night

Arthritic fingers of the olive trees
Accuse the sun of ancient injuries.

The shallows harden to an ochre crust
While bony cattle huddle in the dust.

The wretched one who tears his flesh resumes
His bellowing from somewhere in the tombs.

The sky assumes a tyrant's glare. Despite
Our lust for rain, we fear the eerie night.

Dogs whimper softly. An unearthly dawn
Ignites some whispers that the dead will yawn.

We spot a boat; pigs and children squeal.

The ladies men admire, I've heard,
Would shudder at a wicked word.
Their candle gives a single light;
They'd rather stay at home at night.
They do not keep awake till three,
Nor read erotic poetry.
They never sanction the impure,
Nor recognize an overture.
They shrink from powders and from paints ...
So far, I've had no complaints.

Some nights it's bound to be your best way out,
When nightmare is the short end of the stick,
When sleep is a part of town where it's not safe
To walk at night, when waking is the only way
You have of distancing your wretched dead,
A growing crowd, and escaping out of their
Time into yours for another little while;

Then pass ghostly, a planet in the house
Never observed, among the sleeping rooms
Where children dream themselves, and thence go down
Into the empty domain where daylight reigned;

The moon in the bureau mirror
looks out a million miles
(and perhaps with pride, at herself,
but she never, never smiles)
far and away beyond sleep, or
perhaps she's a daytime sleeper.

By the Universe deserted,
she'd tell it to go to hell,
and she'd find a body of water,
or a mirror, on which to dwell.
So wrap up care in a cobweb
and drop it down the well

into that world inverted
where left is always right,
where the shadows are really the body,
where we stay awake all night,

Inside Ayers Rock is lit
with paired fluorescent lights
on steel pillars supporting the ceiling
of haze-blue marquee cloth
high above the non-slip pavers.
Curving around the cafeteria
throughout vast inner space
is a Milky way of plastic chairs
in foursomes around tables
all the way to the truck drivers' enclave.
Dusted coolabah trees grow to the ceiling,
TVs talk in gassy colours, and
round the walls are Outback shop fronts:
the Beehive Bookshop for brochures,

The bicycles go by in twos and threes -
There's a dance in Billy Brennan's barn to-night,
And there's the half-talk code of mysteries
And the wink-and-elbow language of delight.
Half-past eight and there is not a spot
Upon a mile of road, no shadow thrown
That might turn out a man or woman, not
A footfall tapping secrecies of stone.
I have what every poet hates in spite
Of all the solemn talk of contemplation.
Oh, Alexander Selkirk knew the plight
Of being king and government and nation.

Above the vale of Inkerman,
Calmly the moon's rays fell,
Revealing as by light of day,
That deep and lonely dell;
Tchernaya's waters as a band
Of silver graceful flowed,
But who can paint the ghastly scene,
Which those bright rays disclosed!
Thickly as leaves around the path
Through copse and brush-wood dense,
Lay piles of dead and wounded men,
Slain in that fierce defense.
The fearful moan, the struggles fierce,
The hoarse and gurgling cry

The fervent, pale-faced Mother ere she sleep,
Looks out upon the zigzag-lighted square,
The beautiful bare trees, the blue night-air,
The revelation of the star-strewn deep,
World above world, and heaven over heaven.
Between the tree-tops and the skies, her sight
Rests on a steadfast, ruddy-shining light,
High in the tower, an earthly star of even.
Hers is the faith in saints' and angels' power,
And mediating love--she breathes a prayer
For yon tired watcher in the gray old tower.

The hounds of despair, the hounds of the autumnal wind,
Gnaw with their howling the black echoes of evenings.
The darkness, immensely, gropes in the emptiness
For the moon, seen by the light of water.

From point to point, over there, the distant lights,
And in the sky, above, dreadful voices
Coming and going from the infinity of the marshes and planes
To the infinity of the valleys and the woods.

And roadways that stretch out like sails
And pass each other, coming unfolded in the distance, soundlessly,

Walking swiftly with a dreadful duchess,
He smiled too briefly, his face was pale as sand,
He jumped into a taxi when he saw me coming,
Leaving my alone with a private meaning,
He loves me so much, my heart is singing.
Later at the Club when I rang him in the evening
They said: Sir Rat is dining, is dining, is dining,
No madam, he left no messafe, ah how his silence speaks,
He loves me too much for words, my heart is singing.
The Pullman seats are here, the tickets for Paris, I am waiting,