Shoot­ing Ezra Pound, Gre­sham Ho­tel, 1965

The Irish Times - Friday - The Ticket - - BOOKS - (i.m. Ed­die Kelly, Ir­ish Times)

Not the photo-shoot you ex­pected but per­fect for you who loved to be still Por­trait

of a poet who re­fused to speak, a silent sub­ject, not ly­ing in state but sit­ting in a foyer wait­ing to leave.

No ques­tions to be asked - that was his way and yours hold­ing back in still­ness with an open Le­ica lens, slow cat­like, your one eye fo­cused on his face, lis­ten­ing as he for that cru­cial line break.

You draw the eye to look, see in pro­file a grey-haired man gaz­ing be­yond the frame, shoul­ders hunched.

You pull me in deeper and deeper still into the lines of his bearded face, look­ing for what’s un­said.

All the dark weight sink­ing down like an old galleon on your shore wait­ing for that per­fect an­gle, that light con­nect­ing im­age; to cap­ture more than pass­ing ships, to wait,

yes wait

for Can­tos sung in si­lence.

Úna Ní Cheallaigh’s first po­etry col­lec­tion, Sala­man­der Cross­ing, was pub­lished by Lap­wing, Belfast (2011). Her work has ap­peared in Po­etry Salzburg Review, The Stony Thurs­day Book, The Quarry Man and Wash­ing Win­dows, Arlen House (2017)

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