Wednesday, 7 October 2026

Stump


 Jamie Wyeth, "New Shoot"


The Stump


1.

Today they cut down the oak.
Strong men climbed with ropes
in the brittle tree.
The exhaust of a gasoline saw
was blue in the branches.

The oak had been dead a year.
I remember the great sails of its branches
rolling out green, a hundred and twenty feet up,
and acorns thick on the lawn.
Nine cities of squirrels lived in that tree.

Yet I was happy that it was coming down.
"Let it come down!" I kept saying to myself
with a joy that was strange to me.
Though the oak was the shade of old summers,
I loved the guttural saw.


       2.

By night a bare trunk stands up fifteen feet
and cords of firewood press
on the twiggy frozen grass of the yard.
One man works every afternoon for a week
to cut the trunk gradually down.

Bluish stains spread through the wood
and make it harder to cut.
He says they are the nails of a trapper
who dried his pelts on the oak
when badgers dug in the lawn.

Near the ground he hacks for two days,
knuckles scraping the stiff snow.
His chain saw breaks three teeth.
He cannot make the trunk smooth. He leaves
one night after dark.


       3.

Roots stiffen under the ground
and the frozen street, coiled around pipes and wires.
The stump is a platform of blond wood
in the gray winter. It is nearly level
with the snow that covers the little garden around it.
It is a door into the underground of old summers,
but if I bend down to it, I am lost
in crags and buttes of a harsh landscape
that goes on forever. When snow melts
the wood darkens into the ground;
rain and thawed snow move deeply into the stump,
backwards along the disused tunnels.


       4.

The edges of the trunk turn black.
In the middle there is a pale overlay,
like a wash of chalk on darkness.
The desert of the winter
has moved inside.
I do not step on it now; I am used to it,
like a rock, or a bush that does not grow.

There is a sailing ship
beached in the cove of a small island
where the warm water is turquoise.
The hulk leans over, full of rain and sand,
and shore flowers grow from it.
Then it is under full sail in the Atlantic,
on a blue day, heading for the island.

She has planted sweet alyssum
in the holes where the wood was rotten.
It grows thick, it bulges
like flowers contending from a tight vase.
Now the stump sinks downward into its roots
with a cargo of rain
and white blossoms that last into October. 
 
 

Donald Hall 
 
 
Some lines sink into my thoughts and take on a life of their own.  
 
"It is a door into the underground of old summers..." 
 

So the door to Wonderland opens.
 
 
 
 
 

 
 

Sunday, 30 August 2026

Shadow

 

Unknown


Shadow

 

Mine is falling beside me, a right-angle

Taking my measure by the slant of the sun.

He sifts through grass, encloses whole beds of flowers,

A masked marvel on the face of disaster:

Being run over or stomped, recklessly climbing

Up cliffs, over railings, floating unfathomably

On water, being flung head under heels

Down rocky slopes where he takes the rough with the smooth 

Like the light denied him, his surrounding absence.

 

We meet underfoot at dawn and stretch

Together, but off he goes incredibly further,

A stilted balancing act, who slowly shrinks,

Hardened by noon, to a circus dwarf,

A macrocephalic, blunt, prognathous partner

Clowning and cloggily nimble, squeezing to nothing

Under me, a hole in my ground, but tossing himself

Away toward distant matters again

In the nimbus of sunset, grimly bony.

 

By nightfall he's gone. The daytime prisoner

Escapes his keeper, completely unhinged

From his obligation to be all things to one man.

But sometimes suddenly leaping out of hiding

Behind my back by firelight, he flickers

With jagged, abrupt abandon

Through bushes and trees, and outsized marauder

Plunging through deeper shadows, threatening

At the edge of sleep to disappear forever.

 

Each morning he slips back with perfect timing

And waits for me to do anything - flop or flounder,

Even race. The end is always a dead heat. 

I'll fall in that dead heat someday, no longer

Insanely predictable, to wait for him

To swivel upright, while a glare of darkness

Dawning beyond a vertical horizon

Cast my light substance - all my light bones

And lighter flesh - into his shadow play.

 

 

David Wagoner

 

This poem but it makes me stutter. Where do I begin? I am too chock with thoughts. It's hard to be coherent. 

Let me list. Herd my jittering thoughts into lines.

1)  The shadow is "taking his measure"! Watching him, eyeing him up, trying to predict what he's going to do next, or what he's about.

2) The shadow does crazy impossible things, defies gravity, floats on water, can't be crushed, flings itself recklessly around.

 3) "A masked marvel on the face of disaster." I picture a manic mini superhero racing toward the cliff-edge.

4) "...the light denied him. His surrounding absence." I like to mull this bit over. The shadow is made of darkness only. How strange! (I realize that even night is a shadow!) And to think that although the shadow can do miraculous things - light destroys it. 

5) And then Wagoner writes of the relationship between himself and his shadow, a kind of waiting on each other. Or that the shadow has the job of "Being all things to one man.."

6) The most fascinating idea in a poem full of ideas is this - if his shadow is made of darkness, is he then made of light?




Sunday, 2 August 2026

You and you, in the pink

 

 

Henri Matisse, Open Window


You and you, in the pink

Matisse: Open window, Collioure 1906

 

Allow that the sea is pink, rich lobster pink,

a distinctly crustaceous pink. Allow it.

Let boats have orange masts, or madder red. Sit

way out over their side, aware that they may sink. 

Sense that the sky is patchy, then note deft shades 

of pastel seascape, horizontal streaks, dabs

of almost white, wavy blues, livid pink slabs

and leaning up against them, plunge your oar blades

into what you must know is bay. You won't see

that underneath each boat is a pane of blue

and glaze of bottle-green unless you're at the

open window in Collioure. Now can you be

sailing off down there and watching yourself through

a pink-framed window? Allowing you are you.

 

Christopher Pilling 

 

Allowing that I know only what I like and am neither art critic nor literary elite, I very much like this poem. Because the sea is not pink. 

And yet, when the light hits it right,through this particular window, the sea is pink. 

Mr. Pilling makes us into Matisse. He shows us each colour choice, how he makes boat masts orange or madder red, makes a sky out of dabs and streaks, so that we notice the preposterous possibilities.

The sky is not truly made out of streaks of white, or pink slabs - but the artist has made such a sky real, nonetheless.

It's a kind of miracle.


What other miracles are possible when one is an artist?




Wednesday, 24 June 2026

Toad

Olivia Clifton-Bligh   





Toad

Stop looking like a purse. How could a purse
Squeeze under the rickety door and sit,
Full of satisfaction in a man’s house?
You clamber towards me on your four corners –
Right hand, left foot, left hand, right foot.
I love you for being a toad,
For crawling like a Japanese wrestler,
And for not being frightened
I put you in my purse hand not shutting it,
And set you down outside directly under
Every star.
A jewel in your head? Toad,
You’ve put one in mine,
A tiny radiance in a dark place.

Norman McCaig

McCaig does a little like Neruda here, spotlights a toad for us blind ones. Shows us a magic we had forgotten how to see. 

This is the thing about poetry, I need it because I have magic-blindness, I cannot see the world for what it is, I can only see "normal" and "ordinary".
I am under an evil enchantment and poetry is the only way to break the spell. 

If I could see the world the way it really is -
I would think in poetry.







Thursday, 21 May 2026

Ode To Clothing

 

Paolo Quaresima



Ode To Clothing

 

 Each morning you’re waiting
My clothing, on a chair
For me to fill you
With my vanity, my love
My hope, my body
I hardly
Have gotten out of sleep
I say goodbye to the water
I enter into your sleeves
My legs look for
The hollowness of your legs
And so embraced
By your tireless faithfulness
I go out to walk in the grass
I enter into poetry
I look through windows
At things
Men, women,
Deeds and struggles
Keep forming me
Keep coming against me
Laboring with my hands
Opening my eyes
Using up my mouth
And so,
Clothing,
I also keep forming you
Poking out your elbows
Snapping your threads
And so your life grows
Into the image of my life.
In the wind
You ripple and rustle
As if you were my soul.
In bad minutes
You stick
To my bones
Empty, through the night
Darkness, sleep
Populate with their fantasies
Your wings and mine.
I ask
If one day
A bullet
From the enemy
Might leave a spot of my blood on you
And then
You would die with me
Or maybe
It won’t all be
So dramatic
But simple
And you’ll just get feeble,
Clothing,
Growing old
With me, with my body
And together
We will enter
The earth.
That’s why
Every day
I greet you
With reverence and then
You embrace me and I forget you
Because we are just one
And we’ll keep going on together
Against the wind, in the night
The streets, or the struggle
One single body
May be, may be, some time will be immobile.

 

Pablo Neruda 

 


The clothing - what is it about?

Is Neruda really talking about his shirt?!  This idea of putting clothes on, of filling a space, of making a shape, of pushing against and being pushed back - what is it?

"Men, woman, deeds and struggles, keep forming me keep coming against me...and so, clothing, I keep forming you."

Is Neruda speaking of a line between who he is and the life he lives? Is he saying that the things and places he inhabits - even down to the clothing he puts on, are in relationship of wearing and fitting together, of forming each other, of push and pull on both sides - and are also in a kind of protective companionship against bigger forces "...we'll keep going on together/against the wind, in the night"?

I don't know.

Neruda is such a curious poet. I am fascinated. I know so much is missed in translation, but the hook is well-baited, and I can't leave his work alone. 

Just thinking about that - even if it wasn't his point, is interesting. Our daily lives as something we put on and wear in, stretch and smooth - something which influences how we act, but also something we influence. A constraint sometimes, but also a companion. 

I hadn't thought of it quite like that before.

 And then that line -

 

 "I go out to walk in the grass 

I enter poetry

I look through windows" 

 

So help me, that is beauty.

Here I am, filling my clothes, looking out my kitchen window -

I see it too, I feel it all around me.

 Poetry.