It is night
or almost--
And the dark lingers close,
To sift through my coat
And rub against skin,
As all my without
Settles within.
Far off, traffic grumbles like thunder crashes;
Head-lightning flashes, swerves and passes
Under scything curves of the moon.
My thoughts toss with their rumblings
Tumbling in exhaust of the tired people,
High-wired people--
This night is lost on them.
I walk by myself, but not alone,
For here, every ghost is one of my own
And fires of constellations, dimmed,
Are pins in a cushion of night.
I won’t worry them my plight
For star-patterns of lamp-heads
Are blooming in the warm damp;
Amber blossoms, ripening,
Flecked with falling dew
Like goldenrods budding on thin stems,
With dainty rains diving on wan winds.
Drips fall as the stars to molded cement
To smear honeyed light on these even stones.
Removed hives of traffic buzz their empty drone;
I pass notes in tones I’ll soon leave in the past
But immediate now, for lamplight can't last.
The rushed drizzles fall, with no strain, and no breeze,
With no secrets passed from the winds to the trees,
Just rhythms of thoughts, of could’ves and oughts,
And the near-silent tread, the near-silent beat
Of the steps of my feet, and the drops on the street,
The bricks paved with shadow, drifts of shadow on stone.
There’s something vaguely haunting,
Slightly daunting all alone--
But I am not alone.
Above my reflection in shuddering puddles,
Beyond introspection, a neighborhood huddles
With solemn, dull eyes, glowing and cold,
Wary of requests to be consoled,
To not lose my friend.
I feel their eyes scold as they whisper--
(How dare she refuse him, how daring and bold!--
She’ll get what she needs in the end.)
They sit and watch in fastidious rows,
Flocking together with tight-framed smiles
In an unwanted, false-fronted pose.
I’m foreign to them, and those who roam
Those who tread the quiet hours, any strangers present
Are a danger to futures and futures of stock;
And they stare, and they glare, and I walk.
Something grows now, something wrong;
The swift-startling shock of a headlight flare
Forces me aware of a motor pulling in,
Escorting its riders up a flat-lined drive.
They’re home, they’ve arrived, but I’ve
Flown a quarter of the Earth to come here, too,
Only to reach my separate conclusion.
I blend in, bend my back and slouch
To act as I’m not hiding,
Biding restless hours on the streets so close to yours.
And I’m dismissed, for neither of the pair
Emerging from their car into the creeping dark of night
Gives a glance to the glimmer in the air
Falling soft upon my hair
And twinkling like a halo, as it glistens, soft and bright.
The two are used to wayward drunks, winding home, or on the prowl,
And although it’s what they see, what I am is out of sight.
I’ve had no drink, not a single hasty sip
Of anything stronger than windows’ scowl
And quivering coronas of dewdrop luster.
Neither constellation cluster nor moonshine passed my lip.
They enter their house and close the door,
And I am myself once more.
And does your window stay lit still?
I wonder past your windowsill,
Past yellow lights in nights of gold,
Past sneaking nights in cloaks of cold,
Of playful schemes, and if I hurt you
With dreams in black and white, of Virtue--
Your world, our world, fighting will,
As contrast swirled in drips of paint,
As trips and feints, as lips and saints;
Of where you sit, of where you lie,
And where you will- and where will I?
Of those you see behind your screen…
Ah, but now I draw the curtain.
Let me, now, enjoy the sheen
Of streetlight glow on solid, certain.
I’ve made my choice, your motives known.
And look at the lamps, how they flicker like candles!
How they flicker like votives, tiny, intense,
Burning as fervent blessings are prayed.
Look at them glow from their iron handles!
Look at them dare to stand on their own,
Mist’s drizzles like tears I won’t cry, sense
And prudence protecting from downpours of rain--
Of how much I could lose and what I’d never gain,
From back when I pinned my heart to my shirt,
And how little it took to mend the hurt…
Yes, I will pull the windowshade.
Do you laugh, now, at a wayward girl
Who grew up, to get caught in the drifts of a world
Shimmering unreal, with night spectral-curled
As smoke, as wisps around ankles and knees,
Like vines around trees, strangling as wreaths
Or mistletoe in Yuletide glow…
Yes, let me pull the shade.
Out here, I can waft like a waif down the alleys
Like a tomcat, who dallies
As he toys with the mice and the rats;
Rude to his guests,
And playing with his food,
Prized for teasing private pests
As cats are wont to do.
But the prey always loses,
And I didn’t toy with you.
I let honor guide my youth
To follow where it chooses,
And you knew.
No matter how golden glazes shine
Or how they shimmer still,
Despite my shivering confusions
They have never been more than mirages, illusions,
And never will--
You would have had me play.
Here I can walk like a waif, like a stray--
I was always more of a stray.
These roads have lead nowhere I’ve not been
Earlier in evening’s ponderings,
And soft yawns slowly draw down my chin
To tell me yes, yes, it's time to leave,
To end my careful ramblings,
To end the pensive amblings
And once again pretend to be naïve.
I sigh to leave the wanderings
In evenings wet from being cleaned,
Warm as velvet being steamed, to be crushed or embossed.
My reveries in ebony left me half-lost
In cobblestones' reflection; now I must hurry
To catch up to the rush and the flocks of those ruled
By the clocks, who will worry
If I’m claimed by the night, glossed and sheened
With pyrite jewels, burning bright,
Then clouded with miniscule furies of frost.
I leave you in the dark, and a single lamp sighs,
Flickers as a firefly, then shudders once and dies.
I’ll find my own window, I’ll make my own peace,
And a new day will rise with the sun in the east
For I’m not alone as I find my way home;
There are millions of billions of stars in the skies,
And their garden blooms vivid in rich evening's loam.
The last of the lamplight fades from my eyes.
And there!
look,
the moon lingers above me,
A sliver of pocked pearl nestled in lovely,
Fat waning thin
To thin waxing fat,
Like the riddling grin
Of a Cheshire cat.













Comments
--
Traveller, do you not know how a poet can live beyond the grave?
You stand and read this verse: it is I, then, who am speaking.
Reading this work aloud, your living voice is mine.
-unknown pagan poet
--
If you never lose, then you don't know how to play the game.
The introductory stanza sets the tone nicely, the fusion of external description and internal feeling - I love the without/within bit - meaning that even the most impersonal description that follows, such as in "Far off, traffic grumbles like thunder crashes;" carries a shimmering sense of intimacy. By the by, your use of the word 'swerves' is interesting in that there's something in this poem that reminds me very much of Philip Larkin's poem 'Here' - both poems share this sense of brave, trusting personal openness in their journey, and both make use of that particular word. It just stood out for me.
I'm uncertain how much of this piece relates the literal fact of the journey itself; much of it seems concerned with reflection of the past - especially near the beginning - and, while there's a definite sense of transition that can't be avoided, it's less about the distance travelled (reflected in the abstract lack of distinct signposts for a reader to follow) and more about what the journey 'does' to the narrator. In fact, I'm almost certain that up until 'There’s something growing, something’s wrong;' the poem concerns itself with remembering the facets and reactions of leaving what's passed behind. The line 'Forces me aware of a motor pulling in,' almost therefore signals a wake-up call, forcing the narrator back into the present from which the rest of the poem continues in this vein.
I like the grandeur of 'where life swerves /And passes under scything curves /Of the moon, of time' in describing the motion of travel in the second stanza particularly. In a sense I think it describes simply enough the physical fact of flying on a plane - and I get an image of the dark outline of a jumbo jet passing over the moon like E.T. - but there's also a hint of what lies beneath that moon, existing blissfully in time, of all those people and countries the narrator's passing over. It brings a deeply spiritual slant to airline travel. Of course, this is immediately dispelled in 'tired people, high-wired people' acting as another unfortunate collision with reality as that later described, but even in the image of these haggard frequent flyers there's an underlying humanity; the line 'This night is lost on them.</I.>' is overriding-ly sympathetic, even pitiful that these individuals are too absorbed in their routine to realise the spectacular nature of their undertaking. For the narrator, I think, a lack of familiarity provides child-like freshness.
This is expanded on in 'every ghost / Is one of my own,' in the third stanza which, more than anything, unites the narrator with these wayward spirits. I particularly like '"I walk by myself, but not alone,' in preserving the individuality of the narrator amongst a crowd, but also achieving a sense of solidarity; it's a very effective compression of meaning. The remainder of the third stanza confuses me slightly because, although 'Are pins in a cushion of night. is unmistakable in describing the stars and such, 'Amber blossoms, ripening, yet provides a vision of dawn. My only explanation is that you've compressed time so that, in effect, that interval spent upon the aeroplane is disregarded in being disconnected from nature and that, in landing once more, the spontaneous emergence of dawn signals some kind of re-connection. 'I won’t worry them my plight, in its optimacy and self-reliance seems to confirm this idea of fresh hope, even if 'dawn' itself is only internal.
The next two or three stanzas are those that gave me this sense of personal reflection and remembrance concerning that which has been left behind. I can't be certain what 'When so much depends on each paper-slim letter,' accurately refers to... no, it's too abstract. I think you need to include a more concrete hint of what these a really relating to. As for the rest of the stanza, I'm especially fond of the manner in which the nuances of nature are combined with the fleeting attitude of the narrator, particularly in 'With no secrets passed from the winds to the trees, / Just rhythms of thoughts, of could’ves and oughts,' that eventually concedes to a pervading loneliness. The vivacity of the description makes 'the near-silent beat / Of the steps of my feet,' all the more powerful in contrast, incorporating an emptiness that surrounds both the scene and the narrator's state of mind. In this, it's as if the reiteration in the next stanza of 'But I am not alone. is as much a personal reassurance as anything else.
I'm certain that this next stanza refers almost exclusively to memory - beyond reflections and introspections (I'd lose the 's' on both of those words, by the by) - and the reader realises that, although not alone, the remembered company of the narrator seems far from friendly in 'solemn, dull eyes, glowing and cold,'. As with the note in the above stanza, I'm entirely unsure what this refusal refers to; the feeling behind it is clear, the sense of judgement and weight upon the narrator cast by these neightbourhood eyes, but the subject itself is elusive. The line 'They sit and watch in their fastidious rows,' makes me think that perhaps they're being remembered through a photograph. However, the sense of solitude seems to dominate in 'I’m foreign to them, and those who roam,' whereby the narrator is effectively excluded from both those that won't travel and those who will, left entirely alone, but she's still dominant and even conquering in 'and I walk. I quite like that this final stem of independence seems put-upon by the pressure of their judgements and stares, as if each implied compulsion for the narrator to follow convention convinces them all the more that they must break it. It's very clever.
And back to where I began. The line 'There’s something growing, something’s wrong;' is very effective in its role of transition in that while it immediately builds upon the internal troubles of the previous stanza, suggesting new barriers, it shifts itself toward the present through the headlight flare, effectively bridging the narrator's reflection. It's quite evident in the narrator's 'passing confusion, I think. Whether the 'riders' have any significant role beyond simply being people interrupting a certain solitude I don't know... I'm not sure either why the narrator seems keen to avoid being seen in 'To act as I’m not hiding, which almost suggests a sense of shame. The actions exist, and a reader can take them in their stride, but there doesn't seem any motive for them. My two favourite lines of this stanza are found in the description of the narrator's hair - in spite of the repetition of soft from the previous line - and also 'And although it’s what they see, what I am is out of sight.' because it speaks so much of appearances, is even quite consciously funny considering the self-monologing nature of the piece.
From here the piece takes on a much more accusatory air; the narrator no longer simply relates their journey (both internal and external) but begins to speak actively toward someone... but I don't know who to. The 'lost' him referred to in the description? The friend in your latest journal? I think they're the same person. I think this area in particular is where the missing back story comes into particular usefulness. The narrator seems caught outside, perhaps expecting entrance... and being rejected, or cut off. But there's ultimate defiance in 'Mist’s drizzles as tears I won’t cry' and an embrace of choices and making the best of things... 'Yes, I will pull the windowshade.' draws the narrator finally into the night once more, I think, of their own volition.
And if the previous stanza were accusatory, mingling confusion and rejection and pain, then the next is almost a sure-fire attack on the individual involved. It seems almost too personal to really comment on. Hum... The formerly complimentary description becomes more active also in 'Like vines around trees, strangling as wreaths,' in pressing upon the narrator, like choking beneath the feeling of what's happened - and, as previously, only the final line provides an indignant release, this time almost acting as a final confirmation. There's a sense that, really, there can no longer be any turning back. But it's no more than a fleeting sense.
Further on now, this next stanza seems more concerning itself with recovery, of accepting the position that has been thrust upon the narrator, half by choice and half by circumstance. I particularly like the line 'I was always more of a stray.' in its semi-fond remembrance, as if the narrator begins to find themselves amidst the alleys and gains strength from what's occurred. There's new strength in 'And I didn’t toy with you.' that while scolding the individual, hinting at the seriousness and sincerity of the narrator's intentions, is also seemingly thankful in finally understand that 'the prey always loses,' and coming away from that to be okay. It's interesting that the pessimistic desperation found in 'They have never been more than mirages, illusions, / And never will.' seems to condemn not only the glaze's of the individual, but all shining windows and warm retreats... I'm glad the stanza doesn't end on this note.
The final large stanza takes the reader back into more familiar, less uncomfortably, soul-baringly, personal territory, I think. 'And these roads are leading nowhere I’ve not been' as a line is far more akin to those found early in the poem, far more neutral in their tone, but at the same time there's no doubting the experience they possess; the style of narration is altered for this experience, and in 'And once again pretend to be naïve.' the bitterness is almost unbearable. It's only by the calm conciliation in the tone of lines like And sleepiness slowly draws down my chin' that really saves this last great stanza from bitterness, but the conflict is present... always present. Cynicism also seems present in the line 'To catch up to the rush and the flocks of those ruled / By the clocks' in that the people previously referred to in keeping the narrator company have lost their humanity; they're now flocks, without individualism and passions but ruled by time. This in particular seems to suggest that in giving up pretending naivety the narrator merely restores themselves to optimism... and, therefore, it's suggested that pessimism is more akin to wisdom and reality. Maybe. Fortunately, the narrator seems to find themselves new company in the line 'There are millions of billions of stars in the skies,' and through this rich description of the heavens, ensuring they remain not alone, a new optimism prevails. The conclusion in 'Like the riddling grin / Of a Cheshire cat.' is therefore perfect in summing this recovery of the narrator's self and their new optimism; the phrasing itself is also quite lovely.
Phew. Okay. Conclusion time. Knowing that comprehension and ease of understanding are your primary concerns (in terms of description and phrasing there's little I'd alter - the wordplay and line breaks and so on are splendid) my biggest gripes are concerned with: 'each paper-slim letter' and the notes of that particular stanza; 'a neighborhood huddles' and the nature of their relationship with the narrator; 'riders up a flat-lined drive' and their relevance toward the narrator's reactions toward them; the inclusion of Virtue's paintings and their role in affecting the relationship between the narrator and the individual, which I couldn't really grasp.
And that's about it.
--
-StationToStation-
--
-StationToStation-
Alright, I'm going to clear a few things up, hopefully...
While in London, I had a really hard few days, and I needed comfort. I arranged to meet a friend and get a hug. That's all I wanted right then- a few minutes where someone would tell me everything was okay, and he was the person in the area that I was closest to, emotionally. I went to the arranged meeting place... and he wasn't there, and I was already upset, and so every time someone spoke to me, I had to blink back tears.
I got stood up, basically.
You see, we had this running joke about him 'corrupting' me, about how he was going to get me to drink and make out with random strangers (okay, and him), and I wouldn't drink, I didn't kiss anyone (though almost all the friendly pressure was on getting me to drink). Once he found out I wouldn't, even with an offer of £50, a hundred dollars U.S., for drinking half a pint of Foster's, I guess he gave up on me. I could've used the money, I might've at least had a few sips, but suddenly I was putting a price on what I believe in, and silly as my principles are, they're worth more than that to me.
Anyway, I went to the McDonald's next door, sat down, and wrote him a note, admittedly slightly pathetic, went to drop it by his house... and his window was lit. I didn't knock. If he'd wanted to help me, he would've met me when he should've, and I couldn't bear if one of his family members opened the door. I left my note, and went walking in his neighborhood. And... I knew it would be a poem before I even turned home (though not as long). The walk was beautiful, with falling mist, and the streetlights glowing. I love walking at night, whether under stars or lamps, and it made the £5.40 I'd spent on my Tube ticket worth it. That's what you're reading; that's my walk after dropping off the note. Literally and metaphorically, that's it.
I probably learned more about the situation writing it than reading it.
Amber blossoms are the lamps- 'blossoms' as a noun. Paper-slim letter- letters on paper, letters/notes that ARE paper, those slimmer yet are the ones which were pixels on my screen. Tones are the pathetic tones I think I used, strains/rhythms/notes/tones/beats are also musical terms. The disapproving neighborhood is literal, but also peer pressure, societal constraints of a group- did I mention the £50 bet was in front of his friends...? He seemed fine with me the rest of the night, but then, he also got drunk. Heh. Virtue stands for my beliefs, but his paintings also show London- my 'friend''s world, now mine as well, in fighting black and white, which is probably a cheap shot (if white is indeed virtue- it seems to cause more hurt than not believing these things), but I'm not willing to give up my beliefs, and I'm certainly not going to kiss anyone unless it means something, and I know he didn't 'like' me. Trips/feints changes the subject from Virtue, though still keeping virtue as a theme- if you want more of an explanation, I can give you one. The drive... I was so desperate for company, but at the same time, I shied away from people, though being 'stood up' didn't help. When the mother and daughter pulled up, I wanted to be invisible, because I felt so self-conscious, so out of place in a country I loved.
I didn't see a cat playing with a mouse, but I think I saw a cat, and I'm pretty sure one in the area would've been hunting. Everything else happened, or seemed to happen, literally.
Editing will be later. Thank you SO much, again.
I remember you telling me about the "corrupting" thing. "Jazz" seems to spring to mind...
Anyway.
Erm. I've not much left to say. Thanks for explaining the wobbly bits and putting me back on track. I know it sounds a little crass, but knowing the backstory more clearly truly does increase my appreciation of what you've done here. My only thought concerns editing because without making the 'tale' more literal within the poem it's subject to massive misinterpretation - i.e. mine - but at the same time... I doubt I'd want such a personal event publically known. But then, you've just posted it here, so what do I know?
--
-StationToStation-
Okay, so I need to look at:
1) a few adjectives I don't like
2) the 's's on reflections/introspections?
3) "Far off" and "Still" in the first two stanzas
4) EXPLAINING!/ less vagueness (mind discussing this over MSN sometime?)
5) Title
If I could trouble you, did the rhythms or any words stick/ not flow in places? They sound alright to me, but then again, I wrote it. And... was there any part which you didn't like very much, or didn't work? You don't have to read it again, just from memory.
Thank you SO much!
And when DOESN'T knowing the backstory help?
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