No, no, it is scarlet flowers that will one day be edible.
Now they are giving me a fashionable white straw Italian hat
And a black veil that molds to my face, they are making me one of them.
They are leading me to the shorn grove, the circle of hives.
Is it the hawthorn that smells so sick?
The barren body of hawthorn, etherising its children.
Is it some operation that is taking place?
It is the surgeon my neighbors are waiting for,
This apparition in a green helmet,
Shining gloves and white suit.
Is it the butcher, the grocer, the postman, someone I know?
I cannot run, I am rooted, and the gorse hurts me
With its yellow purses, its spiky armory.
I could not run without having to run forever.
The white hive is snug as a virgin,
Sealing off her brood cells, her honey, and quietly humming.
Smoke rolls and scarves in the grove.
The mind of the hive thinks this is the end of everything.
Here they come, the outriders, on their hysterical elastics.
If I stand very still, they will think I am cow-parsley,
A gullible head untouched by their animosity,
Not even nodding, a personage in a hedgerow.
The villagers open the chambers, they are hunting the queen.
Is she hiding, is she eating honey? She is very clever.
She is old, old, old, she must live another year, and she knows it.
While in their fingerjoint cells the new virgins
Dream of a duel they will win inevitably,
A curtain of wax dividing them from the bride flight,
The upflight of the murderess into a heaven that loves her.
The villagers are moving the virgins, there will be no killing.
The old queen does not show herself, is she so ungrateful?
I am exhausted, I am exhausted –
Pillar of white in a blackout of knives.
I am the magician’s girl who does not flinch.
The villagers are untying their disguises, they are shaking hands.
Whose is that long white box in the grove, what have they accomplished, why am I cold.
SYLVIA PLATH
Blackberrying
Nobody in the lane, and nothing, nothing but blackberries,
Blackberries on either side, though on the right mainly,
A blackberry alley, going down in hooks, and a sea
Somewhere at the end of it, heaving. Blackberries
Big as the ball of my thumb, and dumb as eyes
Ebon in the hedges, fat
With blue-red juices. These they squander on my fingers.
I had not asked for such a blood sisterhood; they must love me.
They accommodate themselves to my milkbottle, flattening their sides.
Overhead go the choughs in black, cacophonous flocks –
Bits of burnt paper wheeling in a blown sky.
Theirs is the only voice, protesting, protesting.
I do not think the sea will appear at all.
The high, green meadows are glowing, as if lit from within.
I come to one bush of berries so ripe it is a bush of flies,
Hanging their bluegreen bellies and their wing panes in a Chinese screen.
The honey-feast of the berries has stunned them; they believe in heaven.
One more hook, and the berries and bushes end.
The only thing to come now is the sea.
From between two hills a sudden wind funnels at me,
Slapping its phantom laundry in my face.
These hills are too green and sweet to have tasted salt.
I follow the sheep path between them. A last hook brings me
To the hills’ northern face, and the face is orange rock
That looks out on nothing, nothing but a great space
Of white and pewter lights, and a din like silversmiths
Beating and beating at an intractable metal.
SYLVIA PLATH
Addiction to an Old Mattress
No, this is not my life, thank God …
… worn out like this, and crippled by brain-fag;
Obsessed first by one person, and then
(Almost at once) most horribly besotted by another;
These Februaries, full of draughts and cracks,
They belong to the people in the streets, the others
Out there – haberdashers, writers of menus.
Salt breezes! Bolsters from Istanbul!
Barometers, full of contempt, controlling moody isobars.
Sumptuous tittle-tattle from a summer crowd
That’s fed on lemonades and matinees. And seas
That float themselves about from place to place, and then
Spend hours – just moving some clear sleets across glass stones.
Yalta: deck-chairs in Asia’s gold cake; thrones.
Meanwhile … I live on … powerful, disobedient,
Inside their draughty haberdasher’s climate,
With these people … who are going to obsess me,
Potatoes, dentists, people I hardly know, it’s unforgivable
For this is not my life
But theirs, that I am living.
And I wolf, bolt, gulp it down, day after day.
ROSEMARY TONKS
The Sofas, Fogs and Cinemas
I have lived it, and lived it,
My nervous, luxury civilisation,
My sugar-loving nerves have battered me to pieces.
… Their idea of literature is hopeless.
Make them drink their own poetry!
Let them eat their gross novel, full of mud.
It’s quiet; just the fresh, chilly weather … and he
Gets up from his dead bedroom, and comes in here
And digs himself into the sofa.
He stays there up to two hours in the hole – and talks
– Straight into the large subjects, he faces up to everything
It’s …… damnably depressing.
(That great lavatory coat … the cigarillo burning
In the little dish … And when he calls out: ‘Ha!’
Madness! – you no longer possess your own furniture.)
On my bad days (and I’m being broken
At this very moment) I speak of my ambitions … and he
Becomes intensely gloomy, with the look of something jugged,
Morose, sour, mouldering away, with lockjaw …
I grow coarse; and more modern (I, who am driven mad
By my ideas; who go nowhere;
Who dare not leave my frontdoor, lest an idea …)
All right. I admit everything, everything!
Oh yes, the opera (Ah, but the cinema)
He particularly enjoys it, enjoys it horribly, when someone’s ill
At the last minute; and they specially fly in
A new, gigantic, Dutch soprano. He wants to help her
With her arias. Old goat! Blasphemer!
He wants to help her with her arias!
No, I … go to the cinema,
I particularly like it when the fog is thick, the street
Is like a hole in an old coat, and the light is brown as laudanum,
… the fogs! the fogs! The cinemas
Where the criminal shadow-literature flickers over our faces,
The screen is spread out like a thundercloud – that bangs
And splashes you with acid … or lies derelict, with lighted waters in it,
And in the silence, drips and crackles – taciturn, luxurious.
… The drugged and battered Philistines
Are all around you in the auditorium …
And he … is somewhere else, in his dead bedroom clothes,
He wants to make me think his thoughts
And they will be enormous, dull – (just the
sort
To keep away from).
… when I see that cigarillo, when I see it … smoking
And he wants to face the international situation …
Lunatic rages! Blackness! Suffocation!
– All this sitting about in cafés to calm down
Simply wears me out. And their idea of literature!
The idiotic cut of the stanzas; the novels, full up, gross.
I have lived it, and I know too much.
My café-nerves are breaking me
With black, exhausting information.
ROSEMARY TONKS
I Shall Vote Labour
I shall vote Labour because
God votes Labour.
I shall vote Labour in order to protect
the sacred institution of The Family.
I shall vote Labour because
I am a dog.
I shall vote Labour because
upper-class hoorays annoy me in expensive restaurants.
I shall vote Labour because
I am on a diet.
I shall vote Labour because if I don’t
somebody else will:
AND
I shall vote Labour because if one person does it
everybody will be wanting to do it.
I shall vote Labour because if I do not vote Labour
my balls will drop off.
I shall vote Labour because
there are too few cars on the road.
I shall vote Labour because I am
a hopeless drug addict.
I shall vote Labour because
I failed to be a dollar millionaire aged three.
I shall vote Labour because Labour will build
more maximum security prisons.
I shall vote Labour because I want to shop
in an all-weather precinct stretching from Yeovil to Glasgow.
I shall vote Labour because
the Queen’s stamp collection is the best in the world.
I shall vote Labour because
deep in my heart
I am a Conservative.
CHRISTOPHER LOGUE
Tonight at Noon
for Charles Mingus and the Clayton Squares
Tonight at noon
Supermarkets will advertise 3p EXTRA on everything
Tonight at noon
Children from happy families will be sent to live in a home
Elephants will tell each other human jokes
America will declare peace on Russia
World War I generals will sell poppies in the streets on November 11th
The first daffodils of autumn will appear
When the leaves fall upwards to the trees
Tonight at noon
Pigeons will hunt cats through city backyards
Hitler will tell us to fight on the beaches and on the landing
fields
A tunnel full of water will be built under Liverpool
Pigs will be sighted flying in formation over Woolton
and Nelson will not only get his eye back but his arm as well
White Americans will demonstrate for equal rights
in front of the Black House
and the Monster has just created Dr Frankenstein
Girls in bikinis are moonbathing
Folksongs are being sung by real folk
Artgalleries are closed to people over 21
Poets get their poems in the Top 20
Politicians are elected to insane asylums
There’s jobs for everyone and nobody wants them
In back alleys everywhere teenage lovers are kissing
in broad daylight
In forgotten graveyards everywhere the dead will quietly
bury the living
and
You will tell me you love me
Tonight at noon
ADRIAN HENRI
Celia, Celia
When I am sad and weary
When I think all hope has gone
When I walk along High Holborn
I think of you with nothing on
ADRIAN MITCHELL
from Briggflatts
Brag, sweet tenor bull,
descant on Rawthey’s madrigal,
each pebble its part
for the fells’ late spring.
Dance tiptoe, bull,
black against may.
Ridiculous and lovely
chase hurdling shadows
morning into noon.
May on the bull’s hide
and through the dale
furrows fill with may,
paving the slowworm’s way.
A mason times his mallet
to a lark’s twitter,
listening while the marble rests,
lays his rule
at a letter’s edge,
fingertips checking,
till the stone spells a name
naming none,
a man abolished.
Painful lark, labouring to rise!
The solemn mallet says:
In the grave’s slot
he lies. We rot.
Decay thrusts the blade,
wheat stands in excrement
trembling. Rawthey trembles.
Tongue stumbles, ears err
for fear of spring.
Rub the stone with sand,
wet sandstone rending
roughness away. Fingers
ache on the rubbing stone.
The mason says: Rocks
happen by chance.
No one here bolts the door,
love is so sore.
Stone smooth as skin,
cold as the dead they load
on a low lorry by night.
The moon sits on the fell
but it will rain.
Under sacks on the stone
two children lie,
hear the horse stale,
the mason whistle,
harness mutter to shaft,
felloe to axle squeak,
rut thud the rim,
crushed grit.
Stocking to stocking, jersey to jersey,
head to a hard arm,
they kiss under the rain,
bruised by their marble bed.
In Garsdale, dawn;
at Hawes, tea from the can.
Rain stops, sacks
steam in the sun, they sit up.
Copper-wire moustache,
sea-reflecting eyes
and Baltic plainsong speech
declare: By such rocks
men killed Bloodaxe.
Fierce blood throbs in his tongue,
lean words.
Skulls cropped for steel caps
huddle round Stainmore.
Their becks ring on limestone,
whisper to peat.
The clogged cart pushes the horse downhill.
In such soft air
they trudge and sing,
laying the tune frankly on the air.
All sounds fall still,
fellside bleat,
hide-and-seek peewit.
Her pulse their pace,
palm countering palm,
till a trench is filled,
stone white as cheese
jeers at the dale.
Knotty wood, hard to rive,
smoulders to ash;
smell of October apples.
The road again,
at a trot.
Wetter, warmed, they watch
the mason meditate
on name and date.
Rain rinses the road,
the bull streams and laments.
Sour rye porridge from the hob
with cream and black tea,
meat, crust and crumb.
Her parents in bed
the children dry their clothes.
He has untied the tape
of her striped flannel drawers
before the range. Naked
on the pric
ked rag mat
his fingers comb
thatch of his manhood’s home.
Gentle generous voices weave
over bare night
words to confirm and delight
till bird dawn.
Rainwater from the butt
she fetches and flannel
to wash him inch by inch,
kissing the pebbles.
Shining slowworm part of the marvel.
The mason stirs:
Words!
Pens are too light.
Take a chisel to write.
Every birth a crime,
every sentence life.
Wiped of mould and mites
would the ball run true?
No hope of going back.
Hounds falter and stray,
shame deflects the pen.
Love murdered neither bleeds nor stifles
but jogs the draftsman’s elbow.
What can he, changed, tell
her, changed, perhaps dead?
Delight dwindles. Blame
stays the same.
Brief words are hard to find,
shapes to carve and discard:
Bloodaxe, king of York,
king of Dublin, king of Orkney.
Take no notice of tears;
letter the stone to stand
over love laid aside lest
insufferable happiness impede
flight to Stainmore,
to trace
lark, mallet,
becks, flocks
and axe knocks.
Dung will not soil the slowworm’s
mosaic. Breathless lark
drops to nest in sodden trash;
Rawthey truculent, dingy.
Drudge at the mallet, the may is down,
fog on fells. Guilty of spring
and spring’s ending
amputated years ache after
the bull is beef, love a convenience.
It is easier to die than to remember.
Name and date
split in soft slate
a few months obliterate.
BASIL BUNTING
The Map and the Clock Page 33