Stephen Robertson

Slanting Lines

Concordance

This concordance provides an index to every word in the poems, excluding a list of common "stopwords".  It may be useful in finding a half-remembered poem, and perhaps in looking at the usage of words in the poems as a whole.  It will be readable only on a large screen.

K

ia // Kuril’skiye Ostrova; Kirgiz Step;
Karakoram Ra // countries; seas // One to ten million:  Middle East //
/ we must** resort to footnotes just to
keep a healthy handle on the case. // * following the example of the
are great when gales are threatening //
keep drafts out and comfort in—but // there was an old man called Mich
ng glumly.  “I // need a new project to
keep me in trim— // now the Gurkhas are happy—some shiny erection to /
the clumsy barriers just in time // to
keep the carriers of plague at bay.  // Yet someone here is staggering
ils far, // invading the inky darkness,
keeping // at bay the frights night has in store.  // Whether I’m lying
ing (the // buy-in from business is not
keeping pace) // —but Sadiq the Most Evil deposes poor Boris, and // g
than Jehovah thought she should— // but
keeping us in darkness so // cannot be good.  // Nevertheless I draw th
oyce has his Liffey whose recirculation
keeps // Finnegan going (despite it’s his wake)— // Beethoven’s music
// taking two toeholds in // Essex and
Kent , // Emily Thornberry’s // photo gives Labour a // cardiovascular
outside of the kettle.  Never fill the
kettle above the MAX level and ensure that it is always above the MIN
tle will switch off automatically.  The
kettle can be switched off manually by putting the switch to the ‘OFF’
itching back on. // When the
kettle has boiled the water may be poured out through the spout.
by the level mark on the outside of the
kettle .  Never fill the kettle above the MAX level and ensure that it
firmly closed. // Place the
kettle on the cordless base making sure it is positioned correctly.
Using your
Kettle // Place the cordless base on a level firm surface.
position. // To re-boil the
kettle , switch it on again.  If the appliance has just switched off yo
// Where ever possible fill the
kettle through the spout as this will help to reduce the amount of lim
// When the water boils the
kettle will switch off automatically.  The kettle can be switched off
MIN level. // Only fill the
kettle with the amount of water you need as this will save electricity
Hermitage in Leningrad in Soviet days. 
Kettle’s Yard in Cambridge when it was still managed by Jim Ede (he wo
other artists // which will drag us //
kicking and screaming of course // but maybe also wailing and gnashing
// “But life is for the living, do not
kill // another day.”  // And yet you stay // inside my head, and take
/ I’m sure it doesn’t really want // to
kill me.  // Like the asteroid // barrelling onwards, to wipe us out in
on Sheffield.  // In north Africa, D is
killed .  // Later, one of the lodgers— // Polish serviceman and refugee
anigan // called out all their kith and
kin —but // the wind came up and blew them in again.  // Beards are grea
one more new beginning: // a different
kind of home // here on the north Norfolk coast.  // The wonder is that
ds the river is a group of firs // —the
kind you sometimes see in lines across // the Suffolk countryside, eac
ou take part // in the mass trespass on
Kinderscout .  // Meet a dashing young fellow rambler.  // Marry, find a
ll never show a lass // As comely or as
kindly or as young as what she was!) // I am not cruel, only truthful—
y days // —or should have been—for many
kinds of loving.  // Did I love enough? use every day?  // Days for see
able fortress makes fish cake.  // Fried
kind’s of seafood in monolith // Do the crispy bean curd of boiler, //
windsor, four; // five othello; six for
king lear; // seven hamlet; eight macbeth; nine // for any other choic
// Britten’s Ceremony or the ones from
Kings .  // If I can filter out the rest, the aural grime, // even I, at
// Britten’s Ceremony or the ones from
Kings .  // Whipped wide awake by what the thunder said // flashes silho
llion:  Eurasia // Kuril’skiye Ostrova;
Kirgiz Step; Karakoram Ra // countries; seas // One to ten million:  M
esk?  // No.  // Bedside table?  // No.  //
Kitchen again?  // No.  No.  No.  No.  // Dammit, used them yesterday. 
the garage).  // The bench was once // a
kitchen dresser, already ancient in // the damp basement of the Peckha
ed to those // caused by generations of
kitchen knives.  // Clearance time.  What can I possibly salvage // fro
cleaners // Pay newsagent // Bulbs for
kitchen lights—CS 60W screw???—check first // Cash m/c // Washing // P
// But no.  // Table by door?  // No.  //
Kitchen ?  // No.  No.  No.  // Dining table?  // No.  // Beside easy chair
ange shenanigan // called out all their
kith and kin—but // the wind came up and blew them in again.  // Beards
Cores // Cut a
kiwi // equatorially: // no pips, no stone.  // Avocado: // pole-to-pol
nia gold rush of 1849, and again in the
Klondike in 1896, in order to make proper San Francisco bread, prospec
lopes rise up // to rampart rock walls,
knife -edge against // the deep blue sky.  We take our boots off, // di
pings, // the bare rocks and the ridge,
knife -edge against the sky.  // What do they know, the rain and the air
y forward and land with my // shin on a
knife -edge of rock that protrudes from the // edge of the path, not ye
he fateful day // When, gleaming in his
knight’s array // And gaily singing on his way // Rode bold Sir Lancel
ose // caused by generations of kitchen
knives .  // Clearance time.  What can I possibly salvage // from all th
’s just the bin—needs emptying.  // That
knocking ?  Footsteps in the next room?  // Don’t be silly, that’s just
me: // that we could reach this perfect
knot // and find ourselves at home.  //
Plague // In some far-off place we
know but little // across so many alien lands and seas // some people
long ago.  // A fairy, good or bad, will
know // exactly when to show her face, // the world just so.  // A wing
Ever // Tennison’s stream, we
know , goes on for ever, his // poetry too to posterity speaks; // Joyc
eing it on the page they will certainly
know it.  //
// is likely different from the one you
know .  // It is the space in which I must survive; // It’s through this
designer with // boldness and vision—I
know just the man.  // He has built me some buses which boosted my ego—
e instead.  // My ancestor caused Eve to
know // more than Jehovah thought she should— // but keeping us in dar
six and counting // How little I really
know of your life!  // From the moment almost a half-century ago // whe
e we going, so fierce and so fast?  // I
know only the wind and the rain // the sun and the clouds by day, // t
of our cushions are missing.  // I don’t
know quite what to say.  // It seems that there must be some rotter //
windfall in the grass.  // What do they
know , the rain and the air?  //
readeagled on the road.  // What do they
know , the rain and the air?  // The drystone wall slanting across the m
e-edge against the sky.  // What do they
know , the rain and the air?  // The glistening mud left by the ebb-tide
gret, the gliding gull.  // What do they
know , the rain and the air?  // The hedgerow, the field, the rapeseed a
The rain and the air // What do they
know , the rain and the air?  // The roof, the ridgetiles, the leaves in
It’s likely different from the one you
know : // to you, this is a dream in which I’m caught.  // But through t
ent trials pass?  // It’s really hard to
know .  // We have no crystal ball, no glass.  // The light has all gone,
who is showing us the scene // —does he
know what it is she sees?  The frame // he chose has cut us off from l
and columns across the deep.  // Without
knowing what it is, // we take on the purpose of the wind; // we march
wsprint said.  // The previous occupant,
known as Mister Gray, // (easier than his proper name of Gouriet) // h
scend, an alternative route which is //
known as the Allerdale Ramble, traversing a // difficult scree but the
hen I first met your daughter // I have
known fragments, snatches— // some now half-remembered, some long sinc
// when Maggie’s encomium // came to be
known to ’im.  // Thomas Stearns Eliot // wrote poetry well, but // was
t around the final bend) // this craven
kraken creeps, and slumbers not: // a stealth invasion’s getting off t
e drizzle the long approach road to the
Kröller -Müller museum outside Amsterdam.  The Hermitage in Leningrad i
d // One to thirty million:  Eurasia //
Kuril’skiye Ostrova; Kirgiz Step; Karakoram Ra // countries; seas // O
// still at school // Aaron Copland and
Kurt Weill // in their cots // William Walton not yet born.  // But Mau