Snow

Commentary


Sifted, unfallen snow,
settling and unsettling snow,
snow resting like mortar on the stone
of the cold, unroofed, unfinished home
we call the world,
snow drifting far, and wide.
But we drift, then fall.
Suddenly small,
finding nothing to grasp,
we suddenly gasp
weakly, weakly,
soon silenced, and sleepy. 

Das Sternbild Pegasus

Mehr zu sehen

oder besser zu sehen,

reisen

oder scheissen.
The trees are restless.
Through the broken window wind whistles,
the wind scours the nettles and thistles
of the clay.
Feebly, like a wasted day,
the low light of the sun,
shining no doubt steadily upon
the clouds, unsteady, blustering,
lights upon this sodden hut sheltering
from the wind and driven rain me.
I can see and foresee
a far more comfortless shelter.
They look ahead,
troubled by heat and thirst,
aroused, and full of rapt delight
at the course of their journey
and the memories it leaves in its wake,
turbulent at first, then smoothed,
an expanse of calm.

The lake's fullness fulfils me,
mountainous water's overwhelming's
surface deep in the mind.
The sun beats the water,
swaying in the heat -
I feel rather than see -
the water's calmness stirs and excites like a drum-beat,
the sun beats the surface to gold leaf
of the lake with its complex of bays,
molten metal shining sure.

Lush leaves, drunken butterflies, great swallows,
the enormity of life, short shadows,
staggering bats,
the glowing path of the endless lake that's
The Milky Way, an infinity-inwards
the rushes of time, the hordes,
their silent cries,
of fireflies.





Refuse to be refuse.
Cogs, refuse to turn.
Allowed no other luxuries,
you allow yourself these,
patience and forgiveness.


Lighten your burden,

throw away your illusions,
and if acceptance
must be accepted
accept, but don't forgive.

Your life,
full of chance and finalities,
can have the smiling assurance
of something which never thinks.
Be like nature,
which accompanies wars and killings,
its own discreet or dramatic killings,
with snow settling, winds blowing,
the moon rising or setting with such simplicity,
on such carnage.
Be happy, be contented, be dissatisfied, be many.
Feel the ecstasy of the hunter,
the terror of the hunted,
the anger of the one who acts to stop the killing,
but of course, so rarely can. 
The blizzard stopped. I started.
The huge moor rearing above
these farm buildings huddled like sheep
had waited, I'd sheltered,
too long.
What would only belong long in memory,

this strong beauty, a wind,
from cutting edge north-easterly
sculpting the snow
to warm, wet, west
would end -

in me trudging and trampling
the mucky moor,
bitterly regretting
the mild and pleasant wind.

Commentary

Fields unlike fields,
snowed under, in the dark,
stark, staring at, standing snowflake -
near, no other -
watching, watching the whiter than white,
strong, silent fields of another
fielding flakes,
caught out by the cold, the dark
wilderness of the fields.

Plunging like a mountain torrent,
showering snowy spray
in an effortless display
of bravura descent,
the skier
shot by the dangerous rocks,
skimmed successive massive steep banks,
far and fast from here,
suddenly
a strange blot,
a distant dot
and nothing to do with me.
 

Everything they had was tasteful,
made to last,
except their bodies -
so distasteful, ruined so fast.


All day long
they long
to belong,
they long
for belongings.

 

 

 

Commentary


Last

 

'Let's ... !'

 

List ...

 

Lost

 

Lust.

 

Commentary
The Matterhorn

Why,
Whymper,
will we wish
we were where we
'whither?' wondering
why Waste weeds windowed
Will worn well-welter-white?


An exhausting day.
Dusk filled the air,
and darkness filled the air,
as the sun
beat against the windows of the car.
The pipe that had watered
the flowers of his garden
was the umbilical cord
that linked him with
death.

Poems: a Large Page Design 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This page, which gives a selection of my poems, can be easily used without any further explanation but page travel gives a very short introduction to aspects of Large Page Design.

The poems are in different regions of the page, with the poems of a region linked by form or subject or tone.
 

Please click on a link in the region-list on the right to go to a region.

To travel back to this home-region, perhaps to use the region-list again, click anywhere in a poem.

 

Underneath the poems are commentaries for some of the poems. There are also links to commentaries on other pages of the site.

 

The zoom facilities of such browsers as Chrome, Opera, Microsoft Edge and Internet Explorer can be used to give an aerial-view of the page rather than ground-view. There are various zoom levels which are suitable. I'd suggest 25%.

 

 

 

Humour and sarcasm

A Learning Zone

Your ears are assaulted by the noise,
as if from hundreds - thousands - not thirty girls and boys,
a seething, shouting, shoving, guffawing mass
boiling over with resentment, hostile, crass.
Some of them do have a purposive look
but they're writing on the walls, not an exercise book.
A helpful youth tries to wash away their crap
using a Bunsen burner connected to a water tap.
Today, the teacher has to assess them on this:

Skill 187, 'Learning strategies in formulating a scientific hypothesis.'
He pleads for their attention,
mumbling  'extra work' and 'possibly a detention,'
but the only response is the throwing of a dart -
the heavier kind, not the paper-folding art.
This features, though, in one of their war games:
a paper aeroplane is lit, launched and crashes in flames.
Then, yet again, yet again, someone farts.
Gales of laughter, bless their little hearts.
The teacher loses all self-control and shouts, 'Who did that?'
The teacher's pet owns up: 'Me, you twat!
'
In the end, the 187th test
of plagiarism skills is actually assessed.
The Headteacher writes for Dr. Horatio's references
(after 'His Philosophy of Eduction is pupil-centred. Pupil preference's,
aims and objectives are parammount always...')
'His exam result's are good. some grade A's.'
The bell rings. Dr. Horatio hopes a note of quiet authority
will impress the Inspector lying there, hit by a missile, unable to see
but still recording Learning Performance Indicators!
Truly, one of the  Learning Inspection Partnership's Classroom heroes.
'Please try to email Laptop Learning Outcomes  by tomorrow.
Laptop learners, you may go.'

Commentary


They are gone
and at one
with the earth,
beneath turf
or corn or
an airport.

 

 

Starry night,
so recondite.
Send your light
into our night.

 

Nature poetry
War, the Holocaust and the Troubles in Northern Ireland





        


   

 

 

As day turns to night tonight,
in a bed as soft as the half light,
a man turns to a woman,
both near to sleep, the man
mentions his emotions,
she shudders,  suddenly emotion-
less, and she says,
"Are we going crazy?"
 
Troubled relationships


 

 

Das Sternbild Pegasus

Mehr zu sehen

oder besser zu sehen,

reisen

oder scheissen.

Miscellaneous

The Rising and Falling of Luke Wright, poet, who attacked IDS (the Conservative politician Iain Duncan Smith) using only the vowel 'i'

 

Commentary

 

This rising Lit-Hit,
this nit-picking Lit-Big,
this Mill-Wright
grinding his lit-bits,
grinning, grinning, grinning,
is insipid in print
[IDS 'ripping ribs in glitz grills']

 

his  filmic fighting
filling in,
his illicit flings
filling in

[ID: 'I wish him limp dicks']

idling, tiring, slipping, sliding,
whittling his whims,
signing his sighs.
'If I ... '
'I might ... '
(might is plight).
This Lit-Grit
is grim, grim, grim in print

['ISIS, ISIS ...'
['
Sinking, sinking ...']
[IDS 'twisting victims till victims stink ... ']

 

 

 

Commentaries

 

Other commentaries are on other pages.

 

 

'Bats blinking in the dark wings...'

 

Obviously, the image in the opening lines of the poem is theatrical. The 'dark wings' are the wings of a theatre, the moths are players, that is, actors, playing in the theatrical lighting. 'Playing' also has overtones of heedless enjoyment - but the moths are threatened by the bats.

 

The moon is 'swung' as it passes in its apparent orbit in the night sky. It's 'a' moon which, like all the other moons in the solar system, is known to us, but there must be moons too which are not known to us outside our solar system.

 

The inner life of the moths that flutter and the bats that flitter isn't known in the same way. They are 'others,' whose inner life we can only imagine. As for the consciousness of bats, I had in mind the essay of the philosopher Thomas Nagel, 'What is it like to be a bat?' The essay, though, is not about the mysterious otherness of bats but an anti-reductionist viewpoint in the philosophy of mind according to which consciousness, subjective experience, can't be reduced to neurophysiology. I share this viewpoint.

 

Bats, of course, emit sounds which can't be heard by us. The 'unheard shrieking' of people gives a linkage with the opening of Rilke's First Duino Elegy, 'Who if I cried out , would hear me among the angels'/hierarchies?'

 

'Shrieking' suggests something unpleasant. I oppose views of human life which reduce it to something completely unpleasant, without denying that there are unpleasant aspects and that 'shrieking' or similar responses are part of life. I give some other responses: 'shouting,' that is, the shouting of defiance as well as the shouting of anger and argument, 'saying,' expressing states which are not intense, such as normal human conversation, and 'singing,' the creation of beauty. The viewpoint of the poem is anti-reductionist in a wider sense.

 

The bats and moths are the first two players on the world's stage in this particular drama. Humanity is the third player, but 'third' refers also to the musical interval.

 

They are gone...

 

Each of the short lines has 3 syllables.This kind of syllabic verse I call 'syllabic unit poetry.' In concrete unit poetry. (See the examples in the region 'Concrete poetry') there's complete control of the letters, punctuation marks and spaces so as to shape the poem. In syllabic unit poetry there's complete control over the number of unit-syllables. The lines are iambic monometers to begin with but the monometers are varied.

 

She licks it into shape...

 

Inscape. Collins English Dictionary has 'the essential inner nature of a person, object etc.' as expressed in literary or artistic works.' The word was introduced by Gerard Manley Hopkins. He makes significant use of it in his Journal, eg.1871: 'End of March and beginning of April - This is the time to study inscape in the spraying of trees, for the swelling buds carry them to a pitch which the eye could not else gather - for out of much much more, out of little not much, out of nothing nothing: in these sprays at all events there is a new world of inscape.'

 

A poem isn't the place for a systematic and exhaustive discussion of anything, the poem 'she licks it into shape...' included. A few remarks about the place of sexuality in human nature (obviously a very big and important topic. Not only is it impossible to do justice to it here, it's impossible to do justice to it anywhere.)

 

D H Lawrence would surely have accepted Nietzsche's claim 'The degree and kind of a person's sexuality reaches up into the topmost summit of his spirit.' (Beyond Good and Evil 75, translated by R J Hollingdale. I don't accept this claim. I'm sure that Nietzsche liked the sound of this claim but it's isolated in his writings, the rest of his writings do nothing to support it or reinforce it and there's no evidence that Nietzsche was anything other than sexually ignorant, far more so than D H Lawrence - who, in the interesting account by Martin Seymour Lawrence was 'a would-be sex-mage whose practical grasp of his subject was notably imperfect.'

 

The Jaws of Borrowdale, Derwentwater

 

The poem may be straightforward but the linked poem and image show dissonance. The poem makes the claim that the scene is so compelling, it presents itself with such directness, that it is reality, without the difficulties we face whenever we concentrate upon appearances, the deceptiveness of appearances, the unreliability of our senses. The image which is linked with the poem is, though, very much a distortion of reality. The mound in the centre represents Castle Crag without undue distortion. The fells on the left and right are very much distorted. Our senses impose {adjustment} and so do our memories. For a photograph, showing the Jaws of Borrowdale and Derwentwater from Friar's Crag (the scene that John Ruskin valued so highly):

 

http://flickr.com/photos/22557397@N03/2175747263/


Lincolnshire, asleep, Turin, wide awake

 

This poem was suggested by a passage in Jack Currie's 'Lancaster Target:' 'At Modane, the railway ran from Grenoble to Turin, deep under the Graian Alps...Our task...was to block the tunnel...We arrived early in the target area, and circled high among the Alpine peaks, gazing at magnificent Mont Blanc, towering massive in the moonlight, with our target to the south and Lake Geneva to the north.' However, there was no collision in Jack Currie's account and the poem is fictional.

 

'felt a bump.' Collins English Dictionary for 'bumping race:' '(esp.at Oxford and Cambridge) a race in which rowing eights start an equal distance one behind the other and each tries to bump the boat in front.' Collins English Dictionary for 'bump ball,' 'Cricket. a ball that bounces into the air after being hit directly into the ground by the batsman.'

 

The poem reflects, of course, the social background, including the sports they played, of a significant proportion of the English who lost their lives in the Second World War, as in other wars. King's College is the Cambridge College and Wadham is the Oxford College.

 

Doubles

 

In this poem, I imagine two conscience-stricken machine gunners from two opposing armies. The reality is that the vast majority of machine-gunners have never been as sensitive as in the poem. The harsh reality is that they could not have allowed any sensitivity to influence their actions. Failure to fire on the advancing troops would have most likely led within a short time to their being shot or bayoneted.

Since writing the poem, though, I've been very impressed to find in 'The White War: Life and Death on the Italian Front 1915 - 1918' by Mark Thompson - a magnificent book - descriptions of the action of very sensitive machine-gunners. These were gunners of the Austro-Hungarian army confronting troops of the Italian army, trained, led and equipped to a catastrophically bad standard. On something like half a dozen occasions, occasions probably unique in the First World War or any other mechanized war, the machine-gunners refused to fire on the advancing Italians. "Stop, go back!" one of them shouted on one of these occasions, "We won't shoot any more. Do you want everyone to die?"

 

95

 

Very often, a poem can give only one aspect, not a balanced or comprehensive view. I'd emphasize the obvious fact that not all 95 year olds have this degree of impairment and that whether they do or not, their lives may well make admiration the overwhelmingly important response.

 




The trees were barely white.
The sky was largely grey.
The stored potatoes turned black.
That winter, all the family starved.
The children were buried in potato sacks.



Commentary


By the waters of Doo Lough we lay down and slept, 
and all our prayers were answered at once,
Mary, Mother of God, be thanked -
for an end to the sleet,
the unendurable sleet,
an end to the hunger
that gnawed our bones,
the unendurable hunger,
an end to our lives,
their unendurable lives.

If you'd been near this massive gun,
you'd have heard an unfailing flow
of jokes and anecdotes,
clean and smutty,
as the gunners drank their tea.
They looked forward
to the good times after
the war.
The silent one, the odd one, the odd one out, the padre's pet
looked forward
to the good times after
death.
But the others took the piss
out of him for that.
'None of us is going to get the chop,'
said the sergeant.
'Rommel's shower, that's different.
You've had long enough to sup your tea.'
Followed by
Load!
Aim!
Fire!
A puddle or pond or sea-like lake,
natural or man-made, authentic or fake,
ice-cold, warm, hot or scalding,
remote and unexplored or crowded beyond enduring,
mapped or unmapped, famous or obscure,
enhancing life or destructive, pure or impure,
ugly or plain or beautiful as can be,
useful or useless, in the highest degree or slightly -
pick out the words that apply to your soul
(mortal / immortal) from the words  describing each water-filled hole.


In disbelief I see

leaves leaving,

unburdened branches groaning

in the wind.

There is still birth,

plants reseed,

but nights are growing,

days recede. 

After rowans have berried

everything is hard.