Do not stand at my grave and weep

A common reading at funerals and remembrance ceremonies, the poem was introduced to many in the United Kingdom when it was read by the father of a soldier killed by a bomb in Northern Ireland. The soldier’s father read the poem on BBC radio in 1995 in remembrance of his son, who had left the poem among his personal effects in an envelope addressed ‘To all my loved ones’. Source

Do not stand at my grave and weep
I am not there. I do not sleep.
I am a thousand winds that blow.
I am the diamond glints on snow.
I am the sunlight on ripened grain.
I am the gentle autumn rain.
When you awaken in the morning’s hush
I am the swift uplifting rush
Of quiet birds in circled flight.
I am the soft stars that shine at night.
Do not stand at my grave and cry;
I am not there. I did not die.

Mary Elizabeth Frye (1905-2004)

Halifax Piece Hall

Our half-term day trip to Halifax this time last year (February 2020) was a wonderful family day out, although little did we know how coronavirus would soon become a world-wide pandemic (March 2020) and change all of our lives. It was a wet day (as you can see from the above panorama), but we look back with an increasing fondness engendered through an enforced lockdown.

Halifax is a historic market, mill and minster town in West Yorkshire, England. In the fifteenth century the town became an economic hub of the old West Riding of Yorkshire, primarily in woollen manufacture. From New Year’s Day 1779 manufacturers and mercers dealt internationally through its grandiose square, the Piece Hall. Today it houses many small shops and independent businesses, along cafés, restaurants and venues.

Both Naomi and I have lived near Halifax (before we knew each other) and have friends there. It was lovely to visit with our family, and hopefully we can visit again soon when the lockdown restrictions ease.

Preludes (T. S. Eliot)

The winter evening settles down
With smell of steaks in passageways.
Six o’clock.
The burnt-out ends of smoky days.
And now a gusty shower wraps
The grimy scraps
Of withered leaves about your feet
And newspapers from vacant lots;
The showers beat
On broken blinds and chimney-pots,
And at the corner of the street
A lonely cab-horse steams and stamps.

And then the lighting of the lamps.

The morning comes to consciousness
Of faint stale smells of beer
From the sawdust-trampled street
With all its muddy feet that press
To early coffee-stands.
With the other masquerades
That time resumes,
One thinks of all the hands
That are raising dingy shades
In a thousand furnished rooms.

You tossed a blanket from the bed,
You lay upon your back, and waited;
You dozed, and watched the night revealing
The thousand sordid images
Of which your soul was constituted;
They flickered against the ceiling.
And when all the world came back
And the light crept up between the shutters
And you heard the sparrows in the gutters,
You had such a vision of the street
As the street hardly understands;
Sitting along the bed’s edge, where
You curled the papers from your hair,
Or clasped the yellow soles of feet
In the palms of both soiled hands.

His soul stretched tight across the skies
That fade behind a city block,
Or trampled by insistent feet
At four and five and six o’clock;
And short square fingers stuffing pipes,
And evening newspapers, and eyes
Assured of certain certainties,
The conscience of a blackened street
Impatient to assume the world.

I am moved by fancies that are curled
Around these images, and cling:
The notion of some infinitely gentle
Infinitely suffering thing.

Wipe your hand across your mouth, and laugh;
The worlds revolve like ancient women
Gathering fuel in vacant lots.

Thomas Stearns Eliot (1888-1965)