3 poems from “Summer With the Gods” by Peter Hague

Three poems by Peter Hague from his new book: ‘Summer With The Gods’, which will be available in paperback and hardback. 184 pages 73 poems.

The backbone of Peter Hague’s work seems to be at least in-part, driven by an intriguing autobiographical investigation – part confessional, albeit developed with imagist coding. Much of this ‘search’, as we may call it, is based on the endless cycle of proactive yearnings for the simple truths about life and the role that reason and understanding play in our thoughts, as well as in our daily discoveries and awakenings. One thing is certain though, he manages to inject into his work a constant newness of unfailing excitement.

https://www.peterhague.com

Mission and Beyond 

My solitude is manifest in a cold corner of the Moon.
I am limp in a crater; abandoned in black and white – 
weak and tight amongst the seminal debris 
of a rain of stone. The horizon seems too close here 
and space appears more dangerous than on Earth. 
It is bigger and more valuable – uncomfortable too, 
where the mood of infinity 
calms the rattle of local chaos. 

It is an immense cave, 
stacked like a warehouse full of stars, 
and with me, a dim workman on the loneliest night shift, 
looking for orders to assemble and despatch. 
Playing that ignorant game of efficiency, 
with its worn rubber-stamp. 
We are allowed to forget the other, tormenting present, 
even if we still harbour a nightmare past. 
But for all my authority with wires and beams, 
I cannot play them far enough 
to span the common sense 
of this boundless brain of space. 

I feel more alone here with each silence –  
as empty as Lee Harvey Oswald 
in the Schoolbook Depository – 
down in the restroom, drinking Coke – 
trying to look natural – as someone shot the President – 
as if he ever could look natural, with a face like his – 
a face chosen for guilt. 
He was conscripted by suspicion itself 
to look through the square window of his alibi 
and wait for the police to bestow brief innocence 
upon his awkward head. Just as I look now, 
peering through a culpable visor that hides my truth – 
both suspected assassins 
expecting a light debriefing back on Earth. 

Oswald was not a natural man, 
as I am unnatural here, 
in the dry Dallas, Texas of the Moon. 
No one knows if I shot out the sun, 
or claimed this shadowed crater for its creeping cold, 
but I will be blamed anyway if the mission fails – 
“I am a patsy.”

Mission Control are drinking beer and champagne  
and celebrating a victory which is all their own – 
happy their precocious rocket worked at all, 
with its overrated technology of tin cans and fire. 
I have lost everything by coming here. 
I have lost my way. I have lost my keys.
Though I may have found the meaning of austere.
I am losing my faculties too – 

I am a shivering loon on a derelict moon 
in a spacesuit sealed with glue.

My memories have leaked past this polymer skin 
and filled a virgin planet with their unique plague – 
making an atmosphere of suppressed guilt 
or at least something irresponsible and vague. 
And although it may seem to register 
as weak, or vacuous, or impossible to measure, 
I can barely get my breath above this pressure. 
I cannot see a single thing in a suddenly laden air – 
it is like a fog to me and weighs me down, 
tired as Ophelia, beneath a watery film – 
almost clear, but undeniably there.

I have tried my best, as we all must. 
I have tried to swim in this dry dust. 
I have attempted to photograph my presence here, 
out on this unforgiving, bony limb. 
I have tried to crack my helmet 
and make my mind go dim. 

In light of this, I have decided to explore 
the value of my own existence – 
a gross deviation from the scientific mission, 
but the Moon is not the stone on which 
this corporate adventure shall be written. 
Earth’s guidelines seem so rigid and futile here – 
a plan, emphatically briefed, but never discussed.  
In truth, it was little more than a rude intention 
to take some snapshots and collect some dust. 

I am going to push off this planet now 
with the easy gravity of my new frogs’ legs. 
I am defying my superiors and going on – 
to search for the remains of God instead.   
 

(c) Peter Hague 2021



The Ghost

My house is like a ship. 
It creaks as I walk in its bowl of wood – 
especially at night, 
in the sea-quiet atmospheres 
that fold thick and deep; 
that haunt the air of plastered walls – 
these sheer cliffs, painted white.

The journeys I make
are simple, yet profound.

One voyage takes me to a lower floor 
to find a ship I hear-tell has run aground. 
Its captain replaced by blesséd bone – 
a shipwrecked sailor, swimming home. 

And behind the noise 
of all this wood and wave and stone... 

I am a splash, 
that otherwise makes no sound... 

the last, lingering thought  
of a persistence, unbound. 


(c) Peter Hague 2021


The Importance of Clouds

I could attempt to disperse the clouds 
but clouds do not listen to lesser gods – 
self-proclaimed gods, who rule by chaos – 
yet prove weak and powerless 
when countering the manifestations of clouds. 
To transient clouds we are conceited meddlers – 
scribbling fools seeking majesty in poems.  
Or some other improvisation of impatient thought 
that turns our rutted cogs a measure. 
Clouds do not move aside for poetry, 
they are the scenery of its highest domain – 
shifting or still – glorious or dark – 
without clouds, we would not have found 
our breath of words – 
these fleeting animations we must name at once, 
using reflexes forged in the hearts of the ancients. 
It is an aura of sound without formal structure; 
a synthesis of moods, seething in rapture; 
a momentary recognition of glimpsed potential, 
lending brief clues and mysterious epithets 
to the vague identity of fleeting gods. 

And that is where poetry ignites into song – 
with playful clouds full of words and faces. 
All looking back with liquid stirrings, 
then gone. 

The blue sky and sun are intruders in this
and have never been part of poetry at all.
They are a skulking happiness, hidden in vagary; 
a deluded world we cannot connect with; 
a lingering place where all time waivers 
and the parched dictionary slams its words shut. 
It is an iron mouth in futile meditation; 
a proven stage for the thinking of nothing; 
a distraction of belongings and soothing heat.
It rubs its lotions of desire and silence 
into the accepting canvas of our translucent skin. 
This is the silence of sun and beauty – 
an easy page, neither turned from, nor begun – 
the host of paradise in one long sigh, 
parching our living entity into a husk. 

The sun and the sky are a lasting covenant, 
hiding behind the cloudy words of night – 
when the smoke moves aside for the poetry of stars, 
revealing the eloquence of our darker terrors.


(c) Peter Hague 2021

Wolfpack Contributor: Peter Hague

A Fevers of the Mind Quick-9 Interview with Peter Hague


Here is the amazon link to Peter's new book:
https://amzn.to/2Zc3ojK




2 poems by Peter Hague for Before I Turn Into Gold Day

Geoffrey Wren (c)

Stranger Still in Utility Sunlight

to the memory of Leonard Cohen

Leonard, it is time for the Moon. 
I know you are a poor lover of its simple ways 
and think it somehow shallow, 
but I still have a job to do; 
a challenge to bear – and by the way, 
I still think you retired too soon… 

Okay then, Leonard, let us forget the Moon – 
it is time for the Sun. 
I think you entrusted your safety to the Sun 
and that is why you left for Greece. 
In fact, I think you are still there – writing: 
perhaps a third novel called: 
The Book of Longing for Something Else?

The Sun is gracious – it minds its own business. 
It shines our shoes – it keeps its distance. 
It wears no mask or stranger's face.
It is a friend to our eyes in what it does best – 
out there beyond our current position – 
that of basking in the dividend 
of legitimate shade.


This is Silence 
On the death of Leonard Cohen 2016

Thank you for filling the silence 
with a wisdom we could claim. 
Thank you for filling the darkness 
with a holy flame. 

You sat at your usual table;
we gathered your final light – 
as you spread your words like playing cards 
and signed a treaty with the night.

We followed the lines of your poems, 
and your songs, with their luminous thought, 
that now become rumours of our own demise – 
in this field of wounded hearts. 
        
So until then, and though we have your song, 
we will miss your breath of carefulness 
in a silence that seems wrong.

Wolfpack Contributor: Peter Hague

A Fevers of the Mind Quick-9 Interview with Peter Hague

Avalanches in Poetry 2 entries by Peter Hague :  “I Did Not Want it Darker””Between Leonards” “Following Leonard”

2 Poems by Peter Hague : “Eco Warrior:Future as Promised” & “Dark in the Woods”

Wonderful Artwork from Avalanches in Poetry Writings & Art Inspired by Leonard Cohen by artist/writer Geoffrey Wren

5 poems inspired by Leonard Cohen by Robert Frede Kenter (Before I Turn Into Gold Day)

3 poems by Ethan McGuire inspired by Leonard Cohen for Before I Turn Into Gold Day

Poem “Eclipse” by Joan Hawkins for Before I Turn Into Gold Day

3 poems from ps pirro from Fevers of the Mind Anthology & Avalanches in Poetry Writings & Art Inspired by Leonard Cohen

All of the poems (revised) from Avalanches in Poetry for Leonard Cohen Week by David L O’Nan

2 Poems by Peter Hague : “Eco Warrior:Future as Promised” & “Dark in the Woods”

(c)Peter Hague 2020 All rights reserved

https://amzn.to/2VOEp44

These 2 poems are from Peter’s recent book “Gain of Function” and were also recently published in “The Anthropocene Hymnal”, an anthology published as a reaction to various ‘green’ subjects, such as climate change.

Eco Warrior: Future as Promised

I was green in nineteen-seventy-two. 
I’m not green now and know too much. 

There was still time then, but none were listening. 
Now there’s no time and no one is listening. 

Experts talk in terms of warnings, 
but only from a standpoint of accepted decimation. 

There is no measure of attempted avoidance – 
humans expand into one, brutal nation. 

Animals and landscapes are labelled ‘endangered’ – 
ushered into the memories of a broken planet. 

Yet they continue to star in films and photographs – 
a foolish compensation for those who care. 

A worrying alternative for the predicted extinct, 
said by some – and by those visual gamers – 

to be available forever 
on a hard drive marked: ‘nature’.


Dark in the Woods

It will be dark in the woods 
when we re-enter its living space 
after millenniums of streets 
have fallen and failed.
When all we have left 
is our lanterns and memories – 
and the courage to listen 
ourselves to sleep.

When we live amongst trees 
we will grow the next stem, 
we will unfold a new leaf 
to replace our past. 
We will learn to share 
the simple devices 
of art and philosophy, 
where the darkness is healed.

There is a Lord of Souls 
in the comforting woods 
and we will come to know 
the benefits of autumn – 
when our souls have ceased 
their civil reliance – 
when all we have left 
are lanterns and darkness.


Bio: Peter Hague has written and studied poetry for most of his life and apart from being published in magazines like 'The Interpreter’s House' he is now posting some of his work on Twitter. Two books of collected work are in production now and are expected in the coming weeks. He is also working on a new website, dedicated to his writing. He is also associated with the art name ‘e-brink’ and has a gallery of digital art at: www.e-brink.co.uk.

A Fevers of the Mind Quick-9 Interview with Peter Hague

Wolfpack Contributor: Peter Hague


https://amzn.to/3iGvr27

A Fevers of the Mind Quick-9 Interview with Peter Hague

with Peter Hague:

Q1: When did you start writing and first influences?

Peter: My first experiences with serious writing came in 1972, inspired by the work of Leonard Cohen. At that time, I was well aware of his music, but I saw a copy of his book: ‘The energy of Slaves’ in a shop window and bought it. I then bought all of his books – poetry and novels, which many will be surprised to learn, go back to the mid-1950s. I found his style deeply intriguing and often laced with humour. I was a student then, miles from home and starting to explore a sudden new world. I think Cohen’s work filled in some of the blank spaces and energised a new creativity in me.

Q2: Who are your biggest influences today?

Peter: I have no current influences. I think that I have found my voice now, after all this time and continue to develop it. However, I am still greatly motivated by all the true and worthy influences I have had over the years. Shortly after Leonard Cohen, I discovered T.S Eliot and many more. These people still influence me today: Wallace Stevens; Kathleen Raine; Anne Sexton; Sylvia Plath; Philip Larkin; Robert Lowell; Edward Thomas – many more.

Q3: Where did you grow up and how did that influence your writing? Have any travels away from home influence your work?

Peter: I grew up in the North of England but I do not consider myself to be a “northern poet”. I spent a period of my early life in the south west, which seems much further away than it is now, and I think the outcome of that developed the idea that it was best to try to be international. I feel more comfortable using my words to reach a wide range of people and I have always associated myself with America. I have also always been interested in the bold national diversities of European countries and their traditions. Individuals worldwide are for the most part, very similar in needs and ambition and although this can help to simplify the message, it offers the need for deeper creativity and a broader brush.

Q4: What do you consider the most meaningful work you’ve done creatively so far?

Peter: Well, the answer to that will always be my poetry, especially now I have decided to devote the remaining years of my life to it. I spent most of my life in the world of visual arts, as a creative director, and also a recent decade as a digital artist, using the art name ‘e-brink’. You can see my updated web site covering that period at: www.e-brink.co.uk. However, throughout the years I have always continued to write and study poetry and have completely redesigned my main web site, which is now all about my current writing. The address is https://www.peterhague.com. This is me finally putting my writing first and I have a great deal to offer, with more books already in production featuring both new and old work.

Q5: Any pivotal moment when you knew you wanted to be a writer?

Peter: I think that goes back to when I had just left school and worked briefly as a painter and decorator. I remember being up a ladder painting a gutter when I suddenly had an epiphany (partly guided by ideas from my Mother). I promptly decided to apply to the local Art School, which I did – that was the start of it – two years of revelation. I later spent three years at The West of England College of Art in Bristol (School of Art and Design – UWE Bristol) doing a graphic design course.

Q6: Favorite activities to relax?

Peter: I have been known to read.

Q7: Any recent or forthcoming projects that you’d like to promote?

Peter: I’ve just published two books of poetry and will be spending some time promoting them. ‘Hope in the Heart of Hatred’ is intended to be a bridging book between the work I am doing now and my early work. ‘Gain of Function’ is my very latest work. It features one hundred and two poems, some of which have been published in various places, including Twitter and your very own, Fevers of the Mind.

Amazon link: https://www.amazon.co.uk/-/e/B0976BLVNL

Q8: What is a favorite line/stanza from a poem of yours or others?

Peter:

As the first wave rebounds
from the squalor of population,
we wear its shadow
like a stiff, new coat.

Q9: Who has helped you most with writing?

Peter: Throughout my life I have always returned to writing and I have tried hard to perfect what I do with it. Editing is the main part of everything I do and I have learnt so much from revising my own work. Therefore, I think I would have to say to this question that I mostly helped myself. Having said that, all the influences mentioned above and my study of their work has been priceless. Being a writer is not easy though. There is a definite sense, real or imagined, that the world is pushing back. You really have to be confident in your own talent and purpose to keep going. Having done so, over the years, I now have complete confidence in my work.

Bio: Peter Hague has written and studied poetry for most of his life and apart from being published in magazines like ‘The Interpreter’s House’ he is now posting some of his work on Twitter. Two books of collected work are in production now and are expected in the coming weeks. He is also working on a new website, dedicated to his writing. He is also associated with the art name ‘e-brink’ and has a gallery of digital art at: http://www.e-brink.co.uk.

2 poems by Peter Hague in Fevers of the Mind Press Presents the Poets of 2020

Wolfpack Contributor: Peter Hague

Avalanches in Poetry 2 entries by Peter Hague : “I Did Not Want it Darker””Between Leonards” “Following Leonard”

Twitter @PeterHague

https://www.peterhague.com/


2 poems by Peter Hague in Fevers of the Mind Press Presents the Poets of 2020

Stars, Night Sky, Space, Galaxy
A Place in the Universal

Here, on the bright side of death
I occupy the right side of my heart.
I am at the centre of my being -
a line scribed from head to soul -
a blend of genres, running pole to pole.
I am at the centre of my living dial -
at the confluents of patience, blood and bile,
and all revolving in the universal smile -
that inherent affinity -
dispensing an axis for all.

Relocation of the Heart

The walls of this unfamiliar house
have transformed themselves
into the closest copy
of where I last felt comfortable.

It is not their fault
that paper peels and paint cracks -
or new feet stroll across the creaking floor.
It is an unburdened wish
to liberate change. 

Bio: Peter Hague has written and studied poetry for most of his life and apart from being published in magazines like 'The Interpreter’s House' he is now posting some of his work on Twitter. Two books of collected work are in production now and are expected in the coming weeks. He is also working on a new website, dedicated to his writing. He is also associated with the art name ‘e-brink’ and has a gallery of digital art at: www.e-brink.co.uk.  

Wolfpack Contributor: Peter Hague

A Fevers of the Mind Quick-9 Interview with Peter Hague

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