Esa es vida, mi querida - That's Life, my dear...

Woman at 'Sunny's' pizza shop
chops onion and salami,
cries huge tears running
the colours of Italy
through the flour on her cheeks
"Que passa, mina Linda? Que passa?"
"Oh Querida!" she sighs
kneading the dough with
hands like clamps,
"hhhWhy???" she exclaims,
brushing more flour through her hair
twirling the base high into the bright sky
"Esa es Vida, Senora - es Vida!" say I,
my palms upturned, the pizza flying through eclipse,
the picture of her face before the moon lands,
spinning on her upturned fist..

Snake

Condemned to be a belly on the earth, you slither masterfully around the beehive, away from the beating of bamboo sticks, riding the air in a ripple of desert sand. In the whoop and holler of discovery, lengths of you hypnotize unraveling waves of dancing feet in a strike, a miss and retreat. Later, I wonder of your bite, hidden in tall grass, quiet. You are a toothless face on the fence skirting immunity or else beautifully venomous, contemplating legs, hips; no footsteps, no trace, just movement, and the lick of escaping lips

Fine

Colloquially speaking,
It is just a case of a
'Wayward Spirit'
Which sounds,
When put like that,
Quite charming;
Sparky, don't you
Think? After all,
It's not like you
'Served up your soul'
On a silver platter,
Extending invisible
Grams forward in
A fine spun, porous,
Net-veined manner.
Lets not split hairs.
We are refined; both
Delicate - marked by
Subtlety of discernment
And even though
I cannot often follow
These fine distinctions
Between design
And the undevised,
My soul has always
Wandered wayward
Through transpicuous doors
And home: no silver platter,
Just a fine-tooth comb,
To serve.

Skeletons 1954, Mexico (Frida Kahlo)

He took photos
To capture his favourite child
To frame the world
Or his vision of it.

She Painted
Tin paintings
To collect
And decorate
Her world.

A sun, a moon
And Pyramids;
Grey skyscrapers
For criticism,
Dead babies for freedom.

She was crushed,
Childless
And from her bed
Passion plays
Out with pictures
Of her pets,
Painted, "with no consideration"
Although she cared
About them all.

A jungle is always
In limited colour.
A monkey sits
In her arms,
Unaware of her presence.
She - unaware of his,
Her black hair a solid mass
Individual strands - there, but not seen.

Skeletons leap from the cupboard
Elegantly smiling.






05/06

Grace

There is no mercy, caritas, or thanks
In the everyday moments of a greedy life.
We would have to look for it
On a plate before we eat,
In the flesh of a tender fish,
In a fresh bread of wheat,
And afterwards, in a moment
Captured, well after the blessings given
For the honest way
Or the elegant way
We attempted to floss our teeth

The Golden Egg

At The Golden Egg, a cafe,
where ugly folk eat all day breakfasts,
we sip, smoke, read The Mirror,
The Sun, take notes in reams.

An old couple in bobble hats,
crater moon expressions
face their plates, each other,
over his fried slice and beans.

They slurp with all the time in the world.
I think they must be cold,
no jokes, nothing more to win.
I think it's all over - until she chokes,
dribbles on a bit of gristle
and he wipes the egg yolk from her chin.

I can still smell the Eucalyptus

Apache, the tanned horse we'd found,
had been lost from the grazing garden above the town.
We led him to our home, borrowed brushes...
Neighbourly folk came with herbs in cooking pots,
their kindly tin-wrapped remedies for wounds.
From our purple veranda
we watched him graze in the moonlight
and in the quiet of the noisy night
he must have slipped our gaze,
flicked the bolted gate
and then, again escaped!

From the telegraph poles, the owls hooted
and took flight, so we turned right
to find him on the silvery ribbon road
waiting by the forest of Eucalyptus.
You took his face, spoke his name, scolding
and stroking his nose. "He's well - he wants
company: Patch? Were you waiting for us?"
and taking his mane, you cartwheeled onto his back,

like you should, a sound now, getting faster and lighter
into the darkening tangles and slow soft places
of the fine pine wood.





06
07

harvest

you know as sure as it is
soft and light around my shoulders
and warm as a mango sun
dipping the line dividing you and me
that the fruit of our labour
is a basket upon the sea
so tell me of one thing more magical
than the harvest on the table
this candle this flame
flickering here and there
vulnerable
to a darkness this night
will never swallow whole

to the warm charcoals of the soil

1

Was a hurricane here, or a war,
leaving gaping craters where trees once
lined the avenues? Walls are built to fall,
but these roots were 'ripped untimely'
from a womb of soil: Gone;
our Earth invaded, our friends snatched.
Now the Earth is the Moon,
the Moon is Venus hit,
Venus is Mars with all the fire of men.

2

I walk our woodland route, under
the tarmac, and tread abandoned tracks.
Silent freight-lines are lost to nature's bed,
gaping craters are fresh filled graves
covered by nature's year - and yet,
hydrangeas. Even now, hydrangeas flower:
blue ultraviolet and pink infrared,
their litmus paper petals, first white,
then acid or alkaline,
falling with the earth's colours
to the warm charcoals of the soil.




06

Mosaic

Enter the arena of enquiry as a subject,
Record the event, speak about it,
Arrange chips of broken glass
And the ashes of burnt pages, in revelations.
Opinions everywhere. What to believe in,
Is written and rewritten, not only to consider
For what end or vested interest,
Not only for moments of understanding,
Tiny Eureka's and striving sound bites,
All of nothing whole.
Also incomplete are the lists of names,
Carved on mountains of marble or stone,
Each individual name, a marker, a sculpture
At Menin Gate, Miami, Hiroshima,
Names standing in solid stone, each a life story.
This, is something felt ' the history of it;
A dawning of why and how beliefs held,
Have carved us up.
There is no denying it.
We are who we are.
As for what we believe, we should chisel out
A lifetime's work in sculptures of dust;
Watch dissipating pearls and imagine
All the possibilities as they fall away.
When making art,
I'll judge it next to a memorial wall of names,
Stand, in front of the stone, a work in progress,
and carve out mine.