Gretel, from a sudden clearing

No way back then, you remember, we decided,
but forward, deep into a wood

so darkly green, so deafening with birdsong
I stopped my ears.

And that high chime at night,
was it really the stars, or some music

running inside our heads like a dream?
I think we must have been very tired.

I think it must have been a bad broken off
piece at the start that left us so hungry

we turned back to a path that was gone,
and lost each other, looking.

I called your name over and over again,
and still you did not come.

At night, I was afraid of the black dogs
and often I dreamed you next to me,

but even then, you were always turning
down the thick corridor of trees.

In daylight, every tree became you.
And pretending, I kissed my way through

the forest, until I stopped pretending
and stumbled, finally, here.

Here too, there are step-parents, and bread
rising, and so many other people

you may not find me at first. They speak
your name, when I speak it.

But I remember you before you became
a story. Sometimes, I feel a thorn in my foot

when there is no thorn. They tell me,
not unkindly, that I should imagine nothing here.

But I believe you are still alive.
I want to tell you about the size of the witch

and how beautiful she is. I want to tell you
the kitchen knives only look friendly,

they have a life of their own,
and that you shouldn’t be sorry,

not for the bread we ate and thought
we wasted, not for turning back alone,

and that I remember how our shadows walked
always before us, and how that was a clue,

and how there are other clues
that seem like a dream but are not,

and that every day, I am less
and less afraid.

Marie Howe

DAVID HOCKNEY

Illustrations for Six Fairytales from the Brothers Grimm

1969
The complete set of 45 etchings, including 39 bound and six loose (as issued), on handmade Hodgkinson paper, the full sheets and with full margins, all contained in the original dark blue leather bound portfolio.
Portfolio 18 ¾ x 12 ¾ in. (47.6 x 32.4 cm)
The book signed and numbered ‘Ed D 65/100’ in pencil on the justification (one of four editions annotated ‘A-D’, there were also 15 artist’s proofs), the six loose etchings signed in pencil on the front and titled and numbered 65/100 on the reverse in black ink (slightly faded), published by Petersburg Press, London.