Johnnie's by Noreen Campbell
Through an open half-door, light enters the dark kitchen,
falls across the dresser,
and sparkles among the brightly coloured delph.
On the mantelpiece opposite,
a stopped green-marble clock stands between a clear glass float
and a rusting tin box.
A black kettle hangs on a black crook,
spits boiling water on a whitewashed hob,
and Johnnie’s stick leans against a brown wooden armchair.
On the back wall blue gingham curtains screen the outshot bed;
a crucifix its only ornament
and the chirr of crickets its background music.
Through the paneless poor-law window,
I see a tree growing through the rotted thatch-
the half-door replaced by briers.
To some, a wallstead
To me, Johnnie’s.
Lattice Window by Robert Kirk
(an observation of Tryptich – a sculpture by Jaume Plensa placed in Max Reinhardt Platz, Salzburg 26 August 2012).
Elevated on a black marble pedestal,
kneels a man created in stainless steel
upper case letters. I attempt to read him
from several points of view – all nonsense
words, beyond comprehension – a man
without syntax – without substance;
for light of day passing through this lattice
window of reflective characters leave him
imperceptible. Then, looking into the glassy
hollowness of his mute supplication, see
my deconstructed self...
Shadow of a Shadow by Tom Honey
The marks on the pane are frail,
like breath on glass yet transparent.
Days later they still remain.
The separate parts, slowly
discerned as forming pattern,
suggest wings stretched fully,
soft breast, a spread fantail,
shadow of a shadow,
recording impact, a bird, maybe
fleeing uncertain skies,
or just failed navigation,
yet no corpse on the window ledge.
A passing image only, yet it calls
to mind those teaching windows,
figures grouped in glass,
a dove hovering.