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Contents ( 195)
  1. Contents
  2. From THE CIRCLE GAME (1966)
  3. This is a photograph of me
  4. After the flood, we
  5. The city planners
  6. Eventual Proteus
  7. The circle game
  8. i
  9. ii
  10. iii
  11. iv
  12. v
  13. vi
  14. vii
  15. Migration: C.P.R.
  16. i
  17. ii
  18. iii
  19. Journey to the interior
  20. Some objects of wood and stone
  21. i Totems
  22. ii Pebbles
  23. iii Carved Animals
  24. Pre-amphibian
  25. Against still life
  26. A place: fragments
  27. i
  28. ii
  29. iii
  30. iv
  31. v
  32. vi
  33. vii
  34. The explorers
  35. The settlers
  36. From THE ANIMALS IN THAT COUNTRY (1968)
  37. The animals in that country
  38. A foundling
  39. The landlady
  40. A fortification
  41. At the tourist centre in Boston
  42. Elegy for the giant tortoises
  43. Roominghouse, winter
  44. It is dangerous to read newspapers
  45. Progressive insanities of a pioneer
  46. i
  47. ii
  48. iii
  49. iv
  50. v
  51. vi
  52. vii
  53. Speeches for Dr Frankenstein
  54. i
  55. ii
  56. iii
  57. iv
  58. v
  59. vi
  60. vii
  61. ix
  62. x
  63. Backdrop addresses cowboy
  64. I was reading a scientific article
  65. More and more
  66. A voice
  67. The reincarnation of Captain Cook
  68. Axiom
  69. THE JOURNALS OF SUSANNA MOODIE (1970)
  70. JOURNAL I 1832–1840
  71. Disembarking at Quebec
  72. Further arrivals
  73. First neighbours
  74. The planters
  75. The wereman
  76. Paths and thingscape
  77. The two fires
  78. Looking in a mirror
  79. Departure from the bush
  80. JOURNAL II 1840–1871
  81. Death of a young son by drowning
  82. The immigrants
  83. Dream 1: the bush garden
  84. 1837 war in retrospect
  85. Dream 2: Brian the still-hunter
  86. Charivari
  87. Dream 3: night bear which frightened cattle
  88. The deaths of the other children
  89. The double voice
  90. JOURNAL III 1871–1969
  91. Later in Belleville: career
  92. Daguerreotype taken in old age
  93. Wish: metamorphosis to heraldic emblem
  94. Visit to Toronto, with companions
  95. Solipsism while dying
  96. Thoughts from underground
  97. Alternate thoughts from underground
  98. Resurrection
  99. A bus along St Clair: December
  100. From PROCEDURES FOR UNDERGROUND (1970)
  101. Game after supper
  102. Girl and horse, 1928
  103. The small cabin
  104. Midwinter, presolstice
  105. Procedures for underground
  106. Dreams of the animals
  107. Cyclops
  108. Three desk objects
  109. Projected slide of an unknown soldier
  110. Comic books vs. history (1949, 1969)
  111. Highest altitude
  112. A morning
  113. A soul, geologically
  114. Habitation
  115. Woman skating
  116. Younger sister, going swimming
  117. Fishing for eel totems
  118. Buffalo in compound: Alberta
  119. Carrying food home in winter
  120. From POWER POLITICS (1971)
  121. She considers evading him
  122. They eat out
  123. Their attitudes differ
  124. i
  125. ii
  126. iii
  127. i
  128. ii
  129. iii
  130. iv
  131. They are hostile nations
  132. i
  133. ii
  134. iii
  135. Hesitations outside the door
  136. i
  137. ii
  138. iii
  139. iv
  140. vi
  141. vii
  142. From YOU ARE HAPPY (1974)
  143. Newsreel: man and firing squad
  144. i
  145. ii
  146. iii
  147. November
  148. i
  149. ii
  150. Digging
  151. Tricks with mirrors
  152. i
  153. ii
  154. iii
  155. iv
  156. v
  157. You are happy
  158. SONGS OF THE TRANSFORMED
  159. Pig son
  160. Bull song
  161. Rat song
  162. Crow song
  163. Song of the worms
  164. Owl song
  165. Siren song
  166. Song of the fox
  167. Song of the hen’s head
  168. Corpse song
  169. CIRCE/MUD POEMS
  170. Is/not
  171. i
  172. ii
  173. Eating fire
  174. i
  175. ii
  176. iii
  177. Four auguries
  178. i
  179. ii
  180. iii
  181. iv
  182. Head against white
  183. i
  184. ii
  185. iii
  186. iv
  187. v
  188. There is only one of everything
  189. Late August
  190. Book of ancestors
  191. i
  192. ii
  193. iii
  194. About the Author
  195. Connect with HMH on Social Media

There must be more for you to do
than permit yourself to be shoved
by the wind from coast
to coast to coast, boot on the boat prow
to hold the wooden body
under, soul in control

Ask at my temples
where the moon snakes, tongues of the dark
speak like bones unlocking, leaves falling
of a future you won’t believe in

Ask who keeps the wind
Ask what is sacred

Don’t you get tired of killing
those whose deaths have been predicted
and are therefore dead already?

Don’t you get tired of wanting
to live forever?

Don’t you get tired of saying Onward?

You may wonder why I’m not describing the landscape for you. This island with its complement of scrubby trees, picturesque bedrock, ample weather and sunsets, lavish white sand beaches and so on. (For which I am not responsible.) There are travel brochures that do this better, and in addition they contain several very shiny illustrations so real you can almost touch the ennui of actually being here. They leave out the insects and the castaway bottles but so would I in their place; all advertisements are slanted, including this one.

You had a chance to read up on the place before you came: even allowing for the distortion, you knew what you were getting into. And you weren’t invited, just lured.

But why should I make excuses? Why should I describe the landscape for you? You live here, don’t you? Right now I mean. See for yourself.

You stand at the door
bright as an icon,

dressed in your thorax,
the forms of the indented
ribs and soft belly underneath
carved into the slick bronze
so that it fits you almost
like a real skin

You are impervious
with hope, it hardens you,
this joy, this expectation, gleams
in your hands like axes

If I allow you what you say
you want, even the day after

this, will you hurt me?

If you do I will fear you,
If you don’t I will despise you

To be feared, to be despised,
these are your choices.

There are so many things I want
you to have. This is mine, this
tree, I give you its name,

here is food, white like roots, red,
growing in the marsh, on the shore,
I pronounce these names for you also.

This is mine, this island, you can have
the rocks, the plants
that spread themselves flat over
the thin soil, I renounce them.

You can have this water,
this flesh, I abdicate,

I watch you, you claim
without noticing it,
you know how to take.

Holding my arms down
holding my head down by the hair

mouth gouging my face
and neck, fingers groping into my flesh

(Let go, this is extortion,
you force my body to confess
too fast and
incompletely, its words
tongueless and broken)