My dead grandfather speaks
thru the telephone, sickened
by the world he haunts, its
ecstasy of suffering; appears
& complains the world abandons
him. Late, the Mother enters,
her seductive confidence &
dripping saliva jacket,
confront-
ed by my grandfather who
threatens her with kisses.
Neither is Danny dead; he lives
in tents up the Cauder,
ensconced in hippie liberty;
creator of waterfalls, spirit trees,
sound gardens, jungle highways,
smokes the ash end of the reefer;
dull actors in
1950s sports cars castigate
his absence.
My view of it all
is Arran through windows, binoculars,
too late to go to church, tho apparently
not London.
Interpretation:
My grandfather (on my father’s side), not the most approachable man, is paranoia, fear of the New World Order, the awful state of the world. The return of the Mother is the return of the feminine, the goddess, the female energy that begins as spirit, then filters into wordly affairs, politics, business. My grandfather, that old male domination, is threatened at first by her liberty, her sexuality, but gives himself over to her. The skip to my old friend who died recently is a leap to the personal, and speaks of escape, liberty from my old ways, old hang ups about God (at least a mythic God, the dull actor, not God who is One) a leap into spiritual liberty, light, peace. My friends, pleasant aspects of the Self, are creative; the water highways are subtle energy channels running through the centre of my body, uniting earth & sky. Finally, the detached view at the end is a view of mystery, an embrace of mystery. Arran represents mystery, as it did when I was a child, sitting on a beach looking over the Firth of Clyde to its majestic peaks, reading Lord of the Rings. The escape to London is the leap into the now, or perhaps the healing of old wounds at a time when the church is going through its last days on earth. In this situation, though not recorded in the poem, I am with friends and am whole with them, though not without tinges of insecurity.
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