PENGUIN MODERN POETS 4

The Penguin Modern Poets are succinct guides to the richness and diversity of contemporary poetry. Every volume brings together representative selections from the work of three poets now writing, allowing the curious reader and the seasoned lover of poetry to encounter the most exciting voices of our moment.

KATHLEEN JAMIE was born in the west of Scotland in 1962. Her poetry collections include the selection Mr and Mrs Scotland are Dead: Poems 1980–1994 (2002); The Tree House (2004), winner of both the Forward Prize and the Scottish Book of the Year Award; The Overhaul (2012), which won the Costa Poetry Award; and The Bonniest Companie (2015). Her non-fiction books include the highly regarded Findings and Sightlines. She lives with her family in Fife.

DON PATERSON was born in Dundee in 1963. His poetry collections with Faber & Faber include Nil Nil (1993), God’s Gift to Women (1997), Landing Light (2003), Rain (2009) and 40 Sonnets (2015). He has also published translations of Antonio Machado and Rainer Maria Rilke. His poetry has won many awards, including the Whitbread Poetry Prize, the Geoffrey Faber Memorial Prize and all three Forward Prizes; he is currently the only poet to have won the T. S. Eliot Prize twice. He was awarded the Queen’s Gold Medal for Poetry in 2009.

NICK LAIRD, born in County Tyrone in 1975, is a poet, novelist, screenwriter, and former lawyer. His poetry collections, published by Faber & Faber, are To A Fault (2005), On Purpose (2007) and Go Giants (2013). A new collection, Glitch, is forthcoming in 2018. His novels are Utterly Monkey (2005), Glover’s Mistake (2009) and Modern Gods (2017). Awards for his writing include the Betty Trask prize, the Geoffrey Faber Memorial Prize, a Somerset Maugham award, the Aldeburgh Poetry Prize, the Rooney Prize for Irish Literature and a Guggenheim Fellowship. He is currently a writer-in-residence at New York University.

Kathleen Jamie
Don Paterson
Nick Laird


OTHER WAYS TO LEAVE THE ROOM

MODERN POETS 4

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Penguin Books is part of the Penguin Random House group of companies whose addresses can be found at global.penguinrandomhouse.com

Penguin Random House UK

This collection first published 2017

Poems by Kathleen Jamie copyright © Kathleen Jamie, 1982, 1987, 1994, 2002, 2004, 2012, 2015

Poems by Don Paterson copyright © Don Paterson 1993, 1997, 2003, 2009, 2012, 2015

Poems by Nick Laird copyright © Nick Laird 2005, 2007, 2013, 2017

The moral right of the authors has been asserted

ISBN: 978-0-141-98404-9

Acknowledgements

For material included in this selection the following grateful acknowledgements are made: to Bloodaxe for poems by Kathleen Jamie from Mr and Mrs Scotland are Dead: Poems 1980–1994 (2002); to Picador for poems by Kathleen Jamie from Jizzen (1999), The Tree House (2004), The Overhaul (2012) and The Bonniest Companie (2015); to Faber & Faber for poems by Don Paterson from Orpheus: A Version of Rainer Marie Rilke (2006), Selected Poems (2012) and 40 Sonnets (2015); and to Faber & Faber for poems by Nick Laird from To a Fault (2005), On Purpose (2007) and Go Giants (2013).

‘Feel Free’ by Nick Laird first appeared in The New Yorker.

Image

The Barometer

Last year

Mother threw the barometer

the length of the corridor. This:

she has set her jaw. There’s a chill

and the rustle of weeds. She’s come in

from the garden, now she’ll withdraw.

The maids are shivering. Outside

they’re talking of snow. I say no

to a fire – it’s an act of surrender.

I can see the bare fields from here

on the balcony. The nights

are growing longer. I know.

At least the harvest is gathered and safe.

– Every thanksgiving

I dance like a Romany. Indian summers;

I giggle and weep. Mother and me

go picnics in the blossoming …

My furs are laid out and waiting.

The maids keep tutting.

I catch myself biting

dead skin from my lips.

I have played with my gloves all day.

I ought just to jump

and meet Hades half way.

Julian of Norwich

Everything I do I do for you.

Brute. You inform the dark

inside of stones, the winds draughting in

from this world and that to come,

but never touch me.

You took me on

but dart like a rabbit into holes

from the edges of my sense

when I turn, walk, turn.

*

I am the hermit whom you keep

at the garden’s end, but I wander.

I am wandering in your acres

where every step, were I

attuned to sense them,

would crush a thousand flowers.

(Hush, that’s not the attitude)

I keep prepared a room and no one comes.

(Love is the attitude)

*

Canary that I am, caged and hung

from the eaves of the world

to trill your praise.

He will not come.

Poor bloodless hands, unclasp.

Stiffened, stone-cold knees, bear me up.

(And yet, and yet, I am suspended

in his joy, huge and helpless

as the harvest moon in a summer sky.)

The Queen of Sheba

Scotland, you have invoked her name

just once too often

in your Presbyterian living rooms.

She’s heard, yea

even unto heathenish Arabia

your vixen’s bark of poverty, come down

the family like a lang neb, a thrawn streak,

a wally dug you never liked

but can’t get shot of.

She’s had enough. She’s come.

Whit, tae this dump? Yes!

She rides the first camel

of a swaying caravan

from her desert sands

to the peat and bracken

of the Pentland hills

across the fit-ba pitch

to the thin mirage

of the swings and chute; scattered with glass.

Breathe that steamy musk

on the Curriehill Road, not mutton-shanks

boiled for broth, nor the chlorine stink

of the swimming pool where skinny girls

accuse each other of verrucas.

In her bathhouses women bear

warm pot-bellied terracotta pitchers

on their laughing hips.

All that she desires, whatever she asks

she will make the bottled dreams

of your wee lasses

look like sweeties.

Spangles scarcely cover

her gorgeous breasts, hanging gardens

jewels, frankincense; more voluptuous

even than Vi-next-door, whose

high-heeled slippers

keeked from dressing gowns

like little hooves, wee tails

of pink fur stuffed in the cleavage of her toes;

more audacious even than Currie Liz

who led the gala floats

through the Wimpey scheme

in a ruby-red Lotus Elan

before the Boys’ Brigade band

and the Brownies’ borrowed coal-truck;

hair piled like candy-floss;

who lifted like hands from the neat wheel

to tinkle her fingers

at her tricks

      among the Masons and the elders and the police.

The cool black skin

of the Bible couldn’t hold her,

nor the atlas green

on the kitchen table,

you stuck with thumbs

and split to fruit hemispheres –

yellow Yemen, Red Sea, Ethiopia. Stick in

with the homework and you’ll be

cliver like yer faither,

but no too cliver,

no above yersel.

See her load those great soft camels

widdershins round the kirk-yaird,

smiling

as she eats

avocados with apostle spoons

she’ll teach us how. But first

she wants to strip the willow

she desires the keys

      to the National Library

she is beckoning

      the lasses

      in the awestruck crowd …

Yes, we’d like to

      clap the camels,

to smell the spice,

admire her hairy legs and

bonny wicked smile, we want to take

PhDs in Persian, be vice

to her president: we want

to help her

      ask some Difficult Questions

she’s shouting for our wisest man

to test her mettle:

      Scour Scotland for a Solomon!

Sure enough, from the back of the crowd

someone growls:

                        whae do you think y’ur?

and a thousand laughing girls and she

draw our hot breath

      and shout:

THE QUEEN OF SHEBA!

Wee Wifey

I have a demon and her name is

                                      WEE WIFEY

I caught her in a demon trap – the household of my skull

I pinched her by her heel throughout her wily transformations

until

      she confessed

                        her name indeed to be WEE WIFEY

and she was out to do me ill.

So I made great gestures like Jehovah: dividing

land from sea, sea from sky,

                                    my own self from WEE WIFEY

(There, she says, that’s tidy!)

Now I watch her like a dolly

keep an eye,

               and mourn her:

For she and I are angry/cry

                                    because we love each other dearly.

It’s sad to note

                  that without

                                 WEE WIFEY

I shall live long and lonely as a tossing cork.