Allan Crosbie lives in Edinburgh and teaches English in James Gillespie's High School. His first collection, Outswimming the Eruption, was published by The Rialto in 2006 and it was short-listed for the Aldeburgh Jerwood Prize for best first collection. He has been runner-up in the Arvon Competition and short-listed for the Forward Prize for Best Individual Poem. He is going to be a dad for the first time in September.
Below, from Allan, is a previously unpublished poem:
Anniversary
I hear the splash, the ripples, the slush of the overspill.
I hear the night come in the trees’ voices,
toast it silently with a sip of my margarita.
The board shudders its last breath and I scan
to where you flail like a bath-toy, oblivious
to everything until you surface with a gasp
that wets the empty glass in my hand where my lips’
red ghost has broken the brittle strip of salt.
When I think of drowning you, it’s not the image
of your frail arms slapping out that scares me,
but the future: Sunday afternoons with your brothers
round the barbecue, their grandchildren shrieking
in the pool which I won’t go near, and me
watching the coals grow grey beneath the meat.
Wednesday, 10 June 2009
Monday, 8 June 2009
Introducing the June 2009 Poets - 3. Katy Evans-Bush
Katy Evans-Bush was born in New York and has been living in London since she was 19. She writes reviews and essays as well as the literary blog Baroque in Hackney, and her first collection, Me and the Dead, is published by Salt. A pamphlet, Speculation and Conjecture, will be published by Rack Press in 2010.
A Crack in the Feeling
Broken in their box, quotidian eggs
— date-stamped, unusable. The omelette's off.
An ostrich-egg-in-dome, and plastic grass.
A dino egg, the raptors not drawn right.
These keepsakes can be lifted out of what
was meant to be (that bursting universe).
The robin, just a colour-sample (say
robin's-egg blue, a can of paint) : I never
see them lying cracked upon a path,
it seems too much to hope for now.
..........................................I like
your eggs arranged in circles on the ground
(the largest first, then smaller outer rings
like planets with unfledged inhabitants
whose language can't be spoken, round a sun
that spreads its light like yolk along the lawn),
duck-eggs, and seven empty pigeon shells
whose hatchlings hang arse-up along a wire.
The ceiling leans toward them like a sky
whose robin's-egg-blue arc has just one fault.
Before your outer galaxy I quail:
its compass points — ambition, comfort, luck,
a ghost, desire — are shifting on the chart.
O egging (over) of my pudding (proof
whereof is where? I ask). My open mouth.
O germ, O ovoid calm, O heavy world.
My love my love.
....................This rubber egg : the shtick
a child would use, to beat the laughter out.
(from Me and the Dead)
A Crack in the Feeling
Broken in their box, quotidian eggs
— date-stamped, unusable. The omelette's off.
An ostrich-egg-in-dome, and plastic grass.
A dino egg, the raptors not drawn right.
These keepsakes can be lifted out of what
was meant to be (that bursting universe).
The robin, just a colour-sample (say
robin's-egg blue, a can of paint) : I never
see them lying cracked upon a path,
it seems too much to hope for now.
..........................................I like
your eggs arranged in circles on the ground
(the largest first, then smaller outer rings
like planets with unfledged inhabitants
whose language can't be spoken, round a sun
that spreads its light like yolk along the lawn),
duck-eggs, and seven empty pigeon shells
whose hatchlings hang arse-up along a wire.
The ceiling leans toward them like a sky
whose robin's-egg-blue arc has just one fault.
Before your outer galaxy I quail:
its compass points — ambition, comfort, luck,
a ghost, desire — are shifting on the chart.
O egging (over) of my pudding (proof
whereof is where? I ask). My open mouth.
O germ, O ovoid calm, O heavy world.
My love my love.
....................This rubber egg : the shtick
a child would use, to beat the laughter out.
(from Me and the Dead)
Wednesday, 3 June 2009
Introducing the June 2009 Poets - 2. Zorras
Poet Sandra Alland and musician Y. Josephine formed Zorras in December 2007. They quickly became known for their unique bilingual mixture of storytelling, sound poetry, percussion, singing, guitar, megaphones and projected images. UK gigs include: Museum of London, Soho Theatre, Moor Music Festival, Aye Write! Festival, Muse-ic, Itsy Kabarett, Manifesto Politikal Kabaret, VoxBox, Club Welto, Cachín Cachán Cachunga and The Golden Hour. They’ll also play Spain’s Kuiperfest this June. Zorras have published two volumes of a hand-made poetry chapbook, Maricón, and have just finished recording their first CD, We Apologise For Any Inconvenience, to be released in the near future.
Here’s a video of Zorras performing 'Nest'.
I'd just add that I saw Zorras performing live a couple of months ago and really enjoyed it.
Here’s a video of Zorras performing 'Nest'.
I'd just add that I saw Zorras performing live a couple of months ago and really enjoyed it.
Sunday, 31 May 2009
Introducing the June 2009 Poets - 1. Andrew Philip
Andrew Philip was born in 1975. He has published two poetry pamphlets with HappenStance Press — Tonguefire (2005) and Andrew Philip – a Sampler (2008)—and was chosen as a Scottish Poetry Library “New Voice” in 2006. The Ambulance Box, his first book of poems, was published in March by Salt. Andrew’s work has also been included in the anthologies The Smoky Smirr o Rain, The Wallace Muse and, most recently, 5PX2: Five Italian Poets and Five Scottish Poets. He blogs at Tonguefire.
Lullaby
for Aidan Michael Philip
this is the arm that held you
this is the hand that cradled your cold feet
these are the ears that heard you
whimper and cough through your brush with light
this is the chest that warmed you
these are the eyes that caught your glimpse of life
this is the man you fathered —
his voided love, his writhen pride and grief
Lullaby
for Aidan Michael Philip
this is the arm that held you
this is the hand that cradled your cold feet
these are the ears that heard you
whimper and cough through your brush with light
this is the chest that warmed you
these are the eyes that caught your glimpse of life
this is the man you fathered —
his voided love, his writhen pride and grief
Saturday, 9 May 2009
Introducing the May 2009 Poets - 4. Robert Crawford
Poet and critic Robert Crawford was born in Belshill, Lanarkshire, Scotland, in 1959. He works as Professor of Modern Scottish Literature at the University of St Andrews. He won an Eric Gregory award in 1988 and was one of 20 poets selected for the Poetry Society's 'New Generation Poets' promotion in 1994. He has twice won a Scottish Arts Council Book Award, and four of his collections have been Poetry Book Society Recommendations. His latest collection is Full Volume (2008), which was shortlisted for the T.S. Eliot Prize
I searched the Internet for Robert Crawford poems to link to from here and found only one (other than those published illegally, which I won’t draw attention to). But here’s Local from Poetry Daily, also found in Full Volume.
I searched the Internet for Robert Crawford poems to link to from here and found only one (other than those published illegally, which I won’t draw attention to). But here’s Local from Poetry Daily, also found in Full Volume.
Wednesday, 6 May 2009
Introducing the May 2009 Readers - 3. Julia Rampen
Julia Rampen comes from Edinburgh and is currently studying history at Cambridge University. However, she prefers writing poetry to writing essays. Julia was a Foyle Young Poet of the Year 2005 and 2006, a prizewinner in the Christopher Tower competition and currently is involved in the organization of a poetry event for Cambridge University's Festival of Ideas next autumn.
My Grandmother’s House
My grandmother’s house rises
with the dawn. The sun drips
cinnamon through elderly glass,
embracing flowers flung
up vases, like birds;
rouses a fire that burns junk
into jewels.
The kitchen carries passengers,
my grandmother at its helm:
iced luncheons, rumours of suburbs
advancing in immaculate platoons,
plates like fragile moons
throwing tantrums in the sink.
Upstairs, ancestors nap
between pages of imperial
scrapbooks, or in the parlour,
quiet as a brittle pool, a second
preserved for fifty years.
Its brick walls blush by sunset,
mask themselves in languid dusks
like a chrysalis. Through fly eyed
windows, I watch summer evenings
replay again and again, as heat
begins to thin. Knowing
I only have to creep downstairs
and open a door
to let the bulldozers in.
My Grandmother’s House
My grandmother’s house rises
with the dawn. The sun drips
cinnamon through elderly glass,
embracing flowers flung
up vases, like birds;
rouses a fire that burns junk
into jewels.
The kitchen carries passengers,
my grandmother at its helm:
iced luncheons, rumours of suburbs
advancing in immaculate platoons,
plates like fragile moons
throwing tantrums in the sink.
Upstairs, ancestors nap
between pages of imperial
scrapbooks, or in the parlour,
quiet as a brittle pool, a second
preserved for fifty years.
Its brick walls blush by sunset,
mask themselves in languid dusks
like a chrysalis. Through fly eyed
windows, I watch summer evenings
replay again and again, as heat
begins to thin. Knowing
I only have to creep downstairs
and open a door
to let the bulldozers in.
Saturday, 2 May 2009
Introducing the May 2009 Readers - 2. JL Williams
JL Williams was born in New Jersey and studied at Wellesley College with the poet Frank Bidart and on the MLitt in Creative Writing at the University of Glasgow. Her poetry has been published in journals including Aesthetica, The Red Wheelbarrow, Cutting Teeth, Poetry Salzburg Review, Poetry Wales and coming up in Fulcrum and Stand. She is one of the founding members of SHIFT and is on the editorial boards of VAIR Poetry magazine and of Brown Williams Journal.
Bounty
His wet skin, his five dark horses, his antelope horns, his long thighs, his lips.
There is a bruise above his breast beneath which beats the bronze drum of Tantalus.
Married to the daughter of a river-god how
could he ever hold her, body rushing through fingers...
himself neither one thing nor... always just out of...
In Argos they stroke his bones, he whose soul is that of a man's, whose body
is that of a god's, resides where his mother made him deep
in the bowels of the earth where rubies and diamonds propagate.
Shaman, he fed his son to the earth and the earth
in her sorrow ate him and thus he must be buried and must
we all be buried, become like jewels, become bounty.
- (originally published in The Wolf, Issue 19, December 2008)
Bounty
His wet skin, his five dark horses, his antelope horns, his long thighs, his lips.
There is a bruise above his breast beneath which beats the bronze drum of Tantalus.
Married to the daughter of a river-god how
could he ever hold her, body rushing through fingers...
himself neither one thing nor... always just out of...
In Argos they stroke his bones, he whose soul is that of a man's, whose body
is that of a god's, resides where his mother made him deep
in the bowels of the earth where rubies and diamonds propagate.
Shaman, he fed his son to the earth and the earth
in her sorrow ate him and thus he must be buried and must
we all be buried, become like jewels, become bounty.
- (originally published in The Wolf, Issue 19, December 2008)
Wednesday, 29 April 2009
Introducing the May 2009 Readers - 1. Gerry McGrath
Below is Gerry McGrath’s bio and a poem:
Grew up in Helensburgh and went to Strathclyde Uni to study mod langs. Graduated there 1985. Thereafter much of consequence! Research student, Floor-sander, TEFL teacher, bar worker. Post-grad student of Russian language. Jordanhill, for my sins. Seven long years as dominie terminated by illness. Co-winner (with David Kinloch) of 2004 Robert Louis Stevenson memorial award. Spent two fabulous months at Grez where first book completed (2005). Awarded Scottish Writer's bursary (2007) to write book of poems on theme of silence. Live in West Kilbride with my lovely wife Kate and two sons Liam and Owen, walking on the beach between nappies.
Promise
There’s this poem that begins
with a vase, four stems standing
in water translucent as the flesh
of grapes. It speaks of mothers
lifting stones, forking over wrack,
searching the pelts of bees for signs
of their departed sons, and ends abruptly,
with a surprise dividend, a crash
of old glass, some coins, goodbyes,
a promise.
(from A to B © Carcanet Press 2008, used with author's permission)
Grew up in Helensburgh and went to Strathclyde Uni to study mod langs. Graduated there 1985. Thereafter much of consequence! Research student, Floor-sander, TEFL teacher, bar worker. Post-grad student of Russian language. Jordanhill, for my sins. Seven long years as dominie terminated by illness. Co-winner (with David Kinloch) of 2004 Robert Louis Stevenson memorial award. Spent two fabulous months at Grez where first book completed (2005). Awarded Scottish Writer's bursary (2007) to write book of poems on theme of silence. Live in West Kilbride with my lovely wife Kate and two sons Liam and Owen, walking on the beach between nappies.
Promise
There’s this poem that begins
with a vase, four stems standing
in water translucent as the flesh
of grapes. It speaks of mothers
lifting stones, forking over wrack,
searching the pelts of bees for signs
of their departed sons, and ends abruptly,
with a surprise dividend, a crash
of old glass, some coins, goodbyes,
a promise.
(from A to B © Carcanet Press 2008, used with author's permission)
Monday, 13 April 2009
Introducing the April 2009 Readers - 4. Kevin Cadwallender
Kevin Cadwallender lives in Edinburgh. He was shortlisted for a Sony Award for his BBC Radio 4 programme 'Voyages'. His selected poems Dances with Vowels (Smokestack Books) was published Feb 2009. He runs 'Voxbox' a poetry venue in Edinburgh (with Anita Govan), is Scottish Editor for Red Squirrel Press and co-editor of 'Vair' magazine. Visit http://cadwallenderk.blogspot.com for unpublished poetry. Books include Baz Poems (Rebel Inc), Public (Iron), Baz Uber Alles (Dogeater ) and Colouring in Guernica (Red Squirrel).
Brideshead 61 Revisited
God said to Evelyn write me a book
Something set in an England
With some upper class fucks
Eve said ‘When?’
God said, ‘Now!’
You can do what you like but the next time
You see me coming you better run.
Eve says where do you want this plot undone
God says out at Brideshead 61.
Well Kingsley Amis had some muddy prose
Loathed Dylan Thomas in his Anglo-welsh pose
They both drank hard, they both slept around
They both ended up under the ground.
Kingsley said write it quickly Eve, cos I gotta run
Dylan just pointed with a syllabic gun, said Kingsley
You’ll be out written by your own dear son.
Evelyn just smiled cos he had Auberon
Sniping the aristocracy out at Brideshead 61.
Well Jerome K Jerome put three men in a boat
Said I think P.G. Wodehouse is gonna be king
Don’t answer the phone Jeeves and quickly bring
Me a cool white spritzer at the sixty first ring.
And Jeeves said Sir, I think this can be easily done
I’ll phone the supplier at Brideshead 61.
Now E.M. Forster on the second night
Wrote to vex George Orwell with untenable delight
As Evelyn pulled at Dali’s facial fluff
Attempting to confirm surrealism was more than a bluff
Pablo said, ‘No’
Sal never spoke
Evelyn just satirised
And married the Pope.
God said we can get your marriage to run
Just write me that book , Brideshead 61.
Now the Royal Horse Guards needed another cap
Randolph Churchill said I know just the chap
So he wrote the book at the end of the war
And said I never wrote this kind of thing before
But yes I believe it can be very easily done
Just squeeze the rural trigger on Thomas Hardy’s gun
And drop the whole shebang down at Brideshead 61.
Brideshead 61 Revisited
God said to Evelyn write me a book
Something set in an England
With some upper class fucks
Eve said ‘When?’
God said, ‘Now!’
You can do what you like but the next time
You see me coming you better run.
Eve says where do you want this plot undone
God says out at Brideshead 61.
Well Kingsley Amis had some muddy prose
Loathed Dylan Thomas in his Anglo-welsh pose
They both drank hard, they both slept around
They both ended up under the ground.
Kingsley said write it quickly Eve, cos I gotta run
Dylan just pointed with a syllabic gun, said Kingsley
You’ll be out written by your own dear son.
Evelyn just smiled cos he had Auberon
Sniping the aristocracy out at Brideshead 61.
Well Jerome K Jerome put three men in a boat
Said I think P.G. Wodehouse is gonna be king
Don’t answer the phone Jeeves and quickly bring
Me a cool white spritzer at the sixty first ring.
And Jeeves said Sir, I think this can be easily done
I’ll phone the supplier at Brideshead 61.
Now E.M. Forster on the second night
Wrote to vex George Orwell with untenable delight
As Evelyn pulled at Dali’s facial fluff
Attempting to confirm surrealism was more than a bluff
Pablo said, ‘No’
Sal never spoke
Evelyn just satirised
And married the Pope.
God said we can get your marriage to run
Just write me that book , Brideshead 61.
Now the Royal Horse Guards needed another cap
Randolph Churchill said I know just the chap
So he wrote the book at the end of the war
And said I never wrote this kind of thing before
But yes I believe it can be very easily done
Just squeeze the rural trigger on Thomas Hardy’s gun
And drop the whole shebang down at Brideshead 61.
Saturday, 11 April 2009
Introducing the April 2009 Readers - 3. Nigel McLoughlin
Nigel McLoughlin is an award winning Ulster poet. He is the author of four collections of poetry, the latest of which is Dissonances (Bluechrome 2007). His New and Selected Poems will be published by Templar Poetry in August 2009. He is Reader in Creative Writing at the University of Gloucestershire.
Snapshot
The light changes. It
flashes the road to sepia
in the mirror. A backward glance
at the kids shows they’re sleeping
and an old man pushes a bike.
The light changes it
to a skeleton of black lines,
changes him to a black line
in the mirror. The backward glance
of sunlight off the road glares
the whole picture into a monochrome
the light changes. It
changes the old man, bends him
into his grandfather, a picture-postcard
in the mirror; a backward glance
a hundred years ago. Nothing changes.
Time fragments like a flash and gleam
in the mirror. A backward glance.
The light changes it.
Snapshot
The light changes. It
flashes the road to sepia
in the mirror. A backward glance
at the kids shows they’re sleeping
and an old man pushes a bike.
The light changes it
to a skeleton of black lines,
changes him to a black line
in the mirror. The backward glance
of sunlight off the road glares
the whole picture into a monochrome
the light changes. It
changes the old man, bends him
into his grandfather, a picture-postcard
in the mirror; a backward glance
a hundred years ago. Nothing changes.
Time fragments like a flash and gleam
in the mirror. A backward glance.
The light changes it.
Thursday, 9 April 2009
Introducing the April 2009 Readers - 2. Ryan Van Winkle
Ryan Van Winkle is currently the Reader in Residence at the Scottish Poetry Library and Edinburgh City Libraries. He runs a monthly “Literary Cabaret” called The Golden Hour and is an Editor at Forest Publications. He lives in Edinburgh but was born and spent most of his life in America. His work has appeared in New Writing Scotland, Northwords Now, and (soon) The American Poetry Review.
Gasoline
A week ago I spilled
a can of gasoline onto the dirt
floor of the barn.
A gallon or so soaked into the earth.
Since then, I’ve had headaches,
can’t catch my balance.
And I can still smell the gas
from more than 20 yards away.
It reminds me of hitching west
and this ride I hooked
in the back of a truck
the color of rust.
When I shook the driver’s hand he smiled.
His teeth looked like a caterpillar,
and I knew I was beat.
The guy kept all these rags back there,
soaked in gasoline. It was warm
and I fell asleep in a cocoon of reek.
When I came to, it was almost time
to get out. I could feel caterpillars on me,
thought I was going to suffocate.
......He said the free ride was over, it was only a matter of time,
............and I didn’t wish to be out west,
......didn’t care to sit in any more cars with strangers
............and talk about the pace or weather back east.
I tried to lose the smell in a stream,
thought I sent it upriver, away
like father, the attic, his ties.
Gasoline
A week ago I spilled
a can of gasoline onto the dirt
floor of the barn.
A gallon or so soaked into the earth.
Since then, I’ve had headaches,
can’t catch my balance.
And I can still smell the gas
from more than 20 yards away.
It reminds me of hitching west
and this ride I hooked
in the back of a truck
the color of rust.
When I shook the driver’s hand he smiled.
His teeth looked like a caterpillar,
and I knew I was beat.
The guy kept all these rags back there,
soaked in gasoline. It was warm
and I fell asleep in a cocoon of reek.
When I came to, it was almost time
to get out. I could feel caterpillars on me,
thought I was going to suffocate.
......He said the free ride was over, it was only a matter of time,
............and I didn’t wish to be out west,
......didn’t care to sit in any more cars with strangers
............and talk about the pace or weather back east.
I tried to lose the smell in a stream,
thought I sent it upriver, away
like father, the attic, his ties.
Tuesday, 7 April 2009
Introducing the April 2009 Readers - 1. Claire Crowther
Claire Crowther worked till recently as a director of communications. She has just completed a PhD in contemporary poetry. Her first collection, Stretch of Closures, was shortlisted for the Jerwood/Aldeburgh Prize for Best First Collection and her second collection, The Clockwork Gift, has just appeared from Shearsman.
Lost Child
Scrape the ditch that fits Hob's Moat
to Hatchford Brook. Look through oak roots,
the horse field, uphill to Elmdon.
Is she hiding behind that sky-blue Lexus?
Shout towards the airport. Planes rise
and fall as if ground were a shaking blanket.
Up there, the air hostesses smile.
Inflate your own life jacket first.
The small original airport building stands
apart, a mother at a school gate.
Pearl was playing quietly alone.
My ear is like a shell the wind swept.
Lost Child
Scrape the ditch that fits Hob's Moat
to Hatchford Brook. Look through oak roots,
the horse field, uphill to Elmdon.
Is she hiding behind that sky-blue Lexus?
Shout towards the airport. Planes rise
and fall as if ground were a shaking blanket.
Up there, the air hostesses smile.
Inflate your own life jacket first.
The small original airport building stands
apart, a mother at a school gate.
Pearl was playing quietly alone.
My ear is like a shell the wind swept.
Wednesday, 4 March 2009
Introducing the March 2009 Readers - 4. Alexander Hutchison
Alexander Hutchison published Scales Dog (Salt: Cambridge) in 2007. This followed Carbon Atom (Link-light: Glasgow, 2006). "Epistle from Pevkos," included there, and dedicated to Gael Turnbull, has just been re-issued as a pamphlet. Born in Buckie, Hutchison lives in Glasgow and still does a bit of kick-about on Sundays.
Wine-Gum Green Cardigan, Tweedy Skirt
Just one of three women asleep
across from/adjacent to me on
a train that’s headed north.
This nearest a terrier with chin
tucked in above the checked
and neatly laundered shirt.
Awake, she snaps: the trolley
man already found that out before
she got her little boost of pinot noir
(with half-a-dozen softened dates).
Now, asleep, her pinched nose
her pearl-decked lobes, her silver
pepper and salted hair swept up
in a top-knot bun declare, if not
wealth, privilege, and temper
temporarily under wraps.
She’s been to Kew; she reads
the weekend Times. She knows
her mind. Can nip (I said before).
Watch out she doesn’t lock
her little teeth around your
finger tips or rip the flesh in
strips off anywhere else.
[Printed first in A Festschift for Duncan Glen at Seventy Five,
eds. Tom Hubbard and Philip Pacey, Craigarter Press, 2008]
Wine-Gum Green Cardigan, Tweedy Skirt
Just one of three women asleep
across from/adjacent to me on
a train that’s headed north.
This nearest a terrier with chin
tucked in above the checked
and neatly laundered shirt.
Awake, she snaps: the trolley
man already found that out before
she got her little boost of pinot noir
(with half-a-dozen softened dates).
Now, asleep, her pinched nose
her pearl-decked lobes, her silver
pepper and salted hair swept up
in a top-knot bun declare, if not
wealth, privilege, and temper
temporarily under wraps.
She’s been to Kew; she reads
the weekend Times. She knows
her mind. Can nip (I said before).
Watch out she doesn’t lock
her little teeth around your
finger tips or rip the flesh in
strips off anywhere else.
[Printed first in A Festschift for Duncan Glen at Seventy Five,
eds. Tom Hubbard and Philip Pacey, Craigarter Press, 2008]
Monday, 2 March 2009
Introducing the March 2009 Readers - 3. Colin Donati
Colin Donati is a poet and musician living in Edinburgh. His main collection to date is Rock is Water, or a History of the Theories of Rain (Kettillonia, 2003). As a poet he has also collaborated with artist Pauline Burbidge for the book Tweed Rivers (Luath/Platform 2005) and with composer Robin Mason on the Benchtours musical theatre production Yellow House (debut performance, Brunton Theatre, 2007). In 2007 he received major SAC support to complete a translation of Dostoevsky’s Crime and Punishment into Scots, and in December 2008 a poster of his Scots translation of the United Nations Universal Declaration of Human Rights was presented to the First Minister by Amnesty International to mark the 60th anniversary. He is currently preparing a collection of poetry for Sand/Red Squirrel Press.
Predictable Experience
I am like that sad animal the gibbon in the zoo
dipping its fingers in its own sex and sniffing them
lain over a bale on its back, flat amongst tyres in its box,
lit by white bulbs on a drizzly day and gazed at
from behind thick plate glass in the crowded walk-way
by the smooth-faced murmurous-tongued cousins there
who pass in file hour upon hour and who I do my utmost
to pretend are harmless -
with my straw, two ramps, some rope and a hatch to the outdoors,
I am like it, yes - and why? Is it because I'm not sure
that I care for my numen and I'm lonely and I make
shadow-shows that show my own kind terrorised
by sixty-foot gorillas or voracious escaped dinosaurs
and my highest dream is to lie with a partner
in the stink or our own bed? Can this be true?
Can this really be true? Can the mind heed
no higher goal?
The mind protests its shabby hopes against better visions
through establishment of sure connections such as
we are not animals when we engage in sex -
our experience altogether more elevated and unique
than anything the gibbon undergoes with mates -
I have a salary, can drive a car, understand
the layout of a supermarket, answer phones
- from ROCK IS WATER or A History of the Theories of Rain, and http://www.kettillonia.co.uk/rockiswater.html
Predictable Experience
I am like that sad animal the gibbon in the zoo
dipping its fingers in its own sex and sniffing them
lain over a bale on its back, flat amongst tyres in its box,
lit by white bulbs on a drizzly day and gazed at
from behind thick plate glass in the crowded walk-way
by the smooth-faced murmurous-tongued cousins there
who pass in file hour upon hour and who I do my utmost
to pretend are harmless -
with my straw, two ramps, some rope and a hatch to the outdoors,
I am like it, yes - and why? Is it because I'm not sure
that I care for my numen and I'm lonely and I make
shadow-shows that show my own kind terrorised
by sixty-foot gorillas or voracious escaped dinosaurs
and my highest dream is to lie with a partner
in the stink or our own bed? Can this be true?
Can this really be true? Can the mind heed
no higher goal?
The mind protests its shabby hopes against better visions
through establishment of sure connections such as
we are not animals when we engage in sex -
our experience altogether more elevated and unique
than anything the gibbon undergoes with mates -
I have a salary, can drive a car, understand
the layout of a supermarket, answer phones
- from ROCK IS WATER or A History of the Theories of Rain, and http://www.kettillonia.co.uk/rockiswater.html
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