Tuesday, 16 September 2025

from Mossbawn



  




  

For Mary Heaney
 

 Sunlight 

There was a sunlit absence.
The helmeted pump in the yard
heated its iron,
water honeyed

in the slung bucket
and the sun stood
like a griddle cooling
against the wall

of each long afternoon.
So, her hands scuffled
over the bakeboard,
the reddening stove

sent its plaque of heat
against her where she stood
in a floury apron
by the window.

Now she dusts the board
with a goose's wing,
now sits, broad-lapped,
with whitened nails

and measling shins:
here is a space
again, the scone rising
to the tick of two clocks.

And here is love
like a tinsmith's scoop
sunk past its gleam
in the meal-bin.


Seamus Heaney
 
From "North"


Notice the objects named in this poem:
Pump, bucket, water, griddle, wall, bakeboard, stove, apron, window, goose-wing, nails, shins, two clocks, scoop, meal-bin.

And the two phrases:
"Here is a space", and "here is love."

The way Heaney shows that each object is worked upon by something else. The sun heats the iron of the pump, the water honeys in the bucket, the sun heats the wall.

And she is like this. She works upon the things she touches. She changes things. Warms them, moves them, works them, touches them.

And Time works and moves as well. 

This "sunlit absence", this woman, this remembered warmth of love -

so beautiful.












Wednesday, 3 September 2025

Marine Surface, Low Overcast

 


 

Marine Surface, Low Overcast 

 

Out of churned aureoles

this buttermilk, this

herringbone of albatross,

floss of mercury,

deshabille of spun

aluminum, furred with a veloute

of looking-glass,

 

a stuff so single

it might almost be lifted,

folded over, crawled underneath

or slid between, as nakedness-

caressing sheets, or donned

and worn, the train-borne

trapping of an unrepeatable

occasion,

 

this wind-silver

rumpling as of oatfields,

a suede of meadow,

a nub, a nap, a mane of lustre

lithe as the slide

of muscle in its

sheath of skin,

 

laminae of living tissue,

mysteries of flex,

affinities of texture,

subtleties of touch, of pressure

and release, the suppleness

of long and intimate

association,

 

new synchronies of fingertip,

of breath, of sequence,

entities that still can rouse,

can stir or solder,

whip to a froth, or force

to march in strictly

hierarchical formation

 

down galleries of sheen, of flux,

cathedral domes that seem to hover

overturned and shaken like a basin

to the noise of voices,

from a rustle to the jostle

of such rush-hour

conglomerations

 

no loom, no spinneret, no forge, no factor,

no process whatsoever, patent

applied or not applied for,

no five-year formula, no fabric

for which pure imagining,

except thus prompted,

can invent the equal.

 

Amy Clampitt 

 

When it comes to description - if there were a Hall of Fame - Amy Clampitt 

would deserve a place there. 

 

"floss of mercury" 

"deshabille of spun aluminum" 

"down galleries of sheen"...

 

  

Can these descriptions ever be equaled?