What do we say any more
to conjure the salt of our earth?
So much comes and is gone
that should be crystal and kept,
and amicable weathers
that bring up the grain of things,
their tang of season and store,
are all the packing we’ll get.
So I say to myself Gweebarra
and its music hits off the place
like water hitting off granite.
I see the glittering sound
framed in your window,
knives and forks set on oilcloth,
and the seals’ heads, suddenly outlined,
scanning everything.
People here used to believe
that drowned souls lived in the seals.
At spring tides they might change shape.
They loved music and swam in for a singer
who might stand at the end of summer
in the mouth of a whitewashed turf-shed,
his shoulder to the jamb, his song
a rowboat far out in evening.
When I came here first you were always singing,
a hint of the clip of the pick
in your winnowing climb and attack.
Raise it again, man. We still believe what we hear.
The Guttural Muse
Late summer, and at midnight
I smelt the heat of the day:
At my window over the hotel car park
I breathed the muddied night airs off the lake
And watched a young crowd leave the discotheque.
Their voices rose up thick and comforting
As oily bubbles the feeding tench sent up
That evening at dusk – the slimy tench
Once called the ‘doctor fish’ because his slime
Was said to heal the wounds of fish that touched it.
A girl in a white dress
Was being courted out among the cars:
As her voice swarmed and puddled into laughs
I felt like some old pike all badged with sores
Wanting to swim in touch with soft-mouthed life.
Glanmore Sonnets
for Ann Saddlemyer
‘our heartiest welcomer’
I
Vowels ploughed into other: opened ground.
The mildest February for twenty years
Is mist bands over furrows, a deep no sound
Vulnerable to distant gargling tractors.
Our road is steaming, the turned-up acres breathe.
Now the good life could be to cross a field
And art a paradigm of earth new from the lathe
Of ploughs. My lea is deeply tilled.
Old plough-socks gorge the subsoil of each sense
And I am quickened with a redolence
Of farmland as a dark unblown rose.
Wait then … Breasting the mist, in sowers’ aprons,
My ghosts come striding into their spring stations.
The dream grain whirls like freakish Easter snows.
II
Sensings, mountings from the hiding places,
Words entering almost the sense of touch,
Ferreting themselves out of their dark hutch –
‘These things are not secrets but mysteries,’
Oisin Kelly told me years ago
In Belfast, hankering after stone
That connived with the chisel, as if the grain
Remembered what the mallet tapped to know.
Then I landed in the hedge-school of Glanmore
And from the backs of ditches hoped to raise
A voice caught back off slug-horn and slow chanter
That might continue, hold, dispel, appease:
Vowels ploughed into other, opened ground,
Each verse returning like the plough turned round.
III
This evening the cuckoo and the corncrake
(So much, too much) consorted at twilight.
It was all crepuscular and iambic.
Out on the field a baby rabbit
Took his bearings, and I knew the deer
(I’ve seen them too from the window of the house,
Like connoisseurs, inquisitive of air)
Were careful under larch and May-green spruce.
I had said earlier, ‘I won’t relapse
From this strange loneliness I’ve brought us to.
Dorothy and William – ’ She interrupts:
‘You’re not going to compare us two… ?’
Outside a rustling and twig-combing breeze
Refreshes and relents. Is cadences.
IV
I used to lie with an ear to the line
For that way, they said, there should come a sound
Escaping ahead, an iron tune
Of flange and piston pitched along the ground,
But I never heard that. Always, instead,
Struck couplings and shuntings two miles away
Lifted over the woods. The head
Of a horse swirled back from a gate, a grey
Turnover of haunch and mane, and I’d look
Up to the cutting where she’d soon appear.
Two fields back, in the house, small ripples shook
Silently across our drinking water
(As they are shaking now across my heart)
And vanished into where they seemed to start.
V
Soft corrugations in the boortree’s trunk,
Its green young shoots, its rods like freckled solder:
It was our bower as children, a greenish, dank
And snapping memory as I get older.
And elderberry I have learned to call it.
I love its blooms like saucers brimmed with meal,
Its berries a swart caviar of shot,
A buoyant spawn, a light bruised out of purple.
Elderberry? It is shires dreaming wine.
Boortree is bower tree, where I played ‘touching tongues’
And felt another’s texture quick on mine.
So, etymologist of roots and graftings,
I fall back to my tree-house and would crouch
Where small buds shoot and flourish in the hush.
VI
He lived there in the unsayable lights.
He saw the fuchsia in a drizzling noon,
The elderflower at dusk like a risen moon
And green fields greying on the windswept heights.
‘I will break through,’ he said, ‘what I glazed over
With perfect mist and peaceful absences’ –
Sudden and sure as the man who dared the ice
And raced his bike across the Moyola River.
A man we never saw. But in that winter
Of nineteen forty-seven, when the snow
Kept the country bright as a studio,
In a cold where things might crystallize or founder,
His story quickened us, a wild white goose
Heard after dark above the drifted house.
VII
Dogger, Rockall, Malin, Irish Sea:
Green, swift upsurges, North Atlantic flux
Conjured by that strong gale-warning voice,
Collapse into a sibilant penumbra.
Midnight and closedown. Sirens of the tundra,
Of eel-road, seal-road, keel-road, whale-road, raise
Their wind-compounded keen behind the baize
And drive the trawlers to the lee of Wicklow.
L’Etoile, Le Guillemot, La Belle Hélène
Nursed their bright names this morning in the bay
That toiled like mortar. It was marvellous
And actual, I said out loud, ‘A haven,’
The word deepening, clearing, like the sky
Elsewhere on Minches, Cromarty, The Faroes.
VIII
Thunderlight on the split logs: big raindrops
At body heat and lush with omen
Spattering dark on the hatchet iron.
This morning when a magpie with jerky steps
Inspected a horse asleep beside the wood
I thought of dew on armour and carrion.
What would I meet, blood-boltered, on the road?
How deep into the woodpile sat the toad?
What welters through this dark hush on the crops?
Do you remember that pension in Les Landes
Where the old one rocked and rocked and rocked
A mongol in her lap, to little songs?
Come to me quick, I am upstairs shaking.
My all of you birchwood in lightning.
IX
Outside the kitchen window a black rat
Sways on the briar like infected fruit:
‘It looked me through, it stared me out, I’m not
Imagining things. Go you out to it.’
Did we come to the wilderness for this?
We have our burnished bay tree at the gate,
Classical, hung with the reek of silage
From the next farm, tart-leafed as inwit.
Blood on a pitchfork, blood on chaff and hay,
Rats speared in the sweat and dust of threshing –
What is my apology for poetry?
The empty briar is swishing
When I come down, and beyond, inside, your face
Haunts like a new moon glimpsed through tangled glass.
X
I dreamt we slept in a moss in Donegal
On turf banks under blankets, with our faces
Exposed all night in a wetting drizzle,
Pallid as the dripping sapling birches.
Lorenzo and Jessica in a cold climate.
Diarmuid and Grainne waiting to be found.
Darkly asperged and censed, we were laid out
Like breathing effigies on a raised ground.
And in that dream I dreamt – how like you this?–
Our first night years ago in that hotel
When you came with your deliberate kiss
To raise us towards the lovely and painful
Covenants of flesh; our separateness;
The respite in our dewy dreaming faces.
An Afterwards
She would plunge all poets in the ninth circle
And fix them, tooth in skull, tonguing for brain;
For backbiting in life she’d make their hell
A rabid egotistical daisy-chain.
Unyielding, spurred, ambitious, unblunted,
Lockjawed, mantrapped, each a fastened badger
Jockeying for position, hasped and mounted
Like Ugolino on Archbishop Roger.
And when she’d make her circuit of the ice,
Aided and abetted by Virgil’s wife,
I would cry out, ‘My sweet, who wears the bays
In our green land above, whose is the life
Most dedicated and exemplary?’
And she: ‘I have closed my widowed ears
To the sulphurous news of poets and poetry.
Why could you not have, oftener, in our years
Unclenched, and come down laughing from your room
And walked the twilight with me and your children –
Like that one evening of elder bloom
And hay, when the wild roses were fading?’
And (as some maker gaffs me in the neck)
‘You weren’t the worst. You aspired to a kind,
Indifferent, faults-on-both-sides tact.
You left us first, and then those books, behind.’
The Otter
When you plunged
The light of Tuscany wavered
And swung through the pool
From top to bottom.
I loved your wet head and smashing crawl,
Your fine swimmer’s back and shoulders
Surfacing and surfacing again
This year and every year since.
I sat dry-throated on the warm stones.
You were beyond me.
The mellowed clarities, the grape-deep air
Thinned and disappointed.
Thank God for the slow loadening,
When I hold you now
We are close and deep
As the atmosphere on water.
My two hands are plumbed water.
You are my palpable, lithe
Otter of memory
In the pool of the moment,
Turning to swim on your back,
Each silent, thigh-shaking kick
Retilting the light,
Heaving the cool at your neck.
And suddenly you’re out,
Back again, intent as ever,
Heavy and frisky in your freshened pelt,
Printing the stones.
The Skunk
Up, black, striped and damasked like the chasuble
At a funeral Mass, the skunk’s tail
Paraded the skunk. Night after night
I expected her like a visitor.
The refrigerator whinnied into silence.
My desk light softened beyond the verandah.
Small oranges loomed in the orange tree.
I began to be tense as a voyeur.
After eleven years I was composing
Love-letters again, broaching the word ‘wife’
Like a stored cask, as if its slender vowel
Had mutated into the night earth and air
Of California. The beautiful, useless
Tang of eucalyptus spelt your absence.
The aftermath of a mouthful of wine
Was like inhaling you off a cold pillow.
Ordinary, mysterious skunk,
Mythologized, demythologized,
Snuffing the boards five feet beyond me.
It all came back to me last night, stirred
By the sootfall of your things at bedtime,
Your head-down, tail-up hunt in a bottom drawer
For the black plunge-line nightdress.
A Dream of Jealousy
Walking with you and another lady
In wooded parkland, the whispering grass
Ran its fingers through our guessing silence
And the trees opened into a shady
Unexpected clearing where we sat down.
I think the candour of the light dismayed us.
We talked about desire and being jealous,
Our conversation a loose single gown
Or a white picnic tablecloth spread out
Like a book of manners in the wilderness.
‘Show me,’ I said to our companion, ‘what
I have much coveted, your breast’s mauve star.’
And she consented. Oh neither these verses
Nor my prudence, love, can heal your wounded stare.
Field Work
I
Where the sally tree went pale in every breeze,
where the perfect eye of the nesting blackbird watched,
where one fern was always green
I was standing watching you
take the pad from the gatehouse at the crossing
and reach to lift a white wash off the whins.
I could see the vaccination mark
stretched on your upper arm, and smell the coal smell
of the train that comes between us, a slow goods,
waggon after waggon full of big-eyed cattle.
II
But your vaccination mark is on your thigh,
an O that’s healed into the bark.
Except a dryad’s not a woman
you are my wounded dryad
in a mothering smell of wet
and ring-wormed chestnuts.
Our moon was small and far,
was a coin long gazed at
brilliant on the Pequod’s mast
across Atlantic and Pacific waters.
III
Not the mud
slick,
not the black weedy water
full of alder cones and pock-marked leaves.
Not the cow parsley in winter
with its old whitened shins and wrists,
its sibilance, its shaking.
Not even the tart green shade of summer
thick with butterflies
and fungus plump as a leather saddle.
No. But in a still corner,
braced to its pebble-dashed wall,
heavy, earth-drawn, all mouth and eye,
the sunflower, dreaming umber.
IV
Catspiss smell,
the pink bloom open:
I press a leaf
of the flowering currant
on the back of your hand
for the tight slow burn
of its sticky juice
to prime your skin,
and your veins to be crossed
criss-cross with leaf-veins.
I lick my thumb
and dip it in mould,
I anoint the anointed
leaf-shape. Mould
blooms and pigments
the back of your hand
like a birthmark –
my umber one,
you are stained, stained
to perfection.
Song
A rowan like a lipsticked girl.
Between the by-road and the main road
Alder trees at a wet and dripping distance
Stand off among the rushes.
There are the mud-flowers of dialect