// David Berridge



Bind Weed Blazon





once bind weed on a glass roundel was feeding a horse

white is stone is chalk particle by particle becomes flint












lost black bryony in my thrall

bind weed takes flight and a butterfly snow














what was learning weoid
is before learning weoidian
as this now is
a moment of care wiod
becoming less
becoming wiodan












in a man of fishes and peaches
any lack of hands or mind or eye or bind weed or
name investigates leaf

“I could not unpack the huddling and gnarls the shapes
and sequences of the running”












hedge bells tolling
lolling in easy chime Monday


                            bind        weed      blazon      weed

                                  weed             blazon


                                         bleed        bind         over


















is early summer atrazine and sodium chlorate nothing
on the permanent way but on cess margin bind weed
grows having slightly greater resistance
where waste dumped builders rubble rapid
extension of leaf and root lateral spread climbs over fences roots
down fifteen feet spraying only















feeling perhaps moss in the throat-silk
sweated bees above the eyes

  bees drank      curses     cocoon hedge












over     bind     weed

vistas     pull     stem

allow     moon     bare

legs     stung     rise

root     not     reached












fall asleep night’s fists make up a nose gay

once a child climbed into a bind weed flower




Notes: A response to an object encountered. The portrait as a moment in time and space. The steady accumulation of many moments, times, spaces, readings, associations. A writing that continues through several seasonal cycles of a plant's life and also the poet's. Periods, too, when plant and writing is forgotten. A gathering of notes, poems, and drafts. A final, unexpected reduction and condensing in which the poem finds, almost, its present form. Repeated reading and inhabiting of this new form, adjusting and re-arranging. Still the idea of “portrait” central as ground and motivation, but not a single or successive moment in time and space. Finding a new field with its own laws for orchestrating word, space and time.



David Berridge lives in Wiltshire, England. Recent projects include floor-poems, hosting haiku parties, and two sequences, in Fire and Island magazines. He is currently writing a PhD on the ways poets have responded to and utilised natural history and ecology, looking particularly at the poetry of Lorine Niedecker, Ronald Johnson, and Jonathan Williams. A further sequence, 14 for Joseph , is forthcoming at Greenmuseum.org as part of their Legacy of Beuys exhibition.

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