i.
As I scroll down remembering profiles
I start to notice how the strange
half-intimate, half-public comments drift
from everyday, to weekly, to occasional.
I give thanks for the old-style working through
of half-cleared storage space, growing static
in my intercostal muscle tissue – the ache
of finding stacks of cling-filmed magazines,
an A5 photo album’s broken lever-arch,
a silver Discman, rust-edged batteries,
the plaintive flicker of our tongues as they
burn low around a soft-lit dinner table.
ii.
Arrive there as the sun is going down
like a drawn-out atomic flash – the light
trapped in the beach’s uneven water-softened
clefts – then picture stepping back
through the blast radius of sunlight
to open up your private property
which is your father dragging fallen branches
to a bonfire turning like a spool of water,
the soil-damp scent of overalls
and his paint-flecked outline in a pool of mist.
iii.
And then another time track your descent
by the molten line of headlamps in the dark,
the gelatinous umbrella trail of surf,
the sideways motion of a shipping lane.
Give up the muddy sheet of water under
turbines for the free-standing shadow of
a tower block, the pink horizon vibrating
over liquid glass. And now step forward
onto the beachhead’s wreckage of polluted ice
to catch the rising tension of hydraulic power,
– white spray bursting like a strafe of gunfire
the brutal impact of two waves meeting,
the figures disappearing as they stand their ground.
William Thompson is a PhD candidate in Creative Writing at the University of Bristol. Born in Cambridgeshire in 1991, his work has appeared in Wild Court, The Honest Ulsterman, Raceme, Lighthouse, New Critique and The Best New British and Irish Poets 2019-21 (Black Spring).
More work by William Thompson
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