2015-10-02

Still life

This is one of my oldest poems that I still rate quite highly.  It's from 2008 when I think, if I recall correctly, I had been writing poetry for about four years.

Could I now rewrite this?   Possibly not.  I don't think minor tweaks would make much difference, but a complete rewrite would probably lose the mood, and the mood is everything for a piece like this.

This image has little to do with the poem, except of course it is a still life and it has explicit brokenness and the immanent possibility of decay—but that's life for you...





Still life

And the bar-tender isn't even there
when you decide you need to drink
in the last-chance karaoke bar and grill.
He's never been there, you think
you know different, but all those years
an imposter served your obsessions
and beers; keeping watch on the borderlands
of your head. And if you wrote that wanted-ad
for a loving hit-man with boundary issues
then I can only suppose you placed it
in all the wrong magazines.

Maybe I can say the same thing
in a different way, but I just
began reading the student notes
so I may stumble over some detail,
and that bartender still isn't here
unless he's lurking in the gloom
behind the lurid chrome and plastic
beer signs that illuminate, unenlightening
to the freeze-dried bar flies.
They prop each other, unsteady,
in the face of your scorn. Perhaps...
we should walk out in the dusk
where other flies flicker. They are
not syncing with the cicadasagain
and while each pulses its alien message,
the world has long since turned away.

The bar-tender still displays
a studied absence, although it's so late
that the matt-black metal and smeared chrome
jukebox has fallen into a fugue state of decay
of one-hit wonderment. Only now do you conceive
of the barman as present but invisible,
a force that might be appeased; possibly
through subtle rearrangement of coasters, nuts
and steel ashtraysthe kind that scream
"unclean" even in perfect sterility.
But the paranoia grips you, and I,
carried along in the stream too deeply
reasoned, am forced to admit that, yes,
he might be watching us
.

Always the woman with too much jewellery
and insufficient dress will, for a small fee,
lower your expectations to ground level.
And always she declines to take the mike,
but legend has it that when she does sing,
the world will have been half an hour gone.
And the depravity of the night, in parts
shaded by your varicoloured soul,
draws onwards at length to spew us; ungentle
as a doorman tossing rowdy drunks into the back alley
of morning. Except you never did get that drink,
and the bar-tender isn't even there.



2015-09-18

To steer by

Artist's rendering ULAS J1120+0641
(OK, so the northern star isn't a quasar, call it artistic license...)

What's to say here?

Maybe nothing.  Let the poem speak for itself.











To steer by


If I should go to seek the northern star
I'll shoe my stick in adamant
and take whichever road winds farthest
through wider and more disjunct lands --
a drunkard's life journey, endless in retelling
while the eyes fuzz at 3 a.m.

—although I'll leave before the end of this
or any other tale. Many miles expect
unhurried feet and gaze which notes
the climate cooling as I walk, sees
how a plant displaces softer weeds,
and feels it satisfies some need:
translating feet to miles.

But is there any effort of the patient stride
to bring one to the place of total ease,
to stand upon the landscape where it's clean,
unstirred beneath the empty air,
and the sky a passacaglia
for unaccompanied star?

If I should come beside you as I walk—
in dust, or mud, or chill with sprinkled rain—
maybe I will ask about the road ahead
and while you'll think me friendly in my way,
you will not drag my eyes from the horizon.





2015-09-05

Three sheets to the wind

Another oldish poem from 2010, and another poem with my favourite layout: the sectional poem with subtitles between the sections.  Free verse this time, although I also incline toward gluing sequences of sonnets together in the same manner...

My preferred typography is for the overall title underlined, and the subsection titles to be bold.  To my mind this makes the mid-flow entitlements less of an interruption and more of a aside that doesn't halt the flow.

I have heard somebody (forget who) say that bold is the usual formatting for titles in general, but surely that is wrong?  Surely titles have always been underlined with two strokes of the Biro and a standard 30cm school ruler?

Be that as it may, I underline them; and I also hold no truck with unnecessary mid-title capitalisation...  Sure, if you've spent the morning engraving it, then by all means add capitals, cherubs, bunches of fruit, but I'm just poking keys on a laptop—no special ceremony is required*.








Three sheets to the wind



I

A sheet to be swaddled in. The wind blew through
and you could not know any different, from
sixty-odd seconds. But you knew
that life so far was hard, cold, bright.

Even when the warm eyes gathered you,
slathered you with smiles, filled you with milk;
your innocence retained that slight dent.


II

Storming with the rebel youth
through a city grown older, slower, more inviting,
with each and every pint. You've raised
a fair few prodigal brews while the night
phased late into early and the ghost of a pay packet.

You might recall probable dancing
with definite girls
of the unimpressed variety
but now today is another tomorrow.


III

One path winding
through sheets of fractured rain
towards some sort of gate.

The cup you recall drinking,
so sweet and heady you used to gulp
each fresh experience, is hollowed now
to sparser and more-bitter dregs
but you can't stop until it's dry.





*Or to put it another way, if Emily Dickinson can invent her own rules of punctuation, why can't I?