Poems

A Darker Mist

A Darker Mist

Sometimes a dark mist marches over
the sea-salt marsh flats and, a sea-bird
come to land, nests in my heart. This lone
bird brings others and soon a colony sings
its chorus in time with the incoming tide
that threatens to overwhelm me.

My body’s weak clay responds to this
darkness and slips into the chaotic
cacophony of multiple voices
raised to shut me off from the light.

My soul, a seagull seeking the sun,
rises upwards, ever upwards,
in search of the sunshine, that silver
lining that redeems every cloud, belying
the darkness of this gathering gloom.

“You will find sorrow moving through you, like a dark mist over landscape.” John O’Donohue, Anam Cara, p. 94.

Why am I?

Why am I?

A coast line
where sea and shore
engage in a never-
ending dialog
of silence and sound.

Who sees such things?
The man or woman
who has eyes to see.

Who hears such words?
The person who has ears
to hear and a heart
with which to feel.

And who am I,
this old man walking
life’s sands at the tide’s
foaming edge?

With a clarity of vision
that morphs light into shadow,
and then back out again,
would you tell me, please,
who, and why, I am.

“The chorus of the ocean, the silence of stone.”
John O’Donohue, Anam Cara, p. 78.

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.

Click here for Roger’s reading.

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.

Click here for Roger’s reading.

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.

Click here for Roger’s reading.