Rust-colored and rust-rimmed,
Bleached by the winter snow and
Moving slow and sleepy,
St Louis shrugged.
Tired, tagged towers
Cast shadows of industry,
While the Mississippi, mighty in myth,
Seeped slowly past the Arch,
Its silver dull in the March light.
But, as dawn broke,
A row of daffodils blooming in Tower Grove Park,
Brilliant against the brown,
Silently showed me that
Spring is here.
A couple of weeks ago I wrote about the Oregon rain. More specifically, about the rain and a folk song it led me back too.
I’d previously written about music and rain. Back in Ireland, one particularly wet December led me to draw up a list of rain songs.
Write what you know, they say. And as an Irishman who now lives in Portland, I know rain – from the anticyclonic squalls that tear over Ireland in the winter to the 1.7 inches that fell on the Rose City in a single day this week.
This morning, as the rain fell on the window and the coffee brewed, I pulled a book from a shelf – a collection of poems by Raymond Carver.
Carver knew rain. Born in Clatskanie, Oregon, about 60 miles north of Portland, he spent most of his life in the Pacific Northwest. Along with his stories, some well known, and screenplays, he also wrote poetry. Inevitably, as an Oregonian, one of these poems features precipitation.
“Rain” is a short work about risks and the need to make mistakes, about giving over to chance. The weather may just be a framing device but, like an Oregon winter, it’s all around.
In lieu of songs about the weather, then, here’s a poem about it. Let it rain, without regrets.
Woke up this morning with
a terrific urge to lie in bed all day
and read. Fought against it for a minute.
Then looked out the window at the rain.
And gave over. Put myself entirely
in the keep of this rainy morning.
Would I live my life over again?
Make the same unforgiveable mistakes?
Yes, given half a chance. Yes.
Nothing speaks of mortality more,
Than a 2000-year-old body laid on the floor.
Or the brevity of our earthly years,
Than a hammered cavity where once was an ear.
Strangled and stabbed, though a princely rake,
Gallagh Man didn’t get much of a break.
Killed to appease his enemies’ hatred,
He’s now wound up in tourists’ gazes.
Yet his somber lesson speaks plainly still,
Of life and death, of good and ill.
But for all sober thoughts of mortality,
I’m mainly glad it’s him, not me.
My Christmas rituals are few. I tend to spend December 25 in different places – in recent times Wexford or Los Angeles; this year, Portland.
One of my seasonal constants is “A Child’s Christmas in Wales”, the Dylan Thomas short story. Every Christmas morning I take 20 minutes to “plunge my hands in the snow and bring out whatever I can find,” as the narrator puts it.
This year, for a change, I’ll listen to Thomas reading the story. The poet, ailing and alcoholic, made a recording of the piece in 1952. It’s a remarkable piece of audio, as Thomas, leaning on all the intonation and nuance of his Welsh accent, tells his tale of a young boy’s Christmas in a snowy, seaside village.
But while searching for the recording this week, I across the poet’s other great evocation of childhood, whose lines are probably more pertinent for a man in his late 30s, far from his childhood home (“the farm forever fled”), remembering Christmases past.
“Fern Hill” is not a seasonal poem. It’s set in a time of plenty, a period of huntsmen and herdsmen, when the grass is green and “the hay fields as high as the house”.
These years have passed, and Thomas remembers them with a mix of nostalgia and affection and fatalism. “I was young and easy under the apple boughs,” the poem famously begins, while, a few verses later, we read that “time allows / In all his tuneful turning so few and such morning songs / Before the children green and golden / Follow him out of grace”.
All of which seems oddly suitable for an adult’s Christmas in Oregon. Having long since strolled out of the fields of grace, I rarely run my heedless ways these days. Which is why the bittersweet reality of “Fern Hill”, and not the comforting nostalgia of “A Child’s Christmas In Wales”, is a more fitting read this year.
“Once below a time I lordly had the trees and leaves
Trail with daisies and barley
Down the rivers of the windfall light.”
Once is enough to be thankful for. Happy Christmas.
(In memory of Elva Looney)
We will light a candle for you tonight,
Though we’re apart.
A light that will shine across the short years,
That will light the days and nights
When we couldn’t turn to you, see you, or hear your voice.
And we’ll know that, from somewhere peaceful, looking on,
Your light shines back.
My mental image of the poet Robert Frost is of an elderly man shuffling through autumn leaves on a New England laneway, staring over a broken fence, or picking an apple and dropping it to the ground.
His work has always struck me as dense and a little too didactic, with life lessons deeply embedded in every stanza. I’ve long since passed him over in favor of other poets whose writing on the natural world seemed more attuned to my own ear.
Two of these are Seamus Heaney and Ted Hughes. To my surprise a joint work of theirs, the 1982 anthology ‘The Rattle Bag’, led me back to Frost this week.
Cometh the hour, cometh the curators. ‘The Rattle Bag’ is a collection of Heaney and Hughes’ favorite poems, and among the 350 or so are seven works by Frost.
One in particular spoke to me, and speaks to anyone undergoing changes and dealing with the occasional adversities that accompany them.
‘On A Tree Fallen Across A Road’ is a reality check, a sonnet which reminds us that, regardless of the circumstances, people will always find a way past. “The only thing I knew how to do was keep on keeping on,” Bob Dylan once advised. From one of those autumnal New England laneways Frost says something similar.
‘On A Tree Fallen Across A Road’
The tree the tempest with a crash of wood
Throws down in front of us is not bar
Our passage to our journey’s end for good,
But just to ask us who we think we are
Insisting always on our own way so.
She likes to halt us in our runner tracks,
And make us get down in a foot of snow
Debating what to do without an ax.
And yet she knows obstruction is in vain:
We will not be put off the final goal
We have it hidden in us to attain,
Not though we have to seize earth by the pole
And, tired of aimless circling in one place,
Steer straight off after something into space.
Lugnaquilla’s not a marquee mountain.
It lacks the height of Carrauntoohill, Ireland’s highest peak, or the spectacular ocean views of Brandon or Mweelrea. It’s not a pilgrim site, like Croagh Patrick, or close to a famed smuggler’s path, like Slieve Donard.
But what it lacks in pizzazz it makes up for by its wildness. It may be only an hour’s drive from Dublin but Lugnaquilla presides over a high, windswept wilderness, a landscape of moors and tarns and very few people.
For that reason it offers city dwellers short on time – or tourist hikers – a day hike do-able from the capital.
Over the years it’s offered me – depending on the season – lunar-like landscapes of snow and ice, driving rain or hours of cold, high sun. And always the wind, blowing from the Atlantic across the flat Midlands and up the ramp of Camara Hill, or from the north over the whale’s back of Mullaghcleevaun.
I can always get up there more often. Living in London in the 1790s, William Wordsworth would think of the mountains of the Lake District, writing “’mid the din, Of towns and cities, I have owed to them, In hours of weariness, sensations sweet”.
I’m often struck by the same. And so, coming off a busy home schedule last week, I pulled out my boots, emailed friends and arranged a hike to the ‘Hollow of the Wood’.
Having tried many routes over the years the most favourable ascent, to my mind, is that from Glenamalure, a glacial valley to the mountain’s north, reportedly the longest of its kind in Ireland and Britain.
This was the remote place where Irish rebel Michael Dwyer hid out from the British at stages in the years after the 1798 rebellion. It’s easy to see why – the nearest sign of civilisation, the townland of Aghavannagh, is known to locals as “the last place God made”. Even at the 9am in the height of summer our group were the only ones setting out from Baravore ford at the head of the valley.
The route up is navigationally easy. A path leads past a youth hostel and up into the heart of the Fraughan Rock Glen, where the first of three steep pulls, alongside an unnamed river (surging in winter), brings you up into a cwm below the summit itself.
This is where the isolation of Lugnaquilla becomes apparent. On the many occasions I’ve ascended this way I’ve rarely encountered other hikers in the huge, grassy, stream-streaked bowl.
On crossing the cwm the ground gets steeper, before levelling out at the foot of the final ascent, which brings you onto the saddle of the mountain.
This flat, barren landscape can present navigation problems. But a combination of timing and sheer luck last Saturday saw us reach it just as the clouds cleared, revealing the Glen of Imaal to the west and the Irish Sea to the south east.
However, with thundershowers forecast this was no place to linger. After a brief breather at the summit cairn (925m) we descended to the east, across to Clohernagh (800m), which hangs above Kelly’s Lough, one of the highest lakes in the Wicklow Mountains.
From there we descended to the cliffs at Bendoo, where we picked up the head of the ‘Zig Zags’, a trail which provides a knee-testing descent back down to Glenmalure.
We didn’t waste time, completing the 15.5km walk in four and a half hours – clocking up a 800m ascent in the process.
As for wildness, we had it in spades. We encountered no-one on the ascent, a couple of hikers on the summit and perhaps a dozen descending the Zig Zags.
For much of the hike we could have been walking hundreds of years earlier, alongside Michael Dwyer or Wordsworth, feeling – as the latter put it:
Her palaces are crumbling to the shore,
And music meets not always now the ear:
Those days are gone – but Beauty still is here;
States fall, arts fade – but Nature doth not die
Nor yet forget how Venice once was dear…
Not that it matters to most of us. The waves could be lapping at the altar of St Mark’s Basilica and it would still be crowded with visitors. I suspect that even in the depths of winter, amid fog, rain and blasts from the bora, the sidestreets around the Piazza San Marco and the market stalls of the Rialto are still full of sightseers.
But that’s no reason not to go, and so I found myself standing on the Viale Giardini Pubblici last week, as the April sun sank behind the Salute and the last light of day fell across the Grand Canal and onto the Riva degli Schiavoni.
The great landmarks of Venice – San Marco, the Canal, the Salute – are well known and well populated. But there’s another Venice to the one trodden by cruise-ship groups and tired families, of course. Here’s five ways to experience Venice that mix up the well-known with the less visited.
Early evening libations in Harry’s Bar
This simple decor of this small room, where Giuseppe Cipriani opened a bar in a former rope warehouse 85 years ago, belies its reputation as one of the world’s most famous watering holes. The home of the carpaccio, the bellini and the ghost of Ernest Hemingway, it serves a fine Old Fashioned whiskey cocktail with a ‘doppio’ measure – Papa would hardly approve of anything less.
A stroll around Peggy Guggenheim’s pad
After stints in London and Paris the bohemian art collector Guggenheim settled in Venice in 1949, setting up residence in a 18th century palazzo on the Grand Canal, which housed her collection of Cubist, Surrealist, Futurist and Abstract Expressionist paintings. Her house now serves as a gallery for the paintings. The view above is from her living room, through a window nestled between a couple of Kandinskys.
Crossing the lagoon to lunch in Burano
“A wide brackish waste surrounds it, exuding dankness…it is a muted scene…but in the middle of it there bursts a sudden splurge of rather childish colour…this is Burano”. So wrote Jan Morris of this small island, home in its heyday to fishermen and lacemakers. Forty-five minutes across the lagoon from Venice, it’s a million miles away in spirit. Small, house-proud, well-swept and very well-painted, Burano is a reminder that the people of the Venetian lagoon were – before the yachts, celebs and royalty – ordinary seafarers and merchants.
Browsing the gondolas at Libreria Acqua Alta
This bookstore has a novel (sorry) way of keeping its stock dry from flooding – sticking the titles into gondolas. That’s not the only gimmick in this chaotically-shelved shop – a series of steps in the backyard are made of old encyclopedias, while canoes and other odd vessels can be found crammed with paperbacks.
On the waterfront at the Viale Giardini Pubblici
We rented an apartment for our stay in the quiet Castello district, near to the Giardini Pubblici, the gardens created by Napolean Bonaparte when he took control of the city in the early 19th century. The quayside fronting the Giardini is remarkably quiet, used mainly by local strollers and joggers, yet affords beautiful views west along the Grand Canal, taking in the Salute, the Campanile di San Marco and the Doge’s Palace. ‘States fall, arts fade – but Nature doth not die’…anyone for an aperitif at the Danieli?