A feel of warmth in this place.
In winter air, a scent of harvest.
No form of prayer is needed,
When by sudden grace attended.
I'll tell you a sore truth, little understood
It's harder to leave, than to be left:
To stay, to leave, both sting wrong.
Two fish float:
one slowly downstream
into the warm
There are days when
one should be able
to pluck off one's head
like a dented or worn
My love, while we talked
They removed the roof. Then
They started on the walls,
Panes of glass uprooting
The light, tarred skin
of the currach rides
and receives the current,
Like dolmens round my childhood, the old people.
Jamie MacCrystal sang to himself,
A broken song without tune, without words;
He tipped me a penny every pension day,
Fed kindly crusts to winter birds.
When he died his cottage was robbed,
Mattress and money box torn and searched.
Only the corpse they didn't disturb.
Maggie Owens was surrounded by animals,
A mongrel bitch and shivering pups,
Even in her bedroom a she-goat cried.
She was a well of gossip defiled,
Fanged chronicler of a whole countryside:
Reputed a witch, all I could find
Was her lonely need to deride.
The Nialls lived along a mountain lane
Where heather bells bloomed, clumps of foxglove.
All were blind, with Blind Pension and Wireless,
Dead eyes serpent-flicked as one entered
To shelter from a downpour of mountain rain.
Crickets chirped under the rocking hearthstone
Until the muddy sun shone out again.
Mary Moore lived in a crumbling gatehouse,
Famous as Pisa for its leaning gable.
Bag-apron and boots, she tramped the fields
Driving lean cattle from a miry stable.
A by-word for fierceness, she fell asleep
Over love stories, Red Star and Red Circle,
Dreamed of gypsy love rites, by firelight sealed.
Wild Billy Eagleson married a Catholic servant girl
When all his Loyal family passed on:
We danced round him shouting 'To Hell with King Billy,'
And dodged from the arc of his flailing blackthorn.
Forsaken by both creeds, he showed little concern
Until the Orange drums banged past in the summer
And bowler and sash aggressively shone.
Curate and doctor trudged to attend them,
Through knee-deep snow, through summer heat,
From main road to lane to broken path,
Gulping the mountain air with painful breath.
Sometimes they were found by neighbours,
Silent keepers of a smokeless hearth,
Suddenly cast in the mould of death.
Ancient Ireland, indeed! I was reared by her bedside,
The rune and the chant, evil eye and averted head,
Fomorian fierceness of family and local feud.
Gaunt figures of fear and of friendliness,
For years they trespassed on my dreams,
Until once, in a standing circle of stones,
I felt their shadows pass
Into that dark permanence of ancient forms.
We had two gardens.
A real flower garden
overhanging the road
(our miniature Babylon).
Paths which I helped
to lay with Aunt Winifred,
riprapped with pebbles;
shards of painted delph;
an old potato boiler;
a blackened metal pot,
now bright with petals.
Hedges of laurel, palm.
A hovering scent of boxwood.
Crouched in the flowering
lilac, I could oversee
the main road, old Lynch
march to the wellspring
with his bucket, whistling,
his carrotty sons herding
in and out their milch cows:
a growing whine of cars.
Then, the vegetable garden
behind, rows of broad beans
plumping their cushions,
the furled freshness of
tight little lettuce heads,
slim green pea pods above
early flowering potatoes,
gross clumps of carrots,
parsnips, a frailty of parsley,
a cool fragrance of mint.
Sealed off by sweetpea
clambering up its wired fence,
the tarred goats' shack
which stank in summer,
in its fallow, stone-heaped corner.
With, on the grassy margin,
a well-wired chicken run,
cheeping balls of fluff
brought one by one into the sun
from their metallic mother
—the oil-fed incubator—
always in danger from
the marauding cat, or
the stealthy, hungry vixen:
I, their small guardian.
Two gardens, the front
for beauty, the back
for use. Sleepless now,
I wander through both
and it is summer again,
the long summers of youth
as I trace small paths
in a trance of growth:
flowers pluck at my coat
as I bend down to help,
or speak to my aunt,
whose calloused hands
caressing the plants
are tender as a girl's.
Poetry is a weapon, and should be used,
though not in the crudity of violence.
It is a prayer before an unknown altar,
a spell to bless the silence.
There is a music beyond all this,
beyond all forms of grievance,
where anger lays its muzzle down
into the lap of silence.
Or some butterfly script,
fathomed only by the other,
as supple fingers draw
a silent message from the tangible.
She wakes in a hand-painted cot,
chats and chortles to herself,
a healthy small being, a happy elf,
sister to the early train whistle,
the bubbling dawn chorus along
the wisteria of Grattan Hill.
No complaints as yet, enjoying
through curtains the warm sunlight,
until she manages to upend herself.
Then the whine starts. Is it anger
or lust for the bottle?
Lift her up, warm and close
or held at arm's length -
that smell, like a sheep pen,
a country hedge steaming after rain.
As the bottle warms, the decibels increase,
the scaldie's mouth gapes open;
head numb, coated tongue,
cotex ends squealing, no
thirsty drunk at a bar,
nursing a hangover, manages such concentration.
Daughter, dig in, with fists like ferns
unfurling, to basic happiness!
Little one, you are now
nothing but the long music of the gut,
a tug of life, with halts
for breathing, stomach swelling.
On your throne afterwards
bang your heels, examine your new
and truly wonderful hands,
try out, warm up, your
little runs of satisfaction.
Day be day, they also grow,
sound experiments in the laboratory
of the self, animal happiness,
the tonal colour of rage, cartoon
attempts to communicate, eyes beaming,
burbles rising. Best of all when
like any bird or beast waking,
you wail to yourself, with whoops,
finger stuffed gurgles, and my reward
for the morning, your speciality
(after the peristaltic hiccup)
when you smile and squeal with
sudden, sharp whistles -
O my human kettle!