Especially when the October wind by Dylan Thomas

Especially when the October wind
With frosty fingers punishes my hair,
Caught by the crabbing sun I walk on fire
And cast a shadow crab upon the land,
By the sea’s side, hearing the noise of birds,
Hearing the raven cough in winter sticks,
My busy heart who shudders as she talks
Sheds the syllabic blood and drains her words.

Shut, too, in a tower of words, I mark
On the horizon walking like the trees
The wordy shapes of women, and the rows
Of the star-gestured children in the park.
Some let me make you of the vowelled beeches,
Some of the oaken voices, from the roots
Of many a thorny shire tell you notes,
Some let me make you of the water’s speeches.

Behind a pot of ferns the wagging clock
Tells me the hour’s word, the neural meaning
Flies on the shafted disk, declaims the morning
And tells the windy weather in the cock.
Some let me make you of the meadow’s signs;
The signal grass that tells me all I know
Breaks with the wormy winter through the eye.
Some let me tell you of the raven’s sins.

Especially when the October wind
(Some let me make you of autumnal spells,
The spider-tongued, and the loud hill of Wales)
With fists of turnips punishes the land,
Some let me make of you the heartless words.
The heart is drained that, spelling in the scurry
Of chemic blood, warned of the coming fury.
By the sea’s side hear the dark-vowelled birds.

by Dylan Thomas
(October 1934)

A recording of Dylan Thomas reciting his poem ‘Especially When the October Wind’.

Additional information: Two of Dylan Thomas‘ major themes come together in this poem. One, stemming from the fact that October was the month of his birth, is the initiation of decay traditionally associated with autumn. The other, confirmed by similar statements in the letters and by an earlier version of the poem, is what philosophers call the problem of ‘nominalism and universals‘. That is to say, for Thomas, word and thing seem indivisible: ‘When I experience anything, I experience it as a thing and a word at the same time, both equally amazing‘ (E. W. Tedlock, ed. Dylan Thomas: The Legend and the Poet [Mercury Books, 1963], p.54).

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Hill Christmas by R. S. Thomas

They came over the snow to the bread's

pure snow, fumbled it in their huge

hands, put their lips to it

like beasts, stared into the dark chalice

where the wine shone, felt it sharp

on their tongue, shivered as at a sin

remembered, and heard love cry

momentarily in their hearts' manager.


They rose and went back to their poor

holdings, naked in the bleak light

of December. Their horizon contracted

to the one small, stone-riddled field

with its tree, where the weather was nailing

the appalled body that had not asked to be born.


by R. S. Thomas

from Laboratories of the Spirit (1975)

Hallowe’en by R.S. Thomas

Outside a surfeit of planes.

Inside the hunger of the departed

to come back. ‘Ah, erstwhile humans,

would you make your mistakes

over again? In life, as in love,

the second time around is

no better.’

I confront their expressions

in the embers, on grey walls:

faces among the stones watching

me to see if this night

of all nights I will make sacrifice

to the spirits of hearth and of

roof-tree, pouring a libation.

 

‘Stay where you are,’ I implore.

‘This is no world for escaped beings

to make their way back into.

The well that you took your pails

to is polluted. At the centre

of the mind’s labyrinth to machine howls

for the sacrifice of the affections;

vocabulary has on a soft collar

but the tamed words are not to be trusted.

As long as the flames hum, making

their honey, better to look in

upon truth’s comb than to

take off as we do on fixed wings

for depollinated horizons.’

 

by R. S Thomas

from No Truce with the Furies (1995)

Shrine at Cape Clear by R.S. Thomas

She is more white than the sea’s

Purest spray, and colder

To touch. She is nourished

By salt winds, and the prayers

Of the drowned break on her. She smiles

At the stone angels, who have turned

From the sea’s truth to worship

The mystery of her dumb child.

The bay brings her the tribute

Of its silences. The ocean has left

An offering of the small flowers

Of its springs; but the men read,

Beyond the harbour on the horizon,

The fury of its obituaries

by R. S. Thomas

from Not That He Brought Flowers (1968)


Fun fact: The poem refers to Cape Clear Island off the coast of Ireland. Clear Island or Cape Clear Island (officially known by its Irish name: Cléire, and sometimes also called Oileán Chléire) lies south-west of County Cork in Ireland. It is the southernmost inhabited part of the island of Ireland and has a population of over 100 people. Officially it is a Gaeltacht (Irish-speaking area), and most inhabitants speak Irish and English. Archaeological sites on the island include a prehistoric cup-marked stone (moved to the island’s museum), a fulacht fiadh at Gort na Lobhar, a neolithic passage tomb at Cill Leire Forabhain, several standing stones around the island, a promontory fort at Dún an Óir, and a signal tower dating from the Napoleonic Wars. The island also has a number of early Christian sites, and is reputed to be the birthplace of Saint Ciarán of Saigir. The ruins of 12th century church are close to the main pier.

A Life by R.S. Thomas

Lived long; much fear, less

courage. Bottom in love’s school

of his class; time’s reasons

too far back to be known.

Good on his knees, yeilding,

vertical, to petty temptations.

A mouth thoughts escaped

from unfledged. Where two

were company, he the unwanted

third. A Narcissus tortured

by the whisperers behind

the mirror. Visionary only

in his perception of an horizon

beyond the horizon. Doubtful

of God, too pusillanimous

to deny him. Saving his face

in verse from the humiliations prose

inflicted on him. One of life’s

conscientious objectors, conceding

nothing to the propaganda of death

but a compulsion to volunteer.

 

by R. S. Thomas

from Experimenting with an Amen (1986)