Jane Hirshfield

Rebus

You work with what you are given,
the red clay of grief,
the black clay of stubbornness going on after.
Clay that tastes of care or carelessness,
clay that smells of the bottoms of rivers or dust.

Each thought is a life you have lived or failed to live,
each word is a dish you have eaten or left on the table.
There are honeys so bitter
no one would willingly choose to take them.
The clay takes them: honey of weariness, honey of vanity,
honey of cruelty, fear.

This rebus - slip and stubbornness,
bottom of river, my own consumed life -
when will I learn to read it
plainly, slowly, uncolored by hope or desire?
Not to understand it, only to see.

As water given sugar sweetens, given salt grows salty,
we become our choices.
Each yes, each no continues,
this one a ladder, that one an anvil or cup.

The ladder leans into its darkness.
The anvil leans into its silence.
The cup sits empty.

How can I enter this question the clay has asked?

 Jane Hirshfield, “Rebus” from Given Sugar, Given Salt Harper Collins 2001

Carol Ann Duffy

The Windows

How do you earn a life going on

Behind yellow windows, writing at night

The Latin names of plants for a garden,

Opening the front door to a wet dog?

Those you love forgive you, clearly,

With steaming casseroles and red wine.

It’s the same film down all the suburban streets,

It’s a Wonderful Life. How do you learn it?

What you hear – the doorbell’s familiar chime.

What you touch – the clean, warm towels.

What you see what you smell what you taste

All tangible to the stranger passing your gate.

There you are again, in a room where those early hyacinths

Surely sweeten the air, and the right words wait

In the dictionaries, on the tip of the tongue you touch

In a kiss, drawing your crimson curtains now

Against dark hours. And again, in a kitchen,

The window ajar, sometimes the sound of your radio

Or the scent of your food, and a cat in your arms, a child in your arms, a lover. Such vivid flowers.

In New Selected Poems by Carol Ann Duffy, Picador 2004

Enheduanna

Temple Hymn 26
The Zabalam Temple Of Inanna

O house   wrapped in beams of light
wearing shining stone jewels   wakening great awe

sanctuary of pure Inanna
    (where) divine powers the true me spread wide

    Zabalam
               shrine of the shining mountain
    shrine that welcomes the morning light
    she makes resound with desire

the Holy Woman grounds your hallowed chamber
    with desire

    your queen  Inanna of the sheepfold
    that singular woman
    the unique one

who speaks hateful words to the wicked
    who moves among the bright shining things
    who goes against rebel lands

and at twilight makes the firmament beautiful
    all on her own

    great daughter of Suen
    pure Inanna

O house of Zabalam
    has built this house on your radiant site
    and placed her seat upon your dais.

Enheduanna (2285-2250) was an Akkadian/Sumerian poet, high priestess of the main temple of Ur and daughter of Sargon the Great. She was also the first recorded author: not female author, the first recorded author in history. She created the genres, patterns and paradigms for poetry, psalms and prayers that have been used for millennia echoing through Homer, the Bible, church liturgies and hymns.

The photo is a detail of my work, Creator Spirit.

Caitriona O'Reilly

Clotho

after Camille Claudel
And in the end it was easiest to let go
of all that vigilance, the endless distaff-to-spindle rigour
of your compulsions, and allow the silks to snarl.
For a while, perhaps, you struggled to escape,
snared like an insect in your own allurements.
You had never believed that life was what happened to us.
Rather it was to strike sparks from stone repeatedly,
smoothing the planes with a morsel of bone
until your own eyes glittered in the veined torso. For here there is no place that does not see you . . .
You were a wilful girl, and wilful girls must learn
that to haul life from matter is a god’s concern.
And always there was something there you could not reach:
it flickered below the surface of the marble
like a candle behind a grimed window,
mocking your eager questions like an echo.

 from Geis (2015)

Rumi

Undressing

Learn the alchemy true human beings
know: the moment you accept what

troubles you've been given, the door
will open. Welcome difficulty

as a familiar comrade. Joke with
torment brought by the Friend.

Sorrows are the rags of old clothes
and jackets that serve to cover,

then are taken off.  That undressing,
and the naked body beneath, is

the sweetness that comes after grief.

translated by Coleman Barks 

Fredegond Shove

Revelation

Near as my hand

The transformation: (time to understand

Is long but never far,

As things desired are)

No iceberg floating at the pole; no mark

Of glittering, perfect consciousness, nor dark

And mystic root of riddles; death nor birth,

Except of heart, when flesh is changed from earth

To heaven involved in it: not at all strange,

Not set beyond the common, human range;

Possible in the steep, quotidian stream,

Possible in a dream;

Achieved when all the energies are still –

Especially the will.

Published in “Daybreak” Hogarth Press 1922

John Siddique

I discovered John Siddique's poetry in mid-2010 with his fourth collection Recital, An Anthology (Salt Publishing 2009).

I must admit that a major drawcard (at first) by his use of a Genesis lyric as a poem title, but then I was drawn into his world of gentle observation and commentary and found that reading his poems felt like reading his heart. 

You've got to get in to get out
The world will impinge into your need
for silence, into your prayers. In the hardest seconds
of your life, your neighbours will be drunk,
booming hip-hop through thin inconvenient walls.

At the lighting of your candles, in the moment
you need to focus - the apex of your flame,
the voice of the Holy Spirit, someone
will be vacuuming, talking, ringing up change,
a bin wagon bleeping as it reverses, builders
swearing into the distance you put by pulling into
yourself. It sounds like they are calling your name.