Week 574: My Old, by Alison Brackenbury

Another poem by Alison Brackenbury (see also weeks 20 and 225), one of the contemporary poets whose work I find most congenial for its humanity and formal skill.

The Queen referred to in the second stanza is of course Queen Victoria, not the late Queen. As I have observed before, it is easy to forget just how far back the direct oral transmission of memories can take one – my own grandparents were born in the 1870s.

My Old

My old are gone; or quietly remain
thinking me a cousin from West Ham,
or kiss me, shyly, in my mother’s name.
(My parents seem to dwindle too; forget
Neat ending to a sentence they began,
Beginning of a journey; if not yet.)

Cards from village shops they sent to me
With postal orders they could not afford.
They pushed in roots of flowers, carelessly,
And yet they grew; they said a message came
To say the Queen was dead, that bells were heard.
My old are gone into the wastes of dream.

The snow froze hard, tramped down. Old footprints pit
Its smoothness, blackened footprints that I tread
That save me falling, though they do not fit
Exactly, stretching out beyond my sight.
My old are gone from name. They flare instead
Candles: that I do not have to light.

Alison Brackenbury

Week 573: The Confirmation, by Edwin Muir

This week’s offering by the Orkney poet Edwin Muir, which I assume to be addressed to his wife Willa, herself a fine writer, seems to me an unusually moving and effective poem of married love, celebrating not the first flush of romance but something deeper and more durable: a spiritual companionship, and the uniqueness and preciousness of another human being.

The Confirmation

Yes, yours, my love, is the right human face.
I in my mind had waited for this long,
Seeing the false and searching for the true,
Then found you as a traveller finds a place
Of welcome suddenly amid the wrong
Valleys and rocks and twisting roads. But you,
What shall I call you? A fountain in a waste,
A well of water in a country dry,
Or anything that’s honest and good, an eye
That makes the whole world bright. Your open heart,
Simple with giving, gives the primal deed,
The first good world, the blossom, the blowing seed,
The hearth, the steadfast land, the wandering sea,
Not beautiful or rare in every part,
But like yourself, as they were meant to be.

Edwin Muir

Week 572: The Fury of Aerial Bombardment, by Richard Eberhart

I think this piece by the American poet Richard Eberhart (1904-2005) is an example of how a fairly indifferent poem can suddenly come alive and be saved by one good stanza. The first three verses really don’t work for me: the philosophising seems trite and ineffectual, the rhymes laboured. But then we have the last four lines, drawing directly on Eberhart’s experience as a gunnery instructor for the United States Navy in 1942: the tone quite different, practical, compassionate, a distillation of pity for young men barely out of school plunged into the maelstrom of war. And still it goes on, as the young grandson of a friend of mine waits even now for his orders at the edge of the Gaza strip…

The Fury of Aerial Bombardment

You would think that the fury of aerial bombardment
Would rouse God to relent; the infinite spaces
Are still silent. He looks on shock-pried faces.
History, even, does not know what is meant.

You would feel that after so many centuries
God would give man to repent; yet he can kill
As Cain could, but with multitudinous skill,
No farther advanced than in his ancient furies.

Was man made stupid to see his own stupidity?
Is God by definition indifferent, beyond us all.?
Is the eternal truth man’s fighting soul
Wherein the Beast ravens in its own avidity?

Of Van Wettering I speak, and Averill,
Names on a list, whose faces I do not recall
But they are gone to early death, who late in school
Distinguished the belt feed lever from the belt holding pawl.

Richard Eberhart

Week 571: The Hill, by Edgar Lee Masters

This poem by the American poet Edgar Lee Masters (1868-1950) is a good modern example of the ‘Ubi sunt’ or ‘Where are they now’ genre, of which prime examples might be François Villon’s ‘Ballade des dames du temps jadis’, or the famous passage from the Old English poem ‘The Wanderer’ that begins ‘Hwaer cwom mearg? Hwaer cwom mago?’ and that J.R.R.Tolkien so skilfully imitates in the ‘King of the Golden Hall’ chapter in ‘The Two Towers’: ‘Where now the horse and the rider? Where is the horn that was blowing?’. (Incidentally the Old English word ‘mearg’ or ‘mearh’, horse, is what gave Tolkien his word ‘meara’ for the line of horses to which Shadowfax belonged).

Here the lament is for a vanished America: the collection in which the poem first appeared, ‘The Spoon River Anthology’, was published in 1915, at a time when the memory of the Civil War and the Old West would still have been a living one in the minds of the old – it is easy to forget that Buffalo Bill, for example, did not die until 1915 and Wyatt Earp made it to 1929.

‘the hill’ a hillside on the edge of town was a favourite site for a cemetery; cf. the popular appellation Boot Hill where the ‘Boot’ implies that the occupants died a violent death, with their boots on, rather than from natural causes.

‘Clary’s Grove’ a pioneer settlement near New Salem, Illinois, associated in the 1830s with a gang of roysterers known as the Clary Grove Boys, with whose leader Jack Armstrong a young Abraham Lincoln, who was working at the time in a New Salem store, had a famous wrestling match.

‘Of what Abe Lincoln said/One time at Springfield’. I think this must refer to a famous speech, known as the Lyceum Address, that Abraham Lincoln made at Springfield, Illinois on January 27, 1838, in which he extols the virtues of the American constitution and prophetically enough states that threats to it are likely to come not from external enemies but from its own leaders showing a disregard for the rule of law.

The Hill

Where are Elmer, Herman, Bert, Tom and Charley,
The weak of will, the strong of arm, the clown, the boozer, the fighter?
All, all, are sleeping on the hill.

One passed in a fever,
One was burned in a mine,
One was killed in a brawl,
One died in jail,
One fell from a bridge toiling for children and wife –
All, all are sleeping, sleeping, sleeping on the hill.

Where are Ella, Kate, Mag, Lizzie and Edith,
The tender heart, the simple soul, the loud, the proud, the happy one?-
All, all, are sleeping on the hill.

One died in shameful child-birth,
One of a thwarted love,
One at the hands of a brute in a brothel,
One of a broken pride, in the search for heart’s desire,
One after life in far-away London and Paris
Was brought to her little space by Ella and Kate and Mag –
All, all are sleeping, sleeping, sleeping on the hill.

Where are Uncle Isaac and Aunt Emily,
And old Towny Kincaid and Sevigne Houghton,
And Major Walker who had talked
With venerable men of the revolution?-
All, all, are sleeping on the hill.

They brought them dead sons from the war,
And daughters whom life had crushed,
And their children fatherless, crying –
All, all are sleeping, sleeping, sleeping on the hill.

Where is old Fiddler Jones
Who played with life all his ninety years,
Braving the sleet with bared breast,
Drinking, rioting, thinking neither of wife nor kin,
Nor gold, nor love, nor heaven?
Lo! he babbles of the fish-frys of long ago,
Of the horse-races of long ago at Clary’s Grove,
Of what Abe Lincoln said
One time at Springfield.

Edgar Lee Masters