Heartstone is a reflection in music on a ‘lost’ poem. The poem described in its two short verses a summer’s day, a landscape, a fossil found and placed in the palm of a child’s hand. The poem inspired a seven-movement work for wind, brass and percussion with solo piano. Here is its poetic programme note.

Chert

The piano draws an arc of rhythm
rising then falling.
Above
two choirs of wind and brass
exclaim, fanfare, mark out
shorter, determined
gestures of sound.

The procession, almost a march,
becomes a dance.
Alone
Two choirs of wind and brass
become four couples
whose music weaves
from complexity a simplicity:
Chromatic to Pentatonic
twelve becoming five.

Prase

Four stopped horns,
five extended tonalities.
Together they wander
a maze of Pentatonic paths;
alone, and in pairs, as a quartet
they discover within
a measured harmonic rhythm.
Tension: resolution

. . . and surrounding
their every move
the piano
insists an obligato,
a continuum of phrases,
absorbing into itself
the warp and weft of horn tone.

Sard

Oscillating
in perpetual motion
the full ensemble
occupies a frame
of time and space.

Flutes, reeds,
double-reeds
brass, piano,
percussion
mirror-fold on mirror-fold
layer upon layer
overlapping.

Yarns of threaded sound.

Tuff

Without a break
the mirrored oscillations
patter pentatonics
on tuned percussion
of marimba and vibraphone

whilst
a *batterie of drums
lays down
shards of beaten rhythm
against this onward
folding of tonality change.

In the background
a choir of winds
flutes and single reeds
waymark this recursive journey
gathering together
cadential moments and the
necessary pause for breath.

Marl

Relentlessly, the motion is sustained,
piano-driven,
a syncopated continuo,
rhythm-sectioned
amidst layers of percussion.

Adding edge,
a choir of brass and double reeds
amplify the piano’s jagged rhythms
providing impetus for
phrases to become longer and longer,
ratching up the tension,
ever-denying closure
until the batterie
delivers
a conclusive flourish.

Paramoudra

Pulse-figures of winds.
Motific cells of brass.
Both
negotiate a stream of
fractal-shaped tonality
expanding: contracting.
A blossom of fanfares

folding into
pulsating layers
of tuned percussion,
flutes and reeds.
A dance-like episode

absorbs a chorale.
Four horns in close harmony
against the continuing dance.
A duet of differences

flows into a cascade of chords
in closed and open forms.
The piano supports
brass-flourishing figures
before a final stillness.

Heartstone

In gentle reflection
the solitary piano –
a figure in a landscape
of collapsed harmonic forms -
presents in slow procession
the essence of previous music.

Think of an imagined orchestra. But there is no resonance hereabouts, so the imagination gives next to nothing for your efforts, and even in surround-sound there’s so little to reflect the dimensions of the space your walking inhabits. Sea hardly counts, having its constant companionship with wind, and sand hills absorb the footfall. A shout dies here before the breath has left the lungs.

Listen, there is a vague twittering of wading birds flocked far out on the sand. The sea rolls and breaks a rhythmic swell into surf. There’s a little wind to rustle the ammophila and only the slight undefined noise of our bodies moving in this strip between land and sea. Nowhere here can sound be enclosed except within the self. There’s a kind of breathing going on, and much like our own, it has to be listened for with a keen attention.

There is such a confusion of shapes making detail difficult to gather in, even to focus upon, and to attempt an imagined orchestration – impossible. We’ll have to wait for the camera’s catch, its cargo to be brought to the back-lit screen. Once there it seems hardly a glimmer of what we thought we saw, what we ‘snapped’ in an instant. It’s too detached, too flat. So thankfully you sketch, and I feel the pen draw shapes into your fingers and their moving, willing hand. On your sketchbook’s page the image breathes and lives.

You can’t sketch music this way because the mark made buries itself in a network that seems to defy with its complexity any image set before you. Time’s like that. You end up with a long low pitch, pulsating; a grumbling sound rich in sliding harmonics. You see, landscape does not beget melody or even structure and form, only tiny, pebbled pockets of random sound. Here, there is no belonging of music. Only the built space can adequately house music’s home. We might ****** a few seconds of the sea’s turn and wash, a bird’s cry, the rub and clatter of boot on stone, and later bring it back to a timeline of digital audio and be ‘musical’ with it, or not.

Where we hold music to landscape is something we are told just happens to be so; it is the interpretation’s (and the interpreter’s) will and whim. It is an illusion. The Lark Ascends in a Norfolk field. We hear, but rarely see, this almost stationary bird high in the morning air. We can only imagine the lark’s eye view, but we know the story, the poem, the context, so our imagination learns to supply the rest.

What is taken then to be taken back? On this November beach, on this mild, windless afternoon,. Am I collecting, preparing, and easing the mind, un-complicating mental space, or unravelling past thoughts and former plans? I can then imagine sitting at a table, a table before a window, a window before a garden, and beyond the garden (through the window) there’s a distant vista of the sea where the sun glistens (it is early morning), and there too in the bright sky remains a vestige of a night’s drama of clouds. But today we shall not put music to picture from a camera’s contents, from any flat and lifeless image.

Instead there seem to be present thoughts alive in this ancient coastline, abandoned here the necessary industry of living, the once ceaseless business of daily life. Instead of the hand to mouth existence governed by the herring, the course strip farming below the castle, the herds of dark cattle, the possible pigs, some wandering sheep, seabirds and their eggs for the ***, the gathering of seaweed, the foraging for fuel: there is a closing down for winter because the visitors are few. We need the rest they say, to regroup, paint the ceilings, freshen up the shop, strengthen the fences, have time away from the relentlessness of accommodating and being accommodating. Only the smell of smoking the herring remains from the distant past – but now such kippering is for Fortnums.

We step out across and down and up the coastal strip: an afternoon and its following morning;  a few miles walking, nothing serious, but moving here and there, taking it in, as much as we can. We fill ourselves to the brim with what’s here and now. The past is never far away: in just living memory there was a subsistence life of the herring fishers and the itinerant fisher folk who followed the herring from Aberdeen to Plymouth. Now there are empty holiday lets, retirement properties and most who live here service the visitors. Prime cattle graze, birds are reserved, caravans park next to a floodlit hotel and its gourmet restaurant. There’s even a poet here somewhere - sitting on a rock like a siren with a lovely smile.

Colours: dull greens now, wind-washed-out browns, out and above the sea confusions of grey and black stone, floating skeins of orange sands and the haunting, restless skies. Far distant into the west hills are sculpted by low-flying clouds resting in the mild air. Wind turbines step out across the middle distance, but today their sails are stationary. As the bay curves a settlement of wooden huts, painted chalets then the grey steep roofed houses of stone, grey and hard against the sea.

Does music come out of all this? What appears? What sounds? What is sounding in me? There is nothing stationary here to hang on to because even on this mild day there is constant change. Look up, around, adjust the viewpoint. There’s another highlight from the sky’s palette reflecting in the estuary water, always too various and complex to remember.

Music comes out of nothing but what you build it upon. It holds the potential for going beyond arrangements of notes. Pieces become buildings, layers in thought. My only landscape music to date begins with a formal processional, a march, and a gradually broadening out of tonality the close-knit chromatic to the open-eared pentatonic. There’s a steady stream of pitches that do not repeat or recur or return on themselves, as so much music needs to do to appease our memory.

In this landscape there seem only sharp points of dissonance. I hear lonely, disembodied pitches, uncomfortable sounds that are pinned to the past. The land, its topography as a score grasping the exterior, lies in multi-dimensional space, sound in being, a joining of points where there is no correlation. There’s a map and directions and a flow of time: it starts here and ends there, and so little remains for the memory.

Yet, this location remains. We walked it and saw it fortunately for a brief time in an uninhabited state. We were alone with it. We looked at this land as it meets the sea, and I saw it as a map on which to place complexes of sound, intensities even,. But how to meet the musical utterance that claims connection? It is a layering of complexes between silences, between the steady step, the stop and view. There is perhaps a hierarchy of landscape objects: the curve of the bay, the sandhills’ sweep, the layerings of sand, and in the pools and channels of this slight river that divides this beach flocks of birds.

Music is such an intense structure, so bound together, invested with proportions so exact and yet weighed down by tone, the sounding, vibrating string, the column of air broken by the valve and key, the attack and release of the hammered string. But there is also the voice, and voices are able to sound and carry their own resonance . . .

. . . and he realised that was where these long drawn out thoughts, this short diary of reflection, had been leading. He would sit quietly in contemplation of it all and work towards a web of words. He would let their rhythms and sounds come together in a map, as a map of their precious, shared time moving between the land and the sea, the sea and the land.

i am sitting here. blank face.
counting the ripples on the pool.

one.... two.... ok, enough.

the hairs on my arm?
too many.
too blonde.

practice minor pentatonic scales?
if only i knew what they were good for.
blues scales?
ok.
root, flat third, fourth, sharp fourth, flat seventh, eighth.
[**** i'll be proud if that's right.]

overthink everything.
write way too many poems,
save them all as drafts.
wonder if you'd even respond.
think of calling you.
decide not to.
"your unwanted calls"...
or something that you wrote forever ago,
keeps me away.
you keep me away.
[if only you handled this by saying
maybe in the long run we'll actually get to know each other...
this is for the best.
wouldn't that be grand?
wouldn't that be way better
than some short term relationship
that would just end in this hatred for me anyway?]

i pout,
look out the window,
notice the blue sky.
i wonder why you can't be happy.
i wonder why I can't be happy.

Oh, my cherished-
If I could give you him
I'd wrap him in picnic plaid
Like the gift he should be
(I know you'd like that)
And I'd tie him to you by
his tweed and sheepish smiles,
so tight that you'd turn into
a Great Ancient Tree.

Darling, if I could
shake the demons out of your forest,
I'd holler at them in a pentatonic fury
and bend them from your nation.
(With air. Not fire)

My Siamese twin,
connected at the heart,
If I could give you the world
I'd carry it to you
like Atlas
though I'd have to work on my long distance running.
I'd do it for you.

I'd do it a hundred,
and bring you all the jam ever jellied.

Each smokestack tranced across the side of the rust colored Hall
As an ancient Chinese paper dragon
Bobbing and
           Weaving
With feather pentatonic tea leaves
      White and green
       Silk and screen
Opaque paper culture

Music! Drums!

Beatings of hands on outstretched hides
echo through the night.
Dancing children, moonlight cricket moanings,
Cast over vast savannas with
Elders chanting, visions and transcendental moments of
harmonic bliss playing on the bird bone flute. Flash to
Electric bass booming in the dark with keyboards
and young girls twisting in the firelight
pentatonic realities of electric guitar playing  
funk, and the procession of notes
perfect!

All souls one, beating with the night.
Beating with the drums.
Screaming half naked, wild and full of drugs
and the right ones.
A harmonic industry of electronica and ecstasy, a decadent tribal fantasy land.

here we go again.

Our conscious being, outstretched over the fabric of time and space
played by the hand of the ancient primordial tribesman of protozoa. Every note an eternity, every moment of every being and everything beating as one!
Tranquility and soliloquy of music.
Harmony and beauty and intelligence.

Pulse movements and beat droppings, spinning by the neon lights.
Cannibals of interwoven overlapped miraculous hippie skirts
with dreadlocks and armpit hairs, unshaven legs and unmistakable smells,
and no one cares.

New age alchemy of alkaline waters and wondrous miraculous healing stones in ***** dens hiding from the undercovers.
practicing yoga and tantric rub downs, relaxing in the hanging curtain of smoke.
Lecturing on the absolute perfection of the tetrahedron in the ashes of Buckminster Fuller seeking complete shelter and sustainability from this monstrous and hideous human creation of western ideals and ramen noodles.

Speaking of elves in the absolute present sense and giving them names! Leaving little room for debate, and honestly, why even bother if you're that far down the rabbit hole.

Electric forest hallucinations,
Ego death and eternity.
Music in the background of the night
and in the background of my life
speeding up and slowing down
to conform to the tempo of the soul.

Entire band coalescing to a lone thought,
guitar fades to a single sailboat tied to dock over a silk blue stream hanging by the moon.
Bass fading to the single tribe song beating of the drum in time
and that drum beats fade to the memories of rain on the aluminum roof,
frogs croak by the pond at my childhood home in Eastern Kentucky,
rain falling on the pond also,
fireflies and crickets in the hung-over dew of the morning.

Fades to a picture of the Earth in the black and empty backdrop of space
a spec of dust in the cosmos,
hanging by a thread to eternity.

When your fingers move
within the betweens of keys,
white then black, scaling
and tumbling through and over
knuckles and joints and wrinkled
imprints does your chest flutter
arpeggios and dance along
with tender pale-pink ballet
slippers balancing, spinning
in a reflecting room of mirrors,
the echoes of a pentatonic scale
the pounding of parallel chords
nudging your toes exactly right,
do you forget your wives and daughter,
both Emma’s, when you let the genius-flow
and the grand piano waltz
with your soul,
do you fall in love with something
more I cant describe
in verse, delicate Debussy.

rubicon hangover
sherbert lemon sunrise
butterscotch *******
with an afterbirth smile
pastiche or phantom
beautiful proportion
cutting mothers apron
the circle of time

location location
circumnavigation
stylised continuum
great britain is a lie
mass for the masses
blood on the carpet
thank you for not smoking
its a marvel we're alive

thirty thousand drowning
thirty fathoms counting
suffer little children
not in my back garden
slumber in a haven
sleeping with forbidden
waterfalls and gravestones
selfish over soil

war americana
revolutionara
helicopter complex
compliment our ego
nuclear disaster
what use is a master
fall out over fallout
tinnitus and drones

avalanche of feedback
pentatonic ***** slap
abstinent castrati
carry me away
shiver orchestration
gentle fornication
sexually vacant
naturally vague

September, 11, Night falls, Curtains rise,
             *Empyreal Realm! *

Blooms a new Flower,
Beavers lift their head, They are not shy,

Night blossoms, silvery-pink,
their fragrance stolen, they are envious,

The Guitarist has a note to sing,
a pentatonic melody, of love, of gleam,

The princess blushes, in her silvery white gown,
She was an embryo, lulled by Angels and Seraphs,
Just A week ago!

Her dazzling beauty, Mesmerizing!
But why did she steal their fragrance tonight?

There are moments in
my life that are
too wild and
beautiful to be
tamed or captured by
words or sentences.
Musical notes could
do a better job at
conveying the experience.
D minor
or C sharp major.

My mind replays
the moments,
alive with pentatonic scales
and the taste of homemade
apple cider, and pomegranate
security.
I smell the burning leaves of
late October, and feel
the smooth nose of my
childhood Appaloosa, her
dappled coat, and trusting eyes.

Sometimes the world, and
all its goodness
stupifies me, and leaves
my spirit rocking gently in
a cradle, where I know it's
all going to be okay.

“There’s nothing you wish for that won’t be yours
        if you stay alive.”  --Beowulf

Winter has arrived and the wind cuts through
the parking lot under the el in the Bronx,
streets stretch out in their directions, events
in their mere chronology have no relation.
Old friends face certain dissolution
with perplexity, comity and humor,
look with gay eyes on their future
in a forest or a city, someplace.
Snow outside, despair inside. Homelessness.
Raccoon tracks cross the soul. Prostatectomy.
Winter mix. Don’t relax. The difficult
dangerous season when weak creatures die
and the strong barely survive. Leave me alone
with autumn, an autumn like last autumn.
Don’t stand around my bed, I won’t be in it.

Jack’s in jail. His panic attacks are like
an AI on automatic pilot
who wants to live, just like the rest of us
under the eye of eternity or
running in new snow, loving that feeling.
Some people go dancing in fishnet stockings.
Effortless mastery, success without practice.
Fractals without chemistry. Do the small
things first, clean the house and bless the guests.
Sick of Krshna, sick of salad, sick of self.
Sick of meditation. As I lay dying
the full moon’s rising. My existence
is indivisible from the wry Creator’s.
I like the old Rhymer, his smile resplendent.
It’s Death, not the Jewish king, in your rose garden.

I ply my arts all day alone. All I have
is all I do not know. The past isn’t dead
it never even happened. Learn the changes
then forget them. Keep on learning and re-
learning them. Down the steep and icy trail
through hail and storm. Take into eternity
my hail and farewell. We’re living in the
Anthropocene. Indestructible garbage.
Bulldozed landscape. Big Brother, dead father.
***** of the tiger.  Getting thought to twitch
the prosthetic. Mischievous, malevolent,
militant thistles. Or just plain polite
Americans, afraid to get shot.
Bump bump bump down the igneous rocks of life,
take the boulders two at a time down.

Old-timers bagging groceries, low social
security for the security guard.
Situps, pushups, fix yr brakes, fix yr leaks.
I know what’s gonna happen before it happens.
Polar bear mugs wino exhausted by that earlier,
irritating, constant need to survive.
Surrounded by history, neither seen nor heard
from again. And a deaf mute in a pear tree.
If it’s human, nothing’s wasted. Pasted
into a big wet kiss or posted
on the internet. Stolen from the pockets
of the dead, burgled from living memory.
Most art is dispensable, ***** and *****,
vaginal lubrication, prostate enlargement,
the unknown, anonymous man named me.

I’ve been wrong before and I may be wrong now.
Things fall apart. Or maybe not. Maybe
it’ll all hold together 10,000 years more
after all we’ve observed a galaxy born
13 billion years ago, a faint red blur,
and microbe partnerships on the ocean floor.
The good life’s all around us smiling
girls on bicycles, dogs on leashes,
equality is mandatory.
Sweet solitude and privacy, quiet
sitting spot, write a little, read a lot.
Tip generously, gratuitously,
like good luck. Haircut, cabride, dinnerout,
to eat a continent is not so strange.
Does Jack even exist? I doubt it but

the class of transformations that could happen
spontaneously in the absence of knowledge
is negligibly small compared with the class
that could be effected artificially by
intelligent beings, aliens in the bleachers.
Japanese knotweed also known as kudzu.
The Chinese navy also known as t’ai chi.
Water shortages. War and wildfire.
What you’re scared of and what you love. Contracts
and deliverables. Hate speech, fate.
Humor or ardor, I can’t decide.
Dad’s steel-toed boots. Leaves, flowers, fruits.
Things are said, mistakes are made. I’m driving
pontificating on geopolitics
when an archangel flies into the windshield!

Lost my timepiece, lost my metronome.
Well, music is a manufactured crisis.
Caloric restrictions, control your addictions,
desire to be famous, propensity for violence.
The profusion of species contents me.
Wilderness comes back strong as cactuses,
chestnuts, coral. No more missile crises.
Eat less, an empty belly’s holy.
Horselum, bridelum, ridelum,
into the fray! World order—not my problem.
Only meditation can save your soul,
should there be such a thing. There are actual people
half woman half man running past me
and dream people in movies half language
half light. Or they lie under polished stones
embossed with actual photos of themselves.

Learning who you actually are is difficult
as sitting still 10 minutes w/o a thought or want.
To get lucky you gotta be careful first.
Knowledge of death without dying =
early retirement. Counting your blessings,
a healthy activity. No solution
to death’s finality, and such a blessing
awaits me, too. If you’re suicidal
they call the cops. The audience is full of glee.
Watres pypyng hoot. Chinese characters. Quantum guesses.
Most failures, and most successes, are in our future.
I embrace wild roots and run through streets
with arm around my girl. Inmate #427443.
Poetry and surgery—they go together
like a horse and buggy. Cheerful as a flock
of chickadees. Looking for a lost horse,
I hear Appalachian Spring!

Look one way, from another come the heart’s
missed beats. Much better to look slowly,
labor for the success and happiness
of others, even the old and frayed.
Look it up. There is no death, just perfect rest.
Look more closely. It will be gone in a few days!
First entertain, then enlighten if you can.
Is it stress? Yes. Tired of death? It’s what it is.
Let’s play sports, have ***, live a wonderful life,
give generously. If you see a hawk on a bough
at field’s edge beyond the corner you should have
turned, maybe it’s a sign to go on, alone.
No body, no soul. No mirror, no black hole.
No mission, no hero. No applause, no noise.
No experience, no nonsense. If words can
be arranged in any order can they be
of any use in foreign policy?

Disappointed, didn’t get what was wanted.
Forget me not, is that all I want?
A catbird account, a mockingbird account
and an owl account. Then, and only then,
nothing’s missing and nothing’s left over.
Jail or zen mountain monastery
hiphop artist hypnotist bebop trumpeter
unknown soldier black bear bad bladder
ice cold beer poker player wry Creator.
If not one way, then another. Otherwise
give me your 5-10 best hiphop artists. Can
they take the sting out of life like bluegrass, jazz?
Mimics, woodpeckers, sing-songers, hawks,
chippers and trillers, whistlers, name-sayers,
thrushes, owls and a dove, high pitchers,
wood warblers and a word-warbling wren.
Unusual vocalizations.

We have hope that everyone alive is
essential, consequential. The commonplace
and everyday is sanctified. Nothing else
special need be done but stay alive.
Don’t lose passport, don’t be late to airport.
Insects are pollinators, insects are us.
Romance without finance is a nuisance.
November, however, is sweet, sunshine
through bare trees, dry brown leaves companionably
visiting among the dead. When middle school lets out
at the periapsis of Earth’s orbit
that’s the face of joy. Each leaf out and Jack
in his boxers. If you run over a chipmunk,
a groundhog or a skunk, say a short prayer.
One can’t help being here, queynt.

I live in a state so blue there’s nothing I can do
to change man’s trajectory and if I could
what angle of re-entry or ascent
would I choose? Grace is what we get
no matter what. Come the tired end of day
Jack thinks why not waste time watching tv
but the next day he has a hangover
like Ernest Hemingway or **** Jagger.
Your soul is immortal. It exists outside
of time. It has no beginning and no end.
If you cannot accept this, forget it all,
do not even begin. It all goes into
the same church service and comes out babbling
for God to appear. The shorter the service
the better, less passion, more resistance. Joy
may outlast the holocaust. Get it while it lasts.

The material world is reality, my friend.
Reality is not always what we’re after.
I like Jack’s confidence, that working the problem
will result in better outcomes than guessing.
Confidence is the feeling you have
before you understand the situation.
A hawk hunting or just floating waiting
for inspiration, a heron rowing east,
an owl’s quiet hoot even simpler than
the pentatonic bamboo flute.
What’s not to like? Ice cream, yogurt, profit, tofu.
Mosquitoes this summer are relentless,
heat and humidity, merciless.
Ice will ice those little *******.
Killing time before it kills me. Ha ha.

Whatever forever. Poetry is plumbing
your unhappiness habit until you reach joy.
As I think of things to do I do them.
Thing by thing I get things done. I think
that’s how my father and his father did things, too.
“Away up high in the Sierry Petes
where the yeller pines grow tall, Ol’ Sandy Bob
an’ Buster Jig had a rodeer camp last fall.”
It is the older man’s responsibility
to protect, not as a hard-charging archangel,
Jack’s joints couldn’t stand it, or hero
but as a rational participant,
cool, caring and completely zeroed in.
Culture or religion is an answer to
the problem of what to do and why do it
when your cancer makes poetry from
losing the argument with yourself.

To die spiritually in the hot sun
and the body go on climbing, haunted,
hunted, nature’s intelligent partner.
People are the element I live in, or else.
Call for the elevator. Wait for the el.
Snow on the Sonoran, each saguaro
wearing a white yarmulke. Creosote
smell as snow melts, ocotillo buds out.
Man needs help from every creature born.
The blackbird contains death but it’s bigger than death.
It’s more like God but an ironical god.
Smaller and funnier than God, impossible
to regard directly, gotta look sideways,
aim binoculars left, right, up, down—
missing every time. There’s nothing you wish for
that won’t be yours if you stay alive.

when
i
look up
at
the
Kalahari  Sky
all i can see
are
large herds of
zebra  striped clouds
running wild and free
so effortlessly
to
the
sacred beat of
the
enchanted African drum
then
back to the one beat
with
a pentatonic melody
jumbo...jumbo
hello...hello everyone

SHADOWS LEFT BEHIND

"Eh...excuse me..."
smiled the Neanderthal
on the Circle Line

he wanted to know
where
to get off

"How come I can
understand you?"
I asked without talking

"Oh I took a course
ages ago now
in Telepathy As A Foreign Language."

he wanted to see
his girl
a pretty Denisovan

who was staying
with a palaeontologist
at South Ken or something

he had bought her
a Divje Babe flute as
she dug the pentatonic scale

told me he had been
working in
the Mousterian stone-tool industry

he saw that I was
reading about muons
of all things

"How can you possibly
know about wobbling muons?"
I asked in wild surprise

"Oh when one is
you know...dead
one knows about everything!"

he smirked
"For the snark was
a muon you know!"

told me he was
a big Lewis Carroll fan
as it goes

"May the 5th Force
be with you!"
he deadpanned

"Holy incredulous questioning Quark!"
I exclaimed in
a Batman/Robin tone

but his stop
was coming up and
I told him where to get off

"MIND THE GAP!"
the tannoy warned him
"MIND THE GAP!"

Slán...slán go deo!"
he waved to me
switching to the Irish

"Is  fearr an tsláinte
ná táinte!"
he offered as a parting

"DOORS CLOSING
DOORS...CLOSING!"
the tannoy butted in

and he was gone
from my sight as if
I had only imagined him

back into the depths
of a time I
could not conceive of

chewing a mammoth
sandwich and looking
for an exit