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Lines               Machine House

         The Enthusiast           Domestic Landscape

 

Lines

 

Love will be slow then

as girders crossing blue water.

The boy

in the corner of the carriage

 

clicking his beer can

will freeze. A change will adopt us

like snow

on the tail of mauve April rain

 

slipping soft fingers

into the workings of hawthorn,

the gears

of daffodils. As dreams, we are

 

unseasonable,

chilled into a locked van. This train

derailed,

its spine dragged to oblivion.

 

Pillars fall for ever,

fail to find ground. We have grown

into

our suspense: a bridge of dissolve.

 

There is no jumping

from this span. On the flat of the

bell curve

we maintain our notes, hold the chord.

 

Rod Riesco

published in Brando's Hat, No. 9, 2000

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Machine House

 

Inside the machine house we watch the oiled brass members lift

     and push against each other.

Their habits are plotted with fanatical clarity on creased charts

     in wide cabinets.

The draughtsman's hands are bones, but the metal skeletons prance

     in swirling gowns and spit thin coffee coloured grease.

The great crown rotates with mindless severity, trapped in its

     ceremonial.

The beam nods and linkages faint and revive as the hysterical

     governor tugs the weights and levers.

I clutch you, and point. A climax is approaching: the valves

     clack and hiss, the needles tremble higher, fierce shudders

     run through the handrails and up the fluted shafts.

Will the iron fruit drop from the capitals? Will the whole

     burnished temple collapse?

But the rumble slows and stops, the trundling belts fall silent,

     and something escapes with a sigh.

 

Rod Riesco

published in Smiths Knoll, No. 9, 1995

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The Enthusiast

 

The world was not cold car seats

smelling of sick,

was not all tough and rumble,

studded footballs on the side of the head,

tremendous thunderclap teachers,

giggles of girls behind pointing fingers,

the boy with the torn nails and ink tattoos

who said he'd get you next time;

 

no, the real world

was papier-maché,

green flock, lichen, cork bark,

points (left hand and right ),

buffers, loading gauges,

level crossing, signal boxes,

grey stone plastic platforms

where the passengers waited,

each on a round transparent base.

The policeman stood with hands behind his back

watching the car that never caught the cyclist

who in turn would never catch the dog

(and there was no creature

smaller than the dog).

Beyond the Hardware Store

three inches of corduroy ploughland

led without warning

to a vertiginous drop.

Sometimes a giant screwdriver

lay in the High Street like a stranded whale.

 

Nobody complained. The children

never went to school,

were never beaten. One had a hoop, another had

one arm: accidents will happen. They didn't cry.

They had a church and rows of neat white graves

but no one ever died.

The only things that moved

were the sparking empty trains

that jerked on their orbit

past the fixated guard with his green

flag, the mother and son, the weighing machine.

 

Shouts from the street

were ignored

for this was the world

that you, alone,

created, tore apart, restored.

 

 

Rod Riesco

published in Prop, No. 6, 1998/9

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Domestic Landscape

 

Stern, thoughtful, on your chair

across the ocean of carpet,

the stacks of paper on your lap

and clustering at your feet,

the TV making hysterical claims 

you tap your teeth with a pencil

and turn the next sheet.

 

I watch from my corner

blinking over my book;

the lighthouse rays swing like propellers

and rarely coincide

in a huge flare of brightness.

 

At dawn we caught

each other in passing 

a taste of smoky tea.

We carried each others' souls

in our bags among the folders

all through the furrowed day.

 

The night collapses onto us

like a tired child;

a slow embrace

becomes fast compensatory sex

that joins and immediately

separates;

 

I lie in the whispering dark and contemplate

the fine curve of your back

and know I would have

this world

no other way.

 

Rod Riesco

published in Smiths Knoll, No. 31, 2003

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