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There is something richly circumstantial about Alison Brackenbury's poems: they are often rooted in a rural world, or in townscapes which sustain communities and preserve a strong sense of their history and what it gives them.Thorpeness has delicious surprises, among them 'Aunt Margaret's Pudding', a rewarding culinary experience based on a black-covered handwritten notebook of recipes from Dorothy Eliza Barnes, 'Dot', the poet's grandmother. 'When I knew Dot, she was a Lincolnshire shepherd's wife. But, as a young woman, she had been an Edwardian professional cook,' the poet explains, making her notebook a resource for the contemporary reader.The world of nature – birds, plants, weathers – comes alive in poem after poem, but there are also important poems of nurture. Brackenbury belongs in a long line of rural and provincial poets who bring England alive in forms and rhythms of renewal. She is a familiar radio voice, performing her won poems and narrating programmes she has scripted.
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Veröffentlichungsjahr: 2022
3
ALISON BRACKENBURY
(a hill in Gloucestershire)
I was almost hurled in the ditch.
For my first mad pony would switch
from gallop to halt in one stride.
Each ride he would swerve, fling me back
to the deep, tumbled gorge by the track.
Dark beeches hung on each side.
A hill fort? No life but its name;
‘Norbury’, mapped ‘Iron Age’. The same
June wind conjured sweat, flies, of course.
I soothed the tossed sun-bleached mane down
by the dyke, rough grave to the town,
bones of child, wrecked fighter, horse.
What are twenty years to hill wind?
I trudge, horses out-lived. I find
the highest beech drought-struck. A rich
crest springs: orange fungus. Its throat
gapes to the war-trumpet’s long note,
the lost leader’s last lying which
tumbled us all in the ditch.
When Jimi glanced into his small attic mirror
while parting his lips, unteasing his hair,
in a candle-like glint he saw George Frideric Handel
alarmingly wigless, alarmingly there.
‘What have you been taking?’ said Handel to Hendrix.
‘Only the usual,’ Jimi replied.
‘I adore your high notes,’ Handel whispered. ‘But listen!
You cannot cheat sleep. I went blind when I tried.
Make friends with your sound man. Then fix the fuzz pedal.
But discipline, boy! Cut your endless tracks short.’
Jimi shook his fine head. With no more breaths to meddle
George sank to roast chicken, his cellars of port.
From 1968 to 1969 Jimi Hendrix lived in an upstairs flat at 23 Brook Street, London, next door to Handel’s long-term home. He claimed that he had seen Handel’s ghost: an old man, with a grey pigtail, wearing a nightshirt. Handel reputedly went blind because of the hours he spent copying out his music by candlelight. His huge meals were legendary.
Does anyone wear ‘buttonholes’?
We made them for the village fete.
So I was sent up to the gate
of the old man who would have gone
to ‘Grammar,’ if they could have bought
a crested cap, soft shoes for sport.
He passed from village desk to farm.
The one girl he had waited for
ran to an airman in the War.
His sister kept the tiny house.
A courteous, clever man, all said.
In June heat, at a long lane’s end
through the blue gate, on a grass path
I stepped beneath the roses’ cloud.
I saw him bend to stakes, head bowed
by billows of asparagus fern
for farmhand’s collar, or the Queen,
webbed, spread like hands, its tiny veins
crisp as dead leaf, all green, so green.
Quick April’s coolest voice,
its cry came commonplace.
On farms for forty years
it flew to the same place.
Droughts, shooting leave it rare.
Now June’s hard rain is falling,
so long, so late, so clear
why is the cuckoo calling?
She wears a sun hat. The child wears a sun hat,
perched before her on the bike. They dip
along their path, beside the motorway
whose trees crowd thick.
There is no murder,
no accident. The air stays calm.
Only that flicker in the mind forever,
of oak, lit ash, harsh reek of hawthorn, shadow.