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                                                                                                                                                      Poetry Here & Now

                                                                                                                                                     Christine Coleman

FOR A FRIEND WHO DOESN’T LIKE POETRY


A poem is not meant to be comfortable
It should irritate like a seed stuck between teeth
Or a stone in a shoe.

 

The reader should feel something
Of what the writer wept through –
Should find the meaning as slippery to extricate
as a broken yolk in a bowl of albumen.
Yet eventually it should nestle in the palm of mind
Intact and satisfying as a clearly separated egg.

How can I say what a poem is?
Poems  are  empty shells
For hermit crabs of other people’s feelings.
 

A poem-maker has been infested like a cat with fleas.
The words spring down, cool off upon a page
then  jump into the mind of an unwary passer-by
who does not realise he has been bitten
until they wake him in the night.
 

But  poems are only words in a certain order
Making a certain shape upon a page
And rhythm in the ear.
They are lies, certainly.
How  can reality be represented
except  by fabrications?
 

One day in summer
As I lay down full-length upon the grass
Beside a cliff-top path
And saw within my arm’s extended range
A hundred shades of green,
I knew no poet, no painter
Could replicate each detailed variation
of every leaf and stem
the scents and sounds of sap rising,
uncountable, miniscule, creatures scurrying.
 

I’m not surprised you don’t like poetry –
It’s quite inadequate.
Yet I feel compelled to gather souvenirs
As  I meander along my hours and minutes –
Just as I bring home pebbles from the beach
And bluebells from the wood.



 

 

BELONGING


At Kristian’s wedding yesterday
you shifted roles as merrily
as coloured glass in a kaleidoscope;
daughter, sister, cousin, niece,
patterning the ritual. 

Today your books and bedding, spider plants
Posters and goldfish, cram the Volksvagon.
I notice autumn in the trees edging the motorway

Where Time becomes freight,
extended or condensed around the passengers
of every separate car. 

Inside our capsule, roles lose relevance;
we are suspended in conversation
as cushioning as amniotic fluid
until I brake outside your student’s house
where faces at the window draw you in. 

Caught between roles,
I am exposed to childish thoughts of a rock-door
slamming shut in the Mountain beyond Hamelyn.