The Dancer 3,4, 5 /11

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3

when she makes her music
familiar spirits return to the earth
dancing in a sash of moonlight

she recreates an ancient spell
gold letters plucked from dark scrolls
no wands no words
just water’s purity
flicked fresh
across lips and face

she binds me with the string of notes
she undoes with her hair
our bodies form an open altar
we worship with mysterious offerings
drawn from wells set deep within us

4

rain falls from the sky
Moon turns his face away
suddenly in darkened alleys
clouds hold hands and dance

dense streamers of light
dangle from street lamps
shadows remember their forgotten steps

gently she draws me to her
I try to follow
frail whirlpools of withered leaves
fragment weak sunshine
in light’s watery pool

5

her magic grows
I take my first step
an unmapped journey
into desert space

we move to old rhythms
across moon flecked clouds

raindrops fall more slowly
faltering drum beat
diminishing water

The Dancer 1&2 /11

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The Dancer and the Dance

 1

she comes here to dance for me
only for me does she dress this way

she shows me her dreams
unfolding them one by one
silk and cotton garments
drawn fresh from her scented closet

thin copper bracelets
carved wooden mask

only her eyes reveal
subversive flesh and blood

2

she orchestrates her story
skin drum
rattle of seeds in a sun-dried pod
single violin string
stretched across an armadillo’s shell

I too am tense like an instrument
waiting to be played

the bones of my love
reach out towards her

 

 

Five deer!

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I glanced out of the bedroom window, and there they were. So silent. “Five deer,” I whispered to Clare.

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We watched as they moved through the trees at the garden’s foot. Step by step, silent, slow, ears pricked, cautious, the little ones up to their bellies in snow.

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They couldn’t see me as I took these pictures, but I am sure their sharp hearing caught the click of the camera. The one on the left is looking right at the spot where I am sitting.

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Sound and movement surround them: the clicking of branches, the whispering wind. They are so careful, so cautious, so suspicious. We look: but we can’t see anyone out there. Certainly we cannot hear the neighbors’ dogs.

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There must be something, there. They start to turn. Will they go back the way they have come?

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No: they continue to the road and we catch a last glimpse of them through thin branches as they prepare to cross the tarmac and vanish into the deeper woods beyond.

Poem from the Cree

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Poem from the Cree

The Cree have retreated from the streets.
Their violinist has taken time out, leaving
his last notes dancing from a street lamp.
Only the Fire-Brave remains, inhaling thick
black oily smoke. He juggles twin balls of fire.

Bones gather together to gather dry dust. Hollow
metal buffalo: a cold wind blew and plucked out
his heart. Five climate controlled pedestrian
walkways cross the prairie, linking building
to building. A glass wheat field shimmers
and tinkles to the rhythm of air conditioning.

The black cow, cast iron hide set free from rust,
ruminates behind its plate glass window.
The night wind whisks white buffalo bones
pale across the sky. Oskana ka asasteki.

With these words, I will leave you, suddenly,
abruptly. A light going out. Now I am here.
Oskana ka asasteki. And now I too am gone.
Comment: Another Golden Oldie, re-discovered. I wrote this in Regina back in the nineties, last century, last millennium … how long ago is that? In our kitchen, an ear of wheat, purchased in the glass wheat field museum, still shelters in its gilded frame, a memento from that trip. So many memories, so many pictures, drifting … just drifting.

Losing It

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Losing It

When you lose it,
whatever it is,
your fingers pick at seams,
hankies, skirts, shirts, jeans,
or strip a label from a bottle,
or crumble bread, or …

There are so many things
you can do,
personal things.

On the table:
a vacant cereal bowl,
a silver teaspoon in a saucer,
an empty teacup
returning your round
moon-face stare.

Comment: I would like to thank everyone who joined in this discussion today (blog, e-mail, and Facebook). The poem transcribed above is the final version, subject to later consideration of course. Earlier versions, with selected comments, are set out below.

1

Losing It

When you lose it
whatever it is
your fingers pick at seams
hankies skirts shirts jeans
or strip a label from a bottle
or crumble bread or

there are so many things
you can do
personal things

on the table
a vacant cereal bowl
a silver teaspoon in a saucer
an empty teacup
returning your round moon stare

your hands
twist and pull
your nails
click together

blunt needles knit
then unpick stitches
trying to unravel
then to repair
this ball of empty air

 Comment: This is a Golden Oldie. It dates from the final illness and passing of my mother, thirty years ago next month. When I wrote it, I wasn’t punctuating my poetry. Nowadays, I prefer punctuation as it guides the reader in terms of the rhythm and flow of words. Leaving it exactly as I wrote it means you, as reader, have to wrestle with the meaning, the order, the pauses, the rhythm. My guess is that this over-complicates the poem. However, it was a difficult time, so the poetry I wrote at that time was also difficult. I will be interested in any comments on the following question: to punctuate or not to punctuate?

Comment from Judy: An out there idea: what if  for Losing it – you ended poem with first stanza?
Reply from Roger: What if, indeed? Then it would need a tweak or two, something like this: the poem changes, but does it gain or lose?

2

Losing It

blunt needles knit
then unpick stitches
trying to unravel
then to repair
this ball of empty air

your hands
twist and pull
your nails
click together

your fingers
pick at seams
hankies skirts shirts jeans
or strip a label from a bottle
or crumble bread or

there are so many things
you can do
personal things

on the table before you
a vacant cereal bowl
a silver teaspoon in a sauce

an empty teacup
returning
your round moon stare

Comment from Jan: Play it again, this time with punctuation. This time I have returned to Judy’s original suggestion, and just placed the last stanza first. Then I have punctuated the poem. Revision and re-creation time: this is fun! I punctuated the above version, then cut it down to the first poem published at the start of this article. Tank you all for the help.

Butterfly

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Butterfly

A butterfly
brushes against
my mother’s rose bush.

Pale and delicate,
much too frail to survive,
in this April wind,
he tears his wing
on a thorn.

The white of its shredding:
a sudden shriek,
blanched blood
drifting like snow.

“Why did you write those words?”
My mother’s voice
sounds in my head.
“Am I the butterfly?
Are you the echo of my cry?”

From this distance in time,
my mind bounces back and forth,
from image to image:
a stone skipped across
tranquil water.

Pictures pound through my head:
waves on the shoreline
where I scattered her ashes,
and every grain of sand
a grinding of small bones.

Monumental Madness

 

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Monumental Madness

                  A long time ago, at Niagara Falls, I dressed in yellow oilskins, walked behind a tumbling wall of water, and knew I was close to the edge. Back outside, everything changed and beside that brightness of grass and rock, water screamed like shorn hair as it tore down the precipice. Have you been there? Have you walked to the end of the world, stood at the edge and peered into the starless, foam-speckled darkness that beckons below?

                  The deed leaves a bleakness dangling at the end of your wrist. Silent, you fear to dip your toes into an icy bucket of fire. Sun through dark clouds: a candle illuminating the scene. You cannot see your breath, but you know that it hangs there on the air before you. A spider web of smoke strings its impenetrable cloak between you and reality.

                  An animal urge to surge and run makes your muscles twitch but your feet are trapped in sand as crazy glue binds your limbs and banishes flight. Beads of sweat pearl on the upper lip and below the eyes. There is a melting at the temples’ edges where the short hairs tense and prickle. Now your back is on fire. Sparks fly from your hair as you prepare, Roman Candle in this unlit bonfire’s gloom, to explore a subterranean cave of unknowing.

                  The walls around you slowly congeal and your sweat flows thick then dries.  Your toes sink back into their frosty oblivion. There is no movement from your knees down. Your fingers stiffen and arthritis steals movement from inflamed joints. A voice inside your head tells you to punch the emergency numbers on your frozen cell phone, but wisdom is drowned in the mind’s dark urgings and your fingers cannot respond. You sense that this will not bring the beginning of the end. It will be the continuing of the same, torment without end, until a century of centuries stands in your mind like a single day. Eternity stretches before you with its long, dark, endless winter night: no stars, no sun, no moon, no spark, no hope, just this eternal cold that suspends all motion.

                  Within you, an animal rages carnivorous against the bone bars of its cage. It can see you; it can sense you; it can smell the atoms of fear that rise from between your toes and flow out of your armpits. Your own nostrils flare and stiffen and you too can smell that fear; you can taste the bestial desire that flesh holds for fresh torn flesh. A black velvet band binds your eyes and pulls itself tighter and closer across your chest. Your heart is a stone thrown into an icy pond. Down, it plunges, down and down, and as it descends it bumps the bodies of other beings locked there in the deep pool of your chest.

                  Somewhere in this Arctic night there is a shuffle of white pads. Sleek feet move across the snow. The polar bear’s snuffle is a whimper of hope that the end will come swiftly in the bright light of midnight descending, all red in tooth and claw. You shiver. You bite your hand. You quench your chattering teeth and hope they do not wake the nightmare. Yet still you sense it drawing close with an acquiescent dragging of slow feet.

                  The illusion, the dream, the nightmare, the chimera, the dragon that dwells in the depths, the ice cold sucker of souls that emerges in a sudden gasp of bated breath, the red hot air that flees from the anthracite when the door of the dream world flies open and the devil dances on the hot coals of his promised hell and condemns your ice to melt in those sinister flames.

                  Your pale face floats through the gloom: yellowed teeth, frail lips curved, a Cupid’s bow that will shoot sweet darts of poisoned love, dry mouth, desiccated words, sounds that form into sinister sequences, their meanings misunderstood, false hope dangling by its neck from a choking rope, the bare words pacing, naked bears across a chain of dancing memories strung out like good times, past and dead, and dangling stiff from their skeletal chains.

                  Your flightless fancies flit through a darkness of despair, as awkward as auks, as clumsy as penguins stranded in zoo cages far from their native seas, as meaningless as the dodos, as dead as the ashes lying cold beneath the crematorium’s fire.

                  A sudden bucket clatters down the well. But there is no water. This ice will not melt. These desert sands may burn your feet but they will not warm your glacial heart. The manner of your third or fourth coming brings forth no nourishment.

                  A mirror grows from a spider web on the wall. Face to face, the present and past are ambulant tenses that foretell no conditional. There is no future, let alone a future perfect. A dislocation of infinitives stretches into the infinity of an invisible futurity.

                  To be: and now you are permitted to see the depth to which you will descend. Now you see yourself sinking lower and there is only one exit. A rope and a beam appear before you; a tin of Ant Trap; the silver tusk of an open razor; that bottle of pills; that steering wheel, one twitch of which will veer you into the path of that passing truck; that bridge which crosses into the fog and ends half way across the river; the mystery and madness of that final plunge into an even longer night.

                  Or not to be: lips move and promise an end to heat and cold. Here, they say, is darkness without memory; here is sleep bereft alike of nightmare and dream; here is oblivion; here is the cessation of strife and struggle; here is peace.

                  If you take that step, you leave your present hell and enter into another hell leaving behind you family and friends to suffer without you in their own living hell.

El Greco’s House

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EL GRECO’S HOUSE
Toledo

Downstairs,
we walk narrow, white-washed corridors
and gaze at hand-carved black-oak beams,
older than these grandfather clocks whose
long hand, short hand mark time
in a distant century.

On an open hearth in a tiled kitchen,
cook-pots hang from an iron tripod.

The original paintings have long gone
but copies of haloed heads gaze down
at us from walls where cobwebs age
with gathering dust.

A goose quill pen and an inkpot
await the maestro’s return.
They are poised to sign the  contracts
that litter the desk with their thick
black promises of wealth to come.

We climb worn, creaking stairs
and visit the artist’s studio with its
three-legged stool, an easel
by an open window, paint brushes,
and an untouched canvas
crackling in the summer breeze:
a white sail spread before a voyage.

 

 

 

 

 

 

Snowy Day

 

Bleak Mid-winter
from
All About Angels

The reverse side of a tapestry this fly-netting,
snow plugging its tiny squares,
clotting with whiteness the loopholes
where snippets of light sneak through.

Black and white this landscape,
its colorless contours a throwback
to earlier days when dark and light
and black and white held sway.

Snow piled on snow.
The bird-feeder buried and buried too
the lamps that can no longer shine
beneath their cloak of snow.

The front porch contemplates a sea of white,
wave after wave cresting whitecaps,
casting a snow coat over trees
with snow-filled nests standing
shoulder-deep in the drifts

while a slow wind whistles
and high and dry in the sky above
the sun is a pale, thin penny
drifting through ragged clouds
that threaten to bring more snow.

Snowy Day
for
Meg Sorick

who misses the snow
and offered to come and dig us out.

1. View from office window with IMac and pencils.

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2. Bird feeders and the mountain ash from kitchen window.

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2a Same scene, two hours later

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2b Same scene, another hour later

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3. Back porch, bird table, and picnic table from living room.

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3b Same scene, two hours later

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4. Cat’s eye view of snow from Princess Squiffy’s vantage point.

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4a Same scene, two hours later

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5. Princess Squiffy turns her back on the snow and seeks an alternate reality

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6. We finished with 63 cms of snow (25 inches), plus drifting of course. Almost shoulder high in places. Other snowfalls in the province ranged from 70-80-90-100 cms. All in all, we were lucky. A wonderful neighbor came and helped us dig / plow ourselves out earlier this evening, and now we can get to the road and our driveway is snow free. Paul: thank you  so very much.