak I wore
Was dim with mire of a mortal shore,
They fingered it and gazed on me
And laughed like murmurs of the sea;
But Niamh with a swift distress
Bid them away and hold their peace;
And when they heard her voice they ran
And knelt there, every girl and man,
And kissed, as they would never cease,
Her pearl-pale hand and the hem of her dress.
She bade them bring us to the hall
Where Aengus dreams, from sun to sun,
A Druid dream of the end of days
When the stars are to wane and the world be done.

They led us by long and shadowy ways
Where drops of dew in myriads fall,
And tangled creepers every hour
Blossom in some new crimson flower,
And once a sudden laughter sprang
From all their lips, and once they sang
Together, while the dark woods rang,
And made in all their distant parts,
With boom of bees in honey-marts,
A rumour of delighted hearts.
And once a lady by my side
Gave me a harp, and bid me sing,
And touch the laughing silver string;
But when I sang of human joy
A sorrow wrapped each merry face,
And, patrick! by your beard, they wept,
Until one came, a tearful boy;
"A sadder creature never stept
Than this strange human bard,' he cried;
And caught the silver harp away,
And, weeping over the white strings, hurled
It down in a leaf-hid, hollow place
That kept dim waters from the sky;
And each one said, with a long, long sigh,
"O saddest harp in all the world,
Sleep there till the moon and the stars die!'

And now, still sad, we came to where
A beautiful young man dreamed within
A house of wattles, clay, and skin;
One hand upheld his beardless chin,
And one a sceptre flashing out
Wild flames of red and gold and blue,
Like to a merry wandering rout
Of dancers leaping in the air;
And men and ladies knelt them there
And showed their eyes with teardrops dim,
And with low murmurs prayed to him,
And kissed the sceptre with red lips,
And touched it with their finger-tips.
He held that flashing sceptre up.
"Joy drowns the twilight in the dew,
And fills with stars night's purple cup,
And wakes the sluggard seeds of corn,
And stirs the young kid's budding horn,
And makes the infant ferns unwrap,
And for the peewit paints his cap,
And rolls along the unwieldy sun,
And makes the little planets run:
And if joy were not on the earth,
There were an end of change and birth,
And Earth and Heaven and Hell would die,
And in some gloomy barrow lie
Folded like a frozen fly;
Then mock at Death and Time with glances
And wavering arms and wandering dances.

"Men's hearts of old were drops of flame
That from the saffron morning came,
Or drops of silver joy that fell
Out of the moon's pale twisted shell;
But now hearts cry that hearts are slaves,
And toss and turn in narrow caves;
But here there is nor law nor rule,
Nor have hands held a weary tool;
And here there is nor Change nor Death,
But only kind and merry breath,
For joy is God and God is joy.'
With one long glance for girl and boy
And the pale blossom of the moon,
He fell into a Druid swoon.

And in a wild and sudden dance
We mocked at Time and Fate and Chance
And swept out of the wattled hall
And came to where the dewdrops fall
Among the foamdrops of the sea,
And there we hushed the revelry;
And, gathering on our brows a frown,
Bent all our swaying bodies down,
And to the waves that glimmer by
That sloping green De Danaan sod
Sang, "God is joy and joy is God,
And things that have grown sad are wicked,
And things that fear the dawn of the morrow
Or the grey wandering osprey Sorrow.'

We danced to where in the winding thicket
The damask roses, bloom on bloom,
Like crimson meteors hang in the gloom.
And bending over them softly said,
Bending over them in the dance,
With a swift and friendly glance
From dewy eyes:  "Upon the dead
Fall the leaves of other roses,
On the dead dim earth encloses:
But never, never on our graves,
Heaped beside the glimmering waves,
Shall fall the leaves of damask roses.
For neither Death nor Change comes near us,
And all listless hours fear us,
And we fear no dawning morrow,
Nor the grey wandering osprey Sorrow.'

The dance wound through the windless woods;
The ever-summered solitudes;
Until the tossing arms grew still
Upon the woody central hill;
And, gathered in a panting band,
We flung on high each waving hand,
And sang unto the starry broods.
In our raised eyes there flashed a glow
Of milky brightness to and fro
As thus our song arose:  "You stars,
Across your wandering ruby cars
Shake the loose reins:  you slaves of God.
He rules you with an iron rod,
He holds you with an iron bond,
Each one woven to the other,
Each one woven to his brother
Like bubbles in a frozen pond;
But we in a lonely land abide
Unchainable as the dim tide,
With hearts that know nor law nor rule,
And hands that hold no wearisome tool,
Folded in love that fears no morrow,
Nor the grey wandering osprey Sorrow.'

O Patrick! for a hundred years
I chased upon that woody shore
The deer, the badger, and the boar.
O patrick! for a hundred years
At evening on the glimmering sands,
Beside the piled-up hunting spears,
These now outworn and withered hands
Wrestled among the island bands.
O patrick! for a hundred years
We went a-fishing in long boats
With bending sterns and bending bows,
And carven figures on their prows
Of bitterns and fish-eating stoats.
O patrick! for a hundred years
The gentle Niamh was my wife;
But now two things devour my life;
The things that most of all I hate:
Fasting and prayers.

S.  Patrick. Tell On.

Oisin. Yes, yes,
For these were ancient Oisin's fate
Loosed long ago from Heaven's gate,
For his last days to lie in wait.
When one day by the tide I stood,
I found in that forgetfulness
Of dreamy foam a staff of wood
From some dead warrior's broken lance:
I tutned it in my hands; the stains
Of war were on it, and I wept,
Remembering how the Fenians stept
Along the blood-bedabbled plains,
Equal to good or grievous chance:
Thereon young Niamh softly came
And caught my hands, but spake no word
Save only many times my name,
In murmurs, like a frighted bird.
We passed by woods, and lawns of clover,
And found the horse and bridled him,
For we knew well the old was over.
I heard one say, "His eyes grow dim
With all the ancient sorrow of men';
And wrapped in dreams rode out again
With hoofs of the pale findrinny
Over the glimmering purple sea.
Under the golden evening light,
The Immortals moved among thc fountains
By rivers and the woods' old night;
Some danced like shadows on the mountains
Some wandered ever hand in hand;
Or sat in dreams on the pale strand,
Each forehead like an obscure star
Bent down above each hooked knee,
And sang, and with a dreamy gaze
Watched where the sun in a saffron blaze
Was slumbering half in the sea-ways;
And, as they sang, the painted birds



























































­

























Kept time with their bright wings and feet;
Like drops of honey came their words,
But fainter than a young lamb's bleat.

"An old man stirs the fire to a blaze,
In the house of a child, of a friend, of a brother.
He has over-lingered his welcome; the days,
Grown desolate, whisper and sigh to each other;
He hears the storm in the chimney above,
And bends to the fire and shakes with the cold,
While his heart still dreams of battle and love,
And the cry of the hounds on the hills of old.

But We are apart in the grassy places,
Where care cannot trouble the least of our days,
Or the softness of youth be gone from our faces,
Or love's first tenderness die in our gaze.
The hare grows old as she plays in the sun
And gazes around her with eyes of brightness;
Before the swift things that she dreamed of were done
She limps along in an aged whiteness;
A storm of birds in the Asian trees
Like tulips in the air a-winging,
And the gentle waves of the summer seas,
That raise their heads and wander singing,
Must murmur at last, ""Unjust, unjust';
And ""My speed is a weariness,' falters the mouse,
And the kingfisher turns to a ball of dust,
And the roof falls in of his tunnelled house.
But the love-dew dims our eyes till the day
When God shall come from the Sea with a sigh
And bid the stars drop down from the sky,
And the moon like a pale rose wither away.'

#######
BOOK II
#######

NOW, man of croziers, shadows called our names
And then away, away, like whirling flames;
And now fled by, mist-covered, without sound,
The youth and lady and the deer and hound;
"Gaze no more on the phantoms,' Niamh said,
And kissed my eyes, and, swaying her bright head
And her bright body, sang of faery and man
Before God was or my old line began;
Wars shadowy, vast, exultant; faeries of old
Who wedded men with rings of Druid gold;
And how those lovers
S.  Patrick. You who are bent, and bald, and blind,
With a heavy heart and a wandering mind,
Have known three centuries, poets sing,
Of dalliance with a demon thing.

Oisin. Sad to remember, sick with years,
The swift innumerable spears,
The horsemen with their floating hair,
And bowls of barley, honey, and wine,
Those merry couples dancing in tune,
And the white body that lay by mine;
But the tale, though words be lighter than air.
Must live to be old like the wandering moon.

Caoilte, and Conan, and Finn were there,
When we followed a deer with our baying hounds.
With Bran, Sceolan, and Lomair,
And passing the Firbolgs' burial-motmds,
Came to the cairn-heaped grassy hill
Where passionate Maeve is stony-still;
And found On the dove-grey edge of the sea
A pearl-pale, high-born lady, who rode
On a horse with bridle of findrinny;
And like a sunset were her lips,
A stormy sunset on doomed ships;
A citron colour gloomed in her hair,

But down to her feet white vesture flowed,
And with the glimmering crimson glowed
Of many a figured embroidery;
And it was bound with a pearl-pale shell
That wavered like the summer streams,
As her soft ***** rose and fell.

S.  Patrick. You are still wrecked among heathen dreams.

Oisin. 'Why do you wind no horn?' she said
'And every hero droop his head?
The hornless deer is not more sad
That many a peaceful moment had,
More sleek than any granary mouse,
In his own leafy forest house
Among the waving fields of fern:
The hunting of heroes should be glad.'

'O pleasant woman,' answered Finn,
'We think on Oscar's pencilled urn,
And on the heroes lying slain
On Gabhra's raven-covered plain;
But where are your noble kith and kin,
And from what country do you ride?'

'My father and my mother are
Aengus and Edain, my own name
Niamh, and my country far
Beyond the tumbling of this tide.'

'What dream came with you that you came
Through bitter tide on foam-wet feet?
Did your companion wander away
From where the birds of Aengus wing?'
Thereon did she look haughty and sweet:
'I have not yet, war-weary king,
Been spoken of with any man;
Yet now I choose, for these four feet
Ran through the foam and ran to this
That I might have your son to kiss.'

'Were there no better than my son
That you through all that foam should run?'

'I loved no man, though kings besought,
Until the Danaan poets brought
Rhyme that rhymed upon Oisin's name,
And now I am dizzy with the thought
Of all that wisdom and the fame
Of battles broken by his hands,
Of stories builded by his words
That are like coloured Asian birds
At evening in their rainless lands.'

O Patrick, by your brazen bell,
There was no limb of mine but fell
Into a desperate gulph of love!
'You only will I wed,' I cried,
'And I will make a thousand songs,
And set your name all names above,
And captives bound with leathern thongs
Shall kneel and praise you, one by one,
At evening in my western dun.'

'O Oisin, mount by me and ride
To shores by the wash of the tremulous tide,
Where men have heaped no burial-mounds,
And the days pass by like a wayward tune,
Where broken faith has never been known
And the blushes of first love never have flown;
And there I will give you a hundred hounds;
No mightier creatures bay at the moon;
And a hundred robes of murmuring silk,
And a hundred calves and a hundred sheep
Whose long wool whiter than sea-froth flows,
And a hundred spears and a hundred bows,
And oil and wine and honey and milk,
And always never-anxious sleep;
While a hundred youths, mighty of limb,
But knowing nor tumult nor hate nor strife,
And a hundred ladies, merry as birds,
Who when they dance to a fitful measure
Have a speed like the speed of the salmon herds,
Shall follow your horn and obey your whim,
And you shall know the Danaan leisure;
And Niamh be with you for a wife.'
Then she sighed gently, 'It grows late.
Music and love and sleep await,
Where I would be when the white moon climbs,
The red sun falls and the world grows dim.'

And then I mounted and she bound me
With her triumphing arms around me,
And whispering to herself enwound me;
He shook himself and neighed three times:
Caoilte, Conan, and Finn came near,
And wept, and raised their lamenting hands,
And bid me stay, with many a tear;
But we rode out from the human lands.
In what far kingdom do you go'
Ah Fenians, with the shield and bow?
Or are you phantoms white as snow,
Whose lips had life's most prosperous glow?
O you, with whom in sloping vallcys,
Or down the dewy forest alleys,
I chased at morn the flying deer,
With whom I hurled the hurrying spear,
And heard the foemen's bucklers rattle,
And broke the heaving ranks of battle!
And Bran, Sceolan, and Lomair,
Where are you with your long rough hair?
You go not where the red deer feeds,
Nor tear the foemen from their steeds.

S.  Patrick. Boast not, nor mourn with drooping head
Companions long accurst and dead,
And hounds for centuries dust and air.

Oisin. We galloped over the glossy sea:
I know not if days passed or hours,
And Niamh sang continually
Danaan songs, and their dewy showers
Of pensive laughter, unhuman sound,
Lulled weariness, and softly round
My human sorrow her white arms wound.
We galloped; now a hornless deer
Passed by us, chased by a phantom hound
All pearly white, save one red ear;
And now a lady rode like the wind
With an apple of gold in her tossing hand;
And a beautiful young man followed behind
With quenchless gaze and fluttering hair.
'Were these two born in the Danaan land,
Or have they breathed the mortal air?'

'Vex them no longer,' Niamh said,
And sighing bowed her gentle head,
And sighing laid the pearly tip
Of one long finger on my lip.

But now the moon like a white rose shone
In the pale west, and the sun'S rim sank,
And clouds atrayed their rank on rank
About his fading crimson ball:
The floor of Almhuin's hosting hall
Was not more level than the sea,
As, full of loving fantasy,
And with low murmurs, we rode on,
Where many a trumpet-twisted shell
That in immortal silence sleeps
Dreaming of her own melting hues,
Her golds, her ambers, and her blues,
Pierced with soft light the shallowing deeps.
But now a wandering land breeze came
And a far sound of feathery quires;
It seemed to blow from the dying flame,
They seemed to sing in the smouldering fires.
The horse towards the music raced,
Neighing along the lifeless waste;
Like sooty fingers, many a tree
Rose ever out of the warm sea;
And they were trembling ceaselessly,
As though they all were beating time,
Upon the centre of the sun,
To that low laughing woodland rhyme.
And, now our wandering hours were done,
We cantered to the shore, and knew
The reason of the trembling trees:
Round every branch the song-birds flew,
Or clung thereon like swarming bees;
While round the shore a million stood
Like drops of frozen rainbow light,
And pondered in a soft vain mood
Upon their shadows in the tide,
And told the purple deeps their pride,
And murmured snatches of delight;
And on the shores were many boats
With bending sterns and bending bows,
And carven figures on their prows
Of bitterns, and fish-eating stoats,
And swans with their exultant throats:
And where the wood and waters meet
We tied the horse in a leafy clump,
And Niamh blew three merry notes
Out of a little silver trump;
And then an answering whispering flew
Over the bare and woody land,
A whisper of impetuous feet,
And ever nearer, nearer grew;
And from the woods rushed out a band
Of men and ladies, hand in hand,
And singing, singing all together;
Their brows were white as fragrant milk,
Their cloaks made out of yellow silk,
And trimmed with many a crimson feather;
And when they saw the cloak I wore
Was dim with mire of a mortal shore,
They fingered it and gazed on me
And laughed like murmurs of the sea;
But Niamh with a swift distress
Bid them away and hold their peace;
And when they heard her voice they ran
And knelt there, every girl and man,
And kissed, as they would never cease,
Her pearl-pale hand and the hem of her dress.
She bade them bring us to the hall
Where Aengus dreams, from sun to sun,
A Druid dream of the end of days
When the stars are to wane and the world be done.

They led us by long and shadowy ways
Where drops of dew in myriads fall,
And tangled creepers every hour
Blossom in some new crimson flower,
And once a sudden laughter sprang
From all their lips, and once they sang
Together, while the dark woods rang,
And made in all their distant parts,
With boom of bees in honey-marts,
A rumour of delighted hearts.
And once a lady by my side
Gave me a harp, and bid me sing,
And touch the laughing silver string;
But when I sang of human joy
A sorrow wrapped each merry face,
And, patrick! by your beard, they wept,
Until one came, a tearful boy;
'A sadder creature never stept
Than this strange human bard,' he cried;
And caught the silver harp away,
And, weeping over the white strings, hurled
It down in a leaf-hid, hollow place
That kept dim waters from the sky;
And each one said, with a long, long sigh,
'O saddest harp in all the world,
Sleep there till the moon and the stars die!'

And now, still sad, we came to where
A beautiful young man dreamed within
A house of wattles, clay, and skin;
One hand upheld his beardless chin,
And one a sceptre flashing out
Wild flames of red and gold and blue,
Like to a merry wandering rout
Of dancers leaping in the air;
And men and ladies knelt them there
And showed their eyes with teardrops dim,
And with low murmurs prayed to him,
And kissed the sceptre with red lips,
And touched it with their finger-tips.
He held that flashing sceptre up.
'Joy drowns the twilight in the dew,
And fills with stars night's purple cup,
And wakes the sluggard seeds of corn,
And stirs the young kid's budding horn,
And makes the infant ferns unwrap,
And for the peewit paints his cap,
And rolls along the unwieldy sun,
And makes the little planets run:
And if joy were not on the earth,
There were an end of change and birth,
And Earth and Heaven and Hell would die,
And in some gloomy barrow lie
Folded like a frozen fly;
Then mock at Death and Time with glances
And wavering arms and wandering dances.

'Men's hearts of old were drops of flame
That from the saffron morning came,
Or drops of silver joy that fell
Out of the moon's pale twisted shell;
But now hearts cry that hearts are slaves,
And toss and turn in narrow caves;
But here there is nor law nor rule,
Nor have hands held a weary tool;
And here there is nor Change nor Death,
But only kind and merry breath,
For joy is God and God is joy.'
With one long glance for girl and boy
And the pale blossom of the moon,
He fell into a Druid swoon.

And in a wild and sudden dance
We mocked at Time and Fate and Chance
And swept out of the wattled hall
And came to where the dewdrops fall
Among the foamdrops of the sea,
And there we hushed the revelry;
And, gathering on our brows a frown,
Bent all our swaying bodies down,
And to the waves that glimmer by
That sloping green De Danaan sod
Sang, 'God is joy and joy is God,
And things that have grown sad are wicked,
And things that fear the dawn of the morrow
Or the grey wandering osprey Sorrow.'

We danced to where in the winding thicket
The damask roses, bloom on bloom,
Like crimson meteors hang in the gloom.
And bending over them softly said,
Bending over them in the dance,
With a swift and friendly glance
From dewy eyes:  'Upon the dead
Fall the leaves of other roses,
On the dead dim earth encloses:
But never, never on our graves,
Heaped beside the glimmering waves,
Shall fall the leaves of damask roses.
For neither Death nor Change comes near us,
And all listless hours fear us,
And we fear no dawning morrow,
Nor the grey wandering osprey Sorrow.'

The dance wound through the windless woods;
The ever-summered solitudes;
Until the tossing arms grew still
Upon the woody central hill;
And, gathered in a panting band,
We flung on high each waving hand,
And sang unto the starry broods.
In our raised eyes there flashed a glow
Of milky brightness to and fro
As thus our song arose:  'You stars,
Across your wandering ruby cars
Shake the loose reins:  you slaves of God.
He rules you with an iron rod,
He holds you with an iron bond,
Each one woven to the other,
Each one woven to his brother
Like bubbles in a frozen pond;
But we in a lonely land abide
Unchainable as the dim tide,
With hearts that know nor law nor rule,
And hands that hold no wearisome tool,
Folded in love that fears no morrow,
Nor the grey wandering osprey Sorrow.'

O Patrick! for a hundred years
I chased upon that woody shore
The deer, the badger, and the boar.
O patrick! for a hundred years
At evening on the glimmering sands,
Beside the piled-up hunting spears,
These now outworn and withered hands
Wrestled among the island bands.
O patrick! for a hundred years
We went a-fishing in long boats
With bending sterns and bending bows,
And carven figures on their prows
Of bitterns and fish-eating stoats.
O patrick! for a hundred years
The gentle Niamh was my wife;
But now two things devour my life;
The things that most of all I hate:
Fasting and prayers.

S.  Patrick.      Tell on.

Oisin.                 Yes, yes,
For these were ancient Oisin's fate
Loosed long ago from Heaven's gate,
For his last days to lie in wait.
When one day by the tide I stood,
I found in that forgetfulness
Of dreamy foam a staff of wood
From some dead warrior's broken lance:
I tutned it in my hands; the stains
Of war were on it, and I wept,
Remembering how the Fenians stept
Along the blood-bedabbled plains,
Equal to good or grievous chance:
Thereon young Niamh softly came
And caught my hands, but spake no word
Save only many times my name,
In murmurs, like a frighted bird.
We passed by woods, and lawns of clover,
And found the horse and bridled him,
For we knew well the old was over.
I heard one say, 'His eyes grow dim
With all the ancient sorrow of men';
And wrapped in dreams rode out again
With hoofs of the pale findrinny
Over the glimmering purple sea.
Under the golden evening light,
The Immortals moved among thc fountains
By rivers and the woods' old night;
Some danced like shadows on the mountains
Some wandered ever hand in hand;
Or sat in dreams on the pale strand,
Each forehead like an obscure star
Bent down above each hooked knee,
And sang, and with a dreamy gaze
Watched where the sun in a saffron blaze
Was slumbering half in the sea-ways;
And, as they sang, the painted birds
Kept time with their bright wings and feet;
Like drops of honey came their words,
But fainter than a young lamb's bleat.

'An old man stirs the fire to a blaze,
In the house of a child, of a friend, of a brother.
He has over-lingered his welcome; the days,
Grown desolate, whisper and sigh to each other;
He hears the storm in the chimney above,
And bends to the fire and shakes with the cold,
While his heart still dreams of battle and love,
And the cry of the hounds on the hills of old.

But We are apart in the grassy places,
Where care cannot trouble the least of our days,
Or the softness of youth be gone from our faces,
Or love's first tenderness die in our gaze.
The hare grows old as she plays in the sun
And gazes around her with eyes of brightness;
Before the swift things that she dreamed of were done
She limps along in an aged whiteness;
A storm of birds in the Asian trees
Like tulips in the air a-winging,
And the gentle waves of the summer seas,
That raise their heads and wander singing,
Must murmur at last, "Unjust, unjust";
And "My speed is a weariness," falters the mouse,
And the kingfisher turns to a ball of dust,
And the roof falls in of his tunnelled house.
But the love-dew dims our eyes till the day
When God shall come from the Sea with a sigh
And bid the stars drop down from the sky,
And the moon like a pale rose wither away.'
Again the pencilled greys
permeate the valley view
the evergreens veiled

a breeze that comes and goes
waves the willows wands

one bird hangs on
rides into the day
its feathers all one way

the sky is not
it left with light
though paled

the only stars  
are those of houses
where ****** of colour
create their own terrestrial Milky Way

Margaret Ann Waddicor 2nd April 2016
Vamika Sinha Aug 2015
Sun slits in through slats
of kitchen window blinds
and she is alone.

The art major is cooking
spaghetti,
pretending her thrifted T-shirt
bearing a cotton copy
of Campbell's Soup Cans
is not stained with tears and blood.
Oh, but that's hysterics and
hyperbole;
art has a tendency of making its worshippers
melodramatic...no?
The blood is only tomato sauce
and the tears...
well, what are tears but
water and salt?
After all, dramatizing the
mundane is just one awkward shade
of artistic temperament.
Visualizing life through
a heavy silk screen.

The art major sighs and
stirs.
The spaghetti is redder and
redder as she cooks.
Just as
her paintings bleed more blood
as she dangles a brush over them -
the teary-eyed watercolours.

The art major has decided
that drawing out extremities
of colour
might transform
her own life into
a pop of a Warhol painting.

The art major sighs and
stirs.

She thinks, tries to
think
in technicolour.
Today's thought-pencilled thesis
concludes (like a brush stroke of uncertain finality) that
love is the red of tomato soup cans.
Anger is the boil, passion is
the gulp,
danger, caution, warning,
the hot breaths, fleeting warmths,
the burn and sweet and tang.
She looks down at the
scarlet of
Warhol's soup cans,
blooming in worn out cotton
on her chest.

It might as well be blood, she
thinks.
It is,
it is,
it is.
Blood red love -
tomato soup cans.

Sun sets in slits
through kitchen window blinds
and she is still alone.

The art major sighs and
stirs.
The spaghetti is ready.
I once saw a T-shirt of Campbell's Soup Cans in Forever 21. I didn't buy it.
Also, Andy Warhol is endlessly amazing.
SassyJ Jan 2016
Stencils and pencils
Sharpener mishaps
Doodles, scribbles
Scrambling shades
Blending sketches
Running axis points
Spherical shadows
Tinting hints and hues
Pencilled portraits
Cruel crooked eyes
The bendy nose
Philosophical muse
Artistically inspired
Shading and fading
Realistically amused
Fused within reality
Surreal tuned vices  
Meet-ups and sit ups
Outlines freakily patched
Attended a sketching meet up for the first time. The best ever environment where I can just be myself. Socialising via sketching is cool;)
Vamika Sinha Jul 2015
Wanderer.
From window to window.
Seeking
             something
in different glass scenes
from offices and trains and restaurants.
Like she'll see something or someone
or somebody.
And the world will no longer be
a tilted painting.

Clear spring cold
papers over
the scene of the city of her world.
She's freezing.

There is a cafe at the end of the
road
where sidewalk snow has mingled
with trod-on mud
from commuter's shoes.
It's called
'Les yeux qui voient tout'

She can smell coffee and cigarettes and paper and words
and smiles and wine all the way from Bordeaux.
She sits by the window.

Tendrils of hair cut
across her cheek
as she lowers.
The seat is cold.
Legs crossed,
                       arms clasped,
high-heeled shoes with straps
that cross,
head bent
over a crossword.

'Un cafe au lait, s'il vous plait.'

Last four-letter word pencilled in so
she crumples up the paper.
The eyes don't notice
origami birds dangling above her.
Somehow
they're all angled
towards the glass window
like sunflowers reaching for the sun.
Perhaps the casual
shuttered-open winds
are the birds' oxygen;
reminders that
                          something
like
sky,
air,
wind,
exist, beyond
coffee-smoked counters.
Reminders that
they could breathe, live, fly
in some other city of some other world.

Cup and saucer on a silver platter
hover over.
Idle fingers
and then a clatter.
She stares down into
the white porcelain pit,
teeming with hot brown
                                           alarms.
It isn't a portal
into
       something.
Just a cup of coffee.
Now that is an alarm.

Slow and
                shaking,
drip,
         drip,
                  drip.
The milk is poured.
Curling, italic, Persian carpet spread
from the cup's centre into warm-cream brown.
She imagines it is
blood in her heart.

She raises the little silver teaspoon
napping on the saucer and
stirs.

'Le sucre?'
Does she want it all
to be
sweeter?

Two packets, long like
Marlboros,
hastily, desperately dumped
into the mix.
Quick and
                  shaking,
she raises the little silver teaspoon and
stirs.
Little sugar grains ******
into a vortex,
dissolved and melted into
the city of the world of the cup.

With her little finger, she
dabs
stray sugar grains
on the table
and tries to bring sweetness
to her sleep-thick tongue.

Slow and
                shaking,
sip,
      sip,
            sip.

She's­ tricked herself
into feeling warmth.
Ticker-tape banner
pops up in her head:
'All of this will not
fix you.'

Porcelain clatter
as cup meets saucer.
Again.
She arms herself with
a cigarette case and a book.
Maybe now she will belong
amongst these people
with sad eyes and burning lips,
clinging on to cups and drinks.
So desperately-lit smoke
trails out of
her warm mouth,
steaming up her face
like a window on a cold winter day.
And meanwhile Camus perches
in her hand.

Her eyes swim
in the choppy seas
of French.
The cigarette dangles,
painting the air grey, grey,
tilting, tilting, tilting.
Slow and
                shaking,
she weeps.

Half-aglow in the white sunshine filter
from the glass window,
a woman is wondering.
She drinks her coffee,
wipes her smudged mouth
and leaves.

Nobody notices the wobble
in her high-heeled gait.
She's just a part of
another tilting painting,
another glass scene.

These simple acts,
           simple things,
define
the speaking soul.
In a scene of the city of the world.
It's all a metaphor.
For all the goodness this screen provides;
for its instant gratification;
for the evolved digital relay of self-published creativity;
for the immediate responses and comments
from half a world away.
For its space saving mastery.
I long to hold all your words, verses and rhymes intimately
within glossy or plain protective coat of hard card
Your spine dunked in the cup of palm
headcap to tail resting in crux of arm
or nestled like a lover upon lap.
I could take you to bed.
I want to thumb through your pages
Pages once mashed and pulped and pressed to dry.
I long to feel the weight of words physically
to smell the freshness along each hinge crease,
and caress the texture.
To return to those most fond
charactered with dogear
underlined with ballpoint
and pencilled margin notes.
Even the mild smudge of finger tip dirt
when I simply could not wait to picking you up before washing.
If only this screen was a page
One of millions ever changing
I could hold all your work close
and fall asleep with your words
waiting in rest beside me
always
beside
me....
I mean every word
Nigel Morgan Sep 2012
The cat lies on the table. She is keeping her own council, a philosophical feline. It is mid afternoon, an hour before the possibility of tea and cake. Already the room is retreating from the lamp's light into a dusky gloom. Outside the winter garden lies still, damp and cold and still.

Rain comes. A winter rain, almost snow, spreads itself across the window.  Ice-full it is a drum with tiny particles rolling across a taut skin of glass. The cat stirs, turns on his side exposing a tummy of white fur. An old cat this, a silent presence now, hardly a purr on a waiting lap.

Books. Piles of books. A book open to reveal pencilled annotations. Several arrangements of papers paper-clipped together, colourfully highlighted. There's a scholarly journal 'borrowed' with a concert programme marking a ‘required’ read. Telemann and Bach infiltrate an investigation of Jewishness in George Eliot's Daniel Deronda.

A framed photograph stands companionably amongst today's letters and the coloured cards of Christmas to come. There's a red-haired girl, a portrait against old roses., a child in a school-blue dress, freckled with green eyes she is smiling carefully, as though not convinced taking this photo is a good thing.

As darkness encroaches, the stories in this space circle the lamp like moths. They rise from the table, detach themselves from the walls (like bats) and float in their own form. Catching leaves, wish-making in a September wood; the fierce tide pouring across the Lindisfarne causeway; small children picnicking by a cricket field. The recent thrill of Jerusalem. Taverner's Mass –

Oh Western Wind,
when will thou blow,
the small rain down can rain?
Christ! If my love were in my arms,
and I in my bed again!


Here in this small suburban room there comes together a past; a life reverberates in a temporary peace, a truce in the long campaign of family, ageing, ****** discomfort, obligation, regret (always regret), passion unspent, books unread, poems still to write. And this waiting for a clear answer yet to come, a promise yet to be fulfilled? All is contained here as the alarm clock's digits move towards 16.30 and it is time for tea and cake. Time to rise from the table and feed the cat.
Big Virge Sep 2020
Now I'm An UNTOUCHABLE... !!!
UNLIKE.... Cliff Huxtable... !!!
Or YES I Mean... " Bill "... !!!

I'm UNTOUCHABLY... ILL...
When It Comes To My Will... !!!

I Lyrically ****...
Well I Hope... NOT ****.... !!!

But WILL- FULLY Build...
Verse That INSTILS...
UNTOUCHABLE Levels...
of Using Your MENTAL... !!!

Stencilled Pencilled...
... Mental Rhymes....

Kinda Like UNTOUCHABLE Guys...
When It Comes To The Mic... !!!

ME... Well INDEED...
Some Do Believe...
That I Flow My Rhymes Alright...

Now That's A Humble Line...
UNTOUCHABLY Designed...
To Let... YOU Decide...
If I Flow Like MIKE... ?!?
AIR JORDAN Like... !!!!!!

Well ONE THING I'll Claim... !!!
Is That My Wordplay...
Deserves A Place...
In Halls Where Fame...

ONLY HOLD What's GREAT... !!!!!

But Skill On A Mic' Is NOT A Claim...
I... Choose To MAKE... !!!

Because UNTOUCHABLE Names... !!!
DESERVE.... Such PRAISE...
In How They're Viewed...
And That's The TRUTH... !!!!!

I'm UNTOUCHABLE Yeah...
Just Like... " JERU' "... !!!

Because I've Walked Through...
Where... DARKNESS RULES... !!!

But Moved TOO COOL...
For UNTOUCHABLE Crews...
To... Want To PULL...
Their TOOLS And ABUSE...

Because They KNEW...

" Big Virge Is Cool !
AND UNTOUCHABLE Dude ! "

Because I Choose...
To Just... " Hang Loose "...

EVEN WHEN Violence Is Used...
Because of... Moods...
UNTOUCHABLY Crude... !!!

Where IGNORANCE Moves...
To... FEEDING FEUDS... !!!!!

I RISE......... ABOVE.......
So DO NOT Touch...
The... IGNORANT... !!!!!!

Because In TRUTH...
They're UNTOUCHABLE Too... !!!!

Because of How...
Their Energies Sound...

FAR TOO LOUD.... !!!!!!
For Me To Receive... !!!!!!!!
Because Like THIEVES...

They Feed DECEIT And ROBBERY... !!!
of Things I KEEP... UNTOUCHABLE... !!!

Like The Way My CHI...
DENIES These FIENDS...

A Chance of Getting...
TOO CLOSE To....... ME...

UNTOUCHABLE... IS...
The Theme of THIS Piece...
Because YES It's TRUE... !!!!

My Poetry Is UNTOUCHABLY....
A Way For Me To Offer YOU...
A Piece of..... ME.....

A Piece of My Heart...
And YES... My Soul... !!!

Now It Can Get DARK...
Like...... Al Capone...... !!!!!

But Shows MORE LOVE...
Than... GANGSTER Thugs... !!!!
It's More Like... " NESS "... !!!
When I EXPRESS... !!!!!!

NOT ELLIOT....
Or... Loch MONSTER Bred... !!!

I'm Just Blessed With A... NESS...
That Moulds And Blends In...

With......... " FINESSE ".......... !!!!!!!

That's ME... BIG VIRGE... !!!

So My Final Words...
In TRUTH... " ACCEPT "...

That When It Comes To...
... Government...
Their Court Systems...
And FEDERAL Friends...

They'll TRY Their Best... !!!
To Cause... PROBLEMS...

BUT NO Matter WHAT... !?!
They TRY TO.... PULL....
My SPIRIT Will Stay UNCRUSHABLE... !!!

So I'll... ETERNALLY Be...

...... " UNTOUCHABLE "..... !!!
YUP.... This was actually inspired by the, Bill Cosby situation, as well as my love for the movie, with De Niro, Connery & Costner !
Kate W Aug 2012
I have this image of you and me tucked into the most precious corner of my mind. There we are, you with your seraphic face and dancing mind, me, round and brunette, more like my father with Japanese eyes and suffocating hesitation weaved into my DNA, a young five year old grasping your books in my hands.

That is how it began.

The same books I would read as years passed on. The books that watched from afar as everything changed. Books with dog eared pages, pencilled in words of "remember this" or scribbled lines and stars of inspiration, burnt pages from your cigarettes, warped font and wrinkled pages from your tears, my tears, my sisters tears. The tears that fell and fell until the three of us were drowning in that salty anthropomorphic ocean that started out a drop of pure rain. And on your lap, holding us to you, you told us how you built a boat to carry us toward some hopeful light house with twinkling lights and old wrinkled men in rain boots that would pull us to shore. When all along your heart was never our compass, we were drowning in your being. clinging to books in your library of the sea. tearing pages off in desperation.
Azalea Banks Feb 2013
i.
He told her
That mathematics was too
Sombre.
Too, too
Linear
To be poetic.

She said that
He had only seen himself
In a mirror,
A reversed hologram
Of his external self
Burned into his retinas with
His subconscious filling in the gaps.

But she had seen him
The rays reflected straight off him
Into her eyes;
Not some half-assed reflection
Off some silvered surface.

ii.
She said that
His jawline was
The ***** of a curve
Pencilled on a graph sheet.
His candlewax skin
A wavelength
Quantifiable on paper.
His spine
A number line with
Dashes, to show real numbers
The set of which was infinite.

She said that
A Fibonacci sketch was
A minimalist rose,
A post-modern bouquet.

And that
The reflected pale morning sun
In a half finished cup of camomile tea
Was a cardioid
With fixed coordinate values on the axes
And an algorithmic tangent.

And he
Was a negative infinity
A paradox not sorted under
Quine's classification system.

iii.
She had
Recorded his heartbeat and blood pressure;
Measured the distance between his lips with her own;
Tried so hard, so very, very hard
To put him down in a numerical form
And write him off as an equation.

But all she could say was
That he was more
Than the sum total of his meagre parts
And that she
Was his reciprocal value.
Ken Oct 2015
You read my eyes
And when you see
the endless pages
I feel no cause
to close, but lay open
for your chapters

Ages my bound spine
wished to be splayed
wide for your bookmarks
your margin notes

Write in me, soft
pencilled reference
Mark me, as your map
Under the stroke of your hand
I am fearless

Breathe deeply in me
with no counting
and let your clocks
drop and break, in bliss
In knowing who we are not
we are timeless

Show me your darkness
and let me hold it
that you may laugh
at your fear
through Shiva's eyes
Play with me

I long to see
your child-mind
that knows so well
how fairies dance
in sun or rain
Moons ago, and now
my heart still comes
when you look at me

My hopeless allegories
hide no secret beyond
this honest open love
but one
I want to leave my flowers
on your doorstep every day

Copyright 2015 Ken Rush
Scarlet Niamh Jun 2018
To the bone I am becoming,
losing track of what I wanted to be,
I'll find myself being pencilled in
with grayscale tones painted over me.

To the bone I am becoming,
break my fingers, my limbs and my soul,
you'll touch me as you wish, burning me thin,
'til I'm fragile - no parts of a whole.

To the bone, I am becoming,
even though I'm desperate to try,
because all I can taste is your hands on my skin
and bitter and dark was the fight.

To the bone, I am becoming,
I'm addicted to losing control.
My bedroom is littered with matchsticks and gin,
To the bone
To the bone
To the bone.
~~ Trying, failing, rinse and repeat. ~~
S E L Dec 2013
I could toss my cares over a rainbow
Let it hang there a while and dry out its sorry behind
As I squeeze some slices of brackish time to research the deliberate contours of your patience
Swerving its way past concealed match sticks
Bend at the so definite behest of none.


Slurring backwards
Tentative graphica
Huge baskets of winding fun
Sketchy image pencilled in, for now
Details come later in -------- a terminal
(hopefully)


Charcoal drawings offer the sweet sound of breaking cumulus and sudden wax of orange
come to life on a sullen bed of love apples
shapes are p-p-p-pulled to painstaking proportion
deep lines stippled drastic
dragged along on unwieldy wagon strokes
       Art never really tastes ink but celebrates ephemerae
yet trapping half understood and beautiful pictures
beneath mocking glass panels
smudged with such deep knowinggggg


You can do something to stop this **** blood impasse
beset more so with counterfeit decline
blind bull rage too ready and bloodthirsty acts bay
half crippled and on its knees, how your land cries
see the (over)spill of rightly invective remain unresolved
  

See the deprivation at the lake
all gall thirsty, yet none to drink
just a hapless event smarting  
On a downward cyclic turn
no more will sing voices when old gripes unheard
scream in the long, red lines bulleted across that holy floor  
albeit the wicked general holds the trussed up cards
he won’t bother scraping the dried salt of kin later
it grows ever more in sad mounds on the little green book
awaiting missing miracle


inflections of a restless mind
within the ***** creep
retorts from peerless craft forge  
entangled moans in briars and sundry
resort to savour within disyllabic silence
  
Can you but count the ways in which these coins of seeking do ****** across
an afflicted floor of red lines to an exculpated heart, un(cor)rected ?
Unprocessed miracles are items of constant bewonderment in duress living
Gaye Sep 2015
I sit and stink,
After cups of tea, conversations and melancholy
The sweat is salty, an armpit attached to sentences-
Ondaatje and the cat, Abramovic and tears,
The hollow room and my single window that ached
The smell and the grey torn shirt never got *****.

I sit and stink,
Desperate to walk, talk and get out of newspapers
Scratch rich names out of the walls and retreat
To untie the curly locks and let them breathe.
A phone thrown at one corner and emails unread
The world- a closed book with no pages.

I sit and stink,
Jeans pulled down to a wet floor
European closet and the yellow sparky lights,
Imagination erupted, there was no room to escape.
I pencilled graphs, penned letters and painted snakes
Self-portrait, Van gogh and a black and white me.

I sit and stink,
A friend, the jack and the brick house
Dosa with ghee served for the jarred tilapias,
They are all memories. Unremembered-
Like running races and the temple music system.
I wrote them down neatly, in a rectangle, they leaked.

I sit and stink,
An unfamiliar face in a place with no power
Glenfarclas, smoke and Ra Ra Rasputin
She danced. He watched. Her collarbones broke.
He dug his nail, dirt at its corner, an unshaven facade
It was grave, full of pain, his face and his eyes.

I sit and stink,
A ****** body inside the same grey shirt
Scratching names next to the European closet
With the old song from the temple music system.
The unfamiliar face evoked all human senses
The body is yet to take a wash.
soul in torment Nov 2013
Use my shoulder as your pillow
let my body be your bed
let me be your warmth and comfort
when the laughter's all but dead

Let my arms always enfold you
let them be the words unsaid
when all you need is endless silence
and a place to lay your head

Let my kisses be the lyrics
to your heart's unsteady beat
as your breathing breaks the silence
and yet makes us both complete

Let my love be as the curtains
that keep others from looking on
as we count the blessings offered
and regrets now dead and gone

Let my need of you be noted
in the margins of my eyes
where you pencilled in your beauty
and underlined it with your sighs

Let my want be always wanting
let your presence ner' sedate
as you paint yourself upon me
as both sinner and a saint

Let the scars that others gave you
be the gifts I take away
as I offer up my body
as the prayers you never say

Let me be the one you run to
when you've no where else to run
and I'll  hide you from yourself dear
till your cryings all but done

Let my concern be the bindings
on our lives as books unread
where the foreword says I love you
and the titles enough said.
No idea just wanted writing
McDonald tsiie Jun 2017
Her eyes could see beyond my intentions
behind her pencilled eye and perfect make-up
I saw beauty in the complexity of her smile

She kissed my name
invited the 3rd guitar strings
played foreign instruments and drums
Leaving my heart in hazardous goosebumps*

only to infiltrate a new world
into this lexicographical

heartland of soulmates
The Love Religion...
Lauren C Sep 2012
What is the substratum of each day
but mere

filler,
the in-between?

The contours roughly
pencilled in, we simply

flesh them out,
gamely connect-the-dots,

paint by numbers.
This, that we wake to

each day, that we reconstruct,
dumbly enacting

each scene, each encounter,
actors

simply wanting
to please, to cover the cost

of each curtain, the ushers
to soundlessly herd you out.

Every last one of us
apprentices, frenzied

cattle -
the grand performance,

back by popular demand!
Fodder for our

flighty
attention

        spans, meagre

senses of self.

Nextstoppleaseholdhow
areyouicanhelpyouhere
ithinkineedfin­deverything
youneededtodaygoodthanks

pillowed against the brute
fear

of boredom,
of silence.
cait Apr 2013
haloes of light
reflecting on dew-sewn leaves
like angel's breath
creeping through the eaves

a soft, sweet rug
pencilled in a soft, sweet green
and the ever-changing spectrum
of an ever-changing scene

glance up at the sky,
don't you love the summer?
Edna Sweetlove May 2015
What does nineteen sixty nine mean to you?
The last dying tremor of the swinging sixties,
Woodstock and exotic moon landings,
Empty-headed teenagers and wasted hippies
Dancing in the fading glimmer of youth,
Their painted beads perished in the sun?

Or maybe you weren't even born then
And all you know is a tatty documentary film
About a media-created pop music fest,
And some footage of silver-shining Michelin men
Jumping about in lunar zero gravity,
(Which malicious rumour has it was faked -
Anything to distract the American public from
The inevitable national humiliation in Vietnam).

So let me remind you how it really, really was:
Swinging London was rocking like crazy,
Wow, it was so cool, the groovy discos served
Delicious lukewarm coca-cola after eleven p.m.,
And trendy Britain was a cute place to be gay
With homosexuality finally legalised
After a century of puritanical persecution,
Except that the law reform didn't apply in
Scotland or Northern Ireland or to the armed forces
And you had to be twenty-one and you could only do it
In private and if no third person was there.
And theatrical censorship was still in force
Which meant all naughty plays were blue-pencilled
By bureaucrats and narrow-minded prigs.

So let me remind you how it really, really was:
Religious riots in Belfast, Franco still in power in Spain,
And you could go there for a cheapo sunshine holiday
With watered down sangria in the shade of a bayonet;
The Berlin Wall an unchallenged affront to human decency,
Thanks to old man Kosygin in absolute power in the Kremlin,
His iron rule in force throughout Eastern Europe,
Poor Prague's defeat emphasised by occupying Soviet tanks.
And lovely Greece, birthplace of democracy, home to Zorba's dance
(Except that it was a criminal offence under the Colonels
To play any of Theodorakis' music because the most famous Greek
Was condemned as a ******* communist revolutionary *******).

So, let me remind you how it really, really was:
Nixon in the White House, half a million American troops
Fighting a losing battle for democracy in Vietnam
(More accurately against democracy, but the jury is still out on that),
And nearly as many US citizens on the march against the war.
Whilst the rest of the world looked on in indifference,
Since they had had enough common sense to stay out of it.
And when we think back to such a terrible, terrible year,
All the media seems to tell us is the insipid lie
That nineteen sixty-nine was a lovely summer of love.
It wasn't like that, it was boring and provincial and I was there.
Donna Arden Jun 2014
I sketched a story around my battle between rain and it's contemporary, the wind,
last night.
Drawings outlined with a harsher  pencilling , some  softer in lucidity.
Can it be,
the entirety of ones journey
from birth till death
is all in the lines of pencilling.
I pencilled my story ,
reinventing possibilities,
what ifs,
if onlys..
Would things have turned out differently ........
Somehow ...
My sketch came out beautifully
.....entirely what it's all meant to be.
Chalkings .......

DK
June 2014
Nigel Morgan Oct 2015
Agnes in London*


1

unprepared for this
the tall door opens
and there are the paintings
72in x 72in and full of nothing
the most delicate stripes of colour
‘midst an intricacy of making
nothing else but beauty
and the mystery of life

2

Here’s what’s left of her beginnings
after the landscapes the portraits
the biomorphic forms : abstraction
so very green with loneliness
and the wish to be the solitary self

3

She wanted to be like Picasso
a painter who worked hard
this room is full of that hard work
experimental embroidered forms
beginnings symptomatic of ‘the grid’
set amongst sculptured objects found
roughly brought together
urban : hard-edged

4

Just three compositions
the beaten gold leaf of *Islands

the Chinese go board of Friendship
the nothingness of Grey Stone
you saw the meticulously pencilled
hardly visible lines – hiding

5

More of the same but
noticing the rectangle
set inside the square
the all-important border
and the pin-pricked holes
for a guiding thread?

6

On a clear day
rise and look around you
how it will astound you
that glow of your being
outshining every star

. . . the Streisand song
a clue to expressing
an innocence of mind
or thirty variations
on a simple grid

7

The colour of the rock
at dawn at noon at sunset
Agnes in the desert
a soft brush on acrylic gesso
dividing colour fields
with the graphite pencil
masking tape and metal ruler
subtle irregularities
a liquid pooling of paint
when viewed close to

8

The greyness you loved
and sat transfixed
to view the textures
I could barely grasp
they were floating therein
a reduction of means

9

neither objects nor space
nor time nor anything
there in this silence
of the whispering kind
at the still centre
you told me you saw
a blueness in all this white
these twelve canvases
of acrylic paint
and graphite line

10  

Here her final work
a drawing on paper
rich in the tremor of inconsistency
conveying (the catalogue said)
a sense of optical vibration
art as a realm
of transcendent experience
like nature itself

11

her final canvases
a return to an earlier time
uncomfortably so for me
No longer work
at rest with itself
it reaches out
towards inevitability
and the futility of death
when the painting has to stop
http://www.theguardian.com/artanddesign/2015/jun/07/agnes-martin-retrospective-review-tate-modern
Q Aug 2017
my page was too white
my ink was too thin
and i could not write
what my thoughts pencilled in;

slowly i sank
as the page remained blank
and the night turned to day
as i turned old and grey;

yet the pages remained hollow
and it filled me with sorrow;

but if there's one thing i could follow:
it's pain today and regret

tomorrow
Alyssa Yu Feb 2016
if they say the more love you give away,
the more you get back
then why do i feel like i've been wringing myself dry
trying to fill up your sponge heart

and you accept each small drop with proper manners
a polite smile, a cordial thank you
but it isn't until i am too empty to stand
that you finally turn back to see how little of me is left
and realize i might need some strength of my own too

it's not like the love isn't there;
sometimes i think i can see the outline of bruises on your chest
because you seem to be all heart with no understanding of how to give it away

then again, i always had this self-destructive need to throw everything i have at anyone who gives me the time of day
so is this just my fault again?
for trying too hard to win you over
i'm sorry, it's only because i feel like i keep losing
to the computer screen
to new ideas for inventions
to more interesting friends
to convenience

and it kills me a little more every time you walk away
knowing the next time i'll see you is when it's practical and can be pencilled into your tetris block schedule

i don't know how much longer i can do this
and i would probably cry more about it but i don't have any energy left
Rachel Wood Mar 2014
Suspended in cold air,
Drawn by wing tips,

swaying trails of white vapour
caught by the wind

stretching out for miles
and diving through clouds.


Ruler- straight lines
are pencilled across pale blue,

running parallel ahead
like blackened train tracks.

Suspended in cold air,
but fastened tightly.
John Apr 2013
You hit that note with grace
Every time, every single try
It puts a big old smile on my face
And you never ask, never ask why
Now I don't know exactly where it comes from
And I don't care to even try to find it out
But when you're here and your vibe starts to hum
You induce a phase of long lasting doubt in me

Because you're too good at what you're doing
Don't know where you come from, baby
You're too fine as you walk that pencilled line
Do t know whether to go or come now
That sound, the sound you make
That buzz, that hum for God's Sake
Poetic T Jan 2016
Made with fading ink, she was so delicate she
Played upon the page, ink was all I could see
Pretty delicate lines  were etched but there was
Pity in these fragile lines I etched then paused.

I was falling in love with this woman on a page,
Cry as I might she was locked in a pencilled cage
So many imprints were erased redrawn within her
Flow she was all beauty became a confused blur.

Fingers shook not wanting to ruin this moment, it
Lingers in my heart, this picture I do wishfully knit.
Above I hover of her features, but she is static, still
Doves are etched on my heart but are silently fanatic.

Not able to lift a pencil she has captivated me I am
Fraught with delusions of love inanimate, I am her lamb.
Caught in her smuggled eyes where tears have descended
Thought is my savours as I realise and erase her it is ended.
Its pencilled etchings on the breeze
its gentle pastel tints and tones
its magic crystals falling
celestial celebrations in the sky
the wistful hoof of deer
or hop of mouse across the snow
the sculpted thin arrangement
of the reeds and grasses sticking through
conducting a stilled soliloquy  
in quiet of clearings among trees
where dancing snowflakes come to rest
the hiss of frozen moisture on the run across the lakes
the thuds on sheds- the crunch like sugared icing
on the paths - the swish of skis and sledges passing by
the echoing booms as the lakes lid cracks
the whistle through of the wind whisking out the tracks
a symphony in grey and white well into night
when deeper tones of brown and black
make background shadows in the woods

Margaret Ann Waddicor 27th January 2016
Winter is always exciting and beautiful.
Tina ford Jul 2015
Pencilled thoughts on paper,
Penned hopeful dreams,
Typed lists of wishes
Is all I do it seems,

Nothing ever changes,
Even with the words I write,
They're just my lifes ideas,
This keeps them in my sight,

We have to keep on holding,
The dreams inside our head,
They keep us having faith in life,
Until that is, we're dead,

Then all our dreams and wishes,
Come alive and take our mind,
To pure and everlasting light,
It's what one day we'll find.

I hope!
Joe Wilson Sep 2014
I look in wonder at all I see
each flower, tree, bird and bee.

All these amazing things on earth
that fill its air and all its girth.

But what do we civilised animals do
we cut them, burn them, shoot them too.

We ravage forests for our own needs
ignoring harm we do to breeds.

We only think about ourselves
of stocking up our winter shelves.

Or eating so we get so fat
you don't see 'animals' doing that!

We fill the skies with poisonous gases
killing each other with bombing passes.

Destroying wildlife habitats
to build new roads and boxy flats.

That stop the waters soaking in
and flood the lands that we live in.

And then we have a conference
where those who care get all incensed.

As promises and targets are pencilled in
with chance of action's wearing thin.

In years to come when it's too late
we'll wonder why we let it wait.

©Joe Wilson - There is only one Earth...2014

It's getting a little late...
nivek Aug 2015
carved or etched or pencilled
carved sounds more committed
deeper than the usual
to etch into metal sounds difficult
use of a pencil sounds soft and smudgy
RedD Sep 2018
Its the worst feeling right in the lowest pit of my stomach missing you like this. Too many days pass without you, but my mind is engulfed by you, every moment of every day. The eternal void I constantly dread, that one that longing commands. Dates pencilled in when you come to town seem so far away, yet move ever closer and each day is more tangible than the last but so much further than the next. Our time is fleeting yet all encompassing but one blink and its gone. I wish tonight you were here next to me, just like I imagine every night. A cuddle, a kiss, a smile as we drift off to sleep. Internal landscapes we walk together. And upon waking in the glint of dawns first light, we share the day's first kiss. Fingers wander, tantalized by our warm flesh and pull each other close, hold on tightly never wanting to let go. And maybe I'll hold on too tightly and not let go. But that time will make itself known, when our bodies have to let go. I'll have to let you go again. I'll wait for the days to pass, moments which turn to hours, hours to days, days to weeks. So slowly they will pass. But my heart will beat just a little faster, a little stronger when I hear your voice and I know it won't be long S, until we can be together again.
28th Sept 2018
2 or 5 days to wait?

— The End —