Author: Tom Ling (Page 2 of 4)

A reflection on…
…well read it and decide

This is a heist! An old-fashioned smash and grab!
Put your awards and prizes
Your glorious enterprises,
Those golf clubs and rackets,
Your fancy shoes and branded jackets,
Put them all in the sack.
Don’t expect to get them back.

This is a smash and grab!
You, take your child’s milk teeth out of your purse
And those photos of family gatherings –
Years and years looking worse and worse –
The beer mats from your first night out,
Tickets from that a-ma-zing concert
I want them all. Don’t just stand and stare.
You’ll be lucky if I leave you in your underwear.

This is a heist! You might think your day is going badly
But it just got worse. This is a day you may come to curse.
Hand over that cash saved for your bills
For all I care you can freeze and feint.
Your Farrow and Ball paint won’t cover up your cracking wall
Even if it is elephant’s breath modern eggshell.
The weavers who made your rugs from Isfahan
Can’t stitch together your collapsing plan
Your fawning pets that you think love you
Will chew your face when they get above you.
None of these bring meaning back.
Put them in the sack.

This is a heist! Look at your fleshy, haggard face
Your tongue is too big for your mouth
Your heart is out of control
Acid from your oesophagus leaves a gastric hole.
Your blood thickens like tar
Your swollen legs won’t get you far
Lift your broken limbs from off the rack,
Put them in the sack.

This is a form of smash and grab
I’ll take your body from the slab
I’ll wash your dusty feet,
I’ll turn your sour breath sweet,
I’ll rub your limbs with unctuous oils
I’ll let you give me all your spoils.
Then at last sit naked, breath and rest.
This is a heist!
But perhaps it’s for the best.

This poem describes my travels during the summer of 2024. At some point towards the end, when we were staying in Hartland, North Devon, I realised that there was an unexpected connection in the poems I had written about each stage of my journey. I felt they worked best as a single piece and this is ‘Buried with Care’.

Buried with Care

The past is always with us
Is in skeletons in clay,
In bones and DNA,
In maps unused,
In love refused,
In bodies in abandoned mines,
In sandstone’s sedimented lines.

Kilmartin Museum
You: your re-constructed skeleton,
Spread out as if you are a lesson.
Two children stare at the bright display
At you, in your grave, today.

One child reads aloud from a pristine screen;
Explaining that detailed data from your dentine,
And the study of isotopes,
Tell the story of your life,
Pathology shows that your ground-down teeth,
Describe a scant diet endured for thirty years,
And your funerary artefacts
Confirm your status with your peers.

But science does not say
That you were buried with care,
Your body curled around your favourite tools,
Laid gently on a mossy bed,
By those, I hope, who loved you,
Perhaps placing on your stiffening lips one last kiss.
I am sorry I did not tell the children this.

Tom at Acharn
Your buried, ancient genes
Have not confined you to a wheelchair.
You far outstrip your element
As the dolphin leaps into air.

Largo
I leave my maps behind,
Their legends have no use here.
The roads of my childhood
As familiar as the lines of my friend’s face;
Each contour connecting people to people and people to place.

Cornish Tin Mines
Arsenic, copper and tin,
Kill both kith and kin,
Arsenic chests, copper skin,
Whole families made by tin
While in the Wesleyan chapel still they sing
With emphysema-speckled lungs
To praise a god
Who holds the whole world in his hands
And miners in their place
As tightly as the dark embrace
Of the mine’s collapse.

Totnes
To leave love behind when love is not entirely lost,
To curl life around that loss
Has a painful beauty.

The art and craft is rare
That can bury love with care.

Hartland
Carboniferous shales and sandstones
Are thinly bedded,
Folded, faulted,
By sea and slope eroded.

We, too, living carboniferous lives,
Are thinly bedded.
With grace we, too, are folded and faulted,
Are eroded by love and dare
Believe we, too, may be buried with care.

This is one of a few poems I have written in the Scots tongue – it just flows so much better.

Maya Angelou said this: “My name is Maya Angelou. I grew up on dirt roads… I was a mute. I was poor and black and female. The only key I had which would open the door to the world for me was a book. I read everything. I fell in love with poetry. And amazingly in a small village in Arkansas, I met Robert Burns.”

Whit can we dae wi sic a tender pairin’ as Burns and Maya Angelou?
She kens weel why the caged bird sings
He turned o’er the mouse’s hame and stood stondstill stairin’
At the fear that destitution brings
She sang tae all wi ears tae hear of things unknown but longed for still
With ivery picture in her ivery tale she keept her eyes upon the prize
She said ‘take my mouse’s earth but still, like dust I’ll rise’.

Hey Robin, she micht hae called ye oot on mony fronts
Just one poem aboot slavery and slaves?
She micht hae asked why you let your crazed an passionate waves
Sweep lovers oot tae sea, who loved but once and loved forever.
But she never.
She never thocht you should be retro-fitted to oor age
Or asked why you didna see where her birds were caged.
She kent weel that callin auld acquaintance back to mind
Is what keeps us humankind.

Oh Robert, for all that ye were such a catch,
I think with Maya you’d have found your match

This poem comes out of an evening in Cambridge organised by Palestinians, Jews and others, where we shared music and dance and discussed the terrible events in the Middle East. At it Rowena and I sang words from Seamus Heaney’s poem The Cure at Troy which I had put to music. We sang ‘believe in miracles, and trust in cures and healing wells’ but also that ‘no poem, or play, or song can fully right a wrong’. In this light, I was moved to write this poem. There is reference to the Cure at Troy and also to Yeats’ The Second Coming in verse two. I fear I am not always better than my primal self.

That further Shore
Believe that further shore is reachable from here
(Seamus Heaney, The Cure at Troy)

We arrived in this world by chance,
But chance need not be all we know.
We are better than our primal selves,
Conviction need not bare its snarling teeth
Like a wolf knowing only fury,
Glaring at what was once the Holy Land.

Instead, this evening, we gather in this hall
With all our differences in view.
In many accents, welcome words are said,
Our teeth close not on each other
But gently on fresh bread,
Songs are sung, dancers dance.
For a moment we are less fearful of the rough beast,
Slouching towards Bethlehem.

No poem turns a wrong into a right,
No song removes dead children from our sight,
No dance gives us back our broken minds.
But there, and then, we were in a different place,
Our lips were moist from healing wells
We shared the taste of cures,
As we walked into the night,
My hand gripped yours,
And our fingers touched that further shore.

In St Mungo’s Cathedral, Kirkwall on the Orkney Islands, there is a tapestry made from remnants of materials found in Norwegian churches (old curtains, tablecloths and so forth). The tapestry had been gifted by a Norwegian diocese as a demonstration of their bonds of affection for people of the Orkney Islands. I thought this was a powerful image. I thought of the remnants of material objects that tie us together, to the past, and to the future. A ‘peerie boat’ is, in Orkney, a small boat.

Remnants of a Shetland shawl once perfectly spun,
Scraps of a tent bleached in the Cornish sun,
Shreds of bunting from parties in our street,
What’s left of my wedding suit the moths didn’t eat.

These fabrics make our sails,
The match of any storm to come,
Weaving plaids that span
The wide Firths and narrow Sounds,
The Skerries and Deeps.
Sails that lift our peerie boat over white-lipped waves
To the gentle water of our older age.