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  • Poems from “Venus in Pink Marble” by Gaynor Kane

    September 18th, 2020

     

    Window weather

    The Icelanders have a word that means just that.
    A murky day that you know is better
    enjoyed from the comfort of a window seat;
    soft mizzle cleansing leaves shiny and bright.

    When webs become crystal dreamcatchers,
    or perfect drops form on the telephone lines
    and slide slowly down like the oil
    on the wire of the indoor rain lamp,

    with Venus in pink marble,
    her flowing robe revealing perfect curves
    against the plastic plants.
    Outside the blackbird puffs himself,

    feathers rippling. He dances on the lawn.
    Drizzle doesn’t bring the worms up
    but his fancy seven step has the desired effect
    and he pecks and pecks and pecks;

    like the drinking woodpecker did, long ago,
    on the dentist’s counter, see-sawing,
    a globe of red liquid dancing, as I looked
    passed it and through the window,

    longing to be outside in the rain.

     


     

    Spring Bank Holiday

    We travelled far from city noise
    to wide skies, woods, wetland
    and a lapping lough-shore.
    Lego birds had been the bribe.

    Leaving Minecraft in the boot
    we time-travelled, from plastic blocks
    to the kiln, where men had fired
    clay bricks. Further back, in the
    Crannog’s rustic roundhouse,
    we stroked hand-daubed clay walls.

    Posed for pictures with brick birds
    but spent more time feeding the living,
    adding new naming words, researching
    migration paths, becoming birders.
    Pinched your mouth on finding
    a yolk-stained shell outside the coop.

    Drifting off homeward bound
    with Shovelers, Shelducks, Redshanks
    flying around your head,
    Best day out, EVER, you said.

    Until the next one…

     


     

    Dreamchild

    These Strangford wetlands and fields,
    inlets, islets and islands,
    one for each day of the year,
    are your haven; curlew’s perfect landscape
    of mottled wheat and barley
    camouflage, speckled pointed eggs.

    Quaver call carried on the breeze
    floats through open sash
    as I drift off to dreamland.
    Ash thin, plane-grey legs
    vapour-trailing a cloudless sky
    over a moonlit low-tide lough,

    transforming into my daughter.
    Feathers curl into auburn hair,
    down-curved beak becomes a bow
    poised to shoot fox mid-flight.
    Quiver strapped breast.
    She soars towards Scrabo Tower.

    Dreamchild returns to loughshore.
    Wades at water’s edge, where
    along Monaghan bank, I’m walking
    with a thatched batch of uni stats.
    She does not speak, roots under rocks
    shyly searching for shellfish.

    Six Curlews arrive to join her.
    She shrinks, cane legs and crescent
    beak reform, feathers return
    as she outstretches both wings.
    Seven whistlers take flight.
    Please – please come home.

    Window weather and other poems © Gaynor Kane


     

    Gaynor Kane lives in Belfast, Northern Ireland. She came to writing late in life, after finishing her Open University BA(Hons) degree with a creative writing module in 2015. Mainly a writer of poetry, she has had work published in journals and anthologies in the UK, Ireland, and America. In 2018, Hedgehog Poetry Press launched their Stickleback series with her micro-collection Circling the Sun, which is about some of the early women pilots. Gaynor has just released her chapbook Memory Forest, also from Hedgehog Press. That is a thematically tight collection about burial rituals and last wishes. She is currently putting the finishing touches to her debut full collection, after receiving an Arts Council NI grant in 2019, which allowed her writing time and mentoring and editing services.Gaynor is a member of Holywood Writers’ Group, The Irish Writers Centre, and Women Aloud NI. She also volunteers for EastSide Arts during their summer festival and the CS Lewis Festival in November. Gaynor is a keen amateur photographer and has had some of her photography published in journals and anthologies.


    Her website is www.gaynorkane.com.
  • Gold Friend by Chris Murray: the title is often the last piece of the jigsaw (Irish Times)

    September 16th, 2020

    This is an excerpt from a reflection on Gold Friend published online in the Irish Times (16/09/2020). Thanks very much to Martin Doyle who offered me the space to write about the book and about Poethead.

    …The convergence of influence and imagery that is inherent in Gold Friend began at Drimnagh Castle and works from there into other places and into other books too. The gold friend is both a literary device and an absent person who acts as a passive receptor of knowledge. The gold friend is disembodied, and cannot access the sensory world, or experience it as we do,

    Periphery

    Be near enough to the periphery
    to discern the wing-settle-sounds
    small birds make in thickets,
                                       their halls –
    Near enough for red to insist
    that you regard it as haw,
                                 rose-leavings
    Know, bird-panic sounds
    differently to wing-settle’s
    soft-rest after the flurry of
    flight,
                                – they say

    All the books that a poet writes are interconnected in some way. Gold Friend is connected very much to bind. It comes very soon after the publication of bind because many of the poems were written at the same time as that book. Bind had a thematic thrust that rejected some of the more light-filled poems that inhabit Gold Friend, but they share certain commonalities like the prevalence of the non-human world, the use of a very limited colour palette, and the simple joy of just being in or of this increasingly complex world. Shared themes include necessity, the necessity for description, the non-human, and mythos.

    You can read more from the reflection here. I have added a link to the launch video below this brief post.



     

  • Celebrating the launch of ‘Gold Friend’ 2020

    September 9th, 2020

    This film includes a sound adaption of ‘Nocturne for Voices One and Two” by Una Lee, a talk by Salma Ahmad Caller about the art for ‘Gold Friend’ and ‘A Hierarchy of Halls’, and the art that you can see on this site every time you click in. The piece is called ‘Making Den of Sibyl Wren‘ (Salma Ahmad Caller, 2018). Thanks to Lucy Collins who asked the questions, read, and talked about the book. I did some brief readings and talked about the book too. The whole thing was designed, edited, and created by Liz McSkeane, my publisher at Turas Press. 

    Order ‘Gold Friend’ here if you’d like, but please do watch and enjoy the film which replaced a traditional launch and was filmed in Dublin, Reading, and Belfast over the last two weeks.

    Image: Salma Ahmad Caller reading beside the artwork ‘Making Den of Sibyl Wren‘. (2018) You can see some of the details from the piece at this link.

  • ‘Gold Friend’ (Turas Press, 2020) 💛

    August 24th, 2020
    “Gold Friend” a second Turas Press collection from Chris Murray. This book is currently available for pre-order. The publication date is September 9th, 2020. Image © Anna Murray

     

    Gold Friend was launched on September the 8th 2020.

    This film includes a sound adaption of ‘Nocturne for Voices One and Two” by Una Lee, a talk by Salma Ahmad Caller about the art for ‘Gold Friend’ and ‘A Hierarchy of Halls’, and the art that you can see on this site every time you click in. The piece is called ‘Making Den of Sibyl Wren‘ (Salma Ahmad Caller, 2018). Thanks to Lucy Collins who asked the questions, read, and talked about the book. I did some brief readings and talked about the book too. The whole thing was designed, edited, and created by Liz McSkeane, my publisher at Turas Press. 

    Order ‘Gold Friend’ here if you’d like, but please do watch and enjoy the film which replaced a traditional launch and was filmed in Dublin, Reading, and Belfast over the last two weeks.

    Image: Salma Ahmad Caller reading beside the artwork ‘Making Den of Sibyl Wren‘. (2018) You can see some of the details from the piece at this link.


    07/09/2020 Elegy and Displacement in ‘Gold Friend’ – at Writing.ie

    The title of my book is Gold Friend. The phrase or image associated with it is derived from an Anglo-Saxon poem The Wanderer which is rooted in elegy and in personal displacement. These are the themes of the book, which I will allude to a bit later on in this short essay.

    Gold Friend began, as my books do, from a collection of small themed notebooks. In this case, it originally comprised five small books that were loosely thematically related according to how I compose or create the poem image

    Read more here


    Turas Press

    An independent, Dublin-based publisher dedicated to providing a platform for new and innovative writing. In Irish and Scottish Gaelic, “turas” means “journey.” Turas Press was founded in May 2017 to support writers of poetry and fiction in launching their work into the world and finding an audience.

    On Gold Friend by Chris Murray

    Our latest news is that Turas Press is preparing for the publication of our 2020 list. Although the physical launches of our new books won’t take place until some time in 2021 – depending on how the management of COVID 19 evolves – we will continue to publish our books and make them available online and through participating booksellers.

    A new collection from Chris Murray, “Gold Friend” will be published in the autumn of 2020. This is Chris’s second collection with Turas Press – her readers will recall her beautiful ‘waking book’ bind which came out in 2018.


    Gold Friend Acknowledgments

    Chris Murray wishes to thank Billy Mills, Amy Wyatt Rafferty, Müesser Yeniay, Lucy Collins, Eithne Hand, Richard Krawiec, Peter O’Neill, Una Lee, and Soodabeh Saeidnia editor of ‘Persian Sugar in English Tea’. Poems from this book have been published in The Bangor Literary Journal, Levure Litteraire, HiRISE (NASA), One (Jacar Press), Persian Sugar in English Tea, Şiirden, and The Poetry Bus Magazine. A Version of Lament for a Lost Child was originally performed at the Beal Festival of New Music and Literature at the Smock Alley Theatre, with thanks to Elizabeth Hilliard and David Bremner. Nocturne For Voices One and Two was adapted by Una Lee for spoken word project Songs to stay awake to to be released in 2020.


    Cover Art by Salma Ahmad Caller

    The cover art for Gold Friend is a detail from ‘Making Den Of Sibyl Wren‘ (2018) by artist Salma Ahmad Caller.

    Materials: Watercolour, Indian ink, collage, graphite, and gold pigment on Fabriano acid-free paper 57cm x 76.3cm. An essay on the making of the artwork is available here.

    Salma Ahmad Caller is an artist and a hybrid of cultures and faiths. She is drawn to hybrid and ornamental forms, and to how the body expresses itself in the mind to create an embodied ‘image’. UK based, she was born in Iraq to an Egyptian father and a British mother and grew up in Nigeria and Saudi Arabia. With a background in art history and theory, medicine and pharmacology, and several years teaching cross-cultural ways of seeing via non-Western artefacts at Pitt Rivers Museum in Oxford, she now works as an independent artist and teacher.


    Lucy Collins is Associate Professor of English at University College Dublin. Books include Poetry by Women in Ireland: A Critical Anthology 1870–1970 (2012) and a monograph, Contemporary Irish Women Poets: Memory and Estrangement (2015), both from Liverpool University Press. She has published widely on contemporary poets from Ireland, Britain, and America, and is co-founder of the Irish Poetry Reading Archive, a national digital repository.

    Lucy Collins on “Gold Friend”

    “At a time when we are grappling with multiple, related challenges – living with climate change and pandemic – these poems remind us to celebrate and care for, the natural world. Lucy Collins says this of “Gold Friend”. “As well as bearing witness to the strange beauty of the natural world, these innovative poems testify to the remarkable intensity of human perception. They deserve our closest attention.”

     


     

    Write to C. Murray here

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  • “Womanhood” and other poems by Amara George Parker

    August 23rd, 2020
    womanhood
    
    womanhood did not sneak up on me
    when my thighs were stained with first blood 
                                    that arrived
    so unexpected
    so connecting
    
    it didn’t happen when hormones sprouted lumps and bumps
    that others 
    stared at
                             and touched
    
    it was not given to me 
    nor did I grab it
    in the first instance 
    of fucking
    
    or when lovers loved me
    or advantages were taken
    
    or if I shaved
    or didn’t
    … spoke softly
    … drank wine
    … eased someone’s pain.
    
    I felt 
          it
    swelling,
    a fierce instinctive roar 
    woven through rivers that 
    cut their way 
    through the innards of the earth, 
    a carved path hewn
    for us 
    and I 
                    took it
    declared it mine
                    claimed it –
    
    this new world 
    I was so certain
    wouldn’t swallow me up.

    under the covers

    I know where the monsters in this house dwell
    and they’re not under the beds
    but rather,
    in them.

    I see them at night’s dawn
    with crooked soul
    and vile perversions.
    as they creep past the creaks in the floor
    and into my bed.

    Previously published in inkspace magazine, Editor Katherine Hopkins. No longer in print


    night eyes
    
    trust your night eyes, child.
    
    there will be no comfort here
    
    no fires around which to gather and dance.
    ​
    we are alone.
    ​
    healing cuts
    and we lavish crimson blood on fresh snow.
    our tread falls softer,
    and we fold our bodies down to bow and kiss the earth with the 
    strange tongues of our mothers,
    wyched words from her womb only our bellies understand.
    ​
    as I wake,
         I know I am alone.
    ​
    I look up to see the stars have moved and spun the heavens on their 
    backs.
    ​
    winter has killed the leaves and the trees have drawn their spirits 
    in to nest
    inside their core,
    leaving the heavens
    ​
    untouched
    ​
    the moonlight stark and uncompromising.
    ​
    the winter hag has stripped me
    and now
    I stare back at my own reflection
    that hangs from every tree,
    until she rasps that she is done with me,
    that I have cut away the rags of comfort
    and my outline.
    ​
    my core
    is clear,
    raw.
    
    I see those long fingers of the earth stretched toward the stars
    and head for home,
    whole, unshadowed,
    awake in the cold,
    and terribly,
    nakedly
    aware
    and unafraid
    of who I am.
    
    (Adapted version first published in She Who Knows magazine, 
    now called Aeva. Editor, Isabella Lazlo)
    
    
    

    IMG-4713 (1)Amara George Parker is a London-based writer, with work published in literary magazines Spoon Knife, Sufi Journal, i n k s p a c e, Aeva, Voice of Eve, She Who Knows, and Earth Pathways diary. As a queer disabled writer, she hopes her work offers readers an inclusive perspective. 

     

    Amara’s website is here.

  • “River” a series by Sarah Lenihan

    August 21st, 2020

    River

    (I)

    I wish I could lay in a river glazed
    with gold – my heart sinking into yours amidst
    this pleasure.

    I would watch you fall beneath my
    feet as we would lay upon the riches
    we’ve won.

    It is a deadly notion to dream this dream of mine–
    The current brings us on different streams.
    I am drowning for you and yet you do nothing.

    With a heavy heart I let it go;
    You, me, this river.

     


    (ii)

    Savage

    I wish I could tell you what I desire most.
    How I would fall into you each time and keep coming
    back with a love deeper than before.

    Time doesn’t wait & I cannot guarantee
    I will be standing strong on my own two feet
    at the end of this world.

    Yet my soul drifts in your direction. She wants to believe
    death is not real & that we can dance forever.

    It’s savage – this whole thing.
    Savage how you can love and not know how to love all at once.

     


    (iii)

    Bali

    Little by little, my tired feet seek to find their place.
    Aimlessly they wander pleading to rest awhile.

    Yet, as I walk through the fields of Bali, with the ebullience of each soul that
    I encounter along this path I am tainted with exploding love.

    Foreign, weak & lost I am, yet I see there is no fury here.

    The people of Bali are rich with life.
    In the ever-changing of each new day, they tell me
    I am ‘Golden’.

     


    (iv)

    LOUD

    On a quest of truth, you will find me
    seeking in all directions.
    No longer fearing my voice – I am setting myself free.

    Silent– away with you now.
    Silent– no need to nest here now.

    Loud– I welcome you now.

    Grace, no longer omitted–
    My shadow uplifted.


     

    (v)

    Loose

    Through the eyes of her
    troubles; each rolling through–
    Her head placed in the sky she looks down,
    takes a leap & learns to fly.

    Loose. Loose is she.
    Chain me now I dare you!

    I’d rather leave you now than have me love you on your command.

     


    (vi)

    Divine Woman

    I was told that ‘I Matter’.
    My craft, my soul – to ‘let it scatter’.

    And now with the door breached; shackles unhinged I tell her;
    ‘Darling you are divine, no need to keep trying’.

    Divine woman I am.
    Divine woman always.
    Unleashed the power within–

    An uplifting glory. It’s only the beginning of this story.


    Sarah Lenihan is a Dublin-based Poet. She has a BA Communication studies and will be furthering her studies in Psychotherapy this year as a Postgraduate student. She is passionate about all things nature, active living, travel, the arts, and human connection.

  • “Stargazing After a Laparoscopy” and other poems by Lily Foguth

    August 16th, 2020

    1 out of 10

    There are small pixies
    flying around my uterus,
    igniting micro-fires in protest
    at my womanhood.
    The flames fester around
    my ovaries too.

    But that is just the beginning.
    Sometimes, the pixies pull elfin daggers
    from their belts and stab
    the undersides of my ovaries.

    The blood pours out in
    stringy red ribbons, which spiral
    and coagulate in my abdomen.
    Three years ago the doctors
    discovered the pixie colony.
    They showed me pictures
    of my insides, all flesh
    and gloss. They told me that
    they ablated the tiny civilization
    that had rooted inside me.

    But sometimes, I still feel
    their titchy flames rupture
    and burn and destroy and torture
    my womb.


    Stargazing After a Laparoscopy

             I have three small scars
    on my abdomen which
             form the constellation of my suffering.


    Standing in Line on Black Friday

    You made Abby look fat,
    only her.
    We all thought so,
    why didn’t you post
    the other picture?

    Hannah bought these
    and they made
    her butt
    look
    hot.

    I stashed my empty
    White Claw cans in
    my closet before
    my grandma went into
    my room.

    Is he gay?
    Did you even have to
    Ask the question?


    Why do you always-?

    Do you think that if I ask the question again they will answer me?
    Will I be heard, or drowned? My comments are buried under the
    words of men. What if we-? How come-? Cut off before I can
    realize I am secondary. I give birth to stillborn thoughts.


    Lily FoguthLily Foguth is an English graduate student at Oakland University in Rochester, Michigan. She has a concentration on early American literature and hopes to be received into a PhD program upon graduation. Lily writes short stories and poetry in her down-time.  She lives in Michigan with her partner and their two cats, Willow and Wallace.

  • “When the angel came to me” and other poems by Danielle Galligan

    August 16th, 2020

    When the angel came to me

    ‘The Virgin…’ He smirked, then
    ‘Virginity is a complex concept, pet’ I said.
    ‘I’ve been sent by God; He has a job–’
    ‘So I’ve heard, you’ve got the wrong girl.’
    Then, he grabs my wrist,
    ‘I must insist.’ Kisses my knuckle,
    twisted fuck. I imagine it
    going through his skull.
    ‘I’m not your Virgin, okay hun?’
    (I have sharper teeth that tend
    to bite off more than I can chew.)
    I tip my halo to a jaunty angle
    and, standing now, tell him to
    ‘Beat it, Gabe.
    Babe, you’re too late,
    my body cannot belong to God,
    for my heart belongs to another.
    I am my own lover,
    impregnated daily with my own possibility.
    There is no room at this inn,
    there is only room in
    this womb for one birth,
    my monthly rebirth.
    The moon fills her spoons from my newness.
    Life does not come without sacrifice,
    and I have too much of it to live
    and not enough of it to give.
    Yes, my body is a vessel
    for self-love above all else.
    forever and ever,
    the end.’

     

    He didn’t like my cheek,
    he aimed to rip it from me
    with the back of both hands.
    I spat a hot, crimson clot
    into the centre of my palm and saw
    my future in a little pool of red,
    staining my head, heart, and life-line.
    I wiped it on his face, and, splayed now,
    I prayed for a miracle,
    to save me as the struggle
    was thrust from me.
    Am I to believe this is what
    the Father would want for his child?
    He gazed at me as if he
    had just arranged roses
    in a vase: ‘Immaculate.’
    With a bat of my lash,
    I snapped the wings from his back.
    With a grin that dimmed
    this wimp’s halo, I cooed:
    ‘So I’ve been told’ and slowly I watched
    the triumph drain from his veins.
    No more Angel. Just Gabe.
    ‘Poor babe.’ I winked
    as I limped
    away.

    Pit

    He said cherries were his favourite food.
    Wild or sweet or sour,
    he craved these fleshy drupes
    with that single groove to run his finger through.

    Gone in one
    and when he was done,
    he’d spit out the stone
    and tie up the stalk with his tongue,
    wonder where the next cherry is coming from?

    I’d never had a cherry–
    he’d had many.
    He could see the ruby in me:
    in my lips, in my cheeks,
    down his chin, in his teeth.

    Ever been a cherry?
    Plucked, sucked,
    bit,
    and turned to pit.

     


    Tattoo of you

    Needles in my ribs help me breathe.
    Blood spots, drips, and flows.
    A secret, for now.
    Ebony and currant and crimson.
    Not hues of remembrance,
    a symbol of strength.
    The shades of war,
    our war.
    A battle that began the night those boots were left on the carpet.
    My face in your palm,
    wrapped in your scar tissue so I wouldn’t have to form my own.
    You absorb shock after shock,
    bare blow after blow.
    For me,
    for us.
    And then,
    an alliance.
    We did not lay down arms when left waiting on doorsteps,
    we summoned an esprit de corps.
    The sound of sobs into the sound of drums.
    Once weeping, now war cries.
    Tears cannot sting when you are made of salt.

    So this is not pinned to a lapel,
    This is on my ribs, under my skin, in my blood.
    I flow ebony and currant and crimson.
    Two:
    For me, for us,
    For you.

     


    Once upon a winter

    Our eyes picked each other
    through the falling flakes
    ​that laced our lashes.​
    ​Denying ​the chill in the air
    carelessly they went roving
    carefully devouring
    tempting mittens to misbehave
    and mouths to do the same.
    ​We blamed ​the black ice,
    that brought our bodies
    slipping and sliding,
    and gracelessly colliding​.​
    I’ll never forget the pain
    of pins and needles that came
    as you held my hand.
    My blood tidal waved, hot
    to my numb fingertips.
    It, like me, wanted to be
    As close to you as possible.
    I’ll never be cold again,
                I thought.

     

    And so then, our clothes, lost
    like ​the last ​autumn leaves,
    billow​ed​ to the ground​ as we
    welcomed the changing of the seasons
    with our bare young bodies.
    We were born in the decay,
    the early darkness,
    the starkness and cold.
    It made us hold each other closer
    and warm ourselves on the heat
    of the other’s blood beneath.
    The steam of our souls,
    rose like ghosts from our open throats
    wafting out into winter
    in the springtime of our years
    as we lay, bathed by
    the greedy moon. Ruling,
    coming sooner, lingering longer.
    she would not let us sleep
    for she loved us too much.
    It’ll never be dark again,
               I thought.

    Danielle Galligan is an aspiring poet born and bred in Dublin. She is an actor, theatre-maker and a graduate of The Lir, Trinity College Dublin. She is very excited about her work being on the Poethead site. She has previously been published in the Qutub Minar Review.

  • ‘Stormriver’ and other poems by Myra Vennard

    August 4th, 2020

    Chris Murray's avatarPoethead by Chris Murray

    NIGHT TREE

    Along the river bank
    street lights are lighting
     
    the darkening waters glow
    the sun is low
     
    the mountain crouches low
    in shadow
     
    light drops from light
    dark creeps back to night …
     
    my mind struggles with a paradox –
    gleams from a self-source
     
    and light
    falling from a star
     
    love is racked – there
    is no owning in the soul
     
    the void is an agitation
    fixed habit of a consciousness
     
    unwilling to go into the terror
    of going into light of naked night
     
    my tree reaches up winter bare
    its star is not yet born.
     


    GOING OUT

    Sea fog curls
    around the cliff face
     
    the island has no contour
    still – and I
     
    I am weeping
    amid a conflict
     
    the wish for forgetfulness
    yet fear of clinging sorrow
     
    intangible dreams are real
    a beatitude…

    View original post 1,030 more words

  • “In Rivers” and other poems by Alison McCrossan

    August 2nd, 2020

    Sunray

    Here you cast your dazzling eye through clouds
    ruptured on surging waters, where in winds
    on a mission across skies born
    of voids words were loaded:

    let me out;

    crowns of heaving leaves spilled trees,
    turned them upside down, a splay of
    tangled guts, and spat out the despair
    of the years in a season:

    let me out;

    until the decay of the black spell
    set in, the mulch of slow rot, a creep
    of violets unfolded:

    oh, take me away

    where hushed trees mangled in that storm
    descend to the bend on the old-winding road
    and fields and dusk woods and torn mills and canals
    and Lee waters take on every mood and ripple it back.

     


    Father and Earth

    Just like everyone else in this city
    where grey lines blur sky
    to pavement, you’re an extension
    of the rain;
    the incessant drizzle on these streets seeps
    through clothes, misting words of weather and when,
    colour coded alerts, storms between showers.

    I’d listened as wind gusted every odd night,
    worrying for a future I might never see,
    where nobody wants their children to be,
    and reasoned water never ceases to be water.

    You’d become old;
    the cough caught you.

    I think the sun was setting with no great glow;
    patter of rain every odd hour, grey skies
    shortening the day.

    Your steps faltered, your pulse soared;
    rough nights in A&E and finally
    the quarantine ward.

    You gave the staff the brunt of your tongue,
    There’s nothing wrong with me;
    I’ll sign myself out.

    You didn’t, though you would have.
    Tough as mountains, old rock.
    Stubborn as the wind that roars.

    Old mountains in clouds, mist of rain,
    Earth, floods of pain,

    will you name yourself out?

     


    Scramble

    Don’t you know that deodorant is toxic
    she says, fanning the air with her fingers.
    Puts a song in my head.
    I turn to the messages on my phone.
    My doctor.
    Cholesterol is high.
    Advise a healthy diet and regular exercise.
    Are you listening? she says. Throw it in the rubbish.
    It’ll explode in the dustbin truck.
    Who cares about the bin-men? she says.
    What about the bin-women?
    Well, I haven’t seen any of them, she says.
    Hell, I’m trying to read.
    What? Letters from the dead?
    There’s no chlorofluorocarbons in them anymore.
    I’m not concerned with holes in the ozone, she retorts.

    *

    The wind was high, she says.
    All through the dark hours I listened to its protests unaware
    she was awake beside me.
    It happens nearly every night, she says, between storms.

    It’s a top down issue, I insist, and besides, we notice the elements now.

    Our granddaughter lets out a wail from the other room.

    Rings out like an alarm.

     


    Slip into The Sea

    Curl under the bridge to sleep awhile,
    bullet-force rain dancing in gutters;
    pretend you’re the river, the last mile.

    Feel tugs of water in your lungs, a vial
    prescribed to draw down the shutters;
    curl under the bridge to sleep a while.

    In twilight, between poison and bliss beguile,
    this rain’s furious prance softens to mutters;
    pretend you’re in the river, the last mile.

    You’re coming to the end of this trial –
    I’ll give you the sea, the warm water utters;
    stay under the bridge to sleep a while.

    If you let the sea take you, saltwater will file
    scabs from your soul and offer to suture;
    pretend you’re in the river, the last mile.

    And if you listen to the waves’ murmuring
    sail, essence of this transcendent suitor,
    you’ll break from the bridge to swim a while
    and find you are beyond the river, the last mile.

     


    In rivers
    
     I see you in rivers,
           the swallowing holes and murky beds. 
     In the water,
        dirt blots my eye; I hold my breath,
        fly rings dot the surface; a broken bottle’s on the floor.
        There’ll be no poppy red, ghastly watercolour spread.
        I don’t tread and I don’t flounder for the above,
        but sink right in until my breath is algae green.
     There’s a moment; in the twilight,
        I’m fearful, not knowing what’s to come.
        The depth of an empty canvas greets me.
        And my dead mother, my brother, you,
        whisper at the watery fence.
        A ghost life-film runs in my mind.
        That’s a fly swatted out.
    I struggle with the layers; I hurl against the skin.
    There’s nothing I ever gave to sway me from this picture.
    What have I ever done of note? Do I want something of note?
    Aspiration is for the living; I’m knifing this to death.
     There’s the slow river snake,
                	you whisper, whispering
            patchwork reflections on the pool of the water.
    Once this was enough; rise and disturb.
     
    Fish playing rings for flies.

    © Alison McCrossan

    Alison McCrossan completed a Masters in Creative Writing in 2019 (University College Cork). She has had poetry published on Headstuff.

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