Ivy
Is it perhaps time—
although I have always preferred
the smell of hawthorn,
loving the way it speaks of how
simply by keeping things light
and letting go of all
that’s gone before
I can finally start afresh—
to consider
the voice of ivy:
which only at the end
of everything
opens its pungent
barely-discernible flowers
to glut a thrumming hubbub
of autumn insects,
and demonstrate
the gravitational pull
that comes
with late blossom
like a blessing.
Holly
How easily I might—
if not for the quizzical
scholarship of bees,
who render
from the otherwise
unremarkable
eloquent but
softly-spoken meanings—
have passed them by
completely—
and missed through
my incompetence
the blackbird’s
rapturous welcome
as he anticipated
in these quiet flowers
conspicuous nodes
of abundance
which in the coming
days of long silence
he will eat.
Before the swallows
No. Not sadness exactly.
Wistfulness perhaps but not regret—
as I put on my coat this morning
knowing the fieldfares have left.
There’s a quiet in the sky.
A clearance, in which it’s possible to hear
(for a minute or so before the swallows arrive)
the soft breathing of the year.
And somehow my scatter of fruit trees
knows what happens after this.
The sound of blossom opening
is the sound of peacefulness.
Here in the garden, now,
in the middle of the possible, I rest.
The blackbird sings a phrase so ravishing
then together we wonder—what’s next?
Saltmarsh Appletree
Close to the tideline
where no right-thinking tree
would choose to grow
your roots now and then
engulfed by a cold
seep of dark water,
you learned to acquire
a taste for stinging brine
and turned your unpropitious
patch of ground into a benefice.
Paragon. Parable.
Year by year you make
from salty earth
sweet fruit.
Blackthorn
Think of its white flowers
that come before the leaves,
as if to echo the frost
they were born out of.
Clustered in such abundance
they look like gathered night,
its berries are dark planets
with their own sour gravity.
This is the taste of winter—
smoky globes of dissonance
you only try the once
and then spit out.
Sloe tree, what can it mean
that all my life I’ve loved
a tangle of difficult thorns
bitter inedible fruit?
Charles Bennett's award-winning poetry has been published to wide acclaim. He has collaborated with musicians, photographers and artists, and seen his work translated into German and Spanish. His work as a librettist with choral composer Bob Chilcott featured in the 2012 BBC Proms. He was the first Director of Ledbury Poetry Festival and is currently Associate Professor of Poetry at the University of Northampton where he leads the BA in Creative Writing. His second collection, How to Make a Woman Out of Water established him as a poet concerned with marvellous transformations of the landscape. His poems have featured in over 125 poetry magazines including the TLS and The Times (as Frieda Hughes’s Monday Poem). The BBC made a short film about the poetry trail he created in a Herefordshire orchard, and he has given readings (described as ‘captivating’) at a large number of national and international festivals. Quickly becoming recognised as a significant librettist through his collaborations with choral composer Bob Chilcott, he has recently completed work on Soundings, a new non-fiction book which explores relationships of sound and place by discovering the source of a North Norfolk river during the course of one spring.
Innisfree 40
A Closer Look:
Matthew Thorburn
Nancy Naomi Carlson
Alice Friman
Brock Guthrie
John Koethe
Pramod Lad
Michael Lally
Michael Lauchlan
Hailey Leithauser
John McCrory
Hugo S. Simões
Gene Twaronite
on Mildred Kiconco Barya
on Annette Sisson