from IN MEMORY OF DAVID ARCHER (by George Barker)

(viii)

I cannot see. The place I do not know.
Who is that person standing by the wall?
Why do you ask the date on which I died?
Where is the house to which I am asked to go?
What was the question you put to me when
I happened to be listening to that child
Crying for god knows what outside the door?
Who is it calling me again and again
From my own chamber like a person lost?

I hear the dead man calling from the desert
But never the love, never the love, never.
I saw you. I saw you there. You were the other
Side of that window always hidden in shadow.
I cannot see. The place is not the place where
I was supposed to be. Who are those people
Whispering, with heads together, in the corner?
Why do they speak when they should be silent?

I think that I see, walking in the moonlight
The Magus Zoroaster and my dead father
Talking together. What is this heartbroken
House? Is this my home? Why do you look at me
As though I had no parents? Who is at the window?
You? Is it you? I saw you pass, your hand
Covering your face in shadow, and, in the moonlight,
Falling, seven wounds, like stars.

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from IN MEMORY OF DAVID ARCHER (by George Barker)

(IV)

The life I shed upon the ground
looks up at me, looks up at me
and in its scarlet lake I see
my face of yesterday lying drowned
and smiling as in sleep it seems
cradled among rocks and dreams
of what will never be.

Early in the dawns of May
under the Medusa tree
I shall stand and you will see
my transfigured head of day
hanging in a bleeding dream
as the serpents hiss and scream
and eat eternity away.

from THE TRUE CONFESSION OF GEORGE BARKER (by George Barker)

I sent a letter to my love
In an envelope of stone,
And in between the letters ran
A crying torrent that began
To grow till it was bigger than
Nyanza or the heart of man.
I sent a letter to my love
In an envelope of stone.

I sent a present to my love
In a black-bordered box,
A clock that beats a time of tears
As the stricken midnight nears
And my love weeps as she hears
The armageddon of the years.
I sent my love the present
In a black-bordered box.

I sent a liar to my love
With his hands full of roses
But she shook her yellow and curled
Curled and yellow hair and cried
The rose is dead of all the world
Since my only love has lied.
I sent a liar to my love
With roses in his hands.

I sent a daughter to my love
In a painted cradle.
She took her up in her left breast
And rocked her to a mothered rest
Singing a song that what is best
Loves and loves and forgets the rest.
I sent a daughter to my love
In a painted cradle.

I sent a letter to my love
On a sheet of stone.
She looked down and as she read
She shook her yellow hair and said
Now he sleeps alone instead
Of many a lie in many a bed.
I sent a letter to my love
On a sheet of stone.

TO MY MOTHER (by George Barker)

Most near, most dear, most loved and most far,
Under the window where I often found her
Sitting as huge as Asia, seismic with laughter,
Gin and chicken helpless in her Irish hand,
Irresistible as Rabelais, but most tender for
The lame dogs and hurt birds that surround her, –
She is a procession no one can follow after
But be like a little dog following a brass band.
She will not glance up at the bomber, or condescend
To drop her gin and scuttle to a cellar,
But lean on the mahogany table like a mountain
Whom only faith can move, and so I send
Oh all my faith and all my love to tell her
That she will move from mourning into morning.

from IN MEMORY OF DAVID ARCHER (by George Barker)

(I)

To lift a hand
to those who have gone before us
those friends and
oddfellows to whom
only death can restore us
(I have heard
as in day dreams
them calling sometimes for us
out of a silence that seems
like a dead chorus)
to lift a hand in farewell
for them at the black bell
neither you David nor I
found this a hard thing to do –
for they, most of them, died
in a sort of twisted pride
or as they lifted up
the whiskey in the cup
or turning a handsome head
in honour among the dead
so that, with the wave
of a hand toward the grave
you and I, as they went
down out of the present,
could seem to call:
‘Stand up and speak well
in the empty hall
of heaven or empty hell
for us all’.

But, David, I am at
such a loss, such a loss
that I cannot, I can not
lift a hand or a word
as you descend
the under ground
and one way stair
to that dead end
where
the friend is found.
Are you there
now? Dear friend
it does not matter where
you are for better or
worse where you are
there can be there
no more of the withering
belief (O withering arm
and withering leaf!)
or the withering Upas tree
of life,
no more ever again
of that pain.

The decent dirt
David unlike the lovers
will not desert you nor
the grave stone hurt
you but with love convert
you into stone, into
the dust and earth
of which both life and death
know the worth.
The dark streets at night
echoing our tread
seem for a moment bright
with what we said
and what we might
even have done, but the light
or dream of those times
is gone
and it was not done.

The familiar vision faded
and is forgotten in
our failure, so degraded
that ideal by
our delusion, so humiliated
we by what we knew
was both foregone and fated,
that in the end
what you saw, my friend,
was that life itself
was the vision
that you hated.

All the gifts of red
roses and blank
cheques and bed
fellows grew rank
and went bad
and you and they
sank down in the grey
ends of a day
that stank as it died
in the guttering
palace. I think
that all you leave
behind you in the evening
is a darkened room
empty save for old
newspapers and cigarette ends
and in the gloom
the enormous gold
urn of your heart
in which lie the ashes of your friends.

TO YU-TSAN (by George Barker)

Yu-Tsan, loveliest of jades
or water lilies,
lilies of the field, lilies of the fern
lily of the valleys

how can I ever believe
that you, heart of my heart
lily of all lilies, cost as little as
any other tart?