Limpet

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Limpet

… like a limpet at the sea side
she clings to her inner rock
as the incoming tide
causes waters to rise,
threatening
to sweep her away.

A wind charges
over the bay,
brings a wave-surge,
white water urgent,
crashing against rocks.

Rock-face showered
and shocked,
the little limpet
clinging on,
knowing that this
is the way
limpets survive,
day after day,
generation
after generation.

Comment: We must also survive and we do so by hanging on as long as possible. The tides may rise, the mists come in, storms may send waves to come breaking over us … but they will not break us because we are limpets. So, imitate those limpets, cling to your rocks and hang on. However grim the situation might seem, the night will end, day will come, and we will survive. And remember that old Irish drinking song: “If Moonshine don’t kill me, I’ll live till I die.” And so will we all. And until then, enjoy the sunshine and the moonshine. This is your life, your planet, your set of circumstances. Hang in there and hang on, for as long as possible. Look for the good things in your life and when you find them, celebrate them and make the most of them. Remember the sundial: I count only the happy hours. Seek and you will find: for there is goodness all around you, even when the night seems to be at its darkest.

Why?

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Why?

“Where are you going?” I ask again. “To see a man about a dog,” my father replies.  “Why?” I ask. “Hair of the dog,” his voice ghosts through the rapidly closing crack as the front door shuts behind him. “Why?” I cry out.

I recall the mud nest jammed tight against our garage roof. Tiny yellow beaks flap ceaselessly open. Parent birds sit on a vantage point of electric cable, their beaks moving in silent encouragement. A sudden rush, a clamour of wing and claw, a small body thudding down a ladder of air to crash beak first on the concrete.

“Why?” I ask.

The age-old answer comes back to me. “Wye is a river. It flows through Ross-on-Wye and marks the boundary between England and Wales.” The swallows perch on the rafters watching their fledgling as it struggles on the floor, the weakening wing flaps, the last slow kicks of the twitching legs.

“Why?” I ask.”

Y is a crooked letter invented by the Green Man of Wye,” my grandfather says.

“Why?” I repeat. “I want to know why.” Silence hangs a question mark over the unsatisfied spaces of my questing mind.

Comment: A golden oldie. We would all like to know why. But there are no answers. Just riddles cast, like two trunk-less legs of stone, on the sands of time. Nothing beside remains. Yet still we ask the age old question? Why? And still we get the age old answer from the ageing masters who rule our childhood lives and teach us everything they know: “Because.”

Purple

 

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Purple

 I write poems
in green ink,
but I prefer
purple.

Bruised clouds
on an evening sky,
dark depths
of a rainbow glow,
Northern Lights
singing at the deep
end of their scale …

… or just a desire
to be different …
slightly different …

as if that one thing,
the color of my ink,
might tip the scales
and turn me
from mediocrity
to celebrity

with a wave
of a violet wand,
or the click
of a pair
of ink-stained
fingers.

Comment: Juan Ramón Jiménez, Nobel Prize winner and author of Platero y yo, wrote a book entitled Almas de Violeta that was published in purple ink. He also wrote a book, printed in green ink. I used to have copies of them in my library, but alas, I gave my library away, so I cannot check for the title. I often wonder whether the color of the ink makes any difference to the quality of the writing. Same question with the keyboard or the pen. Some things seem to come more easily on keyboard or screen, but really, there is something about the smooth flow of pen and ink across the page that is enchanting just in itself. Now, back to my revisions for I am not just a writer, I am a re-writer. So off I go.

Butterflies

 

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Butterflies

“Poetry gives permanence to the temporal forms of the self.”
Miguel de Unamuno.

… butterflies … temporal forms … fluttering …
existing for one sweet day … they perch … spread
their wings … fan us with their beauty … flourish …
catch our attention … then caught by a gust
tear their wings on a thorn … and perish … blink
your eye and they are gone … yet reborn … they
cluster and gather in dusty ditches …
congregate on bees’ balm … smother Black-Eyed
Susan and Cape Daisy … shimmer in shade …
butterflies by day … fireflies by night …
terrestrial stars floating in their forest
firmament … dark tamarack … black oak … bird’s
eye maple … silver birch … impermanence
surrounds us … dances beneath stars … sings with
robins … echoes the owl’s haunting cry …
eternity held briefly in our hands …
then escaping like water or sand … black
words on white paper capturing nothing …
… my dialog … my time … my place … butterflies …

Comment: This is another golden oldie that gains in meaning day by day as the lock down continues. Miguel de Unamuno (1864-1936) was a respected academic, philosopher novelist, essay writer, story-teller and powerful poet. He is probably most famous internationally for the philosophy he espoused in The Tragic Sense of Life. Other works of his include Our Lord Don Quixote and Niebla / Mist. The photo shows one of the butterflies that adorn the garden by my kitchen window each summer.

Funny Old World

 

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Funny Old World

It’s a funny old world,
this word-world of mine,
where one day
I am whirled off my feet
and the next
my toes seem to be set
in concrete.

Meaning?
I throw the question out,
a bone to the dog,
wet food for the cat,
sun-flower seeds for the chipmunk,
but there’s no reply.

Only the crows,
black-winged monarchs
destined to wear
a weighty crown,
cry out their anguish,
longing for the day
when they’ll come back to earth
and rule again.

Comment: A golden oldie, really. What indeed does it all mean and is survival the only thing that matters? For many of us, including the cats and the dogs and the birds in the garden “munchies in and munchies out, that’s what life is all about.”  And indeed it is. Some days I just look at the crow’s feet on the lawn or those growing beside my own and my beloved’s eyes and “What’s it all about, Alfie?” I ask myself.  It’s certainly a time when I question so much: my values, my life-style, my memories, the whole of my life, where I have been, where I might be going, the things I have done and left undone. My thoughts err and stray like lost sheep and then I realize that really, deep down, it doesn’t matter. Whether I am here, or not, the crows will continue to fly over the garden. The crows will leave their little footprints in the snow, and whether they like it or nor, crow’s feet will continue to grow in the corner’s of the old folks’ eyes, in spite of all the beauticians and all the rejuvenating lotions in the snake oil promises of this oh-so-beautiful world.

Keeping Score

 

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Keeping Score

(‘… we blossom and flourish
like leaves on a tree
and wither and perish …’)

In the beginning was the number,
and that number was one:
number one.

Place it on the chessboard,
square A1,
bottom left corner,
black.

Next door,
on square B1,
white,
place number 2.
Next door,
C1,
place number 4.

The D1 square
claims number 8.
The players are abandoned
to their fate.
16 perch
on square E1.

32
land next door,
what fun,
and crowd into
square F1.

Square G1
sees 64
and H1
numbers
128,
each number a person,
forsaken of late,
and left to perish
in a perilous state.

Black on the left,
white on the right,
the numbers will soon rise
out of sight.

That’s just the start,
the first rank done.
Now we can really
have some fun.
A bean counter’s work
is never done.

H2 = 2-5-6.
Now we’re really
in a fix.

G2 = 5-1-2.
Whatever are we
going to do.

F2 = 1-0-2-4.
Now we’re rattling
up the score.

E2 = 2-0-4-8:
why did we procrastinate,
enjoying ourselves,
rich, young and wealthy,
thinking everyone
hale and healthy,
encouraging them
to drink and party.

D2 = 4-0-9-6.
‘What’s this?’
They cried.
‘It’s just the dead ones,’
we replied.
“Surely there can’t be
many more?”
We said we really
couldn’t be too sure,
though we all wished
it was somewhat fewer.

Body bags are not too pleasant,
laid out in rows,
or curved in a crescent.

“C2?”
We were asked
by a man in a surgical mask.
“8-1-9-2,”
came the reply,
“and there’s lots more
yet to die.”

“B2?”
“I’ll have to tell you later,
when I’ve checked
my calculator.”

We punch the numbers,
one by one.
Keeping score is so much fun.
“8192
multiplied by 2
gives us
1-6-3-8-4.”
“My God,” he said.
“How many more?”

A2
multiplies by two
the numbers laid out
on B2.
“We’re sorry,” we said,
“the news ain’t great:
now we’ve climbed to
32 thousand,
seven hundred
and sixty-eight.”

Don’t bother to give us any thanks.
We’ve got to calculate six more ranks.

Maybe when we get to square H8,
the dying will decelerate.
Then maybe we can celebrate.

Until then we’ll just keep score
and hope there aren’t too many more.

Fire and Flame

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Fire and Flame

The world is on fire.
Someone, somewhere
lit a match.
The world exploded.

Someone, somewhere
sneezed into their sleeve.
the world collapsed.

A match in the lungs:
the whole world burning.

Intelligence, give me
the exact name of things:
corona virus, vaccine, air
that’s pure,
drinkable water,
a new, fresh world
for my daughter
and her daughter.

It isn’t the cough
that carries you off.
It’s the coffin
they carry you off in.

I wish I could spare them
from all this slaughter.

Earth Bounty

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Earth Bounty
by
Victor Hendricken

 The paradox of life: in order to survive, we must consume; by consuming, we create waste; however, we do not see our waste as detritus, but as the product of living. 

Deep beneath earth’s surface, a miner drills a one and one-quarter inch hole eight to twelve feet deep into a rock face that is roughly twelve feet square. The miner repeats his task until the rock face resembles a block of Swiss cheese. Each hole is stuffed with explosive material. Then a blasting cap shaped like a metal matchhead, containing a fuse and trailing a wire pair sheathed in plastic, is gingerly inserted into each hole, buried up to twelve inches inside the explosive.

The miner and his partner (miners always work in pairs) connect the wires from each cap to a common grounded wire. The pair retreats to a safe area stringing out the grounded wire behind them, where they meet up with other pairs of miners waiting for permission from the mine captain to connect the trailing wires to an electrical junction box wired directly to a throw switch on surface. When all miners are assembled, they travel by hoist to daylight, where they hang their personal identification tags on the appropriate tag board confirming they are no longer in the deeps. The board is rechecked and the captain sirens a series of warning alarms and when certain that everyone is safe on surface closes the switch initiating the blast.  All drilled faces explode as one.

The miners hang their work clothes to dry, shower and change into street clothes. Some head home to family; some go to the bunkhouse kitchen; some seek out the comfort of a pub and the company of their workmates. No one is allowed to go underground again until the air is purged of dust and noxious gasses.

A miner drilling into rock containing copper in sulphide, oxide or elemental form is not thinking about copper pots for cooking, or copper wire for electrifying his house, or copper tubing to carry water from well to sink. He is fully engrossed in the task at hand: break the rock into manageable sized pieces and transport it from the deeps to the surface.  He is acutely aware of his dependence on number of feet advanced in the drift today, in the volume of ore bearing rock extracted from the stope.  He gives no thought to the growing piles of waste rock strewn about the nearby surface.

Out on the greenish grey ocean the fisher sets his traps. The location of each cage is identified by a floating coloured buoy.  The day is long and the sea rough.  In nearby locations, trawler lines and weighted nets are released to scavenge the ocean at various depths herding schools of many fish species to a common fate.  Some nets scrape the ocean floor to capture creatures succored there. Occasionally, fishers are forced to overnight on the ocean surface as their prey migrates below to nibble at the bait within the traps, to gather in large schools before the nets.

As each trap is hauled up, emptied and rebaited, the fisher is not thinking about lobster rolls. As he hauls in the bulging net and empties it into the ship’s hold, he is not thinking about blackened cod or fish cakes, sole adamantine or tender filet with baked potatoes and butter.  He is focused on hauling the catch from the deep ocean and filling the ship’s hold; delivering the dead and dying sea animals to the fish plant for processing into human and other food.  He does not count the discarded carcases of species that contaminate his daily catch.

The logger fells another tree, trims the branches and saws the tree into cordwood lengths. He inhales deeply while admiring his day’s work.  Chainsaw in hand, he does not think about houses or furniture.  He does not measure in board feet, nor does he envision dimensional lumber as he hews, stacks and hauls.  He focuses on cords piled, loads counted. Trees are objects to devour, not treasures to be taken.  He does not notice the acres of clear-cut whose topsoil will soon become prey to buffeting winds and torrential rain.

At the end of the day, perhaps on the empty street or in the local pub, the miner’s thoughts may wander to home, to sitting at his wooden table inside his wooden house, to eating a banquet of sautéed fish knowing only the supermarket as the meal’s origin.  At the end of the day, the fisher may walk the dark street from dock to home, peer down an alley dimly lit by doorways leading to cavernous public drinking places. He may wonder at the hidden resources protected by the alley, exposed by the alley. He will not wonder about the light’s source, the tungsten filament in the lamp, or the clinking glasses as he enters the pub.  At the end of the day, the logger will lay down his saw, turn in his axe, enter the pub from the street and take a seat near the alley door. He does not question the source of the fisherman’s platter he is served, nor does he think about the metal in the barroom tables and chairs, nor what goes into making a beer glass.  He marvels at the burnished wooden bar rail, harbours a fleeting image of his chainsaw.

When the three, the miner, the fisher and the logger, by happenstance meet, they do not tell secrets of their trade.  They speak instead of trivia and sports, avoid politics and talk of home. The angry metal teeth on the logger’s saw, the sharply honed edge of his axe, the height and girth of trees felled are no more in mind than the metal and wooden boat into which the fisher loads his catch, than the living, mineralized stope from which the miner draws his bonus.  Each protects his space as surely as a mother holds her child from nosy passers’ by.

Stories of mining pass only between miners; stories of fishing remain solely with fishers; stories of lumbering are wedged into spaces between lumberjacks.  No word is spoken of farmers plowing fields and harvesting crops.

And while we blithely drive our vehicles of iron, steel, copper and zinc, barbecue pink salmon and grey mackerel, slather slabs of butter on thick slices of homemade wheat bread, dance on decks of wood and nails and screws, the miner puts on his slickers and dons his hardhat and lamp; the fisher steps into his waterproof garb and rubber boots; and the logger twice ties his cork boots, sharpens his saw, and shoulders his axe.  The farmer quietly steps into his worn overalls, mounts his high-powered four-wheeled tractor and attacks worn out fields with plow and harrow.

Comment: This morning’s piece by my friend Victor. I publish it here with great pleasure. Victor has a sharp mind and an elegant pen. Hopefully, he will continue writing for me and, always with his permission, I will continue to publish his oeuvre.

Life is a Dream

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Life is a Dream

This life is nothing but a dream.
I cannot see the far side of the stream.

Life is a frenzy, a fiction, a story,
sometimes a romance filled with glory,
often a nightmare, bloody and gory.

We seek for answers, no confusion,
but all of our life is an  illusion.

We are but shadows in Plato’s Cave:
reality is what we crave,
but all we get is an early grave.

I’m not the first person who has said it,
but I’d love to take full credit.

Comment:  So many things here. My photo of Jan Hull’s carving that adorns my web page. It is carved in stone, Old Welsh red sandstone, unlike these ephemeral words. Thank you Jan. It links to Segismundo’s soliloquy from Calderón de la Barca’s La Vida es Sueño. I have adapted that piece to the current pandemic because Spain has instructed its people to wash their hands in time with this soliloquy.

¿Qué es la vida? Un frenesí.
¿Qué es la vida? Una ilusión,
una sombra, una ficción,
y el mayor bien es pequeño,
porque toda la vida es un sueño,
y los sueños, sueños son.

What is life? A frenzy.
What is life? An illusion,
a shadow, a fiction,
and the greatest good is small,
because life is a dream,
and dreams are nothing
but dreams, after all.

 

Fragile

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Fragile

Snow flakes fall fragile
strength in numbers
not in each morsel
falling rom grey skies

a word to the wise
there is no health
nor strength nor wealth
each one of us fragile

one puff of wind
a sudden gust
and we are gone
turned into dust
when that voice calls
go we must

Comment: I sat here looking out of the window. I didn’t mean to write a sonnet, especially such an unstructured one. Then, poetry, like life, sometimes just happens. A sudden gust and the sky filled with snowflakes. Light and airy, winter fairies floating across the lawn, not settling, scurrying on. I blinked, looked again: the wind had dropped and they had gone. Now they’re back, wind-blown, and in a flurry. Just passing through. How many in a minute, in an hour, in a day? Anonymous, no name, the numbers game: some days that’s all we can play.