He didn’t know
When he spied the dozen
Cakes left cooling in the kitchen
That underneath its icing
And chirpy chocolate eggs
Concealed in its sweetness
Small wrinkled packages
Of death by renal failure:
Just that they were there, unwatched
And within reach
Of his questing needle nose.
A lethal dose
In those few furtive swallows;
A moment’s greed
Became a frantic hour
Of hectic emetics
So to the vet’s
Where fair faces and healing hands
Made saviours of simple soda crystals.
The lad rose
And walked away.
And once again on Easter Day
Was made to taste defeat.
Yes, I’m afraid the whippet’s been in the wars again. Yesterday, he stole a couple of my wife’s delicious homemade Easter muffins off the kitchen worktop when we weren’t watching. Trouble was, they contained sultanas, and any grape, fresh or dried, is potentially lethal to dogs when ingested, even in tiny quantities. We couldn’t make him vomit them up, so it was off to the vets, who fortunately are two minutes’ walk away. They took the lad off into a backroom and got some soda crystals down him, which had (from our point of view, if not his) the desired effect. He seems none the worse for his brush with death, thank goodness, but by golly it’s hard on the nerves. I hope it doesn’t contravene any rules of the RCVS to publicly thank Rose the vet and Bex the nurse for their prompt, expert and sympathetic treatment – both of the lad himself, and us.
Easter last, my body
And after all I’d done for it, too.
Or a fractional misalignment
Of joints and bearings turning over
Hundreds of hours and
Thousands of miles
Into my bones
And all I’d known and been and loved
Was left to die.
I cried out
In the darkness
And my God
So now you see me
The veil of fear and anguish
Ripped in shreds and whirled away
In my busy slipstream.
And all that had seemed
Dead and buried
Is restored to me
Is a good day.
My heartfelt thanks to everyone who sent good wishes after my last, rather gloomy, post; things are a lot better now. This time last year, I thought my cycling days were done: on Friday, I took the Madone for a spin and it was just like old times. No pain, no taking-it-carefully, just spinning along on a big gear in the sunshine, feeling fast, fluid and strong again. I know there will still be less-good days (I am who I am) but this Easter weekend has reminded me just how much I have to be thankful for – including the wonderful support I get here.
RONDEAU: So tired
I am so tired; my heart and head
Are empty now. A dragging dread
Engulfs me; my thoughts cease to flow.
I’m failing, all because, I know
I am so tired.
My lust for life is all but dead.
Friends asked me out tonight; I said
I can’t; I’ll be no fun. You go:
I am so tired
I wish that I could sleep, instead
Of lying, wakeful, in my bed
All night. I’m in a kind of slow
Decline, but must go on although
I am so tired.
Don’t worry; it’s not that bad really. Just having one of my less-good days. And there’s nothing like working on a rondeau to take the mind off things.
Up and running
Hopping, he was:
Near hind hitched up as though the ground
Was suddenly too hot to bear;
A trembling velvet milking-stool,
Head and tail hanging low,
A look of ‘better-leave-me-sir-I’ll-only-slow-you-down’
In his martyred, liquid eyes.
Rest and four days’ lead-walking.
Easy for the vet to say:
Hell on feet for us; the lad
A little keg of gunpowder,
The wire-taut lead a fuse
As every squirrel, cat and rabbit
For miles around chose these four days
To wander idly across our path,
And grin at our tempestuous tangles
And yelps of hopeless rage.
But then to see him free again,
Eating up the football field
In strides five times his length
And hear the thrumming of four sound feet
Behind me, feel him blow by
Like a train not stopping at this station,
Makes my heart lighter
Even than my wallet
And restores the swing
In my own step.
Left pop-eyed by an hour’s hauling
Through worthy, densely-noted classics
We put the hallowed names aside,
Relaxed our reverential frowns
And turned to those prolific geniuses
Trad. Arr. and Anon.
‘The Soldier’s Joy’ and ‘Six-Hand Reel’
Sparked new quickness in my fingers;
To send the trills and grace-notes swirling
Round the room like silver swifts;
Warmed me through like strong mulled cider.
Not holy writ with Koechel numbers,
Catechism in compound time,
But tunes that sprang from workfolk; fiddlers
Hardy and his fathers knew. The music
Of the Christmas party, country wedding, village dance
Dick Dewy and the Mellstock choir
Played beneath that greenwood tree.
A heritage all-but forgotten
In this downbeat, download age,
But mine to claim, preserve and play,
With or without the printed page.
Inspired by this week’s Community Orchestra rehearsal. Like most people who play orchestral instruments, I revere Beethoven, Bach and the other Great Masters; however, I generally prefer to listen to their better-known music, and certainly don’t have the technical skill or theoretical knowledge to play it properly myself. So it was a huge relief at the end of the rehearsal to be handed a set of fiddle tunes collected by Thomas Hardy. Like his father, grandfather and various uncles, Hardy was an excellent musician and played the violin in his local church band, or choir – the inspiration for the Mellstock players in Under The Greenwood Tree.
Having spent most of my childhood in Dorset, I have a great love of the old folk tunes, which are our true musical heritage. If the classical canon is music’s great literature, folk tunes are its oral tradition; the tales handed down through generations that tell us something of ourselves. And while a Colossus like Beethoven can wring my heart, these humbler melodies speak to my soul in a language I truly understand.
The night watch
Walking the woods as twilight slips
Like a poacher between the fading trees
My every step sets off some new alarm:
A blackbird chinking like a mason’s chisel;
A stream of shrill invective
Pouring from an unseen wren, blazing with a courage
A hundred times her size;
Pigeons clattering from the topmost branches
In a fusillade of frantic wings;
Jays and magpies rasping threats, while the silly yaffle
Hides behind his nervous laugh.
The watchword is passing through the wood
Like a creeping barrage. I advance behind it,
All element of surprise long gone
And with it any hope of gaining ground.
And as I pass back into the world
Of cars and curses, litter and the ugly shouts
Of boys and girls abroad too late, grown up too soon,
The darkening wood still rings with song:
The all-clear, and a sweet lament
For what the world once was
And all that we have lost.
Pass in under the wood’s eaves
And take the right fork past the tall lone ash
With the hole high up where the nuthatch hides.
Four steps down to the silted stream
Its banks revetted with iron roots
Like veins in the back of an old man’s hand.
Five back up to the field corner
And a sinuous trail, just shoulder-wide,
A winterbourne of mud between low branches
That pluck at clothes like nagging children.
Four ways shake hands in the trampled clearing;
Follow the one that rounds the rim
Of the deep pit dug by long-dead brick-makers.
Into the coppice, over twin ditches
The hunting-dog hurdles in two long leaps.
Past the great fallen tree, worm-holed, beetle-bored,
And weave through the birches down in the dip.
Hug the wood’s edge where it fronts the field
Home to rabbits and cows in the warmth of the day
And the fox in the evening. Up the short steep slope,
Sandy, seamed with burrows, to a broad, level ride
Under spreading oaks, where the bluebell scent
Hangs thick as smoke. Pause in a soaring hornbeam hall
High as a church, with a floor of beaten earth. Call the dog.
Over a young tree, still bravely bursting into leaf
Though laid low by a curl of wind a dozen nights ago.
Down the slope where the squirrels sprint
For safety in the tangled trees. Three steps down
To the sleeper bridge, then the last drag up
To the wood’s front door. Close it behind you.
Keep the key.
I got the idea for this poem from the wonderful ‘Britannia‘ atlas of England and Wales – the world’s first-ever nationwide road map, published by Scottish polymath John Ogilby in 1645. It consists of a series of 100 strip maps, drawn at the then-innovative scale of one inch to the mile, each describing a section of road, such as ‘London-Bromley-Sevenoaks-Tonbridge-Rye’ (plate 31) or ‘Oxford-Buckingham-Bedford-Cambridge’ (plate 80). It bridges the gap between modern cartography and the medieval means of navigating across country, which basically involved following directions from one town to the furthest extent of local knowledge, then asking again.
For my poem, I simply followed Ogilby’s example and wrote notes as I walked round our nearby woods. (Incidentally, Ogilby claimed to have surveyed over 26,000 miles of roads in order to compile his atlas, measuring distances using the intriguingly-named ‘Wheel Dimensurator’; about 7,500 miles’-worth appeared in the final version) Sadly, I can’t draw, so I’ve created a ‘strip map in words’, which I hope gives some flavour of what you might find if you ever chance upon our corner of the country.