May Day
for Clara, born 30.4.11
In this damp, forgotten field
beside the ribcage of a muntjac,
above the remains of ridge-
and-furrow, someone has been
celebrating last night. The picnic
is finished now, the fire's out,
adder and lightning watch
as we inspect something new
that isn't Evian or Big Mac -
Cuckoo Flower (Lady's Smock)
pervading a patch of meadow
developers haven't taken,
where it listens for a cuckoo
that no longer calls, calls
to a maiden who's abroad
improving her tan, the long
stalks dancing in the white-
and-lilac petals at her ears.
But for you, Clara - who are
far from all this folklore,
safe in your nest in a smokeless
ward near Highgate Hill,
the Queen of the May, April
already passé - I shall pick
(if I may) this fleur de tonnerre,
for the power in its cressy leaves
and to bless you in your milking.
9
He kneels there beside his bed and begs
God to let him live to complete his
Ninth; it is the nineteenth century.
Mozart and Haydn look down and laugh
from clouds forty-one and a hundred-
and-four. But Beethoven's on the peak
he found and named and conquered, whose nine
faces taunted Mahler till he called
his next Das Lied von der Erde, then
went on to write his real Ninth and died.
Dvorák, too, reaching the New World, met
that new frontier. It's a trinity
of trinities. Man the full octave
before God. Perfection. Completion.
But there is Bruckner, stuck on his knees
at the end of the slow movement, yet
it's somehow right. Like the Unfinished
of Schubert, whose Ninth was completed
but overlooked until Schumann (who,
like his friend Brahms, only managed four)
resurrected it for our own age.
And as for us? The symphony is
an exotic now, yet in England
V.W. and Arnold fought wild
headwinds to make their Ninth. And what would
Sibelius have produced had he
passed beyond his perfect Seventh, through
that Eighth he struggled with thirty years,
and reached the final circle? Finished,
it feeds the wood-burning stove. A cat,
whether you call it Brian or Leif
Segerstam, dies after the last life.
Wadi Halfa
We never made it to Wadi Halfa
but a dry hot wind from the name
touches me, and floaters begin to drift
nomadically into view on the edge of
travelling dreams, the ones by carriage
and track, or more opaquely in vitreous
humour through mirage and rock - strange
tents from which we come forth by day
with dew on our skin. We did see
Abu Simbel, that film-set for a
captive audience of four, staring
out at Lake Nasser, their heads
full of nothing but Rameses; and heard
the cannoning of one craft against another
as we drifted home, encased in a miniature
funeral boat above the cataracts,
beneath the 'imperishable stars', where 'God
will make it simple'. But Wadi Halfa
would be the thousand and second night
when light drains sacred power
out of Nubia to a dull, mapped
future existence, the final story,
new pylons for old. We were content
with Agatha Christie at the First Cataract
or Kitchener's undrowned island, or over
hibiscus infusions in our flat to spell
that dry possibility of a place called
Wadi Halfa from the bright side
of the English dam. It seemed a point
where mystery must have long been solved,
dissolved, beyond any reconstruction, where
Africa began, our story, and your source.