Collaboration

Carved in Stone 72 & 73

Carved in Stone
72

Is this world I create real?
Of course it isn’t.

It exists only in my head,
and on the page,
but perhaps, one day,
you too will see
the things I have seen.

Yet the world I describe
is as unreal as the words
from which it is woven.

73

Heraclitus once wrote
we can never bathe
in the same river twice.

This is the Catch 22
faced by all poets,
to remember,
and to try to recreate.

Shadow hands on cave walls,
colored pictographs on gesso,
hieroglyphics on papyrus,
ink on paper, raw words,
and in the end,
everything reduced
to these three little letters
carved in stone –

RIP

Commentary:

If you have read this far, we have walked a long journey together – 73 verses that comment on life and the meaning of life. Hard reading in places, easy in others. I trust you have enjoyed the journey and found some stops and resting points along the way in which to contemplate the ways in which the threads of your own life intermingle with mine.

Throughout this journey, I have tried to use a four step process. (1) Verbal – the poems themselves. (2) Visual – photos that intertwine with the verbal. (3) A Commentary – that goes beyond the verbal and visual and opens up the ideas a little more. (4) A Dialog between myself – the poet – and Moo – the visual artist who has so frequently loaned me his paintings when he thinks they illustrate my words.

It’s been a topsy-turvy journey through what Bakhtin calls a world of carnival, where little is at it seems, and the world is turned upside down. That said, we have a clear choice – to slide down the downside of this life, or to scale the upside, to contemplate, with joy and happiness, the world from those heady heights.

Blessings. Pax amorque.
And thank you for travelling with me.

Banks of the Seine

Banks of the Seine

Gnawing at the carcass of an old song,
my mind, a mindless dog, chasing its tail,
turning in circles, snapping at the fragment
of its own flesh, flag flourished before it,
tournons, tournons, tournons toujours,
as Apollinaire phrased it, on a day
when I went dogless, walking on a mind-leash
before the Parisian bouquinistes who sold,
along the banks of the Seine, such tempting
merchandise, and me, hands in pockets,
penniless, tempted beyond measure,
by words, set out on pages, wondrous,
pages that, hands free, I turned, and turned,
plucking words, here and there, like a sparrow,
or a pigeon, picks at the crumbs thrown away
by pitying tramps, kings, fallen from chariots,
as Éluard wrote, and me, a pauper among riches,
an Oliver Twist, rising from my trance, hands out,
pleading, “Please, sir, can I have some more?”

Commentary:

Intertextuality – how many different texts can you recognize in this one piece of verse? I can count six reminiscences of other poets, ones that have influenced me to a lesser or greater extent. A couple of novelists lurk in the shadows as well. Fascinating, eh? Do these voices echo in any other ears than mine? Good question – and does it matter if they do or they don’t? The main thing is that they harmonize, the old world with the new, the centuries that went before with the one that is with us now. Quevedo – “Vivo en conversación con los difuntos y escucho con mis ojos con los muertos.” I live in conversation with the defunct and I listen with my eyes to the dead.

And look at that painting. No, not the Banks of the Seine, but the banks of the Fundy, near St. Andrews. And it’s Moo, at his best, doing a cross between a cartoonist, a genuine artist, a surrealist, and an amateur artist who lends his paintings to friends when they want a picture of water, or a river bank, or something or someone else that will add to the intertextuality of his works. Yea, Moo. Go Team Moo, go. Long may you survive and work together.

Carved in Stone 16 & 17

16

The Bulls of Guisando,
pre-historic, unweighable,
the bearers of Roman graffiti,
itself two thousand years old.

Were they carved as boundary markers,
or designed to designate pastures,
for horses, pigs, sheep, and bulls,
all grazing in their stone dreams?

Celtic, pre-Roman,
they speak to my Welsh blood,
and to the Irish soul
that will always be a part of me.

I place my hand
on the dimpled granite hide
and feel time coursing
beneath the stone skin.

Granite ships,
islands in a sea of time,
I sense a heart beating,
something surviving
within the stone.

17

We are powerful people,
we creative artists,
we carvers of stone,
we dreamers,
whether we dream
by day or by night.

Those of us
who dream by day,
often see our day-dreams
come true.

Commentary:

“Those of us who dream by day, often see our day-dreams come true.” Lawrence of Arabia – The Seven Pillars of Wisdom. You recognized the quote of course, wrth gwrs. Intertextuality, the weaving of words through text after text in different combinations according to our time and space. Some of us think we are original, but there are only so many plots to a play, 24 or so, if I remember my Aristotle correctly, and I have changed the number, just to test you. Oh ye of too much faith!

We think we are original, but, as Picasso said, the painters of the cave paintings, all those many years ago, created everything we artists could ever dream of. We all borrow in one way or another and originality is merely a disguised form of borrowing. The faces change, the actors change, the medium changes, the times change, but otherwise, everything else is the same. Sad, really, that we should claim originality (and fresh water) for all that water that has passed under so many bridges.

Welsh blood and Irish soul – not even original, but shared by so many in my family. Add an English education, studies and residence in Spain, France, Mexico, Canada, and the USA, and what do you have? An intellectual mongrel, that does not know its own mother, like so many other mongrels, and that shakes its coat only to shed so many multi-cultural and multi-lingual fleas.

And remember – “Great fleas have lesser fleas upon their backs to bit them, and lesser fleas have smaller fleas, and so ad infinitum.” Intertextuality – they were only playing leap-frog and one jumped over and another jumped over someone else’s back.

Carved in Stone 13

13

What is life?
Is it just an illusion,
as Calderón tells us,
and nothing but a dream?

And what is time?
Does it bend, as Dalí shows us
when his surreal clock breaks into pieces,
time and numbers flying off
as it explodes over a waterfall?

Another clock folds –
a pancake draped
over the bough of a tree.
 
Time – a water clock,
a marked candle,
a grandfather clock,
with Roman numerals,
and time marching,
round and round,
erasing the past,
establishing a future
that will itself
soon be erased.

And what am I
but a moment on time’s clock,
a drop in the clepsydra,
a striation on a flickering candle,
a piece of roughly polished sea-glass
perched on a lonely beach?

Commentary:

Well, Moo has done me proud this time. Two early paintings, both depicting aspects of time, as conceived by Moo. In the first, time is seen as a tick-tock time bomb, or rather a set of tick-tock time-bombs. In the second, in imitation of Salvador Dali (Moo always set his sights high!), a clock going over a water fall and the hours flying off the clock face as time bends. So, tell me if you can, what is time?

Perhaps more important, what is life? Is it a dream, an illusion? And if it is a dream, what happens when we wake up? I know what happens when I wake up – I get up and go pee. Is that to be my final reality? By extension, is life our only reality? Or is our life a series of lives, as some religions would persuade us? And if a cat has nine lives, how many lives do we have? Can they be numbered? Or, like innumerable onions, do we peel away layer after layer? And if so, what is in the centre of the onion when we finally get down that far?

And why do some people write center while others write centre? Is life an illusion, a play? If so does it take place in a theatre or a theater? Or is really a sort of metatheatre or metatheater, life in rings, like the onion, lay after lay, layer after layer? Oh dear, this is all much too complicated. I’ll ask Moo to paint me a painting of life and we’ll see what he comes up with. He’s a bit lazy at the moment and his paint brush has the bends and refuses to cooperate. It’s probably made of cat bristles, and is untrainable and almost impossible to train, let alone to herd. Never mind. We’ll abandon all this for now and give the cat the task of training Moo to paint another painting.

Carved in Stone 12

12

A Ruffed Grouse sought refuge
among the berries
of the Mountain Ash.

I shot him,
not with a gun,
but with a camera.

Intertextuality –
a friend borrowed the photo,
turned it into elegant brush strokes,
and now the painting
hangs on my wall,
opposite the tree
where once he sat.


 
A still-life
face to face with its reality
as early morning dew
forms on spider webs,
hammock-strung
between grass-blades,
bending in the wind.

And what if the spell breaks
and I can no longer see the fine seeds
of the dandelion clock kissed away
by the lisping lips of time?

What is life?
Is it just an illusion?

Commentary:

I shot him, not with a gun, but with a camera. Interesting. I have never seen the need to take the life of living creatures, except in cases of absolute necessity. And no, I have never killed, let alone for fun or sport. Shooting with a camera, that’s my ideal, and when a friend and fellow KIRA artist likes the photo and offers to paint it … well, that leads us into the nature of intertextuality, where reality becomes photo, becomes painting, becomes a text, and you, dear reader, are contemplating all those moments that join us.

The fine seeds of the dandelion clock kissed away by the lisping lips of time. This image comes from my walks in the Welsh countryside around Brandy Cove, Gower, with my paternal grandmother. “What time is it Nana?” I can still see her, bending down, plucking a dandelion, and holding it out for me to blow the seeds away – one puff, one o’clock, two puffs, two o’clock. I recall the seeds, drifting away on the summer breeze. “The Good Lord loved those dandelions,” she once told me. “That’s why He planted them everywhere.”

What will happen when the wells run dry and water runs out and there are no more dandelion seeds? How long will it be before I can no longer see them? Vis brevis, ars longa. The answer to my questions – I care, but I really don’t know.

Clepsydra 43 & 44

43

… a mouth stopped with silence
     a pen that can’t write

a river that won’t flow
     no safe place at night

when I lit that candle
     I turned out the light

and sat in the stillness
     all flickering with fright

to whom can I turn
     to make things right

silent in the darkness
     I yearn for a light

a moth in life’s flame
     I flare and burn bright
 
scorching a hole
     in the shade of the night …

44

… but to lose my language
     is to lose my butterfly soul
          as it flutters to reach
              life’s sweet-scented rose

does the soul leave
     the body at night

released from its prison
     of earthbound clay
          does it wander
               in dreams
                    among the stars

Commentary:

“Cette plume n’est pas une plume.” This pen is not a pen. A mere photo of a pen, and I won’t be able to write a word with it. Nor will you. Not that it matters, for we are nearly at the end of our journey. Only eight more sections remain, and then the poem will be done.

I thank all of you who are travelling this road with me. Not much longer. The poem is coming to its end.

Clepsydra 41 & 42

41

… fire flares on the water
     rivers and lakes blaze
          that sound is a monster
               a dragon descending
                    breathing fire

so swift so powerful
     come sudden
          from nowhere
              yet another disaster
                   with its ravenous roar         

the dragon refuses to move on
     until sated
          but who could satisfy
               that monster
                    destroy its will
                         defeat its power

will Lac Megantic
     ever be the same
          after all these years
               of grief and tears

will fading memories
     be all that remain …


42

… a stillness between words
    tranquil movements
         the world suspended in space
               soundless the night
                    drenched in silent light

 Aurora Borealis
     draws gaudy curtains
          across the night sky

I can hear my heart beat
    as time softly sifts

a celestial hour glass
     this sky filled
          with unimaginable light
               breaking coloured waves

lit up
     with mysterious flowers
          so graceful
               when decked out
                    in light

 the moon returns
     turns into a mirror

          its silver boat
               suspended in space

silent its light
     enlightening
          the heart’s dusky craters

dawn’s silent glory
     will be here soon
          pointing the silent path
               to even more light …

Commentary:

Ten years or so since the disaster at Lake Megantic. I am sure it affected everyone who followed the news, saw the pictures, and bore witness to the power of conflagration. Moo offered me his painting called Burning Birbi. A Birbi is a Koala Bear in one of the Aboriginal Languages. When the fires hit New South Wales, the Eucalyptus Trees started to fire. When in danger, the Birbi climbs the eucalyptus trees, higher and higher, followed, of course, by the fire. A fate inescapable. Just like the Megantic Disaster. Word has it that it could, and should, have been prevented. I cannot (will not) comment on that here. I will just stress the fear that we all have, those of us who live in a drought stricken province (New Brunswick) surrounded by trees.

The closest wildfire to us, in Island View, was about 31 kilometres away. The closest trees are about 30 feet away from the house. Much too close for comfort. Curtains of flame and smoke, rising up to stain the skies. And the smell of burning also inescapable. Stay indoors, I say. Shut the windows. And hope that nothing comes your way!

Fire, controlled, brings heat, warmth, light. The Northern Lights bring spectacular light flooding down from the skies, not rising up. You can almost hear the sky crackling as the light curtains shift and shimmer and dance their way across the horizon. Fire and Fire Light – beautiful when we can control them, but oh-so-destructive when they flame and flare, out of control.

Do not despair. Just remember we need each other, all of us, each one of us. Together we can overcome most things. Isolated and alone, like the lone koala at the top of his tree, it is much, much more difficult to survive. Select your friends carefully. Maintain contact with them. And be there for each other in times of need, for, as we say in Wales – “a friend in need, is a friend in deed.”

Clepsydra 39 & 40

39

… all too soon I too shall move on
     leaving behind me
          fading memories and cloud shadows


yet I recall
     standing beneath the cathedral’s
          great rose window
               on a sunny day
                    my body dressed
                         in a harlequin suit
                              of glistening lights 

in such splendour
     mortal things like words
          cease to flow

I held my breath
     shocked by an enormous presence
          that filled me then
               as it does now
                    with the knowledge
                         that nothing happens in vain …

40


… illumination
     I must find it for myself
  were another to tell me
      where it dwells
            its light would be untrue

only I can strike the match
     ignite the flame
          and trap its warmth
              in my body’s bone cage

when it flowers within me
     I’ll need no candle
          not even in the darkest mine

in Alma, I have seen
     the tide lower
          Fundy fishing boats
               down into the mud

like those boats
     I lack the power
          to resist both time and tide …

Commentary:

I asked Moo for a painting of boats from Fundy, preferably from Alma, lying on their sides at low tide. “Let me see what I am meant to be illustrating,” he said. He read the above excerpt from Clepsydra and told me “You’re navel gazing again. I thought I told you not to do that. Now, have I got a painting for you.” I didn’t dare refuse to post it – he’s had a bad couple of days and it has sharpened his sense of humor – so it’s here it is. Moo calls is – now don’t laugh – Naval Gazing.

“Nothing happens in vain.” So maybe I was predestined to ask Moo for a painting he didn’t have and to end up with one that tickled his fancy. Now that set off a light bulb in my skull. Mr. Dimwitty came to his sense – I have been navel gazing. Naughty, naughty. How many of you remember Mr. Dimwitty, the not too bright schoolmaster on BBC radio? Hold up your hands, and I’ll count them.

Meanwhile, things happen to Moo and me, and like the boats on the Fundy, we lack the power to resist both time and tide. And that’s why we help each other, carry each other along. “We few, we few, we band of brothers.” That was Shakespeare. Nowadays we have to say “we band of siblings.” It pays to be inclusive. Speaking of bands, I saw a man walking down Main Street yesterday, blowing a rubber trumpet. I asked him what he was doing and he told me that he was looking for a rubber band. Joy to the world and help spread the joy. If you don’t like joy, spread Marmite. And if you don’t like Marmite I am sure you’ll love Vegemite. Ma might, but Pa won’t. That’s why it’s not called Pa-mite.

Clepsydra 37 & 38

37


… now I am absent from myself
     but can an absence
          be a presence

 I guess it can
     like when I lose a tooth
          I lament the loss of its presence
               and run my tongue
                    around the tender gum

a space where my tooth once stood
     where the candle flame
          once flickered and flared
               before it disappeared …

38

… I grieve for my mother
     standing in the garden
          her magnolia bleeding
               ivory petals
                    as soft as spring snow

some settled on her head
     crowning her
          with youthful beauty
               as she walked towards me
                    eyes shining arms held out

yet when I try
     to recapture that scene
          I only see a winter garden
               with withered blossoms
                    on a leafless tree …

Commentary:

“Can an absence be a presence?” Good question I asked Moo that and he showed me several paintings of trees in winter and vacant faces that he had knowingly filled with sorrow. But I preferred the image of “I only see a winter garden with withered blossoms on a leafless tree.” So I chose my own photo. Moo was very upset and asked me to put in one of his winter paintings anyway, so here it is.

Now Moo is very happy, and he needs to be, because he has had a bad day. I am so glad I am not Moo when he has a bad day. His cardiologist wanted Moo to wear a Holter. Moo didn’t want to wear one. But he listened to his specialist, and obeyed. He was very stressed when he went into the hospital. The acquisition of the Halter was meant to take 15 minutes, maximum. Moo sent 75 minutes sitting in a cold room with no shirt on, terminals attached, and no Holter available. “Can an absence be a presence?” Indeed it can. And Moo is still very upset and very stressed. Nobody’s fault. Things happen. “The candle flame once flickered and flared before it disappeared.” Now you see it, now you don’t. And Moo laments the absence of what should have been a presence and then became a delayed presence. Oh fickle life and times!

I still grieve for my mother, standing in the garden, her magnolia bleeding ivory petals as soft as spring snow. I remember that some settled on her head crowning her with youthful beauty as she walked towards me, eyes shining arms held out. Yet when I try to recapture that scene I only see a winter garden with withered blossoms on a leafless tree. Maybe Moo, with all his stressed out Moo-ds saw that scene more clearly than I did. So, Moo boosts me, and I boost Moo, and that’s what best friends always do. So you go out and boost your best friend too. Blessings and blossoms. And may you all help each other to fare well.

Clepsydra 34

34

… my heart so broken
     I can’t count the pieces
          nor solve the puzzle

scars are trenches
     deep defensive lines
          gouged into my face 

every night
     the black dog returns
          and I wake up from a dream
               to find myself pincered

attracted by the light
     squeezed tight
          between cave walls

my top half struggles to be free
     my bottom half
          hips down is held
               in a ferocious grip

I scream the way
     a stuck pig screams
          when the knife flashes
               and the hot blood spurts

all at sea
     I move up and down
          on dark restless waves

I reach for a life raft
     but find only an apple
          bobbing as it floats …

Commentary:

Moo thought I needed cheering up, so he did this painting for me. U R My Sunshine, he said to me, then gave me the painting for today’s post. I think he was rather taken with the phrase ‘attracted by the light’ … hence the nice, bright, sunny painting. Whenever I feel down, Moo reminds me that every cloud has a silver lining. Today’s clouds over Island View certainly do. They have actually brought rain and we need that rain so badly. We are in the middle of a drought, in places it is a severe drought. Wells are drying up, the river and the aquifers are low, we need rain – and now we have some. Too late for the apple orchards and the farmers who do not have enough winter feed for their cattle. Too late for the local deer who do not have their usual post-summer glossy looks. And too late for the trees that look drab, having lost their usual fall glow to appear very pale and peaky. Let us hope that a little more rain, on a regular basis, will change all that, and give us the sort of silver lining that, next year, will produce golden apples and brightly colored fall leaves