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Morley David - Swimming Chenango Lake: selected poems

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Morley David Swimming Chenango Lake: selected poems

Swimming Chenango Lake: selected poems: summary, description and annotation

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William Carlos Williams valued Charles Tomlinsons poetry: He has divided his line according to a new measure learned, perhaps, for a new world. It gives a refreshing rustle or seething to the words which bespeak the entrance of a new life. Of all the poets of his generation, Charles Tomlinson was most alert to English and translated poetry from other worlds. The Mexican poet Octavio Paz admired how he saw the world as event ... He is fascinated - with his eyes open: a lucid fascination - by the universal busyness, the continuous generation and degeneration of things. Tomlinsons take on the world is sensuous; it is also deeply thoughtful, even metaphysical. He spoke of sensuous cerebration as a way of being in the world. His poems are always experimenting with impression and expression. This dynamic selection ; edited by the poet and Ted Hughes Award winner David Morley, presents Tomlinson to a new generation of readers.

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to Brenda Tomlinson
When you wrote to tell of your arrival, It was midnight, you said, and knew In wishing me Goodnight that I Would have been long abed. And that was true. I was dreaming your way for you, my dear, Freed of the mist that followed the snow here, And yet it followed you (within my dream, at least) Nor could I close my dreaming eye To the thought of further snow Widening the landscape as it sought The planes and ledges of your moorland drive. I saw a scene climb up around you That whiteness had marked out and multiplied With a thousand touches beyond the green And calculable expectations summer in such a place Might breed in one. My eye took in Close-to, among the vastnesses you passed unharmed, The shapes the frozen haze hung on the furze Like scattered necklaces the frost had caught Half-unthreaded in their fall. from Winter Journey, The Return (1987)
The editor thanks Anne Ashworth, Ian Brinton, John Greening, Peter Larkin, Michael Schmidt, Justine and Juliet Tomlinson, and William Wootton for their contributions to the realisation of this book. from Winter Journey, The Return (1987)
The editor thanks Anne Ashworth, Ian Brinton, John Greening, Peter Larkin, Michael Schmidt, Justine and Juliet Tomlinson, and William Wootton for their contributions to the realisation of this book.

The largest debt of gratitude is to Brenda Tomlinson, without whom it would not exist.

Contents
  1. Prologue
    Swimming Chenango Lake
  2. Epilogue
    The Door
Swimming Chenango Lake
Winter will bar the swimmer soon. He reads the waters autumnal hesitations A wealth of ways: it is jarred, It is astir already despite its steadiness, Where the first leaves at the first Tremor of the morning air have dropped Anticipating him, launching their imprints Outwards in eccentric, overlapping circles. There is a geometry of water, for this Squares off the clouds redundances And sets them floating in a nether atmosphere All angles and elongations: every tree Appears a cypress as it stretches there And every bush that shows the season, A shaft of fire. It is a geometry and not A fantasia of distorting forms, but each Liquid variation answerable to the theme It makes away from, plays before: It is a consistency, the grain of the pulsating flow. But he has looked long enough, and now Body must recall the eye to its dependence As he scissors the waterscape apart And sways it to tatters.

Its coldness Holding him to itself, he grants the grasp, For to swim is also to take hold On waters meaning, to move in its embrace And to be, between grasp and grasping, free. He reaches in-and-through to that space The body is heir to, making a where In water, a possession to be relinquished Willingly at each stroke. The image he has torn Flows-to behind him, healing itself, Lifting and lengthening, splayed like the feathers Down an immense wing whose darkening spread Shadows his solitariness: alone, he is unnamed By this baptism, where only Chenango bears a name In a lost language he begins to construe A speech of densities and derisions, of half Replies to the questions his body must frame Frogwise across the all but penetrable element. Human, he fronts it and, human, he draws back From the interior cold, the mercilessness That yet shows a kind of mercy sustaining him. The last sun of the year is drying his skin Above a surface a mere mosaic of tiny shatterings, Where a wind is unscaping all images in the flowing obsidian The going-elsewhere of ripples incessantly shaping. from The Way of a World (1969)

Wakening with the window over fields To the coin-clear harness-jingle as a float Clips by, and each succeeding hoof fall, now remote, Breaks clean and frost-sharp on the unstopped ear.

The hooves describe an arabesque on space, A dotted line in sound that falls and rises As the cart goes by, recedes, turns to retrace Its way back through the unawakened village. And space vibrates, enlarges with the sound; Though space is soundless, yet creates From very soundlessness a ground To counterstress the lilting hoof fall as it breaks.

Reality is to be sought, not in concrete, But in space made articulate: The shore, for instance, Spreading between wall and wall; The sea-voice Tearing the silence from the silence.
I
Warm flute on the cold snow Lays amber in sound.
II
Against brushed cymbal Grounds yellow on green, Amber on tinkling ice.
IV
The hiss of raffia, The thin string scraped with the back of the bow Are not more bat-like Than the gusty bamboos Against a flute.
V
Pine-scent In snow-clearness Is not more exactly counterpointed Than the creak of trodden snow Against a flute.
VI
The outline of the water-dragon Is not embroidered with so intricate a thread As that with which the flute Defines the tangible borders of a mood.
VII
The flute in summer makes streams of ice: In winter it grows hospitable.
VIII
In mist, also, a flute is cold Beside a flute in snow.
IX
Degrees of comparison Go with differing conditions: Sunlight mellows lichens, Whereas snow mellows the flute.
To define the sea We change our opinions With the changing light.
To define the sea We change our opinions With the changing light.

Light struggles with colour: A quincunx Of five stones, a white Opal threatened by emeralds. The sea is uneasy marble. The sea is green silk. The sea is blue mud, churned By the insistence of wind. Beneath dawn a sardonyx may be cut from it In white layers laced with a carnelian orange, A leek- or apple-green chalcedony Hewn in the cold light.

At first, the mind feels bruised.
At first, the mind feels bruised.

The light makes white holes through the black foliage Or mist hides everything that is not itself. But how shall one say so? The fact being, that when the truth is not good enough We exaggerate. Proportions Matter. It is difficult to get them right. There must be nothing Superfluous, nothing which is not elegant And nothing which is if it is merely that. This green twilight has violet borders.

Yellow butterflies Nervously transferring themselves From scarlet to bronze flowers Disappear as the evening appears.

Over an ash-fawn beach fronting a sea which keeps Rolling and unrolling, lifting The green fringes from submerged rocks On its way in, and, on its way out Dropping them again, the light Squanders itself, a saffron morning Advances among foam and stones, sticks Clotted with black naphtha And frayed to the newly carved Fresh white of chicken flesh. One leans from the cliff-top. Height Distances like an inverted glass; the shore Is diminished but concentrated, jewelled With the clarity of warm colours That, seen more nearly, would dissipate Into masses. The map-like interplay Of sea-light against shadow And the mottled close-up of wet rocks Drying themselves in the hot air Are lost to us. Content with our portion, Where, we ask ourselves, is the end of all this Variety that follows us? Glare Pierces muslin; its broken rays Hovering in trembling filaments Glance on the ceiling with no more substance Than a bees wing.

Thickening, these Hang down over the pink walls In green bars, and, flickering between them, A moving fan of two colours, The sea unrolls and rolls itself into the low room.

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