The Net

I

Prodigal, what were your wanderings about?
The smoke of homecoming, the smoke of departure.
The earth grew music and the tubers sprouted
to Sesenne's singing, rain-water, fresh patois
in a clay carafe, a clear spring in the ferns,
and pure things took root like the sweet-potato vine.
Over the sea at dusk, an arrowing curlew,

my house’s stairway is seized with vertigo. Matter having forsaken its laws, we land in hell, ascending to heaven.

Farewell (sweet Cooke-ham) where I first obtained
Grace from that grace where perfect grace remained;
And where the muses gave their full consent,
I should have power the virtuous to content;
Where princely palace willed me to indite,
The sacred story of the soul’s delight.
Farewell (sweet place) where virtue then did rest,
And all delights did harbor in her breast;
Never shall my sad eyes again behold
Those pleasures which my thoughts did then unfold.
Yet you (great Lady) Mistress of that place,
From whose desires did spring this work of grace;
Vouchsafe to think upon those pleasures past,
As fleeting worldly joys that could not last,
Or, as dim shadows of celestial pleasures,

The wind rests its cheek upon the ground and feels the cool damp
And lifts its head with twigs and small dead blades of grass
Pressed into it as you might at the beach rise up and brush away
The sand. The day is cool and says, “I’m just staying overnight.”
The world is filled with music, and in between the music, silence
And varying the silence all sorts of sounds, natural and man made:
There goes a plane, some cars, geese that honk and, not here, but
Not so far away, a scream so rending that to hear it is to be

And now the green household is dark.
The half-moon completely is shining
On the earth-lighted tops of the trees.
To be dead, a house must be still.
The floor and the walls wave me slowly;
I am deep in them over my head.
The needles and pine cones about me

Are full of small birds at their roundest,

(i.m. Charles Leslie Stevenson, 1909-79)

This House

Which represents you, as my bones do, waits,
all pores open, for the stun of snow. Which will come,
as it always does, between breaths, between nights
of no wind and days of the nulled sun.
And has to be welcome. All instinct wants to anticipate
faceless fields, a white road drawn

I

Complacencies of the peignoir, and late
Coffee and oranges in a sunny chair,
And the green freedom of a cockatoo
Upon a rug mingle to dissipate
The holy hush of ancient sacrifice.
She dreams a little, and she feels the dark

This was a true happening but (as you
will see shortly) not such as would ready me
for future ones. What has brisk disaster
to do with a leisurely ordeal?
Neither event, as you will notice also,
has made me an understanding man.
It was my watch one night, away then on
the sea, when leaning on a couple of crates

For Cynthia

When he would not return to fine garments and good food, to his houses and his people, Loingseachan told him, “Your father is dead.” “I’m sorry to hear it,” he said. “Your mother is dead,” said the lad. “All pity for me has gone out of the world.” “Your sister, too, is dead.” “The mild sun rests on every ditch,” he said; “a sister loves even though not loved.” “Suibhne, your daughter is dead.” “And an only daughter is the needle of the heart.” “And Suibhne, your little boy, who used to call you “Daddy”—he is dead.” “Aye,” said Suibhne, “that’s the drop that brings a man to the ground.”
He fell out of the yew tree; Loingseachan closed his arms around him and placed him in manacles.—AFTER THE MIDDLE-IRISH ROMANCE, THE MADNESS OF SUIBHNE