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About Alan Reynolds

Poet born and raised in North Carolina and now after a sojourn in England a long-time resident of the Netherlands. More than 4,000 poems, many published in US and UK literary magazines and on CD and in books.

My Word

My Stetson’s welcome, seeing that my hair,
thick as a furry animal’s in June,
is here in my October passing spare.
Unlike my words! They well from a lagoon
of similes. They cascade like a flood
of rhetoric to rage against the light.
They’re a lyric Lear-full sung by Elmer Fudd
who comes not that genteelly into sight.
I try to mitigate his senseless rant
with pearls of wisdom, but they don’t exist.
I winkle phonemes out of shells that can’t
be called sand free although they do persist
in staying pearl-less, peerlessly absurd.
I hear sea shanties in them, and my word.

An Autumn Urban Stroll, Amsterdam

October blows brown leaves down. We are shopping.
We stock up on candles, ask about a chair.
Damp chilly breezes keep the strollers hopping
and no one’s sitting outside anywhere.
The headlines — seaborne plastic, radiation,
people fleeing warring powers everywhere —
are far away but never far enough.
On the next street we dodge past a prancing jester.
His coloured stockings, cap, and rubber ears
seem sensible in contrast to world news.
You’d think somehow a moral must be drawn
but I can’t find one though I’ve shopped since dawn.

Response

Is apathy an acceptable response?
It feels better (because feels less) than other options
Which are available to us readers of the news
Where some police shoot children, and where kids
Kill lots of people with their parents’ guns.

It seems, to guns as news, that we adjust,
But more headlines beat on us every day
With floods, hate, lies, and thefts on grandstand scale.
We see wars, and photographs of screaming grief,
And unmitigated everyday small meanness.

Anthropogenic warming. Globe goes Bang!
Put on blinkers. Turn off all reports of spying.
Take pills of higher strength. Ignore the signs
Until it all hurts less, until you’re happy.
A little, sometime. Nearer apathetic.

Nodding and Noodling at ‘De Koperen Vis’

Last of the summer wine. September sun.
I take my ease, and yours. I meditate
on how life’s less fair than weather in the run
that we call long. The choppy waves reflect
the pointilisstic view mayflies must see
in their one-day lives. In contrast, oaken trees,
like those whose steamed and twisted beams comprise
this harbour’s boats, live longer than do flies
and longer than we will. My long-stemmed glass
goes empty. Autumn chill consumes the shade.
I move my chair to where some sun still reigns.
I think of a rainy city where my son
is working in a tower like I did
when he was younger, and I was not old.

With my back turned to the water, face to sun,
I let the climate take me where it will.
The play is ending as it had begun
back when I had not noticed, and the thrill
of the closure fast approaching was not mine.
I am north of New York State, east of Quebec.
The Gulf Stream keeps me warm enough for now.
Rare birds of plumage — humans, others — trek
about the wharves and water-fronting spas.
Not many people join me in my pause
out on this sunny terrace, where imagined
encounters and adventures quietly pass
into tall tales that novelists will write
all winter waiting for Spring’s holy light.

The wind resembles friends who this year died.
in taking away, like they did, my best thoughts.
Yet, unlike them, the wind has never tried
to recompense me as they did by giving
me ideas of their own: a special gold.
The gold they gave me was the magic kind
that will, although the universe goes cold,
retain its value. They brought gifts of mind.

(on the sunlit terrace of Café ‘De Koperen Vis’ (The Copper Fish) in Monnickendam’s harbour)

September Siesta

I lounge alone on Peter’s patio
that frames the gathering grey clouds storming past
between high-hanging, stock-still clouds of white
and me boxed here against the coming night.
The sun scores silhouettes on banks of white
and writes initials on the crescent moon.
The moon, self-centred from this patio,
backlights high-flying swallows as they flow
and flip, appearing swiftly from stage left
to exit right as cannon fire that soars
up moonwards. Downstage, modern feasting Moors
and Christians re-enact their ancient wars.