Marilyn Gear Pilling
Hamilton writer Marilyn Gear Pilling explores
poetry, fiction, and creative non-fiction at home and abroad in such
places as Paris, Manhattan, Mexico, and Maui. She is the author of two
collections of short fiction and four books of poetry, and her writing
has won and been shortlisted for national awards and been broadcast on
CBC radio. This past winter a story placed second in Grain's short
fiction contest and a poem won Descant's Winston Collin's "Best
Canadian Poem."
Tune
Here, the night chitters softly along the dark lagoon. In the distance, a woman’s voice cries an old
song, her Spanish frays into the ocean’s uneasy coming and going. Under my breastbone a wistful
tune breaks over and over.
Two thousand miles north, you sit at your window. Little coils of snow come and go
on the bare road. You write that the tree you described last week as wearing
a golden dress late-lit down her side is memory now.
Here, the lagoon. Its mystery, its deep. Silent shape of a waiting catamaran
on its dark body. The lagoon, its quiet breathing, the streak on its surface where the
moon breaks over and over.
Four Days before Christmas
Dusk rises from the ground outside my window,
O Magnum Mysterium rises
from the speakers on the high-shelved
books of this room and the snow
keeps coming, big buffeting gusts this afternoon,
now the flakes falling
vertical as a beanpole in a folk tale,
hundreds of feathery snow poles stretching
from heaven to earth, and as dusk thickens
into dark, I can just make out
the dead, sliding down, sliding down, one after another.
The dead I say. My dead I mean. Every year
at this time, more of them.
My parents and their kin,
the country folk of East Wawanosh,
all that generation,
their hands ingrained with toil,
bodies ruled by the quickening green spears
of transformation in spring,
the dwindling every fall.
Colleagues whose half-lived lives
dangle behind like the severed tail of a kite, its body
lost in high blue. And last,
after a long pause, and still in the coal-dark
hoodie she wore to the train tracks,
Stephanie.
My dead. Invisible in the falling
snow. I can feel them out there; I know
what they want. They want
the rich dark sauce of Christmas
on their tongues, they want to tell me
what they’ve learned in their
discarnate lives, they want in and I want
them in, want to tell them how they go on
changing, even in death.
Longing arrows
from them to me and back again, almost
cracks the cold pane.
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