how often stones

While this blog usually contains published poems with or without commentaries, in this case I'm posting a previously unpublished piece. I don't know if it's a poem or not. At the end of the project The Road North, by Alec Finlay and Ken Cockburn, I went to an exhibition about it in the Scottish Poetry Library. It included a wee slide viewer with a slide show. I found it utterly captivating. The second time the slides came round, I found myself writing very quickly a series of imaginary captions suggested by the photographs. The outcome is the sort of thing that probably wouldn't lend itself to conventional publication in print, so I won't even try, but some of the fragments I think are worth hanging on to. I must emphasise that these are not haiku. As Norman MacCaig might have said, 'No, Colin, these are wee poems.' I worked with Alec and Ken on a couple of sections of the project, and my piece on Beinn Dorain forms part of it. I was there at the beginning and at the end of it. So, with thanks to Alec and Ken, here it is.

how often stones

on the shore

sea-washed pebbles and

a thin blue line knotted through the kelp

rusted iron railings

sight of lawns, trees and

padlocked gates – keep shut

behind the shore

a cliff, stacked strata,

near vertical, with a wayward bend

moving matching pebbles

to make pictures

hand stone hand stone two eyes

close to Gavin Maxwell’s

secret places

otter bronze sea look

miniature bottle

full of golden liquid

whisky on the shore

a crown

carved, abandoned

the king’s worn stone

a place to store nets

shelter from the rain

a wee howff i the neuk o crags

blue surprises

in the short grass

spring squill, I will, I will

pink blossoms

blown in the cliff’s wind

thrift overhangs a wish

rusty iron

forms a sculpture

Iron Cross, Third Class, the Trinity

abandoned house

on the headland

two gables, an emptiness between

green wisps,

grey-green crusts

lichen thatching a wall

feather stone stone feather

copse in winter wheat

broken eggs on granite

eggy boulders in a field

turbines, turning

the ramsons are labelled

radar golfballs, a really big mashie niblick

blue stone wet stone whetstone

cups and rings

Beinn Dorain, Scotland’s Fuji

school, crossing

Isobel in 3

a doorless doorway

a fire, place

she, ling

Barney’s feet below everything

fox, gloves, hot palms

gravelly array, log arc

rasps in the nettlebed

kegs akimbo in the woods

oak, leaves

a loch cut in two by a long straight branch

initials in a tree trunk

again, but different

peat layered, Pete Laird

hat in a boat

moss pillows

quartz crossed pebble

faint track through blueberries

can’t see Slioch

browning bracken

faint writing

I’ve been here

or somewhere like it

jelly fungus, Bulgaria inquinans

oak pennies

through a window

a compass, pointedly

ripple tracks

drowning trees

mossy trunk

wishing tree

violas, yarrow

old machinery

feet in the loch

boots on the shore

a meadow, unmown

rasps at the roadside

aspen, birch, bark, willow, aspen

an alder wish

birch grove

bridge ruin

basalt boulders

old one-eye

Meg sprinkles

door sneck

a goose-line

shelly mermaid

sun cracks, once

Skye, sea, sky

hairy Highlander, in the bushes

cliff and dyke, two magma pulses

messages on thistles

wrack, that slurping sound

lichen moon circle

shore post

dock in the bay

whisky, stoned

crotal, usnea

three cups, no rings

rim of a cup is a ring

tea-time, Maree

jaggy mountains

ash wish

limpet-eyed

running for the boat

an empty crab

crustose, foliose

burnet moth, ragwort

Jura malt

sands of Morar

empty picnic table

standing, stones

foxglove, dropsy

eight gold bottles

one for the falls

apple blossom

ramsons, walk sign

circular walk round cup

it’s OK not to talk

fucking toads

falls of Dochart

flask and book

hand water

stump

wee stone ring

iron bridge track

all the way

home

Copyright © Colin Will

24/11/2011

Mountain poem

The Cioch is a massive rock pinnacle which juts out from a slab of rough gabbro on the face of the Sron na Ciche in the Cuillin of Skye. Jane and I climbed it in 1963, but it wasn't until 1997 that I wrote the following poem. It's the first poem in my second collection - Seven Senses - published by Diehard in 2000, and it has been out of print for some years. I've written many mountain poems over the years, but these days I mostly restrict myself to hill walking, rather than rock climbing. The exposure walking up the slab is quite terrifying, as is the final push to the top of the pinnacle.

A’ Chioch

You are free, if you are brave, to stand up
on this steep rough rock.
Hands are not needed
except for reassurance.
This slab is so sound
you could run up, unroped,
facing in, looking up.

But back, behind,
there’s air below;
a thousand feet
until you’d hit
the crags and boulders -
and you’re no cartoon coyote.

The wee lochan’s a blue eye, open,
on the bog’s distant map,
and all the peaty tracks you struggled up
are little brown scratches.

You turn again to what’s afoot,
release locked fingers, look up,
and take the next few steps,
and the rope that stops you falling
is the one that pulls you on
into danger, into further fear.

At the deepest level,
where it hurts to tell,
every climb’s a first
and last
ascent.


Copyright  © Colin Will 2000

Holocaust Day, 2015

This poem, written after a visit to Theresienstadt/Terezin, in the Czech Republic, was published in Sushi & Chips (Diehard) in 2006.

Where poetry fails

Numbered empty suitcases

stacked in a glass case,

tally with lost numbered owners

who did not need luggage at the terminus.

Children’s drawings on yellowing paper

fill captioned panels in a silent classroom.

I do not read the captions – here

there is no need for explanations.

Matchstick figures for once match up

to skinny reality; hanging bodies

sprang from no artist’s imagination;

the bulging eyes of the witnesses

are swollen from sights

where blindness would be a blessing;

girls wash feet in communal sinks

below the “Wasser sparen!” sign.

Only the water was saved.

A violin, hand-scored music,

more paintings, black ink

the only pigment; poems where hope

is not a word in any tongue. Entartete Kunst.

From the walls of the Fourth Courtyard

jackdaws scold us for entering.

In the Group Cells bare bunks for four hundred

line the walls of a room big enough

for forty tourists. Roof lights

admitted summer heat, winter chill,

allowed enough rain through

to soak the floor. No heat in winter,

even in the cold shower blocks.

Thin rough suits, wet from steam cleaning,

were put on again, on wet cold bodies.

I cannot look in the rusted mirrors

of the Shaving Room, afraid of seeing

my reflection against these walls. This room

built for show, in case the Red Cross inspectors

seriously inspected, was never used, never seen.

Six hours, two spent over lunch,

were enough to convince three chaperoned fools

they had seen a model town, no film set;

a place where happy families

lived in peace and whitewashed freedom.

I will not speak of the instruments used

to extract meaningless confessions,

implicating friends in crimes

never committed.

In the Fortress tunnels the murmurs

of fellow sight-seers diminish

to an indistinct mourn. We imagine smells,

assign meanings to stains whose source

we cannot know. Our eyes move nervously

from a gallows in the firing squad yard,

to strands of old barbed wire.

Outside, a family of silent buzzards

stands in the empty turnip field,

resting between rabbits,

as trees unleaf in the drifting drizzle.

To see this is to share survival.

We bear the guilt for those who cannot,

and the pain for those beyond all pain.

I have no relatives here,

but all its dead are kin

in common humanity.

Wherever I go now,

I will not leave this place.

Colin Will

Foxy poem

Red Runner is the second poem in my first book, Thirteen Ways of Looking At the Highlands, published by Diehard in 1996. It's a nature poem, based around my observations of foxes. I used to see them regularly, in the Bathgate Hills and in the Calder Wood Country Park, when I lived in Bathgate and Mid Calder respectively. I think that with nature poems you have be true to the realities of the nature you're describing, but you also have to go beyond that, to bring in your personal reaction to the natural world, and maybe to make a general point from the particular. Nature poems should never be just about nature. I've gone on to write a lot more nature poems, mostly based on my own experience of creatures and their habitats, but I also think you can bring in your theoretical knowledge. I've never seen siamangs in the jungle, but I've written about them.

Red runner

Beautifully camouflaged, he thinks,

against the bright sprouting wheat,

the spring fox stalks two knowing rooks.

They wait, and lift, crop-forward

into the wind,

and he tailstreams over the field,

pretending indifference,

to the edging trees

in search of an unready vole.

Fail or kill, the habit hones the skill.

I've seen his relations often;

the dog-fox spinning and leaping

in Calder Wood's new snow,

or the vixen who notes and ignores me,

driven by the imperative

of her cubs' hunger.

I'm an irrelevance in a green jacket;

I unleash no terriers.

Or another, panting on a warm rock,

snapping at bluebottles,

guarding her smelly den among the gorse.

Eyes glow in the headlights

as they stand and look at you,

super-foxing towards them,

and too often they are dirty red scraps

flat on the road.

But see him run through the hill's rippling grass,

ears up and tongue out,

intent, fixed, on a swerving quest,

or hear a pair yip on a still November night,

and know you've met a light and lively being,

the essence of pursuit,

that pointed face where fear and fierceness fuse.

Copyright  © Colin Will 1996

A taste of fish

Way back in 1994 I was finding my voice as a poet, maybe a bit over-exuberant in my use of language, and sometimes tying myself in verbal knots as a result. But when it worked I was pleased with the outcome. With a science background, and working as a scientific librarian, I often used my scientific knowledge in poems. So if I was writing about geology, I made sure I got it right; same in biology and chemistry. At that time I used to index science books for publishers, as a wee sideline, and while many of them were geological, my principal subject, I took what was offered. I remember I had been indexing a book about hake - biology and fisheries, and I mentioned to a poet friend that I was a bit fed up with it. 'Write a poem about fish,' she said. So I did, and this is it. It was published in my first collection Thirteen Ways of Looking At the Highlands, And More (Diehard publishers, 1996, and now out of print).

A taste of fish

Husbanding volition in the dark pool,

mouthing and gill-gushing water,

tasting chemical memories

from the birthplace spring,

the home-tang of an imprinting riffle,

the hen salmon’s programmed need proceeds.

Over fear she forces the fall upward,

tail-strokes levered by pink muscles,

flinging her body in a froth-skimming arc

to slither over the lip’s slimed slabs

and flicker through the slick black surge

of the top-water, into the slack.

In a brutal balance,

body is lost to make movement,

nothing else weighs,

oils emulsify to fill yolk sacs,

bones decalcify, deform,

scales tear from spongy skin,

and, in the final finishing

of her blind and battering race,

a felt and tasted presence,

a red need beside her, under, round,

bestows a milky blessing on her generation.

Copyright © Colin Will 1996

After Dunbar

I'm reprinting below a poem I wrote some years ago, published (and still available) in my 2010 collection: The floorshow at the Mad Yak Café (Red Squirrel Press).

I've always been very fond of Dunbar's poetry. To me he's the most accessible of the post-Chaucerian Scottish Makars. The range of subjects he covered is very wide, and I find him very readable. Some of his relatives held lands at Biel, near Dunbar, and it's been suggested that he took a surname from the place he came from - William of Dunbar.

The poem which follows came after reading one of Dunbar's most famous poems. It's important to say that this is not a 'translation' from Dunbar's Scots into modern English, nor is it a 'version' of the the original poem - it's very different, and goes off in different directions. It reflects on Dunbar's times - what you could and could not do in winter - but it also contains my own feelings and experiences, as an original poem should.

It's appropriate to the time of year, so here it is:

The Low Point
(after ‘A Meditatioun in Wyntir’, by William Dunbar, c 1460- c 1520)

“Dirk and drublie days” right enough,
but the heavens are not always sable –
some days there are true skies, and a wind
shifted from Siberia, to seek unfurnished skin.

Today the longer dark hours are filled
with entertainments then curtailed. It’s hard
to imagine what true darkness meant
for plays, poems, music – summer pursuits all.

Scratching by candle, each scrivener wrought
on quires of deckled paper, by goosequill and gallol,
words of wisdom, terms of love and learning,
some meters of beauty to catch future’s eye.

Warring motives lay on from every side.
Despair’s the easy one now, so much bad news
in these cold times, suggest the one
begets the other. Patience dismissed,

and fortune damned – predestiny leaves no room
for innocent actions. We may as well be doomed
as blessed, and with an equal chance. Causality
is on a winter break, along with warmth and light.

Slyly, with some pretence of favour, chilly whispers
question why I carry forward a life that soon
I’ll leave behind, with loves and friendships
broken links, unconnected leads and empty ears.

The forgetfulness of age is a brotherly service,
for remembrance of ourselves in youth
would give us pain – the way we were,
the things we did, the chances missed.

And death to come is final leveller;
low or high, we similarly stoop to enter
the same one-way system, a singularity,
the dimming doorway to a hall of nothing.

But yet, four minutes today, five tomorrow,
the nights imperceptibly shorten, and at some point
I’ll know times have changed, that summer pleasures
lie ahead, and will return. The ball rolls round.

Copyright © Colin Will, 2010

The burial of the Count of Orgaz

I wrote this haibun for a prompt from the Eyemouth Writers' Group. I don't think I'll publish it - it shares some elements with one in The Book of Ways - but here it is anyway.

The burial of the Count of Orgaz, 1586

‘A very parfit gentil knight’, by all accounts, and a generous donor to the church, the death of the old Count caused much lamentation in Toledo. Fortunately, Domenikos Theotokopoulos, later to be known as El Greco, - the Greek – had settled in the city and had begun to paint there. He was commissioned to record the death of the Count, and he produced what is undoubtedly his masterpiece, then and still displayed in the church of Santo Tomé. The painting is in the shape of an arch. In the lower half we are in the realm of humanity. Portraits of the local nobles form a long line of mourners, rendered in recognisable detail. At the centre of the lower half is the body of the Count, and on either side of him Saint Stephen and Saint Augustine, descended from Heaven as a mark of special favour, to bury the Count. They are very colourfully dressed in religious vestments, a contrast to the more sombre phalanx of local dignitaries.

It is the upper half of the painting, however, which astonishes and mystifies me. Never having been a Christian, I am often confused by paintings of religious themes depicting specifically Christian iconic elements, which may be obvious or well-known to those having grown up in the faith, but about which I know nothing. The top half of the painting is a depiction of Heaven, with Christ in Majesty above all, surrounded by the winged angels and the remainder of the heavenly host. Mary is in a central position, holding open a funnel-shaped fold in the fundament. At the lower end of the funnel an unformed figure, looking like a swaddled baby, is being helped into the narrow passage by an angel. This, we were told, was how the soul was often depicted in medieval and Renaissance paintings. It looked, and was obviously meant to look, like an inverted birth canal, through which the Count’s soul would ascend into Heaven. Not for the first time, and probably not for the last time, the imagery baffles me.

It’s some years since we visited Toledo, that wonderful city set high on red rocks above a bend in the Rio Tajo, but I’ve never forgotten it, and El Greco’s masterpiece springs to mind whenever I think of it. It was raining when we arrived, and the colours were El Greco’s colours – deep greens, blues and greys. By the time we left in the afternoon the sun had come out, and the city was bathed in light. From the cliffs overlooking the plain, we watched a pair of vultures circling, a new tick in my bird book, a reminder of mortality.

an art pilgrimage -

in a hot Spanish autumn

a cool oasis

Copyright © Colin Will 2014

08/12/2014