The Boats of Vallisneria by Michael J. Redford – Sky

Tags

1967, afternoon, air, beauty, being, birdsong, black, breathing, camera, candle, church, clouds, colour, comet, consciousness, corridor, countryside, dance, dawn, depth, earth, elm, emotion, evening, eyes, fields, fire, gaze, gold, grey, heat, hills, horizon, identity, jade, leaves, life, light, mauve, Michael J Redford, mind, night, orbit, painting, photography, planet, rain, red, silence, silhouette, sky, space, spire, stars, storm, sun, sunset, the Boats of Vallisneria, thunder, trees, turquoise, valley, west

Sky

One evening about two years ago, there was, in my part of the country, one of the most magnificent sunsets that I have ever been privileged to witness.   Being a keen photographer (although not a very good one, for other peoples’ photographs always seem better than mine), I took my camera into the fields to capture the scene in colour.   It all began when the grey broken clouds, the ‘left overs’ of a stormy day, drifted slowly across the horizon, taking with them the tumult of the heavens.   It had been a somewhat dismal day with an atmosphere that clung like a warm damp blanket, enveloping all with an oppressive heat that made even the unconscious act of breathing an effort.   The day thus sulked its way through the hours, stifling the energy of life and suffocating the songs of birds until at long last, at about three o’clock in the afternoon, the sky, no longer able to contain its pent up emotions, savaged the countryside with a violent storm.   In fact three storms had tumbled into the valley that afternoon that gave rise to a continuous end-of-the-world -like thunder that reverberated about us for an hour and a half.   Fearful though the storms were, the rain felt good, the soil quenched its thirst and the air became cool, and when the storm had flung its final volley of anger contemptuously at us, I saw that the wilted leaves had renewed vigour and had turned their faces once more to the sky.   Suddenly, the late evening sun broke loose and shone low across the fields, igniting the treetops with a blaze of old gold and adorning the scene with the tint of an old master’s painting. Screwing tripod to camera, I raised it to my eye and squinted through the view-finder.   For some moments I indulged in a danse macabre around the field with the tripodial skeleton stiff within my embrace, searching for the most artistic composition to enter the field of view.   By now the sun was an enormous dull-red hemisphere reclining upon the distant hills, infusing the undersides of the remaining clouds above with a heavy mauve the deepened perceptively as I gazed.   The solar chord became shorter and shorter until finally the perimeter of the disc was extinguished suddenly by the horizon as one snuffs out the flame of a candle.   Then, in a most abrupt and startling manner, the populace of the heavens turned to fire.   The clouds appeared to radiate from a point somewhere below the horizon in the vicinity of the sun and spread out above and behind me, plumbing the very depths of space itself.   It was as if Earth had entered the tail of a super comet that had passed close by on its elliptical orbit about the sun.   Hurriedly I set the tripod firmly on the ground and framed the sunset between the jet-black silhouettes of two sentinel elms.

After taking the photograph, I packed the equipment in its case, stood up and looked once more through the elms.   My gaze passed by the silent trees, through the sunset and beyond into space, leaving the great orb of this planet at a tangent.   The moment developed into one of those rare intervals in time when an overwhelming consciousness of the beauty about one descends and becalms the mind.   Although my gaze flew past the elms at incomprehensible speed, I was aware of their crisp outlines against the sky, and as it passed on through the sky into the depths of space, I could see the fire shrinking before me like the glow of a lantern disappearing down a long, dark corridor.   My eyes were now being lifted by a power exterior to my own being.   Up, up they went until I was craning my neck and gazing out into the zenith of space.   I had always been conscious of the great depths of space about me, but could not help regarding the heavens as anything but a dome viewed from a central point, the stars being spattered over the surface of this invisible hemisphere, all equidistant from me.   But on this particular occasion, I became aware of the three dimensionality of space, each planet, star and nebula standing out in such relief from each other, that I felt I could lift my hand and pluck them from their ethereal settings.   Immediately above my right shoulder the crooked W of Cassiopeia pierced the depths with startling clarity and midway between this and the great square of Pegasus, there glowed faintly the spiral nebula of Andromeda, so far flung into the void as to make the magnificent gold and blue binary system of Gamma Andromeda appear but ten steps distant.

Becoming dizzy from the depths above me I turned and cast my eyes down to the eastern horizon.   The Pleiades had just shown itself above the distant trees and was discernible only by averted vision, but its presence was sufficient to tell me that within the hour Aldebaran, the red eye of Taurus, would begin its journey above the horizon to dissolve overhead in the light of tomorrow’s dawn.   But even before Antares had touched the distant church spire in the darkening west, the night air became chill and with a shudder I headed for home.

Some days later when I had the film processed, I discovered much to my dismay, that I had become so involved with the scene before me that I had forgotten to remove the dust-cap from the lens, consequently I have no visual proof to offer my friends of the glory I have witnessed.   Often I am accused of exaggeration when describing a scene that has made an impression on me, yet I experience difficulty in finding adjectives of sufficient depth, colour or subtlety to use in such instances.   How can one convey to others the emotions that rise to greet the song of a nightingale, or to what depths the heart yearns to fly with the swift and embrace all three dimensions.   How can one possibly convey through the medium of the written or spoken word the sight of an evening sky washed with the faint mauve streaks that herald a sunset, or describe the background tint of the sky that is somewhere between a shade of jade and turquoise?

My attempts at describing this beautiful sunset to a friend met with very little response.   Emotion is a very personal thing and that which gives rise to emotion in one, may leave another completely cold.   Even so, I was completely taken aback when my friend said, “what sunset?”

 

read the collected work as it is published: here

 

 

^{————w}(O)rmholes_________________________________|—–

afternoon & grey & rain & red & sky wormhole: Pont Neuf, Paris, 1902
air & silence & trees wormhole: 10/30 by William Carlos Williams
beauty wormhole: The Atlantic City Convention: 1. THE WAITRESS by William Carlos Williams
being & black wormhole: in deed
breathing wormhole: there will be ovations
church & silhouette wormhole: Vue de Pontoise, 1873
clouds wormhole: Cote des Bœufs à l’Hermitage, Pontoise, 1877
dawn & storm wormhole: birth in the world
evening & life wormhole: threshold to behold
eyes wormhole: mandala offering
gold wormhole: Entry to the Village of Voisins, Yvelines, 1872
hills wormhole: Puerto del Carmen
horizon & sunset wormhole: in turgid reflection
identity wormhole: quietly in my quiet house
leaves wormhole: 10/28 ‘in this strong light …’ by William Carlos Williams
light & sun wormhole: Cours La Reine, Rouen, 1890
mauve wormhole: travelling / back
mind wormhole: so, how long is, a piece of string?
night wormhole: Boulevarde Montmartre, Evening Sun, 1879 // Boulevarde Montmartre at Night, 1879
space wormhole: the reach turned to love
stars wormhole: TREES by William Carlos Williams
valley wormhole: coterminalism – there is nothing happens by itself, / 070118

 

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threshold to behold

Tags

1967, 2019, 8*, abandonment, alcove, being, birds, blue, books, breeze, Dad, Eglinton Hill, evening, garden, head, identity, life, meaning, openness, place, purpose, room, shoulders, skirting board, sky, son, sound, standing, text, time, trees, Victorian houses, weight, windows

                                  threshold to behold

                having persistently interrogated every alcove
                and skirting and sash-window of every room
                he could possibly have been in

                for any lead to any whereabouts, to even a
                chalk-outline, of how to be (beyond the breath
                of standing next to him in the breezy garden) –

                they were so well-moulded, fitted at perfect
                right angle, pulleys holding the weight just right
                to open, surely they would know – nothing,

                (or were they just too arcane to decode),
                the son stood before the bookshelves – how
                was it, now – legs not really astride but anyhow,

                (dangling, even), but head and shoulders alert,
                scanning the spines, weighing what each had
                to offer to respective places and times in the

                whole of a life, ah, this is the one – plucked –
                from the top of the spine, reached down; felt
                their weight, now, opened boarded covers

                (sound of crease), open at random (must of
                decades), what does the text say when
                eavesdropped unaware, has it sense, could I inhabit

                that sense enough to see what to do, to breathe
                what to be – birds take flight into the turning deep blue
                above evening trees

 

my father left his family on my eighth birthday; I’m sure he didn’t plan in that way, but that’s the day he happened to come home late again and confess that he’d been seeing someone else – I played with my new cars behind the sofa and listened to him leave, I didn’t look up so much as stare at the shape of the room as if noticing for the first time in the Victorian house on the hill where we lived; ‘I searched for form and land, for years and years I roamed’ (a no-prize to anyone who can name where these lyrics come from) looking for the direction I needed to be ‘the man of the house, now’ as someone said to me at the time; it’s only now I have retired that I realise there is no direction to go and that there is no man about the house other than saying makes it so; I still don’t look up, but am more and more sure that I don’t have to, now; still, all that browsing, plucking and hoarding over the years …

 

 

^{————w}(O)rmholes_________________________________|—–

abandonment & Dad & life wormhole: my uncomfortable life
being wormhole: The Atlantic City Convention: 1. THE WAITRESS by William Carlos Williams
birds wormhole: prose piece 2 from POEMS 1927 by William Carlos Williams
blue & trees wormhole: Cote des Bœufs à l’Hermitage, Pontoise, 1877
books wormhole: ‘… and yet I think I am so modest: …’
breeze wormhole: Lapping Reflections [Deep Within Waters] – pageant of the trees
Eglinton Hill wormhole: Plumstead – Woolwich – Plumstead 220211
evening & time & windows wormhole: Boulevarde Montmartre, Evening Sun, 1879 // Boulevarde Montmartre at Night, 1879
garden wormhole: Landscape, Pontoise, 1875
identity wormhole: so, how long is, a piece of string?
meaning wormhole: the old man;
openness wormhole: the mantra of Maitreya
sky wormhole: Staffa Fingal’s Cave, 1832
sound wormhole: 10/28 ‘On hot days …’ by William Carlos Williams
Victorian houses wormhole: Hastings: neither all or nothing

 

intent

Tags

1967, 2018, 5*, avenue, Batman, buildings, cape, contemplation, cowl, dark, night, passing, skyline, tree, white

                past avenues of uprise
                one can only prowl intent

                but oblivious, there may be
                clean white skylines under

                the darkest nights but
                contemplation under cowl

                or tree foreshortens
                the sweep of the deepest cape

 

Detective Comics #370, Dec 1967, writing John Broome, art Sheldon Moldoff

 

 

^{————w}(O)rmholes_________________________________|—–

Batman wormhole: pediment to behold
buildings & passing wormhole: travelling / back
night wormhole: Fishermen at Sea, 1796
skyline wormhole: ‘a blacknight fitted perfectly …’
white wormhole: pursued

 

The Boats of Vallisneria by Michael J. Redford – Trees

Tags

1967, alder, almond, amethyst, apple, armchair, beech, blossom, branches, breeze, cattle, change, cherry, children, chimney stacks, church, clock, common, cottage, economics, elm, enclosure, Essex, evening, eyes, fields, fir, fire, flame, forest, garden, gate, grass, green, hedge, Henry VIII, history, knowledge, landscape, lanes, laughter, leaves, London, Michael J Redford, mind, noise, oak, orchard, passing, past, pink, pollen, poplars, progress, red, rust, shadow, ships, silence, sitting, sky, smoke, society, speech, Spring, summer, the Boats of Vallisneria, thought, tiles, time, trees, village, walls, war, white, winter, woodland, writing, yellow

Trees

Spring’s tonic has risen within the trees and hazel catkins have swollen in greeting to the first warm days of the year.   Elm and alder are soon to follow heralding beech and oak and in a month or so the firs will show their new cones, green and full of juice, and their catkins will dust the ground yellow with pollen.   Throughout the villages cottage gardens will soon be filled with almond blossom and orchards will froth over with cherry white and apple pink spilling an aperitif to summer upon the living fields.   The hedgerows and woodlands become en-veiled by the diaphanous greenery of a million tiny leaves, an amethyst haze so tender and tenuous that I fear for its safety lest it be borne away upon the passing breeze.   I become aware of a restlessness within me that calls with increasing persistence to forego my writing and step out beneath the cavernous spring sky.   The pageant of the trees has begun.   Field and lane alike become heavy with leaf and only a section of red tile or a chimney stack, like flakes of old rust within the foliage, betray the presence of human habitation.   The blanket of summer affords us a privacy and seclusion that is unattainable in naked winter when one’s every move can be discerned by the neighbour’s critical eye, but here in the depths of summer, we can take our thoughts into the quiet of a woodland glade, we can be silent and be within silence for a little while and rest your eyes upon the shadows of the dancing leaves above.   And how restful the colour green, and how restful to the eye and through the eye to the mind that blossoms forth green thoughts.

This spring evening upon which I write is a decidedly chilly one even though the day itself has been full of warmth.   Thus I am to be found sitting in an armchair, putting my thoughts on paper, gazing between sentences into the dusty red glow of a log fire.   It is a funeral pyre really, the cremation of the last remains of an old local cottage that has long died, having fallen prey through disuse, to the vagaries of our climate and the onslaught of the village urchins.   I gaze with half closed eyes at the sawn up piece of beam that was once part of the skeleton of the old house, and see it burn with clear flame and little smoke.   In accompaniment to the ticking of the clock upon the mantle shelf I hear the old log’s tinsel murmurings that sound like a piece of screwed up silver paper, tossed aside and left slowly to expand, and as the pure white ash falls without sound, I feel myself drawn into the distant past and fancy I hear the laughter of children as they play beneath the boughs of a tree which this dead piece of wood was once a living part.   Whose children are these?   From what age do they come?   Perhaps they are the offspring of Henry VIII’s generation, the irresponsible youth of the day who cared nothing about the great cultural and religious upheaval taking place about them as they played handball between the northernmost buttresses of the old church wall.

It was at about this time when the monasteries had just been dissolved that the first enlightening book on agriculture by Fitzherbert of Norbury had just been published.   Was this historic pioneer of fertility indirectly responsible for the downfall of this old tree?   For the seas of knowledge flooded the land and split the forests into arboreal islands and many fine examples of the medieval forests became the battered flotsam of progress.

Certainly this old piece of wood never witnessed an act of enclosure, for the open field system was predominant right up until the late eighteenth century, when round and about the great open fields sprawled the commons, the scrubland and marshes, creating through their wastefulness and their infertility, a barrier to agricultural and therefore economic progress.   Although enclosure was a costly business, required finances could be supplemented by felling timber which, during the Napoleonic wars commanded a high price.   Also, in order to fence off enclosures, what was more natural than to plant more timber which, unlike normal fencing that needed constant and costly repair, increased in value as time went by.   The first choice of timber was naturally that which was most valuable such as ash and oak.   But the oak was slow in maturing, and where the ash spread its roots, no crops or grass would grow and no cattle would graze.   It was thus that the stately elm made its appearance and stamped the English hedgerow with a character all its own.   Being able to grow, and grow quickly in all types of soil, made it a very desirable timber to grow.   Also, the elm allowed grazing beneath its boughs and, due to its durability in water, it was at this time much sought after by the Navy Board for its ships.   Water mills, lock gates and drain pipes were of elm, and at the turn of the century, London alone still had over four hundred miles of mains constructed from its timbers.

Caught upon the ebb flow of time, I see the trees’ ancestral giants, the calamites, that reared two hundred feet into the sky.   They heard no child’s laughter, neither did they hear the buzz of insects nor the songs of birds, for they existed in the dim distant dawn of the carboniferous age millions of years before the birth of man, when even the birth of the first blade of grass was aeons in the offing.

They grew long, long before man, mute sentinels surveying the changing landscape, witnessing scenes that no mortal has ever gazed upon.   Then when man came, they furnished him with food, shelter and fuel; they gave to him the means of traversing the oceans.   They have been instruments of both war and peace and have featured in mans’ writing, music and art.   They have been made gods and devils and have bought good luck and bad.   Man’s long and close association with trees is evident from his desire to wander beneath the green boughs when time and toil permit, and from picnic parties who would sooner travel an extra mile to spread their chequered cloths within their shadows.   Perhaps it is because a tree expresses continuity, a security that mankind through all the ages and searched and worked for.

Although not a native of Essex, this ancient county endears itself to me more and more as time rolls slowly by, and time does pass slowly in Essex, for to plumb its highways and byways is to plumb history itself.   It has been slow to change through the centuries and there are numerous back lane hamlets which, even to this day, have experienced virtually no change for many, many years.   One lively youngster or eighty five who lives on the borders of Chignal Smealy and Chignal St. James (what delightful names are these), told me that the only difference he could see in his village was the height of the poplars at the end of his garden which, when he was only “knee high to a goose-pimple” were only a “stack an’ ‘alf ‘igh”, even the cottage gate that was propped open on one rusty hinge was the very same one his grandfather had made.

Having been one of the most heavily afforested counties in England, Essex is rich of fine examples of man’s utilisation of wood.   It can be seen in his architecture, in his tools, farm implements and vehicles.   The men of Essex are very conscious of their affinity with trees, and go to great lengths to preserve the more eminent members of their arboreal population, and I find it hard to believe that there is another county in the whole of the British Isles that can boast a greater number of ancient trees that have been propped up and strung up to cast their humbling shadows upon the heads of men.   Most of these old trees are of course oak, for Essex was noted for its oak forests, but as farming spread, so the forests disappeared, and the elms lining the fields and lanes now outnumber to oaks and are a far more familiar sight.   It is these old isolated trees that afford us a tangible link with the past.   They disperse any feeling of isolation in time and give to us instead a much needed sense of continuity, of that which has no end.

 

read the collected work as it is published: here

 

 

^{————w}(O)rmholes_________________________________|—–

blossom wormhole: BLUEFLAGS by William Carlos Williams
branches & mind wormhole: Lapping Reflections [Deep Within Waters] – old George
breeze wormhole: A Solitude by Denise Levertov
change wormhole: Bridgnorth
church wormhole: TO A SOLITARY DISCIPLE by William Carlos Williams
evening & sky & thpought wormhole: space for probing thought
eyes & passing & shadow & speech & walls wormhole: ‘… plane is upright …’
fir wormhole: Pilot 125 … // … being excursion in the interludes
garden wormhole: The Boats of Vallisneria by Michael J. Redford – With Pigs
green & Spring wormhole: LIGHT HEARTED WILLIAM by William Carlos Williams
hedge wormhole: The Boats of Vallisneria by Michael J. Redford – With Cows
history wormhole: and ‘naerrgh’ a mention of a seagull’s call
knowledge wormhole: ‘a blacknight fitted perfectly …’
leaves wormhole: SPRING & LINES by William Carlos Williams
London wormhole: London refugee march – 120915
oak wormhole: behind / glass walls and wan and hooded eye
pink & time & white & yellow wormhole: THE LONELY STREET by William Carlos Williams
red wormhole: SPRING STRAINS by William Carlos Williams
silence wormhole: despite that
sitting wormhole: getting fat in me old age
smoke wormhole: cross-section
society wormhole: raised brow
trees & war & winter wormhole: What You Are by Roger McGough
writing wormhole: JANUARY by William Carlos Williams

 

‘a blacknight fitted perfectly …’

Tags

1967, 2018, 7*, arrival, Batgirl, Batman, beauty, black, books, eyes, glasses, identity, ink, knowledge, looking, mask, night, silhouette, skyline, talking

                a blacknight fitted perfectly
                over the local skyline like spilt ink

                as masks and blindfolds
                drove through the light to where

                silhouettes can talk
                in strictest identity and all the books

                can lean to the right where eyes beautiful look
                over rectangular glasses

 

Detective Comics #363, May 1967, Gardner Fox, Carmine Infantino: oh the rhymes we wend and the bends we play

 

 

^{————w}(O)rmholes_________________________________|—–

Batman & skyline wormhole: space for probing thought
beauty wormhole: only
black wormhole: TREES by William Carlos Williams
books womrhole: What You Are by Roger McGough
eyes wormhole: The Boats of Vallisneria by Michael J. Redford – With Pigs
glasses wormhole: we held cold hands
identity wormhole: Victorian pipework
knowledge wormhole: singsong chant
looking wormhole: LIGHT HEARTED WILLIAM by William Carlos Williams
night wormhole: the moon, the moon
silhouette wormhole: despite that
talking wormhole: I don’t need to go out / onto the balcony to see behind me / to know what’s going on

 

space for probing thought

Tags

1967, 2018, 7*, Batman, Batmobile, city, clouds, damson, engine, evening, orange, seclusion, sky, skyline, space, streets, sun, thought, travelling, walls

                there was seclusion
                in the bubble of the Batmobile, that

                while the hog-engine made the destination
                along a sullen street

                there was the
                space for probing thought, that

                running into the city sun along the
                evening wall: did the

                damson clouds cut the sun or the skyline
                snag the orange sky?

 

Detective Comics #360, February 1967, Gardner Fox, Sheldon Moldoff; Batman #190 Gardner Fox, Sheldon Moldoff, March 1967: how; how does the Caped Crusader stay so ahead of the game?

 

 

^{————w}(O)rmholes_________________________________|—–

Batman & evening wormhole: the moon, the moon
city & clouds & streets wormhole: despite that
orange & sky wormhole: only
skyline & space wormhole: sometimes
sun wormhole: BLUEFLAGS by William Carlos Williams
thought wormhole: A Solitude by Denise Levertov
travelling wormhole: fifty-eight // and silent prayers
walls wormhole: What You Are by Roger McGough

 

The Boats of Vallisneria by Michael J. Redford – With Pigs

Tags

1967, apples, birdsong, cabbage, carrot, character, ears, eating, eyes, face, feet, field, fight, food, garden, humanity, living, Michael J Redford, morning, mud, piglets, pigs, pink, potato, pregnancy, presence, smell, smile, snoring, speech, speed, the Boats of Vallisneria, time

With Pigs

“Trouble is, you can smell ‘em a mile off.”   This was said not by a townsman as one would expect, but by a countryman.   He was referring to pigs and his observation was indicative of the general opinion and stigma that has surrounded the pig from time immemorial.   “The pig,” said Mrs Grundy, “is a disgusting creature of filthy habits who lives in a dark, odoriferous hovel and wallows in mud.   It is a creature whose appetite can never be satiated and is like a dustbin on four legs that will receive almost anything into its ever-open mouth and will, without a flicker of conscience, steal the last morsel of food from its neighbour.”   There is in fact a remarkable similarity between the pig and many humans.   Perhaps these are strong words, but then the smell of a pig kept in such conditions is even stronger and whose fault is it but that of its keeper.   The pig is essentially a clean animal.   True, it loves to make a mud wallow in the corner of a field on a hot day when the gnats are biting, but one can hardly call this dirty, especially when some females of the human family pay to have it plastered all over their faces and the males of the species come home covered from head to foot after playing games all afternoon in it.   Given plenty of clean straw, a sow will make a comfortable nest for herself and her offspring and will rarely foul her bed with droppings.   She reserves the brightest corner of the sty for this and even the young piglets instinctively use this special corner without any training whatsoever.   Because of this, it has been known for young pigs to be effectively house-trained.   A pig enjoys his food, he takes no pains to disguise the fact, and is usually most grateful for any special tit-bit that comes his way, refusing the offering only when he is ill.   Generally speaking, a hungry pig is a healthy pig.

Pigs are a happy and friendly people.   They are never too preoccupied (except when feeding – and that goes for many humans as well) to pass the time of day, and will chatter away for as long as you care to stay.   All they ask in return for the honour of their presence is a scratch behind the ear or a rub on the belly.   Unlike most people I have pigs at the bottom of my garden – not fairies, and I invariably spend a couple of hours therein each day.   After pottering around for some minutes there steals over me a strong feeling of a presence close at hand watching me with a purposeful eye destined to catch my attention.   I turn and find myself gazing into the friendly face of old Split Ear, a black and white Essex sow who has lived at the piggery now for some six or seven years.   Her name, though not very romantic, is appropriate, for her left ear had been rent asunder in her younger days from a fight with a barbed wire fence, and as the ears of this particular breed droop forward and cover the eyes, Split Ear would gaze quizzically at me through the hole in her ear, head cocked slightly to one side.   In early days when I first made her acquaintance, this feeling of being watched was a little disturbing.   She would stand stock still eyeing me in that cock-eyed manner of hers, noting with precision every move I made.   I mistook her friendly gaze of interest for one of criticism and became so annoyed with her that, early one March morning, I hurled a cabbage stalk at her which bounced off her snout and landed at her feet.   She sniffed at it, turned it over and, as she gazed up at me, I perceived that a delighted smile had spread across her face.   From that moment on we became close friends, and we would pass away many a pleasant moment in each other’s company.   I came to know and respect her many habits and fads and she in turn would confide in me her most intimate secrets.   One fine spring morning she told me that she was twelve weeks gone and had only another three to go.   We counted the days together and as she grew bigger and bigger and the great day approached, she developed a strong desire for sour apples.   I would offer a selection of tasty morsels such as a cabbage leaf, a potato, a carrot and an apple.   Each time she would eat the apple first and only when she realised that no more apples were forthcoming, would she set about devouring the remaining items.   Eventually the great day arrived and she disappeared into the maternity ward.   A week later, when he confinement was over, she proudly paraded her young ones before me for my inspection.   There were fourteen in all and a very even bunch they were too.   Normally a litter contains one or two piglets that are smaller and weaker than the rest, the runts, or cads as they are sometimes called, but old Split Ear’s troupe was so evenly matched, it was impossible to tell them apart.

All young animals have an innocence and a charm about them, but young piglets, to my mind, are the most endearing of all.   Their character can be likened to those of mischievous little schoolboys, full of fun and pranks and as happy as the day is long.   Often I would creep up on them unobserved to watch their antics, particularly on those days that invariably crop up from time to time when nothing goes right, and I am soon elevated from the doldrums by their uninhibited gaiety, it is a therapy that never fails.   Approach them silently, enjoy their antics awhile, then step from your hiding place. Instantly they freeze into diminutive statues, poised on the very tips of their dainty toes and, with not a quiver of muscle between them, they peer wickedly at you from the corners of their eyes.   Then suddenly, one of them will utter a staccato bark which is the signal for the tumult to continue.   These little creatures are so keen to be off that despite violent activity from their legs, they make no forward progress for several seconds and in spite of their efforts, remain in the same spot kicking up clouds of dust behind them.   Eventually their feet find a grip and they shoot off in all directions with the speed of bullets.   Owing to the momentum of these little pink projectiles, collisions are common and these frequently lead to fights in which all and sundry take part.   Noisy though it is, the melee rarely produces a serious casualty – a few scratched ears, grazed bellies and nipped tails perhaps, but seldom anything more serious and the cause of dissention is soon forgotten.   The only other occasion on which a difference of opinion is likely to occur is that of the feed time scrum down.   The normal pattern of events here is that one piglet is gradually squeezed off the end of the line until he finds himself out in the cold and teat-less.   With unabated fury, he then hurls himself upon his fellow diners which immediately causes someone else to be pushed off the other end.   This sets up a cycle of events that flags only when the energy begins to fail and the bellies begin to fill, and soon nothing is heard but the song of a bird and the satisfied snoring of pigs.

Likening them once more to schoolchildren, it is surprising how quickly they grow up, how quickly the irrepressible energy of youth is funnelled into mature and profound thoughts that mould the character.   And pigs do think – of this I am convinced.   One has merely to accept them and to treat them as equals to discover their thoughtful looks, their smiles of delight and to understand their many moods which are so very much like our own.

 

read the collected work as it is published: here

 

 

^{————w}(O)rmholes_________________________________|—–

eyes & morning & time wormhole: Lapping Reflections [Deep Within Waters] – both fawn and grey
feet wormhole: THURSDAY by William Carlos Williams
field wormhole: THE DESOLATE FIELD by William Carlos Williams
garden wormhole: Sheffield Park Gardens
living wormhole: only
pink wormhole: we held cold hands
smell wormhole: BLUEFLAGS by William Carlos Williams
smile wormhole: A Solitude by Denise Levertov
speech wormhole: despite that

 

What You Are by Roger McGough

Tags

1967, accident, advertising, apple, blood, books, buildings, canal, cat, cattle, children, city, clock, clouds, cuckoo, curtains, dawn, death, depth, derelict, dew, distance, duty, eyes, feet, fish, flesh, flowers, found, frog, glasses, God, goldfish, grass, green, hands, heartbeat, Hiroshima, humanity, innocence, ivy, kiss, leaves, library, love, Lusitania, madness, measure, midnight, mirror, moment, morning, moth, mother, murder, neurosis, peace, petals, plastic, poem, politicians, power, prayer, pride, Roger McGough, rosary, sand, seeds, silence, Spring, stage, station, subconscious, sun, sword, symbol, teacher, tears, teeth, time, torpedo, treason, trees, van Gogh, voices, walls, war, water, waves, wind, windows, winter, womb, world, World War, yellow

                What You Are

                you are the cat’s paw
                among the silence of midnight goldfish

                you are the waves
                which cover my feet like cold eiderdowns

                you are the teddybear (as good as new)
                found beside a road accident

                you are the lost day
                in the life of a child murderer

                you are the underwatertree
                around which fish swirl like leaves

                you are the green
                whose depths I cannot fathom

                you are the clean sword
                that slaughtered the first innocent

                you are the blind mirror
                before the curtains are drawn back

                you are the drop of dew on a petal
                before the clouds weep blood

                you are the sweetfresh grass that goes sour
                and rots beneath children’s feet

                you are the rubber glove
                dreading the surgeon’s brutal hand

                you are the wind caught on barbed wire
                and crying out against war

                you are the moth
                entangled in a crown of thorns

                you are the apple for teacher
                left in a damp cloakroom

                you are the smallpox injection
                glowing on the torchsinger’s arm like a swastika

                you are the litmus leaves
                quivering on the suntan trees

                you are the ivy
                which muffles my walls

                you are the first footprints in the sand
                on bankholiday morning

                you are the suitcase full of limbs
                waiting in a leftluggage office
                to be collected like an orphan

                you are a derelict canal
                where the tincans whistle no tunes

                you are the bleakness of winter before the cuckoo
                catching its feathers on a thornbush
                heralding spring

                you are the stillness of Van Gogh
                before he painted the yellow vortex of his last sun

                you are the still grandeur of the Lusitania
                before she tripped over the torpedo
                and laid a world war of american dead
                at the foot of the blarneystone

                you are the distance
                between Hiroshima and Calvary
                measured in mother’s kisses

                you are the distance
                between the accident and the telephone box
                measured in heartbeats

                you are the distance
                between power and politicians
                measured in half-masts

                you are the distance
                between advertising and neuroses
                measured in phallic symbols

                you are the distance
                between you and me
                measured in tears

                you are the moment
                before the noose clenched its fist
                and the innocent man cried: treason

                you are the moment
                before the warbooks in the public library
                turned into frogs and croaked khaki obscenities

                you are the moment
                before the buildings turned into flesh
                and windows closed their eyes

                you are the moment
                before the railwaystations burst into tears
                and the bookstalls picked their noses

                you are the moment
                before the buspeople turned into teeth
                and chewed the inspector
                for no other reason than he was doing his duty

                you are the moment
                before the flowers turned into plastic and melted
                in the heat of the burning cities

                you are the moment
                before the blindman puts on his dark glasses

                you are the moment
                before the subconscious begged to be left in peace

                you are the moment
                before the world was made flesh

                you are the moment
                before the clouds became locomotives
                and hurtled headlong into the sun

                you are the moment
                before the spotlight moving across the darkened stage
                like a crab finds the singer

                you are the moment
                before the seed nestles in the womb

                you are the moment
                before the clocks had nervous breakdowns
                and refused to keep pace with man’s madness

                you are the moment
                before the cattle were herded together like men

                you are the moment
                before God forgot His lines

                you are the moment of pride
                before the fiftieth bead

                you are the moment
                before the poem passed peacefully away at dawn
                like a monarch

 

from The Mersey Sound, 1967
when I first read this poem in 1978 I was too young to let go associations enough to get the metaphor; after a lifetime of being obligated to associations which stood idly by while I wildly floundered without ground, I can let them go with glee and relish and relish the metaphors to the portrait’s content (… still not sure about the ‘lost day of the child murderer’, however, and I’m still not sure why I’m not sure, but I’m not; but I can’t think McGough just slipped up over one couplet … (and I can’t find any discussion of this line in the pages-that-proliferate-like-spores-wafted-across-their-own-private-amphitheatres))

 

 

^{————w}(O)rmholes_________________________________|—–

books & love wormhole: `whappn’d!
buildings wormhole: cowled
city & windows wormhole: moon- // washed
clouds & green & silence & time & wind wormhole: Lapping Reflections [Deep Within Waters] – old George
curtains wormhole: ‘the Bat-Signal …’
dawn wormhole: between
death wormhole: beguiled / desire
eyes wormhole: The Boats of Vallisneria by Michael J. Redford – With Cows
feet wormhole: ‘oh my girls and muse …’
glasses wormhole: … the underleaves show
hands & water & world wormhole: A Solitude by Denise Levertov
leaves wormhole: sufficiently away
library wormhole: two profiles
mirror wormhole: DANSE RUSSE by William Carlos Williams
morning wormhole: TO A SOLITARY DISCIPLE by William Carlos Williams
mother wormhole: granny
power wormhole: I
Spring & sun wormhole: SPRING STRAINS by William Carlos Williams
trees & voices & yellow wormhole: TREES by William Carlos Williams
walls wormhole: both modern and en-slaved / to life
war wormhole: to arms, then;
waves wormhole: Khandro Tsering Chodron
winter wormhole: where did the silence go

 

The Boats of Vallisneria by Michael J. Redford – With Cows

Tags

1967, blue, brother, brown, cows, eyes, faces, food, hedge, herd, imagination, intelligence, Kent, meadow, Michael J Redford, milk, parents, reading, running, skill, sound, the Boats of Vallisneria

With Cows

Cows can be frustrating to say the least.   If you are in a hurry, they are not; if you want to turn left, they will turn right; if you want them to come to you, they will walk slowly but surely from you (except, of course, when there is food in the offing).   You can shout until you are blue in the face and, unless it is milking time, the only resultant effect will be an all pitying gaze from two enormous brown and blue eyes set in the most imperturbable face that nature has created.

My first introduction to the bovine species took place when I was about seven years old.   My parents, brother and I were on a picnic in Kent and on that particular day I was a fearless explorer penetrating the depths of the African jungle.   This had stemmed from the fact that I had just finished reading a book called the Gorilla Hunters which had sparked my imagination into a riot of fantasy.   Slipping unobserved into the undergrowth, I crawled upon all fours until I came upon a high, mossy bank surmounted by a thick, prickly hedge.   Hearing an unfamiliar chomping sound coming from the other side, I wriggled into the hedge and poked my head through into a small meadow.   I turned and gazed upwards and at the same instant, a cow who was hiding behind the hedge and who I swear was no less than fifty feet tall, turned and gazed down at me.   Then, unable to contain herself any longer, the cow blew violently down her nose at me, turned on her heels, and shot across the field like a bullet kicking the air behind her as she went.   I cannot recall ever seeing a cow move with quite so much speed.   Neither, I suspect, would an observer have ever seen a small boy move with such speed.   I rejoined the family scratched, breathless and as pale as a ghost, and shamelessly told the face-saving lie that I had been chased by a bull.

My opinions regarding the intelligence of cows has pendulated with the acquisition of experience.   When I first worked with cows I noticed how, on entering the shed at milking time, they all went to their own particular stands, and had an animal for any reason entered the wrong stand, she was very soon ousted by the rightful occupier.   This, I assumed, denoted intelligence.   However, I was very soon to discover that cows are animals of habit and habits are no criteria of intelligence.   Eventually I came to the conclusion that, because of its indolence and obstinacy, the cow was a complete and utter dim-wit.   But once again, experiences of the past year have led me to the final conclusion that cows have a very good measure of intelligence.   I milk for a local farmer one day a week to give his herdsman a much needed break from the seven day a week routine.   He owns a large farm with two herds of cows, a herd of Jerseys and a herd of Friesians.   Milking is carried out in a modern tandem parlour with automatic feeding and ‘all mod cons’.   When the animals enter the parlour they are fed by pulling a lever which releases just the right amount of food from a hopper into a manger.   When the lever is pulled down, two pounds of food are released and when pushed back up, another two pounds.   After a surprisingly short period of time, the cows become aware of the connection that existed between the action of the lever and the delivery of food.   By contorting their bodies in a manner quite out of character with their natural movements, the cows discovered that they were able to reach the lever and very soon began pushing it down and returning it to the upright position to obtain an extra double helping of food.   Indeed, one of the Friesian cows developed the knack of tossing the lever violently up and down in order to obtain an almost continuous supply of food.   When her manger was almost full, she would struggle back to her normal position and attack the gargantuan meal before her.

However, with cattle cake costing over thirty five pounds per ton, this state of affairs had to be dealt with.   We eventually overcame their antics by tying a piece of cord to the stanchion and looping the other end over the lever, so that in order to feed the cows, we would merely remove the loop, pull the lever and replace the loop.   This system worked beautifully – for a while.   It wasn’t long before the animals overcame this obstacle by pulling the loop from the lever themselves, despite the fact that this is a somewhat delicate operation for their great, cumbersome muzzles to perform.   An interesting point that came to light during this period was that the Friesian cows were the worst offenders, whereas, out of a herd of twenty five Jerseys, only four managed to reach this standard of reasoning and acquired the knack of working the lever.

Yet despite their apparent superior intelligence, I have in my experience, found fewer ‘character’ cows among the Friesians.   By ‘character’ cows I mean the bovine equivalent of the human being who is ‘a bit of a lad’ or rather ‘quite a girl’, the one who stands out in a crowd.   One such a cow was Magatha, who was just about the ugliest little creature that I have ever seen.   She was sway-backed, had a fawny-coloured coat with grey patches all over it and had a face too concave even for a Jersey.   One ear had a lump torn from it and her ridiculous little head was beset by two crooked horns.   Despite her lack of charm and elegance, for she waddled along in a most ungainly manner, she was the most endearing and affectionate cow I have ever met.   At milking time she would always be last out of the field and last out of the shed and during the short walk between the two, she would creep up behind me and push her ugly little head under my arm and we would troop up the lane behind the herd like a couple of young lovers.   On one occasion (I think it must have been a ‘morning after the night before’, for I wasn’t in a very benevolent mood), I failed to reciprocate her affections and instead gave her a hefty whack on the rump to speed her on her way.   She countered this breach of etiquette by doing a half-passage and forcing me nearer and nearer to the side of the road.   I realised too late what she was up to when I landed full length in the ditch running with effluent from the much heap.   However, like all good lovers we made up and until the end of my stay at that particular farm, we could be seen every morning and every evening strolling arm in arm together along the lane.

 

read the collected work as it is published: here

 

 

^{————w}(O)rmholes_________________________________|—–

blue & brown wormhole: TO A SOLITARY DISCIPLE by William Carlos Williams
eyes wormhole: thought
faces wormhole: ‘oh my girls and muse …’
hedge wormhole: travelling // arrival
reading wormhole: … the underleaves show
sound wormhole: moon- // washed

 

The Boats of Vallisneria by Michael J. Redford – Making Hay

Tags

1967, blackbird, branches, breeze, chaffinches, clouds, cuckoo, echo, fields, grass, green, hay, June, land, lark, linnets, Michael J Redford, scythe, silence, smell, soil, sun, talking, the Boats of Vallisneria, thrushes, tits, trees, wagtail, weather, work

Making Hay

“You’ll have a nice cut o’ hay here,” said George.   The wizened little old man, long since retired from the land, stood beside me in the gateway of Garden Field.   He has come to remove the debris that had fallen from the trees to prevent damage to the mower.   Like most retired land-workers he is unable to keep the soil of the fields from his boots, and one can find him in every village throughout the British Isles hedging, ditching, clearing odd corners of scrub with scythe and sickle and caring for the vicar’s garden.   To these men, there is an attraction so binding to the land, that to continue working thereon has become essential to their very existence.   It seems they draw the very essence of life direct from the soil, just as the unborn infant draws its life direct from its mother, and if this contact, this life-line is broken, so also is his life.   One has merely to talk with these old men for an hour to sense their affinity with and philosophy of the land, and I am convinced that it would quite literally kill many of them if they were to be taken from it.   An acquaintance once questioned the economics of employing these old ‘jobbers’ and suggested that it was merely a charitable act that enables the old men to feel useful, and I thought of old George ambling around the perimeter of Garden Field picking up dead branches and stones.   In the first instance the old man had given me half an hour of time to attend to other more pressing matters.   Secondly, his action of clearing the land of obstructions was quite possibly instrumental in preventing a broken mower knife or con-rod, and when taking into account the precarious weather conditions under which hay is made in this country, any delay could mean the difference between a field of good hay and a field of bad or maybe even a complete loss, and with good hay sometimes fetching £15 per ton and more, this could result in a considerable saving.   So what price an old man’s labour?

There is a great satisfaction in using a clean cutting tool, be it a pen-knife or a scythe.   Now unfortunately, the less harmonious clatter of a power driven mower has long since dimmed the sweet song of a scythe and men in the hay meadows no longer sway to its rhythm.   Nevertheless, there manifests within me a great sense of well-being each time I see the graceful stems fall into neat swathes as the mower encircles the ever diminishing island of standing green.   The pollen lifts and the wagtail follows close behind feeding upon the moths and gnats that are started into flight upon a day sweet with a green aroma. Soon comes the last sweep of the mower in the centre of the field.   It is an act full of purpose and symbolism that makes me hesitate before felling those last few stems.   It is I think, that the finality of the last cut brings about a sense of completeness, a completeness that is magnified by the silence when the mower has ceased to clatter and the tractor engine is switched off, when the only sound to be heard is the song of a lark out of sight, high above the dust laden air.

The following day, when the June sun has lifted the dew from the fields, the grass can be shaken up to let in the drying breezes, and it is towards the end of a good drying day that the green harvest begins to ‘rustle’ and emanates that exhilarating aroma of ‘making’ hay.   There are many jobs to be done on the farm some of which are dull and monotonous, and I must confess to a tendency of leaving such tasks to the very last minute.   But hay-making is not one of these jobs.   Even at the end of a hot, dry day of turning, tedding and windrowing, I reap a great deal of pleasure from strolling alone between the dry, fluffy rows, inhaling the richness, listening to the linnets, tits and chaffinches close at hand, and the distant echo of the cuckoo in the woods.   Also in the woods the Blackcap, much mistaken for the nightingale, sings sweetly at this hour and is a welcomed guest upon my solitude.   There are many such enchanting moments tucked away at odd intervals throughout the year, sandwiched between the bustle, toil and noise that nowadays fills most of our lives, and too often they pass unnoticed and without appreciation.   The baler is the transgressor that ends these few hours of peace at hay-making.   It is a great red monster that crashes into the calm, scaring the blackbirds and thrushes and littering the fields with bales of green, just as the child litters the nursery floor with his building blocks.

If there is one task on the farm nowadays that demands sweat and aching limbs, it is the pitching, carting and stacking of bales of hay.   No time can be wasted in bringing them home for should the weather change, the feeding value could be washed right out and hay made fit for only bedding.   Under a blazing July sun the throat becomes parched and the palms of the hands become calloused and shiny from gripping the pitch-fork.   Hasty swigs from a brown bottle concealed in the cool shade of a hedge ooze forth seconds later as sweat.   Hay particles stick to the body and gnats and flies buzz and bite. At times (if, for example, in a race against approaching storm clouds), the pace becomes so hectic that the sweat runs and blinds the eyes.   Seeds and pieces of hay fall into the shirt and make their way down to the trouser belt where they stick and prick and scratch each time the body is bent to life another bale.

This work, weather permitting, continues day after day, and to those involved it seems like eternity, but sooner or later the very last bale is heaved upon the trailer, and the last, slow journey home is made with swaying load and creaking ropes.

Last year, Garden Field was put aside for the cows and old George was helping me move the electric fence.   It was almost dinner time when we finished and we sat upon the headland whiling away the minutes in idle conversation.   He had removed his jacket and was picking out the fluff from the corners of a pocket.

“It used to be my brother’s,” he said of the jacket, “he lived in Shropshire but passed on a few weeks back, and as I’m the only one of the family left, I had all his bits and pieces sent here.”   He studied the jacket ruefully.   “Didn’t find no pound notes in it though, just a bit o’ fluff and a few hay seeds,” he said flinging them into the wind.   Now, as I stand staring at the bales stacked under the dutch barn, I find myself wondering how many stems of Shropshire grass there are within, and if left to ripen, how many seeds they would have produced.   I often stand and stare, much to the annoyance of those around me, and think my little thoughts, for little thoughts quite often lead to bigger ones.   This is, in fact, just how this essay came to be written.

 

read the collected work as it is published: here

 

 

^{————w}(O)rmholes_________________________________|—–

blackbird wormhole: Plumstead – Woolwich – Plumstead 220211
branches & green wormhole: Sheffield Park Gardens
breeze wormhole: 1964
clouds wormhole: and ‘naerrgh’ a mention of a seagull’s call
echo wormhole: with all love released
silence wormhole: The Boats of Vallisneria by Michael J Redford – Working
smell wormhole: travelling // arrival
sun wormhole: tremule
talking wormhole: green and / luminant / to behold
trees wormhole: Lapping Reflections [Deep Within Waters] – reaping
work wormhole: next unexpected step