Showing posts with label the book of sentences. Show all posts
Showing posts with label the book of sentences. Show all posts

Monday, October 20, 2025

a poem, a story, an essay or two and a new review of the book of sentences;

Thanks to everyone who came out to the Ottawa launch of the book of sentences on Saturday! It was a very great event, and great to co-launch with Zane Koss [see my review of his new poetry book here]. Here's a pic that David O'Meara was good enough to capture of myself reading. 

Otherwise, I know these updates are important to you, dear reader: the first published poem in my current work-in-progress, "The Museum of Practical Things," has landed online: a poem I composed for Jennifer Baker and David Currie's recent nuptials, posted over there at minor literature[s]. You can catch a recent essay I wrote on the project via my substack. There's also a recent short story, "Easter Parade," that appeared at MicroLit, posted as both text and audio of myself reading such. As well, Chris Banks was good enough to post an essay I wrote on the book of sentences over at The Woodlot, along with a poem reprinted from same. And did you see this review Dawn Macdonald posted for the book of sentences yesterday on her own substack? Holy cats! Much thanks!

Monday, January 30, 2023

Composition

 

1.

In the early stages of this writing, there
was simply no place

to put a period. I attempt to utilize
tension. My in-laws continue to believe

I should cut my hair. The tension
is present.

 

2.

Fourteen lines, with which to apply, opportune
or convey. The pace at which

one stakes, and states,

these complimentary emblems.
The trouble             with normal, or the language

of God: one of senses, rubble.

 

3.

All the years it took to write
that one sentence.

 

Friday, January 14, 2022

Three poems for Heather Spears

(1934-2021)

1.

Between fluidity,
attentive cells, an illustrated

pantomime. She captured medical standards, poetry
readings, courtroom action. The face

of stillbirth. Bedside

vigils. Hand, hand,
fingers,

thumb. A blueprint for intimacy,
against a vast

seduced indifference.

 

2. 

Such papery fields: the animation
of a poetry panel, gestures

behind the open window. This filament of lines
our only access. An elusive quality,

from which there is only memory.

 

3.

My mis-pronounce of Van Gogh, responding
with her pulsing Khokh, hard-pressed

the guttural Dutch. She rolled
her eyes. She

savoured, stared. She handed
me my portrait. Here.

 


 

 

Tuesday, December 28, 2021

Quartet for an end of landscape, with farmhouse

 

 

1.

At first it was his stretch of fields, a lease for a neighbour’s expanding yield
after health forced him to pause. The spring my father couldn’t plant, Ontario sky

of variable spelling, monochrome, exaggeration
of slow cloud. His sleep apnea, diabetes plus

, that set retirement to root. Downstream, we watched three tractors pull
their crop of soybean

acres-clean across a morning.

A few years later it the land: shorn off and sold. From the basecamp
of retained, remaining homestead: farmhouse, sheds, the barn. His cancer surgery

surpassing marks, a marked and marker. Held
his ground. A land                       condensed. He drove

his gator to survey the boundaries. Where
he could not walk.

As ALS crept further, strolled electric wheelchair up the laneway,
hand curled up, around

the dog’s leash, bounding forth.

 

2.

A farmer with no sons but one, who chose
a separate path. Embroidery of a curve

away. A daughter: thus, invisible. These
tiny changes made to earth.

  

3.

The nagging suspicion                           of a counter of exchange,
an erased fenceline he could trace

ungrammatical. A birdsong, custom purposed            to
a steady, measured stitch of rain. A phantom

set of tree limbs, trails.                 To watch him grasp 

the cypher, signal, of each leaf, yet occupy
such bounds of silence. An unending pair

of ambit, errant children. A moment, as if
to stumble, still.

  

4.

My father, long and overcast.

Upon his death, pandemic: house is slowly emptied, harvest; strata
of a life well-lived. Disassembled, scattered; donations

and inheritance alike. Is newly occupied

through rental agreements, the shake
of one good hand. Eight decades of tenure, my father’s cremated remains;

boy, am I

as hand-drawn figures in the landscape. Offered up as ghosts,
before the sun-bleach of the spring. These

blueprint pencils fade.

 

Monday, November 29, 2021

Yesterday, not my photo

 

1.

This tornado’s funnel kiss along the waters of Lake Huron.

Port Albert beach: a foreign language might be stripped

of borders, nothingness. The air thins, tinny. The scent

of low pressure vacuum. The hairs on each arm.

 

2.

When Amy and Andrew visited, he and I each gathered

our combined small children—two

toddlers, two infants—for a playground jaunt. I caught

the shift in the air and said, we have to go. We held

our boundaries. This onslaught of rain. We barely made

it back to the house.

 

3.

Environmental. I wish to make my questions

known, from lifted references. My beloved clash.

I found this image on the internet, I no longer

remember where. But it makes my point.

Displacement: where the rain meets silence,

where the word meets open space. The calm

converts to lawn.