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

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

ur friend’s marble // // it’s yours to

keep . // // But long before that // // there was a wooden run. // /

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

Troubled waters

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

Troubled waters

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

Unnatural disasters

outside of the kettle. Never fill the

kettle above the MAX level and ensure that it is always above the MIN

Using your Kettle

tle will switch off automatically. The

kettle can be switched off manually by putting the switch to the ‘OFF’

Using your Kettle

ing back on. // // When the

kettle has boiled the water may be poured out through the spout.

Using your Kettle

by the level mark on the outside of the

kettle . Never fill the kettle above the MAX level and ensure that it

Using your Kettle

mly closed. // // Place the

kettle on the cordless base making sure it is positioned correctly.

Using your Kettle

Kettle // // Place the cordless base on a level firm surface.

Using your Kettle

ition. // // To re-boil the

kettle , switch it on again. If the appliance has just switched off yo

Using your Kettle

// Where ever possible fill the

kettle through the spout as this will help to reduce the amount of lim

Using your Kettle

// // When the water boils the

kettle will switch off automatically. The kettle can be switched off

Using your Kettle

level. // // Only fill the

kettle with the amount of water you need as this will save electricity

Using your Kettle

Hermitage in Leningrad in Soviet days.

Kettle’s Yard in Cambridge when it was still managed by Jim Ede (he wo

Fragments of a life

rtists // // which will drag us // //

kicking and screaming of course // // but maybe also wailing and gnas

January Nineteen Hundred and One

// “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

Capricorn suite

Sheffield. // // In north Africa, D is

killed . // // Later, one of the lodgers— // // Polish serviceman and

Ninety-six and counting

finest of the herd // // and how it’s

killed , prepared, and cooked and served. // // What happens afterward

On offerings to the gods

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

Ninety-six and counting

c— // // or discourse, argument of any

kind — // // political, fictitious, mythologic // // or legal. Just

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,

Ninety-six and counting

ever show a lass // // As comely or as

kindly or as young as what she was!) // // I am not cruel, only truth

All done with mirrors

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

Colourless green ideas found sleeping furiously

sor, four; // // five othello; six for

king lear; // // seven hamlet; eight macbeth; nine // // for any oth

Septilla CDSeptilla CD*

// 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

Another senior moment

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

Notes to a life

// // Table by door? // // No. // //

Kitchen ? // // No. No. No. // // Dining table? // // No. // // B

Another senior moment

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

Ode to the yeast wind

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

The rain and the air

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

The Lady’s Maid

// // 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

Newton’s counterfactuals

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. /

The world just so

Ever // // Tennison’s stream, we

know , goes on for ever, his // // poetry too to posterity speaks; //

complex? // // Is it plain or hard to

know ? // // Is it written in spray-paint all over the wall, // // in

The truth about x

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

Troubled waters

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 //

Ninety-six and counting

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

One of our cushions

, // // or any other facts you want to

know — // // scientific, social, economic— // // or discourse, argume

dfall in the grass. // // What do they

know , the rain and the air? // //

The rain and the air

eagled on the road. // // What do they

know , the rain and the air? // // The drystone wall slanting across t

The rain and the air

ge against the sky. // // What do they

know , the rain and the air? // // The glistening mud left by the ebb-

The rain and the air

, the gliding gull. // // What do they

know , the rain and the air? // // The hedgerow, the field, the rapese

The rain and the air

and the air // // // // What do they

know , the rain and the air? // // The roof, the ridgetiles, the leave

The rain and the air

counterfactuals // // // // You all

know the story that once // // I received a slight knock on the bonce

Newton’s counterfactuals

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

Cape Cod Morning

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)

Peckham 1969—1991

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

Ninety-six and counting

hen Maggie’s encomium // // came to be

known to ’im. // // … and one poet // // Thomas Stearns Eliot // //

// to its role in the world as the well-

known unknown. // // Oh tell me the truth about x. // //

The truth about x

ound the final bend) // // this craven

kraken creeps, and slumbers not: // // a stealth invasion’s getting o

Capricorn suite

e drizzle the long approach road to the

Kröller -Müller museum outside Amsterdam. The Hermitage in Leningrad i

Fragments of a life

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. //

January Nineteen Hundred and One