A warning, a movement, a collection borne of protest.
In Watch Your Head, poems, stories, essays, and artwork sound the alarm on the present and future consequences of the climate emergency. Ice caps are melting, wildfires are raging, and species extinction is accelerating. Dire predictions about the climate emergency from scientists, Indigenous land and water defenders, and striking school children have mostly been ignored by the very institutions – government, education, industry, and media – with the power to do something about it.
Writers and artists confront colonization, racism, and the social inequalities that are endemic to the climate crisis. Here the imagination amplifies and humanizes the science. These works are impassioned, desperate, hopeful, healing, transformative, and radical.
This is a call to climate-justice action.
This anthology is not to be missed. The pandemic may have defined our year, but the climate crisis defines our time in geological history. See how this roster of talented writers and artists advance the conversation, put the crisis in context and call for climate justice.
THESE ELEPHANTS IN CANADA
a trauma dream
a Zoroastrian declaiming upon
a dead star weeping on
a palimpsest of
all that remains land written upon
by rising seas
overwhelmed by rising
I spill my coffee
onto the once fecund table
as it pools disorder
into the shape
of an elephant’s ear
I gaze into the lifeless dream
to hear a scattering of
the hot ocean
of this elephant’s sneeze
a disorder of all senses
drip out into the void
of human space
Gregory Betts is the author of Sweet Forme (2020), a collection of visual renderings of the sound patterns in Shakespeare’s sonnets (published by Australia’s Apothecary Archive, available here: https://bit.ly/383XaTl). He is the digital curator of bpNichol.ca and a poet-professor at Brock University. His next book is Finding Nothing: Vancouver Avant-Garde Literature, 1959-1975, due out in February 2021 with University of Toronto Press.
FLAGPOLES AT THE OLD EXPO GROUNDS
jogger shoes flap flap flap
bike chains jingle
skateboards rush push
on and on words
surge to phone
faces to laces
no, I know, but it’s something
I’ve really noticed
a language I can’t understand
the bolt of weeds through planks
the mark of orange plastic cones
a couple on yellow steps
watch a play on a rotting stage
its clatter of empty flagpoles
its loom of concrete stadium
once the water’s edge
now Edgewater Casino
spinning Highway ’86
yachts, trucks, ATVs
giant Swiss-watch McBarge
world in motion
world in touch
press on, carry on, keep on
odds on asphalt
odds on helicopter
odds on geodesic
I don’t think the psychiatrist warned them
they thought they heard the deer
they felt they were similar
just look at the criteria
look at the architecture
the water’s push against land
they wanted to, they wanted very much
they rallied, they studied, they held summits
yet they knew they weren’t for plants
they weren’t for wildlife videos
they were for the stage
they were on track
for the house edge
Meredith Quartermain’s Vancouver Walking won a BC Book Award for Poetry, Nightmarker was a finalist for a Vancouver Book Award, and Recipes from the Red Planet was a finalist for a BC Book Award for fiction. You can also find her work in Best Canadian Poetry 2009 and 2018. Her fourth book of poetry, Lullabies in the Real World, was published in 2020 by NeWest Press. From 2014 to 2016, she was the Poetry Mentor at Simon Fraser University’s Writer’s Studio Program.
FOXES IN MICHIGAN
hundreds of pelts
drip off a flatbed truck
spilling faces and paws
within our reach
flap in the backdraft
to the mouth of the mighty Route 66
their innards still pastel pink
like Johnson’s baby oil bottles
sticky from slaughter
dried musk-laden riverbeds
lead us to distant edges
splendid piles of matted fur
splayed voyageurs just
foraged in the woods
below hawks’ nests
not knowing their future
hides tanned, skins cured
suspended in a forever-sleep
of glass-bead eyes
dashed hopes and highway lines
Archana Sridhar is a poet and university administrator living in Toronto. Archana focuses on themes of meditation, race, motherhood, and diaspora in her poetry and flash writing. Her work has been featured in The Puritan, Barren Magazine, The /tƐmz/ Review, and elsewhere. Her chapbook "Renderings" is available through 845 Press, and her writing can be found at www.archanasridhar.com.
LE TEMPS DES CERISES
Massacre in my kitchen, the counter
spatter incarnadine, my hands bloodied
with the juice of cherries splayed, gutted,
for dessert at a friend’s; my fingers dyed a red
that keeps in the fine creases, under the nails,
through the next day’s breakfast, lunch. I tremble
to sacrifice none of this, even though the cherries, local,
organic, spoke to me, insisting on their innocence, the plump,
burgundy wholeness of them. I didn’t think
to spare them, never do; not them, nor the shrimp
I clean for my son’s home-coming dinner,
each shrimp life given up, given over
to our celebration. Deeper into that same night
I hear, through my open window, close,
someone else’s baby cry – such grief,
and nothing will ease it, not the breast
or rest or warmth or darkness or light;
nothing will ease it forever and ever
or for the long moment till all is well
and silent. We can’t help ourselves: who wouldn’t trade
their own child’s comfort for another’s harm,
another child’s harm? We can’t help ourselves, knowing
it’s wrong, knowing there would be a remedy
if we wanted it. Now someone has written a book
I won’t be reading, about how the Earth would do without us,
rewriting not the past (airbrushing Trotsky
out of the Stalin snaps), but the future; a projection
sans project-er. It’s getting hotter,
we’re starting to agree we’ve fucked it up.
The review says the author has visited fresh
ruins, a city abandoned only decades, and it’s easy
to foretell: bougainvillea purpling rooftops,
the small fingers of roots diligently rubbing out
difference. No inside; no out. To some
perhaps it’s comforting to think of the Earth
scratching at its ear (good dog!) and us no more
than fleas in its coat: a good scrub,
a sprinkling of powder and all
is well again. None mourning our self-
massacre, not the cherries gone wild,
the gleeful shrimp gaining, all
we consumed. He imagines furthermore
humpbacks releasing their arias without contest,
butterflies sculpting air. I don’t want to. Useless
though my own life has seemed to me
at times (despite cherries, despite friends), I want
this curious project to continue, our certain hunger,
our subtleties, our complicated contradictions. The arias
less necessary to me than the way a mouth is held,
the look in an eye, that engenders them. Though
my own evaluation of the human
is that, as the song goes, you can’t
have one without the other.
Previously published in All Souls’ Véhicule Press, 2012
Rhea Tregebov’s seventh collection of poetry, All Souls’, was published in 2012. Her poetry has received the Pat Lowther Memorial Award, The Malahat Review’s Long Poem Prize, Honorable Mention for the National Magazine Awards, and the Readers’ Choice Award for Poetry from Prairie Schooner. Tregebov is also the author of two novels, Rue des Rosiers and The Knife-Sharpener’s Bell, as well as five children’s picture books. Having retired from her position in the Creative Writing Program at University of British Columbia teaching in June 2017, she is now an Associate Professor Emerita.
in the water before the eye
barbed wire tree mine of bone
who flashed bland sea for bargain
can’t return a banished house or tiny mineral father
couldn’t lose a follow brother singing another wind tune
grows out of trench a trailing sea pried open grey city
smells like orphan and sweat a small muscle world
a kind of thick pouring chaining hush of voices circling up sky
"Jailed Tree" first published in R2: the Rice Review.
BREATH FOR GUAN YIN
1. brought to pond 10,000 steps a hum
each cascade of yellow tile supported by sturdy red
one metal figure waiting on water to quiet mind’s battle
metallic rain horde means fill your bathtub cook all food no water in grocery store gas
station line to empty crush of leftover white cardboard boxes floorlength we unpack lift
no bathing no showering do we have an axe? a tight set of drawers in lungs
slow a breath for ritual smoke
open late door and friend a shoe on busy rack
enter already-breathing room one hundred golden figures sitting in perch
each sewn seat in neat place
considering attic a man walks in front of watching window no shoes we could second
each foot slowly again again
floor it a message says to knock on airbnb door
2. man or woman? man or woman? no other options at check-in ladies or jocks?
no time for questions 11 size sneakers pair of grey shorts woman’s blouse children’s
shoes what size? line of eagers at distribution line all-day Rice University students writing
fill big blue bags sort through assembly walkers toothbrushes pillows blankets
a hot commodity special line form to right
‘don’t you Mister me!’ I see who wanted ladies’ shoes repeating request ‘I’m not a
Mister! I’m not a Mister!’ & no response before turning away from line toward a line of beds
volunteer supervisor no time for questions
I write on post-it note please no assumptions please respect please
no time for questions
3. friend said ‘all the aunties chanting’ brought me green
one sound four meanings I enter inflection meaning mother not horse
meaning guide sits sings lesson from diverging
chemical cloud ping pings a hot, rushing air all bodies in yard humming in mind
thick infection in head
can’t say I broke much trying not to ingest 10,000 hurricane microbes
let go spider tendrils
4. at the lost and found eyeglasses a credit card note left at desk because no cell
woman in wheelchair checks in again about no cell phone cold
white-haired unshaven’s waded through waters wants help calling FEMA
from Louisiana to Katrina lost bags maybe at last shelter lost daugher or son back in LA
we roll through shelter names and phone number I inhale smoke dial disembodied numbers to
how to attach sister in empty seat
how to cling worthy ache how to bring down rain
why chant dead grandmothers into room animal set loose in chest only one a
believer and other a cook preparing food for hungry repentants
5. when street drains is there pressure in street
all notes escaping injure to try not
exhume breath from body
walk away from dead night throw arms to air
hoping for birds to land
"Breath for Guan Yin" first published in Spiral.
Ching-In Chen is author of The Heart's Traffic (Arktoi/Red Hen Press, 2009) and recombinant (Kelsey Street Press, 2017; winner of the 2018 Lambda Literary Award for Transgender Poetry) as well as the chapbooks how to make black paper sing (speCt! Books, 2019) and Kundiman for Kin :: Information Retrieval for Monsters (Portable Press at Yo-Yo Labs, 2020 and a Finalist for the Leslie Scalapino Award). Chen is also the co-editor of The Revolution Starts at Home: Confronting Intimate Violence Within Activist Communities (South End Press, 2011; AK Press 2016) and Here Is a Pen: an Anthology of West Coast Kundiman Poets (Achiote Press, 2009). They have received fellowships from Kundiman, Lambda, Watering Hole, Can Serrat and Imagining America and are a part of Macondo and Voices of Our Nations Arts Foundation writing communities. A community organizer, they have worked in Asian American communities in San Francisco, Oakland, Riverside, Boston, Milwaukee and Houston. www.chinginchen.com
SEED CATALOGUE FOR THE END DAYS
Orange Sun Peppers – Drought tolerant.
Bitter Gourd – Heavily warted
green skin; excellent adaptation to
Eden White Corn – Requires isolation
from other corn. Good for home
garden or barter.
Serengeti Bush Bean – Resistant
to Bacterial Brown Spot, Common
Bean Mosaic Virus, Anthracnose,
Bulls Blood Beet – Holds up well
under long-term storage.
Atomic Red Carrot – Grows in ash.
First published in Grain Summer 2019.
Susan Haldane is a writer and editor in Northeastern Ontario. She and her husband run a grass-based livestock farm, and their farmhouse front porch looks south to Algonquin Park. Her poetry has been published in a number of Canadian journals, and her chapbook Picking Stones is with Gaspereau Press.
Tuesday: Rediscovering a mangled
manuscript, a first draft of who
we wanted to be. You skimmed
it like you remembered;
We have time now I wanted to say
We read what we could, slanted patterns of youthful
cursive: shopping malls swelling into seed libraries
bullet trains with bright red seats
workdays like hibernating hummingbirds
fucking for more than three minutes without falling asleep
When you spoke of home,
it was sliced whispers from an orca
who sang you to sleep
Who are we again? you asked, a drumfire
revolted twenty kilometres away
Remembering Spanish protesters imitating
our hearts, I want to be forgotten we read
You lay down and I did too
I read you every word until you
recognized us, Untitled melted dry on the first page
And the world spun into the unprecedented
as we constituted our antidote to the rising
Salma Saadi is a social worker and a writer. She has been published in Untethered Magazine, Sewer Lid, and Plenitude Magazine. In 2019, she participated in Writer’s Studio, a writing residency at the Banff Centre for the Arts and Creativity.
Nothing’s different. The things that were
here before are here now. The men
whose mouths move and make angry sounds -
they were here. They growled.
The sounds are loud and empty
spaces where words were excised. Words
lean on walls in the detention room. They
seem aimless, but they’re making plans.
They’ve been locked up before.
They snuck in scissors and cut shadow words to throw
through the bars, set free to assemble
and organize to take the horrors down.
These are bad times.
But they’re not so different
"Borders" appeared in the pamphlet from Happy Monks Press, “How the End Comes”, 2019
I used to care, but that was in the free
days, the ones between the named
days, the ones without numbers
and holidays. The way it went was:
a person walked across an invisible border,
through gullies, ditches, other dips in the land.
Weather was brutal, its length meant cold
took fingers. That guy in the news knew
the story went only to the end of care. Past that,
fingers fell, care rolled up the rim, and the charter
bus rolled back to the land of the free.
The wolves curled up under cold
trees and learned the sound of no-howl,
no-growl, their minds loud with the crackle
of celestial sheets of light. Their care
made sound go underground, into tunnels
of ears and animal minds. This is when
care went incognito to the hunters,
but the language in the wolves’ minds grew.
I used to care, but that was in the loud days.
I made it sound worse and better than it was,
and dug a hole under the tree, in the ditch and divot,
and this is where the unnamed held dormant
in the winter snow, pushing down
its seed for the longest, endless hope.
Alice Burdick is a poet, author of four collections, one selected, and many chapbooks and other micro-press publications. Her work, in the form of poems and essays, has appeared in many anthologies, and she also works as an editor and in the schools through Poetry in Voice/Les Voix de la Poesie. She co-owned the former Lexicon Books in Lunenburg, Nova Scotia.
Gary Barwin is a writer, composer, musician, and multidisciplinary artist and has published 25 books of fiction, poetry and work for children. His latest books include For It is a Pleasure and a Surprise to Breathe: New and Selected Poems, ed. Alessandro Porco, and Ampers&thropocene (visuals) and A Cemetery for Holes (with Tom Prime). A new novel, Nothing the Same, Everything Haunted: The Ballad of Motl the Cowboy will appear from Random House in 2021. He currently WiR at Sheridan College. He lives in Hamilton, Ontario and at garybarwin.com
If water could be a gnawing thing. If, against you,
the knifeglint of a type of ship. If away is where our eyes point
certain bodies go. If policy, if gaze, what blooms. To demand
certain bodies die a little more. To: from where. How to slur them
with a glow other than blood muzzle. If yours, too,
is a language made for prayer. Make what type of bed
to tuck a country in. Heroicize,
in what order: tenderness, of, lack. Allow me the time
you take to dry yourself in ocean. Gnawing
at whose insides. As if a home.
"Dear Phosphorescence," first appears on 18MillionRising.org as part of the #NoMuslimBanEver Micropoem Series.
Hari Alluri (he/him/siya) is the author of The Flayed City (Kaya) and Carving Ashes (CiCAC/Thompson Rivers). A winner of the 2020 Leonard A. Slade, Jr. Poetry Fellowship for Poets of Color and an editor at Locked Horn Press, he has received grants from the BC Arts Council and the Canada Council for the Arts and fellowships from Las Dos Brujas, Port Townsend, and VONA/Voices writers workshops. His work appears in the Pandemic Solidarity (Pluto) and Poetry In Voice / Les voix de la poésie anthologies, as well as recently in Anomaly, The Capilano Review, Ovenbird, Prism International, The Puritan, and elsewhere.
Thermal camera images by Gary J. Hodges. Thanks to Dr. Stephen Cheung, Phillip Wallace, and Scott Steele for assisting with testing and analysis at the Environmental Ergonomics Laboratory at Brock University.
Adam Dickinson is the author of four books of poetry. His latest book, Anatomic (Coach House Books), involves the results of chemical and microbial testing on his body. His work has been nominated for the Governor General’s Award for Poetry, the Trillium Book Award for Poetry, and the Raymond Souster Award. He was also a finalist for the Canadian Broadcasting Corporation (CBC) Poetry Prize and the K.M. Hunter Artist Award in Literature. He teaches Creative Writing at Brock University in St. Catharines, Ontario, Canada.
EXCERPT FROM OCEAN
The harbour didn’t like being held captive by the shadows
of our buildings. We treated it well but still its dorsal fins
weakened and flopped. The tide was nothing more than
a sleepy scratch of water up over rocks
and then a yawn back down. The balls we threw to it
sank. It stopped slurping, it stopped nibbling.
It hardly growled. Some days it looked like a carpet,
other days, a flooded campsite: disks of paper plates,
lipsticked cigarette butts, the wet embers
of our vacations. What was the fun of these skyscrapers
if the only view we had was a petulant body of water?
We bought fish from the market to feed it. The older women
crocheted the most tender dialogue skimmed from our dreams,
carrying afghans by the armload down to its shore.
In this way, they invented nets and managed to catch
the grit of starlight from previous nights. With the right amount
of sugar and boiled darkness, we soon had vats
of a nectar so potent it bubbled. It wasn’t that we got drunk
but forgetful and became so greedy for more, we over-fished
our dreams for their tenderness. When poverty arrived,
we were down to the bones of our talk. If we rubbed
two sticks together, briefly we’d be nourished by the smell
of their wood.
Our elders insisted the ocean was still there.
That we were born with a seed of it and when we spoke,
its waves pressed against our words for a further shore.
But we had let ourselves become sub-divided and suburban,
buckling our talk into seatbelts, mad always for safety.
When had our schedules become the new mountains?
We were doing our best to ignore how grey our memories
were becoming, how stooped and hard of hearing our laughter was.
The ocean, apparently, was right in front of us and we were dropping
like flies. We bought the dried flowertops of our politicians’
explanations. We tuned our radios to the sunsets and downloaded
whalesong overdubbed with protest songs. Our intent was good
but with airbags. The poets rigged antennas to the antique words
of gratitude with a cayenne of the unexpected but we were tired
of the poets, they were chesterfields or they were curtains.
We wanted pure ocean podcast into our veins but tethered
while we slept. We wanted death to be a stranger we’d never have to
give directions to. We consulted the beekeepers infamous
for not getting stung but they were in a meeting with the poets.
We consulted the gamblers but they wanted to see us only to raise us
ten. Our voices were rarely coming home covered in mud anymore.
Filmmakers had started making films of the ocean
in 3D. Scratch and sniff coastal cards were sold
at lottery booths. Material for dresses was cut with the froth
of tide in mind. We had wanted the ocean to be the new
flavour, the new sound. We’d drive for miles to get a glimpse
of it because, let’s face it, it revitalized the part of us
we kept rooting for, that apple seed of energy that defied
multiple choice career options. The ocean had egged the best part
of us on. And it scared us. We never knew what it was thinking
and spent thousands on specialists who could make predictions.
And the predictions always required hard hats and building permits,
furrowed eyebrows and downward trends. Why is it so hard
to trust something that leaps, disappears and then reappears
spouting more light? When had our hearts become badly behaved
dogs we had to keep the screen door closed to? Have you ever run
along its shore, the pant of it coming closer? And that feeling
that yipped inside of you, the Ginger Rogers of your feet, your ability
to not get caught then, yes, get soaked. Didn’t you feel like it was
part of your pack? When it whistled, whatever it is in you
that defies being named, didn’t that part of you perk up?
And didn’t you let it tousle you to the ground,
let it clean between your ears before it left you?
Wasn’t that all right? That it left you? That we all will?
"forty-nine,""fifty-five," and "fifty-six" published in Ocean (Gaspereau, 2013)
Sue Goyette lives in K'jipuktuk (Halifax), the unceded and unsurrendered land of the Mi’kmaq peoples. She has published six books of poems and a novel. Her latest collection is Penelope (Gaspereau Press, 2017). She has been nominated for the 2014 Griffin Poetry Prize and the Governor General’s Award and has won several awards including the 2015 Lieutenant Governor of Nova Scotia Masterworks Arts Award for her collection, Ocean. Sue teaches in the Creative Writing Program at Dalhousie University.
conversations with mom
I think I am scared to have children.
what if I forget the kind of world we are living in?
what if I try to write and all that comes out is
a siren, a fire, some hot, angry thing, what if I am
a siren and a fire and a hot, angry thing?
the warning signs are not for you. they are
for you. ignore them anyway.
what if I forget how to hold you?
what if the world will not hold us and we are falling
and the fire alarm is ringing and I am the fire--
what if I leave and they think I am never coming back?
what if I don’t want to come back?
"conversations with mom" originally published in Room Magazine, Issue 42.4, 2020
Natalie Lim is a Chinese-Canadian writer based in Vancouver, B.C. and the winner of the 2018 CBC Poetry Prize, with work published in Room Magazine, Honey & Lime Lit, PRISM international and more. She is an unashamed nerd and a believer in good bones, and you can find her on Twitter @nataliemlim.
I WONDER IF I WILL EVER MANAGE TO WRITE A GOOD POEM ABOUT HEAT DEATH
This trajectory is all on us for inability
to fact check or read critically.
The sparring kangaroos were dancing
with rain-joy, we said.
That’s fighting, said the scientist,
old photo. Those kangaroos are ash by now.
Pictures of koalas in renal failure
foregoing their fear of us
to lap water from the road were deemed
“cute.” No, no, said the scientist, it’s not cute.
That creature is dying.
We’d moved on. Wombats shepherd
other critters into their burrows! Stewards of the underbush!
Not quite right, said the scientist, wombat burrows are enormous.
Most likely the wombat was hiding in another chamber.
Too busy anthropomorphizing, we’d already created a hashtag.
#WombatEmpathy will save us!
I asked ryan what comes next,
and he said,
either the complete transformation
of existing relationships
or the heat death of the
planet. One of those.
My heart’s on relationships, and kangaroos, and scientists.
No time for settler logic.
No atheists in burrows, friend.
No one is coming to save us.
I ❤️ ALBERTA’S ENERGY
take the elevator to my second-floor
apartment bust out the biodiesel
firmware use medical grade plastic
bottles for my saline nasal
rinse gotta keep those
mucus membranes clean for u
and the dust bowl, babe, gotta
run that old car all up and down
this city’s sprawl I try to keep warm
through frigid prairie winters feel appropriate
guilt at the plastic produce bags I bring home
from the grocery store / forget the mesh ones
every time / I’ve gone full enemy of the state assault vehicle
applied to be the next poet-in-residence for carbon capture
(mass species death, but make it fashion)
everything you see is development
gently falling leaves in the inner city: development
Enoch Sales heritage home fire: development
empty condo tower on empty condo tower:
the firing of 5,000 Albertan nurses in the year
2019 / 9 dead from fires in South Wales since Monday
now 24, meanwhile
we’re bursting out the seams over here:
Montana, Drake, East Village, Tuscany
new history razed for imported ideas
another thundering swing
from settler colonialism’s long neoliberal tail
clearing a path for the rule of the patch
by the patch for the patch
for the capitalist overlord bosses of our demise,
for the dinosaurs who never left us
Nikki Reimer (she/her) is a carbon-based life form of Ukrainian and Russian Mennonite descent who lives on the traditional territories of the people of the Treaty 7 region in Southern Alberta. She may or may not be undead. She writes poetry, essays and criticism, yells on the internet, and makes digital art. Published books are My Heart is a Rose Manhattan, DOWNVERSE and [sic].
The boardwalks scuttled like diving reef schooners –
a walkable Galilee if anyone dared, but each jogger rears
to higher ground. I’ve lost my son a half-second here
or there before I pulled him up, his lips like planks,
in tubs and pools and once a mirror lake – the obsidian
endless kind that really ends abruptly in roots and husks
and carcasses and muck. This country’s full of them.
All summer we swim bellies up, avoid anoxic thoughts.
The joggers, any other day, linger at the point
just long enough to catch their breath and contemplate
an app, perhaps the sun. Yes, there it is, afloat. My son,
I need to know what you thought of water when it first,
again, surrounded you. Your eyes were wide. You didn’t
make a sound. Not one thing was born or died.
THE SUCCESSFUL PEOPLE OF THIS WORLD
The successful people of this world
are always busy. They work all day
then come home and need to do something
so they cook the dinner, wash the car, cut the grass.
It's because of the successful people
that we have water restrictions:
this side of the street on even days,
that side on odd.
They like that kind of thing: schedules,
they are usually big fans of schedules,
and when they have free time in theirs
they spend it composing new schedules.
When they take medication
they always put it in one of those plastic things
that divides the pills up by days.
the successful people of this world
are busy and efficient, their actions
are their own rewards, and a green lawn
during a heat wave is their poem.
"The Successful People of the World" previously appeared in The Other Side of Ourselves (Cormorant Books, 2011).
Rob Taylor is the author of three poetry collections, including The News (Gaspereau Press, 2016), which was a finalist for the 2017 Dorothy Livesay Poetry Prize. Rob is also the editor of What the Poets Are Doing: Canadian Poets in Conversation (Nightwood Editions, 2018) and guest editor of Best Canadian Poetry 2019 (Biblioasis, 2019). His fourth collection, Strangers, will be published by Biblioasis in Spring 2021.
it is how our footsteps alter the flurries
how we move through the breeze
in the boughs of our hope.
when time stops in the sideways glance
you will find me in the missed heartbeat
see me in the many moons of your longing
in the place where words fail us
with a sharp astute parlance and
war is upon us and the sun sets black
under the yoke of
a darkening century
we are going nowhere fast.
in storms and tornados
of prognosis and forecasts
over a horizon of planted crosses
the weather turns passive aggressive on us.
and there is no way we can say such things
about the weather
as we forget how to move through the elements
that we are.
it’s up to you and I what we’ll do
in this tortured oil-spilled winter.
where even in sleep
loneliness alters us re-interprets us
how I even begin to smile at people
in my dreams.
how a little bit of light brings nuance to the shutter
in the prolonged exposure photography of grief
where the struggling light shreds
the clouds of our sorrow
into the rags of tomorrow
you will also find me here waiting
This poem was inspired by the poem Angst by Alexander Block (1880-1921) and it was published in Ping Pong: An Art and Literary Journal of the Henry Miller Memorial Library (Big Sur, California, 2014).
Daniela Elza lived on three continents before immigrating to Canada in 1999. Her poetry collections are the weight of dew (2012), the book of It (2011), milk tooth bane bone (2013), and the broken boat (Mother Tongue Publishing, 2020). slow erosions (a chapbook written in collaboration with poet Arlene Ang) is coming out with Collusion Books (2020). Daniela also has essays forthcoming in The Queen’s Quarterly and Riddle Fence.
YOU HAVE TO LOVE THEM ENOUGH TO LET THEM BE WILD
That’s what Steve said
about the mustangs
up on Pryor Mountain –
no sugar cubes, no carrots
no coaxing, stroking, gentling
no ropes, no tires, no pick up trucks
no dust storm swing low choppers
no Judas horse
no gathering, no holding pens
no PZP, no freeze brand
no breaking in, no putting down
no auction block, no slaughterhouse
no flank strap, no fast track
no stockyard, no consignment
no snaffles, bridles, saddles, spurs
no blankets, shoes or blinders
no rodeo, no latigo, no cincha
no clipping, combing, currying
no conchos, braids or bells
no ranches, no reata
no binder twine for breech births
no ligatures, no doctoring
of tears & rends & bites
no vaccination, no inoculation
just bales & bales
seep water, galleta grass
the animal vegetable mineral
exacting, punishing, available
Kathleen McCracken is the author of eight collections of poetry including Blue Light, Bay and College (Penumbra Press, 1991), which was shortlisted for the Governor General's Award for Poetry. A bilingual English/Portuguese edition of her poetry entitled Double Self Portrait with Mirror: New and Selected Poems, and featuring a preface by Medbh McGuckian, was published by the Brazilian press Editora Ex Machina in 2016. She is the recipient of several distinguished poetry prizes in Canada and Ireland, and has held Ontario Arts Council, Poetry Ireland and Northern Ireland Arts Council awards. Kathleen is currently Lecturer in Creative Writing and Contemporary Literature at Ulster University, Northern Ireland.
MANY NIGHTS AGO
The flowers outside my window do not cry anymore.
When the war first began, and the weeds took over, they danced about;
stretching their roots—perhaps to see how long they could endure it.
That and the shrieking kept me up at night,
but that was many nights ago.
Now they fall in line—silently, with heads hung—single file.
The only sound I hear, is the “tap, tap, tap” on my windowpane.
"Many Nights Ago" first appeared in Kelvin High School’s literary anthology, Stream (2018).
Jessie Taylor is an avid over-thinker. She loves red lipstick, latkes and fresh cherries in July. She is studying at the University of Manitoba.
SELECTIONS FROM THIS REAL
assuming that nothing is neither created nor destroyed; that there is nothing new under the sun; that everything is ‘one,’ as Parmenides said; that the consistency we feel as ‘real,’ is, and the inconsistency that rises up as interference interruption eruption disruption of our days is not not consistency but simply the insignificant pebble flipped up by the tire from the side of the road as we swerve against the torrent;
that an individual is born into this consistency, which is the continuum of time; that time must have started somewhere; that we are edited product of this time and closed off from genesis, dulled and sagging as we are, brittle and horny, spinning and passive and overcome by all manner of natural disasters and essentially as dumb as the pebble, as mother earth wounded by ice age, mitochondria and hypochondria, polar thaws, geological faults and a sunken Atlantis;
assuming all that, I would propose that:
in these end of days, the only thing with perspective is this angel, whose wings are tangled in it, scorched by it, thrown from it, advancing backwards into our future as she does, so that she can’t warn us; until it’s too late.
as if disaster were inevitable. measure it.
assuming that it was a dark and stormy night when the world began; that it was the storm of chaos out of which mankind was formed, and assuming that
the weather wraps us in its warmth, wet blankets of summer storms; high winds and thunder eclipsing night, exciting us in their grandeur so that we take cover on the porch, or are forced inside with expletives about eaves troughs or weeping tiles, we may assume also that
there is weather that is inside us, seasonal disorders in the unstable system of corpus. the tormented tidal waves of loving badly. Oh my. the manic storms of depression or heaven’s wrath. Oh God.
we measure how our body is barometer or weathervane. riddled with nerves translating the advancing gale as migraine. vertigo in the wind. a weak heart in humid tremors. oedema of the mind, signalling the countdown to apocalypse. such nature I can’t weather anymore.
storm rising; storm landing. storm in a teapot and storm dancing. or the storm that comes through the night in your dreams: wheels of fire spinning across heaven’s blue skies. waking with the thought that the wheels  were silent.
her theory is that prayers solve everything. you think about the weather and go all dialectic on her.
the end approaches. it encroaches. it creeps up from behind. we are blown into it and say we have no choice. but after centuries of feeling it approach and pass, come and go, waiting for the dawn that comes, miraculous, we discover we are weaving the end into ourselves: the eddy of the residue of that first blast is in us.
assuming that we are as captive as the angel, we are propelled, storm first, into ourselves, and there encounter
apocalypse. a theory.
 “Only one story of a path remains, that it is” (Parmenides, fragment 8.1).
 “mire and clay” (Sefer Yetzirah 1:11).
 “chaos and void” (SY 1:11).
 “But a storm is blowing from Paradise and has got caught in [the angel’s] wings” (Benjamin, “On the Concept of History,” 395).
 “rush to his saying like a whirlwind” (SY 1:6).
 “The chayot running and returning” (Ezekiel 1:24).
 “the end is embedded in the beginning” (SY 1:1).
 “formed substance out of chaos” (SY 2:6).
This Real, Pedlar Press, 2017. Published with permission of the author.
Concetta Principe is a writer of poetry and creative non-fiction, and scholarship on trauma and literature. Her recent collection, This Real (Pedlar Press 2017) was long-listed for the League of Canadian Poet’s Raymond Souster Award. Her creative non-fiction project, "Stars Need Counting: Essays on Suicide" is coming out with Gordon Hill Press in the spring of 2021. Her work has appeared in Canadian and American journals including The Malahat Review, The Capilano Review, experiment-o, and Hamilton Arts and Literature. She teaches English Literature and Creative Writing at Trent University, Durham, and York University.
DEAR PRINCE OF MELTING ICECAPS,
Bliss has escaped me.
I went down to our beaches.
The oil-sheened, the skinless salmon, the dead
algae, the greasy rocks.
We are in a state. A State.
The moist bliss empty, the air chemical.
The rat on the roof (the political).
The call was internal, societal--
I stood up from a gold chair
in the dank back room of a bank;
you climbed out from under thousands of pennies
piled in a cellar.
We were recently human,
we endeavoured to cycle, we wanted to juggle,
we had only just learned how to play.
The State blew out our candles
and we were in a gorgeous dark,
directing foot and bike traffic to the bridge.
I have ten headlamps, community,
and you have this hunch
we might get along, get along.
The sea coughs up cell phones
as we build our boats.
A kind rat with a human face helps me
carve the oars.
I vaguely remember
a polar bear's story, the fluff
Is it the red sky or the sea?
Jen Currin was born and raised in Portland, Oregon, on the traditional and ancestral territories of the Multnomah, Wasco, Cowlitz, Kathlamet, Clackamas, Bands of Chinook, Tualatin, Kalapuya, Molalla, and many other tribes. She did her schooling at Bard College (B.A.), Arizona State (M.F.A.) and Simon Fraser University (M.A.). She lives and works on unceded Coast Salish territories (New Westminster, Surrey, and Vancouver, B.C.), where she teaches in the Creative Writing and ACP Departments at Kwantlen Polytechnic University.
Jen’s first collection of stories, Hider/Seeker (Anvil Press, 2018), was one of The Globe and Mail‘s top 100 books of 2018. She has also published four collections of poetry: The Sleep of Four Cities (Anvil Press, 2005); Hagiography (Coach House, 2008); The Inquisition Yours (Coach House, 2010), which won the 2011 Audre Lorde Award for Lesbian Poetry and was shortlisted for the 2011 Dorothy Livesay Poetry Prize (B.C. Book Prizes), the Lambda Literary Award in Poetry, and the ReLit Award; and School (Coach House, 2014), which was a finalist for the 2015 ReLit Award, the Dorothy Livesay Prize and the Pat Lowther Award. Her chapbook The Ends was published by Nomados in 2013. Jen was a member of the editorial collective for The Enpipe Line: 70,000 Kilometers of Poetry Produced in Resistance to the Enbridge Northern Gateway Pipeline Proposal (Creekstone Press, 2012).
The dinosaurs that didn’t die went slamming into windows, dazzled by the colour of a gold. Instead of flight, they had their houses built on tree tops, over many single blades of grass; they learned to run on fossils of their dead. They lived and learned the many things they thought they had to learn; how to upright, how to sit down, how eventually to crawl. The sun still happened. The water happened. The ice that once had happened didn’t happen anymore. Instead of crawling, the dinosaurs that didn’t lay down without a lullaby and watched a world they made through glass. They saw but thought they didn’t, the edges of the birds whose songs were stuck inside a bottle, the make-believe of golden eggs.
UPON DISCOVERING SILICONE IMPLANTS DO NOT BURN AT 1500 ºF
All the women I have been have been a beautiful shedding of rat snake confused
where her tail ends another bites where the woman ends the Barbie plastic takes
a thousand years to decompose; the leather jacket made for a boy I wore
when everyone forgot it was skin,
now down to hide the reason people don't like rats; they eat their shit. It won't
look good on Food TV. Most days I try to breathe human, speak human to men
producing plastics, men producing sedatives making fishes fearless,
men who say they want to get to know
the inside of an oyster will sever adductors to force her from her shell will cut
the legs off lady bugs when they were boys they didn't know why
the short-tailed cricket eats her wings. I speak human
while they touch
the me that is fake pearls made from cotton and crumbs that glitter
while vacuuming someone else's floor, the me who is dollar store
trophy expendable, botox blocked from genuine signal
reliving the men how a cockroach scuttles for seemingly random
escape reliving the men as apid stinger lodged in the jaw
grinding my teeth while I sleep, the moment
my mind became an ant
marching in circles. All the women I have had to be have been
quiet inside a boardroom watching Predator on casual Fridays,
quiet inside a game of Twister, wrong hand on red
beautiful in lips
sewed up, frog legs stuffed in the back of a cab watching
drunk for cobras between my knees. The amygdala says
orange is the colour of fear. I am spending my life
in someone else's fake tan
as though all the women I have had to become have forgotten
U.V. In a thousand years all that's left of me will be all
those liners on maxi-pads with wings; in a thousand years
I want none of this
to have to matter to all the women I will not be
who after me are issued wings like the short-tailed
cricket; I want the matter of synthetic fibres
return to earth.
"Upon Discovering Silicone Implants Do Not Burn At 1500 ºF" previously published in RiddleFence, Issue 32, Spring 2019.
Paola Ferrante's debut poetry collection, What to Wear When Surviving A Lion Attack, was published Spring 2019 by Mansfield Press.. Her work has appeared, or is forthcoming in, PRISM International, Joyland, Grain, and elsewhere. She won The New Quarterly's 2019 Peter Hinchcliffe Fiction Award and Room's 2018 prize for Fiction. She is the Poetry Editor at Minola Review and resides in Toronto, Canada. She can be found on twitter @PaolaOFerrante
COSTAL ROAD PROJECT, MUMBAI
of a coral
the barks of trees
like a fresh
field of lichen.
Out of the
a bush of sea sponge
like musk roses.
like onions on
In the dream of a Koli fisherwoman,
the road with
"Coastal Road Project, Mumbai" appeared in the Winter 2020, Issue 51 of Borderlands: Texas Poetry Review.
Kunjana Parashar is a poet living in Mumbai. Her poems appear or are forthcoming in Poetry Northwest, UCity Review, MORIA, Bengaluru Review, 45th Parallel, and elsewhere. You can find her on Twitter @wolfwasp.
Debris skirting breakers for miles –
tub ring murk, shells suckered
to trash and kelp like surf store
necklaces. Grand Bend backwash.
Scolded not to wade, children
wearing bucket hats fill cups
with mussel remains, raising
each lumpy haul to the sun,
the glint of marble shards.
Toss them back in with a plop.
By the docks, suburban fishermen
curse the clear water driving
walleyes deeper. Muttering
about the crowds, rip cording
their motor boats, spraying
white fans against the waves.
Under the pier, a teen wings in his drone
to film locals with paint scrapers
stripping shells from wooden legs.
They yell get lost. He calls back
it’s footage for a school project
on damage from invasive species.
David Barrick’s poetry appears in The Fiddlehead, The Malahat Review, Event, Prairie Fire, The Antigonish Review, The Dalhousie Review, and other literary magazines. He teaches creative writing at Western University and is Co-Director of the Poetry London reading series. His first chapbook, Incubation Chamber, was published by Anstruther Press in 2019.
My artistic practice concerns a critical examination of human relationships with the natural world and how ecosystems are changing in the anthropocene. I spend time researching ecosystems and the connections within them, particularly via site visits and consultation with scientists and lay experts. My multidisciplinary practice involves collecting materials following ethical foraging practices (plants,
feathers, bones, fungi and lichen specimens, for example) from natural environments, or accessing museum collections for use as raw material in making work, and as reference material.
These large-scale still life images are produced using a high-resolution scanner as my camera: specimens collected during site visits are arranged on the glass, in groupings that serve to illustrate connections in Canadian ecosystems that may not be immediately apparent to a casual observer. The images are elegiac, dark, mourning, representing not contemporary specimens but rather, recontextualized, some last remaining pieces of a fragmented world, floating in the void.
The concepts that I seek to explore with my work – encouraging a sense of wonder, interest, and respectful stewardship with regards to the natural environment – are becoming more and more relevant. It is with increasing unease that I observe developments in human behavior at home and abroad, at the individual and institutional level, that impact negatively on the continued functioning of the complex ecosystems that we humans are part of. I feel that one of my roles as an artist is to interpret events around me and draw attention to matters of political, social, and environmental importance, and so my artistic practice aims to cultivate a deep attention to the details and intricacies of natural ecosystems, and to examine human relationships with the natural world. My pieces attempt to frame the work of plants and animals in terms that are easier for humans to understand, and potentially empathize or identify with. I hope to inspire a sense of wonder or fascination, and encourage the viewer to consider the energy and resources that go into the constant cycle of building and decay in complex environments and ecosystems.
Julya Hajnoczky was born in Calgary and raised by hippie parents, surrounded by unruly houseplants, bookishness and art supplies, with CBC radio playing softly, constantly, in the background. It was inevitable, then, that she would grow up to be an artist. She holds a BA in French from the University of Calgary and a BDes in photography from the Alberta College of Art + Design. Her multidisciplinary practice includes digital and analog photography, fibre art, and book and paper sculpture, and seeks to ask questions and inspire curiosity about the complex relationships between humans and the natural world. Her most recent adventures, supported by grants from the Calgary Arts Development Authority and the Alberta Foundation for the Arts, involved building a mobile natural history collection laboratory (a combination tiny camper and workspace, the Al Fresco Science Machine), and exploring the many ecosystems of Western
Canada, from Alberta’s Writing-on-Stone Provincial Park, to the Gwaii Haanas National Park Reserve in BC and Wood Buffalo National Park, NWT. If she's not in her home studio working on something tiny, she's out in the forest working on something big. See more of Julya’s work at obscura-lucida.com
I’ll rent a basement without Wi-Fi or windows
where my typewriter’s keys evoke the nights
our rain was still gentle. And we’ll have a black cat
named Samuel Bucket. One night, you scream Fuck it
and reconnect the Ethernet to scour the hookup-lands
in which I found you. In response I recount yesterday’s
rumours (kids saying Lima was prey to another monster
storm). The death toll, charities, they’re prolly making
rounds now on CBC, CNN, BBC— and god knows
the death or missing tolls tonight in some other coastal
town. Instead, unplug, ignore the screams above our
bedroom without windows. Board my craft Calypso: let’s
float on this flooded earth where Odysseus abandoned
you. Isn’t that when history began, so many years ago?
Yusuf Saadi’s first collection is Pluviophile (Nightwood Editions April, 2020). He previously won the 2016 Vallum Chapbook Award and the The Malahat Review‘s 2016 Far Horizons Award for Poetry. At other times, his writing has appeared in magazines/anthologies including Best Canadian Poetry 2019, The Malahat Review, Vallum, Brick, Canadian Notes & Queries, Best Canadian Poetry 2018, and Arc Poetry Magazine. He currently lives in Montreal.
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