Richard Westcott's poetry

Landmark
Some miles before reaching home, we see that familiar black topped hill, away to the west. Nearly there, we think – or at least, this is our country now.
The landmark, Bampfylde Clump, is actually just a clump of trees – densely planted beeches, mature, but not especially ancient.It’s said that a certain Bampfylde, one Baron Poltimore, established the tautological Round Ring (another of its titles), so that he could look around in all directions over the land he owned.
More interesting, is the deep-rooted awareness of this natural high-point, and the celebration of it over the centuries, in various ways – secular and sacred.Certainly, many coming into north Devon – be they resident or visitor – must have raised their eyes to the hills: Round Ring – there it is, Round Ring, as it’s always been, awaiting our arrival.
Who knows what lies in, among and under those beech tree roots?Earlier burial places, perhaps even barrows, invisible now, will have been disturbed by the later p…

Some art work is like poetry.
Of course, much isn’t – at least obviously.Many a huge oil painting is closer to drama – perhaps even better, opera.Most portraits are more or less representational, especially in pre-photographic times.Landscapes are records, as are Still Lifes…
But realising that all these may have emotion imbued or expressed, indeed that the very reason for painting or drawing is to offer a unique individual’s point of view, I appreciate that I’m arguing against myself.
Still, when pictures strive to be succinct and every line has to count, when a whole story is told with deceptive simplicity, when so much is expressed in a compressed form and when there’s an acute awareness of a sense of balance, harmony, even rhythm (I can’t pretend rhyme has a place in visual art) – well then they share much with poetry.
And none more so than Hans Holbein’s sequence of The Dance of Death.
41 tiny images – each no bigger than a match box – depict Death in the form of a skeleton, ca…

Looking at the banks and hedgerows at this time of year, I wonder how anything small – or even large – that lives there manages to survive.  Everything’s withered up or simply gone.  Of course, there’s no expectation of leaves or flowers, but where are the fruits and berries, the smaller creatures lower down the food chain essential to survival… just what is there to live off?  It’s a bare and empty larder, hardly even offering any shelter.


And yet, deep under layers of moss, beneath bark, beyond and out of sight, sleep seeds and eggs, cocoons, life in shells, little wrapped-up tangled bundles of creatures, even slumbering, hibernating animals tucked up to weather the winter.
It’s always been like this.  Many must perish, but a few – a select few – live on, to carry the colony, the tribe, the clan – perhaps even the species – into better times. Yet despite its regularity, predictability, even necessity, such a slaughter is hard to comprehend.
So, we tell our own stories. For us, there has…

There’s a lot of them about at this time.Along with the cribs and holy families, stars and shepherds, Magi and assorted animals – not to mention the robins, lit up churches shining across the snow, reindeer, stage coaches, drunken mice and yule-tide logs – here they are, singing, blowing the occasional quaint instrument or just standing around looking decorative.Not often flying in fact – perhaps even the most credulous find it hard to imagine those wings extended and in action, least of all in a windy night sky.But they’re certainly around.
Yes, the angels.
Angels – those hybrid creatures like the centaurs, combining – quite unrealistically, even if desirably – elements of different creatures. How on earth could that horse body support the upper half of a man instead of its own, properly balanced, head and neck? And imagine the massive pectorals required to provide the downward pull on those necessarily huge wings! Yet, at least since the winged Nike of Samothrace, those wonderful winge…

Did we really do that?
It’s easy to ask this question as we look back and see what terrible things happened in the past. Not just happened – but were thought of as normal, unexceptional: what people like you and me were quite happy to countenance, if not actually do. Well, perhaps some people sometimes felt that was a bit harsh… who knows? But for the most part, decent folk like you and me just accepted it – that’s how it is, life goes on, why change how we do things and I’ve got quite enough to do already.
Slavery’s an obvious example of course.
I recently wrote a poem about another: the scold’s bridle, an iron helmet with a plate pressing down on the tongue, used on (what were considered to be) vociferous women – yes, almost invariably women.I was of course pleased that my poem won a prize, but my consequent revisiting the writing of it and the research stirred me up all over again, with a renewed and heightened sense of astonishment and anger. (The poem’s on the Poetry Society Website, if…

It's a great poem, Lowell's For the Union Dead.
I only recently came across it - at least, that's what I thought - but it's been grunting (I choose the word advisedly) away in my head ever since, especially that fourth verse.

Behind their cage,
yellow dinosaur steam shovels were grunting
as they cropped up tone of mush and grass
to gouge their underworld garage.

It took a little while for me to realise why.
Before (I thought) I'd read it, I wrote a poem about the new housing estates springing up round our little town. I was thinking about the various creatures that had lived on the field that was to be covered with houses - sheep primarily - and then those that were to follow.

The first were, well, a sort of dinosaur.

Here's my second verse:

At first it was the one-armed monsters,
set free within their caged arena
to trundle round, and gently paw
the ground, then pile up mounds of earth
accompanied by Lego men.

I was pleased with my trope, so muc…

I like September.


It's not just that it feels as though the effort of keeping summer going can be given up, almost with a sense of relief.


No, it's more than that - here's a new season, fresh in its own special way.


As September contains a quarter day (itself relating to the solstice) I read that it was a time when people were hired, land was exchanged and debts paid.


So various things start now, like the academic year, making it a month for new beginnings -  although it draws heavily on recent growth, sometimes hardly noticed.
And then there's all the fruit, of course, only too often celebrated poetically...
But much more interesting are the arrivals that startle.
I mean the fungi - extraordinary things which literally spring up overnight.
Not things though - they're living plants.   No, not plants - organisms - but that doesn't sound right. As for the proper term 'fruiting body' - well, that suggests something quite different.  They are worlds away from all thos…

Frank Sutcliffe photographs Whitby Fishermen


It's quite a famous photograph, I gather.  But I hadn't seen it before.
Perhaps you know it?  I can't show it here as it's copyright, but I'll try to describe it.
So there they are, those nine sea-booted, variously-hatted traditional fishermen, naturally disposed on the quay.
By which I mean, well, they're just there - as if they'd arrived a moment ago.
There's a central group, close together, another smaller group to the right, two of them looking across the picture, and on the left, a chap leaning against the railing and peering over the edge.  For a backdrop there's a fishing boat, all sails set, and on the far right, a statuesque figure with a basket hoisted over his shoulder.
It looks for all the world as though they'd just returned. Or, on second thoughts, perhaps they're waiting to go out?
Once the question's been raised, you find yourself looking more carefully.

That basket's empty, and why…

Summer time – sea and sand…

We live near the sea, so find ourselves there quite a bit, not just at this time of year. Especially now though, with grandchildren expecting a day on the beach.
Buckets and spades, bats and balls, bags of food and drink, towels and clothes and all that paraphernalia we lug down… playing on the sand is both a simple and a complicated business.

I don’t know if it’s something to do with getting older, but increasingly now when I’m at the seaside I find myself reminded of death and destruction.
The very sand is substantially made up of countless shells, exoskeletons of once living creatures, each one painstakingly self-constructed.From them all, the life has gone.And now the gracefully fashioned ceramic, the solid part that managed to survive (if that be the word), long after the contents vanished, is itself ground up, or down, into dust – or, in this context, sand.
Then there’s the crab containers, the cuttlefish shields, cast off pincers and all the unrecogn…