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Poetry<br />

Camping<br />

Ian McDonough<br />

A fly died in my wine,<br />

perhaps happily,<br />

perhaps not.<br />

The tent sweltered<br />

under a late but virile heat<br />

and we lay inside,<br />

pole-axed after swimming.<br />

Edinburgh’s cool streets<br />

were a hundred light years off.<br />

When the darkness closed<br />

the Evening Star<br />

hung so near<br />

you could reach up and kiss it.<br />

Kim’s Game at Kelvingrove<br />

Jan Sutch Pickard<br />

A single shoe, a crusie lamp,<br />

postcards and a pair of knitted socks,<br />

broken china, a gannet’s breastbone<br />

put to use as a sugar scoop;<br />

photographs of faded folk<br />

without a smile between them;<br />

Gaelic Bible, wooden mail-boat,<br />

blown eggs of the St Kilda wren.<br />

Take this length of tweed –<br />

dusky brown wool of the Soay sheep,<br />

spun and woven on a narrow loom<br />

by the hearth at midwinter – take it<br />

to cover up these random things.<br />

Then try to remember them,<br />

to replace them on an island<br />

separated by sea-miles from the city,<br />

from this museum, this gallery,<br />

these glass cases that have frozen time;<br />

try to place each thing<br />

in a way that still makes sense.<br />

But how to remember what we never forgot,<br />

or ever know what’s to forgive?<br />

Can such lost things remake a way of life?<br />

Can these bones live?<br />

Magdalene<br />

John 20: 10-18<br />

George T. MacIntyre<br />

You saw him in the hodden of morning<br />

afore it wus fully licht<br />

and strave wi odd threids of memory gin<br />

the rough wools wound ticht.<br />

‘Caw cannie ma hinnie, caw cannie<br />

fur A hinna been synd wi bliss<br />

and A wud hae thee gang tae them<br />

that could nae bide like this.<br />

Braw Peter and ma bonnie John<br />

hae snuck awa in fear<br />

but the geid new day is in yer mooth<br />

and the hail warld with thee here.’<br />

The Same Hand<br />

Brian Johnstone<br />

Be it on the conscience of anyone who reads this<br />

splendid little book that they say a prayer for the<br />

soul of the wretch who wrote it.<br />

Colophon, The Book of Deer, 10 th century<br />

The pen laid aside, quill trimmed<br />

for the next to use it, inks stopped<br />

with a rag, dampened against decay,<br />

and the book is closed. His fingers<br />

tremble with the thought of it,<br />

arms aching from the effort<br />

the last day’s verses have cost him,<br />

wretch that he is, allowed him<br />

to finish the task. Leaf upon leaf<br />

it is taken from him, his prayer,<br />

his curse. A burden is lifted, laid by.<br />

Stony Stare<br />

Colin Will<br />

for Richard Ingham<br />

There’s a grey boulder sitting on the grass,<br />

like a permanent sheep surprised into immobility.<br />

Her gaze, if she had one, would focus<br />

just below the top of the little rise<br />

before the drop to the wind-ruffled lochan.<br />

To me, the lochan and the mountain<br />

are the reasons to be here;<br />

to her it’s the grass. Who’s to say<br />

whose vision is more relevant?<br />

Tomorrow I’ll be away,<br />

taking my flippant comparisons<br />

to new pastures; she’ll still be here,<br />

mutton turned stone, concentrating<br />

on what matter matters to her,<br />

the universal truth of edible green.<br />

Spoor<br />

(for Ian Abbot 1947-1989)<br />

Richie McCaffery<br />

The people who were best<br />

at telling me ghost stories<br />

as a child, are long dead,<br />

the teller now the tolled.<br />

All the children I knew<br />

including the one I once was<br />

have been murdered, their<br />

bodies have not been found.<br />

In the field a white dog runs<br />

on the trail of some scent<br />

fast as old newspapers<br />

whipped up by the wind.<br />

No-one is calling its name –<br />

perhaps no-one knows it to say.<br />

Còn<br />

Maoilios Caimbeul<br />

Dh’fheuch e ri innse dhaibh cò ris a bha e coltach<br />

Nuair a tha thu sean ’s nuair a tha thu òg,<br />

Oir bha cuimhne aige nuair a bha e òg<br />

’s sheall e dealbhan dhaibh dhe na seann làithean<br />

Le cù ’s cat air a’ ghlùin, ’s e na shuidh air baidhsagal,<br />

Ach cha robh e cinnteach an robh iad a’ tuigsinn.<br />

Thuirt e, smaoinich air reòiteag agus an còn<br />

As a bheil e tighinn, cumhang aig aon cheann<br />

Agus a’ sìor fhàs nas leithne agus nas leithne;<br />

’s ann mar sin tha cuimhne a’ bhodaich, cumhang an seo,<br />

An dràsta, ach beò, ’s farsaing, mar as fhaide air ais,<br />

Ach cha robh e cinnteach an robh iad a’ tuigsinn.<br />

Thuirt e, smaoinich ort fhèin, ’s gun thu ach dusan,<br />

Tha an còn nas giorra, ’s tu cuimhneachadh air ais:<br />

Ach tha còn eile agadsa a’ sìneadh air thoiseach ort,<br />

Còn prìseil do bheatha ’s gun fhios agad dè an t-uachdar<br />

Reòthte iongantach a bhios tu ag imleachadh,<br />

Ach cha robh e cinnteach an robh iad a’ tuigsinn.<br />

Còn na cuimhne air do chùlaibh ’s còn air do bheulaibh,<br />

Còn iongantach dìomhair do bheatha,<br />

Agus smaoinich ormsa, an seann duine ’s an t-uachdar<br />

Reòthte air leaghadh ’s an còn toisich fada nas giorra,<br />

Fuachd an uachdair air mo theangaidh a’ fàs nas fhuaire,<br />

Ach cha robh e cinnteach an robh iad a’ tuigsinn.<br />

8<br />

<strong>Northwords</strong> <strong>Now</strong> Issue 30, Autumn 2015

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