Found Poem 8:20 p.m.

So it's a found poem sort of, I found it in an old notebook from a decade ago...

C'est la grande ville
et c'est
la belle et éclatante maternelle
Ma copine mélange
de la peinture
dans son verre de jus
et elle me promet, me promet
du noir
C'est la grande ville

Envy 6:21 p.m.

Eats me like a thick steak
Masticating at a masterful pace
Grinding, licking, tearing
At every raw and salty bit
Of flesh on the plate.

peaches in november 7:38 p.m.

The wind was brisk and cold, the way it always
Is after Hallowe’en, when the costumes have been
Tucked away between the shoe box containing

Receipts from 2004 and a relative’s wedding dress,
Air-sealed in a plastic zip-up container in the front hall.
I walked through the parking lot behind his building,

It’s worn down painted white lines introducing themselves
To me as I approached the electric sliding glass doors
Of the high-end grocery on his corner. It’s smallish

Feeling aisles, packed tightly with lovely containers
Of brightly-coloured jam and four dollar croissants
Were so inviting on a November morning north.

What a travesty, I thought, when the grocery manager
Told me that there were no peaches. That peaches
Didn’t come in with the shipments from September to May.

That you couldn’t get peaches in November anywhere
In Toronto. But I had such faith that this was a city that
Could produce anything I might desire, why on earth

Would I otherwise pay so much in rent. Why crowd
Into dirty subway cars and trudge through mucky, sad-filled
Streets unless to be able to part one’s hair behind and

Dare to each a peach. In November, even.

wednesday night jazz 9:34 p.m.

The sounds of jazz are loud here,
Like the clanging of pots and pans
While father is playing the piano
And mother is a younger, darker haired
Version of herself, singing smoothly
About I can’t give you anything but love.
The living room walls are red and the
Trumpets sound now with a familiar tune
Sleeping children could recognize.

Smoking is the requisite for all of these
Things, contemplating the changing
Of seasons, how the ivy near the window
Has been complaining lately, of snow.
How my skin seems more creased when
I look in the mirror, my teeth bearing their
Age like a crest. The changing of seasons
Is such a wretched time, beautiful and full
Of agony all at once. Smooth voices soothe.

monday night riot 6:18 p.m.

The hungry hands of my heart
Have tightened their grip and
Are rattling my ribs like prison
Bars, their voices echoing through
Veins and dark cavities like an alarm
That reminds on this clear day
you are only human.

Oh these human parts! This army
Of human parts which I govern like a tyrant
Rely on me, trusting that I will sleep,
To dream, to wake, to feed, to love again.

Oh these human parts! These eyes
Which have seen years fly by in a flurry
Of colour and space, these hands
Which have felt the sticky backs of lovers
And the smooth, sharp edges of razor
Blades. This heart which has thumped
Softly in the depths of an urban evening,
And pounded with anger in the torrid heat
Of adolescence. Oh these human parts!

peter says i'm published dammit 6:46 p.m.

i'm toying with the idea of applying for the cbc literary awards. like a responsible contest participant i went online and read the contest terms & conditions. they're accepting only unpublished work. in my case, it's a 1000-2000 words of poetry for a potential first prize of $6000, a second prize of $4000. yeeeeaaaaah. there are a couple of road blocks: (1) you basically have to be michael ondaatje to walk away it. he's a former winner. and although the contest requires that you submit unpublished work, it doesn't require that you be unpublished. which basically means that every canadian author with six hours on their hands and a few pages of unpublished poetry is vying for the cash. (2) your work has to be unpublished. i know this is beginning to sound repetitive, but this is a key point for me: the cbc considers blogs a form of publication! all of the good stuff i've posted over the past year and change is therefore ineligible for competition. it's not as though i don't have little diamonds in the rough kicking around my desktop, but having to be concerned that they've been published on some random website and are therefore ineligible is a pain in my ass. i love google, but not in this case. having random house pay you eight grand to put out a chapbook is one thing, but creating and posting a blog entry is considered equivalent? (3) the winning entries are published in air canada's En Route in-flight magazine. you've read it, don't lie, we all have. the En Route magazine, in case you haven't guessed, is an issue for a number of reasons: first and foremost, no air canada exec in their right and sober mind is going to publish a kate leadbeater poem, primarily because kate leadbeater poems inevitably contain sex (and all the components thereof: pussy, cock, tits, ass, etc.), swearing, drinking, smoking, drugs, small children being assautled in...okay i'm exaggerating. but STILL. the cbc literary awards were clearly designed to fuck me. and you peter mansbridge, alleged guardian angel of mine, have seriously disappointed.

haiku for BR 8:30 p.m.

paint and wet snowflakes
pink smiles, unrequited stuff
summer sweatiness

plastic fingernails
keep others skin cells so close
that you can smell them

inboxes fill quick
outboxes fill quicker still
then you stop, say no

new undergarments
make you dream of sex and rings
still you sleep single

cigarettes and beer
are reminiscent of him
what do you do now?

i have a video camera 8:19 p.m.

I have a video camera. When I am filming a person with my video camera I can zoom in on whichever parts of them I like best and nobody need be the wiser. It is the camera’s single most important feature.

My girl, had a number of single most important features. It was loud in the room: voices, laughter, the rhythmic thumping of some stupid kind of music I couldn’t name and didn’t care because she was wearing a skirt and had goose bumps on her skin from the open window. People were smoking, you see, it was of those parties. Vodka on the kitchen counter, cocaine on the coffee table, footprints on the floor and she was wearing a skirt and I had a video camera.

An oversized birthday card found its way to the kitchen table and lay open, pages spread like legs as people touched it, marked it. There were four thick black sharpie pens, three men, two women and the birthday card was having a fine time of it.

So was my girl, though she had better things to do than sign cards – she was busy with the business being beautiful, humming along to some stupid kind of music I couldn’t peg and didn’t care because she was wearing a skirt.

Cameras have a number of defects, the greatest of which is that they don’t capture smell and I stood over her under some drunk and dubious premise, filming the side of her neck, the bits of shadows sprinkled about the secret parts of her body, she had a smell.

Throw the camera across the room, smash the window, seek the floor, Michelle I want your smell inside me.

She might as well have been naked. She might as well have been standing at the foot of my bed, naked, arms swinging shyly by her sides with that skin like the sweeter tasting milk. She might as well have been, devastating as she was.

Minutes and the birthday card was spent, used, page-legs closed and the birthday crowd progressed to the drinking of the birthday booze and as the sound of ice-cubes hitting cut glass tumblers distracted the liquid hearts of the habit-warmed few, I stole a few more moments from my girl.

I spent them in the dream curve between her ribcage and her hip mouth full of lust words. The kind that soap wouldn’t wash out: my hand, nails bitten to the quick, will slide beneath your breast and live in that fold. Will scrape across your skin as the room echoes and moans, will find your other folds soft, wet and warm and will inhabit them. Inhabit them until you are full and I am blind, until you are hurt and I am deaf.

Make of me some Helen Keller oblivion beautiful, with those legs. Throw the camera across the room. Smash the window. Seek the floor.

She squirmed in her leather seat to the sound of some stupid music I couldn’t name but was beginning to like, because it made her tits move like she was fucking me and my camera were watching her tits move like she was fucking me and my camera watched until the vodka was spent, used, empty, until the record stopped spinning, taxis were called and boys began to make b-lines for last call.

I watched her ass as it approached the door, stocking feet on hardwood floor, redefining fiction with every step.

My girl, you can’t ever see this tape.

finger nailed 8:15 p.m.

My mother tells me over cheap wine that I need to be more conscious of my corporate work environment. Look around the office, she says. I’ll bet you won’t find a single VP…I cut her off, or bite her off, if you will. I think you’d be surprised by what goes in and comes out of those people’s mouths and furthermore, it is without doubt that if I followed the general moral example of the management team, I would be condemned to burn in hellfire for all of eternity. Is that really what you want for your first born, I ask? That’s not the point, she says. Of course not, I think.

I am an adult and as such I heed the advice of fellow adults. Especially when they’re related to me and Christmas is coming up. Therefore, I am trying to quit biting my fingernails. Having recalled the existence of some toxic sludge my parents used to paint on my thumb in an attempt to have me stop sucking it, I haul ass to the Pharmasave and find a clerk. I’m trying to quit biting my fingernails, I tell her. She looks at me as though I’ve got the clap, fiddles with her hair which has been died some soft shade of radioactive and tells me she’s got just the thing. Parents come in all the time, she says, trailing off with her hands comfortably by her sides, that haughty bitch.

I whip out my VISA card, which I hope the lovely Melinda will notice is a step up from the student kind and bow in complete deference to the great corporate mogul that is me. She does not. I pay, grab my toxic sludge and leave.

Seated in the comfort of my Victorian low-rise apartment, away from the judgmental eyes of the properly finger-nailed world, I apply the sludge gently, at first. Then, mesmerized by the activity, begin to apply more aggressively. Minutes later, my fingernails, hands and select areas of my thighs and calves have been doused. I sit, turn on the tube and wait for my invitation to the world of non-compulsive, have-their-shit-together, people. Several commercial breaks later, distracted by the pretty lights and intelligent dialogue of primetime, I try and sneak in a quick chew. To my dismay, I begin to gag, dry-heave, attempting in an apoplectic frenzy to get the evil taste of childhood out of my mouth. Noooo!!!! I scream. Glaring at the bottle, I wish hard that looks could bring inanimate objects to life and kill them, not in a nice way. The grey, orange and white label innocently proclaims “Nail Biter.” I decide that it would more suitably be labelled “We’re secretly trying to poison you because anyone who bites their fingernails is CLEARLY a terrorist.” But admitting to myself the importance of the covert in the great fight against minorities and their inherent evil, I digress.

I was promised a safe, effective method of healing from a dirty habit. Instead I’m chugging a beer in the shower, trying desperately to rid myself of the evil stuff. Fuckers, I think again.

Newly washed, moisturized and thoroughly upset, I scan the package for customer service numbers and begin to imagine the string of expletives I will unleash on the unfortunate Sally Hansen rep who will answer my call. Sadly, there is no customer service number to speak of. And even if there were, it’s half past nine on a Friday night and they’d surely be closed. I begin to imagine the string of expletives I would’ve offloaded had there been voicemail. Fuckers, I think.

In an effort to maintain some semblance of sanity, I call my best friend and invite him over for a joint. By this I mean, in an effort to maintain some semblance of sanity, I call my best friend and coyly hint that he come immediately over with weed and sandwiches. He is of a good breed, being related to the Guttenberg character who invented the printing press and as such, appears promptly, bearing gifts.

After a few good drags and a quick bite I am decidedly less insane, though still pissed about the obvious conspiracy between Sally Hansen, my parents and the rest of the properly finger-nailed world. Don’t think I don’t know. Best-friend Jonathan, sensing my anger still brewing, leans over, passes the joint and exhales, lesbians all have fingernails like yours, he says gently. They’re considered practical, cool even. I, in turn, exhale and with a deep sigh of relief think to myself: what a civilized bunch, these lesbians you speak of. After a brief moment’s thought, I forgive Jonathan his fingernails, make peace with my own and with Melinda and settle into the sofa with a fair-sized roach for what will now undoubtedly be, an okay night in the world of the compulsive.

an experiment in colour and god 8:10 p.m.

He was accustomed to walking
grey city streets, dirty silver
lampposts conspiring, black
Mise van der Rohe shadows
impending. He was accustomed
to pasty white bodies pounding
pavement, their peach-coloured lips
humming off-key tax returns tunes
under pregnant clouds. He was
accustomed to Toronto.

Convertible top down, prairie
wind, gofer children scurrying
golden wheat paths to underground
schools of sunset, he was

unaccustomed

to the country’s midsection,
its slender waist sweating orange
ceilings, he was unaccustomed
to the country’s expansive belly.

Scream the cranberry words
of ruby-red cross-country conclusions,
he wanted to scream the lavender lyrics
of freedom from the black-fabric seats
of his champagne rental.

Conservative dog-brown shoe pedal
to the metal, fast forward to purple ends
of possibility falling from the sweet
grass heaven. He was unaccustomed
to the road’s speed and linearity.

Dirty blond stubbled release from
frames, doors, the ninety-degree
angle pressure to pay bills on platinum
geometrics of plastic. Dirty blond
stubbled permission for faster.

He was unaccustomed to the flushing
hushing undulating currents of loud
navy dark wind, stars picking
birthplaces in ebony sky, to this.

Scream the blind midnight words
of irresponsible time sand syllables,
he wanted to scream the white blank
page erasures of urban burgundy
madness and did.

And God listened.

storm at the family cottage in thunder bay 8:07 p.m.

Tree branches slap angrily against aging siding
Like the master’s whip against the bare skin of the
Boy who stole bread from the kitchen and was caught.

Rain hesitates in the parts of the sky nearest to Heaven,
Parts which I have seen only from airplanes, sipping tomato
Juice, reading newsprint and fearing death obediently.

Wrinkled palms smack laminate counters with familiar rhythm
And a fat yellow Labrador retriever barks at the screen of the
Door which confines it to its allowed space like a stupid beast.

Dirty towels and cedar panels, the latest publication on wealth,
music, how to keep the weight off, and this season’s best in pet gear
and top-of-the-line ice cream makers confine me to mine quietly.

Life is the thing which keeps the women in the kitchen reddened
Like fight-filled children, squealing hatred from all available orifices.
What fiction, rattle the blackened skies, that blood is thicker than water.

Thunder ten pins through the heavens like a chorus to the hotly felt verses
Of angry speech that the mistresses of the house pitch to the walls intently
As though words could meet and conquer wallpaper to reveal some antique

Truth preserved in flour-water.

Truth like fabric woven through years of antagonism and strife, bloody
Miscarriages of justice and faith and sisterhood and the dog
Now barks past the screen to the world and it is undeniably a prayer

Or proposition for a cease fire, a laying down of arms and words as the rain
Changes it fickle mind and leaves are silent with the smell of crushed
Revolution and the sky is painted a fresh shade asphalt with all its promises of

Destruction/Freedom

Still in tact.

on what it is to be an urban woman 8:02 p.m.

I’ve lost my cell phone and the walls
are ringing like they want to talk like they’ve
got something to say. The man knocking his rock-filled shoe
against the lamppost says I have a text message,
something about sanity…

Disregard emphatically.

I am in a forest, cell phoneless, making friends
with mute rabbits, stepping on toasted leaves
and looking up to find canopy, to find ceiling,

to find sky.

Mumbling verses into the naked wind on how not
to be alone, on how to occupied, married to my mind
and its winding paths and crevices, its little
habits, like the way it tries not to let me slip
because it knows I won’t endure the fall…

…of the leaves to the ground as the seasons
change as eyes widen and shut, pubic hair grows
and spreads like ivy and then turns grey, as the
rabbits start talking in tongues and the leaves start
charging for the symphony in guilt.

Clearcut.

Shave everything like hair: grease it up, rub it down.

Let’s fuck cuz I don’t want to be alone and your dick is better than nothing.
Give me a rash from that stubbled face, smell my panties with a sly smile.
Lick me clean, lick me dirty to the sound of street music:
140 languages weaving families, pounding sidewalks, rustling change in pockets,

civic hatchbacks on their way to the forest.

Where I will stand and spin to lush green hum of solitude,
Where my family will extend in ants and moss, where I will
Forget your cock and what it means to be reachable, where I will
Embrace sun up and sun down as the bookends of my days
and fall harder than I ever have for nature,
mumbling verses under my naked breath on how not
To be attached. Until a clockwork moon strikes wolves to life and
I fall to my knees and howl with all my red might: a speech, on what

It is to be an urban woman.

wedding poem for my uncle 9:12 p.m.

the architecture of them

In November the prairie winds howl with memories
of winter and the voices of a thousand wheat creatures
make speeches about loneliness on Wild Rose Ridge.

In November he admires the design of her smile, traces
the slope of her spine with a gentle hand and finds her eyes
fighting bright in the darkest parts of night on Wild Rose Ridge.

In November he recalls the marquetry of her spirit by the glacier
lake, the youthful embrace, amidst dancing leaves, of his
now wife and he is rich with the promise of life on Wild Rose Ridge.

In November great structures of timber and glass cradle the child
soul of spring and the smothered whispers of two score ten bear
witness to the perfect architecture of them on Wild Rose Ridge.

it seemed as though i would give up 12:48 a.m.

and somehow, through some measure of fate, i'm here. sitting at an open window, typing.

the store was a mess of things: cloth,
shelves and earrings, brightly
coloured relics of a decade made more
than broken and the man behind what would
have been a counter asked if we were
sisters. we weren't and admitted so.
the virgin soap, he said, makes you sweet
and young again. mah girls, he said. you'll
have to come back.

it's five hours to august 5:53 p.m.

and the apartment is hot, really hot. i'm listening to schubert's ave maria because someone made reference to it on the west wing, but i really do prefer palestrina. my heart's racing as per usual and anyone who knows me is sick of hearing about it.

the heat doesn't come from the sun, it seems
to come from the sky, the sidewalk, the open
mouths of men and women on telephones talking
about last night, how their employers fucked them

on that last paycheque which won't cover, it
seems, the goddamn hydro bill and it must be
the airconditioner which hums clumsily in the next
room and was purchased to ease sleep but doesn't

care much. and why should it? our sleep is the no
thing, not the nothing, but the no thing, useless
and funny. do you mumble words in your sleep?
toss and turn and hug cotton the way i do, unknowingly.

wanting to be beautiful but instead drooling. do you
wake to find yourself staring at the other one in your
bed? and if only it were the least bit like the movies,
if only i smelled sweet and looked peaceful. i am

a hurricane in my sleep. twisting, kicking in a violent
dreamland of water, which is my favourite, but dirty
always in this hot city. sleep is a heavy hand on my greasy
head and i can't help but crumble and be ugly. i sleep.

i'm definitely infringing on copyright 9:07 p.m.

posting this poem, evie christie's. it's too good, i want the world to read it:

That We Could Let the Season Fall

Not so long ago your parents loaded
you into the yellow Dodge -- a meteor
shower made you forget
just how much you hated your sister. The rusted flatbed,

the smell of gasoline and blackness
were a universe. These days you are never
far from pills that keep you three feet
from anywhere, half a mile between thought and speech,

and your mother calls too often for even
you to believe it's okay -- believe
there is a universe, stars ablaze and falling,
burning, settling into darkness. That we could let the seasons fall

around us without recalling the times
we smiled artlessly at the buckled skies
would be mad. Let the scar
beneath your chin remember a hostile winter, a BMX

and flying, books studded with bus tickets,
ash smudged verses, your fervent youth.
Let a voice remind, across cities tonight,
how you hitched Highway 7, out of your village, .357 replica

tucked in your waistband, to meet the world half
way. Now there are cigarettes and weak syndicated
TV, now there is instant coffee, blinds drawn
and a phone that sings from that world you cannot bear to answer.

pinecones versus my new red shoes 4:33 p.m.

pinecones are small, brown crunchy things, not summer
creatures either. some were huddled together today on the
sidewalk and i stepped (shuddered) as they crunched
beneath my new red shoes. they were hiding from
the heat, i think, beneath the shade of some urban tree.

kensington market 7:12 p.m.

this neighbourhood screams dirty beauty on saturday afternoons. it is a sweaty oasis which defies sunday, which denies sunday, always. it's part of the appeal. and the drippy, hungry tongues of scruffy dogs are a staple here, pink. as are the women.

you can always tell when a woman is on the heels of sex. she smiles wide, has a satisfied glow about her. she is a bit slower than usual, a little more luxurious. she scrapes the sweaty strands of hair from her neck with confidence.

of course, that's it 5:51 p.m.

the sky is sticky, my yellow room busier than
ever with the electric fan blowing at things...
there is a salt shaker on the table and it has
nothing to shake at. waiting is unhappy activity.

time would be better in different directions, many
of them. i am sick of navigating flat space, walking
on two feet towards things or away from them.
i am tired of sleeping and waking and eating simply.

doing or not doing, drunk or sober, quitting or staying,
shitting. and that it should be chemical is offensive. right,
i should run, have sex, eat strawberries, feel better? flat
little strawberries with price tags and pesticide jackets.

make of my little life a party, dream travel, look bashful,
wear pretty dresses. it's the heat, of course. my ovaries
complaining to the estrogen parts of my brain. it's the light,
of course, not enough of it. it's my blood sugar, of course.

of course, of course, of course that's it.

a good one 11:17 p.m.

patrice desbiens was born in timmins, ontario and first published in the mid-seventies. if you want to read the english translation, go for it, but it's not nearly as good.

Je me souviens d'une station wagon qui coupe la nuit
qui ouvre la nuit du nord comme un couteau de chasse
ouvre sa proie
Nous sommes tous là
ma mère ma sœur son mari et ses enfants tous
dans cette voiture c'est
Johnny B. Good Leblanc qui conduit son visage vaguement
éclairé par la lueur du tableau de bord
Je suis le seul des passagers qui ne dort pas tandis
qu'on continue avec un océan de vert meurtri de
chaque côté
Ma sœur dort sur le banc d'en avant
la noirceur qui rentre et sort de sa bouche ouverte
La nuit est longue et sans plis
La nuit est longue et sans plis
La nuit est longue et sans plis
La nuit est longue et sans Soudainement
quelque chose déchire le tissu quelque chose bouge
là et
le pare-brise devient un écran cinémascope les phares
de Twentieth Century Fox et Gulf Western éclairant
l'animal l'animal l'orignal en plein milieu du chemin
qui fige et
fixe son destin qui roule vers lui à 60 milles à l'heure
Ses yeux ses yeux ses yeux ô dieu son regard jusqu'à
la dernière minute et le choc sourd-muet de fer contre
chair
Et ma sœur qui se réveille en criant un grand cri
fou et
final comme si l'âme de l'orignal avait passé dans
elle en
mourant et enfin
le silence
le silence de notre silence dans
le silence entre
Timmins et Toronto.