Expressing Depression

 'O the mind, mind has mountains; cliffs of fall/Frightful, sheer, no-man-fathomed'.

These lines cause me to wonder if the search for the appropriate words, and the subsequent expression of one's condition helps to ease the effects of depression. By making a prayer of it, I assume Hopkins was shifting some of the weight towards heaven.


No Worst, there is None.

                                   by Gerard Manley Hopkins

No worst, there is none. Pitched past pitch of grief,

More pangs will, schooled at forepangs, wilder wring.

Comforter, where, where is your comforting?

Mary, mother of us, where is your relief?

My cries heave, herds-long; huddle in a main, a chief

Woe, wórld-sorrow; on an áge-old anvil wince and sing —

Then lull, then leave off. Fury had shrieked "No ling-

ering! Let me be fell: force I must be brief."

    O the mind, mind has mountains; cliffs of fall

Frightful, sheer, no-man-fathomed. Hold them cheap

May who ne’er hung there. Nor does long our small

Durance deal with that steep or deep. Here! creep,

Wretch, under a comfort serves in a whirlwind: all

Life death does end and each day dies with sleep.

 

 

Famine: Media Coverage

A Brief Note on an Imminent Famine.

Everyone here will starve:
each bone will be a stripe,
each hand a bowl,
each leg a stick.

Then there’ll be the gluttony
of cameras:
our threadbare skin
will be devoured,
our eyes exported
shining like pickles.

At One End of a Bench

 

At one end of a bench

an old man wearing Winter clothes

regards the fountains and Summer

through melt-water irises. 

This man needs my ear to be a conch

so that he can call to the past down these auditory canals.

And when he calls, his wife and sons will resurrect,

return, reverse like filings into a family. 

It is mid-morning in Stephen's Green;

the usual sounds: clacking fowl and fountain symphonies,

outside the thrash of traffic and voices. 

In a moment:

two strangers on a bench are traveling backwards to Mayo;

elsewhere a beggar has recreated himself in a bank window

and somewhere, busy in a kitchen, a woman is conversing

though the voice that answers has not been heard for years.

The Fall

When apples fall

like pocket watches

among the trees

and leaves

like closing old hands,

the fog is rising,

old souls

over the green.

There is a quietness

like padded feet

or, quietest of all,

the droplets

playing in the hedge;

and the grumpy whimper

of hedgehogs

scuttling for their sleep. 

Most of all I notice

                the thud of Winters

changing children into men.

 

The Irish Curse

The Irish language is famous, from bardic times, for its curses; a poor host  got a verbal flaying. Likewise praise can be most eloquent an elaborate.  Declarations of love: off the scale.

James Stephens gives a fine example in  the following poem of a blood-curdling curse.

The Glass of Beer

The lanky hank of a she in the inn over there
Nearly killed me for asking the loan of a glass of beer:
May the devil grip the whey-faced slut by the hair
And beat bad manners out of her skin for a year.

That parboiled imp, with the hardest jaw you will ever see
On virtue's path, and a voice that would rasp the dead,
Came roaring and raging the minute she looked at me,
And threw me out of the house on the back of my head!

If I asked her master he'd give me a cask a day;
 But she with the beer at hand, not a gill would arrange!
May she marry a ghost and bear him a kitten and may
The High King of Glory permit her to get the mange.

Pub Yap

First published in THE SHOp Poetry Magazine:

Mrs Clancy

Mrs Clancy pulling a pint,
asking John Quinn about Kate Nealon’s
accident the other evening outside Lawlor’s
when Tadhg Foley comes in,
says, “How’s Tadhg. A pint Tadhg?”
“Hello Mrs Clancy”

“Here y’are John.” She takes the silver.
“She had to leave the bike in Mulhall’s,”
“William Featherstone’s gone over, Missus.”
“Not the first time, Tadhg” she says.
“No, nor the last either” says Tadhg
 with a bit of a chuckle.

“Mike Deegan has the rest of it in anyway”
says John. “And how’s Breege?” she asks;
“A lot better than yesterday, but she’ll hardly be right.”
“I suppose not.” says Mrs Clancy
climbing up on her stool at the end of the bar,
“I suppose Maeve will have to do.”

“Wasn’t Maggie Deegan related to the Nealon’s?”
quizs Tadhg. “ She was, and Brennans in Clooncraff.”
Terry Watchorne comes in. “How’s Terry.
A pint Terry?” Climbing off the stool,
over to the tap, lifting her arm, she says
“Wasn’t that awful about Kate Nealon.”

The eyes have it

 

 

These images by Lucas Cranach the Elder are very arresting. Despite being 600 years old there’s something very fresh and immediate about them. The eyes are compelling, the depth of emotion they convey; it looks as though they are seeing all the world’s sorrow to the end of time. The paintings give me an urge to write, and that is one of the reasons I am always interested in the work of painters and photographers.

 

 

Breathing

Now my father's life

is breathing.

Heavy work. 

He has already slipped away

to be alone

while we outside

mark every breath

like lap timers.

 

Now come the spaces:

a breath

is an isolated thing. 

Finally one breath

arrives alone. 

I feel a soul has left,

 

but just then

I see, so clearly,

it was hope

that slipped out of the room.

 

(from Sunfire)

from Felos ainda serra

included in the chapbook published in Galicia in 2005

 

Go to bed, Michael,

or the monsters will come.

Say your prayers,

build yourself a wall.

Pull the blankets up

over your eyes.

Be silent down your burrow,

the night sky is stirring.

Go to sleep, Michael,

they will not disturb the dead.

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

“There is an owl in my head”

said Joseph. “I am wise,

wisest of all creatures”.

“There is a tiger in my head”

said Paul. “I am  fierce,

all creatures fear me”.

“A stag in mine”

said Thomas. “ I am majestic,

admired by all”.

“My head is empty”

said Jim. “ a space

for all creatures to come and go.”

Then

                              

It was the time of Afton and Albany,

Joe O’Neill’s band and the Adelaides,

hay forks sharing pub windows

with Daz and Persil; the Smithwicks sign

and the Harp sign, half-ones of Guinness.

It was a time of pipe-smoking

beneath naked bulbs and neon strips,

the priest in his cassock,

Hillman Hunters, Ford Corsairs,

Wilkinson Swords and Fruit Gums.

Of scarved heads at mass, berets,

the Messenger and the Far East,

dress makers and blacksmiths;

hollowed faces in the County Home,

yanks in the sitting room.

(previously pub in Cyphers)

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.

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.