Jacqueline Everett : Poetry
The Finish Line
The medical tents are already there,
hydration stations stacked, waiting in line
on Patriots' Day downtown Copley Square;
Newton and Darwin lauded in stone,
between Armani, Gucci and Beacon Hill
above The Common's late flowering blooms
where we tourists follow The Freedom Trail
painted in red; history's open wounds;
lives ended by home made back-packer bombs,
destroy people they never even saw,
ball bearings, nails, tearing apart limbs,
some only saved by strangers schooled in war.
As we question again whose hate, whose fears?
Boston's magnolias shed waxen tears.
Carole Bromley writes
"....written in response to my challenge .... my personal favourite of all the poems submitted this time .... is by Jacqueline Everett who happened to be in Boston the day before the bombing. All the details, place names, the briefly flowering magnolias, the very American "Finish Line", the "hydration tents" ready for the marathon, little details like the precise statues and the Freedom Trail marked in red transport us to the spot in a way that someone basing their poem on a newspaper report could never do. And those falling petals like "waxen tears" are perfect. Lovely poem."
Resurrection at Benson
(Homage to Stanley Spencer's Resurrection at Cookham)
Long may they dance on their graves,
garlanded in black eyed pansies,
broken vertebrae liver spot brown,
cataract milky blue, traces kicked over
at the very thought of the last waltz and
the long walk home, leaving
the warm embrace of the slow foxtrot
behind in the wooden hut, stiff
with the smell of creosote and sweat.
Long may they dance in the spring,
throwing back the rounded turfs
splitting apart after a dry winter,
toes touching, hop skipping
across the sandstone and marble,
bowling a century not out on the
fully trimmed pitch of the Air Force plots,
wicket keeping behind the upright stones.
Long may they sing with their full
chested orange beaked trills
ricocheting from bench to bench,
memories wrinkling up their toes
with the pleasure of it all, swept off
their feet into a quadrille of beech and ivy,
the star burst of a blossom tree lighting a
candle for all to see beneath the clock
where midnight is never struck.
Long may they join their hands together
to make that hokey cokey circle turn.
Long may they weave between us
with a conga, you've never yet seen
the like of, lives plaited into a single thread
with bridges hardly crossed and rivers still to swim,
lovers drunk as lords tumbling with joy
into the watercress beds on their way home.
Amy Newman writes "This feels alive (such a fun word to use in this context, in light of Stanley's resurrected villagers). A kind of celebratory elegy that engages the energy of Spencer's visionary, imaginative melding of fact and is energized by the poet's imagination. I admire the lines that open each stanza, for example: "Long may they dance on their graves" and "Long may they dance in the spring," as a kind echo of commemoration in the midst of these resurrected, lively dancers, so vividly "garlanded in black eyed pansies,/ broken vertebrae liver spot brown,/ cataract milky blue" against the oncoming lines as they leave "the warm embrace of the slow foxtrot/ behind in the wooden hut, stiff/ with the smell of creosote and sweat". There is a delicious pleasure even in the strange idea of the dead returning in a kind of old-fashioned dance on terra firma. The mix of the content and the lively language (the dancers now "throwing back the rounded turfs/ splitting apart after a dry winter,/ toes touching, hop skipping") reminds me of the joyful quality of William Carlos Williams' "The Dance" after Breughel's Kermess, another ekphrastic pleasure. Spencer's Resurrection at Cookham features that central leafy green foliage around which the resurrected move, and I love the way that Everett works with this vegetation in the "quadrille of beech and ivy," in "the lovers drunk as lords tumbling with joy/ into the watercress beds on their way home." Such delightful, descriptive language is a joy to read."
Spring, A Sestina
In the Beginning
Monticello , Virginia
Dancing with Neil Armstrong
The sonnet
The Grùnewald was long listed for the YorkMix.com Poetry Competition 2014.
The Grùnewald
After W.S.Graham
Imagine a forest, bluebells trapped, dumb,
far below the watchtower's wooden steps,
where unicorns slept, where the trail of crumbs
ran out. See those rail tracks, silver birch swept
aside for us to wait in tidy queues.
I imagine a dark gabled house, mirrored
in a stream, where the golden firebird mews,
tucks her burning feathers under her head.
See those trains steam towards Track Seventeen
past their bonfires of our stories now done.
Imagine Wannsee, airy, neat and green,
where fifteen men over a buffet lunch
dreamt up protocols to silence the squeals
of The Wild Wood's goblins nipping their heels.
The poem Number Ten was commended in the 2021 York Poetry Competition.
Number Ten
We meant to leave behind us:
Mum's piano no longer played,
the rocking chair the dog had
worn down, into the ground,
Grandma Lily's china cabinet,
the veneered light-oak table,
war-time issued utility ration,
the iron-framed double bed
in which dad had been born,
the new bathroom extension
sloping downhill all the way,
glass stockroom with cigarette
cartons, sweets and toffee jars,
which overlooked the tiny yard,
nasturtiums throttled by blackfly,
our skeletal, elderly neighbour
given to wandering in the night,
Barrett's shop, furniture-sellers,
who could direct funerals too,
the cemetery and crematorium,
a flower shop, close by, handy
for a spray of decent chrysanths,
a soot-besmirched gothic church
spiraling high into an empty sky,
bells tolling for the passing trade.
But not Lily's precious trunk in the cellar,
with pewter and chinoiserie, left behind,
but unintended; the new owner adamant
he'd never seen. Denying it'd ever been.
The poem Heatwave in Hiroshima was longlisted for the 2022 Plough Prize.
Heatwave in Hiroshima
August 2007
Croissant; coffee, sitting tight in a pool
of light, above the Memorial Park,
sun scorching outside, without any cloud.
Our hotel with air-con, shiny and cool,
shields us that August day, burning too hot,
protects us from its heat already high.
We stare instead from our window on high,
too far, we reckon, to get to the pool,
where that toad sits and curls its sticky hot
tongue beyond the confines of the Peace Park,
where towering white-slabbed blocks offer cool
shade, re-drawn in the shadow of that cloud.
Mountains circle the sky, but scarcely cloud
our vision now focused, though far too high
away from roads, the river distant, cool,
our sights fixed only on that gleaming pool,
where Little Boy fell like a ball in a park,
stripping that steel dome bare, bending it hot
in the centre of the storm, beyond hot,
beyond our comprehension, a dark cloud
forming and re-forming there, where no park
was meant to be, growing stronger on high
like lotus flowers re-born in a pool,
but not when darkness is meant to be cool.
But still we linger here, drink in the cool,
butter toast, sip our coffee, whilst still hot,
look at the river gathring its pool
of memories, which survived that dark cloud
spilling out from Enola Gay on high
destroying lives; the dead under a park,
staring at the A-Bomb Dome in the park,
sheltering from the heat, keeping our cool,
remembering instead from up on high,
that war, no end in sight; too wet, too hot
to fight over hills and through monsoon cloud.
Dad, alive, smiling, by a Rangoon pool.
Too late for the Park, where it's far too hot,
we hide in the cool, above the Dome's cloud,
recoil from on high, that toad by the pool.