They spoke of wealth (of course I had none)
Their clothes spoke of it, their speech and their
Blonde-honeyed hair, every freckle on their nose,
Knee and cheek. It was always flowers
And poetry that made my broken heart smile.
The light from the sun. Now that was my chandelier.
I always wonder why I felt so small in your world
You are still my dream as tender as a Paris meadow
Diving into the closet under the bed
Filled with monsters and with wild beasts
Dressed to the nines dressed to impressed
I am that woman who sleeps alone who eats alone
In her forest. I wait and watch for you the flowing river
In childhood we were loyal to each other
We were blossoming us sisters and that is the truth
You were my manna from heaven
You were my Moses and my burning bush
I believed that you existed with all your airs and graces
You took your powerful singing place amongst
All the gods and goddesses and I worshiped
You then as I worship you then as you dance
Far and away outwards from my embrace.
The moveable feasts of chandeliers and wealth
Breasts and the phenomena of infertility
All my life I have never wanted children
I have longed for companions but never children
To take care of or to take care of me
When I am at my most infirm in old age
I have always had a travelling heart
And that has been with me season after season
Of all the dark, mocking falling leaves.
There is stagnation between the laughter of clowns
That marks all of us. In the details of their heavy made-up
Faces. The wigs that hides their true features from all of us.
There is a sadness and a pathetic frustration
That lies there like the trees at the bottom of a lake.
Drowning visitors every one never to be seen
By humanity again. Touched by the hands of humanity
Again. And so we say that our fears have lethal airs
And graces. We begin to search for the exit out.
Our moral compass navigates us through the elements
Of air and fire. And whenever our hearts are pure again
We the lovers of futility and imposters
In our dreams. We will become voyagers once again
Our minds and hearts turned into ice, asylum pieces
Every one. The frame psychological. The work
The world and the fabric of the universe darker still
Than our childhood. A child’s world touched by
Swaziland’s mountains, valleys, Lazarus and greener
Pastures, sleep and the richness of a father’s madness.
Humanity goes forward into the exploratory studies
Of both man and woman to find souls there
Some find that they are touched by love
Others find mental sickness, and aberrations
Illness composed of jagged pharmaceuticals, doctors
And pharmacists, a bright palace of harmonious
Music, lords and ladies of the stellar night
Dancing their cold hearts and lungs out as fast
As their legs and feet can carry them. They don’t
Need a world of inquiries. They’re all strangers
In the dead of night and they’re all singing the blues.
Stringing, threading, braiding love knots, Scout
Knots, clotting blood knots feeling the tightness
In their chests while the rest of us live and die.
Illusion written on the body
Nature, climate change –
Those great, delicate things.
Much like the depths
Of the unsaid between
The woman who is a lover
And the female who is a mother.
The haunting tones of both.
The anxiety in the symphony
Of both. Her mother a bride
At twenty-five. Albums
Full of photographs.
People (some long dead and buried)
Captured on camera that still used film.
She taught her daughters
That although the potential,
The fabric of truth was there.
That love, married life, and
The sexual transaction
Won’t always triumph in the ways
That illness in the world would.
Ted Hughes’s winter pollen
Has descended upon the chilled earth.
For every blushing bride
There is a flushed groom.
Nobody speaks about
The difficulties of married life.
When does love torment?
When does love become winter?
Angels. The children sprout
Wings of rain as they run through
The sprinkler. Innocents.
What the adults who live
Vicariously through them
Would not give to experience
Childhood once again.
Memory, memory, where art thou memory?
Stems tearing themselves away
From the root, making their
Way towards the sunlight.
It is the most natural feeling
In the world for any woman
To want to have a child.
On her infertility, she is mute.
It never comes up in interviews.
The fact that she is also
Not married. Also not in love.
So all people tap dance their way
Through life and childhood.
Sleeping Woman as a Prophet
I will not smile because that is not what attracts you to me. Instead it is fire. Instead it is sitting in the school benches once upon a time, breathing lessons, celestial navigation, driftwood, and a forest of winter trees, the force of the night swimmers, the beach and making each one in its exclusivity sound poetic. Sound the most exquisitely poetic. What is the first memory, the first desire, the primitive attraction and separation anxiety of the magnificence of creativity in the origins of the organisation of feminine intelligence in contemporary poetry? Is the proper voice not the voice of the lover, the voice of the child full of jubilant innocence?
The voices of mother and father in unison giving their child their first standing ovation, grandparents in attendance looking on priggishly mere caretakers of the illumined situation? How quickly pasts are mended, futures are healed and mended? Here is the beginning stages of the organisation of the origins of feminine intelligence. She is schooled in thoughts of culture, a masculine wisdom, vision, and educated by an otherness in luminous stream of consciousness thinking, writing. We need to be drenched in both perspective and identity. Our winning power (that which will never cease) lies in trying not to destroy everything that is above us, and that we believe in. Even our failures must inspire us. For the woman who can’t have children her infertility must inspire her to greater heights.
Whatever was taken was the brightness from the air that made up the shine of artistic genius and it was given to me like the besotted Milky Way, the tangled fabric of the stars from the universe at night, the moon and stars inseparable intuits from the beginning of time. Both pulling down the shine of artistic genius a veil as thick as a tapestry. Is the sanity of a female poet as graceful as a shipwreck left to the gracious mercy of being the bride and bridegroom of nature as we think it is? Aren’t we all, aren’t you just a little bit at the mercy of the creativity’s elusive artistry. Its ravishing blues, the breakdown to end all breakdowns, the be all and end all of the nervous breakdowns? Is it just chemical?
Is the sexual impulse, and that drive just the glamourous rub of love, as glamourous as lipstick? Does the female poet promise that it, her words can never be more than that? Sometimes I catch myself saying those words without really meaning to say it, to say them. I try and detach myself from the glowing artful truth of them. Composing stillness, a courageous stillness, the stillness of intelligence, which is a feminine intelligence is poorer for having known the poverty of the world, and spiritual poverty. With all of the perversions that we discover in this world. With the intimacies, braveries, warriors we learn to let go, surrender if you will. We must or how can we live? We are all waiting for gifts. As a reward for futility or to take upon as just another responsibility.
There was a journal full of darkness in this most primitive of landscapes. Where winter promises snow, the harvesting of into the black, of one bleak and desolate landscape after the other the female poet projects herself into the canvas of her work. Her life becomes the poetry. Art mirrors life. Life mirrors art. The reflection of the female poet is a studious, effortless and conscientious project. The female poet only has to be wild and knowledgeable. She is an animal with a gull’s wings and fortitude. She instructs, she corrects, she astonishes, she admonishes and she knows that to live in this world she has to be the swan. She has to swim.
But she must also have the insight of the ugly duckling, the Cinderella phenomenon, the Plath effect. A female poet knows when to sing, when to be mischievous, when to be the swimmer, the bride, give in to the environment, nature and when to love until she can feel it humming in her bones, giving into it through the fabric of her skin. The female poet in love knows when to surrender. The female poet when casting spells knows when to surrender. The words are there for us to go back to like a complicated film of us in a breath-taking way. A female poet does not need the eye of the public to watch her every move to know that she has made a difference in the world. She only needs a child’s all-knowing eyes.
When it comes to rain it always dances like the gestures of imagination, and like the chilled earth in your hand that roses grow from, that fields of grass wrestle with themselves in, trees are not the interlopers but merely angels in another dimension with their branches acting like wings. You can tell yourself that here’s the breakthrough I’ve been looking for. Here’s the book of secrets my heart’s been longing for. And then you will realise that these are all gifts within the hours of your quiet desperation.
And that the vision of the female poet is in full bloom when she stands at the mouth of a river or not. When she’s hungry, whatever the origins of her beauty is, and most especially when she’s gone underground like some animal seeking shelter from the elements. There she stands. Blooming beautifully with her gift. Her poetry is fresh. It is her pound of flesh. It is her Renaissance. Isn’t the ancient dust under her bare feet delectable, hard won although it is a romance that is as good as dead, and she wants evidence of the cities, of life there because she doesn’t think she’ll make it if she’s plain? If she’s ordinary, if her madness is staggeringly ordinary and most of all if her poetry is not useful, pure enough.
Where’s the oeuvre of a female Chinua Achebe (a series of haiku)
Haiku for Jean Rhys (suffered from alcoholism and manic depression)
The photograph in-the-red-box.
Like the juices of the succulent-roast –
The-death-kit it keeps me sane.
Haiku for Susan Sontag (died from breast cancer)
Fragmentary in-my-world-reality.
Here comes the blue nurses’ sleepwalking-again-writing-on-my-body
Ice-cometh with their death-kit needles-galore.
Haiku for Sharon Olds (suffers from and still lives with estrangement and divorce)
I like your death-kit-beauty that-pours-out-of-you.
Your territory so-pure-like-childhood – I-surrender-to-it –
Like Alice-in-wonderland, star maps, our-wedding-cake.
Haiku for Anna Kavan (heroin addict, died from heart failure)
In her volcano-garden there was-death-kit’s-silence –
Hellish ice-revisited. Human-stupidity. Heroin was-the-mistake.
Your weapons-against-the-tigers was writing-it-brilliantly off.
Haiku for Ann Quin (died from a suicide attempt)
The-portrait-of-the-sea- came with mansions –
Brighton’s waves shielded all this-drowning-visitor’s-barefoot-experiments.
At-the-borderline bloodless-flesh staying at-the-death-kit-hotel-forever.
Ann Quin
Water has become
like my own alcohol
While I bask
In dreams of writing fiction
Hallucinatory illness
psychosis, threads
Always communicating
with each other
As if I am not there
only eavesdropping
On the conversation
Don’t talk to me
About tortured souls
or the ones who never
made it, were transformed by it
Lived through it, survived it
The atlas of their brains
and limbs asylum pieces
every one possessed
with a hard substance
Animal awakened by ritual,
Don’t talk to me
about the loneliness
or the Brighton people
As if it is supposed to mean
Everything to me like scar tissue
What terrible dreams I have
Of the ghost house, of insomnia
Of my childhood continued
Animals are dream catchers
The pigs are lurking there
Behind the looking glass
Their horrifying yet vital
dream-language must still
Be translated by inhuman me
By my incoherent brain.