Full House

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Full House

Full house: echoing footsteps, shadows,
everywhere, a litter of toys, crayons,
colored pages, jigsaw puzzles, Barbie
and Ken found at the back of a shelf.

Memories: pinned to the fridge, found
in strange places, an almond on my chair,
a drawing in my notebook, a message,
unintelligible, scrawled on shopping lists.

That peremptory voice calls my name
and I drag myself from sleep, only to know
it was a dream, netted up from slumber’s
dark midnight sea. I drift off again and

see her again, opening the bedroom door,
calling, calling, ever present in voice,
song, and dervish dance, such energy,
round and round, bouncing on my bed,

rolling the exercise ball across the floor,
oblivious to danger, harm, the perils of
unbalancing, stumbling, slipping, falling,
aware of the need for sticking plaster

comforts littering thighs, knees, calves,
feet arms, elbows, where ever instant
attention calls for instant, urgent treatment.
I will always remember the ambushes

that rolled off the tongue, phrases way
beyond the skills of a four-year old. What
if her mother is a lawyer, the youngster
shouldn’t control that sort of language.

She remembered so much from her last
visit. We thought she would have forgotten
us, but no, she remembered where almost
everything was hidden, out of sight but

no longer out of reach. Just a little bit taller,
stronger, more determined, faster, so fast
and loud we could not keep up. This morning
I awoke to the silence of an empty house.

Ghosts

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Ghosts

My grandfather would wheeze, then cough, as he leaned on the old black dresser in the Welsh kitchen with its vast, cast iron fireplace. “As black as the hobs of hell,” he would say, and “as warm as our kitchen.” It was full of nooks and crannies where pasties and pies could stay warm, soup cauldrons could hang from iron chains, and copper kettles could whistle wild tunes and call us all to endless cups of tea. Sergeant-major tea: so strong and filled with so much sugar that a tea-spoon could stand upright and never fall over. Gassed in the First World War, my grandfather was always out of breath and each time he coughed, he brought up a tiny part of his lungs. “One day,” he announced between wheezes, “there’ll be nothing left.”
Twice a day, my grandfather would roll up the newspaper and brandish it like a conductor’s baton. The first time would be when I came home from school and it was time to do my homework. The second time would be after supper when it was time for me to go to bed. Each time he rolled up that newspaper, he would tap it gently on the dresser to get my attention, and then he would speak those famous words: “Let battle commence.” I would fight to escape to the street to play with my friends. I would fight to stay on my feet and I never, never wanted to go to bed. I hated to be entrenched alone, upstairs, in the cold shadows of that ghostly no-boys-land where I could hear mice and rats scuffling behind the dugout walls and smell the sour smells of old age and illness that stalked my dreams.
“Up the wooden hill to Bedfordshire,” my grandfather would sing, conducting with his baton and pointing to the stairs. I was never afraid of him. He was dark, strong, tall, and very gentle, a great man in his own right, one of those tall men who would always stoop to help a little child. If I was too troublesome, he would start to cough. And if he started to cough, the pink phlegm would come and he’d spit it into the red and blue polka-dot handkerchief he always carried. The pink phlegm caused consternation and in the ensuing panic, I would bolt for the stairs, go up to my room, undress, put on my pajamas, and bury myself in the vast double bed I shared with my grandmother. My grandfather’s bed was in the middle room downstairs. I didn’t realize then, as I do now, that he could no longer climb those stairs up which I scuttled.
After a while, I left of my grandfather’s house and went back to live with my father. One day, my grandfather, as he prophesied, coughed too much and that was the end of him. After the funeral, my father took me back to see my grandmother. Aunties and uncles, cousins, family friends that I didn’t know, neighbors known and unknown, spilled over the house in an invasion of tears and grief. After the friends had gone, my father and I decided to leave and the family gathered on the doorstep to wave us goodbye. I waved back to them all. “Goodbye,” I shouted. “Goodbye aunties, goodbye uncles, goodbye grandmother.” I paused. My grandfather stood there waving to me. “Look: there he is. I knew he couldn’t have gone.” I pointed and waved. “Goodbye grandfather!”
“Don’t be stupid. He’s not there,” my father said. “He’s dead.”
“I can see him,” I said. “He’s there. I can see him.”
“He’s not there. He’s dead.” Tears ran down my father’s face.
Sitting here, writing these words, I can still  see my grandfather, standing on that doorstep, waving goodbye. And I can still feel my father’s long dead, shadowy hands reach down, grab me by the shoulders and shake me, shake me, shake me, until I too am crying and the ghosts of my milk teeth are again rattling in my head.

 

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Things

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Things I carry with me

            That old black cast-iron stove, wood-fired, that baked the best ever breads and cakes and warmed the bungalow on cold, summer mornings. The Welsh dresser with its age-blackened rails that displayed the plates, and cups, and saucers. The old tin cans that ferried the water from the one tap located at the end of the field. Full and wholesome, its weight still weighs me down as I carry it in my dreams. The Elsan toilet from the shed by the hedge and the shovels that appeared, every so often, as if by magic, as my uncle braved the evening shadows to dig a hole on the opposite side of the field, as far from the bungalow as possible.

            The outhouse at the end of the garden. The steps down to the coal cellar where they went when the sirens sounded, to sleep in the make-shift air raid shelter, along with the rats and mice that scurried from the candles. The corrugated iron work shop in the garden where my uncle built his model ships, the Half-Penny Galleon and the Nonesuch. The broken razor blades I used to carve my own planes from Keil Kraft Kits, Hurricanes and Spitfires, an SE5, and once, a Bristol Bulldog. Twisted and warped, they winged their ways into nobody’s skies, though once we built a paper kite that flew far away in a powerful wind and got tangled in a tree. The greenhouse from which I stole countless tomatoes, red and green. Kilvey Hill towering above the window ledge where the little ones sat when there were more guests than chairs in the kitchen. The old bombed buildings across the street. The bullet holes in the front of the house where the Messerschmidt strafed us.

            The old men spitting up coal dust from shrivelled lungs. The widows who took in lodgers and overnight travelers. The BRS lorries, parked overnight, that littered the street. The steep climb upwards into those lorries. The burrowing under dirty tarpaulins to explore the heavy loads, and many other things. The untouchable, forbidden drawer where the rent money waited for the rent collector’s visit. The old lady, five houses down who, when the shops were shut, sold warm Dandelion & Burdock and Orange pop for an extra penny a bottle.  The vicious, snub-faced Pekinese that yapped fierce defiance from the fortress of her lap. The unemployed soccer referee who on Saturdays walked five miles to the match and five miles back just to save the bus fare, his only financial reward. My father’s shadowy childhood. His first pair of shoes, bought at five years old, so he wouldn’t go barefoot to school.

            Wet cement molded onto the garden wall, then filled with empty bottles to be smashed when the cement set solid. The coal shed where the coal man delivered the coal: cobbledy-cobbledy, down the hole. The outside toilet with its nails and squares torn from yesterday’s newspaper. The lamp-lighter who lit the lamps every evening as the sun went down. The arrival of electricity. The old blackout curtains that shut in the light and shut out the night. The hand rolled fabric sausage that lay on the floor by the door and kept the heat of the coal fire in the kitchen. The kitchen itself with its great wooden chair drawn up by the fire. That chair: the only material possession I still have from that distant past.

A Different Kind of Doorway

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A Different Kind of Doorway

When one door closes, another opens. And yes, they are so important, these doors, that open and close. One day everything is open to us; the next, the future seems closed. But another door opens and we walk right through.

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Or maybe we don’t. So much depends. The brain drain, as they called it. The migration of students from Great (as she used to be) Britain to North America.  “Make sure,” they told us, “That you can see light at the end of the tunnel. If you can’t, don’t go.” I went to Canada for a year and stayed here for the rest of my life. I came to New Brunswick for a year and stayed here for the rest of my life.

Regrets? None. Dim o gwbl /  none at all, as we say in Welsh, the language of my maternal grandfather, from the land of my father(s), who never spoke a word of it. A language that I am just learning now with great pleasure, in the evening of my life. I am losing my French. I am losing my Spanish. I am learning Welsh.

So how do we open those doorways? Well, that depends on you, each one of you. Keep your eyes open. Study. Learn. Don’t waste your life. Recognize your talents. Don’t despair. Never give in. Nil carborundum illegitimi. No. Don’t allow yourself to be beaten down. Believe. Breathe deep and believe. And remember: there is always light at the end of the tunnel. Any tunnel. Don’t give up. Never give up. You just have to find that light. Seek: and you will find it.

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Wanderer

Wanderer
El Árbol de Tule

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So many tales are told about the árbol de Tule, that thousand year old tree standing outside the city of Oaxaca. Hernán Cortés is said to have sat beneath it when he came to Oaxaca in 1525, or thereabouts. And it was old then, and famous in folklore. The tree is also famous for the pictures that nestle in trunk and branches. For small change, the little boys, released early from school, will point their mirrors up, into the tree, and spotlight with reflected sunshine the features that you seek. A thousand years, or more, have produced a thousand images, or more. Even the face of  Hernán Cortés himself is said to be captured somewhere along the tree-trunk’s art gallery, if you can only find it.

Like Borges’s eternal library, your own portrait can be found there, somewhere. You must search patiently for it, staring into the tree bark until it takes on your features. Then you can move on, knowing that whatever happens you will be caught forever in the life of one of the world’s wonders: el árbol de Tule. But beware of imitations and avoid the plastic imitations and the photos from cheap camera’s that will trap your soul forever, leaving no trace of you in the real world. Ignore these warnings at your peril, or you too will be locked into your cell phone and sentenced to life imprisonment within those digital walls.

Ghost Train

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Ghost Train

Old fair grounds, I remember them well, the coconut shy, the dodgems, the swing boats, what the butler saw, the bearded lady, the tunnel of love, the ghost train … with its skeleton that loomed out of the darkness, the spider webs that draped themselves over your face unless you ducked, the witch on her broomstick, cackling, the flashing lights, the eerie voices,  the laughter, the screams …

… I arrived early so I could sit in my usual place. I watched the men enter, tapping hesitant, unsteady, slow, leaning heavily on sticks. I saw the women bald and beautiful , naked skulls hidden beneath hats and head scarves. Haunted looks lurked behind staring, wide-open eyes as the outpatients waited for something to leap out and frighten them, not spider webs and skeletons,  but the ghastly visions of tubes, pills, chemo, needles, all the paraphernalia that tortured them first time round.

The annual check-up seems so much easier. Blood tests, screenings, fervent hopes that the devil in the detail, horned, fork-tongued, cloven hoofed, red tailed, hasn’t been hiding, like a wayward ghost, in the small print of blood tests, scans, urine samples, all too ready to break free, leap out and beat us once again into submission.

The ghost train: has that cancer really gone or could it come back, condemning us once more to hospice or ward, to chemo and radiation, to the knife, or to other things more radical?

I sniff the double hospital smells of despair and ill-health, of hope and cures for all those ills, and I am there again, arms folded across my chest, lying motionless on that moving bed of bleached white sheets, heading slowly into that tunnel that smells of polished steel, where machinery coughs and starts and stops as flashing lights whirl their cadences of kill or cure above my troubled head.

Tunnel of love or ghost train? I guess I’ll soon find out.

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Miracles

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Miracles

Waking in the middle of the night, meandering along a moonbeam, making it safely to the bathroom without tripping on the rug in the hall, managing to pee without splattering the floor, the seat, the wall, or my pajamas, climbing back into bed, staring at the stars’ diminishing light until I manage to fall back to sleep. Listening to birdsong in the morning, walking to the bathroom without bruising my left arm against the door latch, shaving without cutting my face, getting in and out of the shower with neither a slip nor a fall and without dropping the soap, drying those parts of my body that are now so difficult to reach, especially between those far-off toes that I no longer see with regularity, pulling my shirt over those wet and sticky patches of skin still damp from the shower, negotiating each leg of my pants hanging on to the arm of the rocking-chair so I won’t fall over,  tugging the pulleys of the plastic mold that allows each sock to glide onto my feet, hoping my toe-nails, uncut for so long, will not catch in the wool and that the heel will end up in the right spot, forcing swollen toes into shoes now much too small, hobbling to the top of the stairs and lurching down them, one step at a time, with my stick in one hand and the balustrade in the other … always on guard for the quick, unsuspected rush of the cat, the edge of the steps, the worn patches where my cane might catch or slip … one more step, and I’ve made it down. The first of today’s many miniature miracles.

Memory

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Memory

By the time I remembered your name, I had forgotten your face. Then I couldn’t recall why I wanted to talk to you. I trace dark landmarks on the back of scarred hands: blood maps, unremembered, encounters with door knobs and unseen furniture, dust covered photographs, grey, grim, anonymous, hanging on the walls, not belonging in any family album. At night I cruise among islands, emerald green against sapphire seas. Why didn’t I visit these places when I was able to? Golden sand trickles through night’s fingers and time’s hour glass trickles out as stars sparkle and planets dance in Platonic skies. My memory is gradually fading into the distance, like a sailing ship leaving harbour. Each day, I wave another couple of memories good-bye. Each morning I wake unaware of where I have been the night before. It’s not that I sleep walk, just that things pass me by in the blink of a blurred eye. I still track the sails of drifting ships. I think of them as white moths, caught in overnight traps, chloroformed into oblivion, their bodies sometimes soaked in formaldehyde. Occasionally they come to life in the morning, batter their wings briefly against my fingers, leaving them covered with the finest moth-dust, before fluttering away into dawn’s forgiving light. I give chase with pen and paper, the worst of butterfly nets for wild thoughts waiting to be caught, then tamed. I stare at the mesh of the snow-white page and strive to grasp something just beyond my fingertips, trying to decipher it and deliver its message, but I can’t quite remember what it is.

Tall Hollyhocks

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Tall Hollyhocks

Well, it isn’t quite an English Country Garden, but we now have some tall hollyhocks, and I mean TALL holly hocks. My beloved isn’t short, in fact she’s taller than me, but these hollyhocks are HUGE. Douglas Bader and Reach for the Sky are in a similar league.

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Six, foot, seven foot, eight foot bunch … I guess that was a week or two ago. Looks like an eight foot, nine foot, ten foot bunch to me right now. Maybe I should write the Hollyhock Boat song. I’d need to get someone else to sing it for me though. Somehow, this is my Island View in the Sun, doesn’t quite cut it for me. And I hope I don’t have to cut them. Not until the snow flies start breeding anyway. And that makes me wonder: has anyone ever actually seen a snow fly? I know I haven’t. But then, I’m just an ignorant immigrant. I am happy to admit it. That way, nobody can discriminate against me.

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The snow flies? They went that way. This way, that way, all ways lead to the Hollyhocks in Island View. And they are so beautiful. Even painters want to paint them.

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Oops, sorry: that was last year’s. And so was this painting: last year’s hollyhock preserved for ever. Well, I am not so sure about that anymore, either. But well done Geoff Slater. And many, many thanks.

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KIRA Boutique Writing Retreat

 

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KIRA Boutique Writing Retreat

The 2019 KIRA Boutique Writing Retreat will take place from October 6-12 at KIRA (picture and details below) just outside Kingsbrae Gardens in the beautiful New Brunswick town of St. Andrews. More information is available from kira@kingsbraegarden.com 

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The KIRA Boutique Writing Retreat, aka The Art of Writing, is unique in that it concentrates on Creativity: how we channel it, how we express it, and how it changes us. Geoff Slater (artist and line painter) and Roger Moore (award winning teacher, poet, and short story writer) concentrate on different forms of creativity with, in addition to the free time at the retreat, workshops on drawing and painting (Geoff) and poetry and prose (Roger). The morning talks and the evening readings allow each individual to explore themselves and their creativity in a unique setting.

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Attendance is limited to five residents. This allows us to offer one on one time with each of the instructors if and when it is needed.

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