The Irish Hermit’s Wish

I wish, O Son of the living God,
old eternal King,
a hidden hut in the wilderness
that it may be my dwelling,

A bright blue narrow stream
to be beside it,
a clear pool for washing sins away
through the grace of the Holy Spirit.

A beautiful forest near by,
around it on every side,
for nourishment of many-voiced birds
as shelter to hide them.

Facing south for warmth,
a little stream across its land,
choice ground with many benefits
that would be good for every plant.

A few sensible men
(we shall make known their number),
humble and obedient
to pray to the King:

Four threes, three fours
suitable for every need;
two sixes in the church
both north and south;

Six couples besides,
as well as me myself,
praying perpetually
to the King who makes the sun shine.

A lovely church decked with linen,
a house for God of Heaven,
bright lights afterwards
above pure white Scriptures.

One house to visit
for tending the body,
without ribaldry, without boasting,
without contemplating evil.

This is the housekeeping I would get,
I would choose without hiding it:
real fragrant leeks, hens,
speckled salmon, bees-

Enough clothing and food for me
from the king of good renown,
my being sitting awhile,
praying God everywhere.

Anonymous, Dúthracar, a Maic Dé bí, c. 800/900 AD, translated by Ruth P.M. Lehmann, in Early Irish Verse.

It Rains

It rains, and nothing stirs within the fence
Anywhere through the orchard’s untrodden, dense
Forest of parsley. The great diamonds
Of rain on the grassblades there is none to break,
Or the fallen petals further down to shake.

And I am nearly as happy as possible
To search the wilderness in vain though well,
To think of two walking, kissing there,
Drenched, yet forgetting the kisses of the rain:
Sad, too, to think that never, never again,

Unless alone, so happy shall I walk
In the rain. When I turn away, on its fine stalk
Twilight has fined to naught, the parsley flower
Figures, suspended still and ghostly white,
The past hovering as it revisits the light.

Edward Thomas (1878-1917), ‘It Rains’

Sweeney’s Dream Flight to the Juniper Tree of the Furthest Limit

A somewhat apologetic note to the reader: the following is an experiment on my part; what little poetry I’ve published here has been rather different. Written deep in the night in a bit of a blur with all the perhaps too obvious (or not) echos and influences whirling about in my head, and polished up in the morning, which is how these things usually come to be, I suppose. Enjoy.

________

When you sleep into the dream world, you might—might—see me. Spit three times in your left
Hand—or is it the right one?—and make sure. Abjure.
Wake it up, lit. Take your heart’s writ, tear, and sprinkle
The bits of the words on the tip of your tongue, encausticate them. Honey’s a fix, sure, but
Some wounds, they only take their mirrored selves—a lesson?
Others, warm milk and honey, perhaps. The bees, they know, ask ‘em, but take mind,
They’re liable to sting, even, perhaps, in a dream. Or not.
If you wake up, and you’re already smiling, take it as a token,
A very good sign. Not the sort that leaves you flat-backed and singed—not that good.
St. Patrick’s Purgatory, the wet stones traprock, blink and you’ll miss them, the good folk there—
Well, he said. Some days sure it don’t rain. Though this damp don’t help your cold none, son.
Cut and burn, your labors pass. Wind on the weary uplands, up and out.
What you saw, anyway, was me in the stars, swinging the scythe, harvesting
Sounds and portents. Now we’re away on the far ends, the utmost limit,
And a scraggly juniper tree at the start of old field succession, digging roots
Into the old star stuff, left alone. The heavens. Man, it’s deep, deep I say.
Straight from that hunkered down isle within an isle, to that bower, I took, mad Sweeney beside,
And sheared all day, found rest under that tree. Sweeney flew on. Now, stick around, we’ll
See all that, and see what we see, so. Prop your eyes open, sleep, and dream.

Salt Marsh Cosmology

Sitting here afloat, pockmarked and saltstreaked cordgrass
Shivering up in the gathering morning heat,
I search for a word for the waters under me.
Creek, the map says, but flowing up,
Against the world’s plane,
Reached by the moon, hard to believe,
Like the best things that also are true.
I listen.
Everywhere, motion and sound, just above silence—
An infinite city in reduced scale, plunging
The five or six feet down in the turbid flow, then into
The mud, the worn-away of the ages,
Ancient Appalachians crumbled,
Creatures great and small alive in the bubbling wash,
The ten thousand things circling in and out.
I hover overhead.
I’d say I’ll withdraw, but there is no real away,
Only a slight difference of distance.
Every moment, earth, under
Moon, self, triangulated, over, below
The waters. Here, and everywhere.

Fragments. Mississippi. The Eschaton.

i.

Buried under twenty feet of pine mould,
Magnolia cones, and red soil washed out,
Sins of a dozen generations, decomposed,
All these tendriled roots reach into our living flesh.
We are still the scattered bones and blood,
Slave and free. Marbled pillar and rotting red rock pile
Mark their places, where our dark roots reach in,
And draw up our half-hidden present.
The old chains, which once we forged,
Rust close, next dissolve
Into the tannined water over red clay and white sand,
Black depths and inner sanctums,
The crack of bone, and the body in prayer.

ii.

At a certain age
The hearts of loblollies and longleafs go dark,
And rot. The fire takes them. Ash and smoke.
The remnants, transmuted, filter slow
Into the lost seas, the departed mountains, the wasted
Pasts that lapped up our blood, and the blood we spilled.
All trajectories merge.
Yet, things grow more fertile,
Marked by flame and flood—the
Mercy may overtake the Wrath, but both
Remain, this the great dialectic. None
Of us escape, only pass through.
Then—seeds open, and sing.

iii.

Open your mouth, taste
The old life, the new death hanging
After that morning’s rain, bearing a bit
Of those dead uplands to the unending sea. Know.
Other things happen, though. Those saplings’
Taproots run terribly deep. So you too
Must burrow, must find the far down place
Rooted in the life-giving decay and parted hills,
All the way down,
To the first Place,
The no-place. Uncreated.
Have your feet there, and the Fire will not consume you.
Only singe.
Then—
Return, rebirth, and the resurrection of the dead.

Bogland

We have no prairies
To slice a big sun at evening—
Everywhere the eye concedes to
Encroaching horizon,

Is wooed into the cyclops’ eye
Of a tarn. Our unfenced country
Is bog that keeps crusting
Between the sights of the sun.

They’ve taken the skeleton
Of the Great Irish Elk
Out of the peat, set it up,
An astounding crate full of air.

Butter sunk under
More than a hundred years
Was recovered salty and white.
The ground itself is kind, black butter

Melting and opening underfoot,
Missing its last definition
By millions of years.
They’ll never dig coal here,

Only the waterlogged trunks
Of great firs, soft as pulp.
Our pioneers keep striking
Inwards and downwards,

Every later they strip
Seems camped on before.
The bogholes might be Atlantic seepage.
The wet centre is bottomless.

Bogland, Seamus Heaney, in Door Into the Dark (1969)

Be Adept and Be Dialect

I stood between them,
the one with his travelled intelligence
and tawny containment,
his speech like the twang of a bowstring,

and another, unshorn and bewildered
in the tubs of his wellingtons,
smiling at me for help,
faced with this stranger I’d brought him.

Then a cunning middle voice
came out of the field across the road
saying, ‘Be adept and be dialect,
tell of this wind coming past the zinc hut,

call me sweetbriar after the rain
or snowberries cooled in the fog.
But love the cut of this travelled one
and call me also the cornfield of Boaz.

Go beyond what’s reliable
in all that keeps pleading and pleading,
these eyes and puddles and stones,
and recollect how bold you were

when I visited you first
with departures you cannot go back on.’
A chaffinch flicked from an ash and next thing
I found myself driving the stranger

through my own country, adept
at dialect, reciting my pride
in all that I knew, that began to make strange
at that same recitation.

Seamus Heaney, April 13, 1939- August 30, 2013. ‘Making Strange,’ in Station Island.

Memory eternal.

Theories of Time and Space

You can get there from here, though
there’s no going home.

Everywhere you go will be somewhere
you’ve never been. Try this:

head south on Mississippi 49, one-
by-one mile markers ticking off

another minute of your life. Follow this
to its natural conclusion- dead end

at the coast, the pier at Gulfport where
riggings of shrimp boats are loose stiches

in a sky threatening rain. Cross over
the man-made beach, 26 miles of sand

dumped on the mangrove swamp- buried
terrain of the past. Bring only

what you must carry- tome of memory,
its random blank pages. On the dock

where you will board the boat for Ship Island,
someone will take your picture:

the photograph- who you were-
will be waiting when you return.

Natasha Trethewey, ‘Theories of Time and Space,’ in Native Guard: Poems, 2006.

Planting Crocuses

1
I made an opening
to reach through blind
into time, through
sleep and silence, to new
heat, a new rising,
a yellow flower opening
in the sound of bees.

2
Deathly was the giving
of that possibility
to a motion of the world
that would bring it
out, bright, in time.

3
My mind pressing in
through the earth’s
dark motion toward
bloom, I thought of you,
glad there is no escape.
It is this we will be
turning and re-
turning to.

Wendell Berry, ‘Planting Crocuses,’ in The Country of Marriage (1971)