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The Sadness of the Creatures

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    • Peter Porter
        Poems:
        • Metamorphosis
        • John Marston Advises Anger
        • Who Gets the Pope’s Nose?
        • The Great Poet Comes Here in Winter
        • The Sadness of the Creatures
        • Mort aux chats
        • An Angel in Blythburgh Church
        • An Exequy
        • Doll's House
        • Max Is Missing
        Broadcasts and articles:
        • Porter on BBC Radio 3
        • Porter on Shakespeare
        • Porter on Les Murray
        Clive James on Peter Porter:
        • Settling for Dust (1970)
        • A Man Called Peter Porter (2004)
        Clive James with Peter Porter:
        • Audio dialogues
        • Video dialogue
        More about Peter Porter:
        • British Council
        • Poetry Archive
        • Wikipedia
      • Jamie McKendrick
    • Poems by Clive James
    • Poetry Notebook
    • Articles on Poetry
    • Lyrics

    We live in a third-floor flat
    among gentle predators
    and our food comes often
    frozen but in its own shape
    (for we hate euphemisms
    as you would expect) and our cat’s
    food comes in tins, other than
    scraps of the real thing and she
    like a clever cat makes milk
    of it for her kittens: we shout
    of course but it’s electric
    like those phantom storms
    in the tropics and we think of
    the neighbours – I’m not writing
    this to say how guilty
    we are like some well-paid
    theologian at an American
    College on a lake
    or even to congratulate
    the greedy kittens who have
    found their mittens and are up
    to their eyes in pie – I know
    lots of ways of upsetting
    God’s syllogisms, real
    seminar-shakers some of them,
    but I’m an historical cat
    and I run on rails and so
    I don’t frame those little poems
    which take three lines to
    get under your feet –
    you know the kind of thing –
    The water I boiled the lobster in
    is cool enough to top
    up the chrysanthemums
    .
    No, I’m acquisitive and have
    one hundred and seven Bach
    Cantatas at the last count,
    but these are things of the spirit
    and my wife and our children
    and I are animals (biologically
    speaking) which is how the world
    talks to us, moving on the billiard
    table of green London, the sun’s
    red eye and the cat’s green eye
    focusing for an end. I know
    and you know and we all know
    that a certain end of each of us
    could be the end of all of us,
    but if you asked me what
    frightened me most, I wouldn’t
    say the total bang or even
    the circling clot in the red drains
    but the picture of a lit room
    where two people not disposed
    to quarrel have met so
    oblique a slant of the dark
    they can find no words for
    their appalled hurt but only
    ride the rearing greyness:
    there is convalescence from this,
    jokes and love and reassurance,
    but never enough and never
    convincing and when the cats
    come brushing for food their soft
    aggression is hateful;
    the trees rob the earth and the earth
    sucks the rain and the children
    burgeon in a time of invalids –
    it seems a trio sonata
    is playing from a bullock’s
    skull and the God of Man
    is born in a tub of entrails;
    all man’s regret is no more
    then Attila with a cold
    and no Saviour here or
    in Science Fiction will come
    without a Massacre of the Innocents
    and a Rape of El Dorado. 

    (from The Last of England, 1970)

     

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