The Poetry Exchange

87. Ceasefire by Michael Longley - A Friend to Jacqueline Saphra


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In this episode, poet, playwright, teacher and activist Jacqueline Saphra talks to us about the poem that has been a friend to her: 'Ceasefire' by Michael Longley.


We are so grateful to Jacqueline for joining us at this time, to talk about this beautiful poem and the part it has played in her life.


Jacqueline Saphra is a poet, playwright, teacher and activist. She is the author of nine plays, five chapbooks and five poetry collections. The Kitchen of Lovely Contraptions (flipped eye) was shortlisted for the Aldeburgh First Collection Prize and If I Lay on my Back I Saw Nothing But Naked Women (The Emma Press) won Best Collaborative Work at The Sabotage Awards. Recent collections from Nine Arches Press are All My Mad Mothers (shortlisted for the T.S. Eliot Prize), Dad, Remember You are Dead and One Hundred Lockdown Sonnets. Jacqueline is a founder member of Poets for the Planet and teaches at The Poetry School. Her latest collection, Velvel's Violin (Nine Arches Press, 2023) is a Poetry Book Society Recommendation.


Jacqueline is in conversation with The Poetry Exchange hosts, Fiona Bennett and Michael Shaeffer.


*********


Ceasefire

by Michael Longley


I


Put in mind of his own father and moved to tears

Achilles took him by the hand and pushed the old king

Gently away, but Priam curled up at his feet and

Wept with him until their sadness filled the building.


II


Taking Hector’s corpse into his own hands Achilles

Made sure it was washed and, for the old king’s sake,

Laid out in uniform, ready for Priam to carry

Wrapped like a present home to Troy at daybreak.


III


When they had eaten together, it pleased them both

To stare at each other’s beauty as lovers might,

Achilles built like a god, Priam good-looking still

And full of conversation, who earlier had sighed:


IV


‘I get down on my knees and do what must be done

And kiss Achilles’ hand, the killer of my son.’


From 'Ghost Orchid' (Jonathan Cape, 1995), copyright © Michael Longley


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