A THOUSAND DAYS
A THOUSAND DAYS
It feels like a thousand days have passed
on each of which I’ve looked back and fondly asked
the question that is left of me and ties my tongue
and other limbs so long indentured now to
a devil’s throng of just my kind, each bound unto
the dark one as the price (and what an awful price)
for some brief relief, peace in my head for a day that offered
the filling of the gaping, growing gap between
my need for you and my confidence that I might
regain a seat at the table reserved for those
entrusted with your reputation and repose –
in times, especially, when such can shift from day to day
and trust itself – that dandy chameleon, its colours
unpredictable – is granular, commoditised, such that
even I can dig up some dull, objective stone and proclaim that
it is right to post a full-time guard, to watch and listen out
for poachers digging down to treasure truffles of another,
a woodsman’s secret store, hid beneath the forest floor –
a hoard the metaphor of nothing less, nothing more,
than the sum of all your trust in all the rest of us
on which you can rely; and never be denied.
I guess you’ll know it when you see it – which
consignment to fate is something I can’t contemplate
as a lover once with no ambition but to love again.
And that ambition, that stated, sporty desire of those with
higher IQs or politicians to be or do, must, if to be considered
broadly a success, have the support and endorsement
of one of the urbane decoration of your own Star Chamber –
it being impossible to win trust without aid from the inside –
enough, in any event, to gild each interface with filigree,
as delicate as a doily, that lacy thing we call respect.
For it is trite as truisms go that there can be no trust where
there lies no respect, that most fickle of the essentials
for the gentle teasing out of trust – like blowing a fine wine glass
in the traditional mind-blowing way.
.
Was it not trust we both enjoyed in the other’s hands?
If either had need to see a thing done, dealt with, sorted,
the other would have known it, well within a moment, and would be
first to deliver all that was required. And what too was
good and new was your complete, unreserved gift of a full proxy
from you to me, which always meant much more than a simple agency –
all the portraits and palette landscapes, all the photographs, all the tears
and all the laughter you might need or enjoy – me being effectively you
for a while – and still this records just the bare essentials. Remind me
again of your hordes of bons mots and daydreams; they will help us
all recall what it was between us.
Oh, and the delicious ambiguity of the word “between”:
did we emboss one life on the other, like a three-dimensional
tapestry or did we haul rocks and make a solid line to seal the decline
of what was inviolable, never threatened by the passage of time?
Is there any sense in squeezing this history more? Of course,
nothing endures but I, as the scribe alone (I think it is so),
insist that he be allowed at least to deal with the beginning (and,
perhaps necessarily, the end). He promises to be brief and sucks his teeth
to help him ruminate as to content and players, trying to think
of a phrase, even a word, that sums up adequately the early years,
the tingle of shingle on a cold, blowy beach.
And in this he finds that the doors do open in his mind, almost
exactly at the same time, then all the lights come on and, picking
back through all the words he has engaged for his task, recalls
his secret love of the Theatre of the Absurd – loved because
it was there when he was nineteen and he kind of understood.
And what better age to be in love? It is all he can do to stop himself
screaming the word that said it all, the word affirmed by a tear
or a mere reddening of a cheek. He muses for a minute and realises
that love is in all our beginnings and all our very ends, where
trust must inescapably be vested; the in between, rather harder
but you add it to his list, nonetheless.
© Peter Taylor 2019