Two poems by Clarence Caddell

CLARENCE CADDELL is a poet currently dwelling in the Riverina district. His second collection, Broken Words, will be published with Bonfire Books later this year. 

AKRASIA

Yes, I will break my cigarette butts open

To roll another, dirty trembling fingers

Acting before my subject soul assents;

And I will contact one I put my hope in

Before and yet once more because she lingers

A likelihood, although I have more sense.

MY CONSCIENCE

My conscience only lightly seared, I bite

And forth comes blood of no salvific power;

And forth it oozes through each day and night,

So that I feel the constant need to shower.

Margaret: A Vision – A response to ‘The Pearl’

P R PINSON studied Philosophy at New York University. He now lives in Tbilisi, Georgia

This poem came about when I went to translate ‘The Pearl,’ a Middle English poem of the 14th century. I did not, in fact, complete that translation – instead, I produced what I here present, which borrows a great deal from ‘The Pearl’ – indeed, owes everything to it – yet is not, in the end, recognizably ‘The Pearl.’ This poem tells quite another story and envisions quite another ‘lady,’ and I have used the Spenserian stanza where the Pearl Poet employed his own spectacular 12-line invention. I wish to acknowledge the influence of The Pearl, so as to encourage anyone who would read this poem to go read its father-superior.

Margaret: A Vision

Two gates the silent house of Sleep adorn;

Of polish’d ivory this, that of transparent horn:

True visions thro’ transparent horn arise;

Thro’ polish’d ivory pass deluding lies.

                  Dryden’s Aeneid

I

Come the ides of August, where Margaret lay,

     A wild hand soweth gromwell ‘mid the thorn;

     Each wind beareth spice – in gallant array –

     Or Afric balms which might her crown adorn:

     This wonderment did ease my heart forlorn,

     Whene’er I’d lay me on that summer grave

     And drowse on summers past – through eve,

                                                          through morn –

     And on what graces her three summers gave,

‘Till Sorrow would come calling, as master to slave.

II

Dreams oft found me there I shall never tell –

     (Portents, whispers, visitations of light – )

     For such might be the conjury of Hell;

     For devils may come clothed in beauties bright

     To dim with vain visions our inborn sight.

     Heed ye then what the holy fathers say,

     In reticence thy soul is kept upright.

     And yet – one dream I shan’t so cast away

For I would more fear the judgement on Judgement Day.

 III

That dream came dropping from the noontide sun,

     Anon my senses enfolded in flame;

     Methought at last those harrowed days were done,

     And with them the sorrow and body lame,

     Yet what it was by fire I then became

     I know not—but for wit, all was abyss.

     To none that Adam hath imparted name –

     (Nor that his angel) – can I liken this:

 The terror was beyond all terror – the bliss, bliss.

 IV

And so[1] arrested I endured what seemed

     An age—yea, of an end I did despair—

    ‘Till sudden light across that chasm teemed

     And made of Nullity a middle air:

     I found me standing in a garden fair,

     Quickened as though a lazar from the pit;

     And as such a one, thus freed of all care,

     Would thence like Solomon in temples sit,

So gazed I on blossoms, as if the Holy Writ:

V

The paeony, the daffodil, the rose,

     The lily trembling in her lily bed;

     And the branches above like Cupid bows

     Poised in a gamble for Selene’s head[2],

     Ever to drop petals of crimson red,

     Which fell to earth yet nowhere fell to rot –

     Aye, deathless is a garden of the dead,

     Ne held mortmain, nor a burial plot:

As the first garden, made good – by a ghost begot.

VI

I wandered then the way those blossoms led:

     Eastward they tilted towards morning light;

     And eastward the brooks through the bow’rs fed

     Riverways arambling in threefold flight

     To a silvern city beyond the night,

     Wherein sat the Dawn as upon a throne –

     Rising but to bless, as the bishop might,

     Then back retiring to a court unknown,

Yet even so hidden, did pierce the very stone.

 VII

Thither I went—to seek the morningtide –

     But the way was lost in a wildered place

     Where thistle and thorn ruled the riverside

     And made me to stumble to my disgrace;

     Unreadied then to meet the maiden face –  

     Phantom across the water – tending me:

     A damozel she seemed, in vestal lace,

     Processioning as in an obsequy . . .

And in her eyes I saw my love’s – O Lord, ’twas she:

VIII

Margaret, the child, in full blossom of years,

     Ladied as none but a dreamer may see,

     With eyes like holy wells, freshened by tears,

     And comeliness a moonwhite fleur-de-lis.

   “Margaret,” quoth I, “how may I reach thee?

     A river doth divide us where I would.”

     To which the River – as upon decree –

     Began to rage before the place I stood,

And gone was the damozel to the darksome wood.

IX

A dreamer who then knew himself to dream,

     I, so emboldened, sought a wilful way –

     (To leap for my lady – and cross the stream,

     From thence to seek her – or, finding her, stay – )

     But found me waking to the August day

     Wherethrough I’d slept – and lo, despite a rain,

     Which did the shepherds and their flocks dismay

     And desolate the seedling summer grain . . .

 ‘Twas a goodly penance

 for a wandering swain.

P.R. PINSON studied Philosophy at New York University. He now lives in Tbilisi, Georgia


[1] I.e. thus; in the manner just described

[2]Endymion’s lover – the Moon

The Curse

A J DALTON is a London-based poet. This is his first appearance in The Brazen Head

The Curse

I’d always been nice

to Sheila, at least

I hadn’t ignored her

like the others or whispered

about how she was warty

under her raggedy dress


I liked her smile, mostly

not the queasy one she wore in church

or her over-grin when the weather turned

–just the one she let me see

when the wind blew our hair up

or a bird incredibly came at my call


Yet the seasons turned too quickly

and I was paired with the trader’s girl

to help her father’s business

yes, for that alone I betrayed my love

and I shunned her like the rest

till she left forlornly for the surrounding woods


Then the animals started to sicken

and the crops withered with a blight

till the people began to starve

–save me, I seemed alright

as death darkened every home

I was all alone


Our village was still and silent

abandoned and undone

I didn’t have the air to breathe

yet the end was still denied me

I mouthed and moaned to the louring sky

in dumb appeal that I might die


Only then the figure came

to hear me beg forgiveness

so I saw that smile of hers again

just the one she let me see:

and Sheila leaned in close, murmuring so sadly

of the things that might have been.

Music from around the sphere

River Dove by Gordon Hatton. Wikimedia Commons

On my first listen to Kenneth Hesketh’s Hände Music for Piano (Paladino Music) I could not get the image of a river out of my mind. Not just any river, but the River Dove as it winds through Dovedale in Derbyshire. There are fast flowing torrents, shallow rapids, gently flowing over rocks and around stepping-stones. On consulting the excellent sleeve notes, I see that Hesketh has composed Uncoiling the River. Clearly, flowing water is an influence on his compositional style. It rumbles, splashes, ebbs and flows. The pieces are performed by Hesketh’s friend and collaborator, Clare Hammond. There is both virtuosity and empathy evident in the playing, with subtle use of pedals and piano strings to add to the palette of sounds.

I listened with my study windows open, and birdsong floated into the pauses sand silences. Chorales and Kolam is a particular highlight with composer and performer seemingly merged in harmonic unison.

“Both Hesketh and I share a certain frenetic mental energy,” says Hammond. Quite so, but there are profound contemplations amidst the frenzy. Hesketh and Hammond are a formidable pairing. A symbiotic, sonic experience.

Map of South America in 1593, by Gerard de Jode

In contrast to the fast flows and gentle streams is Vibrant Rhythms, with Bolivian pianist Jose Navarro-Silberstein demonstrating the full range of South American rhymes and rhythms. Argentinian composer Alberto Ginastera’s Suite de Danzas Criollas sets us on a South American journey making extravagant use of zamba, chacarera and malambo folk dances alongside Bartok and Stravinsky. An exciting mix of cultures and styles.  The playing is assured without being flamboyant.

We travel across regions of Brazil in Heitor Villa-Lobos’ Cicolo brasileiro. If one can imagine Debussy playing a samba you get the sense of this particular sonic landscape. Tiny rhythms seem to dance in the sultry air in these virtuosic movements.

The real highlight for me is the interpretations of fellow Bolivian composer Marvin Sandi, where folk tunes meet polytonality. These four short pieces seem to belong to a sound world of their own. Sandi gave up music for philosophy eventually. On the evidence of these pieces he really could have combined both disciplines to great and lasting effect.

The CD closes with the precise waltzes of Robert Schumann, where wild and impulsive pieces give way to dreamy singing. There is a balletic tonality which encouraged me to go en pointe in my well-worn slippers.

‘West Coast of Ireland’ by Robert Henri West, 1913

The Devil’s Dream is a new release on the Metier label by Irish composer Sean Doherty. It is an outstanding work exploring Donegal fiddle traditions where “the tunes are as stark as the bogland and the bowing as jagged as the cliffs,” according to the accompanying notes. This is vast, swirling music for a dense and dowdy landscape – the music of quiet resistance and brutal victory. Somehow there is both defiance and acceptance. It is both uncomfortable and deeply inspiring. Do yourself a favour and spend an hour immersed in this stunning performance by the Sonoro Quartet and the wonderful soprano, Dr. Sylvia O’Brien.  

Kenneth Hesketh, Hände – Music for Piano, Clare Hammond, Paladino Music, PMR0137

Vibrant Rhythms, Works by Ginastera, Villa-Lobos, Sandi and Schumann, Jose Navaroo-Silberstein, Genuin, GEN23845

The Devil’s Dream, Chamber music by Sean Doherty, Sonoro Quartet, Metier, Mex 77135