Thursday 25 February 2016

from Blackwater Quartet, selection 68



Naming the Artefacts


From chaos a season, within
it a house we pace corner to
corner, fingers

pried from flags, the cornerpatch damp
of this nostalgia, what else?
Where the house is

there is space for a house, perfect
house-shaped space, yet how can one stay
uninvited?

Long lines shift silently. Moving
or motionless some carry scrolls,
others numbers

scratched on bones. They say, if these were
gifts they would be yours, or they say,
these are our gifts.

Everyone everywhere arrives.
They are waiting in the garden.
The hallway is

full of waiting. A catch breath sound
of hinges, the door opening,
the door closing:

a circumspection precedes this,
billion cubic tons of planet
rolling towards a

jonquil dawn, feather-ruff of cloud
so tranquil. Imagine the world
is turning, that

it stands in a sky that does not
end, that curves forever, a pulse.
These are our gifts.

It is a dust, an afterthought,
each breath we take, each breath survived
like a slipped noose.

How else to discern the cold charm,
the necessary entourage
from the sweepings—

each contentment gauged, channel-surfed,
each buttered anus opening
like a flower?

§

Bell-blooms of comfrey and the lawn
immaculate, a green with the
suddenness of

a startled season’s green, and now
anticipating the sparrow’s
leafy witter,

this drowsy precognition through
invisible territories
each decibel

of birdsong tags, a rummage of
memories revived: why so vague,
so uncertain?

These things are as they are, practised
as an etiquette is practised,
a cutlery

on fresh linen in an old
house inhabited now by the
apprenticed sane,

soliloquies oblivious
to the protocol of forks and
the knife’s domain.

A sense of elegance is all
that remains of the old address.
We cannot tell

plate from tumbling bird, the whites of
flowers folding like lawn chairs,
 a legacy. 

What is to be done? Positions
of utter calm exchanged for a
meticulous

subversion, each face clouds, sullen:
the spit of language, defiant
servant climate.

§

Shifting rhythms, some passion, all
one expects, all the usual,
still a strangeness

in this determination to
live, where ghosts are big-booted and
the floorboards ring.

Empty sleeves, the washing line’s bright
population, reminiscent
shapes— the sleek cat

impossible on an inch width
fence, dress shirts tangled wind-twisted,
still the slow stretch

in a patch of sun. Who cares, who
considers these just conclusions,
remains content?

Each braided stanza lulls, the heart
soothed and the stillness of it deep,
the laundry pegged.

This house is brick and sky, wayward
leaning clutch-straw courses and time
what we made it:

an imagination of leaves,
a childhood of leaves, the sunbursts
so neatly raked,

the wicker and the smoky damp
from the wet of leaves smouldering.
Who has sent us

alone to this task, from a house
no longer standing? Slow drag of
rake tines tidies

sluttish maples… and then the years,
as if this memory was ours,
as if the spark.

Private Lives



A Jewish refugee arrived penniless in England in 1938, one of the last escapees of the Nazi regime; the family members remaining in Germany were all killed in the camps. In time he set up a business and it prospered. When he died recently most of his considerable estate was divided among his widow and his son and daughter.

He had also made provision to leave several millions of pounds to a charitable foundation that he had started many years earlier, founded, as he said, against any future Holocaust, where the money might be used to assist other refugees.

His son, an accountant, and daughter, a barrister, have filed a claim in court against each other, to recover the foundation money for themselves. It seems that the daughter was willed a considerably larger portion of the inheritance than the son, who took the revelation badly, and so chose to challenge the legitimacy of the off-shore account in which the foundation funds are kept; leaving the daughter no option but to defend her position.

The legal costs now exceed the value of the foundation money. The case continues.
__________________

 
In an antiques emporium in Portsmouth, England - a warehouse, really - where displays of wooden ship models, World War I German helmets, paintings of battles and other military related items are offered for sale, there is a locked cabinet. In the cabinet there are valuable medals, coins, maps and other ephemera.

On the second shelf down, tucked in amongst the Death's Head rings and swastika-tipped daggers, is a pale translucent green vase. The tag informs the curious that the vase was recovered from Hitler's bunker in Berlin in May, 1945 by a British officer, a few days before the end of the Second World War. 

We are further informed that  the vase was found still containing a bouquet of flowers, and that a German prisoner had confirmed that the flowers were Eva Braun's, used in her wedding ceremony to Adolf Hitler on April 29, 1945, the day before their suicide in the same room where the vase was found.

On a separate tag, the letters PoA (Price on Application).

Sunday 14 February 2016

from Blackwater Quartet, selection 67



The Lute Girl
(after Po Chü-i, AD 772-846)

The maples decayed.
The cut flames of a few, last leaves
sank back into the river.
My host and I, warm with wine and the soldiers’ songs,
led his skittish grey down by the muddy quay.
The horse shied farther up the bank, dragging its reins
as my old comrade, wading in at the water’s edge,
pushed hard against the bow.
As my little boat met the wider stream,
I heard his voice, disembodied now, goodbye goodbye
and then the dark.

The stars were drunk and the water swirled.
An hour, a moment, ten destines passed
and I awoke in reeds, downstream to the world
in the mouth of Ko-pen creek.

In the cool of the evening, the rushes
trembling, whispering with crickets
and the water lapping in the shallows, at first
I mistook the lute strings plucked in time
for river sounds, then gathered my senses, wrung them
dripping in the chilly air, and still the notes, and now
a sweet voice neither above the strings
nor beneath their liquid resonance, yet
something of the colour of the forest birds
calling from the shady canopy, or a handful of river pearls
rolling in a marble dish, silk split with a sharp blade
then silence with the plectrum’s pause,
and in the clearing a figure’s silhouette
where the untrimmed lantern flared and guttered.

We faced in silence, she half-hidden by the lute
and shadows, and I hung in river tides
and a silver, swimming autumn moon.

Caught in the chords’ charm, I sat heavily before her,
that she oblige a traveller one song more. She said,
‘these notes are no man’s, and bitter reminiscence
ices passion—who are we
that love should triumph over silence… ‘
I stared, transfixed, yet as she rose and turned to go
she turned again, and walking forward
knelt, and locked my look in hers.

‘I passed my childhood in the capital.
I was twelve, and with my fingers teased
sweet sorcery from the strings, and rubbed my voice along the frets
until the masters of the arts themselves
acknowledged my worth, and praised its milky subtleties.
The ladies of the court envied my gifts,
burning incense at secret shrines
against simple beauty and a voice that knew the world.

‘A look encouraged young lords their applause,
and silver brocade, and gold enamelled ornaments
followed me year by careless year, and the wine
that stained our mouths stained too
spring’s breezy expectations
until winter came, spare and unforgiving.

‘Times changed; my brother sought the wars in Kansuh
and never returned; my mother died.
Nights chased mornings,
and morning showed the truth of fading beauty in the glass.
The courtiers drifted
back to their estates, their dogs and wives.

‘Humbled, I became a trader’s wife, a mean life
reckoned by profit and separation.
With the tenth moon, my husband journeyed south
where tea fields await the scales, and I,
wandering the river banks these many nights,
remember the shape of the past, its features
cut from empty dreams.’

She stared past me into the river eddies.
Into the silence between us a cuckoo’s curdled note,
or out amongst the dwarf bamboo
the mournful cries of animals without names,
then nothing, until vagrant, hollow pipes
announced the distant villages awake, again the day
beaten of its hours, the thin beast
yoked to stony soil, and the shaman
at the day’s first fire.

Her palm against the strings damped the last chord.
We departed, companions in this afterlife, she
to the river path and I— wrongfully dismissed from office,
exiled here these past two years
far from the Prefecture of the Nine Rivers—
to the cold shore and my boat within the reeds,
gathering around me my chrysanthemum robe,
bright with dew.

Aphrodite



Above the hills, a starry slate, the lights
On the coast a necklace weight
of faded-flower yellows

Moonlight suspends the tides, the lap
And undertow abrading salty folds

A sea bird's skull, shells, silvered wood

Underfoot, the stuff of frail philosophies

Here is the heart love seared, regret
In the haze before the hills, and spears
Of cypress dividing moonlight from the dark

How else to assimilate the amethyst fires

The women, dancing in the groves, their cries
Above the harbour a deeper black