Category: Culture

  • Poetry: Peter O’Neill

    Spring
    For
    Lois P. Jones  

    I

    The gentle discord of rainfall,
    its alternating static dance are
    Reeds of air in suspension
    before the corona of sensation.
    A droplet splashes and trickles
    along your neck,
    its joyous grief
    is welcomed by you with a shudder.
    The courage of the leaf
    passes beneath the banks of cloud,
    the burnishing lustre blossoming
    upon your limbs,
    the flowering sounds
    of the sun’s brassy trumpets
    illuminate the oracle of the hills.

    II 

    The space between the words
    Is akin to the space between the rain;
    This is syntax –
    The syntax of the rain.
    Each word, each drop,
    With its cohesion of letters
    Is an alphabet written in water
    Pooling in language.
    The liquidity of words.
     Your waters fall like rain,
    Their quiet sudden declensions thunder
    With an astonishment of showers
    Light and gentle as thought’s forgotten tributaries
    Brining relief from the tropics,
    The tropics of the spring.

    III 

    The distillation of the night
    ferments the dawn,
    minute revolutions of uninterrupted
    sleep; night being a dark day
    for things that silently creep.
    Out of such stuff things bloom!
    The leaf of thought could fill a room
    With the bestiaries of the night.`

    IV 

    Upon the crest you cycle
    With the Black Hills as register.
    Sheepless and quiet.
    The dissemination of clouds
    Pass, yet you are the only witness
    To such wonder.
    Accompanying all with aural springs
    Cadence and rhythm pick up
    With the invigoration of muscle.
    Thought’s labour on the passing of the evening
    Still clinging to the web of sleep
    Like the silken trail of a woman’s stocking,
    While banking on your side
    Sheer locomotion shunts
    Fabulously across the morning.
    A thousand hermaphrodites
    Lie slain and severed upon the heath,
    Yet not a sole is being recorded.
    While placed religiously upon the library shelves,
    A hundred almanacs of the tides!

    V 

    Along the footpaths, trees stand erect
    As arrows, Virgilian sentinels
    To patrol the fingerless dawn.
    Wisps of Rose.
    Cotton fields upended.
    The fields are aliens reflected
    In the lagoons filled with
    The mythology of both Roman and Norsemen.
    Out by Lambay their ghost’s hover.
    Fingal’s cave but a haven for 19th century
    Smuggler.
    There is ruin and mail under the watery skin
    Of every wave. Gut its belly,
    Debone and scale the morning.
    The electric prophets prophecy nothing.
    Mendacity is cultural.
    Aural pollution is on the wing.
    Emissaries of the void would but spill.
    Frustrate them.
    Offer other flavours of the evening.
    The evenings where shapes still bring
    Mythologies as finely wrought
    As summer dresses
    Garlanding the superb limbs
    Of the approaching Amazons.
    See there!
    Now, they come…

    VI. 

    The elemental walk of the Vitruvians,
    Divinely proportioned,
    Aqueous folds cocooned in the lithe
    Expansive limbs of the morning.
    Flesh burnished by a billion suns,
    Atomised to the core; Bataille’s erotic
    Solar economics beats all Keynesian excess.
    Even pedestrian they Kill, for She is slow.
    Her cadence and rhythm shift in shapes
    Of undulating, mesmerising patterns.
    You follow her like a servant, reciting some lost phrase,
    Bringing to her the garlands of the morning.

  • Gull

    Try to envisage Odysseus, on stiff headland, on the Western Atlantic coast of Ireland, tilling the soil with an ancient looking hoe. His hands are dry, chapped and his thick fingers curled around a parched shaft, steady palms supporting the implement, with which he works effortlessly. The slap, jut, and pull of the short blade into the earth turns up an odd purple worm which twists its belly upwards to the hot palpitating sun; and a hessian sack, half-filled with grass seed ready for planting, is slung over his back; its strings stretched across his well-defined, sinew-led, shoulder. Small dragon neck swathes of lime-coloured samphire shoots slowly emerge in sandy verges of the high field where he works. There is not a cloud in the endless ream of blue sky.

    When he spreads grass seed, as he has done in the past, many times, the canvas bag becomes a sail and his hand arcs as minuscule seedy flints shoot out over fertile mother earth and come to land among waxy ribbons of grass.

    The man looks now over a fluttering Atlantic Ocean, and it could almost be the Aegean Sea. It roars, breaks, and shatters into lucidity and calm, with white horses crashing on out further, out towards the ellipsis of the infinite horizon of his gaze. Gleaming, smooth black cattle, way off to his right, graze in a greenfield, in a verdant county. A county older than the Celts. Even Mother Nature does not know of its name. The herd, glistening, serves as a bovine footnote of nature’s essayistic form. They bellow and holler at each other with an incongruity that floats on the air. A brocade of whitethorn keeps them penned in. The enigmatic cattle are dark forms, staples of a slowly sifting tenure and lenient to the west’s wilder ways and moods. It suits them to bellow here in the hull of infallibility, amid the streaming whitethorn, sea Campion, and sandwort. The whitethorn is in flower, billowing, and its scented blooms are carried by the wind.

    Atop these cliffs, sat Eoghan whose hands were worn, he rubbed the soil and clasped his hands together to smell the earth, the olfactory bulb flickers, antediluvian and almost pristine in a broken social world. He drew a deep draught and took in the living earth with one unbroken breath. These were the elements, indeed, the pastures of his making. After a few minutes of solitude, he heard the scrunch of footsteps on seashells and sandy screed in a lane nearby. Eoghan turned his head to see a girl in her early twenties walking towards him.

    “Hi-yah”’ she called out as she approached. He cleared his throat, smiles, and replies,

    “Hello there; nice day…”

    “Oh, aye, it’s a grand one, that’s for sure…”

    Coming closer, he noted her translucent plastic sandals, linen-white shorts and a sleeveless t-shirt of navy blue with white stripes. Her auburn hair, worn in a ponytail, danced and bounced as she walked in the golden sunlight. She studied him and then cast a glance at a shred of olive green kelp which had blown up from the shore and was now stuck to the barbed wire fence on the headland.

    “Bladderwrack… I believe they call it,” he said mildly.

    She turned to him with an almost startled look, her tawny eyes furtive and her lips thinning, then biting her bottom lip she said,

    “That’s a rare auld name for some seaweed, isn’t it now?”

    Eoghan nodded and smiled up at her in the summer sun. She dropped down onto her knees just in front of his sitting position.

    “I remember, the other morning, on Inch Island, disturbing an old heron that was in a settled way…” he began.

    “What happened?” She exclaimed, looking at him more attentively.

    “I was just walking past when he looked at me,” he continued in a quiet voice, “and rose, languidly, from a clutch of rushes and off he took, one foot trailing behind the other slightly and flapping away towards Lough Swilly.”

    “Sure. It must have made a good picture. Did you upload it on to Instagram?” She asked smiling.

    “No.” He replied, softly, “No Instagram.”

    “Then what use is that?” she said, giving him a look of yearning.

    “Mother Nature has the table ready and all we have to do is go and eat. When I rise very early in the morning and go out to nature, I like to immerse myself in the landscape, to see the countryside come alive and open up in front of me; to see bright buttery gorse flower flourish, to smell honeysuckle; to smell wild garlic in woodland, Nature’s larder.”

    She was quiet, looking nonplussed and uncomprehending. An uncomfortable silence then passed between them.

    “Are ya on Snapchat or Twitter?” She asks her voice suddenly brightening.

    “Twitter?” He tentatively queries.

    “Yeah.”

    “No.”

    “Why? Are you eighty, like?” Her teeth glittered with the brightness of the sun as her mouth curved into a cynical smile.

    Eoghan looked down from the headland towards the sea; the sea breeze caught his thoughts and corresponded with the ripples in the blue torn water. He drew a deep breath as if to acknowledge her persistence.

    “Well, I guess, I just don’t really like this modern stuff …is the honest answer,” He replied turning his blue eyes back on her hazel brown ones.

    “We live in an age,’ he began again, but looking at her, taking stock, he realised he did not know her name. She comprehended this and gave him the thought he was seeking.

    “Aoife.”

    He smiled.

    “Aoife, we live, as I say, in an age known to thinkers, and to those logical enough to figure things out, as Neoliberalism. In an age of instantaneous gratification, of wishes granted instantly. And this is a kind of curse, this culture is a throwaway culture, and it’s not really for me that stuff…these belief systems.”

    The imbroglio of her young mind sent her into a dream state. Yes, she thought this young man, this guy was, “Oh, Janey-Mac, pure gorgeous,” but she was still on the faltering line between being a young girl, and the precipice which would send her into womanhood, and which had not yet been delivered fully formed to her feminine threshold. Just then her phone buzzed. She shook off her teenage sensibilities and looked at the phone’s screen.

    “I have to go,” she said, looking back up to him. “Me Mam wants me to look after our Daniel, a wee dote.” And she took off, saying as she went, “Hope to see you around sometime,” smiling. He smiled as he watched her disappear into the horizon.

    Early the next morning, very early, before any hint of daybreak, Eoghan was at the water’s edge in Inishowen, by Inch Island. He was in deep silence as images entered into his consciousness: yew trees; blue milk; a honey drop caught in pure amber sunlight, wheat-chaff which dances away in a furmy haze; three girls were strolling across a golden beach, past a wooden curragh laden with salt and beginning to crumble into wisps of wooden flakes that disintegrate in the hand. Insects given a firmer design by ancient runes with Neolithic symbolism, crawl, swirl and settle down to become geometrical shapes and patterns, known as Celtic Art. They retire and pass into the art and geometry of stone. A cow’s loin and flanks turn on a spit over a fire pit in the hill fort, Grainán of Aileach. The creature’s dead eye, bulbous, staring, almost bull-like, reminded Eoghan of the tearful eyes of sage storyteller, Paul Auster. Whose gaze could strike the bullseye of fear and desire among those he knew with big, wet eyes, like he had been crying. Bull-eyes.

    A crowd of screaming dark crows broke from branches where there was no tree trunk or tree and scattered across the immediate skyline of his memory’s eye. A spearhead of mackerel which were shifting and turned in a giant ball in the ocean; the sky darkening and rabbits and hares quaking in laneways; stars agleam in a bowl of night water strewn with a garnish of seawrack, seaweed, a mermaid’s shawl.

    He exhaled for a long moment and slowly opened his eyes; the sun continued to traverse its solitary hike towards the noon-time hour. He was down upon his haunches, almost kneeling, but had begun to rise. Feathers grew over his skin like a soft suit of pallid armour. He rose from the reeds, water dripping off his golden, feathery membrane, and gave out a loud piercing squark. He took off towards the beckoning sun which knew the bipedal, avian shapeshifter. This majestic bird that was soon flying high and then gone. Unwatched by man.

  • Bringing Music Back to Dublin

    Promoter, venue and band manager, Conal Lee reflects on the experience of musicians over the course of lockdowns, and considers the ongoing difficulities for musicians and venues in Dublin, as  well as the challenges of dealing with new controls.

    Conal Lee.

    How have you survived through the lockdown?

    Having an enforced break, albeit as a result of the pandemic, was needed for two or three months as I had been working non-stop for a long time, and I was not going to take a break of own accord anyway. But the novelty soon wore off as I began itching to get back to work and start creating. My mind and wallet needed it. Unfortunately, there was very little to do. I could not create live music events, which is mainly what I do.

    What was the general mood among musicians you know? Did many acts break up, or come together?

    I think some musicians held a similar view that a month or two of a break was a nice opportunity to sit back and reflect on things, and record some music, but only a few months! Obviously, financially the past twenty months or so has been very, very tough on the pocket, but the effect to the mental health has gone unnoticed I feel. Musicians are artists, creative people, that need to be busy developing work and need to have that end goal of preforming the music live to an audience.

    There have been some bands that have fallen away during lockdown, after not being able to meet up, rehearse and play, which develops the band and keeps the momentum alive.

    What were the main challenges putting on gigs prior to the lockdown?

    Running a venue dedicated to blues and jazz, it is always going to be hard to pull in a big, consistent audience as they are very niche genres, and generally attract an older crowd. So, to find the balance between putting on the right act, on the right nights, and trying to attract a younger audience by having a mix of all the sub-genres of blues and jazz can be the most tricky part. Any venue’s bar has to make money as do the musicians and sound engineer, door person and myself, so another part of it is putting enough acts into this balancing act that tend to bring a bigger, thirsty crowd.

    Do you think there has been anything good to have come out of the lockdown for musicians? Are there new outdoor venues for example, or has a more tolerant attitude towards on street performance emerged?

    A lot of musicians have been working a lot for years. Gigging many nights and trying to raise family etc., so the time to reflect on what was important, and then to have some time to record singles, EPs and Albums where there may not of been enough time previously.

    Venus have closed and will not reopen, there are a few outdoor spaces that have popped up, but it’s of little comfort considering the amount that have closed or that just may not do live music again, as they will use the space for more drinkers/eaters to catch up financially on lost time.

    Now, as we return to ‘normality’, what new challenges are you facing as a promoter?

    I think many of my audience may be wary about going into a small, hundred-person capacity Blues and jazz venue. I will, like others, have to increase admission prices and do more ticketed events which most of my punters are not used too. Again, it’s generally an older crowd that attend those concerts. I’m hoping that there has not been too many bands that have broken up, as something like this could kill off these genres.

    How do you feel about venues having to require prior bookings and vaccine passes?

    It will suit some gigs, some audiences but not others and vaccine passes just added extra work, but if it had to be done then that’s fine.

    Are there specific reforms the government could make to improve the life music offering in Ireland?

    An area, or quarter if you like, that’s dedicated to top quality music or a variety of musically genres through the area seven days/nights a week.

    Bigger grants for sole promoters to help run venues as there are too many big companies promoting gigs in many of the venues in town

    What advice would you give to your younger self entering the music industry?

    Believe more in what you are doing and stick to your ideals

    What is your favourite venue in Dublin, and why?

    Possibly The Sugar Club for the different types of artists performing, the regularity of the shows and the size, and space or the venue. And of course Arthur’s Blues & Jazz Club.

    If you were to design a venue of your own, what would it be like?

    Apart from Arthur’s, a venue dedicated to folk and traditional music.

    What do you think is speical about the live music scene in Dublin?

    The level of talent for a small-sized capital city. Live music is part of the city’s culture. It’s the music and arts that makes the city special.

    Feature Image: Daniele Idini

  • Musician of the Month: Marie Awadis

    I still don’t know musically where I belong. Being classically trained as a pianist, but listening also to Jazz, World, Indi Pop, Nordic, Heavy Metal or Ambient music, and loving them all, I keep losing myself in whichever direction I go. I wouldn’t say I want to compose Heavy Metal, but I am influenced by many genres and many composers…

    Also, maybe because, as a child, I never had this feeling of having a home. Being Armenian – although born in Lebanon and living the last twenty years in Germany – has had a huge impact on me. I’ve never been in Armenia although I always wanted to visit; at least to experience how it feels to be in the motherland.

    Instead, I learned to believe home is where I feel safe and where I feel happy. Mostly, I am happy when I am creative; when I sit on the piano and ideas flow from my head into my fingers, without knowing what I’m playing, but it just feels right, at least in that moment.

    Then, I think to myself “you’re doing great, this is beautiful”. I continue writing, I dedicate all my energy, ideas start to flow one after another, until the time comes, where I feel I have something to share.

    That’s the moment where my self-destructiveness appears, as I begin to paint black thoughts, telling myself that what I have created is actually pretty boring. I start comparing myself to artists I love and respect.

    I know that it is not the right thing to do. But I have no control over my thoughts. I keep pulling myself down until I hit rock bottom. Then there is only one way up. I gather myself and continue the work I started.

    After many years of dealing with this situation, I am still the same, this habit is part of my daily life, sometimes I have better moods, other times less so.

    The one thing I have really learned is to remind myself nothing stays the same. Creating music is like bringing life to something: once it emerges from your mind, it doesn’t belong to you any longer.

    A mother will never think that her child isn’t good enough. I try to remind myself that after the thoughts are on paper: these doesn’t belong to me, and it’s not up to me to judge the piece. It is out into this world, and it will find its way.

    I have to continue what I have started, and trust that work and effort are the only seeds to plant. Also, to live and feel alive. Music tells a story, and to tell a story you need to live. Sometimes, it’s sunny, other times stormy; life is full of such movements. Duality is part of this world, and I believe only when we accept both sides of the coin, will life become exciting.

    I grew up with music, my father was a musician and had a band that performed Armenian music. I even used to sing on stage with him, when I was as young five. Almost every day growing up there were band rehearsals. Music was everywhere. And then I discovered the piano and Classical music.

    Childhood.

    I remember at aged thirteen it becoming clear to me that I wanted to be a pianist. So every day I came home after school and sat for many hours on the piano, before doing anything else. Playing Classical music became my own world. There I could create my own stories, be anything I wanted to be, transferring my feelings and emotions into the music and finding peace.

    Playing with the Lebanese National Symphony Orchestra.

    Music is now part of my being. One of the biggest achievements of my Classical career was playing the Schuman concerto with the Lebanese National Symphonic Orchestra, while I was studying in Germany. But that was also one of my latest concerts. A few years later, I developed a passion for composing, and my life took another path.

    My latest album ’Una Corda Diaries’ is very special to me, as it was recorded on the Klavins concert Una Corda M189 in Budapest.

    It is a musical diary. The idea came to me as I was visiting the Klavins workshop. Seven Days-Seven Pieces, is the story of the people, the atmosphere, the Una corda and my own experience discovering this unique instrument. I was also very lucky that I managed to complete the recording just few weeks before the pandemic hit and borders were closed.

    After arriving in Germany to continue my studies, I realised that interpretation alone was not enough for me. I didn’t want to just repeat and play the repertoire which have been played a million times perfectly.

    Also, I started feeling lonely and froze at the stage playing Classical music. I don’t know why, but the thing that I loved the most in the world started to make feel isolated. So I decided to stop, but again, after a while it was too difficult to live without the world I had created for myself through music. The place where I used to feel free was missing. Music had become part of my being. Tt was what I had become. And then I discovered composing.

    Image Evgeny Ganeev.

    My music is not purely Classical, nor is it neoClassical, nor jazz, and not Armenian. It dives through the lines, just like my feelings, belonging nowhere, which makes me feel awkward while also holding a wish to belong.

    I love layers of melancholic melodies over each other, telling the same story from different perspectives, mostly centred around my instrument. My piano draws out all the emotions I want to express, sometimes through elegant soft notes, at other times with restless melodies, merging into each other. I also improvise sometimes, even though I like the process of working on an idea.

    When I feel creatively blocked, and I have nothing but a dark space to wonder around, I prefer to stay still and take my time. My mind doesn’t stop working. I listen to a lot of music, I do research, I discover new artists, until I find my calmness and a clear path to put the melodies back on a paper.

    Image: Ghazaleh Ghazanfari

    One thing is for sure, whatever I write is the expression of my authentic feelings, which emerge out of my life experiences. I work through myself, confronting all the joy and the struggles I have inside me, to understand myself better, with the hope that people will connect to those musical and emotional expressions and find comfort in recognising their own stories.

    All those words sound like I am pessimistic, but I am not. I’m only too self-critical, and about the music I create. But I also believe that only by repeating and failing can we get better.

    I know that everything is a process to get somewhere. Perhaps I just need to enjoy the path more. I don’t want to belong to a genre or a style. The most important thing is for music to touch the heart, whether it is Classical or jazz, technical or slow; there is enough space in these world for all kinds of expression, as long as it is honest and true. True to the the artist first, and then to the person who feels connected to it.

    I will never be entirely happy with what I have created, because I know there is always a better version, but I have learned to accept things the way they are for that moment, letting it go, making space for new experiences, and trusting the path that I am dedicated to walk.

    Website https://www.marie-awadis.com

    Spotify: https://open.spotify.com/artist/7hmy8Td2c8HSzUAPayPKkN? si=kqx59qVVQieTf6iMSPVi9g&dl_branch=1

    iTunes: https://music.apple.com/de/artist/marie-awadis/1221326499

    Facebook: https://www.facebook.com/Marie-Awadis-267354403421116/

    Instagram: https://www.instagram.com/marieawadismusic

    Soundcloud: https://soundcloud.com/marie-awadis

    Youtube: https://www.youtube.com/channel/UCB4jkk58v8–f6N2Rs82d6g?view_as=subscriber

     

  • Poetry: Carmen Palomino

    Ace of Wands

    Fire & Desire
    And then, at the right time
    from the heat of our hands
    a love that was old and new
    lit up like a torch
    burning from the depths
    like fire to the turf.

     

    Eight of Wands


    BOOM!!
    Someone’s heart whispered:
    Boom!!!
    And everything blew up

    The Earth stopped moving
    and when the dust settled down
    the two lovers stood naked alone
    hand in hand, in a desert land

    Isn’t that scary?
    Would you still like to try?

     

    Queen of Wands


    Bracken
    You smile and beam
    like a young maid
    when the wind
    whispers your name

    Rain sings
    the tales of the Earth
    to your soft green
    ferny flesh

    Ancient sap knows its way
    up from the hidden rhizome
    nourishing your spiral sons
    curled foetal croziers

    Axis stretching out
    trough blade and frond
    Sorus keep your secret
    eternal life spreading spores

    You are precious and wise
    as you are old.

    Six of Cups


    My Naoise

    My Naoise,
    don’t you know
    I only have eyes for you
    even if I look somewhere else
    I can only see your face.
    If the raven shows up
    in its black plumage
    it reminds me of your hair
    When you smile at me
    the world is gone
    and only you exist, my love
    And when you touch me,
    My Naoise,
    warm blood melts the snow
    and we live inside a legend
    a thousand years ago.

     

    Page of Cups


    Ganymede Ascending

    You picked the snow goose feather for your quill pen
    to write poems about me
    You feel my breath burning in your human heart
    but my essence is too subtle for your mind to grasp

    You thought you were in Love
    while it was Love that was Love in You

    You’ll make immortal the beautiful young one
    When the Eagle calls,
    the sweet cup bearer who made you drunk
    will be pouring mead on your cup

    Don’t search for clues or reasons
    Don’t dwell on platonic delusions
    Don’t cry for what you think you’ve lost
    For you have only won

    Look inside you now

    Love Loves You
    You are Love.

     

    Knight of Cups


    White Heart

    Some people
    with their panoptic, utilitarian minds
    claim that Love is a choice
    As if you could just choose to love anyone
    They say there’s no special chemistry
    “That’s not Love” -they say-
    “That’s just Lust”

    Well, if it’s Lust
    then I lusted you deeply and truly
    I lust you so much
    and I’ll lust you till the end of Time
    I lust for the beat of your white heart
    in the palm of my hand.

     

    Ace of Swords


    Truth

    It is the truth now coming
    I’ve been deliberately blind
    amidst the fog of many Sundays
    It is the truth I avoided
    The comet following
    its interstellar track
    The heavy ball in the bowling lane
    speeding up towards me
    like an unstoppable slap
    It was here inside me
    and it was true all the time.

     

    Two of Swords


    To my Future by the Ocean

    You and I cannot claim a future
    all we have is this slippery moment
    nearly out of our grasp
    I wish this could be us
    so in dreams I track back
    scattered spaces and words dispersed
    to find the thread, something to reel in
    but nothing comes out
    I’m out of wisdom
    Silent drops and white mist
    drifting over green ground
    I stare at the Ocean
    and I’m no longer me
    I’m a hermit troglodyte
    who never uttered a word
    or was able to share
    some unsophisticated thoughts
    but feels that primal longing
    while trying to make sense
    of this inscrutable immensity
    and another day is dawning.

     

    Queen of Swords


    What She Said

    What she said
    she had said it to herself
    a million times before
    It was a vagrant thought
    which didn’t want to be called
    and when she said it
    it was words made birds
    flying from her throat
    wrung and tightened
    like a burning knot
    it was her last resort
    to make the clock stop,
    their universe implode,
    to bring the story to a close,
    cyclic patterns to an end,
    to blow the gateways
    that balanced the river flow

    What she said
    was nothing to retract from
    it wasn’t meant to hurt
    but to free them both.

     

    King of Swords


    Gemini

    Looking through the window
    Night sky stuffed with cotton clouds
    I can feel them sparkles cruising
    though I cannot see their light
    I miss the beauty of that moment
    when I felt so alive
    Flying dreams disintegrating
    as they touched land
    My spaceship keeps orbiting Earth
    like a homeless satellite
    I could even cry if I just wasn’t so,
    so very tired
    And one last time I imagine
    Gemini reflecting in your eyes.

     

    Two of Pentacles


    Schrödinger’s Cat

    As I walk through Irish fields
    where Spring shines
    I wonder about Life
    Is this all an illusion
    This vibrant green is surely
    livelier than I am
    Aren’t we all death and alive
    at the same time
    Am I the cat who stayed too long
    inside the box and now I know
    I’ll never be more alive
    than the moment just before I die.

     

    Knight of Pentacles


    He came from Sirius B

    He came from Sirius B
    A galactic knight, mighty like a titan
    who could break your head and rip your chest
    to make bangles with your guts
    in the blink of an eye

    But he was vegetarian, so he couldn’t understand
    why baby turtles died with bellies full of plastic
    just a few weeks after their mum had laid the eggs
    in the warm sand

    He was the most evolved amongst all the creatures
    in any of Darwin’s islands
    And as he circled his garden of damaged human minds
    philosophising and beating the bush
    a star was dying in a cardboard sky
    and a young couple was making love
    in some sunny place in France
    but the only remarkable thing
    the only truth
    is that they were young.

     

    Queen of Pentacles


    The Golden Bear

    Just as the leaves fell away
    with the first Autumn winds
    so did the withered branch
    after a long drying time
    since the tree cut out the flow
    of its greenish vital sap
    in order to survive
    The Golden Bear tasted the cold on her snout
    she dug a cave for her Winter doze
    and prepared her body for that brumal slumber
    For dawns eight times eight
    she fought the river, carving its rocks,
    waiting still or dancing on tiptoes
    and sifting water through her paws
    to feed herself with fresh salmon and trout
    in order to survive
    the deep sleep before rebirth
    and the numbness in her bones
    until she wakes up from her torpor
    to find six daffodils
    and then she’ll know
    that Spring has come.

     

    The Hermit


    Midnight Lamp

    Tonight
    I’ll turn off my lamp
    until you return the light
    of your eyes to mine
    of mine to yours
    I leave you the dream
    that kept me floating
    across rhymed universes
    and oceans of hope
    The infinite sands
    of moments of thought
    The blank pages waiting
    will remain untouched
    Steal that story
    from the saddlebags of Time
    for us to tell again
    in another life.

     

    Temperance


    Orion

    I wish I could still dream
    a dream of you where I
    just find myself lost
    trying to find my guide
    in the milky way of your spine
    The ghostly desert of your skin
    wrapping me in soft warm sands
    I hear the hunter’s pulse in my dream
    and I wake up just when your name
    is about to leave my mouth.

     

    The Star


    My Star

    You looked pale and beautiful
    under the light of my star
    Like a silver beam

    of mystery and light
    reflecting all that I am

    You looked pale and beautiful

    under that cold night light
    but I could not follow you then
    so I followed my star.

    I.               The Sun


    Planet Nine

    I stare at you, my Love
    from a safe distance now
    Still orbiting your light
    Slowly freezing without your warmth
    Hundreds of millions miles away
    Past the Kuiper Belt
    I witnessed how
    Pluto fell from your grace
    I might still cause some stir
    on this circumstellar disc
    made of small remnants,
    past lovers of yours
    Some say I’m a perturber,
    a dark giant of face unknown
    Some others pretend
    I don’t exist at all
    And I say nothing
    my beautiful distant star,
    my beloved Sun
    I’ll just wait in the cold
    But I keep rotating,
    for with my every turn
    I can sometimes gaze at your face,
    beyond the Transneptunian wall.

     

    II.            The World


    Infinity Orchestra

    Across the galaxy
    in elliptical march,
    the stars, planets
    and satellites
    dance their eternal dance
    wearing spherical gowns
    to the rhythm
    of an infinite melody
    spreading mute,
    cosmic sounds.

  • Review: Richard Kearney’s Touch

    Touch: Recovering Our Most Vital Sense is a recently published work by Irish philosopher and public intellectual Richard Kearney. The book is the third in the ‘No Limits’ series published by Columbia University Press.

    The blurb and introduction promise a timely meditation on the importance of touch in an age of virtuality. The book, we are told, asks how we are to reconcile the physical with the virtual, our embodied experience with our global connectivity. Unfortunately, however, it contributes little towards answering these questions, spending most of its few pages mulling over the history of philosophy and Western medicine; lingering around the goalposts without registering a direct hit.

    This is disappointing because Kearney has his finger on the pulse of a real undercurrent of dissatisfaction with our mainstream cultural model. Many of us believe that something has gone wrong, so we turn to our writers, artists and public intellectuals to identify the root cause. Is capitalism to blame? The invention of print? The discovery of fire?

    Kearney considers a neglect of touch as a key feature of our cultural predicament. It all began with the Greeks – he suggests – exemplified by Plato’s valorisation of the spiritually pure sense of sight over our beastly sense of touch. Now, we see the unhappy conclusion of such an idea; a culture founded around the image, where life is increasingly lived virtually at the expense of our physical existences.

    This mass sense of disembodiment, caused by engagement with digital technology, Kearney calls excarnation, a term loaded with esoteric theological significance. This aspect to our culture was brought into stark relief during the COVID-19 pandemic.

    Thus, most workers and students began working virtually from their own home, as nationwide quarantines were enforced, and social distancing was put in place in supermarkets, restaurants, and other public places. We realised that this was, in a way, the logical next step to the virtualisation of education and work. We just needed one catastrophe to put it in place.

    Worthy Premise

    ‘A civilization that loses touch with flesh’, writes Kearney, ‘loses touch with itself.’ (p. 47). This is a worthy premise to a book, and from this beginning, one can imagine an author moving towards a rich discussion of the effects of ‘excarnation’ on such matters as sex, violence, sport, the prevalence of body dysmorphia, self-harm etc. in our contemporary culture.

    The topic of ‘touch’ is indeed broad, but contemporary writers and cultural critics have gained good mileage with similarly broad topics in the past. An example is Maggie Nelson’s book The Art of Cruelty (2011), which takes the broad theme of cruelty as a foundation to a wide-ranging discussion on everything from avant-garde performance art, to the tropes of advertising, to the coverage of U.S. war crimes during the so-called ‘War on Terror’.

    This book, however, fails to deliver on its ambitious premise. Instead of diving into an analysis of contemporary culture, it stalls before it starts with two lengthy chapters introducing a glossary of terms, distinctions and concepts that are seldom used later in the book.

    Kearney meanders through etymologies and distinctions, drawing neat moral messages from vague, linguistically questionable associations. The root cause of this may be the unnecessary broadening of an already vague theme. Thus, he writes:

    As I hope I clear by now, when we speak of touch we are not just referring to one of the five senses … we are talking about touch in a more inclusive way, as an embodied manner of being in the world, an existential approach to things that is open and vulnerable, as when skin touches and is touched. (pp.15-16)

    This is a little too sweet to swallow. Even if we accept the Heideggerian mysticality of this passage, it’s obvious that Kearney is widening his subject matter out of manageable proportion.

    Indeed, he draws strongly on Heidegger in his concern with words and their hidden meanings. At times, this can be surprising and intriguing, but at other times, the connections seem banal. He argues:

    But tact is not the same as contact. Being tactful with someone does not always imply immediate physical proximity. One can be tactful, for instance, by practicing discretion in particular circumstances, as one negotiates the right space between oneself and others. (p. 10)

    Handshake

    A baby-steps approach would be justifiable on philosophical grounds if Kearney wasn’t taking flights of fancy elsewhere. At one point, he speaks of the handshake as being the ‘origin of community’(p. 42) without adequately explaining how.

    Indeed, in many cultures bowing or other non-contact gestures are the norm. We turn to the endnotes to find an essay that ‘analyses the first wager of hand-to-hand encounter between Diomedes and Glaucus in Homer’s Iliad and Abraham’s greeting of the strangers at Mamre.’ These literary scenes are certainly interesting, and may indeed point to episodes passed down through folk memory, but to suggest that they represent a historically verifiable moment in human history is unsatisfactory.

    The first chapter is structured around the questionably useful coining of new terms to describe sight, taste, smell and sound being used ‘tactfully’. ‘A person with tactful taste is savvy.’(p. 17), Kearney writes, a person with a good nose has ‘flair’(p. 21), and so on. But when we talk about the ‘tactfulness’ of touch we don’t really mean the sense of touch; remember we mean the metaphorical way of being in the world that touch acts as an analogy for.

    It’s odd to focus on the specifics of each sense when we’ve already established that we aren’t taking the theme of touch literally. In any case, is it still believed that there are only five senses? Isn’t it the case that there are many others beyond those traditional five?

    At this point in my reading, the unanswered questions become overwhelming, and I decided to stop thinking too hard about them. Instead, I focused on the texture of Kearney’s style, clearly influenced by Continental Philosophy. There is a lot of jargon, which is at times hard to follow. On the flipside, it is quite playful, making use of a number of touch-based puns and idioms. There is also a tendency towards moralistic aphorisms, and using words poetically. The following sentences give a flavour:

    Without the transversality of touch, sensibility risks sensationalism: sense without sensitivity, perception without empathy, stimulation without responsibility. (p. 16)

    Savvy is a carnal know-how. (p. 18)

    For if ontogeny repeats phylogeny, it also repeats cosmogony. (p. 20)

    Hearing is tactful when it resonates with what resounds. (p. 27)

    In response to this, however, I am moved to quote Wittgenstein: ‘Whereof one cannot speak, thereof one must remain silent.’

    Visual Culture

    It is popularly acknowledged that we live in a ’visual culture’, and Kearney sees this ‘optocentrism’ as the source of our woes. In his own words, ‘Optical omnipresence trumps tactile contact. Cyber connection and human isolation go hand in glove.(p. 5)’

    But Kearney never specifies exactly what a visual culture is, or what it means to live in one. What does the shortening of our attention spans, our growing inability to read longer texts, or the increasing popularity of podcasts and audiobooks actually mean in a ‘visual culture’? Do these elements suggest a deterioration in our visual faculties? Kearney doesn’t linger on these questions. In his eagerness to champion touch, he fails to determine exactly what it is he is fighting against.

    The second chapter of Touch is even murkier than the first. Kearney embarks on a historical tour of different philosophical considerations of touch, but only discusses two philosophers at any length: Aristotle, and Edmund Husserl. This leaves a gap of some two thousand years in between. Was there nothing to say about the Christian philosophers and touch, or about Descartes’s suspicion that his physical sensations could be a mere dream?

    As someone untrained in philosophy, I found the explanations of Aristotle’s thought particularly difficult to follow. I couldn’t tell where Aristotle’s opinions ended and Kearney’s began, especially since Kearney quotes Aristotle using terms like “tact”, which Kearney had given idiosyncratic definitions for in the previous chapter. Are we to take it that Aristotle aligned with Kearney’s usage of the word?

    At one point, Kearney remarks that Aristotle saw touch as the most foundational sense, since all the other senses rely on it. Food must touch the tongue to be tasted, soundwaves must ‘touch’ the eardrum, and ‘light strikes the iris’(p. 43). But was Aristotle aware that photons were material objects? And are photons actually material objects, if they have no mass, and can act like waves?

    When you start considering this subject at a quantum level, everyday notions of touch break down. After all, when I ’touch’ a table, at a molecular level none of the atoms in my finger are touching the atoms in the table, and I am only feeling the electromagnetic resistance of the table’s atoms.

    Likewise, none of the atoms in my body are ’touching’ each other, but are held in a bond through their orbitals. So, in what sense can you say that light ’touches’ the eye, or sound ’touches’ the ear?

    Odysseus and Polyphemus (1896) by Arnold Böcklin.

    No Central Thrust

    Even if you accept all the concepts, definitions and distinctions found in the philosophical survey, your work won’t be rewarded because Kearney barely mentions them again. Instead, the text turns to medicine. In chapter three, he talks about literary/folkloric/mythological figures like Odysseus and Oedipus who embody a ’wounded healer’ archetype. Then, in chapter four he talks about the importance of physical touch in modern medicine, particularly in psychotherapy.

    At this point, to my mind at least, it became clear that there was no central thrust to this book, and my attempt to follow his train of thought would go unrewarded. Instead, I found a collection of loosely connected rambles through Kearney’s reading, with no development between the chapters.

    The final chapter on popular culture (social media, video games, movies) finally gave me what I had been hoping for – a discussion of touch in contemporary culture – but is, sadly, the least satisfactory of the lot. Kearney is clearly unfamiliar with the details or nuances of internet culture, consistently misusing terms. At one point, he refers to the leaking of Hillary Clinton’s emails as ’revenge porn’ (p. 119), a blunder that reveals a deep unfamiliarity with the expression he is using.

    At another, he disparages the state of internet discourse as infuriatingly simple compared to the Golden Age of communication that existed back in an Edenic past: ’communication is becoming daily more simplified by social media tweets, memes, acronyms, and hash tags – ’What’s up’ being replaced by WhatsApp.’

    Putting aside the cringeworthy final sentence, is it really self-evident that internet communication is more ’simplified’ than print or verbal speech? Couldn’t you argue the opposite – that the increasingly ironic, self-referential, meme-ified soup of internet discourse is actually maddeningly Baroque?

    Avoiding odious comparison, you could speak of internet discourse not as better or worse, simpler or more complex than speech, but just as a new modality which is still in the process of growth, of finding its feet and testing its limits.

    There are plenty of scholars analysing internet culture now. It may seem absurd to study memes, but when you consider their effect on politics, it appears intellectually reckless to dismiss them as simplistic, and unworthy of analysis.

    Grand Theft Auto V.

    Video Games

    The ignorance latent in Kearney’s cultural analysis hits a peak in his discussion of video games, such as Grand Theft Auto V (2013), which he calls ’controversial’. When describing it he first gives an inaccurate description of its contents, speaking of how players can ‘build or destroy cities’ (Is he thinking of SimCity (1989), perhaps?) and ’seduce strippers’ (according to my research on the GTA forum, you can only purchase lap dances from the strippers in the game).

    He gives an inaccurate account of what it feels like to play a game he surely hasn’t played. It’s ’vicarious’ he says. With ’a click of a button, one exits the world of tangible reality and enters a computer-generated universe’. If only GTA V gave one the escape from tangible reality Kearney imagines. Alas, however, technology can only progress so fast.

    After painting this Black Mirror-esque picture of the reality-warping power of the computer game, Kearney exhorts the lost souls of gamers that ‘it is but a simulacrum’, and warns against ’the risk of losing touch’. The only one out of touch here is Kearney himself.

    Apart from GTA V, Kearney lists a number of examples from modern media that deal with the sense of isolation and alienation engendered by digital media, referencing such titles as ‘Her’ (Spike Jonze, 2013), ‘The Truman Show’ (Peter Weir, 1998) and ‘Black Mirror’ (Charlie Brooker, 2011 – present). But all these works communicate much more nuanced and rich critiques of contemporary culture than Kearney is able to muster in this text.

    There are insights and interesting titbits scattered throughout the book, but on the whole it is lacking in a sense of progression, with little development from chapter to chapter, and a cumbersome amount of time is spent advancing distinctions and definitions that are never called into use.

    Columbia University Press claims that the No Limits series ‘brings together creative thinkers who delight in the pleasure of intellectual hunting, wherever the hunt may take them and whatever critical boundaries they have to trample as they go.’ With Touch, we see the weaknesses of this interdisciplinary approach, as the book’s lack of precision and relative naivete provides unsatisfactory responses to important questions in contemporary culture.

    Featured Image: A Missouri National Guardsman looks into a VR training head-mounted display at Fort Leonard Wood in 2015

  • Halloween

    I’m sitting down on the steps of an old derelict townhouse, across the road from what used to be my old local. I’m rolling a joint, a packed-out little pinner, and looking at the carrying on that is going on outside the pub. Three kids on bikes have stopped to get a buzz off a guy, probably in his late forties or early fifties, who’s pissed out of his head and is holding himself up by a lamppost, around which he is slowly spinning himself. The guy´s wearing a shiny grey suit that has definitely seen better days. His white shirt, open at the neck, has a dirty big half-pint of stout stain down the front of it. With one hand holding the lamppost, stretched out at arms-length, and his feet planted against the base, the guy is leaning so far out that he´s at a near forty-five-degree angle. He spins himself slowly, around and around the lamppost. Like Gene Kelly in “Singing in the Rain”.
    “I´m a dirty swinger, Lads!” the guy shouts.

    It´s getting late in the evening and Halloween is fast approaching. Bangers are going off, booming like bombs in the distance, sometimes closer, echoing and reverberating throughout the streets. High above the pubs, takeaways, bookies and closed-up shops, fireworks screech up into the sky, pop and fizzle out. Reflected in the third and fourth story windows opposite, I catch bits and pieces of the soft explosions. Pulsating yellows. Exploding whites. Terrific blues. Glittering greens. Fountain-sprays of red. The smell of gunpowder and the barks and yelps of terrorized dogs enliven the chill autumn air. Gangs of kids, sometimes ten or twelve strong, drag pallets down the footpaths and street. Cars blare their horns and swerve around them but the kids just throw the finger and let loose a chorus of profanities. Sometimes, when a car has gotten a safe enough distance away, an egg or two are thrown after it. Pagan mischief has descended upon the city again and taken over the streets. And the people in cars know better than to stop.

    “I´m a swinger, Lads!” the guy shouts again, turning himself around and around on the lamppost. “I´m a dirty fucking swinger!”

    But the three kids on their bikes have lost interest. They are looking in through the window of a Chinese Takeaway, Shangri La, at the little Chinese woman who sits behind the counter, her head hovering beside that little golden kitty which perpetually waves it´s pawl. It looks warm inside the takeaway. Every now and then I think I get a whiff of food when a customer or a delivery guy enters or leaves: Spring Rolls, Chung Po Prawns, Roast Duck in Plum Sauce. But the thought of all that greasy food makes me a little queasy. One of the kids gets up on his bike and starts circling around his two friends.
    “I speak Chinese now,” he shouts, “Kim Poo Kak! Po Cum Kim! Chong Chong Chiny Chong!”
    Another kid starts to mimic the golden kitty, levering his arm up and down, waving and staring in at the woman behind the counter.
    “Gizza look inside your fortune cookie!” he shouts.
    “Cum Young Son!” shouts the third kid.
    “I´m a dirty swinger, Lads!” the man spinning around the lamppost shouts again, “And I´m going to box the fucking head off the next prick I see!”

    The few people who are passing up and down the street are paying no attention to any of this. Those who do see what is coming up ahead of them have marked it as trouble and crossed over to the other side of the street in order to avoid passing the guy. He’s still swinging himself around this lamppost, and the kids on bikes are now blocking the footpath. People have become weary of this part of town. It’s been so for a while now. And people are especially weary when night is moving in, especially at this time of year.

    A Brazilian student arrives at the bus stop just in front of me. He has white earbuds in his ears and is texting on his phone. When he looks up from his phone at the bus stop’s electronic timetable and seeing that it has been smashed in, he shakes his head and moves on. I light my joint and take three quick puffs on it. From my inside jacket pocket, I take out my naggin of whisky, spin the cap and drink down a good, deep, gut-warming measure, recap it and put it away. I’m invisible to those across the street. I have willed it so. But that could all change in a split second. I´ve packed out the joint and after two more quick hits off it has taken effect. I take another enormous hit and hold it in. Playing traffic lights with myself, I wait until I´m nearly lightheaded before slowly blowing out the smoke. I pull my thick woolly hat down snugly on my head.

    With a sizzling sparkler in each hand, a tall, painfully thin girl comes skipping right past me. No more than ten years of age, she’s dressed all in black and her long blonde hair is tied up in a ponytail. I lean out from the steps and watch her as she goes by. Wearing a little black leather jacket, she launches herself into the air, landing and springing up again. Her ponytail lifts and falls above the back of her black leather jacket, where white Coca-Cola style letters spell out “Trouble-Maker” over a red heart pierced by an arrow. Twirling her sparklers, this little impish cheerleader of mayhem skips on down the street, slowing only to turn right at O’Mahony’s butchers. She disappears around the corner where, in black marker on the white wall of the butchers, someone has drawn a huge cock and balls complete with four lines for the jizz spurting out in a graceful arc. In red marker underneath it, and probably by a different hand, is written, “Mandy is a fucking tramp.” And beside that in black marker, “The Pope is a pedo.” Staring at all this, I’m convinced that none of it had been there twenty minutes ago.

    A kid comes stumbling down opposite side of the street. By the look of his Seventies getup, I figure that he´s come from the rock bar, The High Stool, just a few doors up. The High Stool is one of the last few havens for young bands to play in and they’re known to go easy on I.D. The kid has long, curly black hair, a light bumfluff moustache and wears a blue denim jacket with band-patches sown on to it, and tight grey jeans. He is no more than seventeen. The rocker-kid totters down the street and stops. He takes out a twenty box of Marlboro red from his jacket pocket, puts one in his mouth and drops the box back into his right-hand inside pocket. Swaying slightly, he tries to light his cigarette, flicking his lighter in his cupped hand, before tottering off again, oblivious to where he is.

    Having lost interest in the Chinese takeaway, the kids on bikes lean over their handlebars in quiet conference. They look over their shoulders, up and down the street. Finally, the young rocker gets his cigarette lit. He becomes absorbed by it, puffing at it, then looking at it, then lovingly puffing at it again. Throwing his head back, he exhales huge clouds of smoke.

    The swinger has switched gears, and now using his right hand, slowly winds himself counter-clockwise, around the lamp post. Just as the rock-kid comes within range and, without breaking the momentum of his turning or taking his hand from the lamp post, the guy tips his weight in such a way that he picks up speed and, in one fluid movement, comes back around and throws a thick, meat-and-bone fisted punch, landing it squarely on the right side of the young rocker-kids face. The sound of it carries across the street.
    “Whoa!”
    “Ho-ho!”
    “Wha´?”
    One of the kids has had his back to it all but he turns around just in time to see the rocker-kid, blind-sided and stunned, staggering backwards a good four-to-five steps before his legs buckle and give out from under him and he falls back, down on his hands and ass. I missed which way the cigarette flew from his mouth.
    “Down in one!”

    The kids on their bikes roar with laughter and the swinger doesn’t say a word. Just keeps turning around and around on the lamp post. Eyes closed, he smiles to himself, his face serene. Miles away now. He’s Elsewhere. The Champ. First round. K.O. Raising his belt for the world to see. But on his third revolution the smile was gone. Opening his eyes, he surveys the street before letting go of the lamp post. He walks over to where the kid is lying on the footpath, propped up on forearm and elbow. He swings a kick at the kid’s face, like his head was a football hovering in the air, begging to be volleyed. The sound this makes sickens my heart. Thrown back beneath the bookie’s window, the kid’s face is ghost-white now. He opens his eyes wide and blinks once. By the second blink his eyes are heavier. Blood pours from where his nose and mouth used to be. When he closes his eyes for a third time, they don´t open again and his head sinks down slowly into his chest. He´s either out cold, or dead.

    “Job oxo, Lads,” the guy in the grey suit says to the kids on their bikes. The kids look at him, each of them now standing up straight, hands gripping their handlebars. They watch him as he walks back into the pub, my old local. The kids look at each other, then at the rocker kid on the ground. One by one they get up on their pedals and go cycling out blindly on to the street. Cars blare their horns at the kids as they go racing down the road, zig-zagging each other, shouting and hollering.

    The last two hits off the joint burn my fingers and scorch my lips before I throw it away. My eyes feel hot and bloodshot. I take another big drink from my naggin, to steady myself, but make sure there is enough left for three or four big mouthfuls later. I pick up my rucksack, stand up, and swing it around my back and over my shoulders. My legs feel feeble. Car lights zip past on the road. There is no one around, just an old man, bent-double, with a walking-stick on the opposite side, down by the boarded up Centra on the corner. He’s so doubled over that he can only look at the ground. So, it will take him a good ten minutes to cover the same amount of ground it will take me fifteen seconds. Despite waiting for a break in the traffic I nearly get knocked down crossing the road.
    Making sure my back covers us from the road, I hunker down in front of the rocker-kid, without touching him. His head is still slumped into his chest. The blood gushing from his nose and mouth has covered his chin. Three bloodied teeth nestle in the folds of his faded black t-shirt now darkened, drenched with his own blood. Looking around, I reach into his inside pocket. And in that very moment, when my hand clutches the package of cigarettes, to pull them free, I´m waiting for someone to walk out of the pub and see us, or for a heavy hand to fall on my shoulder. But, no. No one comes.

    Hurrying down the street, I stride past the old, question-mark shaped man who can see nothing but the footpath, his feet and the end of his walking stick, dog-shit and broken glass. My heart is beating so hard I can feel it in my dry throat. But I´m out. I´m gone. I´m free. I squeeze the box of cigarettes in my hand and I can feel by it that it´s pretty much a full, fresh pack. It´s the best luck I´ve had all week.

    I pass by a boarded-up pharmacy, the graffitied hoardings of a closed-down sushi restaurant and an African barber. Being open, the barbershop is still lit up, but inside, every chair is empty. Only two cigarettes have been smoked from the pack. Sparking one up, I turn down a darkened side street, and slacken my pace. A few of the streetlights have been smashed. A row of brownstone townhouses are uninhabited, their windows black and For Sale signs displayed on every facade. Near the street’s end, I stop beneath the fitful flicker of a streetlight. Leaning against the lamppost I smoke and wait for the calm to return. For my hands to stop shaking.

    There´s a church across the street I´ve never noticed before. Looking at it, I consider going inside for a while. A few minutes of peace and warmth. Maybe some song. A choir. Some candles, some nightlights, might be got. A reading from the Book of Jeremiah. Ezekiel. Or Ecclesiastes. A reading from the Gospel of St. John. A fiver, or a tasty tenner passed around in the tray. When goods abound, my brothers and sisters, parasites abound. But I come among you to pray. To shake the warm and clammy hands of other weary sinners. To ask forgiveness. To confess and to repent. And be not lost. Lord hear us. In your grace, Lord, hear us. To sit in silence. Then kneel in prayer. Close my eyes. A God´s body dissolving inside of me. And hope that, in prayer, my mind might be drawn toward higher things.

    Curious as to the name of the church, I search for the sign and behind the spike-topped black railings, I spot it. Spade Enterprise Centre. In the windows I see the ghostly glow of two computer monitors, the green hills and blue skies of their screensavers. Disgusted, I flick away the end of my cigarette and keep moving.

    My boots crunch against shards of glass on the ground from the smashed-in windows of the Citizen Information Centre. Spray painted graffiti, cryptic tags and slogans, run the length of the building, jump onto the next shop-front, and the next, and continue on across the battered iron shutters of an old, burn-out Post Office. “Take Back the Streets”. “Vote Maybe.” “God is Love.” “Take Back the Streets.” “Live Dublin. Die Young.” “Let it Come. Let It Go.” At the top of Smithfield, a pink pram has been left on the street. An empty pouch of rolling tobacco and a black woolly hat on its seat. Two pieces of bloodied white tissue paper lay on the ground beside it.

    Smithfield Square is all lit up. A Third Reich modernity about it. The green light at the top of the distillery look-out tower. The huge light-standards all lit up red for Halloween. If only the flaming torches on top of them were lit. Triumph of the Financial Will. Hotel room lights all lit up. Apartment windows all lit up. All warm and lived in. All the windows look down on to the Square. Smithfield Square structures the night and holds it at bay. People walk about across the Square. Going out, coming home. Groups of friends, couples, clutches of tourists. Going out to pubs. Going out to restaurants. A Halloween Horror double-bill in The Lighthouse. “What are you having?” “What you wanna go see?” “I´m getting this one in, put your money away”.

    I stand and watch the revolving ads on the motorized billboard. “Tell your girlfriend to get stuffed. Chicago Take Away Pizza” “You got a big future ahead. D.I.T. Open Day 30th November – Sat. 1st of December” “It´s the blend that counts. Tullamore Dew”. There´s more in my naggin than I´d thought. I take another drink and go around to the other side of the billboard and watch the ads roll up and roll back. In dramatic, eye-catching, black-and-yellow bio-hazard style design “Renting and worried about losing your home”.

    Outside the Fresh Store a woman´s white-framed bike, with a wicker basket on front, is stood up on its kickstand in gentle repose. Unlocked. But I´m tired. And the thoughts of being chased exhaust me. When was the last time I was even on a bike? And a woman´s bike at that. Across cobbles stones too. And nowhere to go or to bring it. Forget it. I go over to the tiers of concrete steps on the Square and sit down. From my jacket pocket I take out my black fingerless gloves and put them on. I light another cigarette and I look up at the windows of the hotel rooms and the apartments. The cold is starting to bite. Like a vampire I have a lust. I have a need. I have a want to be invited in. See me. See me. Come to the window and see me.
    Look down and wave.
    Invite me up.
    Invite me in.

    I sat here one night and watched a Conor McGregor fight on about half a dozen huge, flat-screen TVs mounted up high on the living room walls, through a number of the windows of third and fourth floor apartments. A lot of people were out on their balconies before the fight. Talking, laughing, drinking, smoking. Taking pictures. I was so close to shouting up at them. I could have shouted up too. “Hey! Hey! Can I come up and watch the fight? Came down without my keys and locked myself out like a spa. I know. Sickened. Of all the nights. I got some coke!” They might have taken me in too. For the laugh. More the merrier. Just to watch the fight. And why not. Neighbourly neighbours. Ah yeah. Good souls. Good skins. And I had it all planned out too. Get in. Get to the kitchen. Dump out some coke. Rail it out. Generous like. Grateful. Gratitude. Get that immediate friendly welcome then. Comradery on tap. “Help yourself, Man. Happy Days. Thanks for having me. Yeah, can´t get a fucking locksmith ´til tomorrow”. Accept a beer. Take a shot. Compliment the gaff. Get to the bathroom then when they´re all roaring at the TV. One-minute shower. Nick bit of shampoo. Bit of shower gel.  I could do it in forty seconds. Dry off. Bit of toothpaste. No need to be a total scald. I have my own toothbrush and everything. No one would have copped it at all.

    But I left them to it and watched the fight through the windows instead. And I could see a good bit of it too. Few bumps of coke gave a fluency to my own running commentary. I had a great time. I felt capable and alive. Mercifully distracted from the sharp cold of empty hours.

    Two kids walk past. One with his hands down the front of his grey tracksuit pants. They slow down when they clock the unlocked bike. They take a quick scan around and they see me, looking at them. They keep walking and I flick the end of my cigarette away.

    Tied by a luminous green leash to the chalkboard outside of Fresh is a little dog so small that I hadn´t seen it when I first sat down. I get a rush of recognition when I see it. My stupid blood thrills at the sight of that little fucking dog. That´s Aido´s dog. Definitely. Little Jack Russel-Chihuahua. And the red and the black brace around it for the leash. It fuckin is an´all. No mistake. I take off my woolly hat and let the cold air at my head. I take a look at myself. A once over. I fix my hair and smell myself. I stand up and stretch the tension, the anxious anticipation, out of my extremities. I start a little pacing then, to and fro, in front of the steps.

    “Aido. How are things? Alright Aido. Long time.”
    Speech doesn´t seem slurred. A cold shiver runs up my spine and I shake myself. Giddy as a fuck. Thought you were done though. Thought you were done. But this is chance happening. Street Magic. I sit back down on the steps. My right leg is jigging up and down with a kind of sprung rapidity. I slide my rucksack off my back without taking my eyes off the door and place it down next to me on the left. From my back jeans pocket, I take out my little baggy and, holding in down in between my knees, I tear off enough for two fat joints from the pungent bud. I put the makings, loose, in my right-side jacket pocket and put the baggy back in the pocket of my jeans. I suck the taste from my fingers, fix my eyes on the doors of Fresh, and wait.
    Sure enough, out walks Aido carrying a bag of shopping. Tracksuit pockets bulging too. He leans forward, talking to his dog, unties the leash from around the chalkboard and starts walking away.
    “Aido!”
    He stops and turns around. He peers over.
    “Who´s tha?”
    “Andy, Man.”
    Tugging on the leash, he walks over.
    “Alrigh?”
    “Ye man. Good, good. Good to see ya man. Been ages.”
    “Been a while, alrigh.”
    “Hello Floopy. Haven´t seen you around for a bit.”
    “Ah yeah, was away for a bit.”
    “Ah right. I never heard. You back into it?”
    “Ah, doin a bit you know. Wha ya after?”
    “Meant to ask you. Did your sister-in-law ever do that exam?”
    “Christina?”
    “Yeah.”
    “Fucked if I know, Man. They´re gone to Canada.”
    “No way.”
    “Yeah, over in Calgary. Doin’ the business.”
    “Nice…just eh, remember that, when I said I´d do those classes with her…for free?”
    “When was tha? A year ago?”
    “About that yeah, I think.”
    Aido sniffs his nose and spits a tangley mess of phlegm up on to the grass behind me.
    “And…you remember I said…I said I´d cash in with you sometime, when I was stuck?”
    “Wha, you got nothing on ya at all? I´ve nice stuff there for a score.”
    “I´m skint man. But here. You´d be doing me a solid. I won´t ask again.”
    “This shit doesn´t run, Pal.”
    “That´s alright.”
    Aido looks down at me and changes the bag and leash, behind his back, to the opposite hands.
    “You sick for it these days or somethin’?”
    “No…not at all. Are you still smoking?”
    “Yeah, course. But there´s no green around here man. Nothing for the last two days. It´s a fucking joke, so it is.”
    “Here…I have enough for two nice big spliffs. I was gonna save it. It´s the last bit I have…”
    “Do ya yeah? Where´d you get tha?”
    “An old mate of mine, Phil, in town, there. He harvested a batch last month and that is the last of it. He´s not doing any more. He´s getting paranoid.”

    Aido moves and comes and sits down on the steps beside me. He smells fresh, of deodorant and aftershave, of warm spin-dried clothes. Floopy totters across and smells my boots, and the ends of my jeans.
    “Blue Cheese.”
    “Is it yeah?”
    “Fucking lovely stuff.”
    “Yeah, I´ve had it before. Throw it out there.”
    I put the bud on the ground between us. Aido picks it up and smells it.

    A big, round-bodied young woman comes out from Fresh, carefully carrying a big Halloween pumpkin under one arm. With her free hand she holds the door open behind her for a builder in a high-viz jacket whose going in to the shop. The woman shifts the pumpkin around to her front so that she can carry it better, in two hands, and heads off down Smithfield Square. Every now and then she looks down at the pumpkin, making sure it´s alright.

    “Cheers, Pal.”
    Aido stands up then and my heart sinks.
    “I´ll be getting tar in the day after tomorrow. Twenty-five a pop, alrigh?”
    “I´ll defo take two, three off you for sure man, nice one. And I´ll have the cash…could I just get that one off you now though…remember when I said –”
    “Yeah, yeah, yeah…fuckin memory banks here.”
    Aido sticks a finger into his mouth as though he were going in to pull out a rotten tooth. He throws it at me. It bounces off my knee and falls right in front of the dog. Floopy goes for it too. But before she can get her little nose or tongue to it Aido pulls at the leash, hard, and the little dog yelps and runs back behind her master´s legs.
    “Ya thick,” Aido says.
    I don´t know if he´s talking to the dog or to me.
    “Thanks, Man,” I say, holding the little warm wet ball tightly between finger and thumb. “Thanks a mill.”
    “G´luck.”
    “See ya…and…yeah, day after tomorrow too, right?”
    “Yup,” Aido says, without looking back. “Twenty-five.”
    “I´ll have it man,” I say. “Definitely.”
    I wait until Aido has moved on, then get up and split from the square.

    There is music in me now. I´m in tune with everything. I look up to the sky to thank the stars but see only heavy grey overcast cloud. Thank you, I say, quietly to myself. To the beneficent spirit who walks beside me. Shouts and screams up ahead, from the playground area. A woman shouting. That woman I´d seen. She´s shouting in Portuguese on her phone. Looking around her for someone to help. She points down to towards the Smithfield Luas stop. I look and see the backs of two, maybe three kids on bikes, zig-zagging each other, quickly disappearing out of sight. People pass by the woman, ignoring her distress. On the ground beside her, the smashed-in head of her pumpkin, it´s bright, orange, pulpy sweet brains a mess on the cold, dark cobblestones. I veer away.

    A huge black and white mural on the wall. Dublin, City of Homeless Families. The Council won´t be long in coming around to attack that with their cherry-picker and grey paint. Can´t be having that.

    At the end of Burges Lane, that tough-looking fucker I always see around is holding himself up with a hand against the wall, and is bent over, retching, hosing the ground good with cidery vomit. He´s always in the same pale blue jeans and black hoody with the tacky design on the back of it: the silvery mountain wolf howling at a blue moon. When he finishes, he pushes himself back off the wall, wipes his mouth with his sleeve and stumbles backwards, staggering, cock-eyed. Hasn´t a clue where he is. He holds his arms out, then folds them around a body of air, as though he were embracing an invisible dancing partner. He staggers backward, waltzes around and around, babbling about something I can´t make out. He continues to stagger backward and is nearly clipped by a Luas too as it goes by, its bell ringing, its windows all lit up in the dark. The last three carriages of the Luas are all splattered and splashed with vivid pink paint.

    Down Coke Lane, I keep my eyes on the ground. One night, I found an eight of hash down here. Another time, two twenty-euro notes, folded into one another. Thought it was just the one. Double score. I scan the ground. Wide-eyed. Avid-eyed. Seeing all that I can see. If there´s something here I´ll see it. My eagle eyes are notorious. I´ve got this intuition. Divining senses. A compass. I can feel it. A magnetism for all the lost and forgotten things.

    Up ahead the red neon of Frank Ryan´s pub. People sitting at two cheap pine picnic tables, drinking beer and eating pizza from the pop-up, stone-bake oven housed inside of a brightly lit smoky white gazebo. Three people who look like they´ve been here since after work are drinking beside the big potted shrub. A guy stands on his own under the awning, smoking, looking down into the glow of his phone. I smell weed, not as good as mine, as I pass by and head straight in the backdoor.

    The old warm boozy tavern air hits me with a bang of beer, sweat and incense. Blues music plays loudly through the speakers. The place is dark. It is always dark. Save for the classic canopy light pulled down low over the pool table. This is the brightest part of the pub, just inside the back door. This pub is always dark and loud around this time. That´s why I like it. Drinkers sit around small tables and have to sit close in together, intimate like, to hear themselves talk over the music. The candles on the tables dazzle their tipsy, glassy eyes. Whether amorous or platonic, a little dancing shadow and candlelight on the face is seductive. It keeps them blinkered.

    What happened took no more than four or five steps to accomplish. My wits lit up the second I crossed over the threshold. No one, thankfully, had been playing pool. A couple were in the corner at the far end of the pool table, too busy canoodling to see anything but themselves. Their pool cues discarded on the table. On the right, as I walked in, were three empty bar stools at the wooden counter. Its own little alcove. Two near-empty pint glasses and a full glass of red wine.

    I don´t look out of place in a pub like this if I keep moving. Just passing through. Don´t catch the bartender’s eye. I narrow my way past people, polite and smiling as I go, standing back at times to let others pass by me. I set the now empty wine glass back down at the end of the bar, and follow a young guy out the front door who, without looking back, holds it open for me. The door bangs shut behind me, unexpectedly, and it makes me jump. A little red wine dribbles from my mouth down to my chin. Quickly across the road, between traffic and blaring car-horns, I am past the Dice Bar and half-way down Benburb Street before I swallow the last of the wine. They´re just lucky they didn´t leave a coat or a bag or a phone behind them. I look around behind me but I know I´m safe. And what of it? Five fifty. Six fifty a glass. Put the next round on your card. Not looking where I´m going I nearly trip over the stripped skeleton frame of a mountain-bike that, still chained to a lamp post, is lying dead on the ground. With a quick step and a skip, I right myself and look around. But no one has seen me. Goodnight, Ladies and Gents. Thank you and goodnight.

    When I get back to the bridge, I see that the light above the door of James Joyce House is still on. I´ll have to wait a while longer. I take up my place on the concrete seat in the middle of the bridge, look down into the river, at the ghoulish green lights under the arches of Queen Street bridge, and wait. I squeeze the pack of cigarettes in my hand in my pocket. Press my elbow against me to feel the naggin, still safe in my inside pocket. In my jeans pocket, I roll the little ball of powered warmth and comfort between my forefinger and thumb. Eyes become unfocused. I zone out. Soon the world and I within it become a seamless, pointless blur…

    This bridge over the Liffey, and this long stone seat upon it, is the day-time seat of the Dublin City Shadow Council. Each morning, between seven and eight, Franky, Charlie and Des appear, take up their seat overlooking the river and wait for the off-licenses to open. They buy what they need, then reconvene to the bridge again and are here, usually, and without interruption, until their curfew at six in the evening.

    Franky is the biggest one and the most silent. He looks like a medieval executioner who has lost his black hood. Not five minutes pass in the day that he doesn´t get up off the stone seat on the bridge and start looking down on the ground around him for something he seems to have lost, before sitting back down again and taking a worried drink from his can, squinting at the brightness of the day. Franky´s huge, about six foot three, fat, and has long black hair, balding on the crown. A big black grizzly beard hides most of his face apart from his brow which is smooth, pale, unfurrowed, unblemished, almost babyish. His t-shirts never come all the way down over his big pale beer-barrelled belly and, when he walks, it seems like he is being lead in every direction by his belly, behind which the rest of him must slowly follow. He´s gone through at least three pairs of cheap black runners that always seem to burst at the front so you can see his dirty socks, or sometimes his big, rusty brown-nailed toes.

    Charlie is smaller, about five four. Under his faded navy corduroy paddy cap, squats his small, soured, red face and those hard, bitter, pale blue eyes. A thin, little black and grey moustache. He walks stiff-legged, bowlegged and with the help of a brown walking stick. His clothes are always a motley combination of charity shop donations. Purple cardigans, grey jumpers, and dark blue jeans. He looks a little like Charlie Chaplin. All he needs is the bowler hat.

    Yesterday, around lunch time, Charlie was lying on the footpath, on the corner of the bridge, at the junction on the quays, right where people usually pause to press the button on the traffic lights and wait for the traffic to stop. A young guy in his mid-thirties, in a business suit, was standing over him and talking on his mobile phone. He was calling an ambulance, or the police. Charlie´s walking stick was lying on the ground beside him. As I walked past, I heard Charlie whining from the ground. “It´s shit. It´s all shit…and I¨m shit too.” And I kept on walking.

    This afternoon he was back on the bridge, sitting on his seat overlooking the river, a can of cider in one hand, his other hand balancing and steadying himself on his walking stick between his legs, his eyes tightly closed, and he was belting out a song I didn´t recognize. A middle-aged, curly red-haired woman was sat beside him with a freshly swollen black-eye that looked like a plum. She was singing too. They were having a great old time. Franky was sat beside them, squinting at the river and beside him was Des.

    Des is tall and thin. He never changes his clothes. He wears a faded black wax-jacket that´s covered in slobber and stains. Beneath his wax-jacket he wears a faded black suit, faded black trousers and his old black shoes are stained too. He has sore-looking red and brown-green scabs on his head and the few spare teeth he has are surrounded by browned and blackened tarry gum-holes. Des doesn´t drink. He sits cross-legged and chain-smokes rollies. He rolls them with too much tobacco. His shaky, agitated, black-nailed spidery fingers are smoked-stained, orange and burnished yellow. He never uses filters. He slobbers the end and puffs in silence. He usually throws half of the rollie away…and starts rolling again. Over the course of a day Des will usually only ask two questions. “Cigarette?” and “What time is it?” He will usually answer yes to any questions. “Are you cold Des?” “Yes.” “Are you tired Des?” “Yes.” “Are you alright Des?” “Yes.” By way of conversation, he may say. “I´m tired.” The most he´ll say is. “They should let us sleep on in the morning. Six a.m. Too early to be woken up.” Throughout the day, as the rest of the city goes on living busily around him, he´ll frequently say, to no one in particular, “I´m tired.” Sometimes he´ll stop smoking, lean forward and hold his head in his trembling hands. Des looks like a mortician that is slowly turning into a corpse.

    And so, if it´s company I want during the day, this is the company I keep. It´s the most regular company I have. It´s enough to come and sit among them. As long as these meetings of the Dublin City Shadow Council can continue each day, that they’re allowed to sit here, unmolested, and are allowed to continue their sessions, I can feel as though the balance in the world is being upheld.

    But this afternoon there was a new addition, someone I didn´t like. A properly dangerous fucker. Young fella. Shaved red hair. Vicious scar down the side of his head. Hate-filled-killer-eyes. One of his legs was gone at the knee. His tracksuit was rolled up and tied in a knot so it looked like a cocktail sausage. He had crutches, crossed over his lap. When I came and sat down, he was changing his sock. He balled up the old one and threw it over the bridge and into the river. As he was putting on a fresh sock, he took one look at me and said “Oi. Casper. Roll me a joint.”
    “I don´t have any.”
    “I know you do, you rangy fucker.” He took up his crutch and pointed it at my face. “I won´t tell you again. I know what you have. Roll me a fucking joint.”
    “I don’t have anything.”
    “I´ll cut your fucking leg off!” The sudden force in his voice and his look made the blood turn cold in my guts. I got up and walked away. He threw his crutch at me and hit me lightly on the back of my legs. “You´re fucking dead!”

    But I kept going. I wanted to go back though. Pick up his crutch and beat the fuck out of him. Continue what the scar had started and crack the rest of his fucking skull in. Force my thumbs in through his eye sockets and wriggle the jelly about inside. But I knew, just by looking at him, that he was connected to a network of murderous fuckers. That look he gave me stuck to me. It followed me across the road and into the Spar. Before I knew what I was doing I was back out of the shop and walking away from the bridge, down the quays, drinking from a naggin of whisky. Arming myself for a fight I didn´t want.

    A massive explosion in the distance shakes me out of my thoughts. The quarter sticks of dynamite are out now. The stone seat I´m sitting on is cold again. The light in the James Joyce House is still on. Another huge explosion in the distance. Kids are starting to put bangers in glass bottles, putting them out on the streets or up on walls and lighting them when they see people coming. Little fuckers have graduated to roadside bombs. IEDs. Some kid running home screaming, a hand covering his face, blood and burst eyeball gore streaming through his fingers. Happy Halloween.

    I look over at the house again and stare at it.
    That´s the security light that´s on.
    No one is in there.
    No one had been in there all this time.

    I get up off the concrete seat and leave the green-lit arches of the bridge and the lonesome cold of the night.
    “It´s shit like this that´ll do you in in the end…stupid prick…pay attention…fucking pay attention…or that will be the end of you…Do you hear me…? Pay-a-fuc-king-tention… Stupid shit.”

    I jump the spiked black railing at the James Joyce House and disappear down the iron stairs to the basement, out of sight from the streets. Doesn´t look like anyone has been down. Nothing seems to have been disturbed. That won´t last. But for now, it´s good. For now, it´s still mine. I start to get the place ready for the night. I cleaned up the mess that was down here. Spent a good long time at it too. Must be two weeks ago or so. Just before dawn and worked ´til the afternoon. Got two big black bags from the Brazilain guys over at the Spar. Filled them bags full of crushed beer cans and energy drinks. Plastic bottles and spirit bottles. Crisp packets and sweet packets. An old mangled umbrella. Two rancid condoms. An old weathered, sad-looking, mildewed, black Converse runner-boot. An old filthy election poster. Maire Higgins. Vote Labour. It took me a long time. Worried about getting spiked by a dirty needle, I went slowly through the carpet of refuse, picking up everything, carefully, between forefinger and thumb. Pulled up weeds too from out of the ground that had grown through the concrete and from out of the walls. Above my head, as I worked, morning traffic had picked up on the quays. People passing on their way to work. No one stopped to ask me what I was doing. A glimpse down might have suggested a landscaper, or a volunteer. I never turned my face to look up. Few people, if any, saw me. Maybe no one saw me at all. I had willed it so. Don´t see me. Don´t disturb me. Leave me be. Let me work in peace. I kept my eye on the prize. A clean, concealed space of my own. Off the streets. Easily overlooked.

    Got rid of the black bags into a skip in Burges Lane. Skip full of smashed concrete. Old cream-coloured computer monitors and keyboards. Old fire extinguishers. Telephones. Stacks of expired Yellow Pages still wrapped in plastic. Everything I needed and more. All on my doorstep too.

    After the big clean up, I was even able to get a loan of heavy yard-brush and dust-pan from the mechanics a few doors down. It was the mechanic’s mother who loaned them to me. Elderly woman, salt of the earth Dub. She reminds me of my grandmother. I´d known her to see. Out every morning, afternoon and evening, in her navy diamond quilted vest jacket, sweeping the ground outside of their garage. She keeps the place spotless. When I returned the brush and pan, she had a cup of tea and a ham sandwich waiting for me. She told her son, who was working under an old black Honda with white racing stripes on it, to let me use the toilet to wash my hands. “Go on” he said, without looking back at me. He wasn’t at all pleased.
    When I came out, he was standing under the car, working it´s oily guts back to health. I sat with his mother on one of the two seats she had brought out and set just inside the big, open, double doors of the garage. I took off my rucksack and sat beside her. I drank my tea and ate my sandwich, watching the traffic pass by on the quays outside. She didn´t pry. She didn´t look for reasons or explanations. She just knew. She just sat there in a way that let me knew that if I wanted to speak, or say something, that I could. But I had nothing to say. Despite myself I could still hear myself rehearsing responses, like “This crash was worst the last.” And, “I mistook myself for an exception.” She did say one thing though. “It´s a crime,” she said, “what they´ve done to this country…it´s an absolute disgrace.”

    After she had finished her tea, the old woman, I never did ask her name, got up and put her cup down on the chair, then took her brush that I had returned from behind the door and started sweeping the already spotless, smooth garage floor. I was careful not to get any crumbs on the ground around me or let slip any of the big slices of ham from out of my sandwich. I was careful too not to spill any of my tea. The cup of tea in my hands was like a warm prayer.

    I sat there, just out of the daylight, out of the fresh autumn sunshine and slowly made my way between my sandwich and my tea. Another small bite. Another few small sips of the good warm tea. I listened to the loud, short bursts of drilling coming from under the car and to the sound of the rough bristles of the heavy yard brush sweeping the smooth concrete garage floor. It was good to be indoors for a bit, with my bag off my back and sitting down. I made it last.

    “Thank you very much for the tea and sandwich.” “You’re welcome,” the old woman said, looking down at the brush as she continued to sweep. “You’ve been very good to me.” I knew she could tell something more was coming. “I was wondering, if by any chance, you might have some tarpaulin, or a heavy plastic sheet or covering…where I am at the moment, it’s a bit exposed…I just want to try and stay dry…I’m sorry for asking.” “Paul…Paul!” The drilling stopped under the car. I looked down at my boots. “Tarpaulin?” “What about it?” “Do you have a bit to spare?” “You serious?” I could feel them looking at each other. “Out back.” “Out back,” the old woman said, and she started sweeping again. “Thank you.” Paul disappeared again under the car. The clicking of bolt tightening began as I ghosted past him.

    Out back was a small concrete yard. High grey breeze-block walls crowned with loops of razor-wire. The yard was full of old dead car parts. Axels, exhausts, engines, batteries. Tall columns of thick black tyres. The shell of an old windowless and doorless rusty red Hiace van. Old signs from years ago that used to hang over the garage doors, propped up on their ends, leaning against the walls. An old, green, paint-peeled shed. It´s two windows covered over with black bags. The ground was strewn with rusty bolts and strews, nails and springs of various sizes. Some of the springs were huge. Heavy rusty springs with a deadly pointed sharp end that would do some serious damage.
    I found some tarpaulin behind the back of the shed, in the tight space between it and the wall. I pulled it out. It was grey and heavy and dry. It didn´t look old or dirty or torn and there was plenty of it. The fact the Paul hadn´t told me where it was and the fact that I had found it myself made it feel like it was now rightfully mine. I flung it out, like a bedsheet, holding it by the two corners, with my arms fully stretched and flapped it once, twice, and then laid it out on the ground. I couldn´t help but admire it. I squatted down and moved around it, smoothing it out as I went. The sun was warm on my back and my shadow was beside me, working with me, keeping me company. It was like laying out the groundsheet of my tent on the first day of a music festival.

    After a full and thorough inspection, I managed to fold the tarpaulin up and compress it so that it was no bigger than a suitcase under my arm. It was important to me that it looked neat and that I looked like I knew what I was doing. On my way back through the noisy, cool gloom of the garage, I was nearly back out of the big open double doors, after stopping to pick up my rucksack and sling it over my shoulder, when the work under the car stopped and I heard the heavy ratchet being put down on a stainless steel tray. My plate and cup had been taken from the chair I had been sitting on and the chair had been put away. The yard brush was stood up against the wall, just to the side and behind the garage door. “Here.” I stopped, turned around, tightened my grip on my tarpaulin and walked back to Paul. “Thanks very much for this Paul…I didn´t…” But I stopped when I saw the look on his face. Paul, the mechanic, walked right up close to me. “Listen to me carefully and keep your fucking voice down when you answer me, alright. Nice and soft, like I´m speaking. Do you get me pal? “I do”. “If I ever catch you in here again…or if I hear you´ve been coming round…I´ll cripple ye…do you hear me? Do you?” “Yes, I hear you. I wouldn´t…” “Shut the fuck up and let me finish…if you ever try and lift anything out here, I swear to God, I´ll burst you´re head open for ye. Do you hear that too?” “Yes, I hear you.” “Good. Now fuck off and don´t come back.”

    Bedding down now for the night inside my little compact tarpaulin hut, cosy in my cock-pit, my fox-hole, my bunker, now it´s all set up. I found two planks of wood down here when I was cleaning up so I kept those. I stash them close, lie them down on the ground, up against the street-side wall so no one can see them. I prop them up then every night I come down, stand them up and lean them against the wall. Then I take out the tarpaulin from out of a little hole in the stone wall, just under the iron stairs. It´s dry in there. I put the tarpaulin over the two planks of wood. There´s enough tarpaulin to give me a wall of it behind my back. Protection. Between my back and the stone wall. There is a little left over too to cover the ground so I´m not sitting on the concrete. There is just a flap then for the door, on the right hand side. The tarpaulin doesn´t reach all the way to the ground. Try and fix that tomorrow. Maybe redesign the whole layout. That´s where the cold gets in. And it is getting colder. But I´m off the streets. Out of sight. Down here in the shadow and the protection of the cellar of the gaunt, neglected house of The Dead. Natural shelter. Above my head, outside my little hut, sparse night-time traffic rolls by. Cars, buses, articulated trucks. But it´s getting quieter now. Dying down.
    I have a red bicycle light. Click once for red light, click twice for blinking red light, click again for darkness. I keep the red light on. Makes the place look like an underground club. Or a dark-room. Everything red and black. Warm colour tricks the brain. And my woolly hat too. It´s good enough. Sleeping bag on the ground under me. My rucksack to my right to block the draft and cold coming in from the door. I go through my bag every night. If I remember. If I´m able. I forget about half the shit I have sometimes. I go through my bag and keep one ear with me all the time while my other ear is up there, out on the street, keeping sus. Listening.

    Gloves to the left. Pack of Marlboros. Sixteen left. Lighter. The last of the naggin. My little bit and my weed. My own pack of rolling tobacco. Skins and filters. That´s all there. All sorted. Nice little pile. Still have my little handy length of wood. My beating stick. Don´t like knifes. Can´t stand them. Hate the thought of having to drive a knife into someone. Or getting stabbed in the side, up under the ribs. Or into the chest. Or having my neck slashed. Or my face. I prefer the stick. It´s heavy enough too. If there´s trouble I run. But down here I´m cornered. One on one, ok. Two on one, maybe. Three on one, I´m fucked. Has to be the stick though in all cases. Has to be fast and brutal. But not fatal. Well. That will depend. Three black t-shirts. Can´t smell them but they seem clean enough. One long white-sleeved t-shirt. Old red jumper. Two pairs of boxers. Three. Four pairs of odd socks. Toothbrush. Toothpaste. Need to get more. Deodorant too. And candles. Do all that tomorrow. Put all that shit over there for now. Copy of Dracula. Four euro eighty. From the Secret Book Store. Promised myself I´d read it before Halloween. Good edition too. Oxford World Classics. Nosferatu on the cover. Following the shadow his clawed hand up the stairs. Looks even better in this red light. Notes at the back. An Introduction. It passes the time. Going through my bag. Something about it I like. Something military about it. An orderly inventory. This is my bag. There are many like it but this one is mine. No bookmark in the book. No dog-eared pages. “…modern subjectivity, mysterious to itself, labyrinthine…” No. Save it. But read it this time. Sit in the park tomorrow with a coffee and read it. All of it. The whole way though. Start to finish. Don´t use it for bog-roll. Jesus, that was rough. Still. Had to be done. What one was that? Was that not newspaper? Torn up, shit stained pages. Here´s another one. William James? On a Certain Blindness in Human Beings. Jesus. Where did that come from? Lovely little book. Where the fuck? Hodges Figgis price tag. Six eight. No idea. Five little essays. “Is Life Worth Living?” Page thirty-three. “…to the profounder bass note of life. Let us search the lonely depths for an hour together, and see what answers in the last folds and recesses of things our question finds.” I need a pen. A pencil. Do I? No. I do. Front pocket of the bag. I´ll study this. But for now, put it to the left. What else is there? Pair of jeans. Raincoat. I have loads. More than most.
    “Ah! No way!”
    Kinder Egg. Nice! Bit melted. Bit dented. But still good. Forgot about that too. Found that, must have been the day before yesterday. On the ground, behind the Four Courts. Little surprise inside. Breakfast tomorrow. First thing when I wake up. Little mascot then. Hope it´s one you put together. Little robot or something.
    Bottom on the bag now.

    Still there. Still safe. Still wrapped in the Lidl bag. The old glasses case. Fresh works and the rest. Fucking Aido and his shit that won´t run. God bless M.Q. And the three other little baggies. Looking especially passable in this light too. And nothing but torn up, shredded Yellow Pages. Crazy how much it looks like fluffy weed. Learnt that from three Mexicans that ripped me off in Seattle. Years and years ago. Drunk of course. Downtown at three a.m. looking to score something. Anything. One of them had a bandage around his upper arm. “New tattoo?” “Got stabbed ese” He actually said ese. They seemed legit anyways. Hooked me up too. Took myself back to the Motel. Baggie all fluffy and soft. That was with Fergus. London Fergus. Lying on the other bed drinking gin and tonic and watching TV when I came back in. “We´re smoking tonight amigo.” “Fuck off. You actually found some? You fucking mad man!” Sat at the table, at the little desk in the motel room, and got everything ready. Then just looked at it. Properly. Stumped. Burnt. But impressed. “What´s up?” I looked at the stuff. Unrolled a soft shred of yellow-green something. Saw printed numbers and a dash. Looked like a bit of a phone number. “Well played lads. Well played. That´s actually fucking genius. I bet they call them tourist baggies. It´s Yellow Pages dude. Fucking torn up, shredded bits of Yellow Pages.” I threw the shit in the bin. Fergus was hysterical. Too right in fairness to them. Back when I had money to blow. But now. For me. That´s anything from a hundred to a hundred and fifty quid right there. My rainy day fund. Still a few more full pages folded up in the bag somewhere too. I can make what, a few hundred quid if I´m lucky and smart and space it out over the next few months. Can´t be going around flooding the market with Yellow Pages. Know my face. “That´s the guy!” Funny though how it always plays out the same way. The script and the product, in fairness, are golden. At night, under the street lights, to drunken eyes, it looks like weed. And to tourists. Only to tourists. Never hit the locals. Dame Lane is good. Andrews Lane. Down on the boardwalk. I´ll start varying places soon. “Should be fifty, Man but I have to get rid of it. Got mad bulk delivery and have to shift it. You´d be doing me a favour…Well, what can I say? You caught me in a good mood tonight. I´m feeling generous. Spread the wealth right. Can do it for twenty-five actually. Fuck it. Just need to get some cash to get a cab home. Fucking lost my wallet somewhere tonight. Come on we walk this way. Think I recognize some plain clothes there.” Quick exchange. Can´t be beat. But it´ll catch up with me one day. Always sprinkle a little bit of my own shit on the top. If they go sniffing while I´m still there with them. “Yeah man. Blue Cheese. Go easy on it man. Mad shit…Enjoy…Have a good night.” I´ll get something anyway for Halloween. Replenish the funds. Fifty to Aido and get that tar. Twenty-five walking around money. Sorted. Now. Everything back in the bag. One by one. This is a happy bag. This is my bag. Full of tricks and treats.

    Packed-out pinner rolled and put behind my ear for later. Cigarette behind the other. Nothing on my sleeping around me now. Just the naggin, pack of cigarettes and gloves. All belted up. Didn´t want to be back on the spike again and needle dancing. Fucking Aido and his shit. Fuck it. Still a bit shaky. Giddy hands. Giddier veins. Chill. That injecting workshop in M.Q. probably saved me from a few trips to A&E anyways. Or worse. Never knew you could shoot it up your arse. Don´t see that in the movies. Could try that with the tar. Bit of a waste though. This shit won´t be worth it, I´d say. But. If you´re gonna to shoot up, learn to shoot yourself. And if you´re gonna shoot, always, always, shoot in the direction of the heart. Right. Fuck it. Half. And see. Then half again. If you can. It´s been a while. Right. Might want to look away…just…ah…haha…o-kay…fuck…sweet Christ on a bike…Fuck me…quick…click of the light…dark…

    I´m standing with two or three or President Lincoln´s advisors by the window of a pinewood cabin. Out the window I can see a coastline far below. Two Pterodactyls fly over the surf in the distance. One of the advisors turns to me and says “Ah, I see the sharks are back…”

    I´m in an outdoor food market. Through the crowd I can see two old friends, Phil and Jo. Phil is wearing a black velvet jacket and old-fashioned grey tweed trousers. Jo is wearing a purple dress. They have bags of shopping and look like a couple out enjoying the weekend markets. When I see them through the crowds, I´m happy but feel embarrassed too, for some reason. When I get close, we greet each other and I say, “Don´t worry, I wasn´t following you…”

    I´m with someone´s father. I know he is anxious about his son. I know the son is in trouble. I know that the trouble is that the son is suicidal. I´m helping the father search a house. It´s day time. We move from room to room. There is a feeling, like a hum, a strange ominous hum in the atmosphere all around us. In every room. We go up the stairs and into another room. It feels like a new room, recently added to the house. It´s a big room. Bright. Out the window, I can see green trees. I can tell that this room is to be used as a walk-in closet. On the threshold, we hear movement inside. The son is in there. “We´re coming in,” the father says. “Don´t point the gun at us” I say. “And don´t point it at yourself, ok? Don´t point the gun at flesh.” The father follows me into the room. The room is bare besides the carpet. New, baby blue carpet. From behind an alcove the son walks out backwards, a rifle held in his two hands, one down on the trigger and one around the barrel. The barrel is pointed into his open mouth. We freeze. He walks backwards and stops. His head doesn´t move but his eyes look at us. He pulls the trigger. Nothing happens. But on the sound of the click his father beside me faints and falls to the floor.

    I wake up cold in the darkness…a sour reek of vomi
    …don´t know where I am…
    …voices…above my head…
    …up on the footpath…
    …three of them…
    …talking…
    …I hear them…
    “You say there´s anyone down there?”
    “Where?”
    “Down there. Look.”
    “Oh shit! Yeah! Look at that! Fucking hell man, it´s getting worse and worse around here, isn´t it?”
    “Come on to fuck will ye. It´s fucking freezing out.”
    “No. Hang on a sec.”
    “Shhh. There might be someone in it.”
    “What you mean shush? I hope they can hear me…Hey! Hey! Sleepy head! Wakey wakey!”
    “Dave, Man, shut the fuck up will ya and come on.”
    “Nah, hang on. Is there someone in it?”
    “Hey! Come here! Look! We´re after winning big in the casino tonight…we´d like to share our winnings with you…yes, You. You down there…come on out…I´ve enough here for you to buy yourself a big warm jacket…maybe up-grade you to a tent…No? No takers? Alright. Suit yourself…”
    “They´re going to be building a new treatment centre next to us here”
    “Another one?”
    “Triple the size of the one already there.”
    “For fuck sake!”
    “There goes the neighbourhood. That´ll bring down your value, won´t it?”
    “Maybe. I don´t know. Tenants are having an emergency meeting about it next week.”
    “Lads, there´s no one down there. Let´s go.”
    “I fucking bet there is man.”
    “Could be a fucking psycho, Man. Come on!”
    “Hey! Come on out! Don´t be scarred! We´re your friends.”
    “Lads, I´m going…”
    “Alright, alright.”
    “I´d say there´s two scaldy heads inside, sleeping together in their own filth.”
    “That´s rotten.”
    “´Member the one we saw outside Dara´s gaff? The silver paint all around her mouth from huffin´ and she was taking a shit outside his gaff…manky granny fanny on her…”
    “And the long pair of shitty granny knickers there on the street for weeks.”
    “The hack of her.”
    “Ah lads, for fuck sake. Will ye come on? I´m headin´.”
    “Come on, we all hop down and take a looksy. We´ll call down for a cuppa, a night cap, with our new neighbour…Here! Slap on the kettle down there will ya?”

    …I touch the place around me…through the darkness…feel the sleeping bag…feel the wet…I can´t…I wouldn’t be able to…my bag…where is it…no…be still…there is nothing down here….no one…nothing but peace…and stone…and darkness…nothing…emptiness…

    “Will we jump down?”
    “Nay, fuck that man. Come on. We´re just around the corner here.”
    “Finally!”
    “Alright alright…just give me a second…”
    “What are you up, Man?”
    “What the fuck, Dude?”
    “Are ye not recording this?”
    “You´re fucking tapped man.”

    …I hear it start to rain…raining on my tarpaulin…just above my head…pouring rain…pissing rain…it´s hosed down on top of me…he´s making sure he´s covering as much of the area as possible…up and down…and all around…foul musical rain…he must be writing his name…drawing shapes…piss-painting…a smiley face…marking his territory…it streams and flows and drips down outside on to the concrete…close to me…all around me…it sounds like another joins in…
    “Don´t cross the streets man! Don´t cross the streams!”
    …their piss thunders down aggressively…the force of it concentrated just above my head…I close my eyes and slowly…slowly…slide down onto my side….and slowly turn onto my back…I fold my arms like an X over my chest…like a vampire…palms flat…fingers touching my shoulders…I lie still…dead still…silent…and invisible…

    …´tis the season…for pissing on graves…smashing headstones…for general desecration…I bare my teeth…a quiet snarl in the darkness…I can barely hear the rain…
    …I´m drifting…
    …falling…
    …slowly dissolving…
    …behind my eyes I see fireworks exploding…colourful…dazzling…sparkling arrays…burning up bright in a night sky that only I can see…terrific blues… exploding whites…pulsating yellows…glittering greens…fountain-sprays of red…fizzling out…fading away…
    …just let me lie here…
    …let me sleep…
    …but come find my corpse…
    …on Halloween…

  • Icarius’s Daughter

    Introductory Note

    “Icarius’s Daughter” celebrates Penelope, Odysseus’s wife and heroine of Homer’s Odyssey.

    In the Odyssey, two narratives are woven together by means of changes of scene and frequent flashbacks. In the first strand of the plot, Odysseus has many dire adventures as he makes his way home to Ithaca from the siege of Troy. In the second strand, covering events on Ithaca, Odysseus returns in secret, reveals his identity, and overcomes the Suitors. In the very last four lines of the epic (24.545–548), the goddess Athene reconciles the factions on Ithaca and restores peace.

    The Suitors are wealthy hereditary lords. They mix competition and cooperation as they pursue Odysseus’s wife, waste his resources, exploit his workers, and plot against his son Telemachus. Unlike Odysseus, who was a good king, the Suitors have nothing to offer the people of Ithaca.

    Today we might describe their regime using two Greek words: oligarchy and kleptocracy. That Odysseus has a home, an estate, and a kingdom to return to, and that a path remains open to legitimate government, is thanks to the role played by his wife Penelope. In a striking passage in the Odyssey, Penelope is compared to a good king.  In a roundabout way, she becomes an icon of good governance (19. 107 – 114).

    At the centre of the story is that Penelope, under tremendous pressure, has promised to marry one of the Suitors as soon as she finishes weaving a burial shroud for her father–in–law Laertes.  Her plan is to keep unravelling her own work by night, thereby keeping everything open for a while longer. This ruse is finally exposed as the epic moves towards its climax.

    Penelope’s courage through the years of uncertainty and despair is rooted in her love of Odysseus – and also in her loyalty to the values of her upbringing.

    The Odyssey was composed (possibly) around the year 700 BCE.  Penelope, a Spartan princess, reminds me of the epitaph for the Spartan “300” who went to their deaths at Thermopylae in 480: “Go, stranger, and tell them in Sparta that we lie here having kept faith with their laws” (my translation of Simonides).

    The Bible was rendered into Greek in the 3rd century BCE. The New Testament is written in Greek. The early followers of the “way” of Jesus needed to make sense of the Greek literary tradition. A view emerged that in Greek literature we find seeds of a fuller truth revealed subsequently in the New Testament.

    The present poem tries to take this insight further.  I assume that there are “structural” questions about human life that arise independently within all traditions.  A reasoned examination of these questions is part of what we call “revelation”.  Homer’s portrayal of Penelope’s faithfulness anticipates in important respects a Christian conception of vocation.

    “Icarius’s Daughter” is constructed out of building blocks of three kinds: a single, brief proem or introduction; “real–life” scenes based on incidents or images in Homer; and sequences in which we hear the inner voice of Penelope. Penelope is intended to represent any woman who acquires a coherent view of life through long experience.

    The proem has eight lines. Each of the ten stanzas that follow is in sonnet form. I leave it to the reader to discover where scenes from life segue into the meditations of Penelope. In many stanzas, the octet is the scene from life, the sestet a soliloquy.  In stanzas VII, VIII, and IX, we hear Penelope’s voice throughout. In stanza X, the scene and the soliloquy merge.

    At the end of this document, I offer some notes on the background to each part.  Readers may wish to review these notes briefly before reading the poem itself.

     

    Icarius’s Daughter

    For Darine on her 60th birthday

    Proem 

    Donne ch’avete intelletto d’amore:
    The women who have come to know love’s meaning
    Were Dante’s team. They helped him to ignore
    Some things and do others. And so, Darine,
    To mark your birthday, a wise, loyal wife
    Inhabits this verse; famous, too, for coping
    With crises patiently. Dante’s New Life
    Depends on the women–artisans of hope.

    I

    Those powerful men, grim in their cross–purposes,
    View and review her. Their adulterate eyes
    Fix on a face and figure. Who she is,
    Where she will turn – this she can dramatize,
    Acting her chosen part. They imagine her theirs.
    They bond, amid the clattering cups and cheers.
    A fold falls by her cheek. She climbs the stairs;
    Collapses, an unwanted puppet, in tears.

    So many things are matters of the will:
    That put–up job, night after night; forgiveness;
    How even today, each day, I’m scheming still:
    I shelve the toys of memory, to live.
    My glory was never the shine in others’ eyes.
    Nor in my own. Mine is a greater prize.

    II

    There in the harbour, an apron of dressed stone.
    Odysseus is tossing orders to his men.
    The urgency of doing has outgrown
    All the old doubts. “They may come not again
    From Troy, these long–oared ships.” She could have died
    Right on the spot. “Await me until the day
    The beard has come to that child’s cheek.” That child.
    “Then marry well.” And still he’s looking away.

    Waiting for sleep, my thoughts were numerous
    As notes the nightingale produces, lonely
    In darkness. Laneways near my father’s house
    Entered my dreams. Each morning there was only
    Ithaca. The vague mist, the barren scree.
    I too have wandered a weather–beaten sea. 

    III

    “Others besides Odysseus were lost in Troy.”
    As if the memories his mother stored
    For all their sakes stood in his way. A boy
    Essaying the sharp impatience of a lord.
    An instant destiny, to have a son.
    Abyss of love and dread, all your life through.
    The nothing you would ever leave undone,
    Weighing against the nothing you can do.

    Sometimes, you smile.  One day, a meowing sends me
    Into the yard. The trough. More wild contortions.
    Knowing that seconds count, I move. A frenzy
    Of mother–love surrounds a half–drowned morsel.
    A cleavage in the clouds. A quick reaction
    Wrenching the wheel of nature off its axle.

    IV

    Hours given to her son were never wrong.
    Like this, as a young girl, she would sit and spin,
    Delving in the unwoven stuff of longing,
    Trusting in life. Like this, as years close in,
    Ageing, unkempt Laertes is content.
    His vines and orchards give him a new prime,
    Far from the palace and old arguments.
    A mind at play knows no hard edge of time.

    That his lost father would come back to us,
    Here to our home, away from the world’s harms,
    Is what I was praying for, for Telemachus.
    Acting the hero in a goddess’ arms,
    Odysseus yearned for this hearth, mortal embers:
    That brush with human love a man remembers.

    V

    So deep is their embrace, it seems that Dawn,
    collusively, holds back.  “Our wedding gifts,
    I polished them last year until they shone,
    Which pleased the older servants.” Her man shifts
    To face her. “Look, we’re winning. That’s why
    Tomorrow I move inland to find support.
    Later, we know it from a prophesy,
    There’s one more journey. Of a trickier sort.”

    Daybreak. I stir myself in the chill air.
    The maids and I are getting his trunk ready,
    His practised voice is carrying everywhere.
    I think of our immoveable carved bed.
    Here will I lie. Wherever the wind blows,
    It starts from here, this life that I have chosen.

    VI

    “The junction of this world with the unreal
    Or real world of life after death. The queen
    All empathy as I deliver my spiel.
    Achilles, a shadow of what he once had been.
    Ajax, with whom I clashed in life, estranged,
    Unwilling to accept a simple hug,
    Once, twice, three times. No gleam, even of danger,
    For thwarted Sisyphus. Eternal fug.”

    Odysseus bounces back to his round of tasks.
    “As long as the sun shines, I must be active.”
    Within, like a sustaining loaf and flask,
    I hear a softer voice. Your gifts are intact.
    Now take your way towards measurable good
    And testify to all you have understood.

    VII

    I often think back on my hard departure
    From home and my poor father, Icarius.
    Once that idea of our living in Sparta
    Failed, as I knew it had to, he would fuss
    Endlessly over our going; day by day,
    And almost hour by hour, he would alight
    On gifts or tokens for my going away.
    If candles could bewitch the encroaching night!

    Inevitable that Antinoē,
    My maid, should quit her outhouse in the palace,
    Not for a man, but to accompany me.
    This was our law, which we termed “natural”.
    Ordained for servants by all–seeing Zeus.
    Or un–thought out, impersonal, abusive?

    VIII

    Eumaeus would point out that they dispensed
    With everyday skills: building, ploughing, planting.
    This he compared to their indifference
    To children and the homes they took for granted.
    The suitors had been lifelong specialists
    In power and unearned income. Towards the poor,
    Their laws on property were like closed fists.
    All eyes were dazzled by the cult of war.

    Odysseus facing Scylla. Long acquainted
    With conflict, his one tactic was to fling
    Spears even at ogres. Our wide planet painted
    By poets is hungry for a homecoming.
    Facing time’s monster, we unfriend our peers.
    Angry and small and armoured, we wave spears. 

    IX

    So much was there on that one perfect morning
    In Pylos. I remember the well–built
    Citadel empty. A session on the shore
    Of the whole populace. The ample, gilt
    Wine–cups. The welcome. Joy, to have our fill
    Of sunshine and good food. In this equation,
    Prayers to the gods were ineliminable.
    The way we shared our time was a libation;

    In the dark forest of a leaden Age,
    A glade of peace.  No staked–out paradigm
    Or single rule explains events. To gauge
    What’s going on within some frame of time,
    And where the meaning is gentle, to take part
    Trustingly, equally, is the great art.

    X

    The walk to the old quay is getting too steep.
    Besides, no ship will come now. She mutters,
    Daylight is not forever, we fall asleep.
    It’s time I gave my fine possessions to others.
    Helen went out and came back. Calibrated
    Poorly, in some dark hour, inscrutable signs,
    For all it matters now. I wept and waited.
    My modesty in presence of the Divine.

    Beneath the landscape of our daily hurt,
    All broken down into particulars,
    There runs the constant river from which blurt
    Fountain–like moments, juxtaposed like stars.
    I am resolved, whatever the future brings,
    To thank God for my being and for his things.

    NOTES ON THE BACKGROUND TO “ICARIUS’S DAUGHTER”  

    Title and images

    In Greek legend, Icarius was Penelope’s father. They lived in Sparta around the time of the Trojan War.  Penelope’s relationship with her nymph–mother is less well defined in the stories than her relationship with Icarius.

    Helen (“Helen of Troy”) was Penelope’s first cousin. In Homer, Penelope is aware of the very different trajectories of her life and Helen’s.

    The first image (title) of Penelope is a painting by Domenico Beccafumi from c. 1514. Penelope contemplates her loom, as if to invite reflection on her character and capabilities. For nearly thirty years, Beccafiumi directed work on the pavement of the cathedral in Siena.

    The second image is another early 16th century painting from Siena, Pinturicchio’s work of 1509 known as “The Return of Odysseus.” We see Penelope, the returning Odysseus and the displaced Suitors. As in Beccafiumi’s painting, Penelope’s use of the loom is a key to understanding her character. On the cathedral pavement, Pinturicchio’s representation of two Greek philosophers at the summit of the “Mountain of Wisdom” is a significant statement about the relationship between Christianity and classical culture.. 

    Proem

    A proem (Greek: pro–oimion) is the introduction to a song.

    Donne che avete intelletto d’amore (which I translate in line 2 as “women who have come to know love’s meaning”) is a line from one of the poems woven into Dante’s short prose work Vita Nuova (“New Life”). The Vita Nuova is quasi–autobiographical. Dante comes to accept that his love for Beatrice will never lead to a relationship or to marriage. Instead, Dante is drawn, through Beatrice, towards a vision of human life in the round. Dante the troubadour becomes the philosophical poet of the Divina Commedia.

    The “wise, loyal wife” referred to here is, of course, Penelope.

    Stanza I

    A fold falls by her cheek: “the daughter of Icarius, wise Penelope” makes her first appearance in the Odyssey (1. 329) when she descends from her upstairs room to face the suitors. With two maids in attendance, she takes her stand by a pillar, drawing a fold of her headscarf across her face. Finally, she returns to her room and collapses in tears (“she wept for Odysseus, her beloved husband …”). As we move with Penelope to the bed chamber, Homer notes the continuing noise from below, from the men who wanted to sleep with her (1. 365). 

    Stanza II 

    Await me until the day …:  these eight lines are based on a flashback (18. 259) in which Penelope describes the circumstances of Odysseus’s departure many years before.  In the sestet, the image of the suffering nightingale is borrowed from Homer (19. 518).

    The urgency of doing has outgrown / All the old doubts. One tradition tells us that Odysseus initially tried to avoid joining the expedition to Troy. In the Iliad, the Greeks’ motives for fighting are ambivalent. This is brought out early in the poem when Thersites accuses the leaders of the expedition of being interested mainly in booty. There are misgivings on the Trojan side as well, centred on the never fully tested possibility of negotiating an end to the siege.

    Stanza III

    Others besides Odysseus …: Telemachus rebukes his mother in this way in the first scene in which we see them together (1. 354). Telemachus’s coming–of–age (and growing assertiveness) is an important theme in the Odyssey. In this stanza, the “scene from life” occupies only four lines. The remaining ten lines of the stanza are devoted to Penelope’s memories and reflections.

    Stanza IV

    The first eight lines picture three forms of contemplative or creative activity. The “young Penelope,” imagined in line 2, is based on the portrait of the princess Nausicaa in Odyssey, Book 6. The determined gardening of Laertes, Odysseus’s widowed father, is described in most detail in the last book of the Odyssey (24. 226).

    We know from the Odyssey (23.333) that Odysseus spoke to Penelope about Calypso.  At the beginning of the Odyssey, we find Odysseus entrapped by Calypso, a beautiful goddess, on her remote island.  So far from taking advantage of Calypso’s promises, Odysseus longs to see again “even the threads of smoke rising from the homesteads of his own country” (1. 58).

    Stanza V

    Dawn,/ Collusively, holds back: in Homer, the surreal holding back of “rosy-fingered dawn” by the goddess Athene prolongs the great recognition scene in which Odysseus and Penelope fall into one another’s arms (23. 239). Odysseus almost immediately starts to talk about his future plans. These include a mysterious journey he must undertake before his old age. We first learn of this additional tasking of the hero in Book 11 when Odysseus meets the prophet Teiresias at the edge of the underworld.

    Our immoveable carved bed: Odysseus’ and Penelope’s carved bed was immoveable because it had been constructed (by Odysseus himself) around a living olive tree (23. 190).

    Stanza VI

    The queen/ All empathy as I deliver my spiel:  the queen is Queen Arete of the Phaeacians. Odysseus is reliving for Penelope the presentation he had made at the Phaeacian court. The pinch of salt implied in the word “spiel” is already there, I feel, in Homer.

    The junction of this world with the unreal/Or real world of life after death: as a prelude to making his way home and overthrowing the corrupt order that has developed in Ithaca in his absence, Odysseus is obliged to travel to the edge of the known world to a place where it is possible to meet with the souls of the dead. These encounters seem to me to shape the “existential” context of the whole story.  There is life after death. The gods are concerned with justice. On the other hand, life in the “other world” is much inferior to life in this world.  What happens after death is difficult to understand, interpret, or rely on. This sense of the inaccessibility of ultimate truth is reinforced by Homer’s technique. Odysseus’s experiences of the “beyond” or near “beyond” are narrated not by the inspired poet (“Tell me, Muse …”) but indirectly by Odysseus himself as a character in the poem.

    Like a sustaining loaf and flask: when the prophet Elijah loses confidence in himself he awakes to find a loaf and a flask at his side. A voice instructs him to resume his work. In the Odyssey, a divine influence can help us get through what might otherwise be too hard (cf. the daimōn or spirit in 3.27). The sestet in the stanza reflects Penelope’s inner thoughts on hearing Odysseus talk about God.

    Stanza VII 

    In this stanza and stanzas VIII and IX, there is no observed event or scene from the Odyssey that triggers Penelope’s meditation. We hear her own voice throughout.

    That idea of our living in Sparta: in the Greek literary tradition, Icarius was heartbroken that Penelope was leaving Sparta. However, his plan to persuade Odysseus to set up home in Sparta was unrealistic. Odysseus was an ambitious king whose base was in Ithaca.

    Antinoē:  Antinoē is one of several slaves mentioned by name in the Odyssey.  Eurycleia, Odysseus’s old nurse, and Eumaeus, the swineherd, were born in freedom. They are victims of raids (like St. Patrick at a later period) and of the slave–trade. Laertes never exercises his prerogative, as master, to sleep with Eurycleia when she is a young woman (1.433). Eumaeus is cared for by Odysseus almost as if he were his own child (14.140). Neither Eurycleia nor Eumaeus fits the profile of the “natural slave,” whose limitations and unavoidable dependence on others supposedly justify the institution of slavery.

    Eumaeus makes a couple of comments that are significant in this context. In book 17, he states that “all–seeing Zeus takes half the virtue out of a man on the day when he becomes a slave” (17.322) – in other words, what might be thought of as poor or dependent behaviour in a slave is shaped by the harsh treatment he has received. Eumaeus also states (13.59) that “it is the dikē of a serf to live in fear.” Dikē appears to mean something like “lot in life” or “place in nature.” Homer engages with the institution of slavery and understands the perspective of slaves, serfs, and the abject poor (ptōchoi, a word that recurs in the Sermon on the Mount).

    The Odyssey provides a solid background, I would argue, to the last three lines I give Penelope in this stanza, including line 12: “This was our law, which we termed ‘natural’.”

    Stanza VIII

    They dispensed/ With everyday skills: this phrase is based on a conversation in Book 14 of the Odyssey between Eumaeus and Odysseus. Posing as a stranger (the scene is marked by dramatic irony), Odysseus describes a certain type of privileged person (male) who despises the skills and virtues necessary to create a good home. The central word is oikōpheliē (14.222), derived from two words meaning “household” and “help”. In Homer, perhaps the most attractive feature of Odysseus’s elusive personality is his mastery of all kinds of skills such as carpentry, agriculture, seafaring, and even public performance. In this, he is very different from the elite warriors of the Iliad, who do no work other than fighting. In lines 1 – 4 of the stanza, I imagine Eumaeus drawing on his conversation with the disguised Odysseus in a subsequent discussion with Penelope about the suitors.

    Odysseus facing Scylla: in Book 12 of the Odyssey, Odysseus must sail past the whirlpool Charybdis and the monster Scylla. Scylla uses her six heads to seize six men (or given time, twice six) off every passing ship; she is violence personified, her mother’s name, Cratais, suggesting “force”.  In common with some other dangers faced by Odysseus on his journey (the Sirens, the Cyclops), Scylla and Charybdis cannot be faced down by organised military strength. Circe is explicit in her advice to Odysseus: deeds of war  (polemēia erga) will achieve nothing against Scylla (12. 116). Odysseus disregards this warning. He puts on full armour, grabs two spears, and stands on the forecastle deck as the ship sails between the whirlpool and the monster. Acting according to the instincts of a warrior, Odysseus is powerless. Scylla seizes and gobbles up six of his comrades.

    We unfriend our peers.  Odysseus fails to forewarn his comrades about Scylla (12.223).  His guile has a purpose, to ensure that his men keep rowing and are not distracted by fear. Perhaps the posturing on deck with the spears is intended to serve a similar psychological purpose.

    Stanza IX

    This stanza draws on two religious ceremonies in Pylos described in Book 3 of the Odyssey. The first takes place on a beach in the early morning and involves all or most of the citizens of several towns. (Did this inspire Keats? What little town by river or seashore …) The second ceremony, inside the palace, includes Nestor’s daughters and his sons’ wives. Women are not mentioned as being present in Homer’s account of the liturgy by the seashore. However, they are so obviously part of the second liturgy that I find it reasonable for the Penelope of my poem to recollect a ceremony by the sea. My account is intended to carry a small echo of the miracle of the loaves and fishes.

    A leaden Age. In Hesiod, phases of history are identified, symbolically, with reference to metals. The Golden Age is the  ideal.

    Stanza X

    In the final stanza, I take one last look at Penelope “from outside,” picturing her in old age, probably widowed, as she takes her regular walk to the pier in the bay from which Odysseus set out for Troy so many years before.

    In some dark hour:  for Penelope, Troy is the “unmentionable place.” Nevertheless, Penelope’s unjudgmental and even kindly attitude to Helen is true to Homer (23.218).

    Modesty in presence of the Divine: according to a later author (Pausanias), Icarius, on Penelope’s leaving home, raised a shrine to Aidōs in her honour. Aidōs means “shame” or “modesty”. It refers to the disposition in a human person to respect the laws of God.

    Constant river: the image of a “constant river” surfacing here and there is inspired by the Greek belief that the fountain Arethusa in Syracuse sprang from an underground river originating in Arcadia in the Peloponnese.

  • The Zenith of Pessoa

    In how many garrets and non-garrets of the world
    Are self-convinced geniuses at this moment dreaming.

    Álvaro de Campos, ‘The Tobacco Shop’, 1928

    In the early days of the Internet – end of the 1990s for me – while a history student in UCD, a friend took a passionate interest in a volatile political situation beyond Ireland’s shores. Although aroused by injustices perpetrated by both sides, the drama itself also seemed to be a source of entertainment. He participated, in a small way, by adopting email aliases that represented varying, even opposing, viewpoints.

    In a time before the arrival of a fully-fledged ‘social’ media, friends might call into his smoke-filled non-garret room to find him participating in online fora. There, we might encounter bursts of laughter and guffaws – to the bemusement of anyone lacking an intimate understanding of his predilection.

    These were not simply pseudonymous accounts. In creating and projecting characters that seemed to reflect his own uncertainties my friend had, unconsciously, adopted a version of a dramatic form of communication – the heteronym – invented, or at least fully realised, by the Portuguese poet Fernando Pessoa (1888-1935). This approach is of enduring interest given the extent to which multiple selves prevail in online communication, including in the common use of anonymous handles on Twitter that often depart from a primary, mild-mannered self, into a more transgressive, ‘other’ personality.

    A new, ground-breaking biography of Fernando Pessoa in English by Richard Zenith, Pessoa: An Experimental Life (Allen Lane, London, 2021) brings into the mainstream – to the English-speaking world at least – a Portuguese poet, whose extraordinary capacity for invention, sensitivity to language, and, ultimately, attention to human liberation places him in the highest echelon of a discipline he recast in his own images.

    Moreover, unlike other Modernist writers of his generation, Pessoa is profoundly accessible. As Zenith puts it: ‘We don’t need to look up words, hunt down references, or read up on some period of history or current of philosophy to follow his poetic trains of thought and feeling. (p.324)’ Indeed, Pessoa expressed reservation regarding the art of James Joyce, which he described in 1933 as ‘a literature on the brink of dawn’ that was ‘like that of Mallarmé… preoccupied with method. (p.831)’

    Pessoa was inspired by aspects of the Irish Literary Revival of the early twentieth century, and even drafted a complimentary letter to W.B. Yeats, whose esoteric tastes he shared. However, as Zenith puts it, lacking Yeats’s ‘grand ambitions and conviction, Fernando Pessoa was more like a jazzman of higher, occult truth, improvising on standard doctrines of the esoteric repertoire and introducing his own variations, without staying in any one place for long. (p.849)’

    It is the combination of Fernando Pessoa’s simplicity of expression and an apparently endless capacity for experimentation that make him such a valuable guide to our confused and uncertain time.

    Lisbon, Portugal, 2019.

    The Heteronyms

    The poet is a feigner
    Who’s so good at his act
    He even feigned the pain
    Of pain he feels in fact
    Fernando Pessoa-Himself, ‘Autopsychography’, 1931

    Distinguishing pseudonymous works from heteronymous works in 1928, Pessoa wrote that ‘Pseudonymous works are by the author in his own person, except in the name he signs; heteronymous works are by the author outside his own person. They proceed from a full-fledged individual created by him, like the lines spoken by a character in a drama he might write. (p.xviii)’

    Pessoa wrote to a relatively small reading public in the early decades of the twentieth century – in 1910 up to 70% of Portuguese adults  were illiterate (when it was just 2 percent in England p.291)  and his work hardly reached Brazil or other parts of the Portuguese-speaking world. He completed just one book – a visionary work of poetry infused with Romantic nationalism called Mensagem (Message) in 1934 – in his lifetime. Now Zenith’s extensive autobiography, masterfully capturing the historical context, brings global attention to an author whose ‘literary dispersion faithfully mirrors our ontological instability and the absence of intrinsic unity in the world we inhabit. (p.xxvi)’

    From his earliest days, Pessoa produced a bewildering array of heteronyms – often as a form of play – amounting to well over seventy throughout his life. Some hardly assumed a life at all, including a personal favourite, the contradictory Friar Maurice: ‘a mystic without God, a Christian without a creed. (p.254)’

    These became, according to Zenith, ‘ingenious vehicles for producing literature,’ and ‘also paths to self-knowledge. (p.119)’ The self-fragmentation seemed to come at a serious cost to Pessoa himself, however. Towards the end of his life he remarked: ‘Today I have no personality: I have divided all my humanness among the various authors whom I’ve served as literary executor. (p.41)’

    From the outset, Pessoa’s poetry was identified with fingimento, a difficult word to translate, which can mean a kind of ‘feigning,’ ‘faking,’ ‘pretending ’ or forging (which has the double entendre of making and counterfeiting). This extended into an apparent unwillingness, or perhaps inability, to ever consummate a love affair, including his courtship of the forlorn Ofélia Queiroz, his only girlfriend; or to act on apparent homosexual urges – ‘the love that dare not speak its name’ – that pepper his work.

    Throughout his life, according to Zenith there was ‘no clear lines of demarcation between’ the heteronyms, or ‘between fiction and reality. (p.146)’ Perhaps, unsurprisingly alcohol featured prominently – he died aged forty-seven after a life of excess – although contemporaries insist he always maintained an appearance of sobriety, perhaps his greatest pretence of all.

    According to Zenith, Pessoa was ‘monosexual, androgynously so. The heteronyms can be seen as the fruit of his self-fertilization. (p.871)’ Thus, ‘daunted by the expectation of the world all around him’, he ‘preferred to inhabit the story of his heteronym. (p.192)’

    Notably also: ‘Pessoa’s communicators, on at least a couple of occasions, gave him not merely poetic metaphors but actual poems. They were his impromptu muses, vivid manifestations from the spiritual realm where – he liked to think – his poetry and his heteronyms originated. (p.516)’

    Alentejo, Portugal, 2019.

    Alberto Caeiro

    I have no philosophy, I have senses …
    If I speak of Nature it’s not because I know what it is
    But because I love it, and for that very reason,
    Because those who love never know what they love
    Or why they love, or what love is.
    Alberto Caeiro from The Keeper of Sheep, 1914.

    In later years Pessoa revealed that Alberto Caeiro began life as a joke figure of ‘a rather complicated bucolic poet’. He claimed he wrote ‘thirty-some poems at one go, in a kind of ecstasy I’m unable to describe. (p.379)’ But Pessoa – ever the feigner – was an unreliable witness. Zenith reveals that a thorough examination of his archive revealed ‘a rather different literary genesis. (p.379)’

    Nonetheless, the invention of Caeiro in 1914 brought a creative release for Pessoa; liberating him from what Zenith describes as the ‘chrysalis formed by so much learning’ which had, until that point, inhibited him from coming ‘into his own as an astonishingly original poet’. Albeit this was a status ‘he would never have attained without the chrysalis. (p.159)’ He certainly fully understood the forms and rules of poetry, before breaking them.

    Having spent ten years of his life, and schooling, in Durban, South Africa where he gained fluency in English, Pessoa had been vacillating between writing in Portuguese or English. Zenith maintains that Pessoa ‘did not know how to intensely feel in English; his poetic diction in this language was, oddly enough, too “poetical” (p.148)’, although he did produce a chap book of verse that was reviewed favourably in the London Review of Books no less.

    One can imagine Pessoa in South Africa as a slightly effete adolescent surpassing his peers in academic learning, but whose accent always marked him as an outsider, a status which he unconsciously absorbed, and which generated a lifelong antipathy to the British Empire.

    Caeiro therefore represented a form of homecoming – a statement of ‘Portugueseness’ – for a cosmopolitan young man struggling to form an identity. In this sense, Pessoa may be likened to W.B. Yeats, who also spent many years of his development in a country, which he ultimately rejected for an Irish mistress in Cathleen Ni Houlihan.

    Caeiro, according to Zenith was also ‘a reaction against Fernando Pessoa – against all learning and incessant intellectual wrangling (p.386)’, thus the heteronym writes: ‘I lie down on the grass / And forget all I was taught.

    Lisbon, Portugal, 2019.

    Ricardo Reis

    Let us also make our lives one day,
    Consciously forgetting there’s night, Lydia,
    Before and after
    The little we endure.
    Ricardo Reis, July, 1914

    Richard Zenith observes of Ricardo Reis – the second of Pessoa’s three main heteronyms and fictional disciples of Alberto Caeiro – that he ‘espoused a revival of Greek moral, social, and aesthetic ideals, and the introduction of a new paganism, adapted to the contemporary mentality. (p.404)’

    In part, Reis represents Pessoa’s view that ‘Religion is an emotional need of mankind (p.541)’, but also – having rejected doctrinaire Christianity, along with monarchy, in his youth – the imaginative possibilities of undogmatic polytheism, alongside a lifelong dedication to astrology and the occult.

    Pessoa urged: ‘Let’s not leave out a single god! … Let’s be everything, in every way possible, for there can be no truth where something is lacking.’ Thus, according to Zenith, over the course of his life Pessoa, ‘groped like a blind man in maze of occult mysteries that, by definition, could never be fathomed. (p.541)’

    The persona of Reis also represented a stoicism reconciled to the ‘slings and arrows of outrageous fortune’. Acceptance of fate, and the remote tragedies we encounter in news reports, is memorably conveyed in ‘The Chess Players’ (1916), where two protagonists play a game while around them a city is ransacked by an invading army. This is a kind of acceptance of events  we generally cannot control that we might do well to learn from Ricardo Reis.

    Notably, Ricardo Reis attained a literary afterlife in Portuguese Nobel laureate José Saramago’s 1984 novel The Year of the Death of Ricardo Reis, in which the heteronym returns to Lisbon from Brazil in 1935 to meet his death alongside Fernando Pessoa. A film based on the book was released in 2020.

    Lisbon, Portugal, 2019.

    Álvaro de Campos

    Faint vertigo of confused things in my soul!
    Shattered furies, tender feelings like spools of thread children play with,
    Avalanche of imagination over the eyes of my senses,
    Tears, useless tears,
    Light breezes of contradiction grazing my soul …
    Álvaro de Campos ‘Maritime Ode’, 1915

    The last and most important of Pessoa’s heteronyms, Álvaro Campos, was born, in Pessoa’s imagination at least, on Friedrich Nietzsche’s birthday. According to Zenith he represents ‘the Dionysian impulse – the intoxicating affirmation of life, felt in all its pains and pleasures. (p.397)’ In profound contrast to Pessoa, who regarded sex as dirty, Campos’s motto was to ‘To feel everything in every way possible. (p.521)’

    The open-minded de Campos could be the liberated person Pessoa would never become: ‘Have fun with women if you like women’ he recommended, ‘have fun in another way, if you prefer another way. It’s all fine and good, since it pertains to the body of the one having fun … morality is the ignoble hypocrisy of envy” for “not being loved. (p.626)’

    Yet the ghost of de Campos inhibited Pessoa, as ‘he’ attempted to get in the way of a relationship with the tragic Ofélia. ‘Today I’m not me, I’m my friend Álvaro de Campos, (p.589)’ he would warn his only meaningful girlfriend.

    According to Zenith, Álvaro de Campos’s appetites in Freudian terms personified Pessoa’s id. Then perhaps the phlegmatic Ricardo Reis operated as ego, mediating the unrealistic id’s relationship to the world. These figures emerge under the tutelage of their acknowledged master, the Zen-like Alberto Caeiro – who was according to de Campos, ‘The Great Vaccine – the vaccine against the stupidity of the intelligent. (p.388)’

    Thus, Caeiro can may be seen the superego, the ethical touchstone of a tripartite personality built around his universal Portuguese personality; similar to that constructed around the universal Russian character in Dostoyevsky’s Brother Karamazov that seemed to have informed Freud’s original understanding of these characteristics.

    Lisbon, Portugal, 2019.

    The Book of Disquiet

    Dead we’re born, dead we live, and already dead we enter death. Composed of cells living off their disintegration, we’re made of death.
    The Book of Disquiet
    , Bernardo Soares

    Fernando Pessoa described the main author of The Book of Disquiet, Bernardo Soares, as a semi-heteronym, or ‘mutilation (p.721)’ of his personality, and as such The Book of Disquiet served as a semi-factual autobiography. Of course, nothing is ever as it seems with Pessoa, so the character of Soares is an unremarkable bookkeeper who endeavours to avoid contact with the bustling world around him, while Pessoa himself was a relatively sociable bachelor.

    Bernardo Soares he confided: ‘always appears when I am sleepy or drowsy, such that my qualities of inhibition and logical reasoning are suspended; his prose is an endless reverie. (p.870)’

    In a sense, The Book of Disquiet is a book of the night, if not of quite of dream time, then of solitary down time and retreat. According to Zenith the book, which took years for scholars to reassemble from often scrawled notes, ‘never ceased being an experiment in how far a man can be psychologically and affectively self-sufficient, living only off his dreams and imagination. (p.364)’

    It is a book of ideas and self-analysis. Thus, Soares reveals: ‘We never love anyone. What we love is the idea we have of someone. It’s our own concept – our own selves – that we love,’ and also, of self-reliance in solitude, where the intellect rises above material limitations.

    It displays a belief in the magical quality of words. At one point he remarks – triggered by Walter Pater’s description of Mona Lisa’s smile containing: ‘the animalism of Greece, the lust of Rome, the mysticism of the middle age with its spiritual ambition and imaginative loves, the return of the Pagan world, the sins of Borgias’ – ‘How much more beautiful the Mona Lisa would be if we couldn’t see it. (p.670)’

    In his imagination Soares/Pessoa is ‘the naked stage where various actors act out various plays.’ Thus, The Book of Disquiet, according to Zenith ’magnificently illustrates the uncertainty principle that runs throughout his written universe. (p.xxiii)’

    Also, in a time when we are urged to fulfil our potential, as a Capitalist economy demands constant self-improvement, the Book of Disquiet reconciles us to anonymity and the inner life of the imagination that we may rely on in times of adversity.

    Alentejo, Portugal, 2019.

    Political Commentator

    The dazzling beauty of graft and corruption,
    Delicious financial and diplomatic scandals,
    Politically motivated assaults on the streets,
    And every now and then the comet of a regicide
    Lighting up with Awe and Fanfare the usual
    Clear skies of everyday Civilisation!
    Álvaro de Campos, ‘Triumphal Ode’, June, 1914,

    Hired as a columnist for the newspaper O Jornal in 1925, Fernando Pessoa, writing as himself, proclaimed that ‘only superficial people have deep convictions.’ insisting that a modern intellectual ‘has the cerebral obligation to change opinion … several times in the same day.’ This person, presumably himself, might, for instance, be ‘a republican in the morning, and a royalist at dusk. (p p.450-51)’

    Abiding by this injunction, Pessoa presented a dazzling array of viewpoints in the 1920s, having renounced Catholicism in his youth, and embraced republicanism prior to the Revolution of 1910. He also acquired a distaste for British imperialism while living in Durban, albeit not necessarily imperialism itself.

    Pessoa was a roving provocateur, who, according to Zenith, ‘had a fondness for ardently defending a certain idea one day and then attacking it the next, with equally impassioned arguments. (p.340)’ Confrontationally, he opined in Nietzschean terms that the ‘plebeian class should be the instrument of the imperialists, the dominating class,’ and ‘linked to them through a community of national mysticism, such that it is voluntarily their slave. (p.453)’ The feigner’s tendency towards outlandish, objectionable views should be taken with a grain of salt, however, as the artist often played with literary tropes in political statements.

    This applies to a frankly disturbing 1916 pronouncement that ‘Slavery is logical and legitimate; a Zulu or Landim [an indigenous Mozambican] represents nothing useful to the world. (p. p.533)’ Importantly, however, according to Zenith, who devotes considerable attention to the theme of race he never ‘publicly supported any racist ideology, (p.534)’ and in the 1920s remarked that ‘Mahatma Gandhi is the only truly great figure that exists in the world today, (p.78)’ while he was opposed to fascism from the beginning.

    Until the 1930s Pessoa’s political views were in a chrysalis of café talk, untested by real authoritarianism, including censorship and a nascent police state under the dictator António Salazar.

    Moreover, Pessoa was expressing his views during the chaotic first Portuguese Republic (1910-26), which experienced a series of political convulsions generating forty-four ministries and nine presidents, with frequent political assassinations. As Zenith puts it: ‘[t]he nation’s political centre, rather than being caught in a tug-of-war between ideological extremes, was caving in on itself. p.220)’

    Pessoa was disgusted by the chaos, and rejected ‘the positivist project of certain republicans, who envisioned a science-based society of secular citizens illuminated by the twin virtues of order and progress. (p.424)’ ‘All radicalism fosters reaction,’ he warned, ‘since the informing spirit is the same. (p.312)’ In response, he developed his own reactionary idea an aristocratic republic. Progress, he argued, ‘could be achieved only through an aristocracy of superior individuals’ that, mercifully, have ‘nothing to do with blue blood or inherited privilege. (p.412)’

    In 1928 he published The Interregnum: Defense and Justification of Military Dictatorship in Portugal where he argued that Portugal required a new political system but that this system had first to be discovered, and until then a military dictatorship was the best alternative. However, according to Zenith he ‘set himself apart from those who favoured a long-term authoritarian solution. (p.700)’

    Only when put to the test would he display his true qualities, dismissing narrow appeals to national identity – proclaiming (as Bernando Soares) ‘My nation is the Portuguese language (p.791)’ – and defending individuals ‘whom he regarded as the true creators and only deserving beneficiaries of civilization. (p.742)’

    Alentejo, Portugal, 2019.

    Under Salazar

    Ah, what a pleasure
    To leave a task undone,
    To have a book to read
    And not event crack it!
    Reading is a bore,
    And studying isn’t anything.
    Fernando Pessoa-Himself ‘FREEDOM’, 1935

    According to Zenith, Pessoa ‘smelled a rat in Mussolini (p.640).’ The Italian dictator had become a popular figure among the Portuguese intelligentsia of the period in search of a solution to the country’s catastrophic instability.

    Zenith writes: ‘Pessoa continually oscillated between a Promethean impulse to help humanity, to be involved in the world, and a contrary inclination to retreat and seek perfection in the artistic space of a poem. (p.217)’ Confronting dictatorships across Europe in the 1930s he ceased feigning and honoured that Promethean impulse, at a significant cost to his career.

    Pessoa opined, in the heteronym of Thomas Crosse, that Mussolini, Hitler, Stalin and Salazar were all ‘unbalanced characters,’ whose ‘limited vision of reality’ might, he acknowledged, make them effective but they shared the same ‘hatred of intelligence, because intelligence discusses.’ They were all, therefore, ‘enemies of liberty’, which if ‘not individual, is nothing,’ and saliently observed that, by nature, dictators ‘are unhumorous, because a sense of humour preserves a man from that maniac confidence in himself by which he promotes himself dictator (p.841).

    The priest-like – another lifelong bachelor – Salazar may have been a less monstrous character than other dictators of that era, but his “interregnum” would last almost fifty, stultifying years. A trained economist, who summarily banned gambling halls in Lisbon on taking power, before introducing austerity measures that appear suspiciously similar to those inflicted during our neoliberal era. A motto of ‘faith, moral guidance, and the spirit of sacrifice (p.705)’ is also reminiscent of public health exhortations under lockdown.

    According to Zenith, Pessoa ‘instinctively bristled when he was expected to be a willing and even joyous participant in a mass movement, whatever it was. (p.293)’ Unsurprisingly, he reacted against propaganda projecting a ‘myth of a peaceful, bucolic Portugal where peasants joyfully hoed corn, tended cattle, picked grapes and wove baskets, while singing traditional songs and dancing in their spare time. (p.892)’

    As a writer he was also infuriated by Salazar’s demand that literary works should observe ‘certain limitations,’ and embrace ‘certain guidelines’ defined by the New State’s ‘moral and patriotic principle.’ Salazar said that writers should be ‘creators of civic and moral energies’ rather than ‘nostalgic dreamers of despondency and decadence. (p.880)’ This remark seemed to have been aimed at Pessoa himself.

    In response, he caustically observed that the word Salazar was made up of sal (salt) and azar (bad luck), and that rain had long ago dissolved the sal, leaving Portugal with nothing but azar (p.883). He would also write a sarcastic poem wishing that for once the radio announcer would tell listeners ‘what Salazar did not say (p.891).

    By the time of his death in 1935 Pessoa had come around ‘full circle’ according to Zenith ‘returning to the high-minded and large-hearted ambitions of his youth (p.903)’, arguing democratically that the nation is ‘worth the sum of its individuals (p.914).’

    In response to Mussolini’s invasion of Abyssinia in 1936, Pessoa would ask: ‘what are we all in the world if not Abyssinians?’ Between us and them he saw a ‘vast and broad human fraternity (p.915)’

    In response to the censorship of an article he wrote condemning Mussolini’s invasion, as well as discrimination against openly gay poets such as António Botto and the banning of the Freemasons and other secret societies, he took the dramatic decision to quit publishing in Portugal. In return for this he received an unwelcome visit from Salazar’s secret police, although he was largely left to his own devices until his death aged just forty-seven.

    Lisbon, Portugal, 2019.

    In History

    No, I don’t want anything.
    I already said I don’t want anything

    Don’t come to me with conclusions!
    Death is the only conclusion.

    Don’t offer me aesthetics!
    Don’t talk to me of morals!
    Take metaphysics away from here!
    Don’t try to sell me complete systems, don’t bore me with breakthroughs
    Of science (of science, my God, of science!)–
    Of science, of the arts, of modern civilization!

    Álvaro de Campos ‘Lisbon Revisited’ (1923)

    What to make of an artist such as Fernando Pessoa almost a century on from his death?

    First, huge credit goes to his biographer Richard Zenith, who has assiduously assembled the parts of an extraordinarily complex life. Readers may feel daunted by such a weighty tome, but this represents a bible for English speakers, at least, conjuring a literary titan, deserving our attention alongside Shakespeare, and few others, such is his contribution to world literature.

    Once suspects that Zenith himself must have struggled to maintain a coherent sense of self in the face of such a fecund imagination as Fernando Pessoa’s.

    In the characters of the three heteronyms, the semi-heteronym and Pessoa as himself we find spiritual resources that may guide us – like Virgil in Dante’s Divine Comedy – through the labyrinth of an increasingly mediated age of increasing homogenisation and fake authenticity in the arts. And, like Virgil perhaps, he takes us to the gates of heaven, and no further.

    With Alberto Caeiro – the vaccine against the stupidity of the intelligent – we may see nature in its glorious parts, at a remove from crippling intellectual conceits. Or we may dance with Ricardo Reis, maintaining order and composure in the face of chaos and deceit. That arch-sensualist, Álvaro de Campos, meanwhile, demands we appreciate all aspects of our journey through life, while taking aim at hypocrisy when required.

    Then Bernardo Soares should be appreciated for his self-sufficiency and celebration of the interior world of the mind. Lastly, Fernando Pessoa as himself represents a narrative arc, wherein a true love of humanity, and human wellbeing, eventually asserts itself in the face of tyranny.

    All these voices, and more, are what make Fernando Pessoa an essential poet for age.

    Poetry translated by Richard Zenith, Fernando Pessoa, A Little Larger Than the Entire Universe, Penguin Classics, London, 2006.

    With thanks to Bartholomew Ryan for editorial assistance.

    Featured Image: Image of Ser Poeta by Florbela Espanca in Lisbon, Portugal (2019).

  • Poetry: Haley Hodges

    The Sacred Mundane

    1

    We might say with confidence that the world
    is a lovely catastrophe—paradise
    buried in a rubbish heap; devilish, angelic,
    perishing, precious, priestly, proud;
    one home to the light that is oil and the water that
    is darkness,

    this poor dazzling Earth a jar cracking
    with the strain of their dueling dual containment,
    each repelling ceaselessly the other, each true and
    each toiling, warring for truest.

    Us? We sip from the strange chalice
    of these shocking simultaneities. The draught
    makes us dance, and weep, and worship
    and slay, and curse, and kiss, and pray.

    2

    This rainfall spends and spends itself
    on the ground that can only receive it,
    and my thoughts spent with it are hardly
    a poet’s thoughts – I wonder is there anything
    else like rain, and decide at last that nothing is,
    but the conclusion makes me think
    in this regard rain is like God, and have made
    myself a paradox.

    And then I think of your second name,
    a challenge, fierce in its declaration
    ‘Who is like God,’ and fiercer still
    in the silence that is the only true answer,
    and the rain falls steady with my unsteady
    thoughts; they are paired today in a dance
    strange and tuneless, and breaking
    over me like a jar of perfumed oil
    is the thought ‘I get to be here,’
    and the cosmic unfathomable voice
    of the rain says this also, and with
    the same measure of delight.

    3

    I passed the Dairy Corner on route 7–
    it was evening and a storm had
    begun in earnest and without apology,
    yet the Dairy Corner stood neon and unblinking,
    oblivious, resolute beneath relentless hammer blows
    of rain. I can’t say just why,
    but it warmed my soul to see the people
    (and these were not oblivious)
    huddled in a merry mass under the insufficient
    awning, drenched with their sundaes and cones,
    who–perhaps without even intending to–
    counted it all joy.