http://en.wikipedia.org/wiki/R._N._Taber
Readers often ask me why I revise
poems at all, especially when they have appeared in their original form in
various poetry magazines and/or anthologies. I suspect it is because I did not quite
manage to say what wanted to say the first time around. Years on, from a distance,
I can home in on the poem and knock it into the shape. I may or may not have intended.
Our thoughts, attitudes and emotions are a kaleidoscope of mind-games whose patterns change even
while retaining the same custom made model of perception we like to call
insight, first cousin to imagination.
Sometimes readers prefer the
original version; sometimes, I do as well. Sometimes, too, I look back at a
poem and the kaleidoscope turns of its own accord; my focus on certain patterns
of perception shifts, insisting the poem shift appropriately. Any resulting revision
may be slight or major, but always significant; it does not cancel out the
original version of a poem if only because it is an extension of it. Critics will
take issue with me, of course, but it is as it is...
The old adage is so true; actions really
do speak louder than words and few
louder or more effectively than the art of dance.
To what extent, I often wonder, are
we our own choreographers...?
This poem is a kenning.
DANCER AT THE EDGE OF TIME
On a custom-built stage,
reaching out to the mind seeking
to reason excuses for its petty
potholes that pass for smouldering
coals of body language
(potential for pretty words)
consigning empty rhetoric
to the earth above graves that rage
at our being misunderstood
Now gentle, meek and mild,
now run wild, this dance of a
lifetime
they pay a high price to see
who turn up for a private viewing
expecting to see subtler steps
for Right, Left, (what's wrong?)
be spotted learning something
of what passes for ‘live art’ driving
a hard bargain with us all
Gracefully, gesturing a plea
to be discerned if rarely acknowledged
by an inner eye usually inclined
to be lazy, but given a shake now
and then,
by home truths we’d rather ignore;
Dancer takes a bow. Performance
over,
task all but ended, art’s love
affair
with life staking its existence
(and ours)
on daunting, haunting applause
Practising slow, slow, quick,
quick, slow
till dead on our feet, me and my
shadow
Copyright
R. N. Taber 2006; 2012
[Note: an
earlier version of this poem appeared in
Celebrations; 15 years Of The People’s Poetry, Anchor Books (Forward Press)
2006 and subsequently in Accomplices To Illusion by R. N. Taber, Assembly
Books, 2007]