This is the front cover. The first copy of the book arrived this morning. It is now ready for you if you want to see it!
Here’s the back cover – a slightly different concept – back to front, so to speak.
Art
Poems for the End of Time
Poems for the End of Time
Here it is, and it is up and waiting for you! I already have my first copy. More on the way. The same artist who did the cover for People of the Mist did this one as well. He’s such a nice person – doesn’t charge me a penny.
Introduction
Poems for the End of Time is composed of two linked collections, Meditations on Messiaen and Lamentations for Holy Week. They both have separate introductions in the body of the text.
My graduate work at the University of Toronto (MA, 1967, and PhD, 1975) included studies on Golden Age / Early Modern Spanish Poetry (16th -17th Centuries). It enabled me to read and enjoy both the Renaissance and the Baroque poetry of Spain. My own interests lay within nature poetry, as expressed by the Spanish Mystics (St. John of the Cross and St. Teresa of Avila), the Neo-Platonic Poets (in particular, Fray Luis de León), and the Metaphysical poets (Luis de Góngora and Francisco de Quevedo). Echoes of their writings and thoughts are frequent within these two poetic sequences.
I will write further on both sequences later in the book. Briefly, both sets of poems were written while listening to the music of Olivier Messiaen. Three of his compositions, Quatuor pour la fin du temps / Quartet for the End of Time, Éclairs sur l’au-delà / Lightning over the Beyond, and Petites esquisses d’oiseaux / Little Sketches of Birds, influenced me enormously. I listened to them every day while I was writing and revising these poems.
These poems are not for the simple-minded. They form a contrasting tapestry of point and counter-point, filled with allusions, word-plays, internal rhymes, repetitions, and alliterations. They have a music all of their own.
Do not expect simplistic escapism. If you are serious in your efforts to read, listen to the magic of Messiaen as you turn the pages, much as I did while I was writing.
Black Paintings
Black Paintings
pinturas negras
Goya
Wrapped in his blanket of silence, the painter paints.
He pays no attention to the shrieks, screams, prayers,
curses, doesn’t even hear them. He sees their staring eyes
as the bull’s eyes at which anonymous soldiers, heads down,
backs to his easel, fire. He sees their mouths as black holes,
slashed across their faces. He sees the priest with his rosary,
but never hears the rattle of the beads or the firing squad’s guns
going off, filling the canvas with smoke, the square with blood.
Back home, in the Quinta del Sordo, his deaf man’s house,
he sits at the supper table, dwarfed by his painting of Saturn,
devouring one of his children. Beside him, old women,
hags themselves, suck soup silently from wooden spoons,
or fly soundless, black bats in the starless sky,
on the back of goats or on their witches’ brooms.
The great, open wounds of his paintings speak to us
of his hushed suffering, of the calamitous world that spawned
such violence, plague, famine, and fear. Plundering armies,
guerrilla warfare in back street and alley, torture, pillage,
rape, and suffering, pits filled with the dead and dying,
famine walking the streets, and all of it inaudible,
the nightmares of a little child, seen, but never heard.
His paintings speak to us, and they allow us to reconstruct
in our imagination, the many things that the painter, deaf,
but never dumb, could never hear, yet reproduced
using his paintbrush and his taciturn palette as a tongue.
Click here for Roger’s reading.
“It is said that deafness is worse than blindness because you are isolated in an inner world of terrible silence.” John O’Donohue, Anam Cara, p. 71.
Movement
Movement
Not just the ups and downs, but the small things,
moving, that catch your eye – that butterfly
on the bees’ balm, wings folding, unfolding –
that deer at the wood’s edge, invisible when still,
then suddenly surging into empty space, tail raised,
up and away – that crow, blending into tree black,
then one quick flap, and launched into clear air –
that falcon, perched on the pole, frozen at first,
then taking a step forward, wings folded, dropping,
like a stone then a fast strike on an unsuspecting
robin – silence , pierced by the robin’s shrill shriek,
then silence and peace returned after violence.
Slow movement – the autumn leaves turning color,
a day at a time, almost invisible the change, until one day,
an autumn leaf becomes a whole forest, blushing into
its autumn finery – even slower, the fall’s stealthy approach,
and then, one day, the blue skies turn grey, rain falls,
the wind rises up, and the leaves go tumbling, here, there,
playing strip-jack-naked with limbs and branches.
Looking at my inner world, I feel, but do not see,
winter drawing near – its frosty footprints grip my bones,
snow and frost lie white upon my head, blood flows
thin and slow, seeps life and warmth away, day by day,
inexorable, yes, but also invisible, their still, small steps.
Swings
Swings
They told me that one day
my feet would be up in the air,
and the next they would be stuck
on the ground.
A roundabout, they said,
a merry-go-round,
with all the fun of whatever fair
happens to be around that day.
Someone, not me, flicks a switch,
music plays, the carousel horses
move up and down, slowly at first,
then faster and faster as day, music,
and horses all gather pace.
There are no reins. If there were,
I would heave those horses
back to whatever reality I left.
But what is reality now?
These hot flashes that warm my flesh?
Those cold flushes that make me shiver,
then turn up the heat
until I am sweating again?
Shadows grow. I pull less strongly
on the swing boat’s ropes.
My journey slows. The showman
raises the bar beneath the wooden hull.
Wish it or not, my journey grinds
to its inevitable end.
B & W
B & W
black words white page
thoughts
floating in space
airs and graces
the world’s wind
blowing through
freshening cleansing
cotton clouds silky sky
that one word
waiting
to be spoken
that one thought
soon to be borne
out from the dark
a new existence
brightens
blinds with its light
Click here for Roger’s reading.
“If you look at a page of poetry, the slim words are couched in the empty whiteness of the page.” John O’Donohue, Anam Cara, p. 69.
The Appointment
The Appointment
“We have room tomorrow,” she said.
“But only between 7 and 9 am.
Shall I book you in for 8:15?”
“Sure,” I replied, not realizing
that I had forgotten to remember
the joys of rush hour traffic,
and the crush of crossing
the only bridge downtown.
I left home early only to find
chaos at the end of my road.
School busses, cars nose to tail,
trucks, cyclists, you name it,
it was all there, flowing, slow
but steady, with scarcely room
to insert a razor blade between
bumper and bumper. But that
was only the beginning.
The bridge downtown: it was
like threading a four wheeled camel
through the eye of a very small needle.
Crawlers, creepers, slugs and snails,
racing demons, speedsters, all of them
hustling, impatient, bustling, yielding
not an inch of space. My car became
a shuttle, weaving a thread of progress,
inch by inch, through the maze
that confronted and confounded.
I got to my journey’s end at last.
“You’re late,” said the girl at reception.
“You’ve missed your appointment.
Shall I book you in again?
Tomorrow at the same time?”
Click here for Roger’s reading.
Alien Nation
Alien Nation
I used to love the trees, the way
they stood there, patiently,
through all four seasons,
bending to the will
of weather and wind.
I planted many of them,
cultivated them,
watched them flourish,
treated them as siblings,
stood beneath their branches,
my back against a trunk,
their life force flowing
through me, renewing me,
as leaf-filtered sunlight
freckled hands and face
and danced in my heart.
Now, I fear them.
People have treated them
so badly, polluting water and air.
I fear their darkness,
their slow-burning anger,
their dryness, the ways
in which they gather,
shutting out the sunlight,
whispering dark secrets,
plotting to destroy us.
I fear the fire they have stored
in root and branch, a fire
that may one day come
to burn us out and leave
the land for their offspring.
Spider Web
Spider Web
for
Ginger and Michael Marcinkowski
I do love long and complicated sentences,
stuffed with clauses and dependent clauses,
and all strung together like a spider’s web,
an enormous web with silvery threads that glisten
with dew drops in the early morning sun that
blanches them, turning them white, and look,
there’s a little fly caught in this one, trapped
by his own struggles, and struggling even more
as the spider emerges, advances towards his prey,
soon to be his breakfast, or lunch, if he lets his victim
stew in the poisons soon to be injected, and look,
dew drops are falling as web shakes, and threads
tremble, and the dark and seamier side of life
emerges with its stark, black lines, from beneath
the advertising mask of glorious beauty that distorts
reality, as the spider turns into an assassin and the fly
into his victim, and yes, each of us must choose whether
to be an assassin or a victim, meurtrier ou victime,
as Camus phrases it in one of his books, L’Étranger,
though I read it so long ago, when I was a teenager,
studying French in school, and that was one of the books
I chose to read, but I was never labelled, meurtrier or
victime, just trouble-maker, first class, because I didn’t,
wouldn’t, couldn’t tow the official line and kow-tow
to a rigid authority, that walked set lines, like this spider,
the meurtrier, who turned that fly into his victime, and I,
I who could so easily become either, became neither,
but merely the observer, who stands on the outside,
looking in, and watching as the show goes on and on,
year after year, seculae seculorum, world without end,
and yes, the English Master told me never to mix
metaphors, nor to add foreign languages to my poems,
but what if they are not foreign to me, but a part of my being,
as part of the spider’s being is to be a meurtrier, and as for
that fly, well, he is the victime, in whichever language you use,
and yes, this poem is only one sentence, and I love it, amen.
Erratic
Erratic
Four Elements pp. 156-159
Plucked before my time
by some glacial hand,
that tore me from my land
and deposited me on
this foreign shore.
Long did I languish,
worn slowly down
by wind, rain, ice, snow.
Now I am carved anew
and learning to grow.
The old land rejected me,
wouldn’t let me back.
This land had no choice,
but I found I had lost all
notion of a distinctive voice.
Now I belong nowhere, a stranded
immigrant, I cannot return.
Neither can I call this place home,
and yet I have sent my roots
deep into its landscape.
I have grown into it,
become one with its seasons,
accepting its long hours
of silence, with white snow
falling upon darkening trees.
rogermoorepoet 