Tag: Ciaran O’Rourke poet

  • Poem: ‘A Chapter in the War’

    A Chapter in the War
    Appian, 95-165 CE

    Under orders from Octavian, the hardened captains – Pansa,
    Carfulenus – patrolled the narrow pass they had determined to defend,
    with the Martian legion and half a dozen cohorts in their train.

    Surrounded all about by mulling marshland, heavy bogs,
    eight miles south-east of Mutina, their suspicions
    as they carried on were roused on either side

    by movement from the rushes; softly here and there a shield
    or helmet seemed to glint, a fog of shining apparitions.
    Suddenly the Antonian praetorians appeared, in grim array.  

    Having nothing in the way of tactical advantages
    or spaces to maneuver, the men instructed new recruits
    to linger at the rear, lest they lose or hamper the attack.

    Then spreading through the swamp, the veterans
    unsheathed their blades and readied for the fray.
    The massacre was brutal – for these were brotherly

    antagonists, Roman known to Roman, lethally opposed.
    Worse by far than war itself, a savagery incarnate,
    is the rending of a nation from within, neighbour

    killing neighbour – the enmity unending. On this occasion,
    the Antonians resolved on rooting out the ones
    they called defectors, in the name of the republic;

    the Octavians believed themselves entitled to revenge
    for the calamities inflicted at Brundisium. Thus
    the armies clashed ferociously, in silence: because

    of their experience, the soldiers never raised a cry,
    knowing their assailants to be seasoned, unafraid.
    No sound was heard but metal in the mist, the guttural

    alacrities of flesh. Since the sodden ditches offered little hope
    of charging or retreat, the soldiery were locked as in a pit
    together, limb to limb, dealing death between them.

    When one fell downwards, blacking out, another instantly
    stepped up into the gap. None had any need of bidding
    or encouragement, for all became their own commanding

    officers in battle. They fought with the intensity
    and muscled grace of dancers, in a muggy April sun
    that never broke. The novices, obeying their instructions

    from the start, watched in wonder as the butchery continued,
    with everywhere an eerie quiet hovering, a shroud.
    Having gained the upper hand at last, the Antonians caroused

    along the avenue, relieved. But history is fickle as a breeze.
    When Hirtius had word of the catastrophe, from Mutina
    he led a squad of legionnaires in haste, and tracked

    the weary victors down the road. He killed them all,
    methodically reversing the result. Octavian was cheered
    by the intelligence. He slept, that night, as gently as a babe.

     

    Feature Image: Augustus of Prima Porta, 1st century

     

  • Review: Trump Rant by Chris Agee

    “Trump Inhabits Trumpistan”, writes Chris Agee in his rampaging poetic satire, Trump Rant: “Trump Is the Wolf of Washington”. Written over a four-year period from 2017 onwards, and arranged as an expanding series of mock-newspaper headlines, Agee’s book begins as an act of stinging personal portraiture and ends as a thorough-going investigation of America itself – which appears, over the course of the poem, as both an empire in decline and a dysfunctional democracy in crisis. “Trumpian Fever”, Agee writes, “Continually Reminds Me of the Civil War Build-up of the 1850s”. As Agee recognises, and as Mark Twain likewise knew, the past and present have a habit of rhyming through the flux.

    A US-born Irish citizen, based in Belfast, Agee is singularly sensitive to the totalitarian impulses and tribal resentments that the title-figure – a “Beacon of Malevolence” – has proven adept at mobilising, both in and out of political office. “Trump Is Ten Times Worse Than Nixon”, he insists, reminding us that the current Republican nominee for president “Openly Supported the Kenosha Shooter”, Kyle Rittenhouse, in 2020. Such precedents alter the civic atmosphere, toxifying public politics, possibly beyond repair.

    The Trumpian era, Agee suggests, is defined by ruthlessness, for “Trump” at heart “Is a Political Cutthroat”: a charismatic leader with brash demogogic tendencies, brazenly echoing white nationalist discourses in his bloated ascent to political power. “Trump Is Malcolm X’s “American Nightmare””, we’re informed: a proposition that feels at once historically grounded and chillingly prophetic.

    In this respect, the Rant may bear a resemblance to the work of Allen Ginsberg, combining oratorical force with a deep-running sense of cultural urgency. “Trump Is the Real Plot Against America”, Agee declares, “Trump Is a Mouth Who Loves Mouthing”. It should be said that part of the appeal of Trump Rant – what stops it from being merely abrasive and makes it, instead, thought-provoking and often funny – is its fizzing sense of how ludicrous Trump can be. It’s possible, indeed, that when faced with the former president’s one-man circus-show, laughter may be the sanest response. “Trump Is Impossible To Imagine as a Scuba-diver”, Agee quips, and any honest observer would struggle to disagree.

    “Trump Speaks No Languages (Not Even English)”, he continues, and we begin to understand the complex blend of fixation and anger that propels Trump Rant along its hurricane-course. Whereas Trump wields language like an ugly weapon, scattering falsehoods and distortions whenever he speaks, Agee, a poet, is using his words to hold up an accusing mirror to power itself. “Trump”, he suggests, “Is The Corrupted Dream”. The Rant, by contrast, might be thought of as a visceral attempt to re-galvanise the original promise – of language as a mode of truthful speech, and of the United States as a vibrant democratic republic (or what Langston Hughes called, with painful justice, the “land that never has been yet”).

    With his Democratic rivals staunchly committed to neoliberalism at home and genocide abroad, and his own party plunging ever deeper into a sludge-pit of weaponised nativism, toxic conspiracy culture and personality-worship, as a political figure Trump in 2024 seems as peculiarly emblematic as he has ever been: both homegrown product and representative man, incarnating the feral aggression and strange emptiness of American capitalism. “Trump Is a Tacky Gatsby Bamboozling the National Nick (We’ve Read It All Before!)”, Agee writes, and the tarnished nature of America’s self-mythology seems all the more polluting; the rot too rampant to be reversed.

    For all its declarative zest and referential range, Agee’s book is saturated with political dread: we read it in the shadow of things to come.

    Feature Image by DonkeyHotey – Donald Trump – Caricature, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=66578850

  • Poem: Fragments of a Litany

    Fragments of a Litany
    Gaza, 2023-24
    Grieve with the butchered gods of love
    for Layan al-Baz, the young, the strong,
    her soft arms cut by shrapnel,
    her wounded leg a stump.

    May the world record unquietly
    the wordless eyes of Abdul,

    of Kenza, and Karam – who buried
    their mothers in a barren yard.

    And remember the nameless orphan, too:
    removed from the rubble of a screaming ward  –

    blood in the mouth, her vision blurred.
    Sow seeds, oh poem, for the baby, Salma,

    and her shock-haired sister, Alma, twin,
    mewling by the roadside when the brutal rains abate.

    Feature Image: Aftermath of an Israeli airstrike on the El-Remal area of Gaza City, October 9, 2023

  • Bliain an Áir – ‘The year of slaughter’ 1740-41

    Bliain an Áir
    ‘The Year of Slaughter’, 1740-41

    Around the earth, a warring, wooden sea of brigs
    was bristling, a-flame; volcanic ash
    descending on the vacillating map. The weathered world
    began to shift – a tiny alteration
    sowing ice across the land. The shining-bellied geese
    no longer wintered by the lough. The turf-blue river
    waters died. An iron frost persisted, all the spring,
    without a rain, the blooming yearly crop undone –
    in every rill and valley, sick. The factious common people
    roared in protestation; then dwindled down, masticating
    slowly, like a herd, on sour, curdled soup and sallow greens:
    a meal of nettle stems and charlock – the lush,
    green-leafed, light-golden-flowered thing that grows
    among the grass. The lark-lit summer moors
    were blank; the meadow-birds aghast. No longer
    having feed to give, the grieving poor death-rattled
    in the fields, as the little cows they tended fell.
    Like rotten sheep themselves, after supping
    dead potatoes in distress, whole parishes surrendered,
    passing out, in fever-thin delirium, to waste
    and bloody flux: a plague of desperation, day by day.
    Town and city quickly filled with remnants of the living.
    The census-takers floundered; swelling ditches overflowed.
    To put an end to expiration, the famous bishop
    brewed a broth: a medicine made up of milk
    and boiling water, with a sprinkling of chalk –
    to be dispensed among the stricken, till the ague settled down.
    Feature Image: gravestone in Coolaghmore, county Kilkenny of the Lee family, of whom three members died in 1741–42.
  • Poem: Questioning A Tank

    Questioning a Tank

    Into the shocked, shucked shell
    of the hospital at Kunduz, which

    for ten days past, in streaming light
    (the season’s slant of sun), has spilled

    a steaming trail of twisted bricks,
    chewed up rails, a grieving mist – the site

    where the counted, cradled sick
    burned up, the still un-

    bordered doctors tell, in beds
    the red-blue bombers targeted

    and turned to smoking tar –
    into the murdered spectacle,

    a spangled, metal beast, a tank,
    has since arrived, to crinkle

    underneath its feet
    the very residues of war,

    a mounting dust-heap mingled
    in its wake, whose quiet particles

    now drift and sway,
    dissolving in the blue –

    as the learned pugilographer
    appears in print, enrobed

    in points of lucidation, the buff
    and cleanly Michael Newton,

    who, pending
    Pentagon investigation, will clarify

    the one un-
    answered question
    thrice

    for all concerned:
    Who had control, that day,

    of base-defensive protocols?
    Why include

    a hospital
    among the targets pre-approved?

    And what, he wonders,
    happened on the ground?

    Feature Image: Kabul, Afghanistan. 5th Nov, 2015. The damaged sign of the Médecins Sans Frontières (Doctors Without Borders) hospital in Kunduz is displayed at a press conference in Kabul, Afghanistan, 5 November 2015. A month after the US airstrike on the Doctors Without Borders hospital in Kunduz, the aid organisation has repeated calls for an inquiry. PHOTO: MOHAMMAD JAWAD/DPA/Alamy Live News.