Words and Lines

Tris Kerslake

A Loughor Man

by Tris Kerslake

My father was a Loughor man, a placid, sometimes sulky man, who spent his time in Gower schools and spent his youth upon the field and spent his younger days to free the northern waves from floating mines. An irony.

My father was a Loughor man, a clever maths and english man, who left his schools to younger boys and left his fields for other games and left his greener home to be a sailor on a fighting ship. A remedy.

My father was a Loughor man, frustrated, educated man, who fled his father’s land-locked pit and fled his miner’s heritage and fled his nationality for wider lands. A refugee.

My father was a Loughor man, twice-crossed and bitter minded man, who broke his days for other backs and broke his back for better days and broke his heart to be back home again. A tragedy.

My father was a Loughor man, a missing mid-Glamorgan man, who drank his bitterness in pubs and drank his anger from a glass and drank his pain away. A Loughor man. A memory.

Constant Soldier

by Tris Kerslake

Too young to know the sorrow of her younger days I watch the old girl worry at the weeds that crowd her clifftop garden, chivvying the daisies with a wrinkled grip. Her stockings slipping unconcerned, she mutters ancient charms to drive the devil out of nature, she does not care for modern sprays: instant answers do not please her kind. Druidic rites of sacrifice patrol her roses and her Love Lies Bleeding.

My mother’s mother wipes the trickled sweat that oils her cheek, returning to the tumbled soil a part of life, begetting life with every motion of her hand, she is the earth. She rises like a child and smiles at me, not quite a child, the years between us matter nothing in the sun. We share the hidden hopes of daffodils and phlox. The stones she throws aside mere echoes of the ones she loves.

Her empire claimed, she relishes the sky and estimates an early rain with practiced eye, politely questions me of homework and of lifeless things that pale beside the mettle that she is. Soft steps between the lily and the vetch, her current life a gentle ebb that leads to lilies more enduring and weeds that grow unseen. She balances upon my hand and takes me into early thoughts of autumn which slows all things.

I see her as she will become, not frail, not quiet in a hospice bed but reckless in the spirit of my greener hours, connected by the line, the careless issue of her clay ignores the closer view. With memories of times before there was a time for me she ranks her days with flowers, a poor bloom that, and more, a bitter winter then. Enacting country life as farmers would, dismissive tags on bovine ears, she’s no good for man nor beast, she scans the sky.

My mother’s mother hoists her stockings to half-mast and reconciles the bygones with emphatic hands that rub the steady earth to shades of drab along her arms, she licks a palm. We move away to clinking china from the house below bereft of blooms, the granite fort of home, my father’s house, seems gloomy in the damping day; like veterans we shoulder arms. The budding night will hold no joy for us, no light within my father’s house.

Called into tea, my mother pours the acrid Assam herb that soothes and thins the bitterness inside and plans her stratagem on plates of cake and scone, the two her infantry of war. She is the constant soldier of my life, whose every task is numbered, regimented by the book my father writes. A luckless private she, duty-struck, consigned forever to a lowly post. My mother, reticent supreme, awaits the words of drill.

Surviving war, a land-girl of the north, who made a life along the edge of storm and rock surviving now the spiteful squalls and tempests of my father that threaten to engulf. Strong she is with a soldier’s thickened crust for scorn, she braves her general, her gardener and child and lets the angry words slide free, slides them away to places deep within her northern bones. She never cries.

Alerted by the merest hint of day she mans the kitchen with a watchful eye malingerers are not encouraged here, take an aspirin and see her tomorrow. But for the restless child there is an obscure care she would deny point-blank. Though broken bones soon mend, the aching core of youth attracts a softer hand, she is my confidante, my confessor.

And I, the child who took her favoured name, who recognised the stiffer lip of pride through studied smiles though child-like, I could not defray the dark for her: the dark was home. And darkness would have been the soldier’s lot, precise, constructed like a prison cell before a military end. My father took his ending to the sea, and I, the child, could give him no salute, not quite a child. The years between us.

Too soon the soldier stood upon another hill and marched in slow-time all the gardens by, with friends she gave her gardener a single rose, red rose, to last for all the seasons long.

Too young to know the sadness of her younger years I watch the old girl worry at the weeds and proudly send her gardens full of sun, of ancient charms. The stones she throws aside mere echoes of the ones she loves.

Different Air

(written after leaving Plymouth and moving to Mildura)

by Tris Kerslake

The Cornish breathe Atlantic storms like perfume rising from a scented breast and chase, brine-blasted eyes alight, the hoyden westerlies with lovers’ smiles.

The dusted incense of a Mallee mile that rinsed my throat in burning waves of strangely fragrant promises, now leaves me weak, desiring.

Hard-mouthed, the north men quest and conquer howling swells with arms beloved by women. Before the gale they roar their rougher battle hymns.

Priceless silt of crumbled cinnamon my touch excites your burnished sand displacing arid backwashed reefs, red-wrapped in flimsy spice, I drown.

Their faces rising to the kiss of spray with shouts exultant watch the Cornish hunt, crack muscle to the urge of water’s whip, impassioned, dance upon a twisting sea.

Horizon-locked and lost; seduced, confused by vagrant memories of a different air the breath inside drifts out, ebbs back, a stream of living sea runs to the mouth.

Caressed by winds as dry as death with elements of foreign composition, and though completely absent from my shore, I have felt the tide and tasted salt.

At the End of the Pier Where the North Sea Meets the Weather

(written upon hearing the title of Neil Cuthbert’s painting)

by Tris Kerslake

A block-and-tackle jump, we kids would guess how deep the water really was, but still the jump was all that kept us from our adulthood.

Blues and greys and scummy green, the Whitby pier was home at times to remnants of the northern fishing fleet sailing on the back of scanty herring. Preferred by spider crabs and children for its creviced legends.

From the chill Cape Wrath right down to The Naze the North Sea chafed the stones of safety cast by frantic men, greeting ceaseless onslaught and the waiting wives of captains reckoned by their names on iron rings and absences.

And on the sunny afternoons we kids would guess how many dead men lay beneath our feet.

Built before the gales and for those moments when the North Sea meets the weather, the old stone pier gives comfort to the restless boats that bounce a fender’s distance from dry land, and leave their painted signatures along its faithful skirt.

No subtlety in its construction, block on block it runs standing square against the vagaries of common use, tucking Whitby town away, exciting nothing but the kids who guess and wait to jump.

The Last Dragon

(on the advent of the new Welsh Assembly)

by Tris Kerslake

From the dark I came, from slate-black hills and mountains tasked by gales where echoes of the golden lays of history and legends of the old men fall from sight. I flowed with waters not my own, with bloodied sighs I grasped the dawn.

Filled with heat and life I culled my growing years upon the ribs of coal, pressed hard by discontent and grief, burning meadow hours without due care so that my feeble wings could never hold the wind, and breath was held a captive in my mouth.

All alone I searched for others of my kind, through numb and empty space and hidden latitudes I crawled, fading from the dreams of English saints and feared no more. I coiled within the worn out land to sleep my last, unmarked, unknown, unsung.

Lullabied by hymns of miners with their lamp-blind Bible words I sense a change as my form amazes breathless engineers who cannot see me whole, but know the beauty of a single scale, caressed by awe and I begin to rise.

Sinewed neck unbows as back and claws and teeth and bones unite my form, and raise my giant wings, greeting kin who name me with a soaring voice, and call me out upon the mountains and the sea to see in truth the dragon has survived.

This Product Carries a Health Warning

by Tris Kerslake

This stuff is dangerous and not for kids. Top-shelf brown-bag merchandise that shuffles an existence from suppliers through the middle men to you. Not always nice, it is no pot of basil; it has no complete name.

One taste of this and it can change your life. Do not imagine that its minor samples cannot work. They can. Insidious, it creeps inside until it rattles up your brain and halts your breath. You see the addicts as they roam the shabby shops.

How wisely the new world rejects its winsome way. The books and shelves seem empty even of a hint, and children mostly weaned without its song. Even its creators are obscure, Keats, Frost, Donne. And Mr Eliot. Villains all.

Funerals

by Tris Kerslake

I like some funerals. Especially the wet and weepy kind, the kind you see in films, Where the woman who done him wrong is inhumed, to orchestral strains As the sun sinks slowly in monochrome.

I like it more when the scarred man in the black hat, whose lisp has annoyed me for reels shuffles off his Smith and Weston, and is planted deeply in winter. Enabling him to grow his character for the next funeral.

I like it best with special effects and lasers. Where I can watch a thousand times as planetary millions are engulfed by androids that can never die, but occasionally nod off, to reawaken in the sequel.

I don’t like The Friday Kind. With approved time off work, wondering how long the flowers will last beside the stringy grass and gravelled paths, among the leaning stones and nesting birds.

I like it less in back gardens. Between the rhododendrons and the fence. Under the hasty bindweed where the claggy earth coats the shoebox and the little twiggy cross.

I like it least of all on sunny afternoons, when everyone seems either deaf or mad in purchased black. And all my thoughts surround the fact that I cannot rewind.