The word flows
along the tongue
and over the tip:
river on a silt bed,
smooth as glass
over a weir.
Beer-brown,
lumbering
and opulent
the word
elemental like air,
gorged on peatland spill;
warm
in the mouth
like spittle.
Poems and general conversation from Irish poet Michael O'Dea. Born in Roscommon, living in Donegal. Poetry from Ireland. (poems © Michael O’Dea, Dedalus Press, Amastra-n-Galar)
The word flows
along the tongue
and over the tip:
river on a silt bed,
smooth as glass
over a weir.
Beer-brown,
lumbering
and opulent
the word
elemental like air,
gorged on peatland spill;
warm
in the mouth
like spittle.
Lightning on the asphalt
rain dousing Camden
in July
sunlit splashes
running shopfront to shopfront
hair drenched
cables warm like arms
counting down my vertebrae
haloes bout my feet
and your excitement
frying up
music-filled doorways passing like ponies
green wood above
the water
hucksters hippies
and the feel of incensed air
a Doors tune
like smoke
voices flapping against upstairs windows
escapees
excitement or speed
we
in blue jeans
A mite is travelling up the margin of my page;
a full stop going on a journey.
I assume it has purpose, but what can I know?
I’m reading that Stephen Hawking said
“the universe appears designed”, by which he meant
it’s strikingly well suited to existence of life.
Which makes me wonder about scale:
how small are we?
Are we blindly travelling up the margin of someone’s page?
It's worth mentioning that Hawking's views on what was haening in the universe changed radically subsequent to this comment.
Sea a white slab,
sky soft bag of sunlight,
the mountains opposite
suspended in mid-air; a dream place.
Cosily plump,
swaddled in greenery,
a pigeon sits zen-like
deeply contemplating;
as though daylight arrived before day,
and the world, caught in a spotlight,
blank and unsteady
has, as yet, its constituent parts unresolved.
The shock
as you peel away from the oblivion of sleep;
the implausibility of it;
the infinity of ends that all meet.
All of us in a boat.
Sitting there.
Our blood on the water.
Our reflections in the blood.
All of us looking.
The boat unmoving.
The water undisturbed.
No one talking.
Evening settling in.
A chill with the dimming.
This poem is inspired by Peter Doig's 'Figures in Red Boat'. It's a fantastic image which I purposely left out of the post to allow the poem achieve its own effect. However, if you’re not familiar with the painting, do a search and stay with it for a while; I think it is very thought-provoking.
Waves of men thrown at the guns
like water thrown on a fire;
the geography of their births
costing them their lives.
Who should “ask what you can do
for your country”?
Rock and clay recognize no borders;
sacrificing lives for a line on a map
is no service to a nation
but makes a bonfire of its people.
Pool of water
you pick beauty, like an apple,
from this panoply
and set it there,
a fragment from a canvas
lying in the gutter.
I look down
on The Four Courts
austere and grand
like Ozymandias,
“sneer of cold command”
half sunk in the sand;
remnant of an empire
shivering
in an April breeze.
We all live in here;
teeming around each other,
drinking from the same tap,
turning in our beds in unison;
recycling our breaths.
Sooner or later, each of us
turns up at our neighbour’s
offering worn-out clay,
coming away with a mirror
and the wood from a kitchen table.