When you visit this Nativity
you pass through room after room;
five centuries of painting
ablaze with colour
and the human form.

When it’s as far as you can go
from the melee of the constant crowd,
that Saturday we were rewarded
by a space empty, but for three paintings
and our silent selves.

Silenced by its wonder
my son caught its breath:
the smell of the studio in Arezzo
and perhaps the shadow of the artist
barely sighted, blind at the end.

The painter, so the Polish poet says,
who hid so thoroughly behind
his work that one cannot invent
a private life, his loves or friendships,
passion and grief. His being was his ouevre.

And these faces (from the street perhaps?)
marked in the mind’s memory
with the miracle before them.
And for me: the silent music of the angels,
a choir with lutes haunts and haunting

always.

In the clear light of morning, an October morning, at the beginning of this properly autumn month, he had felt sad: that he’d broken a promise to himself the afternoon before. It was her voice on the phone, and then that text. He had promised he would no longer write intimately, about their intimacy, remembering what has passed between them, which had so marked him. All it took was this flavour of her voice, a slowness in her diction, and he could not help himself: such a rush of images, of moments, sensations. He knew it was unwise to linger over any of these things because he felt sure she did not. That was no longer her way, if it ever had been her way, and he imagined that, with her accustomed kindness and generosity, she had quietly put such things aside. So on this gentle morning, he was upset that he had once again visited that box of treasures in the white room that he kept for her in his imagination house. This was not the route to happiness. He would throw away the key.

He needed consolation. Once he had turned to her letters, to catch that flavour of her, those things that surrounded her, a kind of aura that held within it her secret self. Now, there was a print above his desk that he loved (Spurn marks: seaweed #4), her origami bird, the print of a painting of an African woman and child given to him on his birthday (when he had first kissed her, tentatively on her left cheek,) and her dear photograph, dear because he knew he looked at it more times in a day than he could possibly admit to.

It needed to be a book, a passage he could read to remind him there were so many other joys in life alongside the joy he felt at the thought of her, a joy he felt he might never consummate. He took Ronald Blythe’s Word from Wormingford off the shelf and turned to the essay for the beginning of October. Ronnie had been watching the late September clouds, those armadas sailing across the skies. In a moment he was somewhere else, in a life he recognised so acutely, those East Anglian places of his early manhood. In this present time, in North Yorkshire, he would sit and watched such clouds from a bench above Filey Bay, clouds that David Hockney celebrated in his paintings of the Wolds.

Yesterday afternoon there had been a break in the weather after a week of mist and rain. It had found him gazing at a drama in the skies above the trees in his park. He had walked to the Rose Garden with its redundant conservatory and paired Pelicans atop its gateposts, where once he’d sat with his infant children as they’d slept. There were roses still, a little tattered, but colourful. Like Ronnie he had spent time cloud watching, until the geese from the nearby lake erupted into flight. Always a marvel of movement !

Blythe’s essays were always so rich in the sheer breadth and content of their meditations. There was always some new knowledge to be had, things to Google or better still ‘go to the book.’ This was when he loved what few books now remained from his library. He had Luke Howard’s essay on The Modification of Clouds. A Quaker, Howard was admired by Goethe (they corresponded) and Shelley, John Constable and John Ruskin (who used Howard’s cloud classifications in his Modern Painters). He then went to find Shelley’s The Cloud (and in so doing uncovered several books that he’d forgotten he owned). He read the last verse that once he had learnt by heart . . .

I am the daughter of Earth and Water,
And the nursling of the Sky;
I pass through the pores, of the ocean and shores;
I change, but I cannot die --
For after the rain, when with never a stain
The pavilion of Heaven is bare,
And the winds and sunbeams, with their convex gleams,
Build up the blue dome of Air
I silently laugh at my own cenotaph
And out of the caverns of rain,
Like a child from the womb, live a ghost from the tomb,
I arise, and unbuild it again.

Hmm, he thought, such rhyme and rhythm. And, via Blythe recalling the Chinese, he then pictured the official from the emperor’s counting house bringing guests home after work to gaze at the cloudscapes over the Tai Mountains from his humble balcony. Nothing was to be said, an hour of silence was the convention. In a blink he remembered the autumn poem by Lai Bai where ‘floating clouds seem to have no end.’

I climb up high and look on the four seas,
Heaven and earth spreading out so far.
Frost blankets all the stuff of autumn,
The wind blows with the great desert's cold.
The eastward-flowing water is immense,
All the ten thousand things billow.
The white sun's passing brightness fades,
Floating clouds seem to have no end.
Swallows and sparrows nest in the wutong tree,
Yuan and luan birds perch among jujube thorns.
Now it's time to head on back again,
I flick my sword and sing Taking the Hard Road.

He had to take a deep breath not to think too deeply about The Clouds and Rain, that metaphor for the arts of the bedchamber. But Ronnie’s 500 words sent him back to Wormingford and the bedbound old lady he describes who spent her days watching the clouds.

As he closed the book he felt a little better, ready to face the day, and more important ready to place his thoughts in a right place, a comfortable and secure place, quiet and respectful, however much he might seek to possess each night her Lotus pond and make those flowers of fire blossom within

She said over the ether: ‘I’m eating a perfectly ripe fig. So nice, I’m going to have another’.

We’ve been here before he thought as he read her text. In a memory’s moment he was back at her dining room table with five figs in a small bowl. The table wore a blue cloth, and she a Scandinavian skirt with pockets. It was that time of year when the midday light can be so golden, so wonderful. He remembered her delight that he had ‘brought figs to her table’. He was so full to the brim with love for her on that autumn day that those figs had seemed so very right, more than appropriate; a perfect addition to their developing intimacy. She had not been wooed by figs before. He wasn’t sure she understood their significance, their ****** stance.  She hadn’t read The White Goddess. When pressed to explain he was tempted to tell her exactly what he understood a fig might suggest between lovers, and lovers they certainly were. She had cried out under his touch, had opened her mouth, her beautiful eyes, had cried out like no woman he had even begun to know. She was so extraordinarily passionate as he touched her. She moved with him and their bodies would kiss and stroke as though unbidden, of their own volition, ungovernable even. So when he touched the closest fig in the blue bowl on the lunchtime table it was a little like being touched by her in the greatest intimacy. The skin of the fig has this rub, it feels like the ******* of his passion, that she had so generously touched, had stroked, had known, had brought between the valley of her dear ******* that now, these several years gone and past, he still wondered at, that such a curve and fall and sensation in the hand and fingers could remain so wondrous, so magically beautiful.

He had responded in a text by writing: you sensuous woman . . .  And she in reply had said:  ‘Just pecking’. Does one really peck at figs? Surely not, he thought. She wrote: I meant peckish! Stupid predictive text. And he said: Surely one doesn’t eat figs because one is peckish. That’s what digestive biscuits are for.

And so it went on a little, this conversation over the ether. But all the while he was back in that sunlit room quite alone with her, before he should have been alone with her and feeling such passion, such a passion that its imprint still remained on his consciousness. He wondered if she really understood about this passion of his. It was beyond any possible fig known to man or woman. They were never figgish, only once and she had said it was not for her, and he had understood, and loved her all the more for such frankness in the face of passion. He was still feeling his way, hardly knowing how to deal with such passionate closeness, such desire to be close. How he loved her, he thought this again and again, again and now. He seemed to hold a whole litany of love inside him that he longed to sing out to her.

He was so grateful that she had interrupted those afternoon labours at his desk with her teasing words, and wondered whether she really did eat that second fig.

we’re spoilt you and I
when together
alone together
being our true selves
and true to ourselves
with only our past
the past of us together
to measure who we are

yesterday in London
I kept seeking your hand
in the press and teem
of the Saturday crowds
to feel the pulse of you
pulse in me as every step
taken every view shared
bound us together ever
deeper and beyond
passion’s deepest kiss
where words have flown
and thoughts are stilled
and now is suddenly
present everywhere

They sat like two birds roosting in a tall tree. Only the tall tree was a room where a fire had been made up, but was not yet alight. It was early autumn and a mild evening. She had not drawn the curtains because there was a still a little light left in the sky. She enjoyed watching the darkness gather before she would light the lamp to sew, to stitch. He had lit a candle on the small table by his chair in preparation for an evening’s reading. He was looking at her slight shape in the candlelight, looking at her small hands folded in her lap, then stroking the cat beside her, then touching her hair lightly; finally she opened her sewing basket.

He rose deliberately, shaking off the stiffness felt in his limbs from a day on their small-holding, and went to the bookshelf behind his chair. As the lamp was as yet unlit the rows of books slept in darkness. He felt their spines, many he knew, and many knew his touch, and as he moved his forefinger nail from book to book there was momentarily an irregularity, a surface he did not recognize. He pulled out the book and took it into the light: Inferno Dante Alighieri.

He thought he knew all his books, most he had read many times over. They were his dear friends, their dear friends because her books were there too. Their library made up a world of thought and imagination. He did not know Dante’s Inferno. He knew of it. He had read many an inscription from it. He had even learned a terzetto from the Paradiso, once, many years ago, in a different life than he led now:

Tu non se' in terra, sì come tu credi;
ma folgore, fuggendo il proprio sito,
non corse come tu ch'ad esso riedi".

You are not on the earth as you believe;
but lightning, flying from its own abode,
is less swift than you are, returning home."

Holding Inferno in his hands he realised the woman had now drained from her gaze the last dregs of the evening light, and seemed suddenly changed. She was wearing something other than he had thought she had worn previously. Her dress was silk, and long and cream and gold, and securing her hair, a thin golden band. Her shoes were slippers  . . . but she rose from her chair and their colour and texture were lost in the dark shadows that covered the floor. And he, he was changed too: a long green cloak, a toga-like cloak, some kind of cap on his head, his hair, his hair long and grey, and sandals on bare feet.

She lit the lamp and immediately they both saw the painting above the empty fireplace had changed, had been transformed, replaced by Henry Holiday’s masterpiece Dante and Beatrice. The painting shows the couple at the bridge of Santa Trinità in Florence. Beatrice deep in conversation with her friend Monna Vanna ignores Dante’s impassioned stare and stance.

The woman held the lamp to the painting. She knows this painting and remembers in an instant standing before it in the Walker Art Gallery in Liverpool. That day, that lunchtime, she was in love, and her lover stood next to her. She was so in love, and her lover, she knew, adored her. She recognized Dante’s stance and stare because she had seen her lover stand and stare so. Many times. It had been a lunchtime assignation and she had worn all black with almost-pink shoes. And here, and now, they stood again, still lovers, but also the dearest friends, and for the rest of their lives they had so sworn.

He still held the Inferno in his hands, and it was as if commanded by a voice that wasn’t any recognizable voice but a silent message from beyond and afar. ‘Whatever you read will come to pass.’

And so opening the book at random he read, ‘We drew now closer . . .’

He turned to her and said these words aloud. He placed the book on his small table and brought his body in its unusual costume to stand facing this finely dressed woman who wore her fine clothes with the scent of roses mixed with some eastern aloed fragrance. He brought his hand to her pale cheek and noticed the gold ring on his finger and the finely manicured nails, hands that had not laboured today in the 12-acre pasture.

She opened her lips to speak and, rather breathlessly said:

"Le cose tutte quante
hanno ordine tra loro, e questo è forma
che l'universo a Dio fa simigliante.

"All things, among themselves,
possess an order; and this order is
the form that makes the universe like God.

She knew no Italian, a little German from singing Schubert lieder to his tentative fumblings on the parlor piano, but certainly no Italian.

She picked up the Inferno from his small table, and just as he had, opened a page at random and read:

‘We drew aside and found a space . . .’

And so they did, draw aside, and she, with the Inferno in her hand, led him out of their sitting room along the stone-flagged passage to their front door, and lifting the latch opened the door . . . onto daylight, a Florentine street. They were close to the Ponte Santa Trinità, but also to the church that bares its name, with its celebrated Sassetti Chapel brim-full with sumptuous frescos telling stories from the life of St Francis and considered Domenico Ghirlandaio's masterwork.


*To be continued . . .

Free Writing

How curious to be told
to write freely,
to ‘do’ free writing,
and then be given a subject!
That’s unfreeing my freedom.

Thank you, but
I don’t want to think
about this time last year.
As September was
September is,
brim-full of wondrous light
now flowing ‘cross this table
as I write – as freely as I can.

Nobody is going to tell me
to write freely and then
give me a subject, tell me
to write for two minutes
then give me five.


The Memorial Hall

There was a continuity of safeness
in these grounds that frame
this unfortunate building.
Memorable and unforgettable,
the ‘Mem’ Hall was a travesty
by Clough William Ellis.
All balustrades and pineapples,
his signature touch, chosen
it’s said (this architect that is)
because he designed the Bath Club pool
whose famous cup this swimming school
inevitably won year upon year.


Walking with Alice

Grey day this Sunday
And a morning walk
Through the estate
To the edge of fields,

You here to collect
The season’s fruits,
Not to eat,
But for the dyer’s vat.

And I, just to crunch
My boot on stubble
And cross the wide acres
Ready for the plough.


For Jeanette

Her last day in Amsterdam
and a brief break from the Powerbook;
she was playing the flâneur.
In the late afternoon
she came across this painting
in a window, in a gallery
at Van Ostadestraat 294.

She was transfixed.
The painting demanded her attention
and her time. After an hour
(and it was by then nearly dark)
she returned to her hotel
and cancelled her flight home.

For the next three days
she went back to the painting
in a window, in a gallery
in Van Ostadestraat 294.

She had begun to learn to look,
not glance, but look, to stand still
for an hour or more - and look.

She was rewarded by a world of detail
no glance could have brought forth.
She was transfixed.
She was transformed.


Red Point

Leaving the fishing station
to the cows on the beach
through each kissing gate
we passed, we kissed.
The steep road ahead
with the horse and the boy
hid our cabin home.
The sea channel,
the red sand,
the distant rain
glanced us by.


To my children**

You’re out there
Living famously
All the way down
And back again.
I do think of you
As birthdays pass
And Christmas letters
Demand attention.
You’re out there
To represent my way
Of baking bread,
Sailing the boat,
Walking too fast,
Winning at Go.
Whether in Qatar,
Kansas City or Deptford
You’re me in disguise.

for David on his birthday*

Above the noise and rush
of water in the gorge
this still pool
holds an expectation
of its river’s descent
down limestone-speckled
stone down-tumbling
to fill dark narrow space
with a commentary of turbulence

. . . and all the while
the arc of September’s sun
spotlights fern and stone
green grey pale-power white
water a mineral-brown
reflections everywhere:
our hard shadows sharp
against the sedimentary rock
skeletal fragments of life
from an oceanic past