“Poem Beside Your Hospital Bed”

This poem knocked me over when I read it in Real Cool: poems to grow up with, a wonderful anthology of Irish and international poetry edited by Niall MacMonagle*. "Poem Beside Your Hospital Bed" is simple, vast, and aims straight for the heart.

A week or so after discovering it I found it still on my mind. I phoned a friend who shares my love of good writing and read it to her without rereading it first. I had remembered I loved it; I had forgotten its content. One stanza in we were both in tears.

Thank you, Michael O'Dea, for articulating what we know so well, but couldn't say.

Dad

Poem Beside Your Hospital Bed                

Your face,
that I loved,
has changed so completely
that I already know
our time is gone.

And as dying
like a sandstorm,
rearranges your features,
I am useless,
a cripple of words.

So if the winds in your head
will carry the smallest breath
of what I am saying, father:
let it be that
my proud years are tatters here;
I love you.

* I was looking for a C.V. or something to tell you a little about the editor. These student evaluations are much better than that could be.
Follow the link on Michael O'Dea's name to visit his blog, Poetry and Miscellaneous Yap, which features a "world of Irish poetry and Irish poets, literature, politics, nature, mythology, archaeology, tourism, art, love and war, and whatever else comes to mind on any particular day". The link on the poem's name takes you to his posting of the same, with an introduction.

Joyous Compromise

photo by Casey June Wolf

...there waits the joyous compromise through art with all that wounded or defeated us in daily life...

                                          Justine: a Novel.

                              Lawrence Durrell

  

photo by Casey June Wolf

Audience of One (For Bob, Who Wanted to Know How It Worked)

Not actually Brigit OR Mary, but St Lucy wearing a harrow crown

Audience Of One

I belong to a weekly writers workshop that meets through the cooler months, making of a little more than half the year a time that has been for me, for a few years now, focussed on writing poetry to, about, and in honour of Brigit, both as goddess and as saint, in her (their) many, often conflicting, aspects and time periods. This season has just recommenced and much as I’ve enjoyed the summer writing—a longish research paper, some short essays, and portions of an online course—I’m comforted and delighted to be back with the poetic source that I can’t seem to stem.

By which I mean, the number of poems continues to grow. Each fall I say, Yes! Now I will finish editing these Brigit poems and get on to the next project. But the more I edit, the more I am inspired to write. The more I write, the more I refer to materials to be sure I’ve got things straight. And the more I refer to these materials, the more wonders I encounter, flushing up the desire to write (oh, guilty pleasure) yet another poem... Maybe what I am learning from this is that I shouldn’t worry about “finishing”, that though a collection may yet come of it, for me the practice of writing these poems is the most important thing.

Last week, after our first meeting, a new member of the group asked if he could pose a few questions about the process I go through when writing the poems. He offered to pay me for my time by buying me a cup of coffee. (He is much cheaper than you may imagine. Our coffee goes for fifty cents per class.) I agreed, and this is the result. (He may have bitten off more than he can chew. Sorry, Bob.)

“Winter on the Plain of Ghosts” by Eileen Kernaghan

A few years ago I read the one and only self-published novel by award-winning writer (Sounds great, doesn't it? Well, it's true. But that doesn't necessarily mean you will ever have heard of her), Eileen Kernaghan.

Winter on the Plain of Ghosts: a Novel of Mohenjo-Daro. The book is set in the Indus Valley, so long ago that all we know of the culture that existed there is what we can divine from a set of clay seals (pictured above and below). Kernaghan does a wonderful job of filling in the world and peopling it with compelling characters.

I have no idea why, of all her lyrical and thoughtful adult and young adult novels, this one failed to find a publisher. After ten years of bouncing it around Kernaghan caved in to her husband's nagging and put it out herself under the imprint Flying Monkey Press.

I am so glad he did keep bugging her. Left to her own devices, would she have thought it was just a lousy novel and gone on to the next beautiful gem? I don't know. What I do know is that I had (for me) a rare experience when reading this book: that of spending the day, while off doing other things, thinking with great pleasure about the writing—the words themselves and the places they were taking me—and anticipating somewhat impatiently when I would get to be home again with feet up and Winter on the Plain of Ghosts on my lap.

It has stayed with me as a precious read, but a faded memory, one I don't pull out too often. Recently I glanced at the book again and read the poem that opens it, a poem that is collected with her other delicious speculative offerings in Tales from the Holograph Woods. It reminded me of how much I'd enjoyed the book, and how annoyed I am that so few people have had the chance to enjoy it as I have. So I thought I would introduce you to it and urge you, if you like what you see, to get a copy, read it, pass it around, and let the world know how much you enjoy this novel and this inestimable writer's work.

Mohenjo-daro

The salt earth is bleached

and brittle as old bone, in winter

on the plain of ghosts.

Shrill and thin down the grey

millennia, the spirit voices

cry on the parched wind.

Language of a dead land―

the wind’s riddles:

insistent and insinuating

whisper of pale grasses,

tongueless as corpses the slow

suck and hiss

of the river’s mouths

and age-deep in the dust

of empty water-courses

the cryptic dialect

of broken stones.

But on the terraces below the citadel

a flute plays

and ghosts rise in their shining bones

bedecked with jade and lapis lazuli.

Above the luminous pools white birds drift

long-stemmed as water lilies

and terrible in their stripes

behind the broken walls the tigers walk

among the glamorous trees.

This gives you a sense of Eileen Kernaghan's wordcraft and imagination. But let's give you a little of the novel itself. I shall indulge myself by adding a fair dollop of it below. Before we go, I'll add these links, and then leave you in Ms. Kernaghan's capable hands.

To read the review on the Historical Novel Society website, click here.
To order either the print edition or the e-book of Winter on the Plain of Ghosts, click here.
To order Tales from the Holograph Woods, click here.

Winter on the Plain of Ghosts:

A Novel of Mohenjo-Daro

PROLOGUE

            this morning, when I visited the warehouse, Akalla was breaking the seal on a chest full of luxury goods — among them some jars of unguent imported from the western deserts of Meluhha. I took one home with me and opened it in the privacy of my bedchamber. Released from its stone container, the rich, oily perfume awoke a rush of memories.

            Once again I breathed the fragrance of oleander, growing high up in a desolate hill pass. I heard the throbbing of the skin drums, the wistful music of the reed-pipes; and the shrill voice of the desert wind, crying across the parched, dun-coloured plain. But underneath the scent of spice and sun and flowers there was a hint of something darker, muskier — a cloying, sweet-sour odour of the swamp. And there rose in my mind's eye a vision of the great Meluhhan capitals, those once noble cities of the plains. I saw them crouched behind their crumbling walls like enormous stricken animals, choking on their own poisoned breath.

            Already it is the month of Nisan. The floodwaters are rising, and another year is almost over. I have lived long; have, I believed, sinned no worse than other men; have suffered much, and have received many blessings from the gods. It is, at this moment, as though I am standing on a high terrace, from which it is possible to look down upon my life's beginning, and on its end.

            And so, in this city of Ur, in the reign of the great king Rim-Sin of Larsa, I, the merchant-captain Rujik, set down my history — having instructed my storekeeper to lay in a great quantity of clay.

“Villette” by Charlotte Brontë

I thought that I was safe. Working quietly away in my little room, walking my cat and doing yoga in the yard, tending my community garden plot and visiting, when the moment made itself available, with friends and family.

I did not expect to have my heart broken again.

The last while, in between all those other noble ventures, I have been reading Charlotte Brontë's Villette, a well developed tome with none of the histrionics of, say, Jane Eyre. In turns I was blown away by the writing, irritated by the anti-Catholic diatribes, entranced by the world and annoyed with the protagonist.

Nothing bugs me more than spoilers, so I will be very cagey here. Suffice it to say that this book was to many of the books I piddle my time away on what meatloaf is to potato chips. It fed me, it awakened me, and it broke my heart. I can't think how many times tears have come to my eyes in the day since reading the book. I'll say no more, except, if you have the strength, read it.

“I believe in some blending of hope and sunshine sweetening the worst lots. I believe that this life is not all; neither the beginning nor the end. I believe while I tremble; I trust while I weep.” 

“Windharp” by John Montague

Art by Nora Duffy

WINDHARP

For Patrick Collins

The sounds of Ireland,
that restless whispering
you never get away
from, seeping out of
low bushes and grass,
heatherbells and fern,
wrinkling bog pools,
scraping tree branches,
light hunting cloud,
sound hounding sight,
a hand ceaselessly
combing and stroking
the landscape, till
the valley gleams 
like the pile upon
a mountain pony's coat..

—John Montague, born Brooklyn, NY, 1929, brought up in Garvaghey, Co. Tyrone. Poem found in Real Cool: poems to grow up with edited by Niall MacMonagle (1994)

See also:

An Analysis of the Poetry of John Montague at REVIEWS RANTS AND RAMBLES   by Vincent Hanley

Speed-Writing to God

The prompt I was writing to here was to write a letter to someone I trusted as a child. Though I no longer qualify as a Believer, God came to mind. It is a stream-of-consciousness thing which doesn’t attempt huge leaps of logic, so let it simply waft past you rather than trying too hard to comprehend. That is how I wrote it.

Jesus Praying on the Mount of Olives (Artist Uncredited)

Dear God,

I am writing to you, shade of a being I once imagined, shaped by family, friends, and neighbours, details filled in, sometimes false, sometimes fearsome, sometimes heartbreakiingly dear, by the representatives of your faith, female and male, yet still somehow personal to me, unlike any other person’s God, unlike any other caricature of divinity.

I write as a shade myself. I knew, and was, and am formed by that little girl and her haphazardly peopled world, but I no longer have a straight line to her. Her memories are tissue thin and blurry where they still exist. Her decisions are sometimes clear, sometimes lost. Her anger, represented now in dreams as mentally disturbed gunmen and inexorably approaching zombies, is the last strong vestige of whatever blossomed in her breast, along with its near companion, dear companion: conscience, compassion, love.

Ow. My arm hurts as much as my head after writing that so quickly. I’m tired, sore, tempted to go to sleep. What did I even want to say to you?

I remember when we talked a lot. Sundays on the kneeler, certainly, after confession and during penitential prayers, and before confessing, wondering with you what I might have done that I should list, or lying angry in my room when parental punishment struck me as too unfair.

I hear adults laugh at things they felt or wrote when they were young, but I can’t mock our childish agonies, or the indecipherable world that gave rise to them.

I was told that you, God, could do something with my pain, or maybe I only thought that was what grownups had said. Maybe they only meant that God brings and God takes away and I should pray to him and come to terms with that. An explanation might have helped. Or maybe I got one and rejected it. It always seemed there was much less giving than taking away.

I do see things differently now. I have dabbled with the disciplines of gratitude and forgiveness, self-expression and self-care, and self-restraint. I am a calm and happy person most of the time.

But the gunman is still in the church, the zombie in the library, and the child who wished that she would die, if not be loved, if not protected, if not helped up to a higher stair, she huddles in there still, heart pounding, strategizing with her dream companions how best to struggle through the challenge of the night.

And the young adult who pushed through the prairie blizzard shouting into your naked, uninterested ear—she remains, better trained, with more understanding, no longer misled into thinking there will be some sweet and final rescue.

They are there and they are my charges now, and I think I’ve done a better job with them than you did.

That does sound harsh, and my tenderness for you is now revealed. I know you didn’t stand a chance. Though there were genuine , kind, and honest folk, even gods need steadfast, clear-thinking allies in their work, and little succeeds against a whirlwind of misunderstanding and despair.

Care for them, my people. Let the dew of compassion, the sun-drops of faith in themselves and their safety permeate the armour, the veils, the corroded flesh, whatever mars their moments on this earth. And help me to continue letting go, freeing the leash I have tied around myself, freeing my love for every one I see.

Sweet blessings on your work.

Love,

Casey

Thanks as always to the wonderful women at the Callanish Society for our healing writing sessions.