[This is the seventh part of a yearlong poem about moving from the city to the country. Inspired by ancient and medieval calendar poems, it appears here as I write it, in monthly installments. First read the prologue and then September, October, November, December, and January. To read later entries in this series after they’re posted, click the “Beallsville Calendar” subject tag.]
THE BEALLSVILLE CALENDAR
A sickly gnawing from the ceiling unnerves us.
Say it’s the wind. Our walls are flayed
By twisted sticks, stiff and bristled
Like matted fur; and in the midst of the sixth
And shortest month, the Mouse ascends.
On her midnight revels, she rips through the stars
That spin on their tips like spilling fistfuls
Of sunflower seeds. The sundered shells
Pour from the heavens, unheard by mortals
But a deafening call to the dozing spirits
That nod over eggs in their evergreen lair.
The winter dares them to warble for joy.
In an age of delusion, I often lingered
In a sooty vineyard, a sacred wedge
Of pitted beams that bound an alley
To the sagging backs of city shops.
A clever hunter held court in this void,
Where he staked out every stalk and cutting,
Muttered enchantments, and made things grow.
Singers gathered, summoned by whispers
Of wistful frescoes and fountainside wine;
One pale and limping, with plump white ringlets
Framing the sides of her sightless eyes
And seasoned tongue, was attended by men
With old concertinas, who ached to warble
Their heartsick songs. I heard them once,
When lines of lovers lost to enchantment
Followed them out through falling dust.
The grove remained, and its grapes gave comfort
To rumpled pilgrims and peeping beaks.
They lazed in sunbeams; we leafed through books.
I never knew the names of the birds
That shared that place of shade and rest;
I just tossed them crumbs when they tiptoed near.
I know them here. Like hurtling suns,
Burbling goldfinches boing through the yard
And shine their light on our sheltered rail.
Beside them, chickadees sing of riches:
Their fellow seed-fowl follow in waves.
From forking treetops and tousled weeds,
A derisive cardinal and his rosy consort
Trill their judgments. A junco bristles,
As plump as coal, and pries out snacks
With his stubby beak, staring down brethren
That flock to our feeder to fend off the cold.
A feather-length more than its fellows and blessed
With the buoyant aid of an extra toe,
A gray-white nuthatch grips a tree-trunk
And clings without fear; it creeps ground-ward
Tail over neck, nabbing a seed-pod
To cart to its haven to crack it to bits.
Agog, the titmouse turns and ruffles
Its hooded tuft, like a tempted friar
Warily clutching his cassock of gray.
From the hollow wood, the worm-fowl follow:
In flooded yards, flickers huddle
And bow to the morsels that bubble to life.
When a stunted holly stirs with larvae
That writhe beneath the notice of men,
A rare riot of robins in swarm
Inhales them all. My hapless measures
Lack the wit and weathered reason
Of born woodsmen—“the bluebird carries
The sky on his back”—and the skilled shaping
Of silly fluttering into subtle miracles
Pecks at the novice. I’ll name what I see;
But what things mean is tomorrow’s work.
We waste fewer words in welcoming specters
That flit round the curtains and fall into lamps.
They startle us first, till we find out what plagues them.
They loiter in summerlight low by the ground,
Where their wriggling litter, lusting for earthworms,
Will feast for weeks. Then flies emerge:
In their thirst to endure, some delve into fissures
In attics and eaves; others find refuge
In slats under windows. Sluggish and trusting,
They dream of dirt, but their doom is real.
Winter tricks them; they wake too soon,
And the hearth tempts then inward. Haunted by sunlight,
They cluster by doorframes and keen their own failure
To die in the soil. Their song is fleeting:
And when we form a face on the glass
Just look away, and let it pass…
The house fails us. A horrid crunching
Makes the rafters cringe—we run to the threshold
With morning-cold weapons and wince at the prospect
Of a gristly ogre grinding the bones
Of winter’s victims in his weltering maw.
But the doors fall inward; from the endless heavens
The Mouse tumbles. Her time has passed.
In vain she basks in a bag of seeds,
The churn of it echoing out through the night.
We bar the way, blocking crevices
With rags to keep her rage contained,
But when we flee to bed, the frantic gnawing,
The hideous scraping and scratching at doors,
Scare us till morning. The scurrying world
Woke in confinement; it wails for release.
5 thoughts on ““Behind our glass, we’ll sit and look at our ever-open book…””
So much in these, I love all the birds, and the rather macabre requiem to the insects!
‘ I’ll name what I see;
But what things mean is tomorrow’s work’
reminds me a little of Eliot ‘the rest is not our business’.
Thanks, Lucy! A couple weeks ago, I did listen to a recording of Alec Guinness reading “Four Quartets.” I don’t recall that specific line, but maybe it rubbed off on me. Unlike Eliot, I think the rest, at least in this case, is my business; it’s just not a business I’m ready to tackle.
The insects in question are cluster flies; they resemble horse flies, but their wings are a little different. Fortunately, they don’t and can’t breed inside the house, but it’s pathetic to see them emerge from their winter hibernation on the wrong side of our walls, as they’re parasitic solely on earthworms. They’re big and slow and easy to kill, almost as if they know they’re doomed not to reproduce.
I like the Mouse and birds! What I want to do right now (but can’t, of course) is read the whole thing from start to finish. And shall do, when you are done. Expect that the narrator’s changes (as here, noticing so much more than before and reveling in it) will pop out then.
Thanks, Marly! I hope the whole thing hangs together well when it’s done. I’m writing this quickly, without much time to tinker and without looking back when a month is done. I imagine that in retrospect, I’ll find a few surprises in it myself.
It seems a forgiving shape since it’s all about change and no doubt welcomes change in the narrator as readily as the weather and landscape. And is just the kind of thing I have been interested in–dragging ancient forms into the light and using them in new ways.