Fallen peonies

Almost winter, and Elisabeth has cut the peonies and laid them to rest.

It is not yet 5 pm and already the light is falling, failing. Faint pinks score the clouds and then dissipate. The balustrade glows white against the looming dark. A skim of ice stills the surface of the pond all day, a brittle solid checking waves, while uphill, sheets flap right off the line in the wind.  The top has sheared right off the old lichen covered spruce that guards the edge of the drive, and white leaves lie scattered about the raspberry canes and all up and down the road. A stripping wind last night laid them all low. 

Late morning, ducks cackle at the back of the pond.  Marsh grasses are brown and flattened, the colour of the dog's back.  We walk out the road and into the wind, the coolness against our teeth bracing, the sea grey and rumpled under a ridged grey sky. Cotton topped grasses flair against the fruiting mosses, ditches and lowlands are damp with icy streams. Coyote scat litters the road; Enya races up lanes and down deer paths, but then hurries back again, nervy with scent and danger.

All the night flights to Europe

An array of contrails
overhead, like a child's
drawing of the sun. Here
where land and sea conmingle:
all the night flights to Europe.


Lately, because I have been reading them, I too have been trying to write some tankas, a 31-syllable form of Japanese "diary" or daily verse. Harryette Mullen, for example, in Urban Tumbleweed (2013), collects and reworks the contents of her "tanka diary," daily short poems, many built from observations made during walks in and around Los Angeles. Mullen invents her own three-line form of tanka, and here writes within the frame of what I would call "urban naturalism," an emerging genre, a space of metropolitan commonplaces readers tend to fall upon with rapture, recognizing just that sort of incident, or this view in Los Angeles, or a particular news item. Urban Tumbleweed seems an apt title, for the poems snag all sorts of detritus, and then pile up against odd walls, spaces you never thought to find them--and then also, at all of the usual fencerows and barriers--for example this one, all to familiar to so many African Americans:

"Visiting with us in Los Angeles, our friend
went out for a sunny walk, returned
with wrists bound, misapprehended by cops" (94).

Perhaps my favourite of Mullen's tankas is another visitor poem, but sweetly surprising, unbinding:

"My visitor from Nebraska buys
a sack of assorted seashells at a souvenir shop,
then scatters them along the beach" (22).

My own experiments with the genre have seemed far more leaden and fraught; like shot scattering, or an old bit of cotton cloth tearing suddenly in every direction, the words pull apart, leaving nothing. After weeks of trying I have just two or three poems, the one above, another half assembled, and this one, from early April:

Blue sea, bitter wind
snow foundering. New dog stands
in ditchwater, watches
chickadees pluck seeds
from our outstretched hands.

Who knew brevity could be so hard?

Post in praise of ice (did I just say that?) or an interval of time

Ice forms among the bulrushes (West Quoddy, NS)

I am forever startled by how quickly night falls as we approach December.  We are in full sunlight and then suddenly we are in darkness; the icy surface of the pond and the sea hold the light a little longer, but then they too must give it up. First the land goes dark, and then the islands; finally the water joins them, an inky pool, noisesome in the darkness.

I sit by the fire with the cat. She has taken up her odalisque pose on the bench beside me, both of us craving the warmth, letting it radiate into our bones. A high of zero degrees today; when Marike and I stepped into the light for a walk, it felt as if the north wind was squeezing my face, pinching my cheeks, thumping my forehead. It took several minutes to get used to it, to stop feeling as if I ought to turn around and huddle indoors. Underfoot, the crackle and shatter of puddles become brittle ice--all of the water of the last days' soakings transformed into glittering patterns in the ditches.

We finally remembered to shut the windows in the bedroom and the bath--I had to climb on the garage roof and then the oil tank and push while Marike ground the windows inward and locked them down; they are secured now for the winter. We dumped three buckets of ashes over the wall, and hung out and then brought in an icy load of laundry. In the interim, we walked around the headland, down to the water, then back again.

Today the chickadees were puffed up and greedy for seeds--one bird, the smallest one, sat repeatedly in my palm and crammed as many sunflower seeds as it could into its beak, perhaps four or five, before flying away to cache them in the trees. We startled a grouse or two, and one or two rabbits, their fawn colouring giving way to snow now--just this week white patches have begun to spread across their noses and up the backs of their legs.

Once I was out in the sun, despite the cold, I didn't want to come in. It was high tide when we set out, the beach underwater, so we picked our way along mossy deer paths in the forest to get from one cove to the next. Once in the lee of the wind, we stopped to sit with the sun on our faces, eyes closed, listening to the suck and drift of the water, to the almost silent fanning of the weeds at our feet.

Just here, like this, I said to Marike, and you can imagine that life on earth is truly good.