an underground lake

He reads me Shelley as I sleep
in voice as deep and embracing
as a cave, or as a lake within -

three toned – first, a flow of laughter
echoing around the cavern
where I dream. Lowest of all, the vast

rich swell of life that fills his soul.
Between them runs a darkened stream
of sadness, a seam of tears so soft

- an unheard, delicate current -
yet so clear to my intent ear
- as sacred as the black-hole spaces

between the words he forms like carved
water to shape my dreams with song.

© Sophie Nusslé

The Pearl

This was written a few months ago. I share it today, having left the situation that inspired it.

Something round and green
grows inside her
spleen – a pearl,
sickening on its own oyster

she returns to the sea
takes the sea inside her
the spray inside her
eyes the lip of the swell
against her belly
the break between her legs

the waves clean
but do not wash away
the pearl’s darkening
sheen -
turbid as the unquiet sea.

© Sophie Nussle

Everytime I look into your face

A poem about a Rwandan genocide prisoner. I visited many of them in my year there, held in cachots throughout the province where I worked.

Everytime I look into your face

I see
banana groves bending in the rain, children
being born - one a year ; cousins, brothers,
and neighbours gifting tall lilies
for each child. I see hills
as round as your wife’s breasts
before she bore your first,
or as your round cheeks, and as freshly green :
age and memory have not caught up with you.

Everytime I listen to your voice, I hear
your graceful-horned cows shuffling and lowing
by streams in open water-meadows,
I hear clear water over stones,
that throws itself, out of sight, into the muddy
river. I hear shots of laughter
at a wedding, and shouts
of joy when the sweet banana liquor
flows up the woodstraw straight into your eyes.

Everytime I come close to your skin
I smell the thud of hoe on the red earth
of your small holding. I smell the sweat
of your long morning’s work in the sun
washed off by the afternoon’s rain.
I smell the churning sour milk
and the sour sorghum beer your wife prepares
sitting on her heels. I smell the milky
skin of the new baby she carries on her back.

I don’t smell the children
you killed and threw into
the muddy river. I don’t hear
their cries that turn your nights
into dark days, slower than tears.

I don’t see the face of the woman
you plundered, first with your sex
then with your harvest knife,
taking her life as you beheaded sorhgum
every June that you remember: but that one.

I don’t see a bed on which to rest
your nightmares, your limbs stiff from too much squatting
and surviving; your skin
that glows with unnature

Every time I look into your face
I see tenderness trying to redeem you
the quick soft pull of your fingers
sewing a pillow for the cell-mate
whose dreams are more bottomless than yours
but in your eyes I see a mind emptied
of all past: and all hope

every time I hear your voice
– what’s a voice ? your cough stills
all conversation – I hear the blood that fills
your lungs with sentenced death,

and smell your fear :
you don’t fear death, you don’t even fear hell ;
you fear the moment when the soap runs out
or your wife finds another man
to round her belly; or the sorghum meal
is stolen from your unguarded pack; and at night
surrounded by haunting faces,
you fear that tomorrow you’ll hear
the ibis cry as it flies overhead
from your cell to the hills
from the hills to the river.

© Sophie Nussle

Greensleeves – remix in Addis

(to be thrummed to the tune of Greensleeves on a jazz arrangement, with the traditional Japanese shakuhachi bamboo flute playing the melody)

Alas, my love you do me wrong
to cast me off so gracelessly
for I have lovèd you so long
delighting in your company…

…we hear it smooth riffing swooping down in our ears like the English swallow returning from Africa in spring – so long ago a king composed it on the guitar for his lady-love (I hope she didn’t loose her head) – the strings electrified and amplifying this tune from the silver age of another land to our lives here now in the new flower, how many miles away are we from Hampton Court? Synthesized and harmonized and jazzed up still melancholy a song of regret, reproach, love a lost paradise and into its sinuous melody insinuates itself yet another sphere, another tradition transformed, so naturally does the shakuhachi blow Greensleeves to Kyoto. He stands and sways plays like he was the brother of Bird Parker or a Zen master assigning a koan to which the answer dances between the notes, infuses us with low light haunts, enchants entrances so gradually we hear the circle complete itself as Japanese groove returns this mellow jam across the aeons to England. In our low sofas in the dark in minutes we travel five hundred years fifteen thousand miles around the earth millions of light-years of cosmic song – the stars of space the jazz stars of the new world could not have given us more soul-enhancing harmony…

Greensleeves was all my joy
Greensleeves was my delight
Greensleeves was my heart of gold
and all for my lady Greensleeves…

– inspired by a jazz evening in Addis Ababa, Ethiopia