About the poet
Edwin Morgan (1920 - 2010) was born and educated in Glasgow, where he returned to lecture in...
The Video Box: No. 25
from The Video Box: Number 25
If you ask what my favourite programme is
it has to be that strange world jigsaw final.
After the winner had defeated all his rivals
with harder and harder jigsaws, he had to prove his mettle
by completing one last absolute mind crusher
on his own, under the cameras, in less than a week.
We saw, but he did not, what the picture would be:
the mid-Atlantic, photographed from a plane,
as featureless a stretch as could be found,
no weeds, no flotsam, no birds, no oil, no ships,
the surface neither stormy nor calm, but ordinary,
a light wind on a slowly rolling swell.
Hand-cut by a fiendish jigger to simulate,
but not to have, identical beaks and bays,
it seemed impossible, but the candidate -
he said he was a stateless person, called himself Smith -
was impressive: small, dark, nimble, self-contained.
The thousands of little grey tortoises were scattered
on the floor of the studio; we saw the clock; we started.
His food was brought to him, but he hardly ate.
He had a bed, with the light only dimmed to a weird blue,
never out. By the first day he had established
the edges, saw the picture was three metres long
and appeared to represent (dear God!) the sea.
Well, it was a man's life, and the silence
(broken only by sighs, click of wood, plop of coffee
in paper cups) that kept me fascinated.
Even when one hand was picking the edge-pieces
I noticed his other hand was massing sets
of distinguishing ripples or darker cross-hatching or
incipent wave-crests; his mind,
if not his face, worked like a sea.
It was when he suddenly rose from his bed
at two, on the third night, went straight over
to one piece and slotted it into a growing central patch,
then back to bed, that I knew he would make it.
On the sixth day he looked haggard and slow,
with perhaps a hundred pieces left,
of the most dreary unmarked lifeless grey.
The camera showed the clock more frequently.
He roused himself, and in a quickening burst
of activity, with many false starts, began
to press that inhuam insolent remnant together.
He did it, on the evening of the sixth day.
People streamed onto the set. Bands played.
That was fine. But what I liked best
was the last shot of the completed sea,
filling the screen, then the saw-lines disappeared,
till almost imperceptibly the surface moved
and it was again the real Atlantic, glad
to distraction to be released, raised
above itself in growing gusts, allowed
to roar as rain drove down and darkened,
allowed to blot, for a moment, the orderer's hand.
from Collected Poems (Carcanet Press, 1990), copyright © Edwin Morgan 1990, used by permission of the author and the publisher