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.

Scarecrows

Artistic Expression: method of spilling the beans without having to clean up the mess.

Scarecrows.


We are two scarecrows: rags and string;
what the rain softens the wind picks clean.

We are two scarecrows: sticks and straw;
crows fly out from underneath our jackets.

We are two scarecrows: nails and wire;
each day drowning as the corn grows higher.

We are two scarecrows: sacks and hay;
nodding toward eternity, we tip toward clay.

The Shock of Death

The greatest shock is touching the marble face of someone so loved and the message arriving through your fingers: this is no longer him.

The Viewing.



Dead: the colour of old cream,
his eyes shuttered shut;
so neat, besuited and slim,
weight he lost dying.

They made a basket of his fingers
with a rosary spilling down;
everyone said he looked lovely
but when I touched his face,
it wasn’t him at all.

From a Child's Bedroom Window

A small child with a view of countryside from his or her bedroom window has a million miles of darkness for imagination to roam through after darkness falls. Heaven and earth merge in the blackness;so the realms of spirit and man become one.


The Boy Who Watched For Apparitions.


Goodnight to the twin moons
stretched along the railway tracks
outside Roscommon.
My night-time window halved
with those trains rushing across the glass,
strips of film filled with their own lives:
adventurers and bon-vivants,
whose strings of lights recreated as they passed
the grassy slope, the elder bushes,
the buffer with the hole in the side;
strangers oblivious to such little worlds
and to the boy who watched for apparitions
from his bedroom window.
And in a moment they were gone,
leaving the darkness darker and the boy listening,
trying to gauge where the sounds
finally disappeared into the wind.


What lay beyond that window-world ?

The station to the right,
the white gates to the left,
and then..........


Now I remember those film strips
sailing through that pitch emptiness;
sometimes they were only ruffed impressions
when the window was full of pouring rain.
I remember how my imagination filled like a can
when all that was left was the headlight's beam
over the trees of Bully's Acre.
And there is often disappointment in these poems;
the disappointment of that place beyond
where the rhythms of trains were reclaimed by the wind.



......from Sunfire (Dedalus Press)

Blue-veined old hands:

I never saw them coming
till they were spread bleak
as the limbs of Winter trees
across vacant heavens.

When I said I loved you
I lashed at the wall
with a stick of oar weed
picked off the strand.

Cantankerous old fool:
never saw him coming
till words I spat out
fell like lightning turned
to twigs of rotten wood.


from "Turn Your Head"

From Kailas down to the Erne Estuary

From under the rag tree the world looks a kinder place.The dancing dreams and prayers of pilgrims are reminders of human soul before hopes and wishes became more pocket-dependent.




Rag Tree

A thousand dances for Patrick’s stone eyes:

leg-kicking
heel-tapping
thigh-slapping;

each rag a soul treading thin air.

A thousand advances on Patrick’s stone ears:

tongue-clicking
finger-snapping
hand-clapping;

each petition a guttering flare.







On The Slopes of Kailas


There are no
january pilgrims


On the slopes
of Kailas.


Buddha squats
oblivious


In his brilliant
white universe.


Ice-rigid
prayer rags


Dream away
the off-season.

The Colour of Launguage

The repeated use of colours in this, not so recent, poem came after reading Vincent Woods’ excellent collection “The Colour of Language” (Dedalus Press, 1994). The device opens up a whole new palette of possibilities for unmoored expression, the colours, (excuse me for saying), add colour to what have been a very dull love poem and I think they add a richness that would have been, otherwise, difficult to achieve. I’m not sure how appropriate it is to be so praising of my own work, but I was happy with this poem.

And now a re-reading of Woods’ collection seems well overdue.



The fields, green with snow
under an apple blue sky;

you, brimming
winter’s brightness,

turning cartwheels;
your whole body grinning.

The silver trees of our breathing
in full flower;

my golden happiness
in being with you

till the shafts of shadow
turned purple at sunset;

and our hours together
colourless at parting.

Homeless

I wonder will anyone remember the man I'm describing here; he was a familiar sight at one time in south Dublin.

Homeless

Wind-sharpened,
rain-carved,
frost-forged face.

Glacier-blue,
mica-bright,
tarn-deep irises.

Water-fallen,
mountain-tumbled,
bog-cotton hair.

Cumulus-tongued,
squall-mouthed,
shadow man.

LADY'S ISLAND.

Our Lady's Island in Co. Wexford has a special atmosphere to it. Like many places of pilgrimage, christian or pre-christian, its topography is distinctive and interesting. An island in a lagoon,(appears more like an inland lake); add to that some striking ruins,(Augustinian priory and Norman tower), outdoor furniture needed for crowds of pilgrims, quirky mementoes left by pilgrims, and you've got a place that cuts a dash in the landscape and draws the curious in.



LADY'S ISLAND.

The water waves roll ashore in Hail Mary rhythms,
winds come, contours around the island
and speakers on poles are abandoned mouths
where rosaries of sinners collected in May.
Pews like pricked ears; regiment readiness;
oh Mary, you sure pick your locations!

In a hole in a ditch a community of holy ones
fancy dressed and frozen by a wall;
and all encased in glass, ready to shake
but snowless in July.


Best wishes, see you Monday,

Michael

Scarecrows.

We are two scarecrows: rags and string;
what the rain softens the wind picks clean.

We are two scarecrows: sticks and straw;
crows fly out from underneath our jackets.

We are two scarecrows: nails and wire;
each day drowning as the corn grows higher.

We are two scarecrows: sacks and hay;
nodding toward eternity, we tip toward clay.

Can't Sing

Can’t sing but good with languages and accents: I don’t believe it, I think it comes down to teaching methods. And there is a singing style to suit everyone, even if it is Professor Higgin’s “Why can’t a woman be more like a man.” I think children deserve the search for that style; being able to join in a sing-song and sing your own piece is a great confidence builder and for that reason gives even more pleasure.

PANIC IN THE BELFRY.

When the class was built up like an orchestra
my child was found to be hammering at the scaffolding.
Assaulted by such discord, the teacher
hit this gong over and over and sent her
down to the caverns to be a subterranean scaffolder forever.

There she could hammer alone, alone with her notes.
And it was there she heard other choirs;
choirs of discarded pipes singing in their hollows
bass notes for nether world shafts.

Alone in the City

I’m a great fan of Edward Hopper’s art: those images of solitary people in city venues are haunting. There is so much emptiness, sparseness in his pictures; his people caged in the emptiness. I have often sat looking at reproductions of these, they move me; yet when I went to write a poem on a similar theme, it came out crowded: more influenced by urban jazz and its motor-junk sound than by those wonderful images.
Funny that, writing poetry is often more about letting it happen in your head than directing it. The subject matter seems to negotiate the furniture in your head and emerge as it will.

City Lives.

They shout into space,
answer each other like whales
across great haunted distances;
they never meet,
only sound waves ever meet.

Alone in their canyons,
hives,
shoals
they roar.
Rooms upon rooms
upon houses upon houses
upon streets upon streets:
roars spilling out,
spilling over,
spilling down.

A million sound waves,
a million discordancies
tumbling, surging,
pouring out
onto the streets,
into the traffic,
wheels, cogs, pistons:

the cannibal jazz
of cities.

She Leaves.

She leaves
a country of mountain tops,
pencil points in nothing
and crosses on current arrows
to where the sun shines on a space.

Angels
look over the rails,
cheering ferries on the sea

of her worries;
for that is where she bobs,
among all the sparklets
on the sea-top.
And fears
scratch their fingernails
down the glass

she has left;
not left,
left, not left.

The Dog

A dog built around his snarling teeth
demonstrates human instincts
when I cross his ground.
Glass stare, no, spikes from his face,
his crew cut spines speared,
snarl or smile, legs set in concrete:
stance consciousness.
The considered setting of his growl:
natural resonance of nerves.
The chosen time for a step:
psychology of closing, removing space,
building a crescendo of presence.
Then the howling with muscle release:
snap of dogs, snap of men.

Where Are You.

Where are you.
Where are you child.
Among the spring green leaves
Naked as a lizard;
I hear your airy lilt,
Why are you humming.

From what remote well
Do these grotesque sounds come;
Dispatched, bleak cirrus
In the high skies of a child's voice,
Freezing all the forest
Into fairy-tale stillness.

Where are you,
Where are you child.
In what empty paradise;
Where's the tower that emits your eccentric song;
Against the frozen wings of which birds of paradise
Do you rub.

In Mayo

Some places remain in your head all your life. Not intact, but fragments that still convey (broadly) the appearance of the place. So you return, and your geography is completely off but the essence is right.
As a student of Geology, I spent a week mapping in Finney near Lough Nafooey in Co. Mayo. A wonderful time and a wonderful place. The fragments have stayed with me ever since. When I wrote a poem “In Mayo” sometime around 1990, it was Finney I was thinking of.

See http://www.flickr.com/photos/ruthann/sets/72157600099944683/ for a range of photos from this beautiful area. From “Sunfire”:


In Mayo

The sky:

rags on bushes
in a wintry gale.

The barbed-wire fence:

a lunatic's music
sprinting down the valley.

The mountains:

tossed heads
with their silvery sheen.

Telephone wire:

daisy-chained voices
humming out of tune.

The lake:

a shirt that blew
off a line.

Rowan tree:

tongue on the mountain
shaping high C.

I Give You

This tree's dripping fruit
to place in your mouth
to ripen your tongue.

The water guttering down
these green leaves
to be a trellis of fingers
about you.

This soft drizzle of sunlight
to fall gentle as the petals
of meadowsweet on your cheeks.

This bindweed and all tendrils
to hook and bind
our desires together.

Rain Street

Down the street
rain lights running
drizzling concrete
sizzling lake.
Flashes red flashes
running in rivulets
yachting cartons
crowd in a grate.
Umbrella shadows
with foot halo splashes
shirt collar drippings
shoes under siege.
Gutters play bongos
for galvanize tappers
tyres make clashes
spangling streams.
And faces in windows
unravel down panes
their cigarettes burning
their signature stains.
Then squinting bus queue
like socks on a line
become runaway legs
legs like twine.

Roscommon Childhood

Roscommon, and the memories of a happy childhood there, in a poem that starts off realistically but ends with a skyscape transposed to earth. The child's imagination makes the place a Paradise at the close.


Frosty Morning From My Parents Bedroom

The music box plays
my mother’s glass-topped
mahogany
dressing table;

the frost-petalled
window
with a peep hole
for my blue eye;

a hedge of brittle
looping briars,
Curley’s field a flood
of sugary brilliance;

the beeches,
their heads in the stratosphere;
a barbed-wire fence
staggering between them;

abbey ruins,
a spire and steeple:
Roscommon town
cocooned beside

an ocean of duck egg blue
that rolls into a bay
beneath snowy mountains
a million miles away.

The Disaster of War

I get a lot of inspiration from photographs, particularly those that relate to human tragedies; and of these none have moved me more than Don McCullin’s work.
This photograph exemplifies my point. This soldier: his pockets pilfered, a trail of personnel items strewn on the ground. A family destroyed, their photographs scattered; the ruination of lives unimportant, the girl in the photograph just a child. All that is important to the assailants: pilfered. There is no glory in war.



Soldier


Shot crossing a wasteground;
they left him,
pockets pilfered,
staring beyond all wars;

a trail of photographs
and letters running from him
like a congealed flow
of memories.