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.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

I

eap pun // // … a swindle… // // [One

iamb , two anapest] feet // // [make up an eight-syllable] beat. // /

Fibonacci series

/ a tumbling precipice of rock—or maybe

ice // // from a dying glacier. // // On the next bend, the banks //

l half-covered // // in slowly melting

ice . On the far side // // the steep snow-covered slopes rise up //

having owned // // long long ago, that

icon of // // a time and maybe social group // // —and then, when th

Donkeys don’t wear jackets

Colourless green

ideas found sleeping furiously // // // The garlic slices the beef g

Colourless green ideas found sleeping furiously

e in what he says, // // through these

ideas he makes a worthy guide; // // his voice is lively, gestures wi

hich I can discern, even perhaps // //

identify across the years. A copper beech // // stands out, a clump

// in a bubble, a damp and fuzzy // //

igloo -tent-cocoon, both future and past // // veiled, invisible, lost

some of them sublime. // // Must just

ignore the shop-committed crime, // // the muzakal banality which sti

et // // tried to hear // // tried to

ignore // // tried to learn // // tried to live // // tried to love

ome to Paris // // Manuel de Falla and

Igor Stravinsky. // // A turn, a period of change? // // Well, yes.

January Nineteen Hundred and One

Iken Hall // // Later, my mother will describe the house itself // /

Daydream Dale Journey // // From

Ilkley’s old stone bridge I trace a path // // against the stream, ba

Daydream Dale Journey

y // // remains in memory, for good or

ill , // // another day. // // I cannot say // // whether I have the

chill // // Lies fast upon the land so

ill . // // Seldom now the skylark’s trill; // // No longer do the pe

The Lady’s Maid

o its ‘ON’ position and the switch will

illuminate . // // When the water boils the kettle will swi

Using your Kettle

om my fickle memory— // // elusive and

illusive treasure, she. // //

Daydream Dale Journey

’s encomium // // came to be known to ’

im . // // … and one poet // // Thomas Stearns Eliot // // wrote poe

d it conjures up a vision // // of the

image that inspired it: a scattering // // of people in a city street

be fixed // // while the long night’s

images last, // // but notched on the stick // // as the day slides

into the mist. // // The long night’s

images last. // // But now the light is fading // // as the day slid

ls, created by some force // // beyond

imagination ; and of course // // extracted from my fickle memory— //

Daydream Dale Journey

// // there are times // // when the

imagination fires. // // Pots are thrown and fired, // // crops are

spiration // // This figment of my own

imagination // // is the space in which I must survive, // // with F

five- // // or eight- or ten-year-old

imagination . // // It stands within a grove of trees, a very few //

not pass, // // this figment of my own

imagination . // // Maybe I should write it in a verse // // with Fri

// what reconstruct and // // what re-

imagine ? Not to rave // // at fate, at chance, at // // what has co

fficient to send me to bed. // // Just

imagine the grief // // and the consequence if // // it had been a p

Newton’s counterfactuals

eave it where it is to rot away? // //

Imagine what the vengeful gods would say. // //

On offerings to the gods

// // only the back // // of the one

immediately in front. // // The wind is angry, howling and shrieking.

ne— // // me, I’m not looking for such

immortality , // // life after death would not be to my taste; // //

// with crescent moon // // from cold

immune . // // Let snow lie, // // it’s Jan, not June. // // A blue

The moon in June

-rate opportunity— // // Isolation for

immunity — // // To indulge in the felicity // // Of unbounded domest

t their prey. But not for long // // —

impermanence’s permanence the rule. // // Change will last forever. /

nk-like hood— // // and with (the most

important thing) // // those wooden toggles, loops of string. // //

Donkeys don’t wear jackets

he taro rolls up an incense. // // The

impregnable fortress makes fish cake. // // Fried kind’s of seafood i

Colourless green ideas found sleeping furiously

with no result. // // Fragile crab of

incense taste mushroom // // Do the black boiler hair belly. // // T

Colourless green ideas found sleeping furiously

ean bubble, // // The taro rolls up an

incense . // // The impregnable fortress makes fish cake. // // Fried

Colourless green ideas found sleeping furiously

ameter (the pole // // itself and four-

inch rings surely to be found // // elsewhere in the garage). // //

den curtain pole, // // two and a half

inches in diameter (the pole // // itself and four-inch rings surely

he boxes and tins are stacked // // in

increasing disorder along the back // // of the bench, as far as the

sins // // but flagons. Flagons might

indeed // // distract me, or Suliman, from his pilaf. // // But stay

The well of love

ether and together and together, // //

Indeed there will be time, there will be time // // time for all the

Recorded syllables

nations. // // Now Brin and Page build

index tabulations // // of all the words their spiders’ crawls can fi

/ // Isolation for immunity— // // To

indulge in the felicity // // Of unbounded domesticity. // // (not t

/ —only the last lives there. // // An

inflated bulb to hold // // the other two in place. // // Subjective

Capricorn suite

Those that they choose to use // // to

inform or confuse, // // elate or validate or grieve— // // these wo

letter. // // Scented paper, dip-pen,

ink . // // Branch post office, penny stamp. // // I love you. // //

a letter. // // New papyrus, brush and

ink . // // Command a messenger. // // I love you. // // Draughty ha

r. // // Parchment, new quill pen, and

ink . // // Employ a messenger. // // I love you. // // Curtained pa

// along with the rest of that // //

ink -spattered fragment of // // dead tree. // //

icate tendrils far, // // invading the

inky darkness, keeping // // at bay the frights night has in store. /

tarlight from space // // reflected in

inky water, // // the cool night air // // slows down time. // // N

Islands, beaches, clifftops, creeks and

inlets , // // rocky shorelines tumbling under the sky. // // Sea-bir

rnthouse // // footpaths; phone boxes;

inns // // One to twenty five thousand: The Broads // // Westwick; W

same old // // shave again // // it’s

insane // // i’m bored // // take train // // what a pain // // an

ping into each joint, // // it must be

insane // // to expect that a train // // will emerge from the vanis

oin and in my mind’s eye: // // A tube

inside a tube inside a tube // // —only the last lives there. // //

Capricorn suite

mind’s eye: // // A tube inside a tube

inside a tube // // —only the last lives there. // // An inflated bu

Capricorn suite

nlight fills // // the room we glimpse

inside . A woman leans // // upon a table in the window, looks // //

Cape Cod Morning

y might be behind or under. // // Look

inside anything they might be in. // // Turn the place upside down. /

Another senior moment

coloured flesh // // and hide a secret

inside . // // Feel the air. Turn in the four winds. Broadcast the sec

ide // // and you can see all the junk

inside . // // grey John Major // // surely had a wager // // that h

it. // // Sometimes softness shelters

inside hardness. // // Softness grows, hardness grows too, // // spi

llow through, and can be climbed // //

inside ) mark out the sandy/grassy bank that is // // the cliff. A na

claws and barbs, // // fastens itself

inside . // // Movement is faster, edgier, rougher. // // Rough softn

er day.” // // And yet you stay // //

inside my head, and take away my will // // to find a way. // // The

ost office take it. They’ll ask what’s

inside . // // Not distance, but weight. // // They’ll stamp it and d

// // What does it look like from the

inside ? // // See that blue-green ball of stuff? // // —spinning aro

llows us, not to feel safe // // until

inside the house.) // // The bracken spreads across a gentle slope //

empted to watch? // // Will it show my

insides displayed on the screen, // // so the doctor finds something

The truth about x

Zigzag // // 2 forward:

inspiration // // Alpha, beta, gamma, delta. // // The way is clear.

dropping onto Isaac’s head. // // His

inspiration is not mine // // (the apple said). // //

rvive, // // with Frida as my muse and

inspiration — // // that reality in which I live. // //

verse // // with Frida as my muse and

inspiration // // This figment of my own imagination // // is the sp

n, the cataclysm // // which will both

inspire and destroy // // so many poets and other artists // // whic

January Nineteen Hundred and One

stump // // make promises-to-go // //

inspired by our local Trump. // // The light is failing now. // // T

es up a vision // // of the image that

inspired it: a scattering // // of people in a city street, shop-wind

ould not see // // what he saw… // //

Inspired ? Why should such a mundane scene // // so briefly glimpsed,

ch and do not blink. // // In time, an

instant dash: // // a shooting star. // // To the sharp senses, natu

: if you blink you will miss // // the

instant jagged challenge passing between them // // or down to earth.

iations. // // Zipf was counting their

instantiations , // // ranking, taking logs and drawing lines. // //

uence if // // it had been a pineapple

instead . // //

Newton’s counterfactuals

by the sun // // —use moontime // //

instead ). // //

sink a battle-ship. // // But perhaps

instead I will go the whole hog, the full nine yards: turn the paper o

Aristotle makes you choke // // eat me

instead . // // My ancestor caused Eve to know // // more than Jehova

emains a small bruise on my head // //

insufficient to send me to bed. // // Just imagine the grief // // a

Newton’s counterfactuals

etermine // // whether some real delta

integration // // is possible at all. I have to try. // //

ent // // Who set out with the best of

intent // // In rollicking verse // // On a galloping horse— // //

A poem for free

n get it to do // // anything remotely

interesting ? // //

to be acting // // not in its own best

interests . // // Too bad. // // Polarity // // // First the bad ne

Capricorn suite

wn the road // // and into whose dense

interior // // we sometimes venture. // // Beyond the fir-trees lies

and gold livery // // of the Compagnie

Internationale des Wagons-Lits // // et des Grands Express Européens

Peckham 1969—1991

y sound; // // they write their notes,

interpret what they find. // // The possibility of peace is now long

Capricorn suite

ugh forests waking to the spring // //

intersect or fork. Some of these meeting-points // // are signposted

ot until light is fading // // has the

interval passed by. // // An uncompleted day // // is not yet to be

is not yet to be fixed— // // but each

interval passing by // // may be notched on a stick. // // Not yet t

Interval // // There is a forty-one year tale to tell // // —could I

// Change will last forever. // // At

intervals along the south horizon // // container ships in stately pr

zeska, and put it into our hands). She

introduced me to so many artists. As I have visited other places, I h

Fragments of a life

/ sending delicate tendrils far, // //

invading the inky darkness, keeping // // at bay the frights night ha

rises suddenly, // // screeching at my

invasion of its space. // // Two plovers wait a little longer, // //

aller tube. // // Subjective // // An

invasion of my privacy. // // An assault on my dignity. // // An abr

Capricorn suite

eps, and slumbers not: // // a stealth

invasion’s getting off the ground. // // Up on the surface and for fa

Capricorn suite

on, both future and past // // veiled,

invisible , lost in the mist. // // Forty-some years ago, when I first

ch message. Theirs // // is a one-way

invitation to the rocks. // // But me, now, I'm just lucky. // //

Capricorn suite

recuperate. // // Skiddaw is looming,

inviting explorers—a // // challenge I cannot allow to go answerless.

. But for these falls, // // no drink

involved . // // P // // The fall is denied. // // Anyway, the cance

es some deep philosophy? // // Voices,

ipods , phones speak out— // // add to the road’s cacophony. // // Di

On the top deck of a 68 // // Voices,

ipods , phones speak out— // // add to the road’s cacophony. // // Th

er people mutter, shout, // // voices,

ipods , phones speak out. // // So many people talking: can we doubt

lly grown to full maturity // // to an

iron -gated pointed arch // // piercing the wall, built like the house

ef granule. // // The first boilers of

iron plate glue east // // Grow face fa-cai thick soup. // // XO sau

Colourless green ideas found sleeping furiously

rical components. // // A pair of cast-

iron supports for an old // // high-level lavatory cistern, wonderful

wind // // whips the spume // // into

irregular clots, picks them up, // // and strews them downwind. // /

Covehithe, Suffolk

tive // // Discomfort. Bother. // //

Irritation . Nuisance. // // Pain? no, not really. // // Objective /

Capricorn suite

I draw the line // // at dropping onto

Isaac’s head. // // His inspiration is not mine // // (the apple sai

// // Shickshock Mountains; Shippegan

Island ; Cape Sable // // bays; harbours // // One to one million two

nly one remains to shiver // // On the

island in the river, // // Tending her cabbage patch forever, // //

The Lady’s Maid

of the hidden gold // // on the secret

island map? // // (Am I now getting warm or am I quite cold— // // s

The truth about x

nd grasses waving under the sky. // //

Islands , beaches, clifftops, creeks and inlets, // // rocky shoreline

Here’s a first-rate opportunity— // //

Isolation for immunity— // // To indulge in the felicity // // Of un

e more tenuous, // // legs weaken, and

isolation palls. // // One more great change, one more new beginning:

Ninety-six and counting

d stretch // // blue skies // // legs

itch // // must get on // // first scratch // // clothes on // //

// // as old as the hills // // each

iteration // // shifts the sand, carves the coastline // // into som

ating half in half out, I’m sure // //

it’ll last forever, the light that’s leaking // // under the door. //