Poem ‘Perpendicular’

I’ve been baffled by this talk of
perpendicular, amused by the students
drifting by
in lurid hats and long scarves. Some are arm-
in-arm, quite oblivious to me, their
languid strides taunting
my age.
It’s a peculiar English thing, this style
of architecture,
(I know it hurts you to say) but I pretend
not to care, because my
recall of art history class is minimal
at best, a choice
that perhaps I regret now in these
idle moments,
sitting hunched in this cafe on
the square, bleeding its pasts. Maybe I’m jealous of
these boys, their short-skirted girls
with dark tights going on forever. And that bell,
it has a continental ring; I see
other occupants here, the shadows
of angular men in martial grey, mingling
with the smiles and chat of stylish women. But
now I have to watch you eat, your
gannet-eyes sucking coffee, washing
down the sachertorte you wolf. The mere
thought of those cobbles out there just beyond
this warping glass— you know
they are as hard as the freeze
which grips this place, the tissue of
your frozen heart

Poem ‘Rear Gunner’

I come here most days
after school. Dad says it’s ok, so I
head straight away to my

friends, the chickens; I help them
dig for worms. Sometimes
a school friend drops by too

and we race up the stacked bags
of guano; they’re almost warehouse high, our
voices muffled like we’re in a cave. Later,

when it’s time to go, I sit and wait
for Dad, stare at old pictures
on the wall. A bomber

plane in camouflage, the rows of cheerful
men before it with little to smile
about, Dad said. I can

point to his friend, the rear
gunner who never gets out. I’m stuck in
there, spinning round

and round in the noise, the ground’s
approach quickening— then nothing—
until this awareness

and I am his son

*Notes: When I was seven or eight years old, my Dad used to work in a warehouse and I did play with the chickens, climb the bags of guano. There was an office, with a picture of an old British Blenheim bomber, with rows of RAF men lined up in front…

Poem ‘A Tale of Love’

I first fell in love with you in a map,
a sort of pentagon, sacré, teased out
a touch like a stretched piece of dough. Then
it was the names, the easy non-phonetics
conjuring visions and colour through
Fontainebleau and Versailles. But then,
of course, it’s the history that defines me
and you, those first tragic lines etched
large, bold and bloody by le Bâtard, a family
dispute of a single culture cleaved
by hatred and greed, melded by chivalry.
For so long la Manche was not a divide
(and never la différence), more a conduit
of ideas flowing north, longbows sailing
south. Oh, we have divided since; your gift
for re-invention, dispensing with kings, that’s
something I cannot conceive, even though
we did have a go. But I only have to
look at Claude and Edouard, Paul
and Vincent, to get it, to understand— there’s
a love neither can openly express, though
look more closely, you will find it in our eyes

Poem ‘Hurricane’s Grave’

Hurricane’s Grave

A copse can be an intimate
friend. Most days he roamed there, always
finding something to love, a life of
reasonable expectation.
Late winter was a favourite time; tree tops
took on reddish hues and
there were further signs other
than snowdrops
and blue tits’ brighter songs, of the
burgeoning spring

Today was different. Large boots
had been this way,
their wearer, like
a stump line of grey, stood
barely seen by an old fence, through straight
saplings in sunlight.
He approached the figure, which seemed
to dissipate like mist in the sun, something
he’d mistaken for form
and life

But it was more than
a notion that had led him there. The fence
overlooked a rolling field, familiar lumps
and bumps of pasture unchanged
for decades,
where lords in their demesnes might
still rule for all he knew.
He leant on the fence, it
gave way in his hand. A piece of torn
grey cloth freed from a nail, flopped to
the damp ground.
He held it,
felt its old thick weave— like a uniform

He pondered the scene in front
of him, gave space to wartime tales,
the remembered lumps and
bumps which might easily hide a
hurricane’s grave

* The Hurricane here, is a British WWII fighter plane

Poem ‘The Artist’

The Artist

Black paint on the front door
was peeling badly. Before knocking
I ran a crackling finger over it,
flakes falling into shade around my feet.
A small grey lady in garish pink
dressed for bed, squinted up at me,
something akin to Stravinsky
played in the darkness behind her.
“Take a pew!” – words betraying her age,
her station, a headmistress perhaps,
Arnold’s paintings in primaries all over low,
leaning walls in a room of gloom,
as if yellowed by years of smoke
and smelling of rose and age.
His preference for palette knife
and fingers were evident at once –
then a portrait, blue eyes staring at me,
almost violet, gorgeous like Liz Taylor
and hints of a grey uniform with pips.
Tea and scone arrived on Royal Albert
with shuffles of pink slipper.
“The portrait,” I pointed.
“Oh, that’s me, circa 1944,” she croaked,
standing bent. “But not his usual style.”
“No,” I had to agree, writing frantically,
excitement like sap
sent tingling up my spine.

So, let’s get this right:
She had trained in Ireland,
was deployed to France,
following allied troops into Germany
all the way to the end, in Berlin.
Hers an eccentric family of noble stock,
a quite irregular life lived on the edge.
Did I believe her? At first, yes.
At least until I closed the door
with that peeling paint.
Then I noticed the corner in the road,
breathed in the fresh air,
saw the rush of wind in poplars
and rooks cawing their honest presence.
The further I drove the less I believed.
Narrow roads led into town, a realisation
that still – the artist had eluded me

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