has changed in the war’s weather. The children
(whose children will show me this) have been sent
to the country. In the radiology lab,
Takashi fiddles, listening to the ticking bomb
in his blood cells, thinks, once, piercingly,
of her hands and small mouth, knotting him in
to the long recital of silent lives
under the city’s surface, the ripple of blurred Latin,
changing nothing in the weather of death and confession,
thinks once, in mid-morning, of a kitchen floor, flash-frozen.
the little black mouth opens, then clenches,
and the flaying wind smoothes down the grass
and prints its news black on bright blinding
walls, when it sucks back the milk
and breath and skin, and all the world’s vowels
drown in flayed throats, the hard things,
bone and tooth, fuse into consonants of stone,
Midori’s beads melt in a single mass
around the shadow with its blackened hands
carved with their little weeping lips.
of the clinic chapel, little Don Pedro, turning
from the altar to say, The Lord be with you,
heard, suddenly, what he was about to claim,
seeing the black lips, the melted bones,
and so, he said, he stood, his small mouth
open, he never knew how long, his hands
out like a starburst, while the dialogue
of stony voiceless consonants ground across
the floor, like gravel in the wind, and the two
black mouths opened against each other,
Nobody knowing for a while
which one would swallow which.
An explanatory note:
Midori Nagai was a young housewife from an old Nagasaki Catholic family who died in the bomb blast in 1945; her husband (Takashi) was a radiologist, and after the war became a peace activist. The melted rosary is preserved at a museum in Nagasaki commemorating Takashi Nagai’s work.
Rowan Williams is a poet, critic and theologian, and former archbishop of Canterbury. He is Master of Magdalene College, Cambridge.