—David Mullin
Epiphany
You stand at the entrance
to the ring cairn
hills in front of you
hills behind you
crows flying overhead
water at your feet
and not a star to be seen.
In your right hand
are the unmade things
in your left hand
are the broken things
and in between
the constant process
of becoming
and unbecoming.
You turn the round stone over in your pocket, giving it your heat
you know it contains magic
but if it’s good or bad you don’t know, yet.
Over the moor
you thought you saw
three men, walking east,
but you don’t know what it meant.
You think they might be going to the swimming spot
or the alpaca farm
and they looked like they were having a hard time
travelling slowly, mostly at night,
following something that you can’t see,
that you don’t understand.
The stone is inevitable, small enough to be swallowed,
big enough to block a windpipe,
it will taste of mint: spearmint, not that other kind
And there’s a hare
in the form of an owl
in the form of a hare
one eye a round stone
ears twitching in
the digital rain
feathers disrupted by
the analogue wind
as it takes one for the rook
takes one for the crow
knowing one will wither
(the other will grow).
It is bathing in bright light
The valley,
shedding itself of decoration,
is full of light.
Light you’ve seen before, somewhere,
but can’t quite place.
The stone is a small moon, a moon rock, moonstone,
like those you saw in the library that time
anorthosite, breccia, basalt
Here, outside, you
are walking the boundary, in the rain.
The rain that you so resented
but came to accept as your muse:
it only and always ever has been the rain
which you reluctantly walked in,
zipped up, in
a waterproof with leaking seams.
This sodden ground,
this beautiful, sodden ground,
collapsed, futureless,
makes you want to sing
songs about primroses
about small birds
about how you came to find yourself
wet-footed, empty-headed, and
miles from the nearest wood.
You turn the moon over in your pocket, giving it your heat
it is chalky, archival
reflects nothing and tastes of nothing, just air, just water.
DAVID MULLIN is an archaeologist and writer who lives in West Yorkshire. For many years he has written about the relationships between people, places, and things, and how these are expressed, from Neolithic monument building to 21st-century poetry. He has published poetry in Apocalyptic Landscape: Poems from the Expressionist Poetry Workshop edited by Steve Ely and in Elsewhere: A Journal of Place. He is currently writer in residence at the Special Collections at the University of Bradford and is co-editor of the Journal of the Ted Hughes Society.