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"The answer in an envelope", "Painted by numbers", & "Craven Man" by Simon Leonard



The answer in an envelope


It lies on the table, lips pursed like a religious aunt

in possession of the truth

and the certainty that only a believer

can deal with it. A believer like her.

I am not a believer, not equipped

for the awareness that, in another space,

a disjointed elbow distant,

such frail material can set my cells chattering.

It can be under your fingers

and a thousand kilometres away —

an answer that was an itch

before it became a question.


My daughter is in her room, half-hiding

secrets she carves out of plasma,

sparks of dopamine reflected

on the screen of her retina.

She looks up as I pass, acknowledges

my parental checking with a quick smile

before returning to her episode.

At least she still yawns like a child,

rubs her nose with the back of her hand.

Nobody has convinced her you don’t do that, yet.


The answer is a tendon of love binding

a muscle to its bone, the suspicion,

that anything that can be torn,

will be. And that tearing is deliberate —

the rupture of particular fibres.


He hides the answer with some other business:

pensions untranslated, previous official things

he wouldn’t know where to find, hopes

maybe this will seem less important

after time, that it might somehow lose

itself in paper.




Painted by numbers


Your raincoat is a shade of wing-tips,

the underlip of swell,

contour of clouds compressed,

certain stones;


your face, the patient, arthritic,

absent expectation

of storm peeling off the Atlantic,

familiar ache


of island weather, the colour

of resigned hostility —

a shatter of mews rendered

against a shatter of brine

against a shatter of cut glass sky


— grey raw waves of rain and gull;

what you came back for,

painted in a strain of white,

after what you came back

for had gone.


Craven Man


You come from the west,

where a good part of the world ends,

and the rest just drowns itself in winter.

Surveying us with your voice of heath and shale

Oh great clods of humanity,

stroking your thatched moustache,

wiping wisdom off your chin,

deducing absence with great hands,

you palpitate first your granite pockets,

then a paper autopsy of poetry notes to find, what?


A chatter of chairs, dulled spines

contorted by wrought learning,

some still busy with their Tippex

poxing generations of boredom.

Where you come from, soil sprouts heather

and calls it surviving …

… all these south Dublin boys have to worry

about is which bank will put them

out to golf.


Have you seen it?

Grey knit shrugs over darker grey shirts.

Have you seen my watch? Watch?

Other terms for stupidity include . . .

The chronic incredulity on our faces,

our resting, adolescent mistrust.

Your watch?


The watch you don’t have,

because time is a word that takes care of itself.

You learned that picking stones out of a field,

counting them to make a day.

You learned that as you brackened into age,

the moss of your jacket binding life to itself,

sandstone of your hair resisting retirement.


And the day you aren’t here, there will be

another drizzle of attention on the playing fields,

more words put out to grass.

Somebody, with a bit of luck, or a compass

might carve a memory into his desk.

Meanwhile, diminishing a ruler,

you unseam one boy

from nave to chops, fix

his bemusement on your battlements.




An English teacher most of the time, Simon Leonard writes short and micro-fiction in both English and Spanish, as well as poetry. When the desire for recognition overcomes the anxiety of not being good enough, he offers work for publication. Examples can be found in Orbis, Envoi, Ink, Sweat and Tears, What Rough Beast, Overheard and Sunthia, among others. Several of his pieces of short fiction have been shortlisted in competitions, although he has never won anything.


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