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.

Q

As the day went on, // // we generated
quantities of fuel // // and built a roaring blaze.  Then late into t
peless, navy blue or fawn, // // three-
quarter length, or maybe short, // // patch pockets (useless for cold
Dance // // // A
quarter of a mile or more // // straight up // // the Mediterranean
// // pole-to-pole // // in half then
quarters // // cut the core from each.  // // But no, for once // //
en the music, // // a Beethoven string
quartet .  // // Afterwards Colin and I go down to the basement // //
The century turns.  // // Right on cue,
Queen Victoria dies.  // // (Next time around, in the digital era //
painted // // the walls?”  // // Fair
question .  // //
ted, though the sense is raw, // // to
questions orderly, while exuding care.  // // Voices from the curtaine
Type right // // The
quick brown fox jumps over the lazy dog // //
and spittle.  // // Oh, people spread! 
Quick , guys, an ecstasy of fumbling, // // building the clumsy barrie
over Bassenthwaite.  // // Walking down
quickly , not paying attention, I // // stumble, fall heavily forward
/ // Which, come the dawn, will surely
quickly pass.  // // I’d paint it for you if I had the art, // // Or
side, // // through clear and cool and
quiet evening stillness // // on evening tide.  // // Decisions and r
ow send a letter.  // // Parchment, new
quill pen, and ink.  // // Employ a messenger.  // // I love you.  //
ar // // we listen to Schubert’s Trout
Quintet .  // // Listening to Schubert’s Trout Quintet // // the slow
t.  // // Listening to Schubert’s Trout
Quintet // // the slow movement is of course the second.  // // Of co
and now dispel // // and conjure me to
quite a different place.  // // Jump willing into every word-filled we
The word // // No, the singularity is
quite absurd.  // // In the beginning there were many words: // // si
l Tunnel link.  // // A monstrous hole,
quite big enough to eat // // the park and all the houses down the st
t now be unmasked.  // // It’s becoming
quite clear that the hour // // for soft pussy-footing is past.  // /
ine from side to side, // // verbosely
quite enough to float or sink a battle-ship.  // // But perhaps instea
rst // // grandchild arrived?  I can’t
quite recall.  Nor can I now // // picture it clearly.  So why does i
ne here, // // with a bar across.  Not
quite the biggest // // of its group, but very beautiful.  // // What
d, supports // // a wild, tufted crown—
quite unlike // // the planted forest, serried ranks of Christmas pin
shions are missing.  // // I don’t know
quite what to say.  // // It seems that there must be some rotter //