Five poems by J. M. Jordan

J. M. JORDAN recently began writing again after a twenty-year hiatus. He is a Georgia (US) native, a Virginia resident, and a homicide detective by profession. His poems have appeared in Arion: A Journal of Classics and the Humanities, The Chattahoochee Review, Chronicles, Image Journal, Louisiana Literature, The Potomac Review and elsewhere.  

The Golden Key

I

He grabs his phone, his notebook and his gun.

A  trumpet echoes in the distant woods.                                       

A body is sprawled in the broke-bulb alley.

The wolf somehow knows him by his name.

A mute crowd gathers down the block.

The forest all around him laughs and whispers.

 II

The phone rings on a cluttered desk.

Watch  for an old blind beggar bearing gifts.                    

Rows of streetlights stretch in all directions.

The giant’s castle has a thousand rooms.

He puts a quiet finger to his lips.

The golden key turns slowly  in the lock.

III

He bangs the table in the tiny room.

The dragon crumbles in a cloud of smoke.

Technicians bag up items of intent.

The revelers at the feast all bow and vanish.

Sleep comes at last as daylight breaks.

The leaves all turn to birds and fly away.

Re-Reading

These words once were music

lifting from the page

like a soft grey clutch of quail

drifting in a sudden movement of the matinal air.                              

But that was time-lost, time-gone,

before a white hand pressed                                                           

against the window of a train

leaving a town I thought would do me in. 

Now these words curl like ash,

disintegrate on contact or

slip through the haggard mind

with all the meaning of the wind at dusk

whistling through a rag

hung upon a crooked stick                                         

in a field where great dark birds

swap jokes and laugh under their wings.

How Dare the Damn Wind

How dare the damn wind

come banging down the block,

swinging schoolyard elbows

and kicking over trashcans.

How dare the damn rain

slick streets and slosh the awnings,

snuffing out the bright ambitions

of afternoon and smoke-breaks.

How dare the damn cold

blister windows, stick car doors,

chasing dice and fistfights

from the treachery of sidewalks.

How dare it dammit all

conspire to keep you elsewhere,

from your deep quotidian double

at the end of this derelict bar,

stranding me here with only

a cough and a broken hat

and a row of untenanted stools,

fit only to cuss and mutter,

How dare the damn wind.

The Midnight Squad

We have burnt out our various ends,

ground down otherwise hours as

the bright blank day descends

in culverts and ramshackle alleys.

We have turned from the quick and close,

from every normal circadian debt,

to a tangled pursuit of ghosts.

Remember us then to the world

in bright-blown prayers that track

the startled rounds of each new day.

Bless us, then, remand us back

to the custody of the unlit hours.

Lines on Leaving

Under the gentle sway of the backyard string-lights,

in this golden space hollowed out here in the darkness,

sit with me for a moment, sheltered from the night’s

relentless rumor, and the drone of distant voices.

The raw brightness has slipped at last from the sky

and with it all the day’s attendant noises,

leaving only the whippoorwill’s call and a train

as it rumbles deep and distant down in the chest.

So stay with me here and finish the last of the wine,

for soon enough, I must step off into the night’s

impossible embrace, so thank you for this golden moment

under the gentle sway of the backyard string-lights.

From ‘The Wounded Cavalier’

These poems by BEVIL LUCK are from a dream-sequence set in the country house and garden of a cavalier who has fled the English Civil War. As his wound festers and the war is lost he languishes in the country, waiting for his lost love, all the while slowly becoming aware of other, older presences in the garden about him.

From ‘The Wounded Cavalier

I

Once in the wreck of a finch’s dream

I spied a single treasure,

plucked it from dust, one black

and garish-red bejewelled wing,

hurried it home, hid in my purse

to wait you for your pleasure—

but ah what sudden stream

of loveforbidding breeze snatched back

your fairing, lady, to the foul

nests of a warring universe?                                     

Long years since passed, I rise each dawn

and search the house: the gift is gone.

II

What hovers in the dust?

The light

like lint

a tint

with no slight

taint

—no saint

this white—

too bright

to see or paint,

too fine a glint

to paint, or trust.

III

There’s a grotto in the garden

hides a secret stair

with steps descending into shadow

made of shell and bone,

when soldiers came with torches

that tore the invisible air

I hid within my grotto

and whispered to my god.

The soldiers left the garden

but something else remained:

at the angle of the first turn

that shadow has a presence—

I’ll go no further down.

IV

Take hands, and kiss

oh kiss and kiss

under the apple tree

when the skirl of the viol

and the covey-coo

call the young to their wooing:

“for love, for love”.


Take hands, take hands

to kiss, and kiss

under the damson plum;

a theorbo’s thrum

in the damson bough

calls love to come

with wine in tow

for the young are at their wooing

and stars blush in the air.


Take hands, to kiss,

for love and youth

will flee with the knock in the night:

though the wooddove shouts

in the trees above

for love, for love,

the soldiers are deaf to its cries.

Five poems by Claudia Gary

CLAUDIA GARY’s latest chapbook is Genetic Revisionism. She is also author of Humor Me (David Robert Books, 2006) and earlier chapbooks including Bikini Buyer’s Remorse and Epicurigrams. A writing instructor, health journalist, and composer of art songs and chamber music, she lives near Washington D.C. Her workshops at The Writer’s Center (writer.org) on Villanelle, Sonnet, Natural Meter, Poetry vs. Trauma, and other topics are currently worldwide via Zoom. See pw.org/content/claudia_gary; follow @claudiagary

To a Mollusk             

Your life is not defined by an old story

in which, had you remained, you’d surely die.

Nor is it the palatial territory

you crave, create, secure, and occupy.

It’s rather the progression from before

to after, the formation of each new

foyer, parlor, salon, and corridor

in which your predecessor becomes you.

After the briefest stay you labor on,

building a spiral path that winds toward more—

inwardly smooth, pearlescent where you’ve gone

ahead, outwardly rough as ocean’s floor.

You lodge concealed within the earthly mire,

inhabiting your curly multiplier.

Message to Earthlings from Voyagers I and II    

               for Carolyn Porco, Voyager imaging scientist and Cassini imaging leader


Beyond some human lifetimes now, we’ve filled

your minds with data, pictures, dreams. Though twinned, 

our paths diverge, itineraries build.

Reaching the boundary of solar wind,

we rode its termination shock to sail

out into plasma space. While you continue

sorting our childhood photos, they grow stale.          

We bear vital statistics from within you —

your faces, body images and voices —

toward other stars, toward anyone who cares

enough to grasp your golden disk, your choices

of what they’ll see, hear, touch, assuming there’s

contact or empathy. Onward we fly,

your complex way to say hello/goodbye.

Catheter Ablation 

Two hours on the table

his body reclines

arranged as a path

            for cautery’s snake

            to enter his heart.

Clean current stamps

invisible scars

to settle his pulse.

            No longer two steps

            ahead and one back,

blood coursing forward

oxygen-laden

quickens his brain.

            The serpent withdrawn,

            he gathers his wisdom.

Credo-in-Progress 

I. Tough Customer

A stubborn teen, she needed to find out

what life was for, whether it had a point.

“I won’t go on, God, till you let me know.

So tell me now or set me free.”  She waited,

and God did both. “Brilliant!” she said. “You win.

I’ll give you a few years – but I’ll be watching.

You’re going to have to show me every day

that you’re still there”. She heard, or felt, a rumble

that may have been laughter, as if the deal

were sealed.

II. Anything to Declare?        

Presented with the light

at seventeen, she chose

to turn back, stay a while,

having seen that joy

kept an outpost here.  

            And what was hovering there?

            No prophets, true believers,

            or any kind of shadow.

Because her life is made        

of unexpected gifts,

she won’t turn one away

without looking to see

what light it holds. 

III. Her Invocation

Temperamental universe in whose purpose

(known, unknown, unknowable) we are swimming,

safe within your energy and your chaos:

make me your prism.

Becoming Buddhist 

The summer of learning to type 

I also slogged to the river with Siddhartha

and analyzed dreams in the shallows

as Dr. Sigmund dictated the code.

Thinking I knew their source

made dreams seem safe, but Hesse was a puzzle

suffused with Eastern sentiments, ideas

I seldom understood.

So when I awoke at night

with fingers typing “nothing” on the blanket

over and over, I blamed nihilism 

or adolescent darkness. 

But no: I was absorbing 

what to expect in order

to be content.

http://www.pw.org/content/claudia_gary / 

@claudiagary

Chapter 4 – Vortigern and Hengist

This is Part 4 of LIAM GUILAR’s almost completed epic of Britain. Chapter One was published in Long Poem Magazine #25 Spring 2021, and Chapters Two and Three in The Brazen Head

The story so far: 449 AD in the Roman province of Britannia. The Legions have long gone and raiders and civil war are becoming endemic as central authority breaks down. The Vicarius, de facto ruler of the province, is dying and about to appoint his successor. There are only two candidates. Adolf of Gloucester has been sent North (See chapter three); Vortigern has been sent south to hire three shiploads of Germanic warriors who have arrived off the coast.

You can read more about Vortigern, Hengist and The Legendary History1 at www.liamguilar.com.

1. Old Friends?

What Vortigern wrote in his report

There are three ships,

60 fighting men,

all experienced.

They have a British Latimer  ((In Laȝamon’s time a latimer was a translator, the term is anachronistic here))

called Keredic.

I have made the standard deal.

What happened

From London, along Watling Street towards Canterbury

in easy stages for his infantry. Crossing the Medway,

he had left his officers billeting the troops

ridden the short distance to this estate

for the comfort of time

spent with someone he could almost trust.

Aurelianus was old-school.

An imperial patrician of

impressive pedigree.

Perhaps more honest than the rest,

but generations of his family

had enforced the rules

they were happy to ignore

then wondered why no one

respected their authority.

They had dissolved the distinction

between ‘legitimate behaviour’

and ‘corrupt self-interest’.

If he were appointed Vicarius,

that line was his to draw

and to enforce. But for now, imagine,

two old friends in an autumn evening

as the light softens and the air begins to bite.

In a tidy garden by the water feature,

sipping imported wine and reminiscing.

The abrupt shifts, unfinished statements,

allusions no one else would understand.

Aurelianus could talk the hind legs off a donkey

but retirement has made him garrulous.

‘I heard you freed the slaves on your estate.’

Vortigern waits for the verdict.

Aurelianus sips his wine

settles in his chair, brushing at the midges.

He was a very junior officer on this man’s staff.

First post, a favor owed to somebody,

a debt paid in another lifetime.

The neat patterns of tidy fields

fall to a distant line of trees,

sprinklings of huts, lazy,

innocent smoke from cooking fires.

Voices rising towards them.

Some of the huts are rectangular.

‘They’re calling you their new Stilicho.

Hardly a compliment.

Why are you heading south?

Adolf’s Comes Litotes2 etc. etc.’

‘Did you ever fathom the Vicarius?’

‘No one has. I knew hard men

who stood their ground, outnumbered,

facing Attacotti …

                          …You’d think he was a bad dream

and then meet someone who was there and know that he was real.

No one’s threatened him since Locrin was in nappies.’

‘Constantine?’

‘A minor irritation. Swatted,

with your co-operation,

if rumors are to be believed. 

‘I didn’t kill him.’

‘The difference between you and Gloucester?

He wants the title; you want the job.’

‘Gloucester’s good.‘

Aurelianus pours more wine and waits.

‘I’ll say it if you won’t. He’s competent.

He’d make a fine quartermaster.

But well-meaning, hard-working, ordinary’s not enough.

Men who thought that power and influence

were theirs by right of birth or wealth,

who went to the right schools and joined the right clubs,

could rule the province when it ran itself

and competence was irrelevant. But now

they’re learning how inadequate they are

and talent, skill and application, regardless

of the family’s history, are what’s required.

Extra ordinary times highlight just

how ordinary our leaders are.

There was a time a clumsy oaf like Constantine

could rule the creaking province

and you and I, young Gorlois, Adolf, the Vicarius,

we’d sweat and bleed to make it work.

I saw a bridge collapsing once.

Dust first, then random bricks,

then a pillar, then the whole thing went.

The bricks are loose. It’s only time

before it all comes tumbling down.

The Vicarius will name you his successor.

The question is, will you accept?’

Only fools pick fights that they can’t win?’

‘Someone has to hold the pass.’

You have Germans on your estate?’

‘Hard working men.

I hear you’ve learnt their language.’

‘Slaves?’

‘No. I followed your example.

I give them land for service.

So many days a year to work my fields,

a pig from the litter, honey from the hive.’

‘And if the land you offer them

happens to be on the wrong side of that tree line?’

‘My estates spread. If my neighbors object…’

‘Your Saxons fight well.

No magistrate to hear complaints?’

‘Magistrates, yes. Magistrates with clout, no.’

There is no longer Greek nor Jew, slave or free?’3

‘All that bollix about Britain for the Britons.

Any man who rolls the dice, leaves his home,

and braves the crossing, recommends himself.

As for the women, they’re a race apart.

If I were younger, I’d have me a Saxon wife.

The sons we’d breed. How are your boys?’

            ‘Vigilant, on the coast, with troops,

watching the new arrivals.’

‘That wasn’t what I meant.’

‘They’re bringing them to Canterbury.’

‘You’ll stay the night? No? Of course not. 

You’ll be there when the first man stumbles out to piss.

Which is as it should be.’

Torchlight, patient horses, patient grooms.

‘I’ll lend you a guide if you’ll send him home.

What’s left of the army will follow you

unless you put it on a ship to France.

You are the best man for the job.

There’s a rumor in the fields.

South of here they’ve called the county out.

An armed mob moves on Thanet.

You’ll meet them on the road.

You cannot reason with a man

who thinks ten thousand Saxons landed.

Ask him how many ships that would require

show him three keels pulled up on the sand

he’ll still call you a liar and claim

you hid the rest by sleight of hand.

Don’t bet on their obedience. 

Deference has been replaced with calculation.

We’ve lived to see the end of institutional authority.’

2. The job not the title

Said the man expanding his estates.

And if that were the last time that they met?

He thought of things he didn’t say,

wondering if they needed to be said.

Some debts lack their vocabulary.

And if that were the last time that they met?

Or if they met again as enemies?

Take the title, become the title.

The obligations of the office

before friendship or desire?

Overhearing the soldiers in the column

as they crunched their way south-east

in perfected order of march.

Yes Ma’am, he tells her memory4

I did take notes. I studied hard,

and learnt from men who knew their trade.

His officers about their business,

until the scouts returned and put an end to banter.

A mob in the road.

Britons, with farm implements,

rusty swords and hunting spears.

No match for a German warband.

A pot-bellied old man shouting at him in a reedy bellow:

‘A thousand Saxons pillage Thanet.

The county’s out and armed

we go to slaughter pagans.

Ride with us!’

‘There are three ships: sixty men.

They have come in peace.’

Spears and pitch forks twitching,

like reeds in the wind

as they ebbed towards the riders

then recoiled from the levelled spears.

The wide boys at the back began to chant

the usual obscenities and physical impossibilities.

Your father was a traitor too!

He never met his father!

His mother outdid Messalina.

She never knew which bean made her fart.

The mob seethes,

growing coherent in its shoaling.

stones starting to rattle and ping

as the men behind him tightened their ranks.

A spear wobbled towards him from the back.

Softly, for the form of it,

knowing nobody could hear.

‘This is your last warning:

obey the law, go home.’

The mob surged forward.

He shouted the necessary words.

 

3. Foederati

Bugger meeting on a beach and pandering to pagans.

Vortigern and his staff arranged the reception as a set of signs: 

nothing ornate, redundant, nothing ramshackle or improvised.

Everything tidy, trim, bright, like a well-honed killing edge.

Turned out in battle order. We are fighting men,

we strike a deal; wealthy enough to pay,

strong enough to crush you without effort.

Vortimer, his eldest son,

riding beside the walking Saxons.

They stack their spears.

He notes their care,

the bright, honed points,

their polished shields,

abundant swords.

The knives that name them

are to be left outside.

And God,

these were not the shabby discards time had spat up on a beach.

These were fighting men who didn’t need to strut.

With an army of these men he can hold the Northern Border

and use The Wall for landfill.

‘Who are you?

You are not the usual dregs

washed up on these shores.

Unless my eyes deceive me,

these are front-fighters

battle scarred and tested. These men

have stood their ground.’

Keredic translates.

‘I am Hengist, son of Wictgils,

son of Witta, son of Wecta, son of Woden.

This is my brother Horsa son of Wictgils,

son of Witta, son of Wecta, son of Woden.’

Vortimer, interrupting:

‘Who does he worship?

We are Christians here.’

‘I don’t care who he worships

if his god has a special hell

for men who break their oaths.

Where are you from?’

‘We have no home. We seek a lord

who will reward our service.’

‘Without a lord or land

a man is nothing to your people.

If you are exiles, speak now

and do not hide your crimes.’

The translator hesitates.

‘Exactly what I said,

and nothing more.’

Like little knife cuts.

This Hengist does not flinch.

‘Fierce, unrelenting tribal warfare

interrupted by long, bitter winters.

The sea rises, pushing us towards the Franks.

The Franks push us towards the rising sea.

So we drew lots and those who lost stayed home.

You will be our Lord.

We will astonish you.

And we will see our families again.

I have my name and sword.

I will keep both bright

and earn your gratitude.’

As if that were sufficient.

Later Vortigern thinks

one culture’s arrogance

is another’s confidence. 

He’s met this type before:

one more tribesman on the make

one more thug who kills,

and lets the paymaster decide who dies.

Who wants whatever the Empire has to offer.

But this man, this Hengist, is impressive.

There’s something godlike in his certainty.

If his self-confidence is tinged with madness

it’s the kind that founds dynasties and crumples empires.

 

4. Vortigern the King

The past begets us,

then grows old as any parent must.

Comes a time it cannot offer shelter.

Cannot satisfy our restless need

for whatever tomorrow calls to us.

It becomes the parent standing at the door

watching us set out on our own.

A private audience.

The map is still rolled out across the table.

Mad as a cut snake

and twice as vicious,

the Vicarius is folded into a high backed chair;

a skull balanced on a bundle of fine cloth.

Word is, he’s got less than weeks to live.

‘You took the oath to serve:

For the ashes of my fathers,

and the temples of their gods.

You gave your word,

under the watchful gaze of your ancestors

as custodian of their tarnished honour.

You stand by it?’

The Vicarius almost smiles.

Perhaps he winces,

old age raging his joints,

and twisting his mouth.

‘Of course you do.’

The old man starts to cough,

doubles and shakes,

a man beaten by time.

((See Chapter Three, ‘Adolf of Gloucester goes to the Wall’, The Brazen Headhttps://brazen-head.org/2021/06/09/adolf-of-gloucester-goes-to-the-wall/))

‘He’d have wasted his time 

playing with the Empire’s carcass

rebuilding towns we can’t live in

maintaining roads that lead

nowhere we need to go.

What will you do?’

Poisoned as any half-expected chalice.

But there’s no time to say,

take this cup away from me.

‘The Saxons and Picts don’t worry me.

They’re a military problem.

The legions were victorious while they held their line.

Now that line is broken,

so many little princelings who’d rather claim a dung heap

than work their corner of a mighty empire.

Who don’t care if their kingdom falls tomorrow

as long they‘ve been ruler for a day.’

‘Talking won’t save you.

You can lay out all the reasons

for co-operation. Explain

why they always win if they’re united.

And still they will refuse.

Splintered, word will spread,

is spreading even now.

This is no longer Ynys y Kedeirn5

The land is good, the Britons weak. Soon

three hundred ships, not three will land.’

‘Even now the Picts are gathering.’

‘Gloucester didn’t mention this.’

His voice has the dirty edge of a blade

the executioner doesn’t clean.

‘He saw empty villages

met with no resistance,

assumed they were afraid of him.

The women and children

head to the heather

while the men are gone.

They know what we know.

Once they cross The Wall

there’s nothing to oppose them.

The princelings have to choose:

join in or be destroyed.

This is their moment.

If they succeed,

they’ll swarm over the midlands.

Death and misery on a scale

no Briton’s seen since Boudicca trashed London.‘

But Vortigern isn’t looking at the map.

The wind behind him mutes the stench

of so many unwashed bodies

but doesn’t dim the shaking

cacophony of their howling voices

as they race towards his waiting ranks.

Discipline beats numbers every time.

His voice, calm, saying, ‘Hold your lines.

Hold your lines and you can’t lose.’

The Saxons proud of his centre to break the first assault.

Afterwards, his horsemen in pursuit.

The horrors of a routed army,

hunted down ‘til the beasts of battle,

so glutted on their favourite food,

lie down and refuse to move.

Then the work of devastation

until there comes a day when no dog barks

between the stone wall and the turf.

‘We have a month before they move.

an inauspicious moon demands

their priests’ attention.

We’ve summoned the leaders of the North.

The messengers will bring them,

or their replies, to Lincoln.

I’ll meet Adolf and his soldiers there.’

‘Those who don’t respond?’

‘Once the Picts are defeated

these tyrants are no match for us.

Not one can field an army worth the name.

Most of them have twenty, fifty men at most.’

‘After you defeat the Picts,

take this Hengist and his men,

find the kinglet furthest north

who refused your call,

slaughter his people,

devastate his ‘kingdom’.

Become a terror to your enemies

and your friends’.

They make a wasteland and call it peace?

((Vortigern is quoting Tacitus ‘quoting’ Calgacus, an enemy of Rome))

‘Fear, the rack and a well-stocked gallows

guarantee obedience.‘

‘A frightened man is never loyal.

If he thinks you’re weak, or threatened,

he’ll run or rip your heart out.

The mess we’re in proves that.’

‘Unreason frightens you. It always has.

A man who’s wrong and disregards the facts,

short sighted, blinded by self-interest,

acts knowing that his actions are disastrous.

You might as well talk philosophy to your horse.

Don’t be misled by eloquent historians

who make the past seem rational.

Don’t think that your intelligence

will solve the problems you encounter.

You have to deal with people as they are.’

Better a dead friend than a live enemy?’

‘Yes. [Cough] Emphatically, yes.

Always.’

‘There has to be a better way.

When Gwendoline ruled this island,

a woman, with a baby at her breast,

or a man, with the red gold in his bag,

could walk the length of Britain unmolested6

 ‘…That old fairy tale.

Kill Gloucester before he murders you.

Then purge the council and the senate.

Survive or perish. That’s your only choice.

If you decide to rule, power has its logic.

You can no more change this system

than you can push the cart you’re sitting in.’

5. What may mon do but fonde7

In the early morning light,

on the inland wall,

now looking north,

London at his back.

His position ratified

by a wary council.

The old man’s pyre

still smouldering.

Could he have had the clarity

to understand his world was gone?

The ideology that held the empire; gone.

Comfort and sophistication; gone

and none of it was coming back.

For the next five centuries,

tiny kingdoms and their tyrant kings,

scrapping each other with armies

that would have made a Caesar laugh:

‘Surely they’re not serious?’

His map torn up to make a jigsaw,

the tiny pieces ‘kingdoms’

with their ragged edges 

lines of rivers, ridges, roads.

Glued together, then re-torn

as violent men compete,

for the right to strut a short day

as King of the Breadcrumbs.

In their draughty barns,

with their mead and alliteration

their imperial fantasies

their beautiful books and demented priesthood

whose love of learning and their God,

will give them strength to lecture

killers about a God of Peace.

He watches his soldiers prepare to march,

and Hengist’s men accumulate untidily.

The road leads straight to Lincoln

to the mustering of his army. 

There will be more than he expected

and less than he wanted.

But they will come to his name

not to some ornate Latin title

that would once have activated

a well-drilled, dutiful response.

What’s left is personalities,

rivalries, irrational animosity.

In place of public servants,

working for the public good

self-serving functionaries

asking ‘what’s in it for me?’

With greed its own event horizon,

and a life defined by its fulfilment

or frustration. Loyalty and obedience,

replaced with automatic calculation:

weighing effort against cost.

The empire was expert in legalised brutality;

whips regulation length, tortures itemised.

Four hundred years and not one independence movement?

After it stacked the corpses of its enemies

possessed their lands, erased their way of life

it offered their descendants the benefits of Empire.

From Persia to The Wall the grandchildren

of those it killed queued up to out-Rome Rome.

Beyond greed and fear, there are better reasons for obedience.

Britannia stood or fell on their discovery.

In retrospect, and there’s 1500 years of it,

it’s obvious he must lose

but he stands on the inland wall,

that faded coin in his hand8

planning to save his province.

  1. ‘The Legendary History’ is shorthand for the history of Britain that was being told in the 12th century. These chapters began life as an attempt to understand the version told in Laȝamon’s Brut. The Legendary History cannot be reconciled with modern understandings of the history of this period. Improbabilities, anachronisms and contradictions abound. I have not tried to tidy them up []
  2. Count of the Saxon Shore. The Saxon Shore would include the area Vortigern is heading towards, while Gloucester has been sent North []
  3. Vortigern is misquoting St Pauls’ letter to the Galatians []
  4. See Chapter Two, ‘A Man of heart?”, The Brazen Head – ((https://brazen-head.org/2021/02/28/britannia-in-peril-an-extract-from-an-epic-of-britain/ []
  5. ‘The Island of the Mighty’ []
  6. Gwendoline’s story is told in A Presentment of Englishry, Shearsman, 2018 []
  7. What can a man do but try? From Gawain and the Green Knight. Gawain too sets out on an impossible quest and holds himself to an impossible standard []
  8. An imperial coin worn smooth which he found in Chapter Two []

Marooned in Van Diemen’s Land

IAN C. SMITH’s work has been published in Antipodes, BBC Radio 4 Sounds, The Dalhousie Review, Griffith Review, San Pedro River Review , Southword, The Stony Thursday Book, & Two Thirds North.  His seventh book is wonder sadness madness joy, Ginninderra (Port Adelaide).  He writes in the Gippsland Lakes area of Victoria, and on Flinders Island.

I rationed precious pencil, notebook, checked the tideline, garnered flotsam from sea-wrack to supplement my meagre conveniences.  At dawn, arcing that cove, sliver of sunlight blessing water, wave-beat at my back, upwind of them shielded by giant stacks cloaked in orange, I shivered in slipped time.  Behind a bark windbreak they squatted, wallaby hunters sharpening stones, wrists slender, eucalyptus smoke in the cove’s tresses incense waft evoking ritual, piercing me, my beloved distant, with memories, loneliness.  Gutted ormer shells, mussels, glistened, tea-tree trembling in this constant offshore wind.  A woman lulled a child with breast comfort.  Working rhythmically, voices guttural in tribal certainty, fur-clad, festooned, sometimes chanting in harmony, they put me in mind of honour, tradition.  Hastening back to my makeshift camp around the shoe of the bay in sudden sunburst, fervid to record time, place, impressions, I gazed back across that light-blessed strand, the threnody of Roaring Forties water-wind-wash the only music still heard, this remembered from long ago.

Requiem for a recluse

IAN C. SMITH’s work has been published in Antipodes, BBC Radio 4 Sounds, The Dalhousie Review, Griffith Review, San Pedro River Review , Southword, The Stony Thursday Book, & Two Thirds North. His seventh book is wonder sadness madness joy, Ginninderra (Port Adelaide). He writes in the Gippsland Lakes area of Victoria, and on Flinders Island.

The board’s appearance beyond my high fence, though expected, startles, a braggart, brilliant interloper featuring photos touched with gold.  Former Calulu Post Office, it proclaims, High Ceilings.  Its festival of colour glows, warm inside and out, glory grapevine left unpruned for picturesque effect.  One of 3 Bedrooms lays bare where I rest my head to dream.  Detached Studio with Loft brings to mind a second-hand bookshop, old odour imbued.  Verandahs, Porches twists my heart with love as artless as these framed angles are artful.  Lots of Shedding conjures a wry verb.

Donkeys’ lugubrious faces peer into the lens, cue Chesterton’ poem from schooldays.  Big Caravan is actually small, tyres slumped.  Proximity to River, School Bus.  I know, I know.  2 Bathrooms, 2 Living Areas.  No mention of birds in the tall lemon-scented eucalypt on still mornings.  How shall I fare away from here when I can no longer return to gather windfalls under the espaliered pear, listen to the iron tattoo of rain on spring nights?

After WW1 these small paddocks fed three families.  Dread of discontinuity led to a hope the buyer might share my long-ago feverish dreams.  I have hung on alone here for too many years through flood and fire.  Historic Old Charmer, the brochure blares.  Ah! the throb of my days.  I am up for auction I jest.  Nobody laughs.

On inspection day strangers note the disused doorway where I notched the growth of boys shooting up like saplings, smirking locals take selfies before coloured glass, yak on phones.  Referring to my Detached Studio with Loft the agent whispers: Have you anything of value in there?  He had directed a slovenly man to where I cherished hours flanked by books.  Only to me, I reply, intended rueful tone sounding like the creak of an old boat slipping its moorings.  He has seen these mementoes: blue-tacked schoolboy art, loosened now, framed prints, among them a $10 flea market Raymond Wintz, sentimental, typical.  Of him and me.

I drove our Moke fast over the cattle grid, lickety-split, bunkety-crunch, foot poised above the brake, straight through the open doors of a former grain store that became my office, always stopping just before smashing into the wall where tyres gripped oil stains, where carpet now muffles the past’s rawness when we moved in, possessions piled in two vehicles, or was it three plus a trailer, grass unkempt, hum of insects, a wildflower forest hiding fences, our rescued dogs pointing towards freedom.  I remember that air’s intoxication, the future held at bay.

My son hefts furniture, scraping doorways, narrow stairs, exposing cracks.  Without archives these bared walls suggest echoes heard only by books and garage sale objets d’junk.  The cats, spooked by space, prowl, trip me.  With the donkeys, they shall be left with neighbours.  The jack snorts, restless, kicking behind his closed gate.

Night, windows wide, the soft thud of fallen fruit.  In the emptied morning my luminous digital clock shows no time, the power having briefly shut down.  The whole world seems stopped.  Then I make out the strain of a distant truck, laden, receding.

Stonehenge, Bottle, Loss – three poems by Marcus Bales

Not much is known about MARCUS BALES, except that he lives and works in Cleveland, Ohio, USA, and his work has not appeared in Poetry or The New Yorker. His latest book is 51 Poems; reviews and information at http://tinyurl.com/jo8ek3r

Stonehenge

Here I am at last amid these stones

Watching as some hippie tries and fails

To hear the English tones or semi-tones 

From rocks once hauled a hundred miles from Wales;

Spiritually, I feel out-gunned

By others dancing barefoot, walking shod,

Or simply standing staring upward, stunned,

Imagining they feel some local god.

I still myself and reach both out and in

To feel the feelings they appear to feel.

The scent of grass, the light air on my skin,

But nothing seems to stretch beyond the real

From here and now to back to well before

The Saxons, Celts, or Normans came ashore.

Bottle

In 1815 Joshua Bales, as well-known 

As any artist’s model, was a handsome man. 

Double-jointed, slim, with muscle-tone

That artists loved to paint, he soon began 

His trips to France, where many more could see

His nimble poses, not least of which was on

“The Raft of the Medusa”, which won the Prix

D’Or in the 1819 Paris Salon.

Earlier, to earn his work permit,

He’d posed for the same artist in a glass

Container even he could barely fit

Inside – a painting lost to time, alas,

     So family lore’s the only way we know

     That Joshua fit the bottle of Gericault.

Loss

South from Starcross lies the Cockwood Sod,

The bay along to Dawlish Warren known

For sandy beaches. We’d walk past Cockwood’s squad

Of older houses built of rubble stone

Against the marsh beneath the Cofton Hill

On which we’d picnic from the hamper you

Prepared and I would carry. The path is still

A lovely walk alone. I’m making do.

The poet says that we will all live on

So long as we’re remembered. I recall

You every day, the summer’s fruiting antiphon

Of joyousness to winter’s coming pall.

     As you implored, I try to laugh and sing,

     But I cannot imagine any spring.

Battles royal

The statue of King Alfred at Winchester Image: Shutterstock

Eþandun Epic Poem

William. G. Carpenter, Beaver’s Pond Press, 2021, 252pp

LIAM GUILAR finds much to admire in an ambitious new epic of Alfred, but fears it misses the mark

Eþandun1 is a narrative poem which tells the story of King Alfred’s actions between the Danish raid on Chippenham in midwinter 878 AD and his victory at the battle of Edington about six months later. It advertises itself on its cover as ‘Epic Poem’2.

The orthodox version of literary history is that since the 19th century there has been a ‘lyricization’ of poetry in English. At the beginning of that century poetry was still the main vehicle for narrative, but it was gradually supplanted by the prose novel, until fictional narrative in prose became so common that ‘prose novel’ sounds tautological and ‘lyric’ became the default mode for poetry.

Edgar Allan Poe wrote

I hold that a long poem does not exist. I maintain that the phrase, “a long poem,” is simply a flat contradiction in terms.

People who may not have read his argument and might have gagged on some of his examples of ‘true poetry’ accepted his claims.3 At the beginning of the twentieth century the most influential poets wrote long poems but avoided narrative. Despite the continuing popularity of narrative fiction in print and digital media, critics of the stature of Hugh Kenner and Marjorie Perloff were happy to announce that plot is obsolete (Kenner)4 and narrative is undesirable (Perloff).5 Post modernists, stuck up their theorised cul de sacs, invented ‘weak narrativity’ which stripped of its verbiage seems to mean telling a story by deliberately not telling a story.6 The idea that poetry is just another form of entertainment became a heresy.

There’s an element of truth in this potted narrative; it couldn’t be a critical orthodoxy if there weren’t, but poets have gone on writing book length narrative poems in blank verse, strict stanza forms, free verse, or sequences of diverse poems, and in doing so they have moved across most of the existing fictional genres.

One consequence of this historical development is that modern publishers often seem clueless when it comes to promoting a book-length, narrative poem. Eþandun is a good example. It’s an historical novel. The writer has done his research. He knows the period and he has invented a story full of incident and drama that fits within a fixed, historically accurate time frame. We might dispute the credibility of the story, but that’s part of the pleasure of reading historical fiction.

It seems highly unlikely that Alfred hid in Guthrum’s camp disguised as a Welsh bard,7 even less likely that he became his unofficial adviser, staged a fake séance and debated religion with him. Carpenter’s battle at Edington is a miraculous victory for a vastly outnumbered English army. It was not regarded as miraculous by contemporaries. Anglo-Saxon armies had been trashing Danish armies for decades; the men of Devon destroyed one that same winter and the Anglo-Saxon Chronicle, our major source for the battle, simply records both the raid on Chippenham and the victory at Edington. The personal combat between Alfred and Guthrum seems a definite mistake, historically implausible and anti-climactic, even if the end of Virgil’s epic is ghosting in the background.

But a reader could dispute those parts of the story while enjoying them, with the added pleasure of encountering incidents he or she wouldn’t have imagined. This is fiction, not history and fiction requires incident and drama. Carpenter’s story is full of both.

What percentage of the vast audience for Game of Thrones, Vikings, The Last Kingdom, Lord of the Rings etc. care about the quality of the prose they’re reading? Would they be put off if the lines didn’t go all the way to the right-hand margin? They could enjoy Eþandun and learn about the history of the period while they were doing it without worrying about the quality of the verse. There’s a vast audience out there, but the publisher sticks ‘Epic Poem’ on the cover and that means the book will be shunted into the poetry section, if there is one, where its natural readership will not find it. Put ‘Epic Poem’ on the cover and the book is reviewed by poetry editors instead of fiction reviewers.

The dust jacket reflects the publisher’s confusion. What does it tell a prospective reader about the book?

The title, Ethandun, spelt Eþandun seems needlessly pedantic. It’s not a famous battle like Hastings. Since most potential readers haven’t heard of it, aren’t going to know the sound value of the thorn (þ) and are going to be confused by the similarity between the a and d in the chosen font, it also seems needlessly uninformative.

If you don’t know what an Eþandun is, the cover picture doesn’t help. It shows a generic ‘couple in the past’. If this is supposed to be Alfred and his wife, the latter is missing for most of the book, and when they do reunite, in the last chapter, Alfred’s loss of an eye has been stressed so often that the fact that he has two in the picture seems incongruous.  

Still seeking enlightenment, one reads the quotes on the back of the dust jacket. Typically, for a narrative poem, there is a failure to give an overview of the story. The only information states:

It is 878 AD. In the struggle between Christian Saxon and pagan Dane, whose endurance, loyalty, and strategy-whose God or gods-will prevail?

878 is not a well-known date. If you, reading this, know its significance, you belong to a very, very small group. If on the other hand you know the date, then you know Alfred won. Suggesting there’s any doubt seems counter-productive. Hidden away on the front flap of the dust jacket is a succinct summary of the book. It ends, however, with a piece of strange and highly inaccurate hyperbole: “Eþandun paints Western Christendom in its darkest hour”.

As so often, the choice of approving quotations is also strange. There are two:

Eþandun is a work of genius, of true poetry, and also a staggering piece of historical scholarship. It is utterly original in concept and execution

This tells a potential reader nothing about the poem. As a statement it relies on the reader’s unwillingness to stop and consider it. It’s hard enough to define ‘poetry’ but what is ‘true poetry’? Certainly not the same ‘true poetry’ Poe was promoting. The phrase turns up on a baffling variety of poetry books and should be banned, unless the user is willing to explain exactly what it is supposed to mean. Nor is this a “staggering piece of historical scholarship”. I can’t imagine many historians being staggered by a three-page bibliography.

The second quote is even stranger:

Carpenter’s Alfred is a wannabe medievalist’s delight. We don’t know much about the king who united Britain, but through Carpenter’s eyes, we imagine him.

If this is “a wannabe medievalist’s delight” should the genuine variety steer clear?

“We don’t know much about the King who united Britain.” This is very true. Surprisingly little is known about Athelstan who did ‘unite’ Britain, but he was Alfred’s grandson and this book is not about him, but about Alfred, who didn’t even unite England. We also know more about Alfred than about any other Anglo-Saxon king.

Carpenter knows most of what is known. One of the most striking aspects of this book is that Carpenter achieves that very rare thing: a story set in the ninth century, where the characters’ frame of reference is ninth century. It’s very impressive. It has nothing to do with ‘wannabe medievalists’. But the book’s main strength is also its major weakness. The research hasn’t been integrated into the fabric of the poem. It sits on top of it, calling attention to itself.

On the run from the Danes, Alfred and his retainers are watching them ransack a religious institution, spitting babies on spears and molesting the religious. Alfred’s companion, Octa, wants to leap to the defence of the weak and persecuted.

Can I behold such wickedness’ he murmured

as Athelred’s successor gripped his wrist.

‘You can behold’ said Alfred, ‘and you will’8

Alfred’s response is terse and dramatic and suits the situation. It’s also believable. But then Alfred, who is also Athelred’s successor, launches into a 41-line speech, referring Octa to a list of historical situations that may have been much worse than the one they are in. This is not an isolated example. It’s a major stylistic characteristic of the text. Carpenter’s Alfred, like his narrator, has the irritating habit of launching into an historical disquisition at every possible opportunity. The story stops. Alfred speaks. At length. He sounds like a boring pedant. His retainers could have been forgiven for shanking him just so they could eat their meals in peace.

Before the climactic battle, Alfred makes a speech to his gathered troops. In Carpenter’s version of events, this is a desperate moment. He only has 318 fighting men. The model for such speeches in English poetry is Shakespeare’s Henry V. As a piece of ruthless, self-serving rhetorical manipulation Henry’s speech before Agincourt is perfect. But not one of Henry’s imaginary bowmen would have failed to understand everything he said.9

Carpenter’s Alfred says all he needs to say in 16 lines and then launches into a history lesson, piling up the examples which include King Ahab’s levies, Matathias’ son, Oswy, Abraham, the council at Nicea, a piece of erudite Greek symbolism courtesy of the Venerable Bede, and some typological exegesis surrounding Melchizedek, with the Spartan Leonidas thrown in at the end for good measure. We don’t know much about the men who made up the Wessex levies at Edington, but they would have been baffled rather than inspired.

The ghost of G.K. Chesterton’s The Ballad of the White Horse haunts any poet who attempts the story of King Alfred. Chesterton didn’t claim his story was historically accurate, and he used various ballad-like forms to give his poem an incantatory, dream-like quality. Carpenter opts for blank verse and his handling of this is deft, providing him with an unobtrusive, sometimes elegant vehicle for his narrative. Unfortunately, he breaks this with heavily alliterating lines that sound like fake medieval verse. Perhaps this delights ‘wannabe medievalists’ who have never encountered the real version. It’s difficult to imagine any Anglo-Saxon composing the clumsy equivalent of “Begged to buy his butchered boardmate’s blood.” (p. 46)

Old and Middle English alliterative verse was a flexible and sophisticated way of organising a line and offered subtle possibilities in rhythm and emphasis.10 It’s very difficult to do in modern English for a variety of reasons. Carpenter has wisely decided not to use it. He opts instead for general alliteration, using it heavily at certain parts of the narrative. Imposed on blank verse this can be disastrous. The drummer is tapping ten or eleven beats and lightly stressing every second one, then suddenly the bass player has decided to stress any random combination of beats. The lines begin to sound ominously like tongue twisters.

Both bled, both blew, hearts hammered in both breasts

As cupbearers brought them bread and beer11

When the alliteration is linked to Carpenter’s habitual circumlocution12 and used to describe combat, the result is confused:

…and Wulf went in forthwith. Poor Wulf was fined

a foot, but soon the Somersetan swung

south of Sigewulf’s stroke, which, Sherbourne’s shield,

discerning, drove his troll wife down the troll road

cleared by the killer’s ward as careful Alfred

aimed his edge and nicked the bristled neck. Wulf

lobbed his limb at the snout, Sigewulf struck

brawn, and the bitch chomped the carl’s calf (p. 13)

It’s true that heroic poems from Y Gododdin to ‘The Battle of Maldon’ detail the deaths and deeds of individuals in combat. But the original audiences probably knew the participants, or had heard of them, and were familiar enough with combat to be fascinated by the blow by blow accounts. The descriptions are rarely, if ever, confusing. In the 21st century those conditions don’t apply. “Poor Wulf was fined a foot” sounds needlessly precious and unnecessarily vague: “lobbed his limb at the snout” bordering on parodic. I do not know what “discerning drove his troll wife down the troll road” means.  

Is Eþandun Epic Poem an epic poem? The answer depends on your definition of epic and defining epic is an entertaining critical game, if you enjoy such things. The arguments have produced a small library, like the larger one attempting to define lyric. The standard critical manoeuvre is to survey contending definitions of epic from Aristotle onwards, and then pick whichever one allows the critic or writer to do whatever they were always going to do. Like the attempts to define lyric, the game has little pragmatic value.

Eþandun is certainly a long poem that wants to be taken seriously but it raises the more interesting question of whether or not it is possible, in the 21st century, to write, “A war epic in the tradition of Homer and Virgil”, which is the claim on the inside of the dust jacket.

David Jones was probably the last person to achieve this, with In Parenthesis. He was describing a war his readers had fought in. Christopher’s Logue’s War Music is the positive answer to the ‘war poetry’ part of that question. But Logue wasn’t trying to out-Homer Homer. Then is not now, and he built this into his poem, using all the techniques available to a modern English poet.

Virgil’s audience were trained in the use of weapons, and accepted combat as a natural part of their lives. Martial skill was admirable. No one living today has fought in a Dark Age battle. That might be the crucial difference between a Roman aristocrat who has fought in the Empire’s wars listening to the final combat in the Aeneid, and a modern audience reading that passage or Carpenter’s imaginary combats.

For the original audiences of Homer and Virgil, the past was a very different place: gods interacted with humans while larger than life heroes stalked about the earth. In the 21st century we split history, which is (hopefully) evidence-based and factual, from a thing called fiction which is a culturally sanctioned form of lying. The split is very recent, certainly post-medieval. Today we dispute the ‘historicity’ of the Trojan war. If it happened, then it didn’t happen the way it does in the Iliad. We look for evidence it might have happened, framing its possible causes in terms of economics and expansionist politics.

Virgil and Homer were creating poems that sprung from a shared belief in the truth of their stories, built on a shared knowledge of the past. It’s almost impossible for a modern reader not to read the Aeneid as a form of historical fiction – a high-class Roman Marvel Comic with suited superheroes and bickering gods. The suspension of disbelief we’ve learnt from reading and watching fiction automatically takes over. For the original audience this was the foundation story of Rome.

A poem written in the tradition of Virgil would have to negotiate the fact that most people no longer believe gods walk on the earth.; or that victory in battle proves that God prefers your cause to your defeated enemy’s; or that sword swinging killers are sufficient role models for the problems of the world adults live in. Heroes of the superhuman stature of Aeneas or Achilles belong now in the world of fiction and are diminished by this. There was a King Alfred, and he was bound by all the contingent forces of his place and time and essential humanity. He was extra-ordinary. But if we admire Alfred as an historical figure, it’s not because he won a battle, but because of his reforms after Edington. They are hardly material for a dramatic war poem in the style of Virgil.

Carpenter’s Alfred is not the historical man. Nor is he a believable representation of that historical man. However, fiction has requirements history will not provide. Eþandun is historical fiction: entertaining and thought provoking even when it is at its most implausible. Virgil was not writing fiction.

  1. The title, with a modernised spelling would be Ethandun. The place of the battle is usually given as Edington []
  2. ‘Eþandun Epic poem’ on both dust jacket, copyright and title page. Eþandun on the book’s spine and cover []
  3. Poe, E.A. (1846) briefly in ‘The Philosophy of Composition’. http://www.eapoe.org/works/essays/philcomp.htm and in more detail in (1850) ‘The Poetic Principle’. http://www.eapoe.org/works/essays/poetprnd.htm. Poe’s attempt to define ‘True Poetry’ comes in the penultimate paragraph of this latter essay []
  4. Kenner, H. (1951) The poetry of Ezra Pound, p. 262 []
  5. Perloff, M. (1985) The dance of the intellect: studies in the poetry of the Pound tradition, p.161 []
  6. See for example Brian McHale’s (2004) The obligation toward the difficult whole. and the same writer’s contribution to the Routledge Encyclopedia of Narrative Theory.in the entry for ‘Narrative in Poetry []
  7. Like the story of the burnt cakes, the story of Alfred visiting the Danish camp as a harper first appears in the 12th century []
  8. p.51 []
  9. In Old English, Byrhtnoth’s speeches to the Viking messenger in ‘The Battle of Maldon’ is a less well known, but historically more appropriate, example of direct, effective, dramatic speech []
  10. Essentially a line with four stresses. Three of the beats are stitched together with alliteration. The last beat rarely carries alliteration []
  11. P.210 []
  12. I counted ten ways in which Alfred is named in the poem before I stopped counting []

Adolf of Gloucester goes to the Wall

This is Part 3 of LIAM GUILAR’s still-being-written epic of Britain. Chapter 1 was published in Long Poem Magazine #25 Spring 2021, and you can read Chapter 2 in the previous issue of The Brazen Head.

The story so far: 449 AD. The Roman province of Britannia is tottering. The Legions have long gone and raiders and civil war are becoming endemic as central authority breaks down. The Ruling Council has sent Adolf of Gloucester1 on a mission to establish contact with the new war lords in the North and call them to a meeting. After that he is to continue further north to investigate the rumor of a lost legion. The Council intend to use such an army to protect the province. Adolf has other plans. Adolf’s main rival is called Vortigern. You can find out more about Vortigern and the Legendary History at www.liamguilar.com

Chapter Three: Playing Dress up in the Ruins.

Gloucester goes north

Ghosts on the great north road

moth-eaten capes, tarnished brass:

pretend Romans on a fading track

its edges blurred, the landscape

creeping back, erasing the affront.

The old Cursus Publicus.

No one waited with a change of horses

to speed them on their errand.

No patient slaves were waiting

to lead them to a bath house.


Stunned groups struggling south,

unable to say where they were going.

Some with belongings. Some

begging for food, or running

at the first sight of armed men.

The worst were those too tired to run

who simply stood or sat and waited.


All day darkness, and the sky fouled with smoke,

as though the north itself were burning.

They were grateful for the rain.


An abandoned temple gave them shelter.

Gloucester imagines ordered lines

stepping towards the incoherent mob.

Discipline against barbarian chaos

the grateful blood stained victors

chanting their general’s name.

A legion at his back? Why not?

It worked for Constantine.


His men are camped outside.

More scared of ghosts than rain.

But in this world of broken shadows

even the ghosts are now afraid.


You’ve met these two before:

History’s statistics.

They are there to prove how great the victory

how terrible the defeat. Until recently

nobody bothered with their stories.

They’ve been around since wars began.

They’ll grumble on until there are no wars.


Two faces in the firelight, sharing food.

Veterans of the service, though the service

in their eyes, is looking very shabby.


‘All punishment and no discipline.

Innocent or guilty, capable or clumsy

makes little difference to this Adolf.’ 


‘When that rider came…’

…’The gibberer?’ ‘Him.’

‘What did he say?

A raiding party running for The Wall?’


‘Burdened with loot and captives.’

‘Wagons loaded down with loot he said.’

‘Pushing wagons loaded down with loot.

But Gloucester says They’re heading east.

Our orders take us west.’ ‘That’s true though isn’t it?’

‘Yes, indeed it is, but consider this.

Can you imagine Vortigern letting them escape?

Or being insulted at that hill fort

and turning tail? He’d have burnt it round their ears.’


Two days earlier….


The hill fort had been recently reoccupied.

The path rose, cutting a labyrinth of bank and ditch

until they were confronted by a well-made wall.

Everything was squared, trim, and even.

They waited in the shadow of the gate house

Then a voice, like the north wind coming off a glacier,

speaking British in defiance of their uniforms and banners.

‘Is Vortigern the Thin amongst you?’2


‘I am the Magister Militum,

Count of the Saxon Shore.’

‘Pretty titles for these ugly times.’

‘The Council summons you to London.’

‘Whatever your titles meant

when you left home,

here you are unwelcome.


There is no legion at your back,

nothing to ratify your idle names.

We can slaughter you and no one

no one, will come to bury you

let alone avenge your deaths.


Turn back, we will not follow.

Go home, we know the place

to break a column of toy soldiers

but we have better things to do.

‘We should have burnt it down around their ears.

They have sent a boy out on a man’s errand.’

The Risen Christ

Gloucester continued north.

Torch light and candle light

lamplight and firelight

and never enough light

to stop the darkness

infecting everything

so the edges blurred.


A marching camp, smoke rising,

the usual signs of occupation.

The bank is sagging underneath the wooden wall.

The platform like a discarded party streamer. 

No man could hold his ground on such a footing.

From a gate tower creaking in the breeze,

the watchman said, ‘No more than four.’

Gloucester and the Proconsul

are escorted to a timber building

with not one right angle in the joints.


In the middle, facing the smouldering fire,

whoever calls himself king of this rank and smoky space. 

A cloak of raven’s feathers, bright rings, armbands, native paint.

The protocols of embassy and messenger are swept aside.

He insists they kneel. When they refuse, he rises:


‘I am the risen Christ and you will worship me!’

Only the years of discipline stop Gloucester’s laughter.

This silly little man in this squalid little barn:

Christ how the world has shrunk

if fools expect such folly to be taken seriously.

The women are attractive, desirable but hesitant.

Eager to please their messiah. The apostles

are playground bullies in patchwork armour.


The proconsul is a bald, grey bearded man

who in his youth…etc. etc.

But now has the power…etc, etc.

It’s all implied and understood.

‘We’re all familiar with the law.’

‘This is the law,’ said the kinglet,

his fist smashing the bewildered face.

He asks the sprawling body:

‘Who will enforce your law?’


He knifes the writhing man.

‘I will’, he says, in the bloody silence

that is so profound, you can hear it

hold its breath and bleed.

Until

Gloucester grabs a log from the woodpile

and swings it hard against the Saviour’s head.

Blowing the hunting horn around his neck,

his men break through the flimsy wall.

The risen Christ and his disciples

soon lie scattered on the dirty floor.

The Wall

Impressive but redundant marker,

of a boundary the land ignored.


Camped at a central fort,

Gloucester waited for his scouting parties.

Men sent out along the roads

or following The Wall in both directions.

Stopping in the little villages.

Abandoned huts,

cooking fires still smouldering.

Rarely a furtive native,

perhaps an ancient man or woman

left behind when all the others

had taken to the heather.


Gloucester, in the rain,

supervising his fort’s repair

imagines ranks stepping into incoherent mobs.

The disciplined advance into barbarian chaos.

The grateful victors chanting their general’s name.


His command is leaking men.

Even here, snuggled into winter quarters,

riders don’t return, and patrols sent to find patrols

find nothing. No one. The land is empty. 


Did you dream about the other

who would solve your problems?

The pay rise you deserved

to cancel out your debts.

Did you clasp the lotto ticket

dreaming of your new life

if they called your numbers?

Did you throw it in the bin

and swear you’d never bet again?

Or did you keep on betting

long after common sense had called a halt,

and there was nothing in the bank

to fuel the fantasy but a bruising desperation.


Another party rides towards the turf wall further north,

along a broken road no one has bothered to repair.

The surface fractured by the travellers’ wheels

is best avoided. On the hills, blocked culverts,

force the streams to flood and wash away the terrace

and the road it balanced. Beyond all that

right on to the end of marching

past the broken watch towers and abandoned forts

to ditch and bank and sometimes rubble

where squatters huddle in the outline of a camp,

sheep graze and the indifferent, stupid cattle

trip on the remnants of a barracks floor

that once held 30,000 men

and housed the Emperor himself.


Standing on The Wall,

waiting for patrols,

he scans the bleak upland.

It doesn’t roll, it heaves.

The burnt look of moorland

the gullies and abrupt valleys

too untidy for his taste.

No straight lines except the roads

confidently heading south.


Here, at its northern limit,

the whole ruined empire echoing behind him.

Over there the chaos that slighted Rome,

source of the tidal surge threatening to drown them all.


News from the South.

Vortigern this. Vortigern that.

His fifty Germans had erased a raiding party

then seized their ships.

He’d want a Triumph next.

What were fifty tribesmen to his Legion,

forcing the channel crossing,

following their choice of Caesar.

It worked before.

The Western Empire could be saved.


The sun crawls over the horizon,

then slides, embarrassed, to the west.

Winter, immobility and failure,

creep towards him, deaf to threat or reason.

Days when the demented wind

battered them, assaulting roof and wall

while the horizontal rain trashed

anyone who dared to stand outside.

The world was dissolving in rivers of slime.

His soldiers slithered and flopped

as if some magic had removed their bones.

Soon winter would invest the fort,

forcing them indoors to brood beside their fires

and analyse his failures. 


Vortigern this. Vortigern that.


Questions. Disappointment.

The patrols encounter roads

that fade into the heather,

ruins in the glens, tracery of walls,

fear and incomprehension

and neither had an answer.

No violent opposition.

Until one shepherd, caught on the run,

shaking with fear, stammered:

there was a fort in the north west:

it had been repaired.


‘In Wood or stone?’

So much hung upon the answer.


He didn’t know. It was a story he’d been told

by a drover he’d been drinking with.

He wouldn’t even swear that it was true.

Far from any road, overlooking a river

that drained hills to the north.

Playing dress up in the ruins

They watched, while rain was turning into sleet,

the great gate shaking in the wind.

There were guards on the wall.


So they retreated to the ruined vicus                                                                                          

where traders and camp followers had sold their wares

unwrapped their eagle, donned their fathers’ uniforms

and moved in line towards the gate.


It opened, men in armour moving out

a legion on the march. Adolf saw the future:

the roads busy, the towns thriving,

but no legion ever staggered,

ragged arsed into a line that bent.

He rode closer playing Roman.

There was nothing Roman or Imperial on view:

patchworks of rust and improvisation.


Someone whose faded plume suggested rank

stepped forward. Braided hair leaked

from the badly polished helmet.

Only the little gimlets of his twinkling eyes

broke the bearded, tattooed face.

He spoke a mix of Pict and Legion

Gloucester struggled to translate.


Inside the fort, the walls contained a rubbish tip.

Once neatly ordered barrack blocks were patterns in the mud.

Dirty children squabbled in the wreck of the Principia.

Dirty women moved amongst the dirty huts.

Removing bits of armour with relief,

the garrison was every other native they had met.


‘They said that you would come for us,

the oldies.

They said: “The bastards sailed without us.

They’ll return.’’


We buried the last of them so long ago.

My father’s father. Take us back to Rome.

Take us to the bath house and the forum.

The oldies said that Caesar would reward our loyalty.’


They celebrated in the wooden barn

that once had housed the grain.

Perhaps they thought it was a feast.

Perhaps, they thought that this was how

the legions honoured their important guests.

So Gloucester lied about his errand. Pretended

Rome was still unscathed, the Empire

sound but still in need of loyal troops.

Would they drill for him tomorrow?


Those who weren’t too drunk turned out.

He counted less than fifty,

some too old to stand up straight.

Echoes of empire in mangled Latin.

Their drill was comically inept,

like little boys playing dress up

in a misremembered game.


They were no use to anyone.

He couldn’t take them with him.

But they wouldn’t let him leave.

So Gloucester gave instructions.


They rode away.

The wooden buildings smoking in the rain.

The bodies piled into a heap.

The glory that was Rome

left for the raven and the wolf.

  1. Adolf is one of Laȝamon’s oddities. Although he is a British hero, he has a very German name []
  2. He is ‘Vortigern the Thin’ in Welsh tradition []

Samson’s Riddle – At Saint So-and-So’s – Caravaggio Catching Fireflies

MICHAEL YOST is a teacher, freelance essayist and poet. He lives in rural New Hampshire with his wife and two sons.

Samson’s Riddle

From the stench of rotting hide,

From the hot and muscled weight of death,


From the hunter’s tawny jaw,

From the ancient eater’s mottled mouth,

            Comes wealth of peace;


Comes a city from the open side,

Comes the hum of honeyed breath,

Comes the transformation of the law,

Comes the manna in the drouth,

            From all decease.

At Saint So-and-So’s

Highway traffic scores and hums

Beneath the Sabbath hymnody.

Laymen in tropic shirtsleeves come

Their wives in wireless fidelity arrayed.

The seating is precise, the manners casual.

Grins and handshakes are exchanged

Inside the sanctuary gate as usual.

Outside, Escalades and Honda Pilots range.

The Victim crouches on his cross an hour,

Tired as an aging wall-flower,

Who will not speak to the rotarians

Any more than Pharisees or Arians.

He turns with an embarrassed groan

Towards the altar, with its flower pots

And the altar boys, their hair well combed

Whose sagging bodies tell their wandering thoughts.

Soon these will return to the world they know;

Soon ever and again they will return

To low-calorie beer, boutiques, and late night shows,

To spread-sheets, focus-groups, and therapists in turn.

They will leave the cobwebbed well

And wander through the desert’s stations

For gross are the hearts of the nations

And uncultivated is the soil.

Caravaggio Catching Fireflies

As the sunlight fades and dies, Caravaggio catches fireflies

amid chiaroscuro, and the studio light;

With pestle reforms fire into night

Cups the light, turns alchemist, and drinks

Converting it to darkness as the daylight sinks.