{"id":10185,"date":"2019-02-03T15:23:33","date_gmt":"2019-02-03T14:23:33","guid":{"rendered":"http:\/\/www.themanchesterreview.co.uk\/?p=10185"},"modified":"2019-02-15T19:56:22","modified_gmt":"2019-02-15T18:56:22","slug":"three-poems-37","status":"publish","type":"post","link":"https:\/\/www.themanchesterreview.co.uk\/?p=10185","title":{"rendered":"Three Poems"},"content":{"rendered":"<h5>An Economic Value sonnet (with no Volta) for Joseph Beuys<\/h5>\n<p>to tallow-cream slabs of animal fat.  &nbsp;&nbsp;to moulded chalks &#038; life-sized stacks<br \/>\nof felt.  &nbsp;&nbsp;to a reconciliation with brown.   &nbsp;&nbsp;to kerosene burns, honey, horse-hair<br \/>\nroughs.    &nbsp;&nbsp;to blankets soothed by blanket-stitch &#038; the gentle invitation<br \/>\nfor body.      &nbsp;&nbsp;&nbsp;&nbsp;to everything the colour of Crimean steppes<br \/>\nwithout the disaster of shot.      &nbsp;&nbsp;&nbsp;&nbsp; to the healing way<br \/>\nof gold.  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;       to coyote-talk, sulphur, leather,  &nbsp;&nbsp;&nbsp;   crash, &nbsp;&nbsp;&nbsp;    to open-cage<br \/>\nconversation.   &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;  to blackboards &nbsp;&nbsp;&nbsp;  &#038; wolf  &nbsp;&nbsp;&nbsp;   &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;  to an organic inevitability<br \/>\n&#038; cure.   &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    to hospital straps, hammers, the axe  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   to a wooden Ukranian sled<br \/>\nwith fixed measure of humped lanolin flax. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   to matters of blood, planes,<br \/>\nequations,  horn.  to a unisex sling &#038; felting belt.  &nbsp;&nbsp;&nbsp; to wool. &nbsp;&nbsp;&nbsp;&nbsp;  to altruism.<br \/>\nto wax.  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; to all linings &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;  of iron parts who embody (and care for) the upper<br \/>\nconceptuals. &nbsp;&nbsp;&nbsp;&nbsp; to consecutive nights in the corset for life-sized hare<br \/>\n&#038; 8 perfect hours in a backrest (for a fine-limbed person) in a field.<br \/>\nto all the hare-types of the world &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    &#038; to the blessing&nbsp;&nbsp;&nbsp;&nbsp;   thereof <\/p>\n<p><!--nextpage--><\/p>\n<h5>forest sonnet for fourteen (condemned) trees<\/h5>\n<p>nothing tells us &nbsp;&nbsp;&nbsp;&nbsp;   when we are there &nbsp;&nbsp;&nbsp;&nbsp;   (or when<br \/>\nwe are not) &nbsp;&nbsp;&nbsp;&nbsp;   when to leave our soil-gods <\/p>\n<p>to the warm invasion of fungus and worm  &nbsp;&nbsp;&nbsp;&nbsp;    and when<br \/>\n(if ever)  to look up and pray.   &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;      the extinct languages<\/p>\n<p>of Fagus and Quercus &nbsp;&nbsp;&nbsp;&nbsp;    hang&nbsp;&nbsp;  green. &nbsp;&nbsp;&nbsp;&nbsp;    their perished camouflage<br \/>\nwith mycelium trim  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;      wedged between  dead-mans <\/p>\n<p>leaves   and  bark-grey documents of sky (that blur<br \/>\nwith the wind) &nbsp;&nbsp;&nbsp;&nbsp;   are doomed &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;        we are  told.     <\/p>\n<p>we are told &nbsp;&nbsp;  <em>not to feed any more ghosts<\/em> through each other<br \/>\nthe way a whole forest &nbsp;&nbsp;   moves &nbsp; silence&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;        from the hush <\/p>\n<p>of one tree &nbsp;&nbsp;   to the next.   &nbsp;&nbsp;&nbsp;&nbsp;   no more khaki stealth.  &nbsp;&nbsp;&nbsp;&nbsp;    no  needles.<br \/>\nno soft-emerald ooze   &nbsp;&nbsp;&nbsp;      no sifting for divinities &nbsp;&nbsp;&nbsp;  allowed.<\/p>\n<p>nothing tells us the xylem. &nbsp;&nbsp;&nbsp;   or where the first amoeba seas<br \/>\n(now viscous  and woody with time)  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;               keen    <\/p>\n<p><!--nextpage--><\/p>\n<h5>here, in France<\/h5>\n<p>when dinner talk abruptly stops, and silence falls over its guests<br \/>\nlike the freak rain that buried our village lawns <\/p>\n<p>in Saharan sand one night, someone will say; &nbsp;&nbsp;&nbsp;  <em>un ange   &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;      passe<\/em><br \/>\nand everyone will nod, feeling the narrative sag,<\/p>\n<p>allowing the gap that time makes for an angel &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;      to pass;<br \/>\nfor him to work his slow arc over our heads. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;     some<\/p>\n<p>will even look up, as if to stare the roof off,<br \/>\nbecause such messengers still exist and move <\/p>\n<p>between us   here.  whilst only the giant fresco of night<br \/>\nwill feel the beat of his exhausted wings, find greying feathers<\/p>\n<p>snagged on its stars &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;     later,  the guests\u2019 primitive self<br \/>\nwill recall its decaying gods. &nbsp; this sudden pause is like the air-lock <\/p>\n<p>before explosion;  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   when a room&nbsp;&nbsp;&nbsp;    knowing itself<br \/>\nto be on the brink  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;      holds &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;        its breath <\/p>\n","protected":false},"excerpt":{"rendered":"<p>An Economic Value sonnet (with no Volta) for Joseph Beuys to tallow-cream slabs of animal fat. &nbsp;&nbsp;to moulded chalks &#038; life-sized stacks of felt. &nbsp;&nbsp;to a reconciliation with brown. &nbsp;&nbsp;to kerosene burns, honey, horse-hair roughs. &nbsp;&nbsp;to blankets soothed by blanket-stitch &#038; the gentle invitation for body. &nbsp;&nbsp;&nbsp;&nbsp;to everything the colour of Crimean steppes without the [&hellip;]<\/p>\n","protected":false},"author":283,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":[]},"categories":[371,372],"tags":[375],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.2.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Three Poems - The Manchester Review<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.themanchesterreview.co.uk\/?p=10185\" \/>\n<link rel=\"next\" href=\"http:\/\/www.themanchesterreview.co.uk\/?p=10185&page=2\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Three Poems - The Manchester Review\" \/>\n<meta property=\"og:description\" content=\"An Economic Value sonnet (with no Volta) for Joseph Beuys to tallow-cream slabs of animal fat. &nbsp;&nbsp;to moulded chalks &#038; life-sized stacks of felt. &nbsp;&nbsp;to a reconciliation with brown. &nbsp;&nbsp;to kerosene burns, honey, horse-hair roughs. &nbsp;&nbsp;to blankets soothed by blanket-stitch &#038; the gentle invitation for body. &nbsp;&nbsp;&nbsp;&nbsp;to everything the colour of Crimean steppes without the [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.themanchesterreview.co.uk\/?p=10185\" \/>\n<meta property=\"og:site_name\" content=\"The Manchester Review\" \/>\n<meta property=\"article:published_time\" content=\"2019-02-03T14:23:33+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-02-15T18:56:22+00:00\" \/>\n<meta name=\"author\" content=\"Karen Wheatcroft\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Karen Wheatcroft\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/?p=10185\",\"url\":\"http:\/\/www.themanchesterreview.co.uk\/?p=10185\",\"name\":\"Three Poems - The Manchester Review\",\"isPartOf\":{\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/#website\"},\"datePublished\":\"2019-02-03T14:23:33+00:00\",\"dateModified\":\"2019-02-15T18:56:22+00:00\",\"author\":{\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/#\/schema\/person\/20a6bfbb2f4781ee9400095a150d1af4\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"http:\/\/www.themanchesterreview.co.uk\/?p=10185\"]}]},{\"@type\":\"WebSite\",\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/#website\",\"url\":\"http:\/\/www.themanchesterreview.co.uk\/\",\"name\":\"The Manchester Review\",\"description\":\"The Manchester Review\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"http:\/\/www.themanchesterreview.co.uk\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/#\/schema\/person\/20a6bfbb2f4781ee9400095a150d1af4\",\"name\":\"Karen Wheatcroft\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/www.themanchesterreview.co.uk\/wp-includes\/images\/blank.gif\",\"contentUrl\":\"https:\/\/www.themanchesterreview.co.uk\/wp-includes\/images\/blank.gif\",\"caption\":\"Karen Wheatcroft\"},\"description\":\"Karen Wheatcroft lives and writes in two languages and places (Greater Manchester, UK &amp; 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