In ‘No Hands’, Clarke approaches change from a different angle. Whereas in ‘Jac Codi Baw’ change is seen as sudden and rapid, in ‘No Hands’ change is more of a creeping tide, which does not make itself immediately apparent. Clarke feels that the countryside is being ‘invaded’ by “silly boys” who “think they strum guitars”. This refers to the pilots of the warplanes, who do not know of Clarke’s feelings of intrusion and insecurity.
The use of peaceful words, to do with water and music, directly contrast with the change intrusion that Clarke disagrees with- “Shaking the world”, the intrusion, followed by “humming like pianos”; the peaceful, musical reference.
Another reason for Clarke’s dislike of change is the seemingly pointless destruction. She feels that the old warehouse is only being destroyed for the sake of change. To Clarke this demolition is seen as the “death of a generation” in which she is “splattered with the stones blood”. This use of personification gives a very vivid image of the wreckage of the warehouse, and makes it sound human. This is probably what Clarke intended- to give the destruction a kind of ‘chill factor’. Clarke is also concerned with the apparent ease and calmness with which the past can just be ‘brushed’ aside. “Smoky with ghosts” is another reference to the age of the building and how quickly it is forgotten. It also refers to the ‘skeleton’ of the building which can still be seen standing through the dust. The reference to “ghosts” is also another example of personification, which the writer uses to great effect to evoke sympathy, not only for the warehouse but also for her point of view.
The violent issues in ‘No Hands’ are much subtler, and most are metaphorically phrased. By doing this, Clarke has made important comparisons to her ‘problem’ (the pilots) and the destruction and violence of war- the “warplanes”, “mindless thrum” and the “brake of trees”. These are all ambiguous phrases which could also be used to describe a war scene and again contrast directly with the ‘calm’ musical references earlier in the poem. It also serves the purpose of making her intrusion sound much more unpleasant, and again arouse sympathy.
A lot of this bitterness towards change, and the violence it entails is invoked by the carefree attitude of those who implement it. In the case of ‘Jac Codi Baw’ this is the JCB driver who although doing a job which involves, metaphorically speaking, violence, he still manages to stay “cheerful in his yellow machine”. The JCB driver is probably much younger than Gillian Clarke, and “doesn’t care” This is how Clarke sees the younger generations. She seems to almost feel sorry for them, as they do not appear to share with her the sense that the “death of warehouses” is “blood on our hands”, which she feels is the loss of the heritage of her own generation.
Whereas change and violence are much subtler in ‘No Hands’, the pilot’s attitude comes through much clearer.
Clarke refers to them as “boys” and “lads”. This evidence again shows Clarke’s mistrust of the younger generation’s. In this case Clarke’s mistrust must occur because of the pilots apparent immaturity- “silly boys”, boy scaring boy”, “all do and dare”, “look at me, no hands” and “lads high on speed” all relate to the pilots juvenile attitude. Clarke reiterates the pilot’s childish attitude by making the last phrase ambiguous. This makes the point that the pilots act like they are high on speed the drug, while actually just being high on the speed of the planes. Clarke’s unease is also with the thought that these young men have entrusted to them, a multi-million pound warplane, which they show off in as if they were using “surfboards over crests”.
In these two poems, Gillian Clarke has shown a passion, indeed almost an obsession for preserving the ‘old ways of life’, particularly her own. Her concerns are mainly about the needless change and violence in modern life and the speed in which they can be brought about.
