Gillian Clarke Poems

Under the ocean where water falls
over the decks and tilted walls
where the sea come knocking at the great ship's door,
...

I can remember you, child,
As I stood in a hot, white
Room at the window watching
The people and cars taking
Turn at the traffic lights.
I can remember you, our first
Fierce confrontation, the tight
Red rope of love which we both
Fought over. It was a square
Environmental blank, disinfected
Of paintings or toys. I wrote
All over the walls with my
Words, coloured the clean squares
With the wild, tender circles
Of our struggle to become
Separate. We want, we shouted,
To be two, to be ourselves.

Neither won nor lost the struggle
In the glass tank clouded with feelings
Which changed us both. Still I am fighting
You off, as you stand there
With your straight, strong, long
Brown hair and your rosy,
Defiant glare, bringing up
From the heart's pool that old rope,
Tightening about my life,
Trailing love and conflict,
As you ask may you skate
In the dark, for one more hour.
...

I think of her sometimes when I lie in bed,
falling asleep in the room I have made in the roof-space
over the old dark parlwr where she died
alone in winter, ill and penniless.
Lighting the lamps, November afternoons,
a reading book, whisky gold in my glass.
At my typewriter tapping under stars
at my new roof window, radio tunes
and dog for company. Or parking the car
where through the mud she called her single cow
up from the field, under the sycamore.
Or looking at the hills she looked at too.
I find her broken crocks, digging her garden.
What else do we share, but being women?
...

You bring them in, a trug of thundercloud,
neglected in long grass and the sulk
of a wet summer. Now a weight of wet silk
...

Long silver girl who slipped easy
and early from the womb's waters,
whose child-breath was a bird in a cage,
...

All you need to know about this poem is that it is a true story. It happened in the '70s, and it took me years to find a way to write the poem.

‘They flash upon that inward eye
which is the bliss of solitude'
(from ‘The Daffodils' by William Wordsworth)

An afternoon yellow and open-mouthed
with daffodils. The sun treads the path
among cedars and enormous oaks.
It might be a country house, guests strolling,
the rumps of gardeners between nursery shrubs.

I am reading poetry to the insane.
An old woman, interrupting, offers
as many buckets of coal as I need.
A beautiful chestnut-haired boy listens
entirely absorbed. A schizophrenic

on a good day, they tell me later.
In a cage of first March sun a woman
sits not listening, not feeling.
In her neat clothes the woman is absent.
A big, mild man is tenderly led

to his chair. He has never spoken.
His labourer's hands on his knees, he rocks
gently to the rhythms of the poems.
I read to their presences, absences,
to the big, dumb labouring man as he rocks.

He is suddenly standing, silently,
huge and mild, but I feel afraid. Like slow
movement of spring water or the first bird
of the year in the breaking darkness,
the labourer's voice recites ‘The Daffodils'.

The nurses are frozen, alert; the patients
seem to listen. He is hoarse but word-perfect.
Outside the daffodils are still as wax,
a thousand, ten thousand, their syllables
unspoken, their creams and yellows still.

Forty years ago, in a Valleys school,
the class recited poetry by rote.
Since the dumbness of misery fell
he has remembered there was a music
of speech and that once he had something to say.

When he's done, before the applause, we observe
the flowers' silence. A thrush sings
and the daffodils are flame.
...

My box is made of golden oak,
my lover's gift to me.
He fitted hinges and a lock
of brass and a bright key.
He made it out of winter nights,
sanded and oiled and planed,
engraved inside the heavy lid
in brass, a golden tree.

In my box are twelve black books
where I have written down
how we have sanded, oiled and planed,
planted a garden, built a wall,
seen jays and goldcrests, rare red kites,
found the wild heartsease, drilled a well,
harvested apples and words and days
and planted a golden tree.

On an open shelf I keep my box.
Its key is in the lock.
I leave it there for you to read,
or them when we are dead,
how everything is slowly made,
how slowly things made me,
a tree, a lover, words, a box,
books and a golden tree.
...

Wind in the poplars and a broken branch,
a dead arm in the bright trees. Five poplars
tremble gradually to gold. The stone face
of the lion darkens in a sharp shower,
his dreadlocks of lobelia grown long,
tangled, more brown now than blue eyed.

My friend dead and the graveyard at Orcop,
her short ride to the hawthorn hedge, lighter
than hare bones on men's shoulders, our faces
stony, rain, weeping in the air. The grave
deep as a well takes the earth's thud, the slow
fall of flowers.

Over the page the pen
runs faster than wind's white steps over grass.
For a while health feels like pain. Then panic
running the fields, the grass, the racing leaves
ahead of light, holding that robin's eye
in the laurel, hydrangea's faded green.
I must write like the wind, year after year
passing my death day, winning ground.
...

Cradled through England between flooded fields
rocking, rocking the rails, my headphones on,
the black box of my Walkman on the table.
Hot tea trembles in its plastic cup.
I'm thinking of you waking in our bed
thinking of me on the train.

The radio speaks in the suburbs, in commuter towns,
in cars unloading children at school gates,
is silenced in dark parkways down the line
before locks click and footprints track the frost
and trains slide out of stations in the dawn
dreaming their way towards the blazing bone-ship.

The Vodaphone you are calling
may have been switched off.
Please call later. And calling later,
calling later their phones ring in the rubble
and in the rubble of suburban kitchens
the wolves howl into silent telephones.

I phone. No answer. Where are you now?
The train moves homewards through the morning.
Tonight I'll be home safe, but talk to me, please.
Pick up the phone. Today I'm tolerant
of mobiles. Let them say it. I'll say it too.
Darling, I'm on the train.
...

New blood in the killing-ground,
her scullery,
her boneyard.

I touch the raw wire
of vertigo
feet from the edge.

Her house is air. She comes downstairs
on a turn of wind.
This is her table.

She is arrow.
At two miles a minute
the pigeon bursts like a city.

While we turned our backs
she wasted nothing
but a rose-ringed foot

still warm.
...