>Er, dunno about Kari, but I meant examples from the recent
>work of that CanPo you wuz goin' on about....
Ah, well, um...
There are four books in the series Apostrophes now, including the Governor
General's Award winning Apostrophes: woman at a piano (BushekBooks 1996),
Apostrophes II: through you I (UAlbertaP 1997), Apostrophes III: alone upon
the earth (BushekBooks (1999), Apostrophes IV: speaking you is holiness
(UAlbertaP 2000).
Okay, here's a short one from the latest book:
Redemption
We lay in bed for month. A small economy grew up around
us. Were there birds, they would believe us, marking their positions in
the air with our bodies, smaller animals would know that death
was not to lie upon our hands, our breathing but an astrolabe,
We may have reached the place where there were only sighs, nothing yet
to see, the place of murmurs, eloquence of sound to no end
that we would know. To touch transforms the flesh possessing us, our skin
incantatory. Time is our becoming: our rising in
the rising of the stars, the fire that will be their being ours.
When we hear it, we will be the birds that turn upon us, trees
that gather shadows, wavering of moons, and in this universe
where are you and I to lie, the you and I that are of no
remembering, the wind within us, revolutions of the stars.
(9)
I should add that these poems are a striking example of one kind of what I
call 'lyric/anti-lyric' in that (as can be seen here) they achieve a high
lyric intensity yet they are part of an ongoing sequence, all one long
poem, made up of sections (& written more or less as a diary).
Douglas Barbour
Department of English
University of Alberta
Edmonton Alberta Canada T6G 2E5
(h) [780] 436 3320 (b) [780] 492 0521
http://www.ualberta.ca/~dbarbour/dbhome.htm
Reserved books. Reserved land. Reserved flight.
And still property is theft.
Phyllis Webb
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