Boxing Day

A wonderfully quiet and peaceful Christmas in Canada. Oh the sea, oh the sea, thank God it still flows between my family and me.

Boxing Day
            By the time I get up, the gloves are really off and the sparring has begun in earnest. I hear voices, walk downstairs to the kitchen, and a hush falls on the room. Knife-edge glances slice their menacing ways through the thick fog of war.
            Time for boxing: on my left, in the blue corner, my mother, smoking what is probably her second packet of the day. A thin haze of grey smoke escapes from her bruised lips and a cloud of exhaled fumes crowns her head with a murky halo. On my right, in the red corner, my father. White-faced, hungover yet again, truly into the spirits of Christmas. He breathes heavily, like a Boxer Dog in the mid-summer dog-days, snoring and snorting at a bitch in heat. In the middle, my grandfather, the referee. He is keeping the combatants apart, creating a tiny breathing space so the true Spirit of Christmas can disentangle itself from those false Christmas Spirits and bring peace to earth again for at least sixty seconds between each round.
            I look around the heaving, seething, threshing silence of a room where conversation has suddenly ceased. The fire is burning merrily. Beside it, tongs, poker, and small shovel stand to attention. On the hearthstone, the little red brush, with its long handle lies in ambush. This is what my father uses to beat me when he can’t be bothered to take off his leather belt. Scorch marks from the hot coal fire sear the handle and back of the little red brush. I threw it on the fire one day, hoping to see the end of it. Of course, it was rescued from the flames, resurrected, and I got beaten for that act of rebellion too.
            “It’s all your fault!” My father breaks the silence, pointing at me. His red-rimmed eyes blazing with a sudden and renewed anger. He starts to rise, but my grandfather steps between us.
            “Go and see your granny,” grandpa tells me. “She’s in the kitchen. Go now!” He points to the kitchen door.
            I run a gauntlet of staring eyes and go to my gran. As I shut the door behind me, voices rise higher in the room I have just left. Boxing Day, indeed. The gloves are off. The battle has begun again. My grandfather has evacuated me from no-boy’s-land and, for a moment, I am no longer trapped in the mud-filled, cratered, shell-holes between the trenches, the uncut barbed-wire barriers, the poached-egg eyes peering through periscopes and spying on me from the parental and priestly parapets. Here in the kitchen, for a while, I walk on the wooden duck-boards that keep my feet dry and clear of mud and water.

Comment: This is, of course, the true origin of the term Boxing Day. A genuine Boxing Day has nothing to do with the myth that it was the day on which the servants, who worked Christmas Day on the Lord’s estate, received their Christmas Boxes. Peace on earth and mercy mild has got nothing to do with alcohol-fueled quarrels, raging hangovers, and little children who should be seen and not heard. Sometimes, when all the elders are down at the pub on the corner, the night may, for a little while, actually be silent. But the noise when the drunks roll raucously home is most unholy. Then little children should be wise like the wise men, run quickly into bed, and lie there, neither seen nor heard.

Happy Anniversary

Married 54 years ago today. What a way to celebrate with 3 poems to Clare on QBF. My thanks to Brian Henry and Quick Brown Fox.

Yours

Yours are the hands that raise me up,
that rescue me from dark depression,
that haul me from life’s whirlpool,
that clench around the jaws that bite,
that save me from the claws that snatch.

Yours are the hands that move the pieces
on the chess board of my days and nights,
that break my breakfast eggs and bread,
that bake my birthday cake and count
the candles that you place and light.

You are the icing on that cake, and yours
is the beauty that strips the scales
from my eyes, then blinds me with light.

Comment: what excellent timing: thank you for publishing three of my poems to Clare and on our 54th wedding anniversary too (24 December 2020). An incredible gift and Clare and I both thank you for it, Brian. How to make a memorable day even more memorable. Tonight, when we open the champagne, we will have a glass for you on the table. Much as we would appreciate your presence, the two week quarantine on entering New Brunswick places a blanket over so many invitations and celebrations. That’s why every little helps, and this is so much more than a ‘little’, it is a lot, a very thoughtful lot. So, for Brian, his family, and all my family and friends: tonight we will be alone in our home. But we will raise a glass to absent friends, and we will be together in our hearts. “To absent friends”!!! Here’s the link to Brian’s page.

http://quick-brown-fox-canada.blogspot.com/

Death by Devilry

Silence in the garden. A hawk perched nearby. There are so many ways to die.

Death by Devilry

Silence in the garden.
A hawk perched nearby.
There are so many ways to die.

A cerebral bleed, minor,
but enough to send him to hospital
and keep him there.

Cured, ready for release,
he would need extra care
and added attention.

The devil lived in the small print.
Too much attention needed now:
his care home wouldn’t care for him.

Back to the old folks ward he went.
There he lay, waiting for a vacancy
in a home that would really care.

One day, Covid came a-visiting,
stalked the ward that night, choosing
its victims: you, you, and her, and him.

What killed him?
A cerebral bleed, a minor stroke?
Or a major stroke from the devil’s pen?

Bold words, bare words,
a barren ward, another vacant place
around a Christmas table.

Comment: Sitting at the breakfast table, with an empty space before me, I penned these words. So tragic, so avoidable. Yet how many families have gone through something similar in the past twelve months? How many empty spaces are there, vacancies that will never again be filled? I look at today’s figures from the USA: 18,466,231 infected and 326,232 already perished, an increase of 227,998 and 3,338 since yesterday. I am reminded of the words of Pink Floyd: “Is there anybody out there?” Blas de Otero also echoes through my mind: “levanto las manos: tu me las cercenas” / I hold up my hands: you cut them off. And yet it is Christmas Eve and there is still the Christmas promise of joy, and hope, and a new year entering. Let us raise our hands in prayer: and let us pray they are not hacked off.

R.I.P.

Forget-me-not!

R.I.P.

He was a good man,
and a better friend.
He came over to mow the lawn
and stayed for a beer.
“This is gonna sizzle!”

Some called him uneducated,
no BA, no MA, no LLB,
but he had a golden heart
and a PhD in the school
of life and hard knocks.

I met men like him in Wales,
coal miners in bars,
steel workers on rugby teams,
sheep farmers from the hills
in the big city for the game.

Humble, they were, honest,
hard men, hard working,
intolerant of pretension and fools.
When I went to university,
nineteen and full of ideals,
they pulled me on one side.

“You’re one of us,” they said.
“However high you rise,
don’t lose the common touch.”

I met men like him in Spain,
foot-soldiers from the Civil War,
riflemen, dynamite throwers
with their skills learned
at coal face and quarry.

Machado wrote poems about them:
“Donde hay vino, beben vino;
donde no hay vino,
beben agua de las fuentes.”

Where there is wine,
they drink wine.
Where there is no wine,
they drink water from the fountains.

A good man, an honest man,
an uneducated man, some say,
who taught me more about life
and how to live it
than any university professor.

Comment: I read the obituary of one of my best friends in the newspaper today. He moved away from the neighborhood and we lost touch. But I never forgot him. As I have never forgotten those who shaped me in Wales and Spain. I have forgotten many of their names. But I have never forgotten their faces, nor their words of wisdom. At first, his passing brought a shadow to my life. Then I realized that no, he would not have wanted that. I think now of the good times, the laughter, the joy and, instead of mourning for him, I rejoice in all the goodness he gave me. Rest in peace, my friend. I will forget-you-not.

Heraclitus

Geoff Slater’s mural at McAdam Railway Station. ‘You cannot step in the same river twice.’ Heraclitus.

Heraclitus

Nothing will ever be
as it was before.

Time, like water,
like these people marching,
constantly flows,
trickling through my fingers,
uncatchable, unstoppable,
 sand filtering through
the hour glass’ waist.

Water flows, currents shift,
rocks wear down,
banks slide and fall.

“You cannot walk
in the same river twice
nor ever attend
the same demonstration.”

Nor can you recapture
that first, fine, careless rapture,
the touch of that first
drop of river water.

Kneeling by the river bank,
like St. Kevin and his Blackbird,
I cannot recall the river’s name.

Comment: I love the reality of the river, its impressionist style of flowing water, impossible without the enormous presence of Claude Monet and his portraits of the Seine. However, what makes the mural, for me, is the brutal reality that breaks into the painting’s unreality. The boards covering the interior wall, the hand rail blended into the painting, the skirting board, the electric socket. I also like the intertextuality: art speaking to poetry, poetry replying to art, the links to Heraclitus, poetry speaking to poetry, the anonymity of the river, and the further poetic links to Robert Browning and Seamus Heaney. I often wonder if readers and viewers pick these things up. Or do they just speed-read, link to their own experiences, and move on with no further thought? You tell me. But what I will tell you is that artists reaches out to art, poets extend their hands to poetry, and our world is an inter-connected maze of thoughts and ideas, linking and unlinking, occurring and re-occurring, lapping like an incoming tide at the fingers and toes we immerse in those amniotic waters, often so long-forgotten, in which our creativity is berthed and from which it is born.

Absence

Absence

My body’s house has many rooms and you, my love,
are present in them all. I glimpse your shadow
in the mirror and your breath brushes my cheek

when I open the door. Where have you gone?
I walk from room to room, but when I seek,
I no longer find and nothing opens when I knock.

Afraid, sometimes, to enter a room, I am sure
you are in there. I hear your footsteps on the stair.
Sometimes your voice breaks the silence

when you whisper my name in the same old way.
How can it be true, my love, that you have gone,
that you have left me here alone? I count the hours,

the days, embracing dust motes to find no solace
in occasional sunbeams and salacious dreams.

The Exact Word

Le mot juste

Searching for le mot juste
the exact word that sums it all up, 
catches the essence of the thing 
and holds it in the mind forever.

Think flowers. Think scent. 
Think of the limited ways 
we describe how daffodils
lift and clematis clings.

I look across the breakfast table 
and see my wife of fifty years, 
a teenager reborn, walking into 
that café where we had our first date.

I search my memory and my mind 
for the words to describe that beauty, 
that surge of excitement, 
I still feel when she enters the room:

but find I cannot find le mot juste.

Comment: I shortened this poem from its earlier version. You can click on this link to compare the two versions. I am always puzzled by the dilemma of lengthening or shortening. My thoughts center on the longer and shorter versions of some Raymond Carver stories. Follow the editor’s advice and cut all material down to its essential bones or fill out the skeleton with flesh and blood and expand the creative process further. I also think of the exhortation to ‘stay in the moment’. Anything that takes the reader away from the central experience is superfluous. Experienced writers are aware of that moment and its importance. Writers at my stage are often baffled by it and need to be told yes, this is the moment or no, that is not the moment. I guess the more we write, the more we understand the process. Understand: do we work this out consciously or does it develop in unconscious fashion? Are some people just born with those skills or we must work hard to develop them? Sunt rerum lachrimae: tears are in all things and I guess hard work is all part of the process. As I was told a long time ago: genius is 99% perspiration and 1% inspiration. You have to put in the hard work for that little light bulb to go ‘pop’!

Monkey and the Bean Counter

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Monkey and the Bean Counter

An acolyte in a charcoal suit runs by.
He neither stops nor speaks
but slips on slippery words
dripping from another monkey’s tongue.

This other monkey has eyes of asphalt,
a patented pewter soul,
ice water flowing in his veins.
“Hear no evil! See no evil! Speak no evil!”

The hatch of his mind is battened tightly down.
Nothing gets out nor in.
The acolyte’s fingers grasp at a khaki folder,
his manifesto for success.

Senior monkey stalks to his office
and turns on the radio.
His favorite music:
the clink of mounting money.

Disturb him at your peril:
this monkey is very important,
and very, very busy.
He’s also clever:
a real smarty.

First, he empties all the chocolate candies from the box
then he sorts them into little piles:
green with green, brown with brown,
blue with blue, red with red.

Then, like the Good Shepherd checking His flock,
he counts them again and again,
to ensure that none have been stolen
and not one has gone astray.

Comment: Another Golden Oldie, this time from Monkey Temple. I have updated it slightly so it won’t be exactly the same as it is in the printed text. Senior Monkey has, of course, built a bigger box into which he can place all his chocolate candies and tuck them away for ever and ever. I guess if he were a bull and not a monkey, he would have tucked them away for heifer and heifer. Such is the sad state of reality in the Monkey Temple. But if monkey were a bull, he would be living in the cow shed, not the Monkey Temple. Oh dear, oh dear: and oh what a tangled web we weave when first we practice to deceive with fiction, flash fiction, creative non-fiction, and all the other sugar and spice which goes into the spinning of spider-webs and fairy tales. Speaking of which, did I ever tell you the story of the… well, maybe next time. So tune in again tomorrow. Same thyme, same plaice, and I’ll sing you a song of the fish in the sea… and a fishy tail that will be.

Building Bigger Boxes

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Building Bigger Boxes

Some of the worst educators I have been unfortunate enough to work with over my undergraduate and graduate years have come up with cliché after cliché in an effort to the sway students into believing that they really are getting an excellent education. One such phrase is the infamous: “We are teaching you to think outside the box.” So, what is their definition of ‘the box‘? Alas, I do not know. They deal in clichés and, by definition, a cliché is a  phrase that both parties (teachers and taught) accept as being meaningful, even though it is often without meaning. It is also a conversation closer, as in ‘it is what it is’. It’s hard to argue with that or to reason your way around it. ‘But it doesn’t have to be!’ rarely cuts the mustard aka mouse-turd.

So, if these teachers are teaching their students how to think outside the box, how are they managing to do so? Why by building bigger boxes inside which each student can be safely taught to think, without asking questions, and without looking for independent answers.

Today’s cartoon has two titles: (1) Brave hearts  escaping, finding meaning outside the bigger boxes and (2) can the true heart escape its coffin in a bigger box? I love the boxes within boxes and the drawers within each boxed segment into which the young, developing mind can be stuffed and crammed. How do we release those hearts? How do we develop those minds? Certainly not by confining them in bigger boxes. In the battle for hearts and minds, how do we set our students free?

It must be done on the student’s terms, each student, one by one, in co-operation with intelligent, meaningful teachers who step away from cliché and commonplace to enter the learner’s world and to themselves learn how to contact each learner at a mental, spiritual, and intellectual level. Only then will teacher and taught be able to speak of true intellectual freedom. Until that happens, be very careful when your child comes home and announces that today, of all days, that child has been taught to think outside the box. “Verily, I say unto you, open the cage door. Let in the sunshine and the light. Set those children free.” But remember, it must be on a  case by case basis, with each individual weighed, assessed, understood, and released to find their own individual way of earning the things they specifically need to know. In true education, one size really doesn’t fit all.

Comment: Another Golden Oldie that suddenly surfaced and, on emerging from the depths, reminded me of another of my callings: that of a teacher of philosophy and a teacher with a philosophy. Retired now, I can no longer help young minds to create and shape themselves. This is doubly true with Covid-19 haunting us, waving at us from the shop-windows, supermarket aisles, and street corners, flapping its wings and trying to fly into our bodies. And remember to distinguish between clichés and things that are not clichés, like ‘Wear a mask’, ‘wash your hands’ (twenty seconds, with soap), and ‘keep a safe social distance’. Do this all the time and hopefully you will avoid thinking inside the bigger box of a six foot pine Covid-19 coffin.

Milton Acorn and the Jack Pine

Milton Acorn and the Jack Pine

            I met Milton Acorn in the photocopying room of the university in which I taught. I didn’t know who he was, but I soon found out.
            “Oy! You,” he waved his strong, carpenter’s hands, and stabbed me with a gnarled index finger.
            “Are you Milton Acorn,” I asked. “The poet?”
            “Yup. Make this machine work.”
            “I’m meant to be taking you to lunch.”
            “Got this job to do first,” he pointed at the machine. “Turn it on.”
            I typed in my code and the copier leapt into life.
            “Now go away. I need to be alone.”

            A few minutes later, I returned to find him lying on the photocopier, eyes shut, face pressed against the glass. Lights flashed, the copier whirred, and a copy of his face emerged. He descended from the machine and added his face to the pile of photocopies that lay at his feet.
            “Tape,” he said. “I need tape,” he again stabbed me with his finger and held out his hand.
            “I’ll go and get some.”
            I went to my secretary’s office.
            “What the heck is he doing in there?” she asked.
            “I haven’t got a clue. But now he wants some Scotch tape,” I held out my hand and she handed me a roll of tape “Thanks,” I said.

            I gave Milton the tape and watched as he taped the copies together. He had photocopied his whole body, arms, legs, back sides, feet.
            “Me,” he said happily. “That’s me,”
            Triumphant, he showed me his work: a self-portrait, shadowy and cloudy, still warm, with him all whiskered and worn, smelling still of photocopying ink, unique, unmistakable, uncouth, unseemly, but the real Milton Acorn, a jack pine sonnet self-grown in his own poetic image.