2. Who is to receive the residue?

Throw me off the gunnels
like the chum they throw to sharks,
chop me up and let me dissolve
in the salty cold of the tidal water
off Calamansak — there, in the green skeins
of Cornish light, in the deep ribs
of the muddy ria, in the long silence
of baited hope: yes, there.

I want to be a future archaeology
for learned salvagers: let me be a layer
among Phoenicians, a peer of Victorians
and Romans; let me sleep nose-to-nose
with that ten-pound bass
that escaped me every summer;
let me make a final joy-drunk dive
into the bosom of the mud.

And in later years as you sail past,
toward the fishing grounds off Shipper’s
or the Frenchman’s, as the limpid silence
of the summer gathers,
Say to your kids, “There, that’s where
we chucked him, that’s where he sleeps.”

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Early Hours

She winnows at the darkness wi’
a blade so sharp as to slip bet-
ween moments. Her hand unflagging,
does not blur, it is instead state-
ly. And as she pares back each slice
the dark slowly sharpens into
morning and I fall finally to sleep.

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Lousy

Sometimes I am
lousy with thoughts
and each one I catch
I crush and offer up
on the pad of my forefinger.
In the shards
of distorted keratin
the meat oozes
like a pustulate.

Sometimes one escapes,
flipping elegantly
onto the grey plastic
carpet. In the bubbling
fibre they are camouflaged,
but I hunt them with my toe.
There is a siege
of wafer-thin corpses
around my chair.

Some I keep: I jar
them up. I watch
while they expire:
in airless wonder.

Then there are others:
monsters, big enough to
have mandibles.
These claw and bite
and leave bloody volcanoes.
These ones, they do other
things: they procreate,
they multiply, they seed
themselves under my lids,
in the dark, at night.

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Why is it everyone thinks they can write poetry?

Portrait of John Keats by William Hilton, afte...

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… and why is it I think I can write poetry – have the timerity to publish this blog and expose the few tawdry lines that I do? I might justify my scribblings by claiming some vast literary education, and I could, but I didn’t, until now. Yep, scuppered myself there haven’t I? Tried to claim some special place for my poesy above all my other fellow scribblers, doodlers and poetic nibblers, despite a complete lack of recognition from the established poetic circles.

And why would I get any recognition anyway? None of my pieces have been submitted to competitions or journals – well, not recently anyway. And when they were submitted they didn’t get anywhere anyway.

So this is an ego-cheap way of seeing myself in print then? Well, partly yes. I admit I like having these pieces in a public domain where they might be read at some point by someone who might enjoy them. And of course it may be that these verse somehow magically metamorphose into an oeuvre. Perhaps the charm is practice.

As a young man I used to write reams of poetry, free-form, effort-free stuff which played with the idea of being serious, but never was. The idea of form, of meter was just too horrible to contemplate, as were the difficult poets before the Second World War. A Hughes and Heaney man me. Larkin too. Plath possibly. McGough and all those Scouse boys. All of them, one way or another allowed some aspiring poets like me to think they had been let off the hook, and the hook is the apprenticeship. What I didn’t see then and I am recognising now I hope, is the use of craft to pursue intention, and that intention should speak to a narrative, even if that narrative is simply the exploration of a transitory sensation.

So I’m off to re-read Hardy and Eliot, and then find myself some Wordsworth, Coleridge and, well, Keats perhaps. I don’t know. But that’s I think what this blo[g] is about, re-entering a fray I didn’t value enough a while ago and which seems now to be worth more than I ever thought it could.

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To Begin,

you were wearing a lyrical satin blue,
confusing sky and dress and purpose
with my silent elation as I followed
twenty steps behind. Behind. Your
arse, as two halves of a split pear,
tumbled on, a jitter of sweet flesh.
As you paused to check your tail
I paused checking too.

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Poems are Safer

They say that everyone has a talent
Something about them that God meant.
What if it was to make a cup of coffee?
Just one perfectly frothy café latte
For someone else, for one pound seventy-nine –
Under two pounds for a taste of the sublime
And you’d never get to sip your masterpiece.

Poems are safer: you get to savour them at least.

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Godmother

Your face collapsed into the tear-tracks
worn by his long death. And while no
tears came, your cheek-flesh wept by habit,
a flushed rampart against which the hurt
you cause recoils and multiplies. What he
might have said were he not dead is beyond
me, but know this: I remember the kindness
in him as his shaking hand shook mine; I
remember the things I could not say as we
stared at one another across his wasting;
and I cannot help you Godmother if you
use this loss as ambush for cruelty.

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Fierce

Your eyes were as bright a brown
as the blue of a gas flame
and as livid as the burn
across the hill on a sunny day.

We have always contused,
jagged shadows
bursting downward on prey
of an altogether domestic kind.

Only here upon this ledge,
at the neck of the glen — forced
in by the shouldering hill can we
remain in fierce love.

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Manifesto

To write simply –
but these words are a slack
echo of the craft which
slipped anchor years ago.