An Ordinary Dog
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About this ebook
Both intimate and detached, this poetry compilation delves into the politics and aesthetics of desire—sacred and profane, frantic and serene, refined and grubby. Reflecting upon the comedy of human needs and the vanity of human wishes, these poems consider times of crisis when history is lived and reinvented, myth degenerates into faith, and reason falters. On this journey in which chance always prevails, the mood ranges from cheerful equanimity to gloomy desperation.
Gregory Woods
Gregory Woods was born in Egypt in 1953, and brought up in Ghana. He is the author of Articulate Flesh: Male Homoeroticism and Modern Poetry (1987), A History of Gay Literature: The Male Tradition (1998) and Homintern: How Gay Culture Liberated the Modern World (2016), all from Yale University Press. His essay collection The Myth of the Last Taboo: Queer Subcultural Studies was published by Trent Editions (2016). In addition to his six main poetry collections, all with Carcanet, chapbooks of his have been published by Shoestring Press and Sow's Ear Press. Woods has two doctorates from the University of East Anglia (1983, 2006). He began his teaching career at the University of Salerno in 1980. In 1998 he became the first Professor of Gay & Lesbian Studies in the UK, at Nottingham Trent University, where he is now Professor Emeritus. He is a Founding Fellow of the English Association and has held two Hawthornden Fellowships (1999, 2008).
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An Ordinary Dog - Gregory Woods
GREGORY WOODS
An Ordinary Dog
Acknowledgements
Earlier versions of these poems appeared in the journals Ganymede, Gay and Lesbian Review, PN Review, Poetry Salzburg Review, Polari Journal and Staple, as well as in the following anthologies: Amie M. Evans and Trebor Healey (eds.), Queer and Catholic (New York: Routledge, 2008), Jo Harding and Theresa Robson (eds.), Slip Through the Silence: Facing Adversity with Verse (Clitheroe: Clitheroe Books, 2008), Kapow: New Writing with Impact (Nottingham: Launderette, 2009), Gregory A. Kompes (ed.), The Queer Collection (Las Vegas: Fabulist Flash, 2007), Reflections: A Collection of Poetry for the Waiting Room (Derby: Reflections, 2007). ‘Echo’s Echoes’ was first publshed on Twitter. I was awarded a second Hawthornden Fellowship in 2008.
Contents
Title Page
Acknowledgements
One
Invocation
Figure of Enchantment
Objective Disorder
Age of Gold
Landscape/Portrait
The Best Medicine
Faith Figure
Scenes from Stendhal
Scenes from Flaubert
Wing Three-Quarter
La Vie en Rose
Strokes
Action and Reaction
Initiation
Ah the Taste of a Stranger’s Mouth!
The Picture with the Bear
Figure with No Past
Figure of Achievement
Messages
Trees or Fly-Fishing
When You Go
Scenes from Gautier
The Sweet Life
Last Resorts
Figure of Opportunity
End of Eternity
Two
Jerome
Into Battle
Newton at Woolsthorpe
Interpreting Flaubert
Death of Rimbaud
Jean Genet in Norwich
Lenin on the Thérémin
E.M. Forster at Rockingham
His Philosopher’s Voice
To the Authorities
Preoccupations
Torso
In Derby Cathedral
On Derby Station
Drive-By
Mothers of Sons
Priorities
Indictment
Three
Penmanship
First Rites
The Thaw
Chance Discoveries
A Place on the Map
Boulders
Said and Done
Rhapsodic Materialism
Dream of the Future
Making Myth
Possibilities
A Personal Vergil
Beyond Progress
Intersection
The Vulnerable Bead
Anomaly
Displacement
That Sweet
Narrative Poem
Rags, a Dog, Eternal People
Gogol’s Guilt Complex
Scenes from Balzac
Echo’s Echoes
Four
An Ordinary Dog
Theorem
Her Hair Is her Religion
Retribution
Down to Earth
Extinguishing
Scenes from Hugo
Empty Quarter
Written After Swimming from There to Here
The Lesson of History
Around the Neck
Butter-and-Eggs
About the Author
Also by Gregory Woods from Carcanet Press
Copyright
One
Invocation
Come, hungry Muses, sink your fangs
into the rancid meat of things.
Give us another of those songs
that fizz the spittle on your tongues.
Descend on us in raucous gangs,
tattooed and sporting nipple rings.
Evacuate those tarry lungs
and goad us with your humour’s prongs.
Conciliate your hunger pangs
with scraps of life, the random slings
and arrows felt by human throngs.
Foregather where the tyrant hangs,
and harry anyone who brings
to human rights inhuman wrongs.
Figure of Enchantment
She wears red feathers
but white ones on feast days
and on her birthday scales.
Her fingers have claws
and black talons for shoplifting.
When she swims she grows fins
and on the verge of drowning gills.
In her rump she hides a sting
for any man who crosses her,
but the stinging tastes of honey
just before it hurts.
The feathers she wears
are as red as her hair
and when anybody plucks them
she shrieks as if winning a prize.
Her annual ovulations
bring the kids out on the streets,
maidens waving bunches of mimosa
and square-bashing boys
with badges and berets.
By night she hides from headlights
as if running from the law.
When it snows she weeps for all mankind
(a colander) incontinently, out of earshot.
Those who fall in love with her
fall out again with broken hearts
and grazed extremities.
Nobody comes close.
Objective Disorder
Propriety once segregated us from girls,
and passion followed suit. No laws or papal bulls
applied to adolescent guile within these walls.
For all that we were rendered regular by bells,
each body’s pulse subordinated to the school’s,
mortality’s unsentimental chisel gnarls
a boy’s credulity, and scepticism kills
his faith. The gods he worships then are human pals,
imperfect but more beautiful than bloodless souls.
Beneath a plaster Virgin’s blindness, like a doll’s,
a pair of us replace cold prayer with spattered vowels
of inarticulate delight. Each of us feels
himself, unlike the sheets our ecstasy defiles,
unspoilt by the division of our bodies’ spoils.
Age of Gold
Philosophy relied on words for its account
of love, but boys did well enough with groan and grunt.
Theirs was a class of flesh so laudable, by dint
of youth, that nothing but its semen should anoint.
Once they had passed beyond the point of do and don’t,
they were held back by nothing worse than can and can’t.
Pragmatic passion knew no more severe restraint
than the available, the possible – and want.
Besides, the cornucopia was never spent.
Landscape/Portrait
Devise a composition, taking in
the landscape, either as it stands or else
adjusting it to suit a preconceived
idea of how it might have looked if you
could see it from a higher vantage point,
or if a certain crag or tree were to
be shifted left or right, and when you point
your predatory telescope at it,
like some conquistador confronted by
the confirmation of a hunch that brought
him to the distant beach on which he must
find gold or die for having cost the crown
more than it takes to raise an army to
suppress a rebel province – take your time;
enjoy the passive scene as much as it
appears to be enjoying being seen.
Like a boy’s body waiting to be kissed,
impatient for the tickle of the lips
or self-indulgent slaver of the tongue,
the sweep of him exposed across the broad
horizon of an unmade bed and crudely
sun-lit underneath the open window,
but hoarding shadow and a secret heat
in inaccessible but dreamt-of parts
unmapped by naked eye, still less explored
by stealth of