Childhood (After Peter Steele’s “Star Man”)

For those who follow the church calendar, we are now in the season of Epiphany, the brief time between Christmas and Lent. Peter Steele’s cycle of poems “Rounding a Year”, deals nicely with this season, especially the strange in-between period where Jesus has been born but is not yet approaching the Cross. I’ve used today’s poem, a response to part of Steele’s work, to reflect on this stage of Jesus’ life.

Childhood (After "Star Man")

Strange as it must have been to grow as a child
   in the world which was his child, he grew,
we're told, and "became strong", "filled with wisdom":
   street-wise, perhaps, the way a kid has to be,
with all of these Romans around, yet wise also
   about the lines and shades of truth,
the textures of the soul, the contours of the earth,
   wise to know a true word when spoken,
being himself the Word. The Magi knew
   true wisdom when they saw it, but Herod
      would stumble on wisdom like a rock.
Yes, his father taught him which nail to use,
   how to use this chisel to shape this space,
how to manipulate the sternness of stone -
   yet those lessons were scarcely needed,
symbols, perhaps, of how low he had come,
   that he should take advice from a man
whom he himself had formed and shaped like clay.
   If he grew in wisdom and knowledge, perhaps
it was more like a waking than a learning - that
   moment of remembrance after a dream,
      the knowing assertion of light into a tomb.

Star Man - Peter Steele

What did they tell him about the early days?
   The infants taken out, the scramble
across a border, another sojourn in Egypt,
   the being strangers in a strange land,
anxiety as something gnawed like bread -
   was that the story? And what became
of all the star-talk they'd heard from camel drivers
  and their curious masters, who fished in bags
for the dulled flaming of gold, for smoky gum,
  for myrrh to mask mortality, while
     the child dozed as he needed?

Grown, a day's work done, the tools consigned
  to peace and shavings, he'd stroll and gaze
at the many nail-heads fixing a darkened fabric,
  the well-made world above him. And knew
as little as that vast array of siblings,
  hacks and drudges, who comb us all
towards coherence. Thumbs in his belt, he watched,
  but not to see the spill of fires
from whose old dust we're beckoned out to be,
  much less to think, as some would say,
     that in him all was made.

(From Peter Steele, The Gossip and the Wine, 2010, John Leonard Press)

Catechism 1

What is our only hope in life and death?
That we are not our own but belong, body and soul, 
both in life and death, to God and to our Saviour 
Jesus Christ.
(New City Catechism)

Not my own; what then?
Within this case, these bones, this skin,
World seen through these squinting eyes,
Heart held in this pulsing cage,

     I see, I look, I hold, I yearn,

And fail to yearn for what will be.
Not my own, but bought by grace,
Remaining in this human frame,
I must give all for all He gave

    And learn to yearn
    With grace-shaped heart.

I watch these other hopes fall off
Like leaves, like dross, like passing light,
Watch eternity stretch, bind, hold,
And gather me in with hope.

Epiphany (After Peter Steele’s “Madonna and Child”)

8730##S.jpg.248x605_q85Tomorrow is Epiphany Sunday, and so I’ve chosen to begin my month of looking at Peter Steele’s poetry with this response to his poem “Madonna and Child”. Steele’s poem is an ekphrastic poem, meaning that it has come “out of” another art work, Justin O’Brien’s intriguing “Madonna and Child” (image from http://www.artgallery.nsw.gov.au/collection/works/8730/). I’ve followed Steele’s Shakespearean sonnet structure and have responded myself to the painting.

But more important than any of these works is the truth of Epiphany, the revelation of God’s glory in Jesus Christ. No art-work or poem can do justice to this truth.

Epiphany (After “Madonna and Child”)

It’s not His face that makes His glory known,
And yet we do our best. See how refined,
Complete He is: His mother stern, enthroned,
Her gaze towards us, His towards the side,
His right hand raised, as though to warn us how
The scars will find their way into His palm.
Behind them: grey squares and diamonds, no glow,
Only a crimson-tinted chair. How calm
He stands upon His mother’s knees, how vacant
Her gaze! If swords will pierce through souls, she seems
To take it well, her stoic eyes aslant,
Almost – it looks – on brink of hazy dreams.
Yet He appears to stare straight at the Tree,
The unseen throne of this epiphany.

Madonna and Child - Peter Steele

He might have just come from the barber, unless
She keeps razor and scissors bright in a jar
To smarten him up on Fridays. There's finesse
In the gowns' fall, the boy's bearing, the scar
That pinks each hand and foot, the woman's gaze
Towards you and beyond, the nailed-up throne
To house the poet's 'heaven in paraphrase',
The haunting grown the stranger, being sown.
And here's the thing: among those out to see,
Young as they are, what he and she can tell
Of all time's blessings and its piracy,
The tolling or the spiring of a bell,
Guess as they do at the soured wine and the lance,
The feet are poised forever towards a dance.

(From Peter Steele, White Knight with Beebox: New and 
Selected Poems, John Leonard Press, 2008)

Exultavit cor meum (1 Samuel 2:1-10)

Did she walk away singing, joy in heart?
The knowledge sang within her, of the Rock
From whom all water flowed, and this exchange
In fortunes – rich brought low and poor made high.
Yet richest gifts demand the largest part;
Though free, as she went home, from those who’d mock,
Such height, such grace, could not but rearrange
The substance of her heart, and magnify
That grace which gave, that love which taught to love.
Her heart exulted, yet it must exalt
Another who was higher and whose strength
Gave strength most to those with the least thereof,
Exultant yet without: the swift assault
Of mercy beyond measure, beyond length.

12 Poets #10: Peter Steele

Fr-Steele_300Well, the new year is here and it is time for a new poet. This month is very personally significant for me. Peter Steel SJ was an Australian poet and academic who taught me poetry in my fourth year of Literature at the University of Melbourne and had a deep influence upon my love of poetry. It is a great joy for me to share some of his poetry and my responses to it with you all this month.

Thanksgiving

This year I wrote a poem for my birthday called “Thanksgiving“, based around Psalm 116. In response to a request from one of my readers, I ended up setting the poem to music and recently recorded it with my friend Dave doing vocals. On this second last day of the year it seems a fitting way to finish a year that has been full of unexpected blessings from a God who is far, far better than we could ever deserve.

Earth’s Carol (After Luci Shaw’s “Some Christmas Stars”)

One final poem for Advent, this one inspired by Luci Shaw’s “Some Christmas Stars“. Merry Christmas everyone. May it be a blessed time remembering the wonder of God made flesh.

Earth's Carol

The stars make songs in silent sway,
The roosters wait for newborn day,
And I in brokenness make way

To sing the songs of broken bones
Kneeling at the newborn's throne,
The Godhead's second part, alone.

The angels cannot sing enough
To praise His name. King Herod's bluff
Fools no-one fast. Earth's dusty stuff

Becomes His throne. Thorns, soon His crown,
Entangle round His bed. The sound
Of broken praise echoes around.

Descend, Ascend (After Luci Shaw’s “Made Flesh”)

As Advent draws frighteningly close to its festive conclusion, it’s time to catch up on the December poems for my 12 Poets Project. Today we enter another of Luci Shaw’s reflections on the Christmas story, the beautiful “Made Flesh” which was the inspiration for my next poem.

Descend, Ascend (After Luci Shaw's "Made Flesh")

Now, as the angel's greeting shimmers,
Mary trembles.
The Maker of the stars and spheres
Becomes impossibly
Small: a zygote, an idea,
A point of debate.
The giver of life clings on
For life, umbelical-bound,
Co-dependent, finite, weak,
And then,
As though the insult weren't enough:
The smell of hay, the taste of dust;
Darkness greets the Light of Life,
Cows draw near to see the scene,
Shepherds sing.
Can it be? Son of David, Sun of Dawn,
Pushing out through flesh, now flesh?
How low can such majesty descend,
How high can we reach for answers?
Yet I too, made of flesh,
Need not feel ashamed;
The taste of dust, I know it well -
And it,
Made precious by his hands,
His feet, the knees that crawled in it,
Declares that I am made of him,
Born to his flesh,
His hands, his feet,
Lifted as he is brought low,
And I will rise like him.

Pageant Part 10: The End

The best that Kim and Craig could work out was that Braydon had somehow come detached from the tree, which had fallen on top of Second and Third Sheep, which in turn had fallen onto Tayla. Kassie, unharmed physically but having experienced too many traumas with her brother that week, vindicated in her warnings yet feeling no victory, had retreated into the corner in tears, her angelic prophecy left hanging, much like Braydon, who was swinging wildly from the harness, his right arm the worse for wear.

When he finally became coherent at the hospital, Braydon mentioned that, as he had fallen from the tree, his right arm, positioned as it was in the star shield, had bent awkwardly in response to the fall, and that he had heard something like a snap, having around that moment then lost consciousness.

“It wasn’t your fault,” said Sue.

“Yes it was,” said Grant. “You were a dickhead.”

Braydon mumbled, “I thought you told me not to swear.”

“It was necessary,” said Grant.

He held Braydon’s left hand while the doctor prepared the cast.

Much of the town was still gathered at the hall as Sue, Grant, Braydon and a slightly less teary Kassie drove back from the hospital. Parking at the hall, Grant stepped outside for a moment to say, “It’s okay. He’s broken his arm, but he’s okay.” Most just stared awkwardly at Grant, but he looked unabashed back at them. “Is something wrong?” he added. “Is my second head showing?” No-one said anything, and Grant returned to the car and drove home. He slept that night at his old house, in his old bed.

In the morning, tongues – temporarily paralysed by Grant’s unexpected confidence – were wagging once more. Some said the usual things:

“Can you believe his nerve?”

“Who did he think he was, talking to us like that?”

“Thinks he’s the normal one, does he?”

But others were rehearsing new lines.

“Maybe,” said Ethel, “the play was telling us something.”

“What?” asked May.

“I’m not sure,” said Ethel. “But I felt like it was…speaking to us.”

May said nothing, but felt somehow that Ethel was right.

Kev too felt different, and, when Rob started on his usual tirade against Grant, said, “Maybe we need to give him a chance.”

Rob, however, thought nothing of the sort, and was in the middle of covering all the reasons, from the cult in Warrnambool to the unroadworthy incident on the road to Mt Gambier when Grant himself walked into the store to buy milk.

“My ears are burning,” he said.

“Oh,” said Rob.

“Keep going,” he said. “I’m enjoying the story.”

“Nah,” said Rob. “It’s okay.”

“It’s a bit boring, though,” said Grant. “I mean, the truth was way more interesting. The bit about the Virgin Mary was way off. It was a vision of a Native American deity. I was high at the time.”

Someone shuffled their feet. Another said, “Hmph.”

“But the truth’s always weirder than the fiction. That’s what I learnt.”

The cash register stopped.

“I mean, can you imagine what I found?”

No-one imagined. No-one said anything.

“There was actually a group of people who thought something way stranger than anything I’d heard before.”

A child dropped an apple. Their mother picked the apple up and told them to shush.

“They believed that God came to earth and walked around as a human, then died, then rose again.”

The child crunched on the apple. The mother said, “Shush,” again.

“Can you believe that? It puts our town gossip to shame. I had to get in on that one.”

No-one could believe it. No-one replied.

“Got no response?” said Grant.

Nope. No response handy.

“I might just get some milk,” said Grant. Everyone stayed still. “Excuse me, Rob,” said Grant.

“Hmm?”

“The milk’s behind you, mate.”

“Oh,” said Rob.

Grant took the milk, paid and left. For a moment, the silence in the store looked set to last longer than any the town had heard before. It was broken only by Braydon appearing in the doorway, arm in a sling, calling out, “He can fly, you know.”

*

You’ll still hear differing accounts, of course. Those who still have it in for Grant will tell the story in such a way that he is entirely to blame. Those who hate Tayla’s mother – there’s a few of them – will suggest it was Tayla’s fault all along. Jordan still looks sheepish about it all, as does Third Sheep. But this conclusion, when all’s said, is the closest the town has come to unanimity about the events: that Braydon thought he could fly, that the sheep got stuck, and that Tayla, annoying though her mother is, was not really to blame for any of it.

And the sight of Grant driving around town, once again in his McKenna Electrical van, causes less stir than it did once. Most people let him into their homes to do work for them, and the word is that Sue is once again doing the books for the company. He has fewer visions of supernatural deities preventing him from concluding jobs. In fact, he has none. But he has one strange idiosyncracy, which is that, out of respect for his son, he never helps install Christmas lights. His son, it seems, has an incurable fear of Christmas trees, at least of anything balancing on top of them, and Grant says he doesn’t want to upset his son more than he has done already.

Though relatively pleased with the success of their first experiment with theatre, Kim and Craig say that they are happy not to do a Christmas play again next year. They have another event to organise, and have heard that there is a wonderful song that the children can sing together, called “Christmas is a Birthday Party”. Kim hopes that, as with all songs that the primary school kids have sung in the past, it will die quietly after they sing it and never be heard again.