Friday, 15 July 2011

Calendar Girl


There is a woman in the mirror.
She lives behind my eyes
to orbit my subconscious like a shadow-satellite.
But I'll never really touch her,
well at least never in this time.
She is the shape-shifting idol
in the temple of my mind.

You know I've reached for Her in many
and found a little peace.
If only I'd reached deeper still,
I might have been released,
oh but we'll never touch each other,
although we live in the same place.
You see our backs are fused together
so we take different views of space.

Oh but I am scared of her.
She tests the strength of every dream I build,
which buckle neath the weight of just the shadow of her will.
But I really needn't worry,
cause she can't touch me anyway.
Her's are heat-seeking missiles,
and my heart is cold as clay.

She is the coiled & sleeping serpent
at the bottom of my spine.
She's the shadow puppet theatre
in the backstage of my mind,
but I'll never really see her
because there's a veil she hides behind.
But I guess that’s for the better,
cause just one look might drive me blind.

Yes and her geodesic belly
is my planetarium,
and also its the diving-bell that dropped me so far from my home,
but I'll never really live there,
because you just can't go back again.
No she will never be my mother,
and she'll never be my friend.

Oh but I am scared of her
She tests the strength of every dream I build,
which buckle neath the weight of just the shadow of her will.
But I really needn't worry,
cause she can't touch me anyway.
Her's are heat-seeking missiles,
and my heart is cold as clay.

No, no, no she has no sense of humour,
and she has no sense of time,
but sometimes we meet halfway in drag in some neutral place we find.
But we never stay for long there,
although we stay forever too.
Each moment holds eternity
if you see each moment through.

Its her flesh that warms the altar.
Its her hand that wields the knife.
Its her lips that drink that last drop of my blood.
Its her kiss that brings me my Life,
but I'll never really kiss her,
well at least never in this world.
She is my shape-shifting priestess,
She's my Calendar Girl.

Thursday, 14 July 2011

PORTRAIT OF MY QUICKSILVER HEADDRESS

So here I'm again with my writing.
That illusive nomadic muse
that comes charging from the unconscious frontier like a ravaging horde of Mongols,
to lay waste the card-house empire
of my conceptual mind
is back now to dance on the damage with me,
well at least for one more clumsy time.

But nowadays I have to venture
deep into its sweet resting place,
drag it kicking and screaming from out of its bed
and then slap it till its wide awake,
just to nail down its dancing convulsions
like Christ on my high forehead's cross.
Oh, but make no mistake from the shape of this mask.
Know my muse it is always the boss.

Each one of my comatose projects
that had lain there so dumb on their backs,
half-formed, like thalidomide babies so long
are now spread like a thousand card hand
of poker dealt out by the dealer
who is my sweet imprisoned muse.
But I'm beguiled by all the wild jokers I find in this deck that I've so much abused.

All the brutalized, ink-blackened pages
that had crunched themselves into soft balls
in the killer womb inside my frustrated fist and to warm smoky freedom had rolled
away on the underground railroad,
conducted by garbage truck crews,
well  they're back now to fight through my memory's court for their fourty pages and a muse.

Yes I'm back  once again with my baby
that had swum for so long in the womb,
and the ultrasound films of that boring process are continuous echo-reruns
on the nightmarish Walt Disney channel
that plays in my subconscious mind,
providing the vaguest reflection of me that my ego could hope to design.

It’s my fantasy's one-sided quarrel.
I won't have to avert my eyes,
and there's no counter-wit here I must circumvent.
There's nobody to tell me I lie.
So I'll lie in here all by my lonesome,
just soaking up in my own brew
that’s so warm and so deep, I just might go to sleep in this alphabetic-stupor-stew.

I use this typewriter to hammer
a hole for myself in the wall
of the towering mountain of purposefulness, and my voice as a beckoning call
to call you all out of your caverns,
so I can then investigate,
and comparatively determine the size of my own spread of surrealestate.

If you've all been knocked on your asses
in as many good and bad ways,
then you're fattened by memory like I have become,
and writing is one way  to lose weight.
Cause experiencing and teaching
are two halves of one breathing process,
and those of us holding a lungful of life can now pass on that eventful breath

But our tiny minds can't seem to handle
Sensation's chaotic crossfire
that charges the electrical circuitry of each moment that challenges time.
So that’s why we cause them to mutate
and bleed into future and past,
diluting them into a thin "lady's drink" who's tall volume might cushion their blast.

Then we sip with the greatest of  leisure.
Hope and memory's candy cane straws
reweld them back into a plastic moment, merely flawed by some surgical scars
that run like a railroad track border
between these two nations at war,
whose dividing line is as hard to define as the one between ocean and shore.

Yes we tend to keep our lives separate
from reality's smashing sea
with dams made of bones from our clinking closets, and amnesia: the sealant between.
Then we prick that dyke-wall with pinholes,
to let just a little bit through.
But its high where the wall's thin enough to be pricked & the footholds are so very few.

and most of us are far too lazy
to climb up to where its that thin,
and less of us have the digestive system that will hold that effulgent-juice in
long enough so that when we do spit it
deep into some young, thirsty mind,
it won't be so rich as to make the kid sick, or go down as more grape-juice than wine.

But in my life, the grey, knotted tapeworm
that is my excuse for a soul
keeps me stealing that blood that’s been barely tasted
from that foaming-toothed vampire’s hole,
that serves as the garbage disposal of prayer, and of blessing, of curse and of sigh,
from who's lips we read the equations of time, and who's nickname is simply "the sky".

Sometimes it takes years of rewriting
to translate one moment in time,
and though the translation is never complete,
it might unveil a piece of my mind.
and almost just might count for something
in writing, as in hand grenades,
which though they fall short of the targeted mass,

But I write cause I don't have the courage
to sit, or to stand, or to walk in peace,
so I mirror these black fireworks inside me with a crude voodoo-doll
that shields me from most of my demons,
but is also a fisherman’s net
to catch them to serve as the ingredients in my diet of dark-angel flesh.

Its a parachute serving to soften
my descent through solitude's space,
that bottomless mind-shaft of boredom and fear that I tumble through from day to day.
And I fall through these out of time moments
with or without pen in place,
wrapped up in a mirror-lined crystal cocoon
that will give me illusions of space.

But what sails me away from one island
of boredom becomes one in kind.
So even though I get a sense of focus,
lining up with a moment in time,
its too bad it isn't the moment
my body is feeding upon.,
but a moment that hangs in the perilous air,
no momentum to carry it on.

I can't seem to hold my attention
when ideas fly in large flocks,
but the counterbalance of this difficulty is my flexible method of thought,
and a talent for seeing the order
that lies in perception's "Outback",
which renders me so much more beautiful than the rest of you cloven-brained hacks.

My acrobatical circus-boy mind keeps on seeping through all of the cracks
in conception and emerges triumphantly
as a glistening penis-head buck.
Yes I'm raking the sky with my antlers,
and their explosion frozen in time:
a quicksilver ejaculation that sprouts from a well at the core of my mind.

My thoughts are slowed down by my writing
just long enough to be shocked
by their image reflected inside of the page,
and for one fleeting moment be caught
like deer staring into car headlights,
just long enough to be pulled
back inside myself to become the soundtrack of my dance for the Calendar Girl.

They go back in myself,
orchestrate the striptease
of my internal Calendar-Girl.

Saturday, 9 July 2011

Translations of French Canadian Haiku

Last year my friend Dutch Jongman gave me a copy of Carpe Diem: a Canadian Anthology of Haiku, published in 1992 by Les Editions David and Borealis Press. Half of the poems were by English language poets and half were by French language poets, with no translations from either language into the other. Since I had just begun to study french I thought that the translation of haiku would be very good practice for a beginner. I translated all 160 of the french haiku, converting all of them into traditional haiku format. Many of these are not direct translations, but rather my own interpretations of the intentions of the authors. The following are my favourite from this project.


by Marie Amiot

en morceaux

les glace sur le fleuve

l’hiver qui dérive

my translation

broken in pieces

the ice upon the river

winter drifts away.


By Blanca Baquero

port de Sept-ÃŽles

pas une île en vue

toujours cette brume

my translation

Seven Islands Port

constantly covered in fog

no islands in sight.


By Blanca Baquero

tamia aux aguets

la bajoue droite

farcie aux noix

my translation

Chipmunk on lookout

just the right side of its face

stuffed full of acorns.



By Blanca Baquero

devant la maison

une montaigne de neige

et ma petite pelle

my translation

in front of my house

against a mountain of snow

my little shovel.


by Micheline Beaudry

pieds nus sous la pluie

elle pousse ses sacs alourdis

l’itinérante

my translation

barefoot in the rain

she carries her heavy bag

of tourist guidebooks.


By Hélène Boissé

neige abondante

perdre ma trace

à chaque pas

my translation

Walk in a snowstorm

and behind me on the path

my tracks disappear.


by Linda Brousseau

chaloupe a l’abandon

contre son flanc

un barrage de castors

 my translation

a large beaver dam

and amongst the mound of sticks

an abandoned boat.


by France Cayouette

dans ma poche

la musique des agates

de l’été dernier

my translation

inside my pocket

agates I found last summer

are making music.


by France Cayouette

plongeon du huard

le lac se referme

sur lui

my translation

just after its dive

the lake becomes still again

on top of the loon.


by Gracia Couturier

des rire cristalline

sous un amas de feuilles

samedi matin

my translation

saturday morning

from inside a pile of leaves

laughter of children.


by Gracia Couturier

un chat patiente

la queue dans une trou de glace

le poisson est rare

my translation

a patient feline

with its tail down an ice-hole

the fish aren’t biting.


by Jean Dorval

dans l’évier

une truite

et un poisson rouge

my translation

a strange encounter

trout and goldfish together

in my kitchen sink.


by Claire Du Sablon

rue Sainte-Catherine

papiers mégots seringue

et un pissenlit

my translation

on St Catherine street

cigarette butts, a syringe

and a dandilion.


by Jaques Gauthier

les chiens aboient

les oiseaux se taisent

passe la montgolfière

my translation

dogs begin to bark

birds suddenly fall silent

the hot air balloon.


by Hélène Larocque-Nolin

deux bébé mouffettes

se chamaillent comme des chatons

boule noire et blanche

my translation

a black and white ball

and fighting for possession

a pair of skunk kits.

by Carol Lebel

une fourmi grimpe

sur la plus haute herbe

et fixe la lune

my translation

an ant has arrived

on the highest blade of grass

just as the moon sets.

By Carmen Leblanc

pêche du soir

tout au bout de la ligne

un quartier de lune

my translation

fishing in the night

but at the end of my line

just a crescent moon.

 by Hélène Leclerc
  
manteau de printemps

vieille liste d’épicerie

dans les poches

my translation

back in my Spring coat

I find inside the pocket

an old grocery list.


by Carmen Marois

camping sauvage

un raton laveur

inspecte la glacièr

my translation

camping in the wild

a raccoon park official

inspects our cooler.


by Robert Melançon

allant et venant

les libellules bleues cousent

la rivière a l’aire

my translation

coming and going

blue dragonflies are sewing

the river to air.


by Robert Melançon

dans la gazon

qu’il faudrait tondre

la queue de l’écureuil 

my translation

along with the grass

also needing to be mowed

the tail of that squirrel.


by Benoît Moreault

une chandelle

sur le bord de la fenêtre

lutte avec les ombres

my translation

on the window ledge

a flickering candle flame

wrestles with shadows.


by Benoît Moreault

motifs floraux

sur la boire de mouchoirs

pour mon rhume des foins

my translation

display of flowers

on the box that holds tissues

for my hay fever.


by Danyelle Morin

un pic-bois cogne

au chambranle de ma porte

visite impromptue

my translation

a knock on my door

an unexpected visit

from a woodpecker.


by Michel Pleau

bouleau de décembre

la neige

devenue arbre

my translation

a transformation

the morning after a storm

snow became a tree.


by Alain Raimbault

des fleurs au guidon

le cycliste se faufile

jusqu'à l’hopital

my translation

flowers on handlebars

the cyclist weaves through traffic

to the hospital.


by Gilles Ruel

dans les serres de l’aigle

une truite

danse dans le ciel

my translation

the eagle’s talons

hold onto a shining trout

dancing in the sky.


by Anne-Marie Tanguay

rebord de fenêtre

deux corbeaux immobiles

prolongent la nuit

my translation

on my windowledge

a pair of motionless crows

prolonging the night.


by Denise Theriault-Ruest

coup de vent

sur un tandem de libellules

coït interrompu

my translation

sudden gust of wind

on a pair of dragonflies

coitus interruptus.


by Francois-Bernard Tremblay

deux grosses fraises

sur le costume de ma fille

l’une cousue, l’autre écrasée

my translation

two large strawberries

on my little girl’s costume

one sewn and one crushed.


by Francois-Bernard Tremblay

surprise au bistro

cette jolie femme accoudée au bar

mon voisin

my translation

a pleasant surprise

pretty woman at the bar

my next door neighbour.

by Louise Vachon

devant la porte

le cadavre d’un bourdon

l’été et fini

my translation

in front of my door

carcass of a bumblebee

 summer is over.


By Josceline Vaillancourt

dans la nid

 a la place des oeufs

la neige

my translation

inside of the nest

there are no eggs any more

only nest-shaped snow.





























Friday, 8 July 2011

A Selection of my Haiku

While riding my bike

I chew upon dust and bugs

with both my eyelids

Je prends mon vélo,

à mâche sur les insectes

avec mes paupières.


Pretty young woman

shivering in her short dress

won't let summer go.

Une jolie jeune femme

transie dan sa minirobe

s’accroche a l'été.


Light from the billboard

illuminating the fog

that conceals its ad.

Panneau d'affichage

illumine le brouillard

qui couvre l'annonce.


While I ride upon

a moving mountain of hay

meteors scratch the sky


Beach after sunset

objects of rusted metal

glow as from within.


Too cold for picking

the young boy waits for sunrise

inside his barrel.


 As I grow older

profiting from sentiment

I write more haiku.


Her tombstone shadow

extends to touch his grave-site.

His reaches away.


 Haiku based on the approximate minimum stimulus for each of the five senses.

On a clear, dark night

fifty klicks in the distance

a candle-flame glows.


All is very still

but six meters down the hall

the tick of a clock.


Teaspoon of sugar

in nine-liters of water

your iced-tea still sweet.


One drop on the bulb

then walking through all six rooms

I smell your fragrance.


It impacts my cheek

from a centimeter’s height

the wing of a fly.


College barbecue

the guy flipping the burgers

thinks I’m a street bum.


Resting from plowing

Dad chats with a Maine farmer

over the border.


Three Haiku inspired by the three stages of a Renku I wrote with Hans Jongman.

After the first bite

my guest dips the home-made bread

into his coffee.


In front of the church

a man mistakes our writing

for a cocaine deal.


Home-made raft for two

suspended from the small roof

wife in a hammock.


The cats' bowls empty

waddling out the back door

three fat young raccoons.


At the psyche lecture

a jumble of recorders

get the closest  seats.


Haiku for Poetry Readings

At the open stage

there is a big argument

over John's haiku.


In the audience

a loud-mouthed geek with a watch

calls the reader's time.


Unlike the features

readers on open stages

do not have last names.


Tension fills the room

while struggling to read on stage

Cad Gold hesitates.


Wednesday, 6 July 2011

Review of the Transcendental Mirror Variety Show

   The Transcendental Mirror variety show on Thursday nights at 303 Augusta in Kensington Market is from an audience’s perspective a pretty good night out. However, from a performer’s point of view it is disorganized and often indifferent to the needs of the artists involved.                    
   The talent is certainly various and often entertaining, and the show itself, hosted by Lauren Stein and David Swartz, benefits from each of their particular areas of interest. Lauren is a student of improvisational theatre, and at least ten minutes of the evening are set aside for an improv skit that is directed by her and performed by volunteers from the audience. David is a painter and the influence of his background is shown in a very unique aspect of the show: each night two blank canvases are placed at the back of the stage and two visual artists work on paintings to provide a living backdrop for the musicians, poets, comedians and actors as they are performing.
  The quality of the performances covers a range from the undeveloped to the professional. But even when the poetry sounds like it fell from between a magnet and a refrigerator there is often a charm that shines through. Or when one particular comedian returns week after week to clumsily and with bad timing tell the same thirty year old joke, that in itself is often funnier than if he had accomplished a slick delivery.
   One problem with this event though is that the audience is not always engaged with what is taking place onstage. Conversations, often quite loud ones, continue while performances are taking place.
   Granted, the venue is in a restaurant, the Waterfalls Tapas, and groups of people sometimes are there to get together for socializing over a meal. But other people are there for the show, and if those regular audience members were encouraged to be quiet they would create an atmosphere that newcomers could tune in to and fall into harmony with. I know this is possible because I accomplished that very thing during the seven years that I ran an open stage for writers. One can train an audience to at least show, if not have respect for the efforts that are being made on stage.
   When I spoke about this to David and Lauren, David argued that they don’t want to have to police the audience. He thinks that it is the responsibility of the performer to capture the audience’s attention. I disagree. The interaction between artist and observer is a relationship, and as in any relationship there are responsibilities on both sides. If one goes to an art flavoured variety show one should expect the artist on stage to perform their best work, which is not necessarily their most entertaining. And audiences at such events are not supposed to be passive suckling babies. They must also bring their attention forward to actively meet the performer halfway. If they are looking for art to serve as wallpaper for their conversations there are other clubs that offer such pablum elsewhere in the vicinity.
   Other problems with the Transcendental Mirror tend to be uneven management of performance times and either lack of or insufficient communication with the acts as to how much time they get to perform or whether they get to perform at all.
   Case in point: on Thursday June 23 there were at least ten acts that wanted to be part of the show. Things got rolling after ten o’clock and since the open stage tends to wind down around midnight, the math is fairly simple. When you allow time for introductions and setting up, on such a night there is less than ten minutes available for each performance if divided equally. On this particular evening though, Lauren seemed very excited about an act from England called Eyes for Gertrude. They were a slick combo consisting of two women with well constructed and melodic, though lyrically uninteresting songs sung in nearly perfect harmony. But when they performed it was for at least twenty minutes. This would have been fine if Eyes for Gertrude had been introduced from the start as a rare featured performance and that the other performers would have less time on stage. But they didn’t. Everyone who performed took ten minutes at least and as for the order of appearance, priority was given to acts that were newest and therefore the most interesting to Lauren. The result was that around fifteen minutes after midnight it became clear that there would be no time for three of the most faithful regulars to perform. But instead of apologizing, Lauren’s airy fairy suggestion was that all the discarded performers would feel alright about the situation if they just got up together and did an improv with her. No one wanted to. Finally, one of the regulars, a poet/songwriter, was quickly approached by David and told that if he wanted to do something he could go up at that moment and do it. He was not properly introduced like everyone else had been, but rather got up on stage as if he were an afterthought on the part of the hosts and sang only one song.
   So yes, the Transcendental Mirror is a good variety show to sit and watch. But in their relationship to the participants, the hosts, rather than throwing everything up in the air and hoping that it all falls into place, need to get organized in terms of time management. They also need to realize that the talent that graces their stage is not something to be used or discarded as if it were the paint chosen or not chosen by the painters on the canvases at the back of the stage.