What Does He See Where I See Only Stone?

What does he see where I see only stone?

The man is still, his gaze fixed on the ground

but that gaze compels you to look again;

in such  moments a mind might overreach the stars.

I see my reflection, he says;

I see my hair no longer covers my head,

its silver ring above my ears, he says,

is like gorse cleared from a hill-top.

And, he says, I see the child struggling

in the young branches of childhood,

the school doors fanning him on and on

through corridors of captivity, a whirligig

through years, disremembering his own footsteps.

I see the would-be lover, and he loved his hair;

he put a shine in his eye like I polish a shoe;

and his full bracelet of teeth; my God, he could smile.

I see how time subtracts: aging dreams

till they become hobbled old goats that have outstared you,

till they have become unbelievable.

My young loves reflected back have their young faces still

but I would be afraid to see them now.

My plans and projects are shunted, rusting old carriages;

I don't visit them anymore.

The old man's arms are folded so fingers lie like stripes

on his right arm, forage in the dark woolen sleeve

of his left. His head is slightly forward,

his eyes unblinking as though entranced

by weeds growing on the floor of a pond.

I see too that I never held the reins of a life,

that indifference is a colander, indecision has the grasp

of a hand without fingers. Days are punched down

like receipts onto a nail; named, counted, collected,

they grow into months; life flitting across the pages 

of a calendar, falling  into the holes between Christmases.

And I remember those Christmases

long ago when I was young, the totting up  ̶

over a drink   ̶  of departed faces and the wishes,

the wish-bone skinny wishes for the coming year

that smouldered beside a glass of stout and then went out.

I see those faces whose roots entangled with my own,

how arrogance blinded me so I could not see

it was the carpet of their roots that buoyed me up

until recently, feeling them slip away,

feeling the cold gaps they’ve left around me, I discovered

it wasn’t I that put the colours in my head,

and with that discovery much has toppled

that hindered my view. I see, as though from a height,

my head is indistinguishable from all the others

rushing like froth from this life that we call

living.

Now his face is raised, his eyes red-rimmed

with the racing bobbin that’s in his head:

I saw the ground and the scuffed toe to my shoe;

a lifetime might have no other measure than 

its number of worn out shoes.

Bridge Life

It was, of course, bridge life:

the monk-like garb of old men,

their herring-boned elbows on the parapet,

at home with those ancient lichens

and warmed by their burning pipe fires.

They were limbs of trees left out for the cutting;

softened by rain, hardened by wind,

they were brittle grey grained men

whose conversations flowed in runnels

pocked with their growls and their laughter.

And it was the river flowing, weaving

their childhood and old years into a tweed:

a comfortable cloth, their cloth, the cloth

to warm their bones when the wind comes

that makes old teeth chatter.

Leaving

Loch Ryan is Pink

Loch Ryan is pink.

Stranraer is curling up in a corner

with its people shrinking inside it.

I'm watching the hills' colour draining away

so they become just shadows of a land.

Only the gulls are real and even they

look more like discarded wrappers.

I am looking back over the stern

with the wind pouring down the port-side,

a wisp of the emigrant's sadness blows over me.

This receding shore to another Irishman

might have been Lough Foyle or Cobh or Sligo

and the light at Malin or Tory might

have been the last twinkle before the ship

buried itself in the Atlantic darkness.

The last beads of land would have been treasure

to be stored but instead they are like water.

As the day funnels even further to the west

Scotland makes itself small; somehow it  seems

to be leaving us; turning away. The ship's trace

is a luminous wake and a highway of smoke;

you, who have left no trace, are already forgotten.

I imagine them homeless on board a Christmas tree

bobbing on an ocean between two continents.

Memories of Galway

It's a  lifetime ago. I mean I wrote this poem a lifetime ago. My student-life in Galway, well that's two lifetimes ago. But this poem does catch my Galway. 

Do I still have a soft spot for that city: no, I don't think so. Happiest memories so rooted in their time and place, that the place can never live up to them. Best to leave those locations shimmering as they do in your head. 

From Galway

1.

At half past five we cracked dawn on the Salmon Weir,

swished the rose-coloured sky around our eyes,

clinked our voices.

Then on down College Road like circus folk,

past Johnny Ward's, past the university

where the crows were blowing the ears off the trees,

past the Regional and Kelehan's

and on out to Salthill to shine out loud with the ocean.               

  

2.

I remember Galway's soft drizzle,

each droplet carrying an atom of perfume

from the Glenard garden hedges.

My night-time walks in  that lazy spray:

onto Threadneedle Road,  down to the prom,

out onto the diving board at Blackrock.

Then the palm of mist along my cheek;

the tide repeating

easy, easssssy, easssssssy.

 3.

Each evening the flotilla of swans returns to the Claddagh;

they are, through half-closed eyes,

a thousand yachts drifting by like ghosts.

On the far wall a trawler slumps;

sometimes children run to it but it disappoints them. 

Here is the colour of Galway,

that falls from the clouds that mop the spires,

that rises again in the Burren hills across the bay.   

4.

The boats went on the river in May.

Nothing was more beautiful than the wooden thud

of the oars, than the glare into the eyes,

the voices over the water, that slow slow progress

and the gurgling beneath the boat.

And sometimes into the reeds,

where sunlight fell as though a Japanese screen,

its spectrum on the water disturbed

by a thousand dark lines like flamingoes' legs.

That first year my eyes were studded with splinters

 of sunlight, my ears flooded with the ripples' laughter.

  

5.

It was cosy in the Cellar:

the fire, the bodies, the sunshine that we snared

in our pints of lager,

Gerry Mulholland licking out tunes on the piano,

the whiff of Balkan Sobranie.

All day long heads were coming round the door,

hippies with jester-clothed kids,

long-haired musicians with slaked tongues,

mothers battering through with buggies and shopping.

Sometimes Andy, shambling behind the bar,

undoubled long enough to vent a curse-like greeting,

if he saw you, if he remembered you, if he had no choice.

Then closing time: the wind invited in the opened door

and that god-awful glass scraping down the window-pane.

6.

In Winter the rain made sizzling sounds on Shop Street,

rivulets of shop-lighting rushed along the gutters

with yachting cartons that collected in the grates;

slate-coloured people ran doorway to doorway and

bus queues stood limp and dripping like clothes on a line.

Each footfall splashed a halo of water, soaking shoes;

collars were pinned closed with fingers;

but I remember  that the rain made cables of your hair

and they ran currents down your back.

7.

Out Newcastle Road, down Saint Mary's,

past the Claddagh Palace, the Cottage, the Warwick;

and Salthill still asleep with that blank look

on its doors as though drink had not yet been discovered.

Then down onto the strand where the swish of the sea

filled our ears like shells, where we wrote our names,

where the sun found us and shaded in

that group of shadows it never found again.

8.

There was a house on Nun's Island we fancied

where the water ran almost to the door.

Sometimes we would walk around that way

just to see it, just to say our house is looking well.

I never mention it to anyone;

I’ve passed it and passed without looking;

that moment invisible to everyone but us.

And I don’t see you. I wonder how you are. 

\

The poem in Sunfire had a stanza edited out that I quite like, it was this:

Do you remember, Martin, that Sunday in May,

you and I were on the river about twelve,

a beautiful Summer morning

and we heard the music of flageolets?

So we stopped and looked, but there was no one.

Fifty yards away the Menlo road ran behind a grassy bank

and a low stone wall. The music kept rising

but there was only ourselves on the water.

A band was playing marches right beside us;

the river was still, there was a rock near the boat

with a smooth round back, 

And then above the wall a child's head appeared,

then two, then four, and maybe fifty more,

only to disappear as soon, dragging their tail of music

behind them.

Shape-shifter

The shape-shifter, Púca, in Irish mythology is a tricky guy. His moods vary hugely, from malevolent to mischevous, even, on occasion, to kindly. There is more than a suggestion that sightings and encounters with the Púca were alcohol induced. So, arriving home in the early hours with a variety of wounds on the body would, don't you know,  result from an unfortunate meeting with a puc goat on the  narrow road home.
There is however, in Púca's various guises, iconic images picked from the Irish landscape and  Irish lore. Though not of Irish origin, he, like so many immigrants over the centuries, became more Irish than the Irish themselves.
Here is Elaine Leigh's stunning 'Púca' which features in our collaborative work Above Ground Below Ground.

                                                                   
                                                         Shape-shifter

Gull I fly, spark from an anvil;

goat leaping, fraying rag.

Eagle swooping, slivered sunlight;

horse exhaling piston-jets of steam.

Hound darting, arrow-swift,

hare sentinel of the jewelled morning.

Lizard slithering tress down stone,

bull pounding bodhrán of the earth.

Damp and Drizzle.

     

Damp wet, wet, wet.

Grim drizzle

Leaning against the wall

All day.

If I could hum the mood

In your ear

You'd know what I mean;

You'd remember.

When yellow was the perfect colour

Yellow has that unfortunate connotation in battle. But yellow is a warm light. And blazing gorse is the fullest vent of Summer's exuberance. A yellow rose on the verge of full bloom is the promise of just that. 

The Yellow Rose.

                for Alan Biddle (1952-1994).

When his eyes had shut for good

and his face was just a face

and conversation had slowed

to the ebb and flow of memories

speaking among themselves,

a small gesture recast the day.

She placed a yellow rose on his chest

over the picture of the Sacred Heart.

The gentleness of that moment;

the single rose: how well chosen;

how well she chose it.

His face changed, full of ease

as through all his illness,

but death had sculpted warmth away.

His eyes shut against us,

fingers tangled up in rosary beads;

I'll remember him alive

or remember the rose when he was dead.

Rain and Imagination

The day darkens. Charcoal clouds hustle the blue across the sky, corral it into a far corner of the universe. The first drops fall, heavy as berries. In minutes the world is a blur. The sharp edges of landscape now diffuse; what was clear is now obscure. Imagination is released.

Monet. Cliffs of  Pourville, Rain

And then there is the rain in which thoughts come clear and perfectly defined.  Each having its own orbit; delicacy its beauty, still sharp as a bullet hole.

Gustave Caillebotte. The Yerres, Effect of Rain

You Take the Sea; I'll Take the Land

You Take the Sea; I’ll Take the Land.

            

Then, growing cautious of air currents,

my ears will extend to points,

nose become a snout, eyes flinty.

I will grow a coat of hair to thwart the wind,

jointed limbs that angle to take a fall.

Your sides will be sleek to cut the water,

your face an arrow, even eye-lids planed to nothing.

Your skin will have the dapples of flowing liquid,

drop-shaped scales. By then, of course,

we will not know each other at all.

Charlie Brown's Eyes

Stopped to watch

Charlie Brown's eyes

winking in pools

as the rain fell

on Lower Kimmage Road.

Earlier in the pub

a burnt-out match

and a rib of hair

snagged my attention.

Drank more than intended.

Large raindrops and

yellow street-lights

are an iodine stain.

A carrier bag gulps

on the broken white line.

Back in the hallway,

removing my overcoat,

I stop,

stare at the carpet,

pull the collar back to my neck.

Disturbance

The whole countryside’s afluster:

a tree is screaming,the meadows quivering,

boulders have clapped hands over their ears.

 

The word is that the stars have been burgled,

a stream’s stolen the silver,

and a cave, (whisper it), has swallowed the moon.

Films in your face

 

I am watching the film in your face:

your enjoyment crinkling

at the corners of your eyes,

teeth catching your lower lip,

blood draining from the pressure,

draining back as soon.

 

Furrows on your forehead,

I am smiling at your absorption,

want to stub them out with my thumb

but you catch me looking

so I turn back to the screen

till your face is mine again.

 

The words on my lips

remain unsaid. There will a time

when, not having words,

I will wish I had spoken; a time

when love being tested, I could say

I used to watch films in your face.

Fifteen Irises from my Black Humour to You

Fifteen Irises from my Black Humour to You.

 

The mallards go off like a shot gun;

each a storm of wings

and black as a keyhole.

 

The pond, empty now,

is gripped in a glacial sulk.

 

Fifteen irises from my black humour to you,

their shadows only;

the pond will part with no more.

Stone Art

 

 

 

 

                            Stone at Newgrange photo by Johnbod. https://en.wikipedia.org/wiki/User:Johnbod.

 

 

A man is carving shapes:

spirals, lozenges, chevrons;

the sun is looking over his shoulder.

Below, in the valley, the Boyne passes

 with a glint from its teeth,

the whitethorn is in full bloom,

the daylight hours are long. 

 

His hands are leather from handling flint;

a wave traverses the stone,

arcs toss on the crests,

they tip left then right;

tonight the moon is tipping left;

in three weeks daytime will be at its longest.

 

Words of Undiminished Relevance

The following passage features in a new show, 1916: Visionaries and Their Words, which was devised by Lorcán Mac Mathúna and which will be performed this weekend as part of Tradfest. Follow the link for details http://www.templebartrad.com/artist/1916-visionaries-and-their-words-sun/

“I put it that what education in Ireland needs is less a construction of its machinery than a regeneration in spirit. The machinery has doubtless its defects, but what is chiefly wrong with it is it is mere machinery, a lifeless thing without a soul. A soulless thing cannot teach; but it can destroy. A machine cannot make men, but it can break men.

Education has not to do with the manufacture of things, but with fostering the growth of things. And the conditions we should strive to bring about in our education system are not the conditions favourable to the rapid and cheap manufacture of ready-mades, but the conditions available to the growth of living organisms………………..”

“……………I knew one boy of whom his father said to me: ‘He is no good at books, he is no good at work. He is good at nothing but playing a tin whistle. What am I to do with him?' I shocked the worthy man by replying (though really it was the obvious thing to reply): ‘Buy a tin whistle for him.'”

Patrick Pearse in ‘The Irish Review’ January 1913 

Pearse’s words seem to me to be particularly relevant today. My experience is that, in the interests of satisfying the requirements of the marketplace, accountability, transparency, point-scoring, and being  politically correct, we are replacing the heart and passion that is required for real education (education that inspires) with a process that has more to do with commercial production and the maintenance of the attendant statistics.

The relationship of teacher and learner is a human one. Its success is based on the teacher’s ability to engage, with warmth and passion, the student’s interest.  A committee-horse system of education, over- prescribed and requiring a stifling degree of regulation leans more to the requirements of its own over-bearing institutions than it does to the people it is supposed to serve.