The next poem is about music and a teenage son practising a piano in the middle of the night.
The last bus sighs through the stops of the sleeping suburb
and he’s home again with a click of keys, a step on the stairs.
I see him again, shut in the upstairs sitting-room
in that huge Oxfam overcoat, one hand shuffling
through the music, the other lifting the black wing.
My light’s out in the room he was born in. In the hall
the clock clears its throat and counts twelve hours
into space. His scales rise, falter and fall back –
not easy to fly on one wing, even for him
with those two extra digits he was born with.
I should have known there’d be music as he flew, singing,
and the midwife cried out, ‘Magic fingers!’ A small variation,
born with more, like obsession. They soon fell,
tied like the cord, leaving a small scar fading
on each hand like a memory of flight.
Midnight arpeggios, Bartok, Schubert. I remember,
kept in after school, the lonely sound of a piano lesson
through an open window between-times, sun on the lawn
and everyone gone, the piece played over and over
to the metronome of tennis. Sometimes in the small hours,
after two, the hour of his birth, I lose myself listening
to that little piece by Schubert, perfected in the darkness
of space where the stars are so bright they cast shadows,
and I wait for that waterfall of notes, as if
two hands were not enough.
from Making the Beds for the Dead (Carcanet, 2004), © Gillian Clarke, used by permission of the author and the publisher.