When D. H. Lawrence fell

I had to read Sons and Lovers in high school, but I don’t know why.

It didn’t matter. I read it anyway. There were three things that were important about this book (to me). The first was when the mother peeled potatoes before putting them into a saucepan of hot water. The second was when she thrust the child’s pudding at him. The third was the scene with the children playing outside the row of miner’s cottages at the end of the evening. These things broke upon me in searing images: clean hot water in a metal saucepan. A tired mother. A potato peeler. Children in skipping games at dusk in the dirt before being called home. Not just skipping. These were strong, muscular, dangerous skipping games where a child’s position in society was challenged and set. I got that.

But I didn’t know it was England. I thought the author’s first name was Deeaitch. I didn’t know it was about ‘young men’. I didn’t know about coal mining, except that it made families tired. I couldn’t, in year ten, articulate seduction or grief or death. But I read it, and it gained a hold. It was about earth, potatoes, your mum, your sulking brother, poor people’s skipping ropes. And anger. I got that, too.

I read it decades later; they (whoever they are) were right – it is a masterpiece, and it is about life, potatoes, and anger. So, I was right – even though I did not shine in the essay. But the reason I didn’t shine in the essay is because I was up all night reading The L Shaped Room, the next book on the list that I didn’t understand, and was so so so good.

Anyway, the reason that D. H. Lawrence fell is because my grandsons knocked them all off the shelf, my entire collection in cool olive green leather, all ten of them, onto the floor – and there they lay amongst the strong skipping feet, the saucepans, the anger, the mother that died, and her son, D. H. Lawrence.  

Have a go under the waterfall

This is The Dipper, a poem by by Scottish poet, Kathleen Jamie. It’s impossible to write about a bird and make it breathtaking, but here it is, completed and placed by an expert for us to consider. Honoured.

 I saw that she wrote issue instead of flew. As soon as I saw issue, I saw the water give birth to the bird. The poem itself (in my head) flooded and fell, green with experience and cold and difficulties. When I saw solitary, the poem itself soared away and lit (her word) on a rock, alone, and looked at me with sunlight behind it and mockery between its claws. When a poem contains this much information and experience, I have to keep reading and re reading, clenching my small claws and hoping.

When she wrote lit instead of perched, that’s when the sunlight entered the cold, and the poem, and me. When she wrote swept stupidly, I stood still and admitted old age, a huge hot relief. This because it may be possible that I no longer have to stop the flow. When she wrote wrung, I saw the bird turn and turn again to give that ripple of solid sound. When she wrote supple, undammable, I saw bird muscle, throat muscle and opera and anger. Value and beauty are not ownable. They are beyond our hands. The last two lines won’t finish. They keep playing, calling on courage.  

This poem, if you allow it, is a massive experience.

Is this right? I don’t know. Kathleen Jamie is a master. She extracts and then sculpts what she wants to say. I am an amateur reader and can’t do that. But she makes me try hard and dig for it. Or the bird does. Something does.

Photography by Michael Woodruff

When school kids go past the windows

They go fast. They lean forward as they walk. They watch each other’s faces closely.

Hands in pockets. The pockets, rectangular slabs of phone. The phones move in and out of pockets, shining oblongs of light.

Someone shouts, ‘Just think how much food you could eat, bro!’

They look in my windows. Bouncing a football, a basketball, a firm punch that argues with the footsteps.

‘Mate, he’ll go down.’ This was shouted lovingly when a motorbike hissed past, the rider standing, plunging through the intersection, the afternoon bakery audience angrily captivated.

They young people are loud. They must converse in shouts. Sometimes a bicycle or a scooter slides through the group, obliging and skilful, the rider chatting as she swerves.

I have spinning balloons that hang underneath the edge of the verandah. Once a boy raised his hand to bang them, but then didn’t.

Huge heavy school bags. Backpacks for the mountain. They bounce from side to side, the weight keeping pace with the walk.  

When it’s freezing they wear shorts and t shirts and carry huge bags of twisties. They look through my windows.

They all talk at once. They look in the windows. They walk shoulder to shoulder. Once some boys tapped and tapped on the glass, ‘Hey, guys,’ but the girls inside were not distracted. They had books to get.

Once a kid passing the window answered someone else, ‘I’m not getting a book you dumb arse.’

They are all colourful and glorious in the cold wind.

Penelope and the Suitors by John William Waterhouse, 1912

Nathan, I’m going back to the car

A man put his head in the door of the shop and called, ‘Nathan, I’m going back to the car.’

But there was nobody in here. I didn’t get time to tell him though. He backed out and got into his car and waited in the driver’s seat. Soon he got out and rang someone on his phone. He moved against my window to talk, ‘Well, where are you then? And where’s the ladder?’

Outside, the air is gold, with splits of light and leaves moving all through it. It’s warm. Visitors say, ‘It’s glorious outside.’ I sit and look out at it.

There’s a baby in a pram in here, singing, and the mother is looking at the books, tapping a water bottle. She has brown hair and so does the baby. Can she hear her baby singing? It lays there, making soft noises all on different notes, looking at the mother, one foot hooked over the edge of the pram.

Over the road a bus driver is helping a lady in a wheelchair onto the bus, and someone has reversed has into a rubbish bin in the car park behind the bus stop. Doesn’t matter; it’s glorious out there. A young woman is crossing the road slowly, despite the traffic, and the light is all over her clothes.

Painting by Diane Leonard