Veronica Forrest-Thomson

Mirror, mirror on the wall show me in succession all my faces, that I may view and choose which I would like as true. Teach me skill to disguise what’s not pleasing to the eyes, with faith, that life obeys the rules, in man or God or football pools. Always keep me well content to decorate attitude and event so that somehow behind the scene I may believe my actions mean; that one can exercise control in playing out a chosen role; rub clouded glass and then, at will, write self on it again. But if, in some unlucky glance, I should glimpse naked circumstance in all its nowhere-going-to, may you crack before I do.

homage to William Empson It is the sense, it is the sense, controls, Landing every poem like a fish. Unhuman forms must not assert their roles. Glittering scales require the deadly tolls Of net and knife. Scales fall to relish. It is the sense, it is the sense, controls. Yet languages are apt to miss on souls If reason only guts them. Applying the wish, Unhuman forms must not assert their roles, Ignores the fact that poems have two poles That must be opposite. Hard then to finish It is the sense, it is the sense, controls, Without a sense of lining up for doles From other kitchens that give us the garnish: Unhuman forms must not assert their roles. And this (forgive me) is like carrying coals To Sheffield. Irrelevance betrays a formal anguish. It is the sense, it is the sense, controls, “Unhuman forms must not assert their roles”.

I remember them saying, these poems, their something for someone at sometime for me too, at one time. That got in the way; so I sent them away back into history— just temporarily. They won’t come back now. I can’t remember how the words spoke, or what they said, except: We are all dead

For the centenary of Girton College i hyphen (Gk. together, in one) a short dash or line used to connect two words together as a compound 1869- 1969 to connect Chapel Wing and Library. But also: to divide for etymological or other purpose. A gap in stone makes actual the paradox of a centenary. “It was a hyphen connecting different races.” and to the library “a bridge for migrations”. In search of an etymology for compound lives, this architecture, an exercise in paleography (Victorian Gothic) asserts the same intention. Portraits busts and books the “context in which we occur” that teaches us our meaning, ignore the lacunae of a century in their state- ment of our need to hyphenate.

in the stream [1] look, the duck-rabbits swim between. The Mill Race at Granta Place tosses them from form to form, dissolving bodies in the spume. Given A and see [2] find be [3] (look at you, don’t look at me) [4] Given B, see A and C. that’s what metaphor [5] is for. Date and place in the expression of a face [6] provide the frame for an instinct to rename, [7] to try to hold apart Gestalt and Art. [1] Of consciousness [2] The expression of a change of aspect is the expression of a new perception. [3] And at the same time of the perception’s being unchanged. [4] Do not ask yourself “How does it work with me?” Ask “What do I know about someone else?” [5] Here it is useful to introduce the idea of a picture-object. [6] A child can talk to picture-men or picture-animals. It can treat them as it treats dolls. [7] Hence the flashing of an aspect on us seems half visual experience, half thought.

To those who kiss in fear that they shall never kiss again To those that love with fear that they shall never love again To such I dedicate this rhyme and what it may contain. None of us will ever take the transiberian train Which makes a very satisfactory refrain Especially as I can repeat it over and over again Which is the main use of the refrain. I with no middle flight intend the truth to speak out plain Of honour truth and love gone by that has come back again The fact is one grows weary of the love that comes again. I may not know much about gods but I know that Eros is a strong purple god. And that there is a point where incest becomes Tradition. I don’t mean that literally; I don’t love my brother or he me. We have been mutually avoiding each other For years and will continue to do so. Even I know about cross words— Something. The word you want is Dante. He said he loved Beatrice. Whatever he did He didn’t love Beatrice. At least the Beatrice Portinari whom history gives. He knew her and the point about all these Florentines is that they all were Killing each other or dying of rapid Consumption. Beatrice died; Rossetti painted her Cutting Dante in the street. Botticelli Painted the rest: Simonetta Vespucci Died of a rapid consumption (age 23) Giuliano dei Medici murdered by the altar rail (age 19) Guido Cavalcanti died in exile (age 35) Dante dei Aligeri died in exile (age 90) Lorenzo dei Medici who lives for ever Since he stayed there and commissioned The paintings, and poems and statues And if he also commissioned the deaths I don’t blame him. He didn’t feel Very magnificent when his brother Was murdered in sanctuary. Do you realise whoever did that Would be excommunicated if, that is, if He hadn’t also murdered the papal legate, His best friend. I have lived long enough having seen one thing; That term has an end. It was getting dark on the platform of nowhere When I who was anxious and sad came to you Out of the rain. Out of the sound of the cold Wind that blows time before and time after Even Provence knows. And as for this line I stole it from T.S. Eliot And Ezra Pound and A.C. Swinburne. All very good Poets to steal from since they are all three dead. The love that is must always just contain The glory of the love that was whatever be the pain. We played at mates and mating and stopped up the drain. Hear me. O Mister Poster I know You have burnt me too brown you must boil me again You simply have no notion how delightful it will Be when they pick us up and throw us with the lobsters out to sea. It is the lark, my love, and not the nightingale. None of us will ever take the trans-siberian train. She wanted to and was collecting people who did I thought I did but now I know I don’t. It is the lark, my love, and not the nightingale. In fact I’ve never heard either bird But people say they sound very similar. And what the devil were Romeo and Juliet About wasting their last moments Listening to birds. Hah. I like kicking up larks or Larking up kicks. So do most poets Including J.H. Prynne, the memorable poet Who is happy to say that the U.L. Has got his middle name wrong. He claims it stands for Hah But there is a limit. I know it all. Riddle me riddle randy ree Round and round in the snotgreen sea When they pick us up and throw us With the Joyces out to sea. Tell us tale of Troy’s downfall We all would have liked to have been there. The infernal Odyssos. He it was whose bile Stirred up by envy and revenge destroyed The mother of womankind. And Swinburne Got a kick out of pain but I don’t I just get kicked. I wish I didn’t keep sounding like Richard the Third Except that if I don't I tend to sound Like Richard the Second. And who wants that. I suppose I must sound like Richard the First. What did he do? Nothing I take it I get a kick out of larking up nightingales. Prynne says that if I don’t come back Safe from Sicily by the thirtieth April They will send a posse. March is the cruellest station Taking on bullying men And were you really afraid they would rape you? No. I thought there would be grave difficulties. Not just that I was actively opposed And so was every other man, woman and child On that there train. I was afraid they would kill me. I may look stupid but I’m not So simple as to think your name Is Elizabeth Brown. Well. All right My name is Veronica Forrest-Thomson. Agamemnon was King of the Achaians at the time, Priam, of the Trojans, Theseus, of the Athenians. And like all Good Kings, they are dead. In my day it was the done thing to side With the Trojans for no better reason Than that they lost. But me I back Winners every time. Mary Shelley may go to hell As she thought she was going to anyway And take Frankinsense with her. I want her husband, alive and well. Who, of course, also got killed. Hardly surprising if he made a habit Of reading Aiscylos while sailing. He wasn’t reading Aiscylos when he drowned. Got cremated like a pagan king. Not Agamemnon who, as I said, was king at the time And lost, murderer of his daughter Killed by his wife and (other) daughter. Killed by his death killing his life. Stabbed in the back in his bath. I think of it every time I have a bath. Though I have no sympathy at all For that daughter and son. I think it is unfair that Helen Had everything, immortal beauty, Lovers, cities destroyed and battles Fought about her. And she just came home And calmly went around being Menelaus' wife While her twin sister, Clytemnestra Was murdered by her son and daughter. And the Athenians acquitted them. They would do, a nation of sophists. Always betraying their allies and torturing Women and children and enslaving people. They even killed Socrates, their one good man, Then Plato tried to be a philosopher king. And got enslaved for his pains. I wish they had kept him enslaved. He escaped, of course, and wrote books About how he would do it better If he was in charge. All poets do that. They are just as incompetent as the rest If they try to organise things. As witness my own efforts in that direction Or those of my avatar, Agamemnon, Who, as I say came home and was killed in his bath Killing his wife and his daughter. And if you don’t know about this you ought to. Read it in the Iliad, read it in the Odyssey, Do not read it in Freud who is always wrong Although even Freud didn’t deserve a son like Lacan. But first and last read me, the beloved Who was killed in the general slaughter. But rise again like John Donne (read him too) I, Helen, I Iseult, I Guenevere, I Clytemnestra and many more to come. I did it, I myself, killing the King my father Killing the King my mother, joining the King my brother. It is the kick, my love, and not the nightingale I like larking up kicks myself But not kicking. They that have power to hurt and do so Should not be blamed by Shakespeare or anyone else For hurting though such is the race of poets That they will blame them anyway. However it is a pretty productive process Especially if one may be plumber as well as poet And thus unstop the drain as well as writing Poetic Artifice“Pain stopped play” and Several other books and poems including 1974 and All That(seriously though) I, Veronica did it, truth-finding, truth-seeking Muck-raking, bringing victory. It was a horse, of course, in which the warriors hid Pretending to bring peace And they wouldn’t speak to me, crouching in the dark Like a lot of fools, hearing the voice of the goddess In an alien city, I speak your tongue in my own city: Cambridge or Camelot and you won’t listen to me Advised, of course, by Odyssos, solicitor, betrayer. And when they had killed all the men, raped all the women etc. Agamemnon came home and, as I said, was stabbed by his wife In his bath. Anyway it is the lark, my love, And not the nightingale. I follow the sacred footsteps of Hippolyta, the blest, the best That has been said or spoken well in any tongue Read John Donne—the memorable dun. Don’t read Matthew Arnold; he’s a fool I am not Prince Thomas Aquinas F.H. Eliot I am not an attendant lord either. I am the king who lives. Spring surprised us, running through the market square And we stopped in Prynne’s rooms in a shower of pain And went on in sunlight into the University Library And ate yogurt and talked for an hour. You, You, grab the reins. Drink as much as you can and love as much as you can And work as much as you can For you can’t do anything when you are dead. The motto of this poem heed And do you it employ: Waste not and want not while you’re here The possibles of joy.

Encounter with a friend, acquaintance or just someone in a bar is merely a pretext to display your theory of what you are. Absorbed in your own performance you applaud or criticise, and only to watch your reflection do you look into his eyes. Or, if a contrast’s noticed, it’s to serve as a backcloth useful for the setting and to show your costume off. He thought you concentrating when you were running through your lines rehearsing gestures while waiting for your cue. Still soliloquising you said goodbye, went on, and never knew that the stranger, the other had been speaking to you.