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Sinopsis
In this extraordinary collection from one of our most celebrated poets, Don McKay walks the strike-slip fault between poetry and landscape, sticks its strange nose into the cold silence of geologic time, meditates on marble, quartz and gneiss, and attends to the songs of ravens and thrushes and to the clamour of the industrialized bush. Behind these poems lies the urge to engage the tectonics of planetary dwelling with the rickety contraption of language, and to register the stress, sheer and strain — but also the astonishment — engendered by that necessary failure.
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Acerca del autor
Don McKay is the author of eleven books of poetry, most recently Strike/Slip. He has won two Governor General’s Awards for Poetry and has been shortlisted twice for the Griffin Poetry Prize, most recently for Camber: Selected Poems, which was a Globe and Mail Notable Book of the Year. McKay is also known as a poetry editor, and he has taught poetry in universities across the country.
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POND
Eventually water,
having been possessed by every verb —
been rush been drip been
geyser eddy fountain rapid drunk
evaporated frozen pissed
transpired — will fall
into itself and sit.
Pond. Things touch
or splash down and it
takes them in — pollen, heron, leaves, larvae, greater
and lesser scaup — nothing declined,
nothing carried briskly off to form
alluvium somewhere else. Pond gazes
into sky religiously but also
gathers in its edge, reflecting cattails, alders,
reed beds and behind them, ranged
like taller children in the grade four photo,
conifers and birch. All of them inverted, carried
deeper into sepia, we might as well say
pondered. For pond is not pool,
whose clarity is edgeless and whose emptiness,
beloved by poets and the moon, permits us
to imagine life without the accident-
prone plumbing of its ecosystems. No,
the pause of pond is gravid and its wealth
a naturally occurring soup. It thickens up
with spawn and algae, while,
on its surface, stirred by every
whim of wind, it translates air as texture —
mottled, moiré, pleated, shirred or
seersuckered in that momentary ecstasy from which
impressionism, like a bridesmaid, steps. When it rains
it winks, then puckers up all over, then,
moving two more inches into metamorphosis,
shudders into pelt.
Suppose Narcissus
were to find a nice brown pond
to gaze in: would the course of self-love
run so smooth with that exquisite face
rendered in bruin undertone,
shaken, and floated in the murk
between the deep sky and the ooze?
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Strike/Slip
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