Like the foghorn that's all lung,
the wind chime that's all percussion,
like the wind itself, that's merely air
in a terrible fret, without so much
as a finger to articulate
what ails it, the aeolian
syrinx, that reed
in the throat of a bird,
when it comes to the shaping of
what we call consonants, is
too imprecise for consensus
about what it even seems to
be saying: is it o-ka-lee
or con-ka-ree, is it really jug jug,
is it cuckoo for that matter?--
much less whether a bird's call
means anything in
particular, or at all.

Syntax comes last, there can be
no doubt of it: came last,
can be thought of (is
thought of by some) as a
higher form of expression:
is, in extremity, first to
be jettisoned: as the diva
onstage, all soaring
pectoral breathwork,
takes off, pure vowel
breaking free of the dry,
the merely fricative
husk of the particular, rises
past saying anything, any
more than the wind in
the trees, waves breaking,
or Homer's gibbering
Thespesiae iache:

those last-chance vestiges
above the threshold, the all-
but dispossessed of breath.

More by Amy Clampitt

On the Disadvantages of Central Heating

cold nights on the farm, a sock-shod
stove-warmed flatiron slid under
the covers, mornings a damascene-
sealed bizarrerie of fernwork
        decades ago now

waking in northwest London, tea
brought up steaming, a Peak Frean
biscuit alongside to be nibbled
as blue gas leaps up singing
        decades ago now

damp sheets in Dorset, fog-hung
habitat of bronchitis, of long
hot soaks in the bathtub, of nothing
quite drying out till next summer:
        delicious to think of

hassocks pulled in close, toasting-
forks held to coal-glow, strong-minded
small boys and big eager sheepdogs
muscling in on bookish profundities
        now quite forgotten

the farmhouse long sold, old friends
dead or lost track of, what's salvaged
is this vivid diminuendo, unfogged
by mere affect, the perishing residue
        of pure sensation

Easter Morning

a stone at dawn
cold water in the basin
these walls' rough plaster
imageless
after the hammering
of so much insistence
on the need for naming
after the travesties
that passed as faces,
grace: the unction
of sheer nonexistence
upwelling in this
hyacinthine freshet
of the unnamed
the faceless

Salvage

     
Daily the cortege of crumpled 
defunct cars 
goes by by the lasagna-
layered flatbed 
truckload: hardtop 

reverting to tar smudge,
wax shine antiqued to crusted 
winepress smear, 
windshield battered to
intact ice-tint, a rarity

fresh from the Pleistocene. 
I like it; privately 
I find esthetic 
satisfaction in these 
ceremonial removals

from the category of
received ideas
to regions where pigeons' 
svelte smoke-velvet
limousines, taxiing 

in whirligigs, reclaim 
a parking lot,
and the bag-laden
hermit woman, disencumbered 
of a greater incubus,

the crush of unexamined
attitudes, stoutly
follows her routine,
mining the mountainsides
of our daily refuse

for artifacts: subversive
re-establishing
with each arcane
trash-basket dig
the pleasures of the ruined.