But I ran my hand in the half-filled bags
Hooked to the slots. It was hard as shot,
Innumerable and cool. The bags gaped
Where the chutes ran back to the stilled drum
And forks were stuck at angles in the ground
As javelins might mark lost battlefields.
I moved between them back across the stubble.
They lay in the ring of their own crusts and dregs
Smoking and saying nothing. ‘There’s good yield,
Isn’t there?’—as proud as if he were the land itself—
‘Enough for crushing and for sowing both.’
And that was it. I’d come and he had shown me,
So I belonged no further to the work.
I gathered cups and folded up the cloth
And went. But they still kept their ease
Spread out, unbuttoned, grateful, under the trees.
Night Drive
The smells of ordinariness
Were new on the night drive through France:
Rain and hay and woods on the air
Made warm draughts in the open car.
Signposts whitened relentlessly.
Montreuil, Abbéville, Beauvais
Were promised, promised, came and went,
Each place granting its name’s fulfilment.
A combine groaning its way late
Bled seeds across its work-light.
A forest fire smouldered out.
One by one small cafés shut.
I thought of you continuously
A thousand miles south where Italy
Laid its loin to France on the darkened sphere.
Your ordinariness was renewed there.
Relic of Memory
The lough waters
Can petrify wood:
Old oars and posts
Over the years
Harden their grain,
Incarcerate ghosts
Of sap and season.
The shallows lap
And give and take:
Constant ablutions,
Such drowning love
Stun a stake
To stalagmite.
Dead lava,
The cooling star,
Coal and diamond
Or sudden birth
Of burnt meteor
Are too simple,
Without the lure
That relic stored—
A piece of stone
On the shelf at school,
Oatmeal-coloured.
Bogland
For T. P. Flanagan
We have no prairies
To slice a big sun at evening—
Everywhere the eye concedes to
Encroaching horizon,
Is wooed into the cyclops’ eye
Of a tarn. Our unfenced country
Is bog that keeps crusting
Between the sights of the sun.
They’ve taken the skeleton
Of the Great Irish Elk
Out of the peat, set it up,
An astounding crate full of air.
Butter sunk under
More than a hundred years
Was recovered salty and white.
The ground itself is kind, black butter
Melting and opening underfoot,
Missing its last definition
By millions of years.
They’ll never dig coal here,
Only the waterlogged trunks
Of great firs, soft as pulp.
Our pioneers keep striking
Inwards and downwards,
Every layer they strip
Seems camped on before.
The bogholes might be Atlantic seepage.
The wet centre is bottomless.
FROM
Wintering Out
(1972)
Bog Oak
A carter’s trophy
split for rafters,
a cobwebbed, black,
long-seasoned rib
under the first thatch.
I might tarry
with the moustached
dead, the creel-fillers,
or eavesdrop on
their hopeless wisdom
as a blow-down of smoke
struggles over the half-door
and mizzling rain
blurs the far end
of the cart track.
The softening ruts
lead back to no
‘oak groves’, no
cutters of mistletoe
in the green clearings.
Perhaps I just make out
Edmund Spenser,
dreaming sunlight,
encroached upon by
geniuses who creep
‘out of every corner
of the woodes and glennes’
towards watercress and carrion.
My ‘place of clear water’,
the first hill in the world
where springs washed into
the shiny grass
and darkened cobbles
in the bed of the lane.
Anahorish, soft gradient
of consonant, vowel-meadow,
after-image of lamps
swung through the yards
on winter evenings.
With pails and barrows
those mound-dwellers
go waist-deep in mist
to break the light ice
at wells and dunghills.
Gifts of Rain
I
Cloudburst and steady downpour now
for days.
Still mammal,
straw-footed on the mud,
he begins to sense weather
by his skin.
A nimble snout of flood
licks over stepping stones
and goes uprooting.
He fords
his life by sounding.
Soundings.
II
A man wading lost fields
breaks the pane of flood:
a flower of mud-
water blooms up to his reflection
like a cut swaying
its red spoors through a basin.
His hands grub
where the spade has uncastled
sunken drills, an atlantis
he depends on. So
he is hooped to where he planted
and sky and ground
are running naturally among his arms
that grope the cropping land.
III
When rains were gathering
there would be an all-night
roaring off the ford.
Their world-schooled ear
could monitor the usual
confabulations, the race
slabbering past the gable,
the Moyola harping on
its gravel beds:
all spouts by daylight
brimmed with their own airs
and overflowed each barrel
in long tresses.
I cock my ear
at an absence—
in the shared calling of blood
arrives my need
for antediluvian lore.
Soft voices of the dead
are whispering by the shore
that I would question
(and for my children’s sake)
about crops rotted, river mud
glazing the baked clay floor.
IV
The tawny guttural water
spells itself: Moyola
is its own score and consort,
bedding the locale
in the utterance,
reed music, an old chanter
breathing its mists
through vowels and history.
A swollen river,
a mating call of sound
rises to pleasure me, Dives,
hoarder of common ground.
Broagh
Riverbank, the l
ong rigs
ending in broad docken
and a canopied pad
down to the ford.
The garden mould
bruised easily, the shower
gathering in your heelmark
was the black O
in Broagh,
its low tattoo
among the windy boortrees
and rhubarb-blades
ended almost
suddenly, like that last
gh the strangers found
difficult to manage.
Oracle
Hide in the hollow trunk
of the willow tree,
its listening familiar,
until, as usual, they
cuckoo your name
across the fields.
You can hear them
draw the poles of stiles
as they approach
calling you out:
small mouth and ear
in a woody cleft,
lobe and larynx
of the mossy places.
A New Song
I met a girl from Derrygarve
And the name, a lost potent musk,
Recalled the river’s long swerve,
A kingfisher’s blue bolt at dusk
And stepping stones like black molars
Sunk in the ford, the shifty glaze
Of the whirlpool, the Moyola
Pleasuring beneath alder trees.
And Derrygarve, I thought, was just:
Vanished music, twilit water—
A smooth libation of the past
Poured by this chance vestal daughter.
But now our river tongues must rise
From licking deep in native haunts
To flood, with vowelling embrace,
Demesnes staked out in consonants.
And Castledawson we’ll enlist
And Upperlands, each planted bawn—
Like bleaching-greens resumed by grass—
A vocable, as rath and bullaun.
The Other Side
I
Thigh-deep in sedge and marigolds
a neighbour laid his shadow
on the stream, vouching
‘It’s poor as Lazarus, that ground,’
and brushed away
among the shaken leafage.
I lay where his lea sloped
to meet our fallow,
nested on moss and rushes,
my ear swallowing
his fabulous, biblical dismissal,
that tongue of chosen people.
When he would stand like that
on the other side, white-haired,
swinging his blackthorn
at the marsh weeds,
he prophesied above our scraggy acres,
then turned away
towards his promised furrows
on the hill, a wake of pollen
drifting to our bank, next season’s tares.
II
For days we would rehearse
each patriarchal dictum:
Lazarus, the Pharaoh, Solomon
and David and Goliath rolled
magnificently, like loads of hay
too big for our small lanes,
or faltered on a rut—
‘Your side of the house, I believe,
hardly rule by the Book at all.’
His brain was a whitewashed kitchen
hung with texts, swept tidy
as the body o’ the kirk.
III
Then sometimes when the rosary was dragging
mournfully on in the kitchen
we would hear his step round the gable
though not until after the litany
would the knock come to the door
and the casual whistle strike up
on the doorstep. ‘A right-looking night,’
he might say, ‘I was dandering by
and says I, I might as well call.’
But now I stand behind him
in the dark yard, in the moan of prayers,
He puts a hand in a pocket
or taps a little tune with the blackthorn
shyly, as if he were party to
lovemaking or a stranger’s weeping.
Should I slip away, I wonder,
or go up and touch his shoulder
and talk about the weather
or the price of grass-seed?
The Tollund Man
I
Some day I will go to Aarhus
To see his peat-brown head,
The mild pods of his eye-lids,
His pointed skin cap.
In the flat country nearby
Where they dug him out,
His last gruel of winter seeds
Caked in his stomach,
Naked except for
The cap, noose and girdle,
I will stand a long time.
Bridegroom to the goddess,
She tightened her torc on him
And opened her fen,
Those dark juices working
Him to a saint’s kept body,
Trove of the turfcutters’
Honeycombed workings.
Now his stained face
Reposes at Aarhus.
II
I could risk blasphemy,
Consecrate the cauldron bog
Our holy ground and pray
Him to make germinate
The scattered, ambushed
Flesh of labourers,
Stockinged corpses
Laid out in the farmyards,
Tell-tale skin and teeth
Flecking the sleepers
Of four young brothers, trailed
For miles along the lines.
III
Something of his sad freedom
As he rode the tumbril
Should come to me, driving,
Saying the names
Tollund, Grauballe, Nebelgard,
Watching the pointing hands
Of country people,
Not knowing their tongue.
Out there in Jutland
In the old man-killing parishes
I will feel lost,
Unhappy and at home.
Wedding Day
I am afraid.
Sound has stopped in the day
And the images reel over
And over. Why all those tears,
The wild grief on his face
Outside the taxi? The sap
Of mourning rises
In our waving guests.
You sing behind the tall cake
Like a deserted bride
Who persists, demented,
And goes through the ritual.
When I went to the Gents
There was a skewered heart
And a legend of love. Let me
Sleep on your breast to the airport.
Summer Home
I
Was it wind off the dumps
or something in heat
dogging us, the summer gone sour,
a fouled nest incubating somewhere?
Whose fault, I wondered, inquisitor
of the possessed air.
To realize suddenly,
whip off the mat
that was larval, moving—
and scald, scald, scald.
II
Bushing the door, my arms full
of wild cherry and rhododendron,
I hear her small lost weeping
through the hall, that bells and hoarsens
on my name, my name.
O love, here is the blame.
The loosened flowers between us
gather in, compose
for a May altar of sorts.
These frank and falling blooms
soon taint to a sweet chrism.
Attend. Anoint the wound.
III
Oh, we tented our wound all right
under the homely sheet
and lay as if t
he cold flat of a blade
had winded us.
More and more I postulate
thick healings, like now
as you bend in the shower
water lives down the tilting stoups of your breasts.
IV
With a final
unmusical drive
long grains begin
to open and split
ahead and once more
we sap
the white, trodden
path to the heart.
V
My children weep out the hot foreign night.
We walk the floor, my foul mouth takes it out
On you and we lie stiff till dawn
Attends the pillow, and the maize, and vine
That holds its filling burden to the light.
Yesterday rocks sang when we tapped
Stalactites in the cave’s old, dripping dark—
Our love calls tiny as a tuning fork.
Limbo
Fishermen at Ballyshannon
Netted an infant last night
Along with the salmon.
An illegitimate spawning,
A small one thrown back
To the waters. But I’m sure
As she stood in the shallows
Ducking him tenderly
Till the frozen knobs of her wrists
Were dead as the gravel,
He was a minnow with hooks
Tearing her open.
She waded in under
The sign of her cross.
He was hauled in with the fish.
Now limbo will be
A cold glitter of souls
Through some far briny zone.
Even Christ’s palms, unhealed,
Smart and cannot fish there.
Bye-Child
He was discovered in the henhouse where she had confined him. He was incapable of saying anything.
When the lamp glowed,
A yolk of light
In their back window,
The child in the outhouse
Put his eye to a chink—
Little henhouse boy,
Sharp-faced as new moons
Remembered, your photo still
Glimpsed like a rodent
On the floor of my mind,
Little moon man,
Kennelled and faithful
At the foot of the yard,
Your frail shape, luminous,
Weightless, is stirring the dust,
The cobwebs, old droppings
Under the roosts
And dry smells from scraps
She put through your trapdoor
Morning and evening.
After those footsteps, silence;
Vigils, solitudes, fasts,
Unchristened tears,
A puzzled love of the light.
But now you speak at last