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

/ // Kuril’skiye Ostrova; Kirgiz Step;
Karakoram Ra // // countries; seas // // One to ten million:  Middle
/ we must** resort to footnotes just to
keep a healthy handle on the case. // // * following the example of
great when gales are threatening // //
keep drafts out and comfort in—but // // there was an old man called
lumly.  “I // // need a new project to
keep me in trim— // // now the Gurkhas are happy—some shiny erection
clumsy barriers just in time // // to
keep the carriers of plague at bay.  // // Yet someone here is stagger
far, // // invading the inky darkness,
keeping // // at bay the frights night has in store.  // // Whether I
(the // // buy-in from business is not
keeping pace) // // —but Sadiq the Most Evil deposes poor Boris, and
Jehovah thought she should— // // but
keeping us in darkness so // // cannot be good.  // // Nevertheless I
oyce has his Liffey whose recirculation
keeps // // Finnegan going (despite it’s his wake)— // // Beethoven’
taking two toeholds in // // Essex and
Kent , // // Emily Thornberry’s // // photo gives Labour a // // car
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’
ing 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
mly 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.
ition. // // 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
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
rtists // // which will drag us // //
kicking and screaming of course // // but maybe also wailing and gnas
// “But life is for the living, do not
kill // // another day.”  // // And yet you stay // // inside my hea
m sure it doesn’t really want // // to
kill me.  // // Like the asteroid // // barrelling onwards, to wipe u
Sheffield.  // // In north Africa, D is
killed .  // // Later, one of the lodgers— // // Polish serviceman and
an // // called out all their kith and
kin —but // // the wind came up and blew them in again.  // // Beards
more new beginning: // // a different
kind of home // // here on the north Norfolk coast.  // // The wonder
he river is a group of firs // // —the
kind you sometimes see in lines across // // the Suffolk countryside,
ake part // // in the mass trespass on
Kinderscout .  // // Meet a dashing young fellow rambler.  // // Marry,
ever show a lass // // As comely or as
kindly or as young as what she was!) // // I am not cruel, only truth
ys // // —or should have been—for many
kinds of loving.  // // Did I love enough? use every day?  // // Days
fortress makes fish cake.  // // Fried
kind’s of seafood in monolith // // Do the crispy bean curd of boiler
sor, four; // // five othello; six for
king lear; // // seven hamlet; eight macbeth; nine // // for any oth
// Britten’s Ceremony or the ones from
Kings .  // // If I can filter out the rest, the aural grime, // // ev
// Britten’s Ceremony or the ones from
Kings .  // // What the thunder said // // Whipped wide awake by what
n:  Eurasia // // Kuril’skiye Ostrova;
Kirgiz Step; Karakoram Ra // // countries; seas // // One to ten mil
// // Bedside table?  // // No.  // //
Kitchen again?  // // No.  No.  No.  No.  // // Dammit, used them yest
ge).  // // The bench was once // // a
kitchen dresser, already ancient in // // the damp basement of the Pe
o those // // caused by generations of
kitchen knives.  // // Clearance time.  What can I possibly salvage //
s // // Pay newsagent // // Bulbs for
kitchen lights—CS 60W screw???—check first // // Cash m/c // // Wash
// // Table by door?  // // No.  // //
Kitchen ?  // // No.  No.  No.  // // Dining table?  // // No.  // // B
shenanigan // // called out all their
kith and kin—but // // the wind came up and blew them in again.  // /
Cores // // Cut a
kiwi // // equatorially: // // no pips, no stone.  // // Avocado:  //
nia gold rush of 1849, and again in the
Klondike in 1896, in order to make proper San Francisco bread, prospec
s rise up // // to rampart rock walls,
knife -edge against // // the deep blue sky.  We take our boots off, /
s, // // the bare rocks and the ridge,
knife -edge against the sky.  // // What do they know, the rain and the
rward and land with my // // shin on a
knife -edge of rock that protrudes from the // // edge of the path, no
ateful day // // When, gleaming in his
knight’s array // // And gaily singing on his way // // Rode bold Si
// // caused by generations of kitchen
knives .  // // Clearance time.  What can I possibly salvage // // fro
ry that once // // I received a slight
knock on the bonce.  // // For sure my laws must // // have forever b
ust the bin—needs emptying.  // // That
knocking ?  Footsteps in the next room?  // // Don’t be silly, that’s j
// // that we could reach this perfect
knot // // and find ourselves at home.  // //
gue // // // In some far-off place we
know but little // // across so many alien lands and seas // // some
ago.  // // A fairy, good or bad, will
know // // exactly when to show her face, // // the world just so.  /
Ever // // Tennison’s stream, we
know , goes on for ever, his // // poetry too to posterity speaks; //
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 thro
igner with // // boldness and vision—I
know just the man.  // // He has built me some buses which boosted my
stead.  // // My ancestor caused Eve to
know // // more than Jehovah thought she should— // // but keeping u
and counting // // How little I really
know of your life!  // // From the moment almost a half-century ago //
going, so fierce and so fast?  // // I
know only the wind and the rain // // the sun and the clouds by day,
ur cushions are missing.  // // I don’t
know quite what to say.  // // It seems that there must be some rotter
dfall in the grass.  // // What do they
know , the rain and the air?  // //
eagled on the road.  // // What do they
know , the rain and the air?  // // The drystone wall slanting across t
ge against the sky.  // // What do they
know , the rain and the air?  // // The glistening mud left by the ebb-
, the gliding gull.  // // What do they
know , the rain and the air?  // // The hedgerow, the field, the rapese
and the air // // // // What do they
know , the rain and the air?  // // The roof, the ridgetiles, the leave
counterfactuals // // // // You all
know the story that once // // I received a slight knock on the bonce
It’s likely different from the one you
know : // // to you, this is a dream in which I’m caught.  // // But t
trials pass?  // // It’s really hard to
know .  // // We have no crystal ball, no glass.  // // The light has a
is showing us the scene // // —does he
know what it is she sees?  The frame // // he chose has cut us off fr
columns across the deep.  // // Without
knowing what it is, // // we take on the purpose of the wind; // //
int said.  // // The previous occupant,
known as Mister Gray, // // (easier than his proper name of Gouriet)
d, an alternative route which is // //
known as the Allerdale Ramble, traversing a // // difficult scree but
I first met your daughter // // I have
known fragments, snatches— // // some now half-remembered, some long
hen Maggie’s encomium // // came to be
known to ’im. // // … and one poet // // Thomas Stearns Eliot // //
ound the final bend) // // this craven
kraken creeps, and slumbers not: // // a stealth invasion’s getting o
e drizzle the long approach road to the
Kröller -Müller museum outside Amsterdam.  The Hermitage in Leningrad i
One to thirty million:  Eurasia // //
Kuril’skiye Ostrova; Kirgiz Step; Karakoram Ra // // countries; seas
till at school // // Aaron Copland and
Kurt Weill // // in their cots // // William Walton not yet born.  //