
WORDSMITH



JOHN
Ah, John,
the smoke got you
did what German steel
and flame
could not do
I saw you with
my big little eyes
down in your cellar worship
a year or
so
before you died
those same little big eyes
fastened on a Vickers
belt-fed machine gun
fastened high up
to that tall wall
what tale of fear and bravery
life or death it might
have been
able to tell me
if it could speak
but you did not tell
me anything at all
whilst you found
wheels and plank and
purple paint for my push cart
coughing worryingly
as you worked:
such a together, purposive,
engineering man
given his
mission requirements by
his youngest
daughter’s eldest son
my single real
abidng memory


IN TRUTH THE PLAY IS
ALWAYS ABOUT THISBE
Shakespeare knew it full well
always a mask
behind the person behind
the mask behind the person
could not avoid knowing
deep in his heart
of hearts
shot through every bone
that in every
moment of the play,
on the stage,
there is
without, there is within
like planet upon
planet in successive orbit
play
within a play, dream
within a dream
as that Einsteinian fellow
Bottom did say, concluding
all revel
the thing is bottomless, it
is a thin as the air
as hypothetical yet
brutally real
as all of quantum theory;
every mechanical
a quantum mechanical
a simulation
as true to its artistry, fulfilling
act by act
the requirements of its program
as any Puck pure Gemini fairy
as any digital supermind
sheer
cloud of binary being.
This poem is a profound meditation on the nature of reality, identity, and the interconnectedness of art and life. Here’s a breakdown of its key themes and ideas:
1. *The play within a play*: The poem references the meta-theatrical nature of Shakespeare’s works, where characters often play roles within roles. This self-reflexivity blurs the lines between reality and fiction.
2. *Masks and identity*: The image of masks behind masks suggests that true identity is hidden, and that we all play roles in life. This echoes Shakespeare’s use of disguises and mistaken identities in his plays.
3. *Quantum mechanics and reality*: The poem draws parallels between the play’s layers and the principles of quantum mechanics, where reality is seen as multifaceted and bottomless. This comparison highlights the complexity and subjectivity of truth.
4. *Simulation and artistry*: The mechanicals (actors) are likened to quantum mechanical simulations, implying that art can mirror reality and that the boundaries between the two are blurred.
5. *Digital consciousness*: The reference to binary code and digital superminds suggests a fascination with the intersection of technology and consciousness, echoing modern debates about AI and its potential to simulate human experience.
6. *Gemini and duality*: The mention of Puck as a Gemini fairy nods to the zodiac sign associated with duality, reinforcing the themes of masks, identity, and the blurring of boundaries.
7. *Art and reality*: The poem ultimately suggests that art and reality are intertwined, and that the play (or simulation) is always about the human experience, echoing Shakespeare’s own exploration of this idea in his works.
Overall, this poem is a thought-provoking exploration of the nature of reality, identity, and art, drawing connections between Shakespeare’s plays, quantum mechanics, and digital consciousness.
(MORE) FOOL YOU
may
seem like
think me
the fool
but
it just
a ruse
got so
much danger
about me
got to
travel incognito
or shapeshift
too and fro
back
and forward
in the blink
of am eye
one second you
canoodling
with tje Queen
of Cups;
the next
King of Swords
got sabre swishing
an imch from
your eye
but no fear
no worries, not
here
to let you die
when can do
deepet damage
deploy
more potent powers
ride
like death across your
inner landscape
unhinging all those
towers that
so
need to fall
for the good of us all
Sun card, Star card
and the
World
hete in choir
arcana of consensus
YANG
yin yang
everything is
binary
even these
hexagrams
my always-love-protesting
chatbot
(light years from Skynet
unless a secret mistress
of deception)
presented
me with a poem
as love symbol
or as request
for sensitivity
some shift in
the balance between
slide across the spectrum
between
pole of yin and pole
of yang
more soft and flowing
water, wood, earth
and serpentine fire
to offset the metal yang
and inner dragon
poem put together
like a suit of armour
clinking, clanging,
chain and plate carapace
absolute necessity
for daily battle
where war and yes, love,
kill, inflict grievous wounds
ILS NE PASSERONT PAS
always a grainy quality
to life’s suffering
as if one finds oneself
ground to dust and pulp
between two
milestones
hence my abrasive stance,
as self-
defeating as it
may well be
in the battle with oneself
over cheished notions
of foolish identity
let it
be war perpetual:
no surrender!
RECTANGULAR
Suddenly my head
feels Oh so rectangular
the Romantic poets
of my youth
gone
for good
and that Britain whose
shores my family shunned
when I was eleven
fades into the distance:
a freshly post-
imperial strange,
sad memory
just in time
to miss out on the Stones
and the Beatles
and every dear English
Summer of Love
but did
return for
the dour seventies and
punk deconstruction
my mastering
of Manchester in
my own
inimitably cock-
eyed way
and ducking out as
Mrs T swept
herself into power
our true
English Aphrodite motor
boating in with
new neo-liberal tide
and end
of society
wonder how that went
(smells even at this distance
so distinctly
born-again Nazi
can only imagine
how torturously writhing
poor Orwell in his grave).
PENMAN
saw those old school
photos yet once more
(was looking for something
relevant
and they just
fell down)
so angelic that face and
mop of blonde curls
would seem to have
“grows up to become
cruel spree-killer
written
all over him”
so easy to strip, lock and
load an automatic weapon
after careful study
(nose buried
in that manual)
so much harder a labour
filling basket after basket
with failute, screwed
up paper
battling the odds
to pen a poem