Friday, 30 September 2016

Relic Environments Trilogy: Book III, Part 2.ii

from Book III, Part 2, Animus

I.Tales of Wood and Iron

ii. Rapunzel

The house was built of whole trees
notched into a daub and wattle frame,
eaves thatched, a hearth of creek stone
dressed to keep a fire.

Latin the old tribe left
remained long after their departure
south across the mountains, settled now
to place names and the skills of making walls
and a straight road deep into the forest.

A thousand years passing − herbs
once cultivated for a cure
grew wild beyond the old enclosures.

Near a tumbled brick course he gathered
chervil, rocket, the clove-scented pinks
craved by his wife these many months,
heavy and heavier still and soon the child.

Beyond the rubble boundary
thick with tansy and succulent rapunzel,
he sensed the old woman suddenly beside him,
knew her names, Artificer, Blood-Bake, Time Wheel,
no warning but her smell
and he felt his choices fade.

She wore a beaded cap stuck with feathers,
a cloak the colour of shadows.

She said that place was hers forever,
from the world’s dark heart
to the blind blink of heaven.

For his trespass, one life was forfeit.

She fixed him with a sign.

He told her all.

When he returned home he kept quiet,
but his wife saw through him, was afraid,
and wished he had not come back, there
to the house where fear was the first-born.

In the upstairs room a window
framed with coppice hazel, a film
of pig’s bladder stretched over – no other light
but candles by the rope-slung bed
and his wife exhausted with the birth.

Still blood-soak on the straw
when a filthy wind roared through the cracks,
blew the window from its leather hinges.

The man leaned out into the night,
shouldered back the gale
but could not stop the gaps nor the wind’s hands,
shouting to his wife the child the child.

When she looked where the babe had been
she saw a dead cat tucked stiff as toenails.
The wind dropped
and the man heard the sound
that rose in his wife’s throat, and the room
was filled with the sound, and his mind,
and his heart was filled.

                                    *

Time passed without destination
and the child grew, secret in the stone surroundings
far from festivals or trade.

The old woman called her Herb Child, Tender Leaf,
a hundred pet names of taste and scent.

Days were whispers, and the girl’s hips
widened womanly, between her legs
a neat tuck of silky muff.

The old woman felt the blood banging
and the weather turn − dragged the girl
naked, deeper still into the forest
to a great oak, old before the old tribe left,
now a hollow rising high as a cock’s crow.

Up, up they climbed, to a high room
through a hole of rotted branch, a chamber
the old woman had prepared as a hatred
and a jealousy are prepared.
In the room was a seat of bound bark
and a wheel to sit at spinning.

Her hair was long and grew
like a new sun, and she spun slippers
and a gown from her own hair, head to toe.

                                    *

Days are paltry things
where divine light blanks the human scale.

Day after day, down the deer path
the old woman came steady as bread,
remorseless as salt, with no word
but of climbing and hauling.

One day, looking up to the heavy height,
she called, Iron-Hair, Sable-Soft, oblige:
from the treetop, a ladder of bright ropes tumbled
to the ground.

The old woman
stepped into the mane of braids, uplifted…

Beyond a twist of briars, a young lord
rested in a clearing’s shade, the crake voice
drifting through to find him −

Iron-Hair   Sable-Soft   oblige

Watching the old woman
raised high through branches,
watched her leave −
he calls the name of mink and metal,
rises into the leafy canopy,  
eyes meeting eyes soft as a dressed pelt,
a figure cat-slinky, languid as the moon.

                                    *

If there was time it passed, root-gnarl time.

The old woman came, stood calling,
Flame-Heart, oblige, then caught the man-scent,
buckskin sweat and the spilled seed,
drew the knife ready.
She entered like a shadow, wild look
this way and that way… where where…
The girl touched her belly’s own sweet swell,
heard the whispered, One life is forfeit,
and with one quick cut
the world fell free.

Even then his voice below,
the old woman turning to it, winding the hacked hair
on a snag, let it tumble, felt the weight of it,
felt the man’s weight heaved.

She lunged as the face appeared, the blade
slicing as she fell, his eyes in blood,
still sight enough to see the hagheap
crumple past.

On the ladder of her own hair
the girl climbed down into the light,
gathered comfrey and witch hazel
and with the loosed braids
bound them in a poultice to the prince’s wounds.

The old woman’s corpse lay where it fell.

With a yank on the chin hair
the girl stuffed an acorn down its throat.

South beyond the mountains
she gave birth in the prince’s lands,
and there were many years and many children
and in time the prince became king.
Across his eyes the knife cut scarred
crooked as a deer path.

Each night she walked it in her dreams,
to the wood’s great sink of rotted stump
where she stood, anchored in oak shade
deeper than the world’s dark heart, older
than the cold, blind blink of heaven.



Relic Environments Trilogy: Book III, Part 2.i

from Book III, Part 2, Animus


I. Tales of Wood and Iron

i. The Three Feathers

Night and day, for all God’s children, the same star
dawn to dreaming, a little breath between
light’s constancy
and the cold dark.

In those times, the king our father,
old and weak, set a task
deciding the kingdom − a textile woven of time itself
to be found and returned to this throne.

…Dumbkin
my brothers’ name for me − Dumbkin.

And they, older, quick as their hawks, their friends
with kingdoms of their own, who could blame them, blame anyone
for thinking the crown least fit
for the slow boy
hanging back.

But our father, long a leveller, took us to the balcony, saying,
Here, in the sustenance of your becoming,
to this end these feathers fly,
and one by one three feathers
went, and my brothers too,
quick as their hawks, followed east and west,
but the last feather
sank slowly to wild thorn just beyond the castle walls.

My brothers laughing, Such a journey, Dumbkin.

I climbed down the prickly crag
and found the feather fallen by a trapdoor in the rock, a door
bound with nettle string.

Opening it, I jumped down into the dark,
landing clump in heavy dust, and then
could see the other door, set deeper in the rock, and to my
KNOCK KNOCK KNOCK a lady-voice −

‘Who calls on Prune-Feet
Fetching Time
Who stirs the syrup − no meat
Too green, no red heart so sublime
Keeps us from our visitor’

With a touch the door drew back, and there a toad,
a pond slime bag of warts
big as grain sacks stuffed for winter, asked
my business, and hearing this, she sent
a clutch of hoppers, little croakers with mushy heaves
pushing a box into the light,
and opening it she sang,

‘Who calls on Prune-Feet
Fetching Time
This thready thread, this weave complete
I give you for the asking, sublime
Past mortal skills’

I looked, to see a carpet no human ever saw
and thanked the lady-green
and took it, climbing as I’d come.

The others meanwhile, travelling not a mile
in their directions, found wenches at their work, demanding
the poor girls’ coarse cloth skirts as trade
to leave them be,
my brothers never thinking who could know
a weft of time from ravelling jute.

Except the king
who ruled, For this design and its return, against
these roughs of hemp-weave, it’s fair the youngest shall inherit.


My brothers spewed, they retched,
they clapped their heads until the bones shot blood.
They wailed, Not Dumbkin, no, not this dolt
who picks his nose for snacks, Dumbkin Dumbkin no.

And the king our father thought,
and thought, and knew his first-born twins
but hoped for better, saying, A new trial then,
this for a ring rounded with eternity
and this trial is the last.

                                    *

The feathers flew, one east, one west,
my brothers too, and I, and mine, again a little way
to prise the door into the rock, and knock.

‘Who calls on Prune-Feet
Fetching Time
A rounding sun and moon, a fit so neat
And pattern so sublime
It sets along a path of gold’

And brought a ring so perfect the air around it shown.

And my brothers, loafing where their feathers fell,
each took a wheel rim from a cart, old iron hoops
they beat to clanking bangles
large as leg-iron stays
only a dumbkin might think
true to trial…

The king compared, and said, The boy’s is best
and no mistake, here it ends, it’s his
this kingdom, each has had his chance and choice.

My brothers spat, they shat and shied,
their hair they jerked in bloody clumps, No
not Dumbkin, this shit streak with a warty nose
not him not him.

The king our father, taking three feathers,
shouted, This I proclaim, and I swear now the last
I’ll live to see – a woman
of such beauty the world itself must stop
and turn again in wonder – who brings her here, inherits.

East, west, again the door, and through.

‘Who calls on Prune-Feet
Fetching Time
To fashion what never was, beat
Toady froth into sublime
And subtle form, human, and for you’

And hoppers came, her little ones, and brought a root
scooped clean and cinched to six sleek mice,
and then I saw a little toad climb in,
and instantly
instead of root and mice six horses stood,
and coach, and within the coach
a lady looking back at me
and of such beauty the world turned back.

I kissed her mouth, and lady-green’s, and thanked her
one last time.

                                    *

My brothers stood before the throne,
two peasant girls in tow, and said, Dumbkin’s gone,
he’ll not return, what woman
would settle for runty eyes and breath like yellow runs −
choose one of us, when you’re dead we’ll share alike,
these girls are plain, but game − for us they’ll do.

Before the king our father answered
the coach appeared, and with it
the world turning back, a thready thread,
a rounding sun and moon
and me, Dumbkin.
My brothers leapt through old iron hoops
and disappeared, the peasant girls screamed and ran, the king
my father standing, said, An end, and now,
these trials too hard that take my sons
and tell heavily against my own weak will.

…Dumbkin
my brothers’ name for me, Dumbkin.

I who rule, and know time’s weave,
and the way of climbing down, and back,
as night and day, for all God’s children, the same star
dawn to dreaming, a little breath between
light’s constancy
and the cold dark.





Tuesday, 20 September 2016

Relic Environments Trilogy: Book III, Part 1.xiv

from Book III, Part 1, The Lord of Time, His Curiosity and Galliard


Lines near Thetford Forest

November through mist, and morning’s ghost
from the huddled dark of pines 
emerges, hard-by the bracken and sapling larch.

This fiction stands staring, still part
of a dimension it only half-escapes, its bundled senses
strung between the empty dark
and autumn here.
                                                                          
I speak and make a cloud, a watermark betrayal.

Between worlds, the shadow bolts, ruffling
a featheredge of fern.

In its wake, the necklace dew
hangs out a thousand stars.

Relic Environments Trilogy: Book III, Part 1.xiii

from Book III,Part 1, The Lord of Time, His Curiosity and Galliard

Revolution

The reef releases its anatomy.
Brain-stem corals
buckle in the breakers, and seaweed hanks the undertow.
The lee wind trowels a long cloud westerly.

Which way the sea lanes to my return − Cuba,
and the cocktails of yellow stars?

Catalpas dapple burning flesh −
these others − regrouped too late
behind windbreak succulents and Delphic domes,
consider the hummingbird’s diminuendos,
its dollop jades, through lenses
polarizing spit-curl wave from wave,
and sea from sky, and these inventions
from the lizard groves of changeful light.

The Spanish wrecks are silted.

The horizon swallows a red sail.

Where is the sun, tempered in noon’s white noise,
that proves this revolution?

I stand at the reef’s edge, urchin,
and sink through deeper blues.


Relic Environments Trilogy: Book III, Part 1.xii

from Book III, Part 1, The Lord of Time, His Curiosity and Galliard


Japanese Tattoos in the Edo Period

Inked with mustangs, broncs three-deep
along my shoulder blade: the modelling
is Japanese, the word irezumi
also pronounced bunshin, refers to the ink, Nara black
famously morphing blue-green beneath the skin.

Inserted, so.

The character set as written, meaning stab, probably
from  bokukei, or punishment
by tattooing, an early form.

Background clouds, waves, wind bars, images
of the Floating World inspired by ukiyo-e prints −
these characters indicate hidden carving, perhaps
along the thigh, the armpit, also referring to hidden words…

among the petals of flowers
this character both noun and verb
employing thrust and feathering in like measure,
still others suggestive of decoration, and written
with the characters for Stay, Remain.

I am everything you made me.

Inked with mustangs, from the shoulder blade,
trapezius trembling with wild manes
tailing to yellow tips in the spine’s taper, and always
with every stroke: shakki, meaning as the skin
is punctured the sound
the needle makes.





Monday, 19 September 2016

Relic Environments Trilogy:Book III, Part 1.xi

from Book III, Part 1, The Lord of Time,His Curiosity and Galliard


Among the Huron

She was not abandoned

Screaming , run you must run

And now, too late
Among the Huron
Their miserable bark huts, wolfish dogs
She, erect, bound by rawhide

The river sluggish with ice, so wide near
That place
And he, returning with nine French hatchets
Bartered for her body, clubbed by squaws
In the bone litter and scattered brands of lodgefires

Remembering it long after
Each time differently, he knew its meaning

On his farm in the far country
In the corn rows
A scarecrow, white, sewn
Between black earth and sky, white
Stitches in its neck, the wind blowing through

Relic Environments Trilogy: Book III, Part 1.x

from Book III, Part 1,The Lord of Time, His Curiosity and Galliard


Field Notes
(on Daniel Boone, formally a hunter in the Kentucky Territory)

It was not God’s will
The Long Knife held this country 

It was in blood, and hard days without number

A brutal reminiscence uproots
Heritage displays, the guides
The tourists with their souvenir beads, and sets them
In the fields
Outside the old encampments

The Wyandot slice away the scalps
Waving them in the air, cat-calling
To the others in the fort, Mother
Mother save me

Tickets, please

A world turned from here

*          
On the apple-wood stock the knife-cut words
Boons best fren
Ticklicker
29 calibre rifled bore, brass keep and horn inlay
Flint and bone his brother Squire hand-tooled

May, 1769, Daniel is thirty-five

From Carolina, a month walking west
To Red River and the wilderness beyond
Hay-needle in those million-acre mountains
Centuries of trails to the deep woods

Each animal fixed in memory, each salted carcass

In spring
Across the mountains, the others follow

*
Where is my son

In the clearing near the cane-brake

James Boone is in the clearing, his coarse shirt
Soaked in the arteries’ black blood
James is waiting in the clearing
Slumped in a lap of black blood

His bared skull a glaze the sun catches

A gristle hank of hair
The Indian blade hacked through

Where is my son

*
The Shawnee come

Against the palisades, English muskets − a diversion

Calloway’s daughters, and Boone’s daughter
Taken fetching water outside the fort

Across his face, Boone drags a war-paint ash
A death-devotion, and tracking
The raiders two days, and late the second day
Finds their camp
Killing all who would stand

The Shawnee remove their dead, fade
Into the hickory woods

Returning through low meadow to the fort
The girls walking ahead, hand in hand
Boone following— at his belt
The tangle of braided scalps

*
With the English peace, towns replace
The scrag of axe-cut homesteads, the old fort deserted

Rotting down to river silt, a black soil
Where the name of this place was made
Forty years since scalp-takers
Nailed trophies to a tree

Boone dies in the Missouri country
Forgotten in those generations

The dead at Blue Licks, at Chillicothe
Stand with him, and Blackfish, and Clark, and Mantour

The bones of brothers and their wives
The bones of the Six Nations
Scattered in the earth, gathered here in one grave, one
Memory

Alien now, a lost time
A brochure of violent seasons
Managed for their market share

Ice cream is sold, cars come and go, where
The peeled corpse swelled yellow in the sun

A world turned through this place

This same horizon, skewered on a spear

Each step you take leads here