Luke Roberts
AFTER TARJEI VESAAS
It’s bright like the first day in May,
end of evening. And the square of light
backed into a corner bleeds out
from your yard to the fields. The light
is gone. Now you’re like a figure
in some long-forgotten book.
This yard will never be unfamiliar.
Soft grass to call you home, soft earth,
and the houses in late evening outline.
You could draw them from memory,
haunted houses with corners
made of stone.
It’s good to sleep behind stone.
You’re in the yard and you know this,
you can tell everyone about this.
It’s so quiet you’re the only source of sound.
Children, adults, in search of flawless sleep
run too fast for the arms of summer.
ODE PINK SNOW
You shake your head clean off
and on like a dog
in the miserable era
alive in the old way
face-to-face with the one-note
sky.
Maybe change creeps up
stays loose and aloft
lays eggs underground
another mutant in the truth hut
clean and realistic
the proper reduction
of spring.
You and King Midas
on Weston Rise playing truant
spray light horizontal
on my vertical clothes
by the lame blue railings
built to mimic the sea
schemes none of us agreed on
now the flowers peel off
at incredible scale
and gulls rip the seeds out
the poets who failed to save us
break breadsticks in sync
pausing only for breath
and self-admiration
while the abseiling workers
who keep the place clean
keep breaking their necks
in the lobby.
You should get a new hobby in the wine bars
drunk at the christening
on idiot sleaze
chasing prose to buy time
before turning to God
scrawling death
to false poetry
in the margins of your books
But I had absconded
I was already gone
strung out on burnt tongues
in the last March sun
where gulls rip the seeds out
and we’re heavy with ivy
and zero leaf cover
getting busy with the season
aloof.
I grew to hate my own style
loathed everyone else’s
hot air in the doldrums
a vehicle for truth
stalling for time
at the drive-thru counter
threw sugar at implied
decrescendos.
I loved rare earth
loved common earth too
hid feathers and eggshells
in the nameless fields
threw stones high
and ran with closed eyes
to the plain wire fence
held up with wooden posts
with my arms out aerial
kid aerial breeze
poem like a shovel
or a graveside oration
to drown out the chainsaws
and the white wine people
who would by being silent
not dissolve
or get thrown out
of the well-appointed running club
struggling to keep up
with a moving car
on the banks of the river
where my standards were vanquished
by slow animal reprise
the Ortiz sailors
with their tunafish sail
come back to dry land
carrying all your possessions
in a lone plastic bag
lined with marble and ash
for the last time snow
in recession.
But this wounded posture’s got
to stop
like a dog in a forest
when the scent gets cold
and power’s short rodeo
comes to an end.
There is some paper on the floor
for burning charcoal.
There is a ball in the corner
of the Garden of Eden.
My dog
is buried there
in orchid lip
cuckoo spit
as harp to harpoon
or sick to music
outside and strong
I sung this energetic fable
with my mouth closed
my mouth full of pink snow
and my head is also light
in the flux of arctic sea ice
the whales yawn softly
flesh before bone
I put a roof on a wall
with a hole in it.
THE SAME LANGUAGE
For Tomas Weber
Everything I learned I also forgave,
determined to be valid &
proper in the eyes
of an exposed nerve-ending
in tears. It’s like catching
a disease or throwing a ball
to a dog at the edge
of a foot-pier. Water is the test
of everything. Why you know this
is the whole fucking problem.
A book you once owned
someone stole it. A book you once
wrote someone lost it. I still have
these big pockets, you can
stuff in them backwards
whatever it is that you want. In 20
10 it was obvious, we were out
on a limb, we were shaking our hands
to the bone. It gets so lonely
being brilliant, so stupid,
so stupid and brilliant alone.
TO THE NAVIGATORS
As soon as your vision is cool—
but it doesn’t get cool it stings, burns,
like the thought you can’t have
which makes itself felt, all day distracted
by news of sinking ships. Pick any year
and move towards it. You can be the one
who turns the wheel in times of doubt
and soft distress. There is a rose-pink brick
with your name on it. I am not absolutely
systematic. But who can really do this
with any such courage, half dumb luck
half armed to the teeth,
the stolen valour of a clam
in the wrong type of water, these people
cut loose when it suits them. It’s a slow
way of learning what it means to learn
something and then learn that you knew it
to start with. I lay my notebook flat
across my chest, knock from both sides,
climb out. You steady my hand,
my hand steadies you. After you die
you will feel more subcutaneous and reckless
as it goes. But first the leaves will have to drop,
and then the branches have to fall.
We are basically devoted to this one great idea:
that the air is eventually on our side,
and we can use it as another emotion.
My breath on your name to keep you afloat,
a soft new anger, the temerity of song.
Luke Roberts is the author of Bad Omens (Book Works, 2026), Glacial Decoys (Free Poetry, 2021), and Home Radio (the87press, 2021). He is the editor/co-editor of Cecilia Vicuña, Saborami: An Expanded Facsimile (Book Works, 2024), Mark Hyatt's So Much For Life and Love, Leda (Nightboat, 2023/2024), and Iliassa Sequin, Quintets (Winter Editions, 2027). His critical writing appears regularly in NLR/Sidecar, and with Amy Tobin he runs the small press Distance No Object. A new book of poems, Beginning to End, is forthcoming from Nightboat in 2027. He lives in London.