
Carved in Stone
44
The old man, withered,
last house on the left,
leaning on his garden wall,
coughing, spitting up
coal dust and blood.
He’s not old, when you get close,
just grown old, underground,
where emphysema
and pneumoconiosis
devour men and boys.
He spits on the side walk.
Mining souvenirs,
Max Boyce calls them,
and they appear
every time the young man,
turned suddenly old,
starts to cough.
He can’t walk far,
wearing carpet slippers,
soft and furry,
just leans on the wall.
He fell, or was pushed,
into the trap at an early age,
when the coal seams
had grown so thin,
that only a small boy
could kneel before
the coal black altar
of the underground god
and, with a pick and shovel,
he learned to carve and shape
the long, slow death
contained in those seams.
Commentary
Moo’s painting, Coal Face, adorns the front cover of Carved in Stone, Chronotopos II. Coal Face is not the denigration of Black Face, white men pretending to be black by dyeing their faces, although they have some similarities. In Welsh Mining, the coal face is where the men used to dig when, with their shovel and their pick and their little lamp and wick, they knelt to dig out the coal. Knelt, because there was no standing room, deep down underground. Then, when the seams grew thinner, and the men could no longer reach them, the young boys were sent underground.
A day underground left men and boys with coal dust seamed into their bodies, especially their hands and their faces. Hence the triple meaning of black face – where the coal is dug, what men and boys looked like after a day’s work, and the blackening of their faces by white men, for the fun of it.
Faces are one thing, coal dust in the lungs is another. The result – emphysema and pneumoconiosis devour men and boys. Black lung, some call it. “And every time he coughs, he gets a mining souvenir” – a black spot coughed up on the sidewalk – Max Boyce.
Child labor, minimum wage, living wage, work that kills, slowly and silently, – what can I say? Forgive me, for I can say no more.







