By day, I watch the Canada Geese gliding over the Calder, or spooling over water like swans. I watch their streetwise cousins, the white geese, waddle over the stony riverbank, or colonize the verges and pavements of Sowerby Bridge. Geese are in my life daily, and have been an increasingly visible yet gentle presence in recent weeks and months, drifting into the poetry I read, sewing a snow-white, feathery hem of inter-species kinship as they appear at every corner, float into my daydreams and flaunt their signs of life outside my window.
The Sowery Bridge Geese are famous, treat the town like its their own, have become a landmark. Established here as long as anyone can remember, they set up camp down by the river under the viaduct, beneath the bridges straddling the Calder and the Ryburn, in the overgrowth fringing the canal.
But they are most well known for their incursions into human territory. Gangs of them front the entrance to the leisure centre, or amass in the yard of the taxi rank; in wobbling bunches threes and fours they stroll the pavements, they will even wander through an open doors.
In her debut collection Light After Light (Valley Press 2018) Ryburn Valley poet Victoria Gatehouse describes the geese patrolling the High Street and:
ganging up on the corner by The Long Chimney,
intimidating passers-by with a show
of downy muscle, a half-lift of wings,
causing tail backs when they choose
to cross the road, a twenty-strong gaggle
impervious to hoots
These Northern European, Emden geese are part of the furniture, an expected presence in the town. Interesting and often amusing in the day, by night they represent a reassuring familiarity. Disembarking the train on returning late, I have wandered down the lonely hill beside the station, flanked by the cavernous dungeons of the old coal drops, the scrapyards and the battered arches, and the railway bridge that was the scene of murder in Sally Wainwright's Happy Valley, to see them gathered, yapping, like a gossipy, gaggly night watch, at the foot of the street as the town begins, and felt at home.
In the winter, the waterways of Calderdale are quieter, and the geese seem more prevalent in the post-migratory exodus. Padding through the frost, they jerk their heads quizzically through the depleted larders of the fruitless canalsides, descend like icy mermaids into the river's silent freeze. At a distance, the Emdens almost merge into sleety mists, bobble like pearly ghosts through the half light in the early morning snow.
In spring, the geese are joined by goslings, as they guide their babies over the chilly quilt of the river to find food in the tangled shallows. It is always a familiar and yet strangely unexpected moment, to see these eager, nervous, unsteady babies scrabbling through the ripples, hungry for life.
I'm not sure what I read in the sad songs of the geese, in their glassy mysterious eyes, their moonlit wanderings, their essence of unhindered calm - the reassurance of evolution, reminders of our own, aquatic lineage, the promise of rebirth, the energy and atoms of the recently deceased? I only now that they have played, are playing, their own quiet part in my efforts to regain some sort of footing, some better knowledge of myself, some kind of understanding of the world.
You do not have to be good.
You do not have to walk on your knees
For a hundred miles through the desert, repenting.
You only have to let the soft animal of your body
love what it loves.
Tell me about your despair, yours, and I will tell you mine.
Meanwhile the world goes on.
Meanwhile the sun and the clear pebbles of the rain
are moving across the landscapes,
over the prairies and the deep trees,
the mountains and the rivers.
Meanwhile the wild geese, high in the clean blue air,
are heading home again.
Whoever you are, no matter how lonely,
the world offers itself to your imagination,
calls to you like the wild geese, harsh and exciting —
over and over announcing your place
in the family of things.