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.
...

We once watched a crowd
pull a drowned child from the lake.
Blue lipped and dressed in water's long green silk
she lay for dead.

Then kneeling on the earth,
a heroine, her red head bowed,
her wartime cotton frock soaked,
my mother gave a stranger's child her breath.
The crowd stood silent,
drawn by the dread of it.

The child breathed, bleating
and rosy in my mother's hands.
My father took her home to a poor house
and watched her thrashed for almost drowning.

Was I there?
Or is that troubled surface something else
shadowy under the dipped fingers of willows
where satiny mud blooms in cloudiness
after the treading, heavy webs of swans
as their wings beat and whistle on the air?

All lost things lie under closing water
in that lake with the poor man's daughter.
...

For the green turtle with her pulsing burden,
in search of the breeding ground.
For her eggs laid in their nest of sickness.

For the cormorant in his funeral silk,
the veil of iridescence on the sand,
the shadow on the sea.

For the ocean's lap with its mortal stain.
For Ahmed at the closed border.
For the soldier with his uniform of fire.

For the gunsmith and the armourer,
the boy fusilier who joined for the company,
the farmer's sons, in it for the music.

For the hook-beaked turtles,
the dugong and the dolphin,
the whale struck dumb by the missile's thunder.

For the tern, the gull and the restless wader,
the long migrations and the slow dying,
the veiled sun and the stink of anger.

For the burnt earth and the sun put out,
the scalded ocean and the blazing well.
For vengeance, and the ashes of language.
...

Wales spelt Vales
on the brown envelope
from Vites to Llanidloes.
Inside a bundle of pages,
little illuminated manuscripts
of gilded Easter eggs,
scenes from a European spring
we'd all know anywhere,
an afternoon's work from the class in Vites.
Dear Ben', says one,
You are my friend. Write me. Misha.'

Quietly, heads bent over the pages,
the children write the first draft of a poem.
Outside April is all indecision,
daffodils over, lawns blurred with speedwell,
the cherries torn by a sharp rain.
In the photograph, yesterday's Misha is smiling.
A class group grinning, pulling faces.
They wave, thumbs up to the future.
Behind them, in the rendered wall of the school,
are the bullet holes.
...

Three years ago to the hour, the day she was born,
that unmistakable brim and tug of the tide
I'd thought was over. I drove
the twenty miles of summer lanes,
my daughter cursing Sunday cars,
and the lazy swish of a dairy herd
rocking so slowly home.

Something in the event,
late summer heat overspilling into harvest,
apples reddening on heavy trees,
the lanes sweet with brambles
and our fingers purple,
then the child coming easy,
too soon, in the wrong place,

things seasonal and out of season
towed home a harvest moon.
My daughter's daughter
a day old under an umbrella on the beach,
Latecomer at summer's festival,
and I'm hooked again, life sentenced.
Even the sea could not draw me from her.

This year I bake her a cake like our house,
and old trees blossom
with balloons and streamers.
We celebrate her with a cup
of cold blue ocean,
candles at twilight, and three drops of,
probably, last blood.
...

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?
...

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.
...