Iconography in Marble

Like lavender, or dark plum mixed with titanium white by a wet brush on the palette because of the faint grey tinge in the tone. On a ceiling many stories high.

A cream coloured maze over the pale purple, reminiscent of ancient Greek motifs, that's upraised, embossed.

My attention on the groups of five squares in the upper configuration, one on each side. Their borders are fine gold lines. The interior is vibrant turquoise, what I lust after in jewelry of the semi-precious stone, or the colour of the Caribbean ocean, where I always want to be. The turquoise in contrast to the staid cream marble of the rest of the foyer.

In the centre of the turquoise squares, gold suns. The ten stars radiate out from central gleaming circles like crystal balls in twelve rays tapering to points. Fairy tales can come true under such a ceiling of shining stars.

Did the interior decorators go wild way above? Who looks up, gazes?

Before me letters are carved into the marble, large and elegant with serifs, inlaid with gold, they are perfect, curved, crisp. Once I thought that language was a symbolic representation of objects and actions. But look at that wall. Language carves and shapes reality, creating the world as we know it. It collects our memories and forges our future, shaping us as it shines through us.

Under the light-echoes from the stars I see you. An empire builder. There's substance behind it; resources to enable sustenance in abundance.

The muted dark veins of the cream marble race over the huge walls like maps of territories.

Governor General's Literary Award finalists

My ex has been nominated for Canada's largest and most prestigious literary prize for his latest book of poetry, Nerve Language, and I'm proud of him and hope he wins. It's his best book so far. That he's up against people like Margaret Atwood and Dennis Lee... they've already won the prize in past incarnations.

This is the recognition he has wanted all his life, the one he dreamed of when we were together so long ago. It's really great news.

Governor General's Literary Awards finalists

Poetry

Margaret Atwood, Toronto, for The Door: Poems (McClelland & Stewart)

Don Domanski, Halifax, for All Our Wonder Unavenged (Brick Books)

**Brian Henderson, Kitchener, for Nerve Language (Pedlar Press)**

Dennis Lee, Toronto, for Yesno: Poems (House of Anansi Press)

Rob Winger, Ottawa, for Muybridge's Horse: A Poem in Three Phases (Nightwood Editions)

Magi-Gold Lushness of the Early Hours

encrypted first draft of a poem

Coronal Holes

encrypted first draft of a poem

On creative process...

In whatever it is that I'm currently working on I am exploring a kind of 'found' poetry in that whenever I remember to, I compose little images of what I see around me, and then place them together in a piece later on. The prosepoems are not written in one sitting; I don't know the theme that they will cohere around beforehand. It's like preparing your palette before you paint. Or putting together some fabric with certain colours and patterns before you sew.

My little collection of images will find their way into a prosepoem, shifted, buckled, smoothed out, layered; however it is, they become part of the fibre of the prosepoem, expressing the nuances of the complexity of the underlying emotion.

In this way I am not an Imagist, nor a Minimalist, nor a Zen writer of haiku. I like to think that the little images keep their integrity of simplicity despite becoming part of a larger more complex thematic pattern.

When I hadn't any images collected for today, and not knowing what to write about, I thought, oh, ok, a post about creative process...

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ps Click on the photo to enlarge. Not that I always write this way! I thought those lunar images would cohere around the 'settling into the tedium of what is' but instead something else was more urgent and about which I cannot directly write but which formed the emotional underlayer of the piece that I posted. And I can see from the little notebook that, working on a computer in the library during lunch, when I was composing the writing from various sources, I forgot to include that image of the clouds that are grey up top with choral undersides...

Now that was beautiful! Though I couldn't decide whether to leave the "h" in choral, or not. It was a coral colour, but a symphonic movement through the sky...it fit more with "cadences of the voice" which I used elsewhere, so a dangling image, and where will it come to be?

Unlived landscapes that are unfamiliar. How is the miracle to be performed where it's hidden, where no-one knows?

In the pre-dawn the moon fell into dark clouds rising over its floodlit. Whiteness dipping in and out of black veils.

Later striations like shredded tendons grazing the moon; in the distance dark thundering clouds of muscle.

Then, stillness. Mist, veils of light, white-gray, bright, shadowless. Obscuring the upper atmosphere, upper stories gone, the unshadowed light, stark clarity to everything below, where we are.

I wait. Navigation that should have didn't fit; I am lost. A familiar cycle, yet the drives and their effects, different. What I saw in the shadowless clarity was a map that wasn't grid-based. When evening came it became a moonlight of mist clinging to the falling leaves I pass under.

In the beginning of the turn-around, a fragility of time. Take me slowly through the awakening. I am unfamiliar.

The remnants of the Summer's heat when a harvest moon the colour of apricots rose, and the feasting of Thanksgiving to come round the overlaid table, at the mid-point of the equinox, a cold front came and the weather turned towards the new season of the year.

Tribal Dance

Video Peek, we laughed quite hard at work, and then at home again. My daughter, when she was younger, said grownups look crazy when they dance, and, um, yeah. But we're having such a great time! Delightful, Julie's Tribal Dance, and I do love to go whenever I can, and won't point out who I am either!