Michael Longley at Corrymeela Peace Centre. Photo by By Andrewincowtown – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=34849973

Dear Readers, Northern Irish poet Michael Longley died a few days ago at the age of 85, after complications following hip surgery. Seamus Heaney called him ‘a custodian of griefs and wonders’, and so he was. He was a man who loved the classics, and who wove them into his work with consummate skill. His most famous poem, ‘Ceasefire’, was published just days after a ceasefire was called in Northern Ireland.

Ceasefire

Put in mind of his own father and moved to tears
Achilles took him by the hand and pushed the old king
Gently away, but Priam curled up at his feet and
Wept with him until their sadness filled the building.

II
Taking Hector’s corpse into his own hands Achilles
Made sure it was washed and, for the old king’s sake,
Laid out in uniform, ready for Priam to carry
Wrapped like a present home to Troy at daybreak.

III
When they had eaten together, it pleased them both
To stare at each other’s beauty as lovers might,
Achilles built like a god, Priam good-looking still
And full of conversation, who earlier had sighed:

IV
‘I get down on my knees and do what must be done
And kiss Achilles’ hand, the killer of my son.’

Michael Longley Saturday, July 23, 2016

And I love this poem – the recitation of the ice cream flavours, the carnations left on the doorstep, the recitation of plants.

The Ice Cream Man

Rum and raisin, vanilla, butter-scotch, walnut, peach:
You would rhyme off the flavours. That was before
They murdered the ice-cream man on the Lisburn Road
And you bought carnations to lay outside his shop.
I named for you all the wild flowers of the Burren
I had seen in one day: thyme, valerian, loosestrife,
Meadowsweet, tway blade, crowfoot, ling, angelica,
Herb robert, marjoram, cow parsley, sundew, vetch,
Mountain avens, wood sage, ragged robin, stitchwort,
Yarrow, lady’s bedstraw, bindweed, bog pimpernel.

But the poems could also be tender and deeply personal.

The Pattern

Thirty-six years, to the day, after our wedding
When a cold figure-revealing wind blew against you
And lifted your veil, I find in its fat envelope
The six-shilling Vogue pattern for your bride’s dress,
Complicated instructions for stitching bodice
And skirt, box pleats and hems, tissue-paper outlines,
Semblances of skin, which I nervously unfold
And hold up in snow light, for snow has been falling
On this windless day, and I glimpse your wedding dress
And white shoes outside in the transformed garden
Where the clothesline and every twig have been covered.

I think this is my favourite, written for Longley’s grandson. It makes me teary, and I love, yet again, the classical illusions – pram as chariot, baby as hoplite.

The Leveret

This is your first night in Carrigskeewaun.
The Owennadornaun is so full of rain
You arrived in Paddy Morrison’s tractor,
A bumpy approach in your father’s arms
To the cottage where, all of one year ago,
You were conceived, a fire-seed in the hearth.
Did you hear the wind in the fluffy chimney?
Do you hear the wind tonight, and the rain
And a shore bird calling from the mussel reefs?
Tomorrow I’ll introduce you to the sea,
Little hoplite. Have you been missing it?
I’ll park your chariot by the otters’ rock
And carry you over seaweed to the sea.
There’s a tufted duck on David’s lake
With her sootfall of hatchlings, pompoms
A day old and already learning to dive.
We may meet the stoat near the erratic
Boulder, a shrew in his mouth, or the merlin
Meadow-pipit-hunting. But don’t be afraid.
The leveret breakfasts under the fuchsia
Every morning, and we shall be watching.
I have picked wild flowers for you, scabious
And centaury in a jam-jar of water
That will bend and magnify the daylight.
This is your first night in Carrigskeewaun.

If you would like to hear Michael Longley read these poems, skedaddle over to The Poetry Archive here. Highly recommended!