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Start by following Eiléan Ní Chuilleanáin.
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“
When you look out across the fields
And you both see the same star
Pitching its tent on the point of the steeple —
That is the time to set out on your journey,
With half a loaf and your mother’s blessing.
Leave behind the places that you knew:
All that you leave behind you will find once more,
You will find it in the stories;
The sleeping beauty in her high tower
With her talking cat asleep
Solid beside her feet — you will see her again.
When the cat wakes up he will speak in Irish and Russian
And every night he will tell you a different tale
About the firebird that stole the golden apples,
Gone every morning out of the emperor’s garden,
And about the King of Ireland’s Son and the Enchanter’s Daughter.
The story the cat does not know is the Book of Ruth
And I have no time to tell you how she fared
When she went out at night and she was afraid,
In the beginning of the barley harvest,
Or how she trusted to strangers and stood by her word:
You will have to trust me, she lived happily ever after.
”
―
When you look out across the fields
And you both see the same star
Pitching its tent on the point of the steeple —
That is the time to set out on your journey,
With half a loaf and your mother’s blessing.
Leave behind the places that you knew:
All that you leave behind you will find once more,
You will find it in the stories;
The sleeping beauty in her high tower
With her talking cat asleep
Solid beside her feet — you will see her again.
When the cat wakes up he will speak in Irish and Russian
And every night he will tell you a different tale
About the firebird that stole the golden apples,
Gone every morning out of the emperor’s garden,
And about the King of Ireland’s Son and the Enchanter’s Daughter.
The story the cat does not know is the Book of Ruth
And I have no time to tell you how she fared
When she went out at night and she was afraid,
In the beginning of the barley harvest,
Or how she trusted to strangers and stood by her word:
You will have to trust me, she lived happily ever after.
”
―
“When she came to the finger-post
She turned right and walked as far as the mountains.
Patches of snow lay under the thorny bush
That was blue with sloes. She filled her pockets.
The sloes piled into the hollows of her skirt.
The sunset wind blew cold against her belly
And light shrank between the branches
While her hands raked in the hard fruit.
The reindeer halted before her
And claimed her as his wife.
She rode home on his back without speaking,
Holding her rolled–up skirt,
Her free hand grasping the wide antlers
To keep her steady on the long ride.
[from the poem, The Girl Who Married the Reindeer]”
―
She turned right and walked as far as the mountains.
Patches of snow lay under the thorny bush
That was blue with sloes. She filled her pockets.
The sloes piled into the hollows of her skirt.
The sunset wind blew cold against her belly
And light shrank between the branches
While her hands raked in the hard fruit.
The reindeer halted before her
And claimed her as his wife.
She rode home on his back without speaking,
Holding her rolled–up skirt,
Her free hand grasping the wide antlers
To keep her steady on the long ride.
[from the poem, The Girl Who Married the Reindeer]”
―
“The scribe objects. You can’t put it like that,
I can’t write that. But the client
is a tough small woman forty years old.
She insists. She needs her letter
to open out full of pleated revolving silk
and the soft lobes of her ears
where she flaunts those thin silver wires.
She wants to tell her dream to the only one
who will get the drift. How she saw their children lying
every one dressed out in their simplest fears. They glowed,
the shape of their sentence outlined in sea green.
Among those beloved exiles
one sighed happy, as a curtain
lightened and the grammar changed, and the wall
showed pure white in the shape of a bird’s wing.
But when she whispered it to the scribe he frowned
and she saw she had got it wrong, she had come
to a place where they all spoke the one language:
it rose up before her like a quay wall
draped in sable weeds. He said,
You can’t put those words into your letter.
It will weigh too heavy, it will cost too much,
it will break the strap of the postman’s bag,
it will crack his collarbone. The bridges
are all so bad now, with that weight to shift
he’s bound to stumble. He’ll never make it alive.”
― The Boys of Bluehill
I can’t write that. But the client
is a tough small woman forty years old.
She insists. She needs her letter
to open out full of pleated revolving silk
and the soft lobes of her ears
where she flaunts those thin silver wires.
She wants to tell her dream to the only one
who will get the drift. How she saw their children lying
every one dressed out in their simplest fears. They glowed,
the shape of their sentence outlined in sea green.
Among those beloved exiles
one sighed happy, as a curtain
lightened and the grammar changed, and the wall
showed pure white in the shape of a bird’s wing.
But when she whispered it to the scribe he frowned
and she saw she had got it wrong, she had come
to a place where they all spoke the one language:
it rose up before her like a quay wall
draped in sable weeds. He said,
You can’t put those words into your letter.
It will weigh too heavy, it will cost too much,
it will break the strap of the postman’s bag,
it will crack his collarbone. The bridges
are all so bad now, with that weight to shift
he’s bound to stumble. He’ll never make it alive.”
― The Boys of Bluehill
