Moving House

I am casting away the jetsam of forty years;

the once indispensable, now surplus cargo of a life

that failed to reach its destinations.

I am throwing away the evidence of fanciful notions,

ambitions that were too far out thin branches;

hopes that were shining bright, I left to wither.

I am casting them off without glancing back;

not for lack of regret or care, but knowing that

disappointment is no starting block for a new life.

The Clam

I picked a clam from the beach, a beautiful thing.

Its valves exquisitely symmetrical, its surface lustrous,

ridges swept in a graceful wave outward from the beak.

I keep it on the mantelpiece; it reminds me of perfect love:

the symmetry, the wave, the gleam, the perfection of it.

It reminds me of how we created a love that enfolded us

in a warm shared self-knowledge, a completeness of pairing; 

that symmetry of happiness apparent even to a passer-by.

Stream

              

                       Sinuous,

          the stream weaving braids:

 its muscles,

               solving the puzzles

                       set by strewn boulders,

              runnelling down geologic time.

Always motion; plaits,

      light and water indivisible,

               streaming moss, cloud, over-hanging bush;

                                  quietude or turbulence

                          on the whim of a sharp edge,

                                    creating music

           from the shiftings of time.

A Rose For Valentine's

Imagine an embrace: enfolding, encircling.

Imagine it warm, not intense, but lush pleasure.

Imagine it deep within other embraces; similarly

warm, encircling; similarly pleasurable. Imagine

it folds embrace outward to embrace, warm, not

intense, lush pleasure; circles folded within circles.

Imagine all is embrace, encircling, warm pleasure.

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.

Still Island*

The trees make a cracked sky;

beyond that, they make no sense at all.

There is so little soil beneath them;

they grow into deformity, arguing

for each inch of the ground they stand on.

Heaped stones made the island. Hands:

imagine the skin, softened by the lake water,

shredded by sharp-edged slabs.

What soil gathered, gathered by growth

of moss, beetle, moth wing.

The water gurgles between the stones,

still puzzling at the intrusion.

The hands are shining somewhere between

Cassiopeia and Cepheus.

The trees whistle to the birds.

It is thought that Still Island at Baile Dhubh Loch near Corr na Móna on the Galway Mayo border is a crannóg (a man-made island,  built for safe dwelling, and once quite common in Ireland and Scotland).

Patsy's Life

Patsy

Patsy thinks of sex, but without faces;

he often thinks this way

because there never was a welcoming face,

so he's never had sex,

and this July he'll be 46.

Patsy lives alone, and is settled in his ways;

people think him strange,

never ask him to join them in the pub

or wherever;

‘he’s getting more peculiar’, they say.

Patsy has an office job;

colleagues bid him good morning at coffee-break

but sit at another table.

He eats his lunch in the Arms bar,

and always sits facing a wall.

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.

A whiter shade of pale

The ‘Whiter Shade of Pale’ was playing downstairs;

it was a strange grab from the house of her childhood.

She went into to her parents’ bedroom and stopped

at the end of their bed to gaze at the two pillows;

side by side, the indentation of her father’s head still on one,

 the other fluffed up; typical mother, early to rise.

The shock of that: the pillows carrying their personalities,

and full of the emptiness of their passing; 

she had to leave.

In Driving Rain, Winter Evening, Roscommon Street, 1967

                                                  

Fifth door.

Beatified in neon glow, barber’s neat hands spume

around farmer’s haycock. 
With kiss-smacking scissors

hitting rhythm, he tum-te-tums rivulets down his window.

Third door.

While cleaver dives solitary in ribbed abyssal caverns,

butcher sings whale-song 
through hulking skeletons

to distant splash of housewife on a sandy shore.   

First door.

Set of skin-bones fingers lurch, grab rope, Guinness.

Beneath 60 watt light 
hums Jim Reeves vaguely Hawaii-ish;

sound of distant thumb-tacks hitting ocean one thousand miles away.

Scalene.

'Scalene, scalene, scalene', he repeats

over and over.

The word a stroke

he keeps swimming;

each scalene keeps his head over;

'scalene, scalene' 

and I too leave the room.

Declaration

‘Life is shorter down the red end of a match',

he said apropos of nothing and continued to look

out the window, his pupils tiny drill-bits halted, still.

I was about to say

but didn’t.

He was flicking his thumb along his index finger like

a match along the sandpaper strip of a box of matches

and something was...

I think he was smoothing a thought for verbalisation,

when it must have dropped through the floorboards so

there the whirring stalled.

I said ‘how do you mean?’

He turned toward me with his teeth in a clear white strip

which closed to lips as his focussing eyes softened;

‘I’ve got cancer' he said.

Murmuration

In this moment you and I:

love, loves and feelings;

our place and time

together, apart;

my crooked walk,

your long hair,

my guitar, your concertina,

our families past and present;

houses, rooms, gardens,

the streets, towns and city

childhood to adulthood;

teachers, neighbours, friends;

all murmuration; fluid

we have passed so easily through,

above and within;

watched weightless, weighted

and weightless again;

eased our voices into the waves

that are eternal,

and, I believe, sang

more than our share.

Solar Festival of Newgrange

At the Festival of the Golden Light of Síd in Broga*

I sucked pale sunlight

and exhaled it golden.

You drank it at the eyes

and exalted me, Síd in Broga.

Drank yourselves drunk,

pissed in the river beneath you.

The Boyne stole my silver

and merrily, merrily carried it off to sea.

* In his book, Newgrange: the mystery of the chequered lights,  Hugh Kearns offers his theory that Newgrange (Síd in Broga) housed a gold mirror.

In The Ring

One word thrown into the ring,

and intimacy is honed to cruelty.

Our red mouths’ lining never spared;

if I ever loved you, it was my mistake.

                    And still, there was no mistake;

                    I love you.