
Thank you so much, Deborah Carr and the WFNB, for inviting me to write about the KIRA Creative Experience. I appreciate your kindness and interest. Here, for my regular blog followers, is the link to the appropriate page.

Thank you so much, Deborah Carr and the WFNB, for inviting me to write about the KIRA Creative Experience. I appreciate your kindness and interest. Here, for my regular blog followers, is the link to the appropriate page.

Two Dogs and a Deer
(Cherry, Hanna, Jasper, and Lucinda)
Two dogs and a deer:
the deer, heart in mouth,
bounding away from the lawn
seeking cover in the trees.
The gold dog bounding too,
a rocking-horse bounce,
from back to front, lurching,
falling behind the black dog,
the latter, smooth as a train.
The enemy having fled,
shoulder to shoulder they return,
across the green grass of the field,
the victors, side by side, panting,
sides heaving, triumphant, grinning.
What heartbreak as these memories
fade and fall behind. Long may they
linger in my dreaming mind.

Life
A champagne glass
bubbling to the brim,
your voice over the phone,
sparking and sparkling.
“I’ve got a new job,” you say,
and fresh horizons
open before my eyes.
I see your ship sailing
towards undiscovered lands.
A better life beckons:
more responsibility,
higher pay, a move away
from the routines, once fresh,
now boring, that hold you back.
“Well done. Congratulations!”
I hear you start the car.
“Take care. Drive safely.”
You accelerate away
driving into the unknown
dimensions of a newer life
beyond this life,
a life I will never know.

Dreams
Sometimes, when we dream
there is neither time nor space:
all things are ever before us.
That child’s swing in the orchard
suspended from the apple tree,
primroses and bluebells
at the garden’s edge, delicate
their dance in morning’s light.
That old woman in the kitchen,
humming her morning hymn
as she bakes the breakfast bread.
That old man in the evening,
scything weed and dry grass.
Time’s fragility dwells ever
in our bones, not our minds.
Though dreams fade fast
with morning’s light, our day-
dreams will rule the day,
and we can still dream
those other dreams, at night.

Losing Weight
First, you must study Nature.
It will make you aware that trees
lose weight by shedding in the fall
their useless leaves. Do they ever
grieve you wonder, when winter
winds strip twig and branch?
That dog who owns your heart,
he sheds his coat and shakes
away both water and fleas.
Dogs can lose weight
whenever they please.
Don’t bother to diet.
Step fully clothed
on the bathroom scales
and weight yourself.
Step off, and shed your clothes,
leaves, twigs, branch, and fleas.
Then naked to the world
step on the scales and weigh again.
I bet you’ve lose a pound or two.
Believe me … and try it.

True Love
Her voice in the night
drags me from my dreams.
But it is not her voice:
she has gone back home
leaving Clare and I alone.
Our sleeping rhythms have changed
and we wake each other up
when we unexpectedly touch
or startle at the voices in our dreams.
True love is so much more
than an exchange of rings
or a holding of hands,
especially when our lives
are no longer ruled by hormones,
and they’re taken over
by rebellious glands.

Night Thoughts
(for Tanya Cliff)
The weight of the weather
with its dark clouds pushing
down on my shoulders
bends me to its omnipotent will.
I know my back doesn’t have
the power to lift up my heart
and soar above such heavy clouds.
I need a chariot of fire …
yet the clouds are so strong,
and the light is so weak
it won’t break through,
except in sudden flashes.
I hear the creak of sodden wheels.
Clouds blinker the lightning
as thunder crashes through my brain.
I listen to the pouring down of rain
and pull the bed sheets over my head.

Digging around in the photo files that I transferred from my old computer to my Google drive, I discovered this golden oldie composed of my words and Clare’s images. What a revelation: I had completely forgotten that this group of work existed. I’ll dig them out ne by one and post them from time to time. Ayer is the Spanish for yesterday, hier in French. The title “Ay! Ay! Ayeres!” with its multiple plays All our yesterdays and its reference to the old song “Ay, ay, ay, canta no llores” draws together a series of memories, some in the past and some in the future. ‘How can we have a memory in the future?’ you ask. By recognizing a present moment, or one that lies just ahead in a future that ill become soon enough a present, as one that has already occurred in the past, thus confirming the circularity of our lives and the idea that all time is time present, one of T. S. Eliot’s recurring themes.
Ocho Venado: Eight Deer is a central figure (war leader) in the Zouche-Nuttal, a pre-Columbian Mixtec Codex. He is the war leader in the Conquests recorded in the codex (circa 1050-1100).
Quesadillas: Oaxacan tortillas filled with cheese and flores de Calabaza, gourd flowers.
Reyes Magos: the three wise men or kings who visited the Christ Child on January 6, the traditional Spanish Christmas.
Murcielago: the bat and a symbol of death in Oaxacan mythology.
Nueve Viento: Nine Wind descends from heaven to separate the sky from earth and its waters. Nine Wind at Tule meeting with Cortes is mythical not historical, though the meeting of Cortes with the Mixtec chiefs (caciques) did happen.
Apoala: The Mixtec nation was born form a cave (sometimes a tree) in Apoala, Oaxaca.
Spinning the wheels in the snow: a reference to Jean Chretien and one of his famous images.
The piece is written in a surrealist style that mixes historical fact with creative writing. The distant past is recalled (1050-1100), then the middle past (1525-1530), and finally the present appears. This mixing of time and place (Mexico and Canada) is also related to the surrealist movement. Surrealism creates a dream world in which images float and change shape within a time-space conundrum where dream is more real than reality and creates its own new meanings that are individual to each reader.
Any comments on this rediscovered piece will be warmly welcomed.

Damnatus / Doomed
‘Poor poets of today: condemned to be nothing more than the dry dust of an unread doctoral thesis.’ They languish, empty headed, in dark rooms, those poets, hunched over their computers, waiting fr someone or something to fill up their heads. They hammer away at their keyboards, correcting their spelling with an ever cautious spell-check. Intent on making their poems cryptic, they shrug off the sunshine, the beach, the flowers in the garden, the cardinals, orange and red, who clamor at the feeder, and concentrate on abstract meanings, abstruse words, and twisted thought.
Phone calls go unanswered. Friends are left hanging on the vine to dry. These poets are worse than wallflowers at a dance or lemons out on a date as their crowded heads fill up with metaphors and myths that limp their unsteady ways onto screen and page. Oh pity the blisters on their fingers, the calluses that harden their fingertips to the delights of re-writing, again and again, for they are not real writers but real re-writers, and every thought is a skirmish with unreality, a pledge to continue their servitude to their life’s mission: the curdling of words and the nurdling of poetic thought. What better poetry is there than a hamburger for the hungry or a helping hand stretched out across a street to help a beggar in need … but there are neither burgers nor beggars in these un-windowed buildings, just the poverty of a poetry undiscoverable in its lack of lustre gloom..
Where is the graduate student, earnest, destined to be penniless, who will delve into the notebooks of these poets’ lives and dig out the thought-gems, the diamonds that will make everyone great, publisher and published, poet and practitioner of the uncritical art? Will someone not take that student by the hand and lead him to pastures green, or to the sea, to taste and test the blessed salt and the winds that will drive away the mind’s unwholesome fog and bring light and understanding that will un-cuff the wrists and heal the immortal wounds for, left untreated, they will bleed for all eternity?
Oh the bright bracelet of learning bound round the heart-bleed wrist. Oh the false knowledge gained, that leads poet and critic up and down the slippery garden path towards promotion, tenure, and a seat on the picket fence. Oh those grey human bodies chained to their wooden desks in a dusky library or transfixed on metal seats in academic meditation. Sit and watch while cobwebs sprout in the unused brain and the only certainty lies in footnotes and bibliographical entries that rise like a surging tide to flood the drowsing mind that craves more sleep.
What bright word, what metaphor dim, has poisoned the wit so it effortless moves into the serenity of contemplation? Look on this pathless sea of words, ye mighty, and despair. But take great care: for what if this sylvan warrior awakes, steps out of that figmented dream, sees the reality beyond the shadows, demands a proper challenge, a walk in the park, a vision of the grass that is so much greener on the other side where the administraitors gather and garnish paper and paperclips as they strive for the privilege of herding more and more slovens in their poetic pursuits?
Oh grant them more grants, these purloined poets. Gift them pure visions of things that never were and will never be. Never let them break away from their dissolute dreams that wrap their disadvantaged forms in the ignorance of mental slumber, half-sharpened pencils, and a box of blunt sharpeners..

Residency
Thursday Thoughts
29 June 2017
Application:
I would not have applied for the residency at KIRA had I not have been encouraged to do so by my writing group friends and by a friendly voice on the Kingsbrae phone.
Acceptance:
I was surprised to receive notification of my acceptance. It arrived on 2 March 2017. On 3 March 2017, I started to peruse the Kingsbrae web page and make the first drafts of poems that I would later complete on site.
The Red Room:
I was lodged in The Red Room in the KIRA Residence and I had a small desk at a window overlooking Passamaquoddy Bay. I spent a whole month looking out of that window and writing at that desk … or was it the other way round?
Community Commitments:
These were multiple, but they were always art orientated and therefore most enjoyable. They included working with school children, attending various unveilings and openings, and being present in our studios and discussing our art with visitors. On 26 June we had an exhibition in which each one of us either showed our work or produced a live performance.
Evening Salons:
Most evenings we had a literary / artistic salon in which we discussed various aspects of our art. These lasted two to three hours and some were summarized while others were video-taped. These quick-fire exchanges provided a backbone to our daily work.
Trips:
There was time for local trips and we travelled, individually or in groups, to many places including Deer Island, Passamaquoddy, Campobello, St. Stephen, New River Beach, Holt’s Point, Greenlaw’s Mountain, Jarea, Minister’s Island, Ile Ste. Croix, and several other locations. The photographic records enabled us to build our creativity.
Artistic Development:
This was individual to each of us, but we all remarked on a widening of our perspectives, a new commitment to narrative and theme, and a broadening of our artistic horizons.
Returning Home:
On my return home, I turned to my everyday life in which art, in my case writing, was of secondary, not primary, importance. The need to cook, to shop, to do normal household duties suddenly conflicted, once again, with my need to be a writer.
24/7:
24/7 is indeed a cliché. But for 28 days it became the pattern of my writing life. It was indeed a fertile time. I wrote some 100 poems, 25% of which will be rejected, with a possible thematic structure and three revisions already completed. Sooner or later, I will produce a book about this experience..
Conclusions:
This type of time commitment turns us from budding /artists into the real thing. We must strive to re-create these last 28 days in what remains of our creative lives. There can be no lesser or secondary choice, if we are to be serious about our art.
The Journey:
If we wish to travel from Halifax to Vancouver by bus, we must make several decisions.
1. We cannot get off at Moncton.
2. We cannot get off at Montreal, nor at Toronto.
3. Winnipeg, Regina, and Calgary are beautiful; but we mustn’t get off the bus.
4. If we do, we will never get to Vancouver.
Conclusion:
Art is a life-time journey: don’t get off the bus.