Category: Poetry

  • Poetry: Marc Di Saverio

    ODE TO THE MOUNTAIN BROW
    (dedicated to Richard Greene)

    Cliff-topped at dawn in a euphoria so high
    I Paradise-verily see your wan white Pisa-
    Towering street-lights well-tipping utmost fealty
    to me, one I electrify back toward
    you with this Ode I compose under cadaver-
    soullessly blackening clouds — street-lights well-tipping
    with dew-new currency of gray-brown fogs and truth-
    pellucid allusions to Expressionist movies I adore.
    Now, forthwith, I live throughout those movies while I
    stroll throughout you till I disremember
    your entendres and see I’m new-born-baby tender, stepping
    through actuality, through you, not a film-
    set, O Mountain Brow, where I’ll never be panorama-
    spoiling, nor granted-takingly peripheralizing
    you, while I’m here with others; to others I sing
    your graces and discuss your day, that I may sing my
    soul-eternal ardour for you – for your verve in a time
    of dying – so you may over-hear and feel
    esteemed, welcome, invited, O Mountain Brow, where I sing
    the Scenic mansions you visit in forms of flower-
    blended balmy breezes. I whisperingly sing to
    your peach-blooms flashback-fast-bursting in the stilling
    air. Pilgrimaging you amid the crimsoning
    Staghorn Sumacs swaying, I see: you mean
    measurelessly more to me than city-views for
    which most others come to you…Vultures,
    after cliff-side-congregations – seemingly
    free-wheeling feelingly — beat their wings in time
    to the water-fall’s phantom-eerie hiccuping, to which
    anyone may calibrate. O Mountain
    Brow, remember those nights, at the Flat Rock, with the San
    Boys who hallucinated hundreds of faces
    on your Orcus-shadowy crags. How many
    first kisses transpire at this look-out — beyond the Ravine-
    bounds — where-on I behold the high-wind-blown-stone-for-a-second-
    seeming roses, O Mountain Brow, whose Scenic
    Drive is never littered as much as other parts
    of Hamilton — sometimes Elysium-seemingly
    clean? O Mountain Brow, the greying Italian bocce-
    ballers playing in the twilight sometimes
    soften their footfalls, as though they have concluded
    you feel, as you do. O Mountain Brow, I even proposed
    to a yes-exclaiming girl upon your north-most Ravine-
    opposing bench, one time, O Mountain Brow,
    where I kneel in prayer upon the purple-bluing pond-
    shore sands, O Mountain Brow, where your back-to-life-
    welcoming-warm wind once spoke to me through evening
    rustles of the oak-leaves’: “life-long-seeming
    kisses will electrify the lilies of
    the cliff until they shiver in the fervour
    you’ll soon feel in this same place.” O Mountain Brow,
    let us share this daybreak before other
    Mountain Browers come…crag-magnetized since boyhood,
    I so wish to share this dawn with you, alone.

    ___________________________

     

    A SONNET TO THE TRINITY

    O Violet-Eye-Light-Beaming Trinity,
    O how Your Bride of Saints so speed the butterfly-
    turning of souls toward You; O how our slavery —
    O Star-Far-Eye-Near One — twilights our children to infinity-
    incalculably embracing their bondage — to proclaiming
    they are free, when, all-the-astral-projection-immeasurable
    while, they are slaves who will not free themselves —
    slaves who’ll wish to rename constellations;
    slaves who’ll wish for numbering to replace naming;
    slaves who’ll wish to replace freedom with shaming;
    slaves who’ll wish for their own cancellations;
    therefore, O Redeemer, in your name I am reclaiming
    myself for these slaves’ reclaimants; in your name I’d die as You’ve
    in mine; help me die like a lion when time to prove!

    ________________

     

    JUDGMENT DAY

    When ray-right-rain-fair Judgment Day does break;
    when, upon a purple carpet of cloud-bursts — the moon setting —
    the Maker nears His aurora Throne in the wake
    of Saint-Cecile-conducted Seraphim trumpeting
    His every quintessential motion; When He does
    sit on air and deem our every thought and action,
    whose names among ours will be sung from the slim Book of Life?
    How morning star-core-white-and-burning is your faith in the Son?
    When the violet-eye-light-beaming Redeemer does
    return, on whom among us will He shine his rife
    rays? When you wake soon or sleep unto your
    deaths — will you suffice for the Paradise of our Creator?
    when Shadows will be cast but no sun will beam,
    will you ascend in lonely Lord-light gleaming supreme?

    _________________

     

    A TRANSLATION OF EMILE NELLIGAN’S ‘WINTER SENTIMENTS’

    So now I drink the liquors of your eyes!
    Don’t soil yourself while gazing at the masses!
    A blast from Norway turns the fields to steel!
    May hearts turn warm when the cold wind passes!
    Like soldiers mourning level sands at Thebes
    so let us always court our rancours
    and, despising life, with its sophistic song,
    Let Death lead us to Orcus, where we belong.
    You’ll visit like an icy spectre; we won’t be old,
    but already so weary of living we will fold;
    O Death, take us out on such an afternoon
    when I’m etherized by my lover’s guitars,
    whose dreamy motifs and ambient bars
    keep time to our ennui on the waltz to the end!

    __________________

     

    WHILE BEGGING UNDER FEBRUARY STARS

    While begging under February stars
    that I might be my closest to the beggars
    and scatter my soul through the forecasted storm
    and brave them on toward the laze and warm
    of spring, a stinging wind ascended and engraved
    in my ear the whimper of a girl I had saved
    from her own hand, inside her freshman dorm;
    then nursed, at once, from her childhood wars.
    She whispered, “please reverse the weather in my
    eyes,” empty as two open sunless graves,
    which simply realigned the little troth
    I’d sided for the sewing of my wounds
    back to the Father and the snow then falling
    on the woman in my arms, no longer calling.

  • Poetry: Christoph Hargreaves-Allen

    KUNG FOOL
    •••••••••••••••

    So you think you’re the Master?
    Meet the Master of Disaster:
    Bring your whole crew!
    I’ll just steal all your shoes.

    I’ll shoot the boot with cold Krug.
    Wised up? Tooled up?
    Tribed up? Bribed up?
    Congratulations. You wanna medal too?
    Bring the Joker & I’ll see you with a Fool.

    Flying daggers. Kung Foolish matters.
    Maddest of the hatters. The Heinz, it splatters.
    I raise hell like Kane. I belong to no name.
    While you convert, all I do is subvert.
    I win every time ‘cos I don’t spend a dime.

    Don’t give a fuck about bread and I don’t count heads.
    Think you’re sleek? Meet my pet.
    He’s scaly as fuck, and his name’s Cryptique.
    He’s half rat crossed with snake and, boy, he likes to eat meat.

    Follow my moves, you’ll learn a thing or two.
    You won’t learn three cos I don’t rock the trinity.

    Every third step I make, I make to fake.
    My views are pure illusions, my cares just grand delusions.
    I’m here to fuck with you – and your whole crew too.
    Group think ain’t my thing.

    I belong to no one; I believe in nothing.
    I’m the void to your ‘droid.
    My favourite word is ‘destroyed’.
    Apple? Google?
    I prefer Bimbo and noodles.

    I already notched your plays, yesterday.
    You can’t step to me, you can’t get to me.
    I’m nothing but a trickster. I exist to magimix ya.
    Take your algo’s and blow.
    Shove ’em where the wind don’t go.

    So you think that you’re a hacker?
    You reckon you’re a tracker?
    Say hullo to the
    Grand Felonious Hijacker.
    Pirate from the seas,
    I eat up land like fried cheese.

    I already left this planet.
    Only returned to throw a spanner in it.
    I chill with snakes and street skeez’s.
    I suck up ozone like Febreze.

    I sleep in ironed sheets,
    Keep my mind firmer than concrete.
    I guess I’m some sorta wizard?
    A devil, yes. And a monitor lizard.

    All I do is react, that’s how I counteract.
    I preplay your grooves.
    I break vinyl in two
    When I’m a nasty mood.

    Hold your Aces, keep the whole pack.
    I fold green tables just to kick back.
    No, I don’t always play.
    I live to remove obstacles in my way.

    My homeboy is Godzilla.
    My mentality’s guerilla.
    I’m free like a condor.
    Once I start, I want it all.

    There’s no logic to my game,
    I just like to go insane.
    I choose madness over method,
    From time to time.

    I like to get hunch backed,
    Never had to throw a punch back.
    All I care about is winning.
    My day job’s all about sinning.
    Victory?
    It’s priced into my rhymes.

    Featured Image: Orson Welles as Citizen Kane (1941)

  • Poetry: Kevin Higgins

    We Lie
    after Holly McNish

    My one remaining friend,
    now I’ve plugged out my Mum,
    is in my pretend life
    because he’s willing to not notice
    what I metaphorically call
    things. Like the fact that I carry about with me,
    smiling up out of my man-bag,
    a two day dead pike
    that looks like it died
    of a personality disorder;
    had its oily head beaten in by someone
    who could take no more
    of it blathering on
    in a fake south London accent
    about how it was finking of voting
    Lib Dem, and that it heard
    the lyrics on Adele’s post-divorce album
    are surprisingly upbeat.

    My friend is still my friend
    ‘cos unlike all the ex-people
    I had to drop concrete blocks on
    he’s able to let on
    my succession of pet dead pikes
    don’t smell because his nose
    has grown so used to
    dead pike at this stage
    he’d miss it if it wasn’t
    there to block out
    the even smellier
    dead things that live
    at the bottom of my man-bag,
    the leather existence of which
    you must be prepared to deny
    even when questioned by psychiatrists,
    if you want to be my friend.

  • Poetry: Quincy Lehr

    THE YELTSIN-CLINTON ERA, CENTRAL TIME ZONE

    The end of history will be a very sad time. The struggle for recognition, the willingness to risk one’s life for a purely abstract goal, the worldwide ideological struggle that called forth daring, courage, imagination, and idealism, will be replaced by economic calculation, the endless solving of technical problems, environmental concerns, and the satisfaction of sophisticated consumer demands. In the post-historical period, there will be neither art nor philosophy, just the perpetual caretaking of the museum of human history.

    —Francis Fukuyama

    I saw her at the end of history,
    a manic pixie dream-girl in black hat,
    a smile of adolescent irony
    hanging like an imported cigarette,
    a denizen of corners. As she sat
    off to the side, I stared. The smell of sweat,
    Doritos, and the Oklahoma air,
    sweet and allergenic, hit my nose.
    I didn’t sneeze and held a pensive pose.

    A Walmart of a decade, grunge CDs
    about to hit the bargain bin, left stranded
    like hapless Soviet cosmonauts. The breeze
    reminded us that time, like space, still moved.
    The Wall was down, the Eagle long since landed,
    and we were told that nothing could be improved,
    that this was the teleology, the sum
    of humankind’s equation—cue our laughter
    at a life spent in the morning after.

    Never trust a hippie; punk was dead,
    and there she was in her Doc Marten boots,
    chin-length bangs and a partly shaven head,
    and me with clothes and hair in mostly black
    (the latter, though, showing some brown roots).
    With nothing up ahead, we both looked back
    and somehow saw each other as we did.
    It’s no way to travel, but neither was the way
    mapped for us. Another summer day.

    another night. The party was a bore,
    though everyone was there, and every room
    echoed with conversations. You could score
    a few hours in your head if so inclined—
    an afternoon special tale of woe and doom,
    erasers in the center of your mind,
    or just a gakked-out evening passing time
    with tabs of LSD or skunk-schwag weed,
    mushrooms, alcohol, or trucker speed.

    Brown hair and gray-green eyes, high-cheekboned face,
    insomniac intelligence—a joke
    she told herself running in a race
    between the shimmers of her glance and lips.
    I sneered, though fuck knows why, and lit a smoke,
    arrogant from lungs to fingertips,
    the dumbest smart guy in the room, but still
    she followed me outside. Cue the blurred
    memories of teenaged passions stirred.

    Gas was cheap. I used to drive all night
    looking for crowds I knew would be at home.
    Nothing was going on. Cosmic spite?
    A scene commodified and then discarded
    like cardboard boxes, plastic, styrofoam
    the day after Christmas? I wasn’t broken-hearted,
    so much as empty as a city street
    on Sunday night with everything closed down,
    counting the days till I got out of town.

    Ambition needs a narrative, an arc
    —rising action, climax, denouement—
    and what we had was groping in the dark
    along with books we partly understood,
    discussed across a coffee and croissant
    some mornings. Good enough, if not quite good.
    Understanding is the bonus point,
    experience itself the pass and fail,
    the revolution, Jonah and the whale.

    I got the girl, or for a while at least.
    Mazel tov. Yippee yi cy yay.
    Behold the bread and theorize the yeast,
    but know that when you eat it, that’s the end.
    Ride into the sunset. What the hey.
    History wasn’t over, that pretend
    conceit was soon demolished. We were, too.
    I wouldn’t say I miss her. The debris
    remains beneath, and archeology

    reveals the substrates, relics of a life
    rebuilt on top of ruins. As I drive
    through a different city, kids and wife
    await me as the radio plays a song
    I barely liked but heard back then, alive
    but not like this, when summers seemed so long,
    when love was hard, and love was what we had.
    I change the station, hum a melody
    that sings out past the end of history.

    GEN X STORIES

    He used to be the bass guitarist for the classic hardcore band Die Capitalist Pig!!! and was on their seminal album, We All Fucked Your Girlfriend, Even the Bass Player. Now he lives in Altadena, teaches memoir-writing at USC, and voted for Elizabeth Warren after considering Beto O’Rourke and Pete Buttigeig. He also just blocked you for saying, quite truthfully, that the Clash weren’t actually that good.

    When she was a girl, she had a Cabbage Patch Doll named after Sally Ride. In high school, she wasted two weeks of everyone’s time because her English teacher alluded to the character of Shylock as an anti-Semitic trope, and she decided he was an anti-Semite. Even though most of the teaching staff and administration hated her afterwards, her essay on the matter got her into Bard. Now she works for a non-profit that specializes in teaching homeless children how to play Dixieland jazz. She also just blocked you because you called Tulsi Gabbard “thicc” to see what would happen.

    He came out of the closet as soon as it became clear that he wouldn’t get written out of the will if he did. He owns three restaurants: Billy Bob’s Shake-n-Bake (the one he inherited from his parents that actually makes money), a faux-dive called The Pink Flamingo (after the line in the Soft Cell song), and a Japanese-Italian fusion restaurant called The Meiji Risorgimento. He once beat a lawsuit from a disgruntled employee by successfully arguing that calling people “bitches” is part of his culture. He also just blocked you after you posted a link to an article about sweatshops making Beyoncé’s clothing line.

    She was the Assistant Vice Treasurer in high school and was voted “Most Likely to Narc on a Friend.” She majored in art history at Vassar, did a law degree at Michigan, and married a regional manager for Chuck E. Cheese, who bought her an art gallery in order to have painters fuck her so he doesn’t have to. She runs for local office as a Democrat as a hobby, losing by fifty more votes each time. She also just blocked you for calling her “the Amy Klobuchar of Ventura County.”

    He spent high school listening to Napalm Death and Cannibal Corpse and trying unsuccessfully to kick you in the genitals. Once, after taking several tabs of LSD, he joined the army and ended up doing a tour in Iraq. He got an honorable discharge, gained 300 pounds, and is the leading Facebook expert on how war crimes are actually good. He also just blocked you because… could have been anything, really.

    She was Native American in that Elizabeth Warren way, in that the only way you could know was if she told you—a lot—and you still had to take her word for it. Now, she lives in the worst suburb in your home state and produces children, revenue for chain restaurants, vaguely white nationalist online tirades, and second-hand lung cancer. She also just blocked you over the chain restaurants that she likes more than you do, of all the goddamn things.

    When he was a boy, he wanted to be president as soon as he ceased wanting to be a leopard or a cobra. After a school career spent listening to Classical music and doing an impression of an unusually ambitious Teddy Ruxspin, he settled for being a corporate attorney. His hobbies include playing the piano, collecting rare liqueurs from the former Soviet bloc, and tweeting about the #Resistance. He also just blocked you when you called his would-be Bond villain boss an asshole.

    She was always going to be a star and was not without a certain waifish charm, by which I mean she had a fondness for flowing dresses and singing in her thin, reedy voice to a tentatively strummed guitar until people hated her. Now she owns a cafe that she bought to save the open mic from the previous owner who thought it sucked. She also just blocked you when she remembered you called Tori Amos “white girl suicide music” twenty-five years ago.

    When he was a teenager, he was so violently and obsessively homophobic that everyone assumed he was secretly gay. Turns out he isn’t gay. He’s just a massively bigoted asshole. He also just blocked you because he was only in your timeline in the first place due to a misunderstanding.

    She used to have hours of dialogue memorized from every season of Northern Exposure, even the one after Rob Morrow left. She was also heard to remark that she wished the world could be more like Edward Scissorhands. Now she makes Christian-themed videos for children on YouTube that feature her playing the glockenspiel. She also just blocked you for posting a parody of a Creed video.

    When someone told his class in high school that his generation would work harder than their parents for less remuneration and less job security, it gave him a boner, and he knew exactly why. Now he has exactly the job you think he would, precisely the ugly McMansion you think he’d live in, the kids with the exact godawful names you’d think they’d have, and the exact car with the precise bad gas mileage everyone suspected. He also just blocked you because he thought you were making fun of him when you cracked a joke about people who like Charlie Sheen.

    She does a reasonably good impression of being Michel Foucault’s illegitimate daughter with Judith Butler. Her signature moves are using the word “radical” to modify every noun referring to her academic work and looking violently ill every time someone said “dialectics.” She’s an adjunct professor at five schools, is shopping around seven articles and nine book manuscripts. She also just blocked you for being a socialist.

    His first big concert was Garth Brooks in 1990, and his belt buckles and pickup trucks have gotten bigger ever since. He has an MBA from the state university, lives in a four-bedroom home with unforgivably high ceilings, and manages a sporting goods store that mostly sells guns and fishing rods to fat people. He also just blocked you for being a coastal elite.

    She would have been beautiful had she spent less time on her appearance. These days, she sells houses to investors who think a Cheesecake Factory is the acme of gentrification. She’s a church-council psycho who posts pictures of food she feels guilty about eating and which she blames for her ex-husband leaving her. She also just blocked you because you said her nickname in high school was “The Black Mamba.”

    He was the sort of guy you figured would end up designing elf-themed emojis, hosting a gardening show on a local NPR affiliate, becoming a serial killer, or some combination of the three. Instead, he has chartreuse dreadlocks, goes by DJ Kompound Fraxyoor, and is the seventh-most-popular purveyor of EDM on the Belgian club circuit. He also just blocked you for not realizing that “you have to be on ecstasy for it to sound good” was intended as a compliment.

    In the eighth grade, she cried for two hours after she got mud on her Guess jeans during a wilderness excursion. Her first husband was a cop and her current husband is a white-collar criminal who’s an actuary on the side. She loves both her boys, who despite being seven and thirteen are already Large Adult Sons. She also just blocked you because you said that cheese was racist ironically, and she took it literally.

    He’s forty-five years old and still wears leather. Being the father of two children has had no discernible effect on his level of swearing. He’s a middle-class Ivy League leftist who distrusts people who went to elite schools. He’s an alternative rock snob who finds most first-wave punk rock unlistenable and goth rock funny. His hobbies are reading, writing, caffeine, vituperation, and hate. He hasn’t blocked you, but sometimes you wish he would.

     

    Featured Image: Illustration shows a scene in the “Grand National Congressional Theatre” at the conclusion of the performance of “Fair Promise Combination No. 47 – Great Reform Bill – Act I Tarif Reform – Act II Civil Service Reform – Act III Internal Revenue Reform”. The audience is pelting the cast with cats, eggs, onions, turnips, and other vegetables and fruits. Among those on stage are David Davis, Thomas W. Ferry, George M. Robeson, Jay A. Hubbell, Frank Hiscock, Horace F. Page, William Mahone.
    Title from item.
    Illus. from Puck, v. 12, no. 312, (1883 February 28), centerfold.
    Copyright 1883 by Keppler & Schwarzmann.

     

  • Peter O’Neill’s Henry Street Arcade

    Covid-19 has perhaps spelt a temporary death for, amongst many other things, flaneurship – that is, the practise of being able to wander throughout a city freely and unobstructed, making observations as one goes. Peter O’ Neill’s latest collection addresses the flaneur directly. With a background in translation, academia and his long- avowed admiration of Beckett and Baudelaire (to whom the flaneur label is most regularly attached), O’ Neill puts his own unique slant on Dublin, and he is not alone.

    Henry Street Arcade is a bilingual edition, with O’ Neill’s poems in English appearing alongside their French translations by French novelist and poet Yan Kouton. This is an indicator that O’ Neill is a poet who must, out of necessity, operate always between dualities.

    Henry Street Arcade forms the end of his Dublin Trilogy, a triumvirate of poem sequences centred around Dublin, which include The Dark Pool and Dublin Gothic. The collection’s title comes from the name of a commercial passage located just off O’ Connell Street, built in the style of a Parisian arcade. A loose sequence of a single day in Dublin is gradually formed, in the title which directly addresses the arcade, O’ Neill asserts:

    It evokes the cave which according to Vico,
    In Scienza nuova, Plato singles out as the origin
    Of civilisation.

    Like Baudelaire and Joyce before him, O’ Neill’s aesthetic lies in transplanting ancient, iconic mythologies into a contemporary setting, underscoring its timelessness with regards to the human condition. In his case, it is a freewheeling mix of classical and literary understandings, now set to the backdrop of Dublin’s streets and architectural mismatches, that frames his poetry. He gives us a city in a state of uncertain but unstoppable transition, one in which the ideals of Ireland’s revolutionary past seem to hold little relevance to the social ills that continue to plague the very city – itself in the grip of lethal capitalistic freefall – in which they were first enacted. This constant collision between mundane, everyday reality and the author’s eye for both myth and observational capacity lends it a finely-tuned tension.

    In ‘Portrait of a Woman on a Train’, he writes: “Her handbag/Hangs from the gentle scaffold of her arm/The murderous black leather having been tattooed/With bolts of burnished gold, also bearing/The holy runes of some designer’s name. What inside does the urban Pandora bring?’

    O’ Neill almost seems to revel in this dualism. His own philosophy can perhaps be surmised with a line from the poem ‘Portrait of a Woman’: ‘Beauty must always be contrasted with banality.” His continual pairing of the two also becomes a way of interrogating whether making sense of the city is even a worthwhile endeavour.

    As an ultramodern metropolis of cosmopolitan glamour and multicultural receptivity, the social blights of homelessness, poverty, addiction and waste also remain on full display. Even a crushed coffee cup: ‘The premium of price per individual coffee/Reflecting back the macro environment of the/Property world which the cafe finds itself in.’ – is indicative of a society in extreme disrepair.

    A later poem, ‘Heraclitus’, describes: On the high street, in broad daylight, Bordello chic is promoted in plain view. And for all to see – though they pass by unseeing! Our age is one of casualised distraction – the ubiquity of screens, whether from phones, laptops, tablets in the majority of peoples’ lives, necessary for both business and pleasure – conference calls and dating sites, social media as well as the commercial necessity for businesses to have and maintain an ‘online presence’.

    Running through Henry Street Arcade is a desire for a sense of mystery – arguably essential to the poetic imagination – to be returned to an age, as O’ Neill describes it, ‘of blinding all-seeing, all knowing/All encompassing… nothing!’ He urges the reader to ‘Reappraise/The splendour of the shades and the shadows.’ This is not a call to return to a state of benightedness – it is a call to acknowledge that there is still a place for beauty in a world that seems to be increasingly accelerating.

    By Peter O’ Neill trans. Yan Koutan. Editions Du Pont de L’Europe, 95p, €12.00 ISBN: 978-2-36851-573-0

  • Poetry: Kevin Higgins

    The Most Risk-Taking Poet In Ireland

    My split infinitives clearly the work of a man
    who dries his clothes recklessly,
    sometimes not emptying the lint tray
    two cycles in a row.

    At the height of my experiments with formal verse
    I once drove a Ford Focus
    at a tantalising twenty nine kilometres per hour
    when the legal limit was thirty.

    During my decadent prose-poem phase
    I tiptoed past a locked apartment door,
    behind which, I’m pretty sure,
    there was an orgy going on.

    Under the influence of Samuel Taylor Coleridge,
    I once took one more Paracetamol
    than I should have.

    In a rare outbreak of concrete poetry,
    I yesterday regrouted the shower tiles myself.

    Trying to mimic Rimbaud vanishing in Abyssinia,
    back when I was young and even more foolish
    than this, I once accidentally went
    to Dorset.

    My contribution to metaphor
    in the twenty first century
    is at least as important
    as the cat yawning.

    Risk, for me, is going
    to a different garden centre
    at least once every five years.

  • Poetry: Billy O Hanluain

    Gold Fish

    I envy the gold fish
    the dignity of his fits
    and spasms mid the
    glass shards of his
    smashed aquarium,
    the water that was his
    air, evaporating, floor
    board sucked around
    him, gills screaming,
    cold blood pierced by
    the furnace of room
    temperature, epileptic
    defiance as oxygen
    congeals his world.

    The brittle bowl that
    held my world has been
    drained of chance and
    flooded with numbers.
    The days are stale and
    plain, the months are
    undercooked, the year
    unseasoned. But I have
    no gilled valour. I do not
    scream among my shards
    or gasp for air and tremble.
    I walk like a patient, long term
    on the ward, round the well worn
    radius of park and asphalt and wait
    and wait, binge watching banalities,
    downloading instructions for how
    to pant on.

     

    Rare Aul Pompei

    Town was at its eeriest today.
    A rare aul times Pompeii. Its streets
    broad and narrow, frozen by the
    shuttered and unlit lava of lock
    down. A hollowed out commercial
    carcass. Sleet spitting gulls circling
    the wreckage like white painted
    vultures. It appeared to me, like
    a join the dots puzzle in a macabre
    children’s book. The outline of some
    familiar things visible, the numbers
    though were like memories I struggled
    to evoke, as when I swim against the high
    tide of waking, trying to remember a
    dream. The numbers were a maze of
    dull dots, the pencil of my mind’s drawing,
    faltering and I was forgetting how to count,
    hardly knowing where I was. All the familiar
    turning to fog as I got lost in an echo’s frail
    memory of the sound that first bore it.

     

    One Year Anniversary

    I walk through the shuttered reminders of my life before.
    An abandoned theatre, the play I acted in is long over,
    the poster curling on the tobacco stained walls of a
    a boarded up, once
    Flowing Tide.

    The unbrowsed books on Dawson St peer out at a
    camp site of shame; tents pitched in the doorways
    of travel agents that sell trips of a life time to locations
    that shimmer azure blue like lotto day dreams. A bronzed
    honeymoon couple jet ski over the sodden reef of a
    a sleeping bag that has a dormer extension of rain pulped
    Amazon stamped cardboard.

    The shops tremble, empty, like DT sweat sheets, withdrawal
    symptoms from the sugar rush of compulsive shopping. Stephen’s
    Green Shopping Centre is a stale wedding cake whose icing has fallen to the
    ground, like vast sheets of nuptial glaciers, so you can see the putrid fruit,
    held inside by a frayed, once loved silver band.

    The place is emptied, like sink poured Tesco wine,
    the broken promise to never drink again.
    The whole place is a broken promise.
    Window displays of garish coloured children’s
    clothes turn and stare at me with uneaten
    crumbling cupcake eyes.

    The mannequins are mute Midwich
    orphans, stranded on the low tide shore of stunted
    commerce, their plastic, cash starved eyes look right
    through me.

    It is a drained aquarium full of writhing, rusting gold fish,
    a carol whistled out of season, a joke that nobody
    has laughed at for a year, lurching, searching for a
    punchline to belt up his trousers with.

    Outside morsels of memory
    from the time before
    are being torn at by
    gulls whose pen sharp
    beaks scrawl the grey
    parchment sky with manifestos
    of a new clawed and feathered
    city, not mine but theirs.

    The headlines in Bus Stop Newsagents read:

    “Search for Teen Torso”

    I have come too far in one year
    I turn away and try to remember
    the way home.

    Featured Image: © Daniele Idini

  • Poetry: Chay Bowes

    Three Miles South of Carlow Town

    Walk with me. Don’t speak.
    Come to the place where the walls and stones
    Yield their shameful secrets.
    Listen. Listen.

    Stand and hear the black earth shifting,
    As she did then, to deny him his succour,
    And as she did when he slipped into her inky embrace.

    Three miles south of Carlow town.
    In the Lea of the silver stones,
    Latched together when we had the strength,
    That small hollow where we submit.
    Where a whispering call gave way,
    To a silent deafening tide,
    And where we fade into the geography,
    Of this holy ancient place.

    This inky earth,
    Thick with the toils of a thousand years,
    Will now gladly hold this pale handed child,
    In its dark embrace.
    Only the hunger of the earth
    Surpasses that of her children.

    Three miles south of Carlow town,
    A Holocaust reflected in the silent slate grey sky,
    The amputation of all kindness screamed,
    In a lone mother’s last breathless farewell;
    “Golden haired child,
    Son of the earth and wind itself.
    The black turf is no cradle,
    The rush and reed no shawl”

    Come walk with me.
    Don’t speak.
    Come to the place where the walls and stones yield their secrets.

    There is buried treasure three miles south of Carlow Town.
    Listen. Listen.

    Feature Image: Dublin Street, Carlow c. 1900.

  • L’Homme et … la Merde!

    For the purpose of perspective, I should like to carry out a short comparative study of two poems treating the subject of the sea. The first poem I should like to focus on is the great sonnet by Charles Baudelaire L’Homme et la Mer, whose composition dates back to 1852. The second poem is a poem I wrote sometime last year, L’Homme et la Merde, in which I use the poem by Baudelaire, as an obvious starting point, in order to attempt to underline the epic social and ecological shifts which have occurred in the time frame of the composition of both poems.

    So, to be absolutely clear, the period of time that separates both poems is one-hundred-sixty-three years. Without further ado, here is the poem by Buadelaire, followed by my transversion into English of his great poem; ….[1]

    XIV. – L’HOMME ET LA MER

    Homme libre toujours tu chériras la mer !
    La me rest ton mirroir; tu contemples ton âme
    Dans le déroulement infini de sa lame,
    Et ton esprit n’est pas un gouffre moins amer.

    Tu te plais à plonger au sein de ton image;
    Tu l’embrasses des yeux et des bras, et ton cœur
    Se distrait quelque fois des sa propre rumeur
    Au bruit de cette plainte indomitable et sauvage.

    Vous êtes tous les deux ténébreux et discretes;
    Homme, nul n’a sonde le fond de tes abîmes ;
    O mer, nul ne connaît tes richesses intimes,
    Tant vous êtes jaloux de garder vos secrets!

    Et cependent voila des siècles innombrables
    Que vous vous combattez sans pitié ni remord,
    Tellement vous aimez le carnage et la mort,
    O lutteurs éternels, ô frères implacables!

    XIV. –  Man and the Sea

    Man, free, you will always cherish the sea!
    The sea is your mirror; when you stand before it
    And contemplate your fate, before its infinite movement,
    Your poor mind, brine wracked, couldn’t be more bitter.

    Yet, you enjoy plunging into the heart of yourself;
    Distracted by the immensity before you, and which
    Makes you forget, momentarily mesmerised by such
    Sheer force, your own apocalypse riding before you, wave bound.

    You are both just as dark and fathomless;
    Man, like the sea, nobody has reached your depths, yet;
    Both of you guard jealously your great secrets,
    Which you both refuse to give up, without some savage consequence.

    For innumerable millennia you have both now been struggling
    With one another for survival, both just as pitiless,
    Both of you loving, as you do, carnage and violence.
    O you two blood brothers, eternally vying…

    Baudelaire’s poem has all of the hallmarks of late nineteenth century romanticism, written as it was just one year after the publication of Herman Melville’s Moby Dick (1851), and just forty-eight years after Beethoven’s composition of the Pastoral (1804) , his symphony number six. All three works are primarily concerned with man and his extremely precarious place in nature.

    Ahab’s apocalyptic fate in Melville’s epic account of the hunt for the great white whale has become emblematic of humanity itself, in our own relentless pursuit to harness nature for our own ends, without thinking about the consequences. Beethoven’s storm in the sixth taking on a very ominous nature when listened to today, as our own climate continually shifts into  extremes as a consequence of the impact of our society on the planet, and particularly so within the time frame of the last fifty or so years.

    Image: Daniele Idini.

    Indeed, today we are aware of the extremely negative impact our collective behaviour is having on the planet; be it as a direct or indirect consequence of global deforestation, industrial waste (atomic or other) or the continuing emissions from fossil fuels. We are now all collectively responsible for the state of both the immediate world in which we find ourselves living in today, in other words our own particular microcosm, as well as the greater macro-environment which we communally share, for as long as we humanly can. And, of course, this is the huge question looming over us all today:

    If we continue living as we are without each of us making dramatic changes to our lifestyles in terms of how we eat, spend etc. these so – choices we make every second of each day – how much longer will the Earth be able to support us before we are all completely annihilated?

    In order to frame the question better, I should like to introduce the second poem now L’Homme et la Merde, which I wrote shortly after having been diagnosed with chronic ulcerative colitis early last year.

    For the purpose of clarity, the medical condition known as colitis is a terrible affliction caused to the intestine and the bowels, in which the sufferer loses all control of their system, causing unimaginable horror and distress. It is classified as a disease and it is on the increase in countries all around the Western hemisphere; interestingly in Asia, where people have a radically different type of diet, and lifestyle, people suffer from it far less. In my own case, the elimination of gluten is what stopped, eventually, the horrendous impact that this sickness was causing to me and my family.

    I wrote a lot of poems of a very scatological nature, while suffering from colitis, although the poem L’Homme et la Merde is, without doubt, the most troubling of them. This poem reflects an apocalyptic vision of the future of our seas, if we do not do something now to change the way in which we are living.

    This can be indicated quite simply. For example, one June weekend, here in Skerries, north county Dublin, the front beach had to be closed to swimmers due to a possible leakage of effluents into the sea. It was a terrible thing to experience, as the sun was out that June weekend, and people had come from all parts of Dublin, and possibly beyond, to enjoy a day by the sea. Instead, they had to be informed by the lifeguards that if they wished to swim in the sea, they would be putting themselves at risk of getting very sick due to the effluent which was now polluting our once beautiful coast.

    In fact, in Skerries it is a well- known thing – the risk of contamination – as for a couple of years now the town has lost its blue flag due to such incidents related above. But this is just one story, and on a local level. Now add to it every coastal town in the inhabited world, as you can be sure that we are not alone. Imagine the collective damage that is being done?

    Why, during the twenty first century, are we still allowing sewage, and other toxic matter, to be pumped into our seas? This is just a basic question, yet which needs an immediate response. Particularly when one considers how the harnessing of bacteria, found in faeces, can create biofuels potentially saving billions; plans are already afoot in Washington D.C. in an attempt to create alternative ways of making energy in order to generate electricity in the city, using faecal matter![2]

    And that is besides poisoning ourselves: our bodies are not designed to tolerate enormous quantities of gluten. What hope do we possibly have of saving the planet around us if we cannot preserve our own health?

    Ignorance, it would appear, is our greatest enemy. And, here is the hope, as this is something we can all start changing, immediately. All we need is the desire.

    L’Homme et la Mer-de 

    Sheep, a ghastly consommé, to the swirling form of cupcakes.
    These vertiginous constellations, floating like malignant nebula
    In the solid throne at the end of your hall… Shit, excrement, stools,
    Call them what you will. Yet, these grotesque floaters

    Will be the very last trace of you. How apt, being a member
    Of a species which would appear to be shit-infected.
    Le mot de Cambrone; MERDE
    Le merde qui est partout.

    The shitty structures which we maintain and perpetuate.
    Up to our necks in it. Won’t be happy till we’re literally
    Drowning in it.

    “Now man,” through these sweetened dumplings
    Nature seems to be whispering to you, “Embrace
    The imperium of your turbulent, khaki -coloured oceans.”

     

    [1] O’ Neill, Peter: The Enemy, Transversions from Charles Baudelaire, Lapwing, Belfast, 2015.

    [2] Shaver, Katherine ( 2015-10-07 ). “ D.C. Water begins harnessing electricity from every flush”. The Washington Post.

  • Poetry: Kevin Higgins

    ‘Liberals’ & ‘Death’

    Two words that strut confident of
    their own historical inevitability.
    Everyone in time meets them,
    though hopefully not both
    ringing your door bell
    the same day,
    unless your name is
    Nagasaki or Vietnam;

    or you’re the first village
    no-one’s ever heard of
    successfully abolished
    from thirty thousand feet
    by a transgender person
    pressing a button;

    or you’re the first Somali in history
    proudly turned into a pile of burning mince
    by a drone designed by a woman of colour;

    or you’re the wrong type of Australian
    whose computer told us the names
    of the obliterated
    and so can only leave prison
    in a fair-trade white cardboard box;

    or you’re me, delighted
    to expire unvaccinated rather
    than spark a diplomatic kerfuffle
    by sticking in my bicep
    something as sinister sounding as Sputnik
    without written permission from Brussels

    who’ll surely deliver
    a keynote speaker to my grave
    to thank my corpse for its contribution,
    and find a plausible way of saying:
    I’m down here, getting acquainted with the snails
    so they can be up there, polishing their idea of themselves.

    Feature Image: Original #banksy ‘Civilian Drone Strike’ in East London ahead of London arms fair opening.