Contents (53)
- CONTENTS
- THE SHOUT
- GOOSEBERRY SEASON
- AT SEA
- POEM
- KID
- NOT THE FURNITURE GAME
- ROBINSON IN TWO CITIES
- THE LOST LETTER OF THE LATE JUD FRY
- TO POVERTY
- (after Laycock)
- PARABLE OF THE DEAD DONKEY
- HITCHER
- TO HIS LOST LOVER
- MR. ROBINSON’S HOLIDAY
- THE DEAD SEA POEMS
- MAN WITH A GOLF BALL HEART
- I SAY I SAY I SAY
- WHITE CHRISTMAS
- BEFORE YOU CUT LOOSE,
- GOALKEEPER WITH A CIGARETTE
- A WEEK AND A FORTNIGHT
- DREAM HOLIDAY
- CHAPTER AND VERSE
- THE TWO OF US
- (after Laycock)
- FIVE ELEVEN NINETY NINE
- ROBINSON’S LIFE SENTENCE
- SONG OF THE WEST MEN
- TACHOGRAPH
- A GLORY
- THE TYRE
- THE WINNER
- FOR THE RECORD
- HOMECOMING
- 8 P.M. AND RAINING WHEN ROBINSON
- YOU’RE BEAUTIFUL
- ALL FOR ONE
- CHAINSAW VERSUS THE PAMPAS GRASS
- THE STRID
- THE TWANG
- THE STRAND
- SALVADOR
- THE GOLDEN TODDY
- BIRTHDAY
- THE NIGHT-WATCHMAN
- THE JAY
- THE SUMMERHOUSE
- THE ENGLISH
- WORKING FROM HOME
- THE BACK MAN
- ROBINSON’S RESIGNATION
- INCREDIBLE
Such comings, givings, goings. Morning finds
the pole upstanding through a tractor tyre—
half a ton, those, so how did that get there?
All else scattered, as if dropped from the air,
litter brought from somewhere else to right here
by act of God or twister, washed ashore and beached
by long-shore drift and gale-force winds
and a hard night of high seas. Flotsam. Dreck.
We stack the fire at the eleventh hour,
begin by propping staves and leaning splints
against the centre-piece, build up and out
from slats and rafters through to joists and beams,
take notice of its changing shape: a cairn
becoming wigwam, then becoming dome,
becoming pyramid, then bell, then cone.
It has its features: priest holes, passageways,
a box-room, alcoves, doors. We hide and hoard,
stack bales of paper soused in paraffin
within its walls, stow blankets doused in oil,
load every seam with goods—goods to take hold—
and thread each flash point with a length of rope
soaked through with petrol, kerosene or meths
and trail the loose end to a distant place.
Unnecessary, but a nice touch, though.
That moment, then, before the burning starts—
like waiting for the tingle in the track
before the train, or on the empty road
before the motorcade, the time it takes
each elephant to wander from lightning
to thunder. That, or something in the bones
or in the weather, on the wind, a twinge
within the works of some barometer,
shouts of timber in the coral canyon
of the ear, the smell of burning pouring
through the chambers of the nose, a voltage
in the glades and groves of cells and glands. Hands
hang fire, hang loose in pairs of leather gloves,
and coolant flows and fills the trunks and roots
and limbs and leaves and needles of the lungs.
Then someone makes a move, a match gets struck …
The hiss first of damp wood, the fizz of steam,
a water-coloured flame, cradled and cupped
in a sheltered place, then circled and snuffed
by a twist of smoke. Something else flares up,
then chokes—a flame blown out by its own breath—
and a third and fourth are checked. More smoke
without fire, then a further space alive
with light, a chamber deep inside aglow
for good this time, fuelled with the right stuff,
feeding on something for just long enough
to tempt another thing to burn, combust,
to spread its word, to chatter its own name
through a stook of canes, to start a whisper
here and there that spreads across the broad base,
a rumour handed down, passed round and shared.
Heat dealt to every point, backed up by flames.
Sounds—the popping of corn, cars back-firing.
And sharps and flats, affricates, fricatives,
screams, an acetylene torch igniting,
a pilot light—its circular breathing.
The animal squeal of air escaping.
Snapping of soft wood—the bones of babies.
The depth-charge of a blown-out metal drum.
A pressurized can goes off like a gun,
at which a fox cuts loose from the fire, there