The poem is "All Fools' Eve." For a moment (on March 31), the city has been evacuated by its citizens, who are spellbound for thecountryside, for some, of their childhood, for others, just of what's fresh and natural and far ("Where lettuces will grow, anotherspring" as another poem puts it, p. 28). And in that Mary Poppins moment, children too young for speech "are roundeyed, caughtby a cold magic" (p. 2), not only figuratively, sensing the magic, the wonder, but literally, by the light of the moon, "the mirrormineral." Whether you take "mirror" or "mineral" as the noun and the other as a modifier makes very little difference. I prefer tohear Avison's voice being playfully archaic here, and putting the adjective after the noun, as in 'the knight errant,' so that the moonis 'the reflector [made of] tin,' so to speak -- or mercury or silver or mica or whatyouwill. "Haunt" is like saying "spook," or"bogey," as she says of civility in the poem of the name. The moon, peering up, a white thing, over the arches of courtyards, is likeCaspar the ghost, this night. And then, snap, the twilight transition is over, electric light robs the story-teller of his poetry (asPadraic Colum complains in his description of that lost art), and only lovers and poets and people who see spooks keep thewindows of their holy souls open -- or their eyes, for that matter, staying up all night, fading of glory.
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