Week 611: Hospital for Defectives, by Thomas Blackburn

Although this week’s poem, as a mid-20th century composition, is relatively recent, I suspect that some readers may find its premise rather dated, in that the majority of people now, at least in the secular West, would probably go along with Einstein in giving no credence to the idea of a personal divinity who directs our affairs, while at the same time remaining well aware that this leaves a lot of big questions unanswered, like whose bright idea was it to have a universe in the first place, and why is that universe so finely tuned as to allow the emergence of beings capable of wondering why it is so finely tuned.

Be that as it may, to reject the poetry of the past because we may no longer share its belief systems is to cut ourselves off from much of our history and our humanity, and while it may seem that this week’s poem offers no answers to a non-question, there is surely always a place for its brand of reflective compassion.

Hospital for Defectives

By your unnumbered charities,
A miracle disclose,
Lord of the Images, whose love
The eyelid and the rose
Takes for a language, and today
Tell to me what is said
By these men in the turnip field
And their unleavened bread.

For all things seem to figure out
The stirrings of your heart;
And two men pick the turnips up
And two men pull the cart;
And yet between the four of them
No word is ever said,
Because the yeast was not put in
Which makes the human bread.
But three men stare on vacancy,
And one man strokes his knees;
What is the language that you speak
Through such dark vowels as these?

Lord of the Images, whose love
The eyelid and the rose
Takes for a metaphor, today,
Beneath the warder’s blows,
The unleavened man did not cry out,
Or turn his face away;
Through such men in a turnip field
What is it that you say?

Thomas Blackburn

Week 610: Diamonds and Rust, by Joan Baez

 ‘My poetry was lousy, you said’ – such, according to this week’s poem, was Bob Dylan’s verdict on the poetic efforts of the young Joan Baez. That must have hurt, but one has to say that Bob was right, as far as Joan at that time was concerned. I remember one of Joan’s early albums, the first LP I ever bought, being covered with a kind of prose-poem that was cringe-making even by the standards of the sixties.

But then something happened: Joan’s work became sharper, tougher, culminating in this song which is surely one of the best songwriter compositions of recent years: plangent, humane, specific. It deals with Joan’s love affair with the young Dylan. It is hard to judge these things from the outside, but the usual narrative is that she recognised his talent and fostered it but he, as his fame grew, failed to reciprocate and became reluctant to share a stage with her. Here we see her contemplating a past that is now distant yet still tinged with a kind of autumnal rue.

‘bluer than robin’s eggs’… hang on, I hear you object, a robin’s egg is not blue at all. Joan, however, being American, is thinking of the American robin, a bird not closely related to our European robin, being a member of the thrush family, and the eggs of the American robin are indeed an intense shade of blue.

’the girl on the half-shell’… alluding to the famous painting by Botticelli, showing the goddess Venus, who was born fully grown of sea-foam, arriving at the shore after her birth, a bit short of clothes.

Diamonds And Rust

Well, I’ll be damned
Here comes your ghost again
But that’s not unusual
It’s just that the moon is full
And you happened to call

And here I sit
Hand on the telephone
Hearing a voice I’d known
A couple of light years ago
Heading straight for a fall

As I remember, your eyes
Were bluer than robin’s eggs
My poetry was lousy, you said
Where are you calling from?
A booth in the Midwest

Ten years ago I bought you some cufflinks
You brought me something
We both know what memories can bring
They bring diamonds and rust

Well you burst on the scene
Already a legend
The unwashed phenomenon
The original vagabond
You strayed into my arms

And there you stayed
Temporarily lost at sea
The Madonna was yours for free
Yes the girl on the half-shell
To keep you unharmed

Now I see you standing with brown leaves
Falling all around and snow in your hair
Now you’re smiling out the window
Of that crummy hotel over Washington Square

Our breath comes out white clouds
Mingles and hangs in the air
Speaking strictly for me
We both could have died then and there

Now you’re telling me, you’re not nostalgic
Then give me another word for it
You were so good with words
And at keeping things vague

‘Cause I need some of that vagueness now
It’s all come back too clearly
Yes, I loved you dearly
And if you’re offering me diamonds and rust
I’ve already paid

Joan Baez

Week 609: The Colour of His Hair, by A.E.Housman

This week’s choice follows on fairly naturally from last week’s in that A.E.Housman, himself a lifelong closet homosexual, wrote this savagely ironic denunciation of the laws and attitudes then prevailing in response to the trial and imprisonment of Oscar Wilde: it is easy to forget just how much of a social and indeed criminal stigma attached to homosexuality only a couple of generations ago. I don’t myself have a dog in this fight, but for what it’s worth see no reason to quarrel with the consensus now prevailing, at least in the West, that what really matters about people is that they should be kind, honest and reliable and that when it comes to consenting adults there are more things in this world to get exercised about (and indeed, more interesting things to think about) than other people’s sexual proclivities.

Due to the climate of the time Housman felt obliged to suppress its publication until after his death in 1936, and of course it still took many years after that before certain hair colours became acceptable.

poll: the part of the head on which hair grows
haling: dragging, esp. with force or violence
oakum: a preparation of tarred fibres used to seal gaps e.g. between planks in ships. At one time it was recycled from old tarry ropes, and the job of doing this was given to prisoners deemed unsuitable for heavier labour. It was a much hated task, causing the fingers to bleed.
Portland: a tied island in the English Channel, connected to the mainland by Chesil Beach, and the source of Portland limestone, a much-prized building stone that continues to be quarried there.

The Colour of His Hair

Oh who is that young sinner with the handcuffs on his wrists?
And what has he been after, that they groan and shake their fists?
And wherefore is he wearing such a conscience-stricken air?
Oh they’re taking him to prison for the colour of his hair.

’Tis a shame to human nature, such a head of hair as his;
In the good old time ’twas hanging for the colour that it is;
Though hanging isn’t bad enough and flaying would be fair
For the nameless and abominable colour of his hair.

Oh a deal of pains he’s taken and a pretty price he’s paid
To hide his poll or dye it of a mentionable shade;
But they’ve pulled the beggar’s hat off for the world to see and stare,
And they’re haling him to justice for the colour of his hair.

Now ’tis oakum for his fingers and the treadmill for his feet,
And the quarry-gang on Portland in the cold and in the heat,
And between his spells of labour in the time he has to spare
He can curse the God that made him for the colour of his hair.

A.E.Housman

Week 608: From ‘The Ballad of Reading Gaol’, by Oscar Wilde

I confess to not in general having much time for the work of Oscar Wilde. I find the witticisms too carefully manufactured and the plays tediously unfunny, though I admit that as the chandelier episode in ‘Only Fools and Horses’ had me rolling on the floor it may be that my sense of humour lacks a certain sophistication. But my real problem with Wilde’s work is the feeling it gives me that he either doesn’t believe what he’s saying or he hasn’t thought it through enough. Those aphorisms seem designed to appeal to the adolescent in us: neatly subversive and without too much in the way of nuance to tax our underdeveloped brains. ‘For each man kills the thing he loves…’ Well, of course he doesn’t. The world is full of people who do a pretty good lifelong job of cherishing the thing they love, whether a partner, children, dogs, music, ageing donkeys or a patch of woodland… But this said, I think we can grant that the poem in which that doubtful sentiment appears, ‘The Ballad of Reading Gaol’, still has considerable power. It appeared in 1898, and was inspired by a time that Wilde spent in the gaol for what was then perceived as ‘gross indecency’. It is a long poem, full of anger and pity, of which I give only the opening stanzas. The fellow who had to swing was one Charles Thomas Wooldridge, a trooper in the Royal Horse Guards who had murdered his estranged wife; Wilde never met him but would observe him at exercise in the prison yard, and was deeply moved by his demeanour. It is as if life had finally got Oscar in a corner and said ‘Right, let’s see what you’re really made of’. And it turned out Oscar really was made of something.

Incidentally Reading Gaol, which I used to pass every day on my way to work, closed as a prison in 2014, and after various unsuccessful attempts to develop it as an arts hub was finally sold in January this year to a Chinese educational foundation. I don’t know what Oscar would make of that, but no doubt he would have something to say.

From ‘The Ballad of Reading Gaol’

He did not wear his scarlet coat,
For blood and wine are red,
And blood and wine were on his hands
When they found him with the dead,
The poor dead woman whom he loved,
And murdered in her bed.

He walked amongst the Trial Men
In a suit of shabby gray;
A cricket cap was on his head,
And his step seemed light and gay;
But I never saw a man who looked
So wistfully at the day.

I never saw a man who looked
With such a wistful eye
Upon that little tent of blue
Which prisoners call the sky,
And at every drifting cloud that went
With sails of silver by.

I walked, with other souls in pain,
Within another ring,
And was wondering if the man had done
A great or little thing,
When a voice behind me whispered low,
‘That fellow’s got to swing.’

Dear Christ! the very prison walls
Suddenly seemed to reel,
And the sky above my head became
Like a casque of scorching steel;
And, though I was a soul in pain,
My pain I could not feel.

I only knew what hunted thought
Quickened his step, and why
He looked upon the garish day
With such a wistful eye;
The man had killed the thing he loved,
And so he had to die.

Yet each man kills the thing he loves,
By each let this be heard,
Some do it with a bitter look,
Some with a flattering word,
The coward does it with a kiss,
The brave man with a sword!

Oscar Wilde

Week 607: At The Gate, by Robert Graves

This touching but slightly enigmatic lyric is one of Robert Graves’s final poems, written not long before the dementia twilight of his last years, and haunted by the consciousness that his powers and memories were slipping away from him, like a handful of dry sand trickling grain by grain between the fingers, however tight the grasp that tries to retain them.

It presents, at least for me, some challenges of interpretation. The first stanza is perfectly clear, but then things become more difficult. ‘Grappling a monster never seen before’ – this sounds to me like a scene from Greek myth, on which Graves was an authority, but I can’t quite place it. Echoes maybe of Nike, sometimes seen as an aspect of Athene, helping Zeus in his battle with the Titans? Or even of the Indian demon-slaying goddess Durga? Anyway, I take it to be an image of his Muse, representing beauty, order and clarity, struggling against the chaos threatening to overwhelm his mind, while Graves himself, rather pathetically, not only feels guilt at the situation but feels that she is holding him accountable.

And then I find the last line problematic. ‘Stealing green leaves to light an alien fire’. What’s this about? If you want to start a fire, green leaves do not seem a very good choice of material, but setting that aside, is this Graves’s way of saying that he has always been true to his poetic faith, where the ‘green leaves’ represent poetry – of protesting that he has never ignored the Muse’s calls upon him nor betrayed her by using his gift in the service of anything else, the ‘alien fire’ representing as it were an offering to some other divinity? (Incidentally, as far as the green leaves go, I am minded here of a beautiful image in R.S.Thomas’s poem ‘Prayer’: ‘the tree of poetry/that is eternity wearing/the green leaves of time’).

Anyway, an intriguing and moving poem, and if anyone has any better ideas about its imagery I should be glad to hear them.

At The Gate

Where are poems? Why do I now write none?
This can mean no lack of pens, nor lack of love,
But need perhaps of an increased magic –
Where have my ancient powers suddenly gone?

Tonight I caught a glimpse of her at the gate
Grappling a monster never seen before,
And jerking back its head. Had I come too late?
Her eyes blazed fire and I could look no more.

What could she hold against me? Never yet
Had I lied to her or thwarted her desire,
Rejecting prayers that I could never forget,
Stealing green leaves to light an alien fire.

Robert Graves

Week 606: Muse, by Anna Akhmatova

The tragic life of the great Russian poet Anna Akhmatova (1889-1966) will no doubt be familiar to many of my readers: censored and vilified by the Stalinist regime, her first husband executed, her son and her second husband imprisoned for years in a gulag, she steadfastly refused to leave Russia and continued to bear witness to her times in poems many of which could be circulated only among friends on scraps of paper, to be memorised and then burnt lest they should fall into the wrong hands.

‘The Muse’ is one of her most famous short poems. I can think of few poets with the right to make the laconic claim that concludes it: in most it would seem like a colossal chutzpah. But if such a right can be earned by long endurance and long devotion, then Akhmatova surely had it.

The translation that follows is my own.

Муза

Когда я ночью жду ее прихода,
Жизнь, кажется, висит на волоске.
Что почести, что юность, что свобода
Пред милой гостьей с дудочкой в руке.

И вот вошла. Откинув покрывало,
Внимательно взглянула на меня.
Ей говорю: «Ты ль Данту диктовала
Страницы Ада?» Отвечает: «Я».

Анна Ахматова

Muse

In the night I wait for her, my life
Suspended now upon a single strand.
Not fame, not youth, not freedom can match this
Beloved guest who comes with flute in hand.

And now she enters. Casting back her veil
She looks me through with long attentiveness.
I say, ‘Are you the one who guided Dante,
Who gave him the pages of Hell?’ She answers ‘Yes’.

Week 605: Wild Geese, by Mary Oliver

A friend has suggested that I feature the work of the very popular and prolific American poet Mary Oliver (1935-2019). I was only vaguely aware of the name at that point, but thought the least I could do was pay her some proper attention and report back.

My conclusion (sorry, Andy) is that hers is very much the sort of poetry, nature-loving and reflective, that I want to like and usually do, but somehow hers doesn’t quite work for me. I’m not sure why. She’s certainly accessible, and I thoroughly approve of poets being accessible. She clearly appeals to popular sentiment, but again, nothing wrong with that: I am all in favour of readers having a genuine response to what does move them rather than a simulated response to what they feel should move them. I just find her a little unsubtle, a little too in your face. I think it would have been better if she had stood back more in her poems rather than pushing herself to their forefront so much. I feel too, as with many contemporary poets, that she could have benefited from a stricter form, the advantage of this, if used properly, being that it forces you to focus on what you really want and need to say and discourages you from merely wittering on. But I’ll get out of the way now and let you form your own opinions: this poem, ‘Wild Geese’, is one of her best-known and evidently best-loved.

Wild Geese

You do not have to be good.
You do not have to walk on your knees
for a hundred miles through the desert repenting.
You only have to let the soft animal of your body
love what it loves.
Tell me about despair, yours, and I will tell you mine.
Meanwhile the world goes on.
Meanwhile the sun and the clear pebbles of the rain
are moving across the landscapes,
over the prairies and the deep trees,
the mountains and the rivers.
Meanwhile the wild geese, high in the clean blue air,
are heading home again.
Whoever you are, no matter how lonely,
the world offers itself to your imagination,
calls to you like the wild geese, harsh and exciting
over and over announcing your place
in the family of things.

Mary Oliver

Week 604: The Lamentation Of The Old Pensioner, by W.B.Yeats

I celebrated my eightieth birthday this week, and yesterday ran a carefully measured road mile in 8 minutes 37 seconds, which in age-adjusted terms is not that bad but in absolute terms is pathetic. I am an absolutist.

So this week’s choice was an easy one. It’s not entirely apposite. I never had, nor am ever likely to have, a chair nearest to the fire – I see myself more as a presence in the outer dark, quietly listening – but the general sentiment will do for me.

The Lamentation Of The Old Pensioner

Although I shelter from the rain
Under a broken tree,
My chair was nearest to the fire
In every company
That talked of love or politics,
Ere Time transfigured me.

Though lads are making pikes again
For some conspiracy,
And crazy rascals rage their fill
At human tyranny,
My contemplations are of Time
That has transfigured me.

There’s not a woman turns her face
Upon a broken tree,
And yet the beauties that I loved
Are in my memory;
I spit into the face of Time
That has transfigured me.

W.B.Yeats

Week 603: Naming The Moths, by David Sutton

We recently had an unusual visitor to our front door, where it clung for hours: this beautiful Lime Hawkmoth. I’m afraid my attempt at a photo doesn’t really do justice to it: the dark patches should be blacker, the green more vivid. It reminded me that I had once written a poem about moth names, which I find fascinating for their idiosyncratic poetry. They are not folk-names – since, unlike plants, Lepidoptera are not obviously useful the common folk never seem to have had much interest in differentiating and naming moths and the vernacular names are the invention of various gentleman naturalists who began to emerge in the eighteenth century: the full story can be found in Peter Marren’s very readable book ‘Emperors, Admirals and Chimney Sweepers’.

In the first five stanzas of my poem I imagine one of those early naturalists speaking in answer to someone who has hailed him as a poet, and modestly disclaiming the title. The remaining three stanzas are my own fanciful elegy for his kind.

‘arms and the man I did not sing’: an allusion to the opening words of Virgil’s ‘Aeneid’: ‘Arma virumque cano’, I sing arms and the man.

Naming The Moths

‘You’d call me poet? Hardly, Sir,
         Arms and the man I did not sing,
But once upon an August night
         I named the Yellow Underwing.

‘We found on language’s great map
         A little corner, left all blank.
Such handiwork, without a name!
         (The Maiden’s Blush has me to thank).

‘How I recall that dew-damp eve
         Of honeysuckle-scented June
When first upon the Silver Y
         I set the summons of man’s rune.

‘I see them now, our haunts of old,
         Our hedgerow banks, our woodland glades,
Like memory itself they flit,
         My Early Thorns, my Angle Shades.

‘And some, you say, would honour us?
         Then, Sir, I am obliged to you,
But such was never our intent.
         We did what seemed our own to do.’

Swifts and Ushers, fold your wings
         Softly on the moonlit land.
They who loved you best are gone,
         Walking somewhere, lamp in hand,

Seeking down eternal lanes
         Moths the angels might have missed,
Proffering before the Throne
         ‘Some Amendments to Your List. ‘

Willow Beauty, Burnished Brass,
         China Mark and all the Plumes
With the Footmen gather, dance
         Lightly now above these tombs.

David Sutton

Week 602: After the Titanic, by Derek Mahon

Following on from last week’s theme of the loss of the ‘Titanic’, this week’s offering is what I think is a very fine poem by the Irish poet Derek Mahon (1941-2020), the subject of which is J. Bruce Ismay. Ismay was chairman and managing director of the White Star Line who owned the ‘Titanic’, and he was aboard on her doomed maiden voyage. He survived but afterwards was bitterly criticised for allegedly taking up a place in the lifeboats while there were still women and children aboard. This may not in fact have been the case, as there was much confusion at the time and eyewitness accounts differ, but he was ever after haunted by the loss and what was perceived as his failure to do the honourable thing, and he became a solitary figure, spending his summers at his Connemara cottage on the west coast of Ireland.

I admire this poem for its empathy, with its masterly last line that says it all.

After the Titanic

     They said I got away in a boat
And humbled me at the inquiry. I tell you
     I sank as far that night as any
Hero. As I sat shivering on the dark water
     I turned to ice to hear my costly
Life go thundering down in a pandemonium of
     Prams, pianos, sideboards, winches,
Boilers bursting and shredded ragtime. Now I hide
     In a lonely house behind the sea
Where the tide leaves broken toys and hatboxes
     Silently at my door. The showers of
April, flowers of May mean nothing to me, nor the
     Late light of June, when my gardener
Describes to strangers how the old man stays in bed
     On seaward mornings after nights of
Wind, takes his cocaine and will see no one. Then it is
     I drown again with all those dim
Lost faces I never understood, my poor soul
     Screams out in the starlight, heart
Breaks loose and rolls down like a stone.
     Include me in your lamentations.

Derek Mahon