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Clouds in the Sky

ISSUE 4: ETHER

[we highly recommend reading on desktop for optimal experience]

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JOHN WHITE

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Walking to Zennor

John White | Poetry

There is blood in my fingers, pink and wet, 

a fog condenses from westward sea: 

the breathy phantom of a slumbering leech.

And at the end of our road, the promise of

meat, whispered by horizons we cannot see, 

and on the road, the dogged hunger.  

My eyes are roving as to drink 

from out the rough green-purple plant, 

my fingers arcing as to grasp 

a pallid stem of pixy limb  

or widn scarf of bucca’s scale. 

That night there must have been a storm, strong 

enough to rouse the sea: 

dog-hair ropes cling damp to the blue 

of the hollowed thigh, the frothy tendons 

on granite spine, 

a crooked scorpion tail in swell  

anticipates the spit-white horse’s tail,  

the bandit grin on panting shore,  

Komodo tongue  

in salted teeth, 

the slime of an unsheathed mollusk

hand: the coastline bristles,  

the fields heave. 

He lays himself upon the soil, spent, 

unwelcome. 

To the left of us a piddling henge, 

already posted with a mouldy plaque, 

posted on the newest map, 

by satellites, logged and tracked 

in empty black beyond the world. 

Further left the mist enshrouds, 

out which trundles mottled cow, 

her calf still fawning for its womb, 

a pink-white muzzle on the red-brown

islet, the soft impression of a waning moon. 

The cow, the moon… the obscure Cornish goddess 

Bughiven in corporeal form, 

her calf leughefe in rust-mud rushes, 

by Arthur Gernow he was born 

like wind that laps the half-remembered sea,

to and from the vacant cove,  

beneath my wizened soles, imagined.

The Thought Fox During Andrei Rublev

John White | Poetry

Yefim hovered over the church, 

his sheepskin scraped the spire twice touched  

as inventors wrestled with men of God, 

bereft of colour, a depthless charge, 

the screen unmoved. 

The wood chair creaked, the tea went cold, a lukewarm tang, a stubborn mark,

the glass pane shuddered: 

soot-clouds pawed the sill, 

ashen snout on windowpane 

I turned my head: 

tarmac, black night.  

The streetlamp’s orange had lost its fire 

in the bunker space between the sky and the road 

and fatigued, lambent in the trodden gum 

of an Oldham pavement, 

sprouted matted, tawny fur 

to prod her picture in my brain 

like then, and then, and now. 

Her waveform crossed the road, still night, 

her white smoke-whisps in keratin strands 

banding the dark with a squirrel’s gait, 

at left pavement,  

red brick, yellow light. 

Three years have been spent: 

Yefim fed the soil in his crater, 

the picture faded, 

the rejections automated. 

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John White was born in Oldham, England in 2001 and studies Spanish and Computer Science at Lancaster University. He became interested in poetry after analysing the Power and Conflict collection for his GCSE exams and draws particular inspiration from the poems of Ted Hughes, Allen Ginsberg and Federico García Lorca among others. John’s poetry is impressionistic, communicating emotional states through sensory language and subjective narrators. His Spanish-language poem ‘Ladrón de Lengua’ was featured in the 2020 edition of the Mother Tongue Other Tongue Anthology, and his translation of ‘El Llano en Llamas’, titled, ‘The Fields on Fire’, was included in 91st Meridian, a publication by the University of Iowa.

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