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Friday 28 February 2020

TV detectives on the page.

I have been watching TV crime dramas since I was knee-high to a bank robber. I’ve taken in everything from Dixon of Dock Green to White House Farm. These days, now that I have 150 TV channels to make my heart glad, I am usually stuck on ITV3, with endless repeats of Poirot, Frost, Midsummer Murders and Morse. Although the BBC has produced many, and American TV even more, you can't beat the ITV series for haunting and stylish theme tunes and opening credits.

I know that authors can have very different attitudes to adaptations of their books. Colin Dexter was obviously happy with having Morse taken out of his hands, since he appeared in every episode, whereas R D Wingfield wasn't so happy with A Touch of Frost. It must be disappointing to find your work ripped up and remodelled by other hands, although I defy any author to say they wouldn't love to be in a position to risk the disappointment.

It has recently occurred to me, tearing myself away from the screen, that though many of my favourites began as novels, I had never read any apart from a few Agatha Christies. So I decided to try a few and see how they compared with the TV series they spawned.

I began with Last Bus to Woodstock, by Colin Dexter, the first novel to introduce Chief Inspector Morse. I don’t expect TV adaptations to stick to the book, so I wasn’t expecting the Morse in the book to be identical to the Morse of John Thaw, and he isn’t. Which is fine. I would have been interested to explore a different character, though I can’t say I like him. The phrase ‘dirty old man’ comes to mind. I didn't particularly like this Morse and there wasn't really anything about poor Lewis to like or dislike.

I found myself put off by the style of writing, though I suppose it's what you would expect of Oxbridge. Do people perambulate? "Impatient at the best of times, and this was not the best of times, he waited restlessly and awkwardly, pacing to and fro, consulting his watch and throwing wicked glances as the portly woman inside the kiosk who appeared ill-equipped to face the triangular threat of the gadgeted apparatus before her, an uncooperative telephone exchange and her own one-handed negotiations with the assorted coinage in her purse." ... And breathe. I can't help thinking of Disraeli's description of Gladstone as being inebriated by the exuberance of his own verbosity.

The real problem though was the fact that although I had seen the TV version many times (admittedly a totally reconstructed story), the day after finishing the book, I couldn’t actually remember who had done it in the end. Nor did I really care. It petered out into an over-long explanation or who, what, why, when and where, going interminably over ground already covered, and I longed for the improbable simplicity of Poirot herding all his characters into a drawing room and revealing all over a nice tisane. I shall happily go back to watching every rerun of Morse (and Lewis and Endeavour), regardless of their unbelievable plots, but probably not bother with another of the books.

Next was The Killings at Badger’s Drift by Caroline Graham, the first Midsomer Murders. Very different in style, of course, being classified as Cosy Crime and, to my mind, much more readable. The setting is as delightfully absurdly twee at the TV version and the characters are larger than life, their physical appearance described in intricate detail, while their characters and motivations are left comfortably untroubled.

Unlike the Morse book, the TV version of this Midsomer Murder didn’t seem to deviate from the book at all, so I knew who was who and what was coming, which slightly deflated the surprise element. The only thing that did surprise me was the difference between the Barnaby of the book, who is unexpectedly dour and grumpy, and the John Nettles version who seemed to revel in Gothic gore amongst the thatch and shrubberies of rural England.
It did leave me thinking how the world has changed in a relatively short time. The Killings at Badger’s Drift was published in 1987, a world when villagers relied on telephone boxes for communication, policemen recorded details on index cards, and no one had a Facebook profile.

The last book I tried was The Crow Trap by Anne Cleeves, the first Vera Stanhope book. Entirely different. I can’t say if it compares with the TV version because it must be the one episode I have failed to catch, but  I found  the Vera in the book sufficiently similar to Brenda Blethyn's portrayal, except that the book has no reference to her sounding like a boy, whose voice is breaking, strangling a cat in a high wind.

What struck me most was that it was simply an excellent book, defying genre definition as the best crime novels do, knee-deep in atmosphere and perceptive character studies. In fact, as Vera doesn’t actually come into it until about halfway through, I’d forgotten what sort of book I was reading and her sudden appearance startled me. Of the three, it’s the only one that left me wanting to move on to the next book in the series.

Now, back to ITV3, while waiting for the call to adapt one of my books...

Sunday 16 February 2020

My Favourite Poems XII: Gerard Manley Hopkins

Favourite poem, no.12 of a dozen, although really it's no.1. Actually I could have picked 12 of GMH's poems as my favourites, but if there's just one, it has to be this one. I know a windhover is really a kestrel, but I think of this poem whenever I see buzzards playing on thermals above my garden for the sheer hell of it. Or when I'm watching the last flicker of a dying fire.

Windhover

I caught this morning morning's minion, kingdom of daylight's
Dauphin, dapple-dawn-drawn Falcon, in his riding
Of the rolling level underneath him steady air, and striding
High there, how he rung upon the rein of a wimpling wing
In his ecstasy! then off, off forth on swing,
As a skate's heel sweeps smooth on a bow-bend: the hurl and gliding
Rebuffed the big wind. My heart in hiding
Stirred for a bird, - the achieve of, the mastery of the thing!

Brute beauty and valour and act, oh, air, pride, plume, here
Buckle! AND the fire that breaks from thee then, a billion
Times told lovelier, more dangerous, O my chevalier!

No wonder of it: shèer plòd makes plough down sillion
Shine, and blue-bleak embers, ah my dear,
Fall, gall themselves, and gash gold vermilion.

Gerard Manley Hopkins

Thursday 13 February 2020

My favourite poems XI: Edward Thomas (and me)

A short delicious poem painting a picture and capturing a moment perfectly... and my slightly longer story capturing the previous moments.

Adlestrop


Yes, I remember Adlestrop --
The name, because one afternoon
Of heat the express-train drew up there
Unwontedly. It was late June.

The steam hissed. Someone cleared his throat.
No one left and no one came
On the bare platform. What I saw
Was Adlestrop -- only the name

And willows, willow-herb, and grass,
And meadowsweet, and haycocks dry,
No whit less still and lonely fair
Than the high cloudlets in the sky.

And for that minute a blackbird sang
Close by, and round him, mistier,
Farther and farther, all the birds
Of Oxfordshire and Gloucestershire.

Edward Thomas

AND

It Was Late June


O yes, I remember him. The man, not the name, of course. Just the man and his notebook, rounding off a funny old day.

It began with a crystalline summer dawn. The world was at peace with itself.  Dew on the grass, shreds of mist on the woods, a fox sidling by and then…

Funny how some tiny trigger can set the ball rolling. Or, in this case, Tommy Bradley, who came rolling out of the woods amidst a cacophony of thrashed leaves and pheasant calls. A happy boy, Tommy Bradley, ginger-haired and gap-toothed, but not the most law-abiding of children. I watched him pelt across the field and pause, carefully opening the gate instead of vaulting over it. I could see why. His pockets were bulging with stolen eggs and he was determined not to break them.

They must have been a treasure indeed, for Tommy to take such care. He was so intent on examining the contents of his pockets, to ensure they had come to no harm, that he clean forgot to shut the gate behind him. Hence the chain of interesting events that followed, as I can bear witness.

I am not usually up at such an hour, you understand, but on this occasion we had a little crisis to resolve at the White Hart, where I work. An unexpected guest had arrived, a French gentleman who, being French, was ridiculously picky with his food. He had volubly expressed dissatisfaction with Mrs. Tyler’s Gloucestershire brawn hotpot with mashed swedes, and with her boiled tripe. This was difficult. Mrs Tyler, excellent in many ways, but limited in imagination, had only two recipes in her repertoire: Gloucestershire brawn hotpot, and boiled tripe. She was at a loss, until Jack Spry assured her that the French only ate frogs, snails and larks. Mrs Tyler drew the line at frogs and snails, but larks would do and I was dispatched, before dawn, to catch some.

I hadn’t had any luck with larks, though I had managed to bag a couple of starlings and a rather sickly sparrow, but once they were encased in Mrs Tyler’s soggy suet pastry, I doubt if M. LeClerc would notice the difference.

I was creeping up on a recalcitrant blackbird, which had cheekily evaded me twice before, when I saw Isaac Drew herding a beast into the field that Tommy had just vacated.  The blackbird fluttered out of my clutch yet again, as I watched Isaac Drew’s prize bull, Maximus galumph heavily across the field, spy the open gate and charge straight through, onto the lane leading directly to the village High Street.

I decided to give up on the blackbird and take my catch back to the White Hart. I crept in through the back and Mrs Tyler dished me up a large breakfast in payment, so it was some time before I stepped out of the front door, and beheld Maximus, in possession of the High Street, pawing the ground beneath the George III oak in whose branches Mrs. Tavistock and the curate were precariously perched.

I always say that it takes a crisis to show the true metal of men. Mr. Bellingham the butcher showed his by firmly closing the door of his shop.  He did this in a nonchalant manner, muttering loudly about flies swarming, and humming a few lines of Abide With Me as if he had no inkling of the drama, but no one was deceived.  His faggots plummeted from that day.

Sidney Watts, pushing past me from the White Hart, having ready consumed his usual five-pint breakfast, was no such coward. He declared as much to anyone within earshot, including the bull. Maximus turned to study his challenger, with an expression that sent the rest of us scurrying for the nearest doorway, but Sidney stood his ground.  Nay, he even advanced, as true to the Matador stance as his unsteady feet could manage.  He gave a valiant roar, seizing Agnes Pultney’s red petticoat and flaunting it with gusto before the enraged beast.

Maximus charged.

I suppose Sidney should have earned some praise for showing such spunk. But the flaw in his plan, as critics were quick to point out, was that Agnes Pultney’s petticoat still had Agnes Pultney in it. A universal groan went up.  Agnes was of Rubenesque build and her terminal goring was extraordinarily squidgy.

I believe I caught some mutterings about Agnes having her just deserts for giving short measure in mint humbugs, but when it became clear that any one of a dozen totally innocent folk could be next, panic set in. The bull’s appetite for a fight was whetted, and he was looking for a target.

It was Fred Appleby who saved the day, with his idea of releasing Hubert Grimes’ 67 strong dairy herd into the High Street to divert the bull’s attention.  Everyone knew Fred was nursing a serious grievance, because Hubert had fired him, only the week before. You would have thought Fred would want nothing more to do with Grimes livestock, but, in this moment of crisis, grudges were forgotten.

His ruse worked. Maximus instantly turned his attention to the cows.  However, it seemed that some of the bovine ladies, however, were more interested in sightseeing and it was Sybil Cole’s attempt to shoo them from the bakery with a broom and a wrought-iron oven peel that led to the stampede.

Everyone leapt for cover. The vicar usually confined his morning ministry to counselling sessions at the bar of the White Hart, but on this occasion the Grimes herd persuaded him, fatally, to change his ways.  He strode, one might even say cantered, for the church porch and disappeared behind the three-inch thick cow-proof doors, just two yards ahead of Daisy May II at the gallop.

And so it came to pass that the Reverend Pettifer chanced upon a dozen hassocks, M.leClerc and Mrs. Pettifer, neatly stacked, in that order, on the baptistery floor.
The surprise of finding Mrs. Pettifer in the throes of adultery was shock enough, coming on top of the Reverend’s contretemps with Daisy May II.  Coming as it did on top of M.leClerc, it was all too much.   Was it possible that the wife of his bosom, his own Hilda, that model of matronly Christian chastity and decorum, could contemplate anything other than the missionary position?

Something within the Reverend must have snapped.  Mumbling Ezra II, verses 3-35, he ran into the bell tower and promptly hanged himself with one of the bell ropes.

The sudden and unscheduled clanging of the church bell was heard far and wide. It alerted Major Barnaby at the Manse, who concluded that an invasion had begun.  Never a man to stand by while England was in peril, the Major acted, firing the beacon he had constructed in an iron basket over the clock on the disused stable block, to summon his well-trained reservists to the defence of the realm.

Mrs. Pettifer, meanwhile, was seized by shame and remorse, though no longer by M. leClerc who fled in embarrassment, tail not quite between his legs.  Hilda’s anguish was unbounded.  Her guilt had been exposed and her husband had died, in a deafening manner, without expounding on the significance of Ezra II v.3-35.  Screaming with shock and vexation, Mrs Pettifer ran naked down the length of the High Street – no mean feat, as it was still heaving with cows.

Hearing her garbled explanation as she ran, we were too stunned to react.  Ezra II, v.3-35?  What could it mean?  Fortunately Zechariah Postlethwaite was at hand.  Zechariah was a grim pious man, who had been rescued as a child from a local cult of practising Methodists, and had had the adamantine enthusiasm of a convert ever since.  Being churchwarden, he felt perhaps a privileged interest in the fate of the vicar and his erring wife, and immediately began interpreting Ezra II v.3-35 in tongues, which, fortunately, all sounded like Gloucestershire English, so we were able to gather the general gist.

Much later, when I had a chance, I did check Ezra II v.3-35 for myself and, to be honest, I could find no reference in it to justify burning Mrs. Pettifer at the stake. But of course, I am no theologian, and Zechariah had made a study of these things – although it is an odd coincidence that all his biblical interpretations to date had involved burning someone at the stake. This, though, was the first time that his exhortations were equalled by the slightly hysterical stirrings of community spirit.

I will say this for our village. It does have a gift for concerted action. No sooner had the idea been raised than Mr. Richards donated an eight foot length of 4x4 for the stake and Harry Carboys and the Fanshawe twins set about erecting it, under Zechariah’s supervision, in front of the church porch, while cohorts from the W.I. organised the gathering of wood and binding of faggots.

Mrs Turby, thrice winner of the biennial  St. Theodora’s floral tribute competition, was, naturally, to be in charge of the faggot-arranging, but she feared a timetable clash. Could the burning not be rescheduled for the afternoon?  Zechariah would not be swayed, so Mrs. Turby was obliged to knock on the door of the room over the post office and interrupt the lodge meeting of the Seventh Seal Black Pentangle Satanists Society, to tell them she wouldn’t be bringing them morning coffee and biscuits as usual.

The Seventh Seal Etceteras were a very hush-hush society, although Mrs. Turby gave us regular updates of Lodge activities over the post office counter, and once or twice she had persuaded Grand Warlock Moloch (a.k.a. Mr. Turby) to offer a brief résumé of Lodge business for the village newsletter.  As a result, the bickerings, feuds and petty rivalries in our local Satanic circle were well known, so what followed was hardly surprising.  For Mrs. Turby’s absence from the lodge coincided critically with the Grand Warlock Moloch’s summons, as volunteer fire-fighter, to the blaze at the Manse, which had already demolished the abandoned stable block and was establishing a firm grip on the delightful Queen Anne west wing.

With both Turbys absent, the rest of the coven was wide open to mutiny.  Ill feelings had been smouldering ever since the Beltane Black Mass ritual sacrifice, when Mrs. Enwright’s Tiddles had escaped up the chimney at the critical moment and Grand Warlock Moloch had decided to substitute Sister Ashtaroth’s pet goldfish.  He claimed he’d had no other choice, with Sister Frig forbidding the use of her Johnny because he had his piano exam the next day.  Sister Ashtaroth, however, still bore a grudge, and with the Turbys gone, she promptly nominated Brother Beelzebub (Mr. Ashtaroth, as ‘t’were) to challenge for the role of Grand Warlock.

There was no real opposition to the move. Grand Warlock Moloch had aggravated a lot of people with his rigid adherence to official Post Office opening hours.  Nevertheless, rules being rules, Brother Beelzebub had to establish his credentials in the approved manner, by leading the coven three times widdershins round the church at midnight, to summon Satan.

This was tricky.  The various fires, at the Manse and under Mrs. Pettifer, would surely be out by midnight and the Turbys would be back, demanding to know what was going on. The Grand Warlock Moloch might be browbeaten by a show of unanimity, but everyone could recall his good lady warding off a critical post officer inspector with a corkscrew and a pair of silver sugar tongs.  Better, surely, if the Turbys could be presented with a fait accomplis.  Brother Osiris remarked that 12 noon here must be 12 midnight on the other side of the globe, and just how picky was Satan anyway?
So, at 11.50 a.m., the coven of the Seventh Seal Etcs emerged from the post office in full regalia and made its ceremonial way to the church, through the still milling cows and a slightly deflated Maximus.

It was certainly a magnificent sight, but it failed to quell the unusual tetchiness abroad that day.  The Seventh Seal Etcs, in their energetic tramp widdershins round the church, succeeded in demolishing the beautifully arranged faggots erected by the W.I. round the stake and Mrs. Pettifer, prompting Zechariah Postlethwaite to pursue the quasi-Grand Warlock Beelzebub into the vestry and there smite him hip and thigh with the parish register.  Sides were taken, and the level of violence exhibited by both the W.I. and the Seventh Seal Etcs dispelled any notion that this was just a Friendly.

In the end it was Mrs. Pettifer’s surprisingly colourful exhortations to the Satanists to crucify the bloody W.I. bastards that really helped to pacify the situation.  The vicar’s errant widow had been all but forgotten in the skirmish, but Mrs. Rearden pointed out that if they all got on with the burning of Mrs. Pettifer, the Seventh Seal Etcs could in turn get on with their widdershins parade, without having to clamber over the pyre en route.  A delay was unavoidable, but as Brother Osiris pointed out, 1p.m. would do just as well, it being midnight somewhere or other.

So a compromise was reached and all went well, to everyone’s satisfaction.  It was unanimously agreed that Mrs. Pettifer’s immolation was a great improvement on the shabby and rather disappointing Michaelmas ox roast, where lack of an ox had been a serious handicap.  Satisfied with a job well done, the Seventh Seal Etcs were left to their widdershins parade and Zechariah Postlethwaite led the W.I. off in a pilgrimage of flagellation round the adjoining parishes.

The smoke had barely dispersed from the church porch when the chain of events sparked off by that carelessly opened gate reached a most unfortunate crisis.  Isaac Drew came face to acrimonious face with Hubert Grimes in the High Street.  It was Isaac Drew’s contention that prize bull Maximus’s favours were a valuable commodity and that Hubert Grimes owed him an arm and a leg for the servicing of 67 cows.  In his turn, Hubert Grimes was demanding compensation for the ravishing of his herd of pedigree Jerseys by a Hereford bull.

Neither bull nor cows seemed disposed to join in the quarrel.  Appeased or exhausted, they wended their way peacefully homeward, leaving an empty expanse of High Street between the two fuming farmers.  Neither would give way, neither would listen to reason and when Isaac went for his shotgun, it was hardly surprising that Hubert should do the same.

Isn’t it odd how coincidences happen?  Isaac and Hubert had always vied for the honour of Worst Shot in Gloucestershire, and there wasn’t a rabbit or crow in the county in the remotest danger of being hit by either of them, and yet that day they both managed to score a perfect bull’s eye.

Fortunately, the fire-fighters arrived triumphant from the gutted Manse shortly after, in search of refreshment at the White Hart, and were persuaded, in return for a free helping of cider and starling suet pudding garni all round, to turn their hoses on the High Street and swab down the gutters.  It was high time.  What with the goring of Agnes Pultney, two shot farmers, a surprising amount of ash from Mrs. Pettifer and the deposits of 67 over-excited Jerseys, those gutters had become pretty messy.
Soon our cobbles were back to their usual pristine state and the village, washed clean, was sparkling in the afternoon sunshine.  As I remarked to Ethelrede Pode, things were looking set fair for a remarkably pleasant summer.  A stroll, I thought, would do me good, clear the lungs which were a little choked with ash.  I turned up the lane to the railway station and waved to Mrs. Jakes as she alighted from the 3.03, back from her wrestling match in Fladbury.

It was a charming afternoon, disturbed only by the distant alarms of shell-shocked birds marking the progression of Zechariah’s flagellation party.  Then I saw that my blackbird had returned to taunt me.  How appropriate it would be to nab it at last by way of rounding off such a glorious day.  I was just creeping up on it, round the edge of the platform, when a non-stopping express train forgot itself and stopped.  Only briefly, delayed by the obstruction of a couple of hearses down on the level crossing, which had raced too forcefully to be first through the gates.

I waited, curious, but no one alighted.  One passenger did wind down his window and peer with interest at the station sign.  It seemed to inspire him.  He sat back and took out a notebook and pen, and my heart leapt.  A journalist?  How thrilling for our quiet little community to make the news at last?  I racked my brain for something that might interest a journalist, but it was no good.  The world wants more excitement than the domestic doings of a parochial backwater like Adlestrop.

Copyright Thorne Moore 2009

Tuesday 11 February 2020

My favourite poems X: Irene McLeod

Another poem from my childhood, one long quote imprinted on my memory, and wonderfully defiant.

Lone Dog

I’m a lean dog, a keen dog, a wild dog and lone,
I’m a rough dog, a tough dog, hunting on my own!
I’m a bad dog, a mad dog, teasing silly sheep;
I love to sit and bay the moon and keep fat souls from sleep.

I’ll never be a lap dog, licking dirty feet,
A sleek dog, a meek dog, cringing for my meat.
Not for me the fireside, the well-filled plate,
But shut door and sharp stone and cuff and kick and hate.

Not for me the other dogs, running by my side,
Some have run a short while, but none of them would bide.
O mine is still the lone trail, the hard trail, the best,
Wide wind and wild stars and the hunger of the quest.

Irene McLeod

Sunday 9 February 2020

My favourite poems IX: Robert Browning

Another poem, a pure party piece, to be recited with sneering arrogance by candlelight. Just for fun. Or listen to Julian Glover reading it. https://www.youtube.com/watch?v=i5AoZY6a_kE

My Last Duchess

That’s my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now; Fra Pandolf’s hands
Worked busily a day, and there she stands.
Will’t please you sit and look at her? I said
“Fra Pandolf” by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, ’twas not
Her husband’s presence only, called that spot
Of joy into the Duchess’ cheek; perhaps
Fra Pandolf chanced to say, “Her mantle laps
Over my lady’s wrist too much,” or “Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat.” Such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart—how shall I say?— too soon made glad,
Too easily impressed; she liked whate’er
She looked on, and her looks went everywhere.
Sir, ’twas all one! My favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace—all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men—good! but thanked
Somehow—I know not how—as if she ranked
My gift of a nine-hundred-years-old name
With anybody’s gift. Who’d stoop to blame
This sort of trifling? Even had you skill
In speech—which I have not—to make your will
Quite clear to such an one, and say, “Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark”—and if she let
Herself be lessoned so, nor plainly set
Her wits to yours, forsooth, and made excuse—
E’en then would be some stooping; and I choose
Never to stoop. Oh, sir, she smiled, no doubt,
Whene’er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will’t please you rise? We’ll meet
The company below, then. I repeat,
The Count your master’s known munificence
Is ample warrant that no just pretence
Of mine for dowry will be disallowed;
Though his fair daughter’s self, as I avowed
At starting, is my object. Nay, we’ll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!

Robert Browning


Saturday 8 February 2020

My favourite poems VIII: W J Turner, Romance

Another of my favourite poems. Poetry can be intellectual or it can be a gut thing. As a child I never understood this one, and as an adult I still don't understand it, but it still gets me every time. I only have to hear "Popocatapetl" and I am jelly.

Romance


When I was but thirteen or so
  I went into a golden land,
Chimborazo, Cotopaxi
  Took me by the hand.

My father died, my brother too,
  They passed like fleeting dreams,
I stood where Popocatapetl
  In the sunlight gleams.

I dimly heard the master's voice
  And boys far-off at play,—
Chimborazo, Cotopaxi
  Had stolen me away.

I walked in a great golden dream
  To and fro from school—
Shining Popocatapetl
  The dusty streets did rule.

I walked home with a gold dark boy
  And never a word I'd say,
Chimborazo, Cotopaxi
  Had taken my speech away.

I gazed entranced upon his face
  Fairer than any flower—
O shining Popocatapetl
  It was thy magic hour:

The houses, people, traffic seemed
  Thin fading dreams by day;
Chimborazo, Cotopaxi,
  They had stolen my soul away!

W.J.Turner

Thursday 6 February 2020

My Favourite Poems VII: Stevie Smith


Another poem. Again, another lesson so cheery I could weep.

Alone in the woods


Alone in the woods I felt
The bitter hostility of the sky and the trees
Nature has taught her creatures to hate
Man that fusses and fumes
Unquiet man
As the sap rises in the trees
As the sap paints the trees a violent green
So rises the wrath of Nature's creatures
At man
So paints the face of Nature a violent green.
Nature is sick at man
Sick at his fuss and fume
Sick at his agonies
Sick at his gaudy mind
That drives his body
Ever more quickly
More and more
In the wrong direction.

Stevie Smith

Tuesday 4 February 2020

My favourite poems VI: Seamus Heaney

Another poem. I've read many attempts to analyse this, mostly concluding that it's about the need not to be sentimental when living in the country. I think that rather ignores the blindingly obvious hint of the title. You don't purge animals, you purge people. You start with small cruelties and you end up herding children into gas chambers.

The Early Purges 

I was six when I first saw kittens drown.
Dan Taggart pitched them, 'the scraggy wee shits',
Into a bucket; a frail metal sound,

  Soft paws scraping like mad. But their tiny din
  Was soon soused. They were slung on the snout
  Of the pump and the water pumped in.

'Sure, isn't it better for them now?' Dan said.
Like wet gloves they bobbed and shone till he sluiced
Them out on the dunghill, glossy and dead.

  Suddenly frightened, for days I sadly hung
  Round the yard, watching the three sogged remains
  Turn mealy and crisp as old summer dung

Until I forgot them. But the fear came back
When Dan trapped big rats, snared rabbits, shot crows
Or, with a sickening tug, pulled old hens' necks.

  Still, living displaces false sentiments
  And now, when shrill pups are prodded to drown
  I just shrug, 'Bloody pups'. It makes sense:

'Prevention of cruelty' talk cuts ice in town
Where they consider death unnatural
But on well-run farms pests have to be kept down.

Seamus Heaney

Sunday 2 February 2020

My Favourite Poems V: R S Thomas

It's Sunday so why not have a poem by a vicar? This is not the most complimentary poem about the land of my mothers, but it does sum up what I've been intensely aware of, ever since I moved back here in 1983.

Welsh Landscape

To live in Wales is to be conscious
At dusk of the spilled blood
That went into the making of the wild sky,
Dyeing the immaculate rivers
In all their courses.
It is to be aware,
Above the noisy tractor
And hum of the machine
Of strife in the strung woods,
Vibrant with sped arrows.
You cannot live in the present,
At least not in Wales.
There is the language for instance,
The soft consonants
Strange to the ear.
There are cries in the dark at night
As owls answer the moon,
And thick ambush of shadows,
Hushed at the fields' corners.
There is no present in Wales,
And no future;
There is only the past,
Brittle with relics,
Wind-bitten towers and castles
With sham ghosts;
Mouldering quarries and mines;
And an impotent people,
Sick with inbreeding,
Worrying the carcase of an old song.

R S Thomas