Read Poems That Make Grown Men Cry Online
Authors: Anthony and Ben Holden
The Meaning of Africa
Africa, you were once just a name to me
But now you lie before me with sombre green challenge
To that loud faith for freedom
(life more abundant)
Which we once professed shouting
Into the silent listening microphone
Or on an alien platform to a sea
Of white perplexed faces troubled
With secret Imperial guilt; shouting
Of you with a vision euphemistic
As you always appear
To your lonely sons on distant shores.
Then the cold sky and continent would
disappear
In a grey mental mist.
And in its stead the hibiscus blooms in shameless scarlet
and the bougainvillea in mauve passion
entwines itself around strong branches
the palm trees stand like tall proud moral women
shaking their plaited locks against the
cool suggestive evening breeze;
the short twilight passes;
the white
full moon turns its round gladness
towards the swept open space
between the trees; there will be
dancing tonight; and in my brimming heart
plenty of love and laughter.
Oh, I got tired of the cold northern sun
Of white anxious ghost-like faces
Of crouching over heatless fires
In my lonely bedroom.
The only thing I never tired
of
was the persistent kindness
Of you too few unafraid
Of my grave dusky strangeness.
So I came back
Sailing down the Guinea Coast.
Loving the sophistication
Of your brave new cities:
Dakar, Accra, Cotonou,
Lagos, Bathurst and Bissau;
Liberia, Freetown, Libreville,
Freedom is really in the mind.
Go
up-country, so they said,
To see the real Africa.
For whomsoever you may be,
That is where you come from.
Go for bush, inside the bush,
You will find your hidden heart,
Your mute ancestral spirit.
So I went, dancing on my way.
Now you lie before me passive
With your unanswering green challenge.
Is this all you are?
This long uneven red road, this occasional succession
Of huddled heaps of four mud walls
And thatched, falling grass roofs
Sometimes ennobled by a thin layer
Of white plaster, and covered with thin
Slanting corrugated zinc.
These patient faces on weather-beaten bodies
Bowing under heavy market loads.
The pedalling cyclist wavers
by
On the wrong side of the road,
As if uncertain of his new emancipation.
The squawking chickens, the pregnant she-goats
Lumber awkwardly with fear across the road,
Across the windscreen view of my four-cylinder kit car.
An overloaded lorry speeds madly towards me
Full of produce, passengers, with driver leaning
Out into the swirling
dust to pilot his
Swinging obsessed vehicle along,
Beside him on the raised seat his first-class
Passenger, clutching and timid; but he drives on
At so, so many miles per hour, peering out with
Bloodshot eyes, unshaved face and dedicated look;
His motto painted on each side: Sunshine Transport,
We get you there quick, quick. The Lord is my
Shepherd.
The red dust settles down on the green leaves.
I know you will not make me want, Lord,
Though I have reddened your green pastures
It is only because I have wanted so much
That I have always been found wanting.
From South and East, and from my West
(The sandy desert holds the North)
We look across a vast continent
And blindly call it ours.
You are not a country, Africa,
You are a concept,
Fashioned in our minds, each to each,
To hide our separate fears,
To dream our separate dreams.
Only those within you who know
Their circumscribed plot,
And till it well with steady plough
Can from that harvest then look up
To the vast blue
inside
Of the enamelled bowl of sky
Which covers you and say
‘This is my Africa’ meaning
‘I am content and happy.
I am fulfilled, within,
Without and roundabout
I have gained the little longings
Of my hands, my loins, my heart
And the soul that follows in my shadow.’
I know now that is what you are, Africa:
Happiness, contentment, and fulfilment,
And a small bird singing on a mango tree.
(1964)
James Earl Jones (b. 1931) made his Broadway debut in 1957 and has since played many Shakespearean and classical parts from the title roles in
Othello
and
King
Lear
to, more recently,
On Golden Pond
(2005),
Cat on a Hot Tin Roof
(2008–9),
Driving
Miss Daisy
(2010–11) and
Much Ado About Nothing
(2013). His
100-plus TV and film credits range from
Dr Strangelove
(1964) and
The Great White Hope
(1970) to C
laudine
(1974),
Field of Dreams
(1989),
The Hunt for Red October
(1990),
Cry, the Beloved Country
(1995) and
Gimme Shelter
(2013). He is also the voice of Darth Vader in the
Star Wars
series. His numerous awards include two Tonys, two
Emmys
and an honorary Academy Award.
CHRISTOPHER OKIGBO
(1932-67)
BEN OKRI
The poem I have chosen is by Christopher Okigbo. It is from his only volume of poems,
Labyrinths
. In it there is a sequence called
The Path of Thunder: Poem
Prophesying War.
And I have chosen ‘Elegy for Alto’ from that sequence. What moves me about the poem is its solemn beauty, its music, its prophetic
roll, which leads on to the poet
prophesying his own death. It is impossible to separate what moves me in this poem from the inner nature of the way it is written. The poet seems to have gone beyond the rim of ordinary experience,
to have wandered to the outer constellations of what it is to be human.
Okigbo is writing about a time of political and cultural disintegration in Nigeria in
the sixties. He freights across these omens of war, signs of disaster. He is writing about the onset of the
Nigerian civil war, in which he perished. His death, and the slender but distinguished body of poems he left behind, contribute to his legend. His death is implicated in the poem in advance, as it
were; one reads it with tears for the death of the poet as well as for the death of his nation’s
innocence.
Elegy for Alto
with drum accompaniment
AND THE HORN may now paw the air howling goodbye . . .
For the Eagles are now in sight:
Shadows in the horizon –
THE ROBBERS are here in black sudden steps of showers, of caterpillars –
THE EAGLES have come again,
The eagles rain down
on us –
POLITICIANS are back in giant hidden steps of howitzers, of detonators –
THE EAGLES descend on us,
Bayonets and cannons –
THE ROBBERS descend on us to strip us of our laughter, of our thunder –
THE EAGLES have chosen their game,
Taken our concubines –
POLITICIANS are here in this iron
dance of mortars, of generators –
THE EAGLES are suddenly there,
New stars of iron dawn;
So let the horn paw the air howling goodbye . . .
O mother, mother Earth, unbind me; let this be
my last testament; let this be
The ram’s hidden wish to the sword, the sword’s
secret prayer to the scabbard –
THE
ROBBERS are back in black hidden steps of detonators –
FOR BEYOND the blare of sirened afternoons, beyond the motorcades;
Beyond the voices and days, the echoing highways; beyond the latescence
Of our dissonant airs; through our curtained eyeballs,
through our shuttered sleep,
Onto our forgotten selves, onto our broken images;
beyond
the barricades
Commandments and edicts, beyond the iron tables,
beyond the elephant’s
Legendary patience, beyond his inviolable bronze
bust; beyond our crumbling towers –
BEYOND the iron path careering along the same beaten track –
THE GLIMPSE of a dream lies smouldering in a cave,
together with the mortally wounded
birds.
Earth, unbind me; let me be the prodigal; let this be
the ram’s ultimate prayer to the tether . . .
AN OLD STAR departs, leaves us here on the shore
Gazing heavenward for a new star approaching;
The new star appears, foreshadows its going
Before a going and coming that goes on forever . . .
(1965–1967)
The Nigerian-born, UK-resident writer Ben Okri (b. 1959) won the 1991 Booker Prize for his third novel
The Famished Road
, the first volume of an African trilogy continued
in
Songs of Enchantment
(1993) and
Infinite Riches
(1998). He has written five more novels, most recently
Starbook
(2007), and has also published poetry, essays and short
stories, including
Tales of Freedom
(2009),
A
Time for New Dreams
(2011) and a volume of poems,
Wild
(2012).
SEAMUS HEANEY
(1939–2013)
TERRY GEORGE
The images evoked of the great Irish rebellion of 1798 are poignant and moving. The population – tramp, priest, and peasant – rose up in its thousands against
tyrannical British rule. They fought with pikes and farm tools against cannon. The men carried barley seed in their pockets as
food on the march, and the following summer, after their inevitable
defeat, the barley sprouted from their mass graves. A devastatingly sad image.