Les Uns et Les Autres

Les Uns et Les Autres

Alan Reynolds, acrylic on paper

These rough-drawn salamanders symbolise
the patient grace of Gaia as she pours
our molecules, in always-new reprise
of forms and folds and patterns she adores.

This bee, who’s dead, or sleeping in this box,
epitomises Gaia’s gayer pranks.
He’s sniffed the flowers, flown above the flocks
of sheep in April; gambolled near their flanks.

He bet he’d last the summer, and he might,
but only on this canvas, stretched and sketched.
Perhaps he’ll be recycled as raw light.
A full reincarnation? Too farfetched.

We dance in patterns we cannot perceive
but Gaia does, and pets us when we grieve.

Originally a 19th century silkworm nursery, the now legendary artists’ retreat ‘Beauregard’ in southern France nestled among vineyards, forests and Celtic ruins. It was where the artist Leo Musch (1943 — 2013) gave wonderful summer lessons, inspiration, and lodging to painters and sculptors.
One July morning Leo assigned a project where we were to paint something showing motion whilst leaving an empty rectangle somewhere in our paintings. He would tell us later how to use the rectangle. I covered my large sheet of gesso-treated paper with acrylic sketches of some lizards I watched playing, and of a bumble bee that fell and lay still on a table where I had been having coffee under the trees. I carried the bee around with me in a metal box, feeling he might have been sent to me as a model. Leo reviewed the pictures and instructed us to make different but related paintings in the reserved rectangles, showing some theme that would relate the two parts of the work. I sketched the bee (about twenty times) on other paper, then painted him in the rectangle, in a three-dimensional box that looked out into other space and time. Then I wrote ‘Les Uns et Les Autres’ to accompany my painting.

 

 

Non-Question Springs Anew

The question whether poetry still matters
is jejune this April as it ever may
become or was. Illogic in it shatters
all hope of answer. Fitful fey things pay
silly devils to say there’ll be hail to play
with in the desert, before poetry
begins (or stops) to matter to the free
and gloriously inequitable curse
of prose that’s lifted high enough to be
poetic tropes. It could always be verse.

Jackdaw Promenade


‘It is time we stopped taking walks together. Follow.’
The jackdaw knows we’re watched and is ashamed.
‘I don’t expect you’ll fly like show-off swallows,
but if we stay aground like this folks think I’m maimed.’


‘It is sad’, he adds, ‘that only in reflections,
like this one, can you reach the chimney tops.
If you’d better coordinate your genuflections
or hold you mouth right when you practice hops


we’d be the bee’s knees. Walk right on the edge
like I am, and, when I do, try to soar.’
Intent, I move from Hatch almost to Fledge
but chicken out, unfeathered, one time more.


‘There are few bipeds I’ve met with who are ground-leashed.
Are you an ostrich? You will get me ostracised’,
says the jackdaw sotto voce, adding, ‘Sheesh!’
I am fed up being walked and criticised


and I hope he’ll leave. He demonstrates a takeoff,
wings pitched to rise, and I call out, ‘Farewell’
but he pretends that I yelled ‘stroganoff ‘
and answers, ‘Where’s the beef?’ – he’s smart as hell


but a travesty as friend. He eyes a boat
and asks would I require a flying bridge
or an aeroplane to get across this moat.
I tell him blackbird pie is in the fridge,


and he says he’s et already and he alters
position getting set to cross the street.
‘Is walking something else at which you falter?’
says the jackdaw. ‘Now I’ll show you something neat.’


And he does. He crosses his path then takes mine.
When Jackdaw walks he walks with fire and flair.
‘Try this’, he says in parting. He’s so fine,
both feet at once stride neatly on thin air.

Bearly

The papa bear rises in anger
and throws up the sash and his dinner
plus the tickets he’s bought for the races.
They’ve delivered him bile but no winner.

The mama bear, pining for roses,
sashays to a tout she’d once dangled
to make papa pout, she supposes,
but the tout coldly flattens her angles.

The baby bear Just Right is crying
to change papa’s luck or its diaper
but both parents are deaf or distracted
and the race track has no candy striper.

Sheepish Sheik

For Mother’s Day he gives to all his spouses
who have proved viviparous Maseratis.
To the others he gives sherry (sweet) and flowers,
and a Haitian potion to the one who’s dotty.

Perhaps it’s him who’s dotty, they’re not telling
what only they and he know. Coming clean
would tear it and their treasure trove would dry up
should the world learn he was eunuched when thirteen.

Yeti mother sneaker yet another speaker

(taking notes at a public meeting addressed by Mai Selph)

He slurs his words but whose words would you have him
slur, not those of yours nor Jesus Christ’s?
His verbal bons mots do not if you halve them
sum up to something better than what’s spliced
between the sheets, main braces and stale phlegm
that cross and short connections in his mind.

I’d be preciser but I’m being kind.
I’d be grammatical but he is blind
to what I’m writing here: he does not read
and more precision would not add one jot
to this jammy, namby-pamby polyglot
who stands before us speaking. He’s enthralled
by what he thinks he’s saying. Wan eyes glisten
as he assumes because we face him that we listen.

Ages of Moan, Nr. 1

If cynicism’s seven I am nine.
The labels used for politics seem daft
as those of literature, and even mine
are drafty as a rotten-boarded raft.

Conservative is meaningless where Fate
is actually nothing. Liberal is less.
Romantic’s passed by years its sell-by date
and Realism’s forced and must confess

that they are all, these labels, nothing now.
But Life itself is filled with Gems it means
to be adored, not analyzed on how
they might be labeled. I adore the clean

and mystic wonder of Life’s precious things
like birdsong, smiles, and ageless wedding rings.