The baby in the tree

 

The baby in the tree

is screaming.

High above the pathway

near the black tips

of the sycamore branches

he is gaping,

white membraned luminous. 

How did he get there? 

He blew there in the wind;

it took him

like a flag from his cot

till he was stretched

across the boughs

like the wings of a bat. 

And who sees him? 

I do;

all his hopeless writhing,

too high for the passerby.

And his screams:

too high,

too high for the passerby.

Dicing with the Devil

The local men outside the church interested me as a youngster. On a point of doctrine, did it qualify as attendance at mass if you joined them outside the church or was it a matter of being inside the porch door? I suspect it must be the latter. But why did they bother at all? Does God make these sorts of distinctions? One way or the other they had the best time at mass with the exception, probably, of the priest and altar boys who as far as I was concerned always performed to full houses.

The After-mass Men were these men with the addition of a particular strain of ‘inside the door’ man, a type who appeared to me to be taking the same risk as marijuana smokers who hang out with heroin addicts. Anyway, morally,they all constituted a dodgy breed, endangering each Sunday their eternal living conditions.

These clusters of men arranged themselves in ways that would have excited a sculptor. Dark clothes and, I suspected, dark conversations reigned. They were a dangerous influence, to be avoided by such as myself, to be looked down on, to be prayed for like you’d have prayed for the conversion of Russia;and every boy risked joining them at least once.

The After-Mass Men

Remember those figures by the church wall
Sculpted in after-mass conversations:
Blather-tattooed men
That hung there by their jackets;
Museums with pockets,
Pockets full of knives,
pipes and matches.

Stone men:
Pre-Christians defiling Sabbaths
With their Saturday conversations.
Gargoyles:
Coats would be wrapped against them
As though they were sudden showers of hail.


from Sunfire (Dedalus Press)

Emigration - Empty Houses

An upshot of emigration is the aging of the population, particularly in rural parts. Old farmhouses, their young families gone, used to be a much more prevalent feature of the Irish countryside in the sixties and seventies; the  new wave  of departures may, sadly, turn the clock back. In silencing dead summer  heat, the emptiness of these houses is accentuated.   

 

 A Stranger In The Townland.

 

In Autumn the farmhouse

with the sun-folded field beneath its chin,

traps the daylight in its spectacles,

then flashes it away.

 

A swing hangs among the orchard's arthritic trees

without stirring;

without remembering

a frantic liveliness now reduced

to the occasional commotion of a falling fruit.

 

Once songs of apples filled the farmhouse;

but the children became photographs,

the dust settled on their frames

and soon Autumns were flying uncontrollably by.

Today, between its curiosities, a bluebottle drones.

 

Now that the conversation with the hillside

is ended, the farmhouse

with the sycamore stole

has become an eccentric;

a stranger in the townland. 

Summer Bliss

I think children gather an appreciation of nature and landscape in a way, and at a rate that is foreign to adults. They don’t appear to dwell on the moment; they don’t seem to have to declare to themselves that a place or a moment is beautiful. The appreciation seems to slip in while they’re busying themselves with something else; yet it gets in and lodges in their subconscious. Later in life it’s still there, a richness in their appreciation of life around them. I wonder how much they pick up when they appear to be otherwise engaged. 

Anyway, this poem recalls lazy childhood days and the awareness of all that’s stirring in the garden.

SUMMER ORCHARD EVENING.

On an evening

when apple was eating the worm,

tree grating the sun

with some clouds, dusty birds;

the green cloth

was spread to the orchard wall.

I watched bees collecting post

while cat was a tea cosy

with dozey trip-wire eyes.

Suddenly dog alarm in the hedge

comes bursting from the undergrowth:

big game hunter

and cat gone steeplejack.

Then dog winks

and we stretch out,

and I go back to being a microscope

eyeball deep in daisies.

This poem was originally included in an anthology called Real Cool - Poems to grow up with, edited by Niall MacMonagle (Martello 1994).

Country Childhood

There is no doubt that my Roscommon childhood has been idealised in this poem, but yet, I honestly believe that I had a very privileged upbringing. It was a good time in a safe place among great people. Behind our house countryside stretched off into the unknown; we had complete freedom to disappear for hours on end into that vastness.For any child with a lively imagination, that was  freedom of the universe.

From the front we saw Roscommon town across three fields. From front to back contained all the world I needed, and I was happy in it.

       The Country Child.

The country child

runs in and out of rain showers

like rooms;

sees the snake-patterns in trains,

the sun's sword-play in the hedges

and the confetti in falling elder blossoms;

knows the humming in the telegraph poles

as the hedgerow's voice

when tar bubbles are ripe for bursting;

watches bees emerge from the caverns

at the centres of buttercups,

feels no end to a daisy chain,

feels no end to an afternoon;

walks on ice though it creaks;

sees fish among ripples and names them;

is conversant with berries

and hides behind thorns;

slips down leaves, behind stones;

fills his hands with the stream

and his hair with the smell of hay;

recognizes the chalkiness

of the weathered bones of sheep,

the humour in a rusted fence,

the feel of the white beards that hang there.

The country child

sees a mountain range where blue clouds

are heaped above the horizon,

sees a garden of diamonds

through a hole scraped

in the frost patterns of his bedroom window

 

and sees yet another world

when tints of cerise and ochre

streak the evening sky.

He knows no end, at night

he sneaks glimpses of Heaven

through the moth-eaten carpet of the sky.

Memory of My Father on Lough Ree

It was so safe and reassuring to walk as a child holding your father’s hand. How great and powerful fathers appeared to their seven year old sons. How perfect those times were. One day. One day you would be like that: strong and kind, if you could ever know enough.

Did you ever marvel at your father’s ability to drive from one part of the country to another and get you there, right to the door? That knowledge; it didn’t seem possible.

No surprise  then at the difficulties that commonly manifest themselves in teenage years when the role model is tarnished and communication have begun to fray. And when one looks for affirmation, it does not come easily, or not at all, from the hero branded into those souls years before.

Revisiting Lough Ree.

  
Morning comes colourless;
trees stoop to the lake like pilgrims
witnessing images that are riddles in the water.

A sudden shriek.  “Over here, no here, over here."
I see nothing; the lake keeps its children chilled
in ice buckets among the reeds.

Once I trailed a ripple from a boat
that  bevelled this water. I remember the oars’
loud soft thud, slap till I die

It was June. Insects teemed on the surface.
The sun, that tanned our backs, lulled the countryside
into sleep before the fields were even cranked.

My father was there.

Now December.The lake drags its cutlery
through this cress-green landscape
with an indifference that leaves memories shivering.

Following a Different Piper

It’s been a busy and productive three weeks. After researching mythology associated with Irish neolithic sites, particularly Brewel Hill and Killeen Cormac in County Kildare, Loughcrew in County Meath, I have written 12 new poems to accompany a forthcoming exhibition of paintings by Elaine Leigh, a colleague of mine. Elaine’s images draw on stories related to these sites: the piper and dancers turned to stone on Brewel Hill; the Cailleach, goddess of winter, who scattered the stones that gave rise the cairns at Loughcrew; the Púca, (related to Puck), shape shifter and mischief-maker in Celtic lore.

The paintings are abstract: suggestions of human visages in stone, orbs of energy like flowers on stalks that are threads through time, ballerina-like trees, skeletal heads of horses, hounds, goats: the various incarnations of the Púca. They are richly coloured in gold, crimson and azure blue, beautifully rendered, highly original, full of energy, absorbing and evocative.

For me, it has been a change in direction. Not altogether my comfort zone: getting the balance between the modern and ancient proved difficult. Should there be constant reference to oak woods and hazel copses, should I use November or Samhain; keeping the “faery” element without becoming 19th century presents problems.

It has been instructive; the difficulty of writing poems that are not merely retelling what is already in the images, that provide information on the images while retaining artistic merit in themselves; poems that complement the spirit and mood of the paintings. Has it worked? I have no doubt about Elaine Leigh’s work, and I’m looking forward to your judgements on mine.

On a different tack but, coincidently, related, this Thursday there will be two sessions of story-telling in Rathmines Library at 2pm and 5pm. A fantastic opportunity to hear wonderful tellers weave their magic.

Damp and Drizzle.

Damp wet, wet, wet.

Grim drizzle

Leaning against the wall

All day.



If I could hum the mood

Into your ear

You'd know what I mean;

You'd remember.

Apparitions

Good Friday and Christmas Night; my religious belief was so strong that I expected something to happen. I expected the word to become, if not flesh, spectre. In driving homecatholic beliefs, we were made more aware of the personalities than the teachings. The gospel stories were vivid in our minds and almost on equal billing were the Lourdes and Fatima apparitions. There was always the threat of divine intervention: punishments at worst, but at the very least, dire warnings complete with revolving spectral solar displays.

The significance of these two days in particular, the sorry state of the world - the treat of a third world war was palpablein the Cold War years of the sixties, I remember a Christian Brother telling us in 1967 that we probably wouldn’t survive the year – made an apparition a fairly likely occurrence. Our upbringing was strongly religious, that put me on the front line for a visitation.


The Dread of an Apparition

The most effective means
of avoiding a death fright
by apparition
might have been my blanket
but for the thinness of its cover
and the need to obey
Heaven's commands
which do not stop at blankets.
The problem was Mary's
predilection for teens
and my undoubted piety.
Therefore I can say
without any hesitation,
my earliest plans to reject
Catholicism - thereby
putting myselfsafely
beyond the fence -
were due to apparitions;
their lightning
and ghastly messages.

Rathmines Community Clubs n Soc's Day

A new departure in this part of town and maybe the first of many: Rathmines Community Clubs n Soc's Day, Saturday, 24th March from 12:00 until 17:00 in Rathmines Town Hall.

This is a free event which presents the community in the Rathmines area with an opportunity to meet members from a variety of organisations (clubs, societies, volunteering organisations and community groups)active in their locality, to get information on activities, events and membership.

So grab the opportunity to become more active, part of what's happening. The day is being organised by Cultural and Corporate Project Management students in Rathmines College.

See you there.
Michael

Swan Fashion Show in aid of Our Lady's Hospice and Care Services

A cause worth supporting. The Swan Fashion Show in aid of Our Lady’s Hospice and Care Services will take place at 8.45pm on Tuesday 27th March in the Swan Centre, Rathmines.

The show, which is being organised by Rathmines College in association with the Swan Centre, promises to be a very enjoyable night out with audience having the option of arriving in 20’s style clothing,(spot prizes for the best), and for a paltry €20 (VIP)having a few glasses of wine too.

Tickets cost €10 and €20 and can be bought at The Candy Bar in the Swan Centre from Fri 16th March. Doors for VIPs 8.20pm.

Email: rathminesccpm@gmail.com

Marine.

Prostrate on the beach,
a slop of sea pulse,
a glob black as chewed tobacco
fallen from the lip.


My mother said -
the sea is sick,
it's breath on the beach is bad
and its puke is scattered
all over the sand.


She said
all its pin points are boiling,
its stomach heaves;
that it will yellow our skin
if it gets half a chance.


Then this morning,
when something with small eyes
came out of the sea,
I pelted stones at it
till the tractor came.

(from Sunfire)

Tonight I Nearly Died.

Tonight I nearly died
in the Sunday chain
returning to Dublin.
A scythe
arched onto the road;
as I rushed
I nearly overtook life.

What did I learn?

My eyes are good
dilated in horror.

This wonderful photograph by John Minihan appeared in Shadows From the Pale, Portrait of an Irish Town, (Martin Secker & Warburg Limited, London, 1996). The church dates from the sixties. If ever a photographer caught the incongruity of architectures from different times, it is here. And this picture gave me ammunition for a few short poems.


The Dressmaker


Eileen Johnston lived in one of cottages on Convent Lane;
her sign barely fitted between hall-door and eaves.
Long hours she spent, years fitting and pinning up,
face to her Singer lamp, tracking the straightness of seams,
crawling the railways of the world.

Women came with pictures of dinner-dance dresses or for alterations,
but less and less as the shop lights grew brighter,
their windows bigger, bigger than the cottages on Convent Lane;
and all the time the new church below was pointing away;
pointing away to the future.

-----------------------

The new church was a rocket
heaven-bound;
it soared
beyond Convent Lane.

The old cottages glared
at the wall opposite,
praying the rocket
be on its way.

They Gave Me a Chair

They Gave Me A Chair.

I either read about or saw a picture of Simone de Beauvoir sitting on a chair above the grave at Sartre's funeral.That image of a woman sitting above a grave with the backdrop of the thousands that turned out for Sartre's funeral is strange. Somehow sitting on the chair makes wallpaper of the crowds.And I imagine the act of sitting would, for some reason, alter your thinking.

They gave me a chair
so I could sit beside the grave,
like a woman painted in
after the funeral crowds had gathered.

And I, his lover, looking down
as though this earth was some sort of heaven,
thinking
I'd prefer it south-facing
or he could do with a bit more space
or some other such nonsense.

Then, alone again, I found,
fixed above all my memories,
the picture of a coffin
on the floor of an empty room
as seen from above.

(from Sunfire)

Pearse Hutchinson

On the locker-lid
a biscuit-wrapping
...............................torn,
waves in a sudden breeze
just like a flower.


Pearse Hutchinson
20/12/ 2011

This small poem was like a parting gift from Pearse. He was in good form that night: chatty, laughing, telling stories; very much himself and the way I’ll like to remember him. He was a great conversationalist, brilliant company. A superb story-teller with an amazing ability to remember actual dialogue from encounters years ago and the capacity to take numerous diversions in a story and still arrive back, no matter how much time had passed, to the precise point of departure.

In recent years, more or less house-bound and often very fragile-looking, he still somehow seemed indestructible. It was as though he was surviving on the energy he got from words. There were always new books, new poets, new words in a myriad of languages to explore, and so, in his room on Rathgar Road he kept travelling.

It was hard to realise this weekend that the travelling had stopped, and looking at his face, that he had moved out and there was no one there. He has left a gap that no one can fill.