Contents ( 195)
- Contents
- From THE CIRCLE GAME (1966)
- This is a photograph of me
- After the flood, we
- The city planners
- Eventual Proteus
- The circle game
- i
- ii
- iii
- iv
- v
- vi
- vii
- Migration: C.P.R.
- i
- ii
- iii
- Journey to the interior
- Some objects of wood and stone
- i Totems
- ii Pebbles
- iii Carved Animals
- Pre-amphibian
- Against still life
- A place: fragments
- i
- ii
- iii
- iv
- v
- vi
- vii
- The explorers
- The settlers
- From THE ANIMALS IN THAT COUNTRY (1968)
- The animals in that country
- A foundling
- The landlady
- A fortification
- At the tourist centre in Boston
- Elegy for the giant tortoises
- Roominghouse, winter
- It is dangerous to read newspapers
- Progressive insanities of a pioneer
- i
- ii
- iii
- iv
- v
- vi
- vii
- Speeches for Dr Frankenstein
- i
- ii
- iii
- iv
- v
- vi
- vii
- ix
- x
- Backdrop addresses cowboy
- I was reading a scientific article
- More and more
- A voice
- The reincarnation of Captain Cook
- Axiom
- THE JOURNALS OF SUSANNA MOODIE (1970)
- JOURNAL I 1832–1840
- Disembarking at Quebec
- Further arrivals
- First neighbours
- The planters
- The wereman
- Paths and thingscape
- The two fires
- Looking in a mirror
- Departure from the bush
- JOURNAL II 1840–1871
- Death of a young son by drowning
- The immigrants
- Dream 1: the bush garden
- 1837 war in retrospect
- Dream 2: Brian the still-hunter
- Charivari
- Dream 3: night bear which frightened cattle
- The deaths of the other children
- The double voice
- JOURNAL III 1871–1969
- Later in Belleville: career
- Daguerreotype taken in old age
- Wish: metamorphosis to heraldic emblem
- Visit to Toronto, with companions
- Solipsism while dying
- Thoughts from underground
- Alternate thoughts from underground
- Resurrection
- A bus along St Clair: December
- From PROCEDURES FOR UNDERGROUND (1970)
- Game after supper
- Girl and horse, 1928
- The small cabin
- Midwinter, presolstice
- Procedures for underground
- Dreams of the animals
- Cyclops
- Three desk objects
- Projected slide of an unknown soldier
- Comic books vs. history (1949, 1969)
- Highest altitude
- A morning
- A soul, geologically
- Habitation
- Woman skating
- Younger sister, going swimming
- Fishing for eel totems
- Buffalo in compound: Alberta
- Carrying food home in winter
- From POWER POLITICS (1971)
- She considers evading him
- They eat out
- Their attitudes differ
- i
- ii
- iii
- i
- ii
- iii
- iv
- They are hostile nations
- i
- ii
- iii
- Hesitations outside the door
- i
- ii
- iii
- iv
- vi
- vii
- From YOU ARE HAPPY (1974)
- Newsreel: man and firing squad
- i
- ii
- iii
- November
- i
- ii
- Digging
- Tricks with mirrors
- i
- ii
- iii
- iv
- v
- You are happy
- SONGS OF THE TRANSFORMED
- Pig son
- Bull song
- Rat song
- Crow song
- Song of the worms
- Owl song
- Siren song
- Song of the fox
- Song of the hen’s head
- Corpse song
- CIRCE/MUD POEMS
- Is/not
- i
- ii
- Eating fire
- i
- ii
- iii
- Four auguries
- i
- ii
- iii
- iv
- Head against white
- i
- ii
- iii
- iv
- v
- There is only one of everything
- Late August
- Book of ancestors
- i
- ii
- iii
- About the Author
- Connect with HMH on Social Media
Is this what you would like me to be, this mud woman? Is this what I would like to be? It would be so simple.
We walk in the cedar groves
intending love, no one is here
but the suicides, returned
in the shapes of birds
with their razor-blue
feathers, their beaks like stabs, their eyes
red as the food of the dead, their single
iridescent note,
complaint or warning:
Everything dies, they say,
Everything dies.
Their colours pierce the branches.
Ignore them. Lie on the ground
like this, like the season
which is full and not theirs;
our bodies hurt them,
our mouths tasting of pears, grease,
onions, earth we eat
which was not enough for them,
the pulse under the skin, their eyes
radiate anger, they are thirsty:
Die, they whisper, Die,
their eyes consuming
themselves like stars, impersonal:
they do not care whose
blood fills the sharp trenches
where they were buried, stake through
the heart; as long
as there is blood.
Not you I fear but that other
who can walk through flesh,
queen of the two dimensions.
She wears a necklace of small teeth,
she knows the ritual, she gets results,
she wants it to be like this:
Don’t stand there
with your offerings of dead sheep,
chunks of wood, young children, blood,
your wet eyes, your body
gentle and taut with love,
assuming I can do nothing about it
but accept, accept, accept.
I’m not the sea, I’m not pure blue,
I don’t have to take
anything you throw into me.
I close myself over, deaf as an eye,
deaf as a wound, which listens
to nothing but its own pain:
Get out of here.
Get out of here.
You think you are safe at last. After your misadventures, lies, losses and cunning departures, you are doing what most veterans would like to do: you are writing a travel book. In the seclusion of this medium-sized brick building, which is ancient though not sacred any more, you disappear every morning into your white plot, filling in the dangers as you go: those with the sinister flowers who tempted you to forsake pain, the perilous and hairy eye of the groin you were forced to blind, the ones you mistook for friends, those eaters of human flesh. You add details, you colour the dead red.
I bring you things on trays, food mostly, an ear, a finger. You trust me so you are no longer cautious, you abandon yourself to your memoranda, you traverse again those menacing oceans; in the clutch of your story, your disease, you are helpless.
But it is not finished, that saga. The fresh monsters are already breeding in my head. I try to warn you, though I know you will not listen.
So much for art. So much for prophecy.