“To a Wild Flower”, previously “Little Evening Lily”, is complete! What began as a single sketch—an ode to my beloved Gladiolus liliaceus in all its incarnations—has blossomed into three separate poems: I. “Lovely Wayside Lily”, II. “There Is No Other Lily . . .” and III. “Wondrous Afrikaner”.
As expected, it took four months to develop the three variations, each dwelling in short and simple lines upon those aspects of the flower that charm me most. I am content that I have poured into the stanzas my naïve appreciation of the flower’s beauty and eagerly await September that I may recite to it my laudations.
Next, I shall develop “The Wind!”, a sketch outlined in November 2018, one of several compositions on the titular theme. Wild flowers, birds, beasts, hills, fields and the wind: these move me to verse! For the moments when they leave me speechless, I write poems bursting with praise.
A sharp-eyed Steppe Buzzard (Buteo buteo) on a post and a bounding Steenbok (Raphicerus campestris) in the stubble. The nearby Steenbok Mountain (not in the photograph) is named after the latter, but only in recent times have I seen the species in the wild. Such sights are the source of my love for this region—and the stuff of my poetry.
It is high summer in South Africa, and buzzards are a frequent sight—solitary raptors perched on posts at the waysides. Some take flight at the slightest disturbance, but others are unhindered, stilly surveying the scene.
There are also swallows and swifts on the wing, low over the fields and dirt roads. Whilst the buzzard gazes intently at the grasses below, they feed on flying insects—a spectacle for any who will stop to admire it.
It is sights such as these that compel me to labour at poetry in its traditional sense, to assemble rhyming stanzas that delight in the rural scenes about me—compositions as joyful and simple as the countryside they extol.
Writing Steady and Slow
That said, this month past, I have done little writing, using the time to rest and reflect upon my progress in poetic and professional life. In both, I have become convinced that a qualitative approach suits me best.
Therefore, I shall continue my current pace, taking as much time as my compositions require. In this anthology, there are nine unfinished sketches, excluding the “Little Evening Lily” set I am currently developing.
If, as is typically the case, I spend a month on a poem, that should see the compositional part of the anthology completed by the end of the year. I shall then spend a few months more preparing for its publication.