First Crack
First Crack
Craig Poile
Series: Harbinger Poetry Series
Copyright Date: 1998
Published by: McGill-Queen's University Press
Pages: 63
https://www.jstor.org/stable/j.ctt80177
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First Crack
Book Description:

This collection comes from an alternate world of poetry running close beside our own, one which is always chugging away at shaping meaning and adding substance to our feelings. These poems are usually a study in near-solitude: domestic scenes, Michelangelo's Last Judgement, the myths of Egypt, skaters on the Rideau Canal. The poems don't so much tackle as trip over something like the truth, capturing the moment that brings together art and the observer, history and modern life, fact and fiction. The result is occasional rhyme and traditional forms, snatches of conversation, tiny dramas, painted moments, and an unflagging faith in language and its ability to give us everything we need to learn and know.

eISBN: 978-0-7735-8389-4
Subjects: Language & Literature
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  1. Front Matter
    Front Matter (pp. i-viii)
  2. Table of Contents
    Table of Contents (pp. ix-x)
  3. I INVITATION
    • NEW YEAR’S LETTER (1993)
      NEW YEAR’S LETTER (1993) (pp. 2-2)

      My friends, may I propose a masked ball?

      For how else to depict, defend, tell all

      As such occasions allow? New Year’s here finds

      Bodies blackening the canal, our backsides

      Whitened by its froth. The crowd surges, set

      For speed on metal blades, doubt and regret

      Submerged in the exhilaration

      Of skating under bridges, flying where we

      Once drowned in steamy summer cataracts.

      Here’s one more year to grind with stats and facts.

      From the frozen gutter, celebrants look up,

      Peer from under the mask’s lip, to see

      Fire dashed from the sky’s mortar,

      Where sheer intensity yields colour.

      To...

    • FOYER
      FOYER (pp. 3-3)

      Enter. Here we will clasp

      hands or kiss lightly, so

      I can enjoy the process, grasp

      the mild erotic flow

      of guests who’ve found

      this passive point of entry

      they’ve left their boots around.

      (One only has to try;

      A foot in the door and

      I’m taken in.) Throw off your coat,

      entrust that bottle to my hand.

      My smile greets your bare throat.

      Your costume, as always, fits.

      I whisper that your secret

      is safe with me. And yet,

      here, cloistered, one admits

      Desire, and that this

      departing arrival

      could form the basis

      of some longer interval.

      You hear...

    • TETHERED
      TETHERED (pp. 4-4)

      Thoughts of going it alone are

      rare as miracles this year.

      A bad fall on day one

      cracked your wrist, and left

      the knot of bones plastered up

      for weeks to come.

      You managed a bath, and strangers

      opened doors for you. But getting

      your tie on means two very different

      mornings, yours and mine, must meet.

      We stand still, embarrassed

      to be caught, again, acting out

      scenes of men and women

      charmed by the menial.

      My mother and father

      stood like this, eyes down,

      working their mouths and hands

      because someone was watching.

      Any child could see

      the exception...

    • REQUIEM
      REQUIEM (pp. 5-5)

      Rest, me for the moment, you for eternity.

      Camphor fumes grow familiar in the room

      of your last days. In this place that time’s worn out

      I seek completion, to preserve the scene

      when you slip out of life as if through velvet drapes,

      robbing nothing from the moment, and leaving me a passage,

      a final phrase to carry into the next day’s light,

      the carnival streets where I, too, make life recoil.

      The mere thought of that see-saw second can ease undying fears:

      the mirror unclouded at your nostril, hands resting

      on bedsheets blurred with mercurial shadows.

      Such sheafs,...

    • HADRIAN’S VOW
      HADRIAN’S VOW (pp. 6-6)

      Hopeless to survive the sun, this love of mine

      will drown you in the Nile to suit its own design.

      Let death be the price for choosing favourites.

      We’ve defined our Eden, still and bright,

      and each day the arrangement trips us up,

      like the small god who mistakes what’s yours for mine.

      Nothing left but to flirt with the infernal,

      find fears in late-day silence and

      speak well of the casket that gift-wraps us

      for Heaven with skill and design.

      Gods marvel, no doubt, at mortal longings,

      puzzle over how we play at forever,

      saying that we dwell in...

    • AROUSAL (PORTRAIT OF ANTHONY AND CLEOPATRA)
      AROUSAL (PORTRAIT OF ANTHONY AND CLEOPATRA) (pp. 7-7)

      “You are not a statue,” she tells him.

      “You are an obelisk that winks,” he says.

      That’s all they speak, hoping not to violate

      The possibilities that rise like summer sweat.

      He bends, in an arch, as if there were

      Something fast between them.

      Part of her is hidden by his forearm,

      A brace of polished wood, hollow if tapped,

      Which joins the aged bicep and scarred shoulder

      And holds him to the portrait she becomes.

      She sees herself stretch into the landscape,

      Sets her eyes on the shadow that colours her thighs.

      Her breasts rest like water, raised by...

    • HOUSEHOLD GODS
      HOUSEHOLD GODS (pp. 8-9)

      When Antonius sank

      in sight of Ramses’ shore,

      his body was washed blank;

      his life etched out in ore.

      Hadrian, for love’s survival,

      taxed the local idiom

      to stage his friend’s revival,

      with sun and stone as medium.

      The favourite’s name collected

      a cultish people’s love

      and wreaths on his erected

      form, high and hewn. Above

      all, he’s perfect: Maleness

      bare, delineated,

      an answer to men’s distress,

      those who painted

      wives as Cleopatra,

      chiseled mothers crouching

      like the Sphinx. What extra

      poise he gained from touching

      Heaven. Monumental

      phallic object.

      Yes, but for me, it all

      boils down to his...

    • WAITING
      WAITING (pp. 10-10)

      My home has a hundred pipes leading in,

      plus fissures, wires. Its borders thin

      in places to a single pane of glass.

      I’ll take you in whatever shape you need

      to get inside, past the watching eyes

      that haunt the front door and the back.

      They expect you any day,

      on a white horse, in Hugo Boss duds,

      dripping with someone’s blood. If you’re seen,

      they’ll make demands, draw up the papers for

      incorporation. They’ll watch the ink dry

      and wait it out, fondling their disbelief.

      I will not measure you for memories,

      paint you on black velvet and admire...

  4. II THE DISTANCE BETWEEN
    • NEW YEAR’S LETTER (1994)
      NEW YEAR’S LETTER (1994) (pp. 12-12)

      Swerving to avoid this year’s gust of pain,

      I stick to the well-weathered talk of the street.

      And who’d have thought winter would be so mild?

      As the season enters with a slow bow, I’m hunched,

      bending to look at stars resting in puddles —

      not their reflection, just a cold light where it’s held.

      A few flakes fall like scraps. Soon a film

      covers the windows and moves in, transposed.

      At night the empty parks blaze orange-blue,

      green-red: a polar opposition and welcome oversight

      in a city spent from deficit reduction.

      “My own dog, gone commercial!” Charlie Brown lisps

      as...

    • LIVES OF MY CELL
      LIVES OF MY CELL (pp. 13-13)

      “One drop of that stuff and bang!” he said,

      his hands circling like birds or bees, for effect.

      In another drive-thru sermon, my father

      was supplying the fuel to further

      distance my life from his. I detect

      one message as we race apart: I’m ahead.

      “She was pregnant, wasn’t, then again ...”

      More talk from friends revolves around

      this recurring idea, or act. New life.

      A topic that troubles as I turn a new leaf,

      and start to think of children, around

      the age my mother swore off labour pain

      for life. Desire has led me to men,

      doubled my...

    • LATHER
      LATHER (pp. 14-14)

      This is a trick of my father’s,

      That I must, once again, teach myself,

      Folded in the sharp hiss of steam.

      First, my fingers trace

      Cheek and chin melting in the shower’s

      Flowing glaze, sight unseen.

      Then the blade comes into play,

      Inching blindly along a path it completes

      In a few heartbeats with a mirror’s help.

      I feel my way into the anxious

      Thrill of cutting it close,

      Remaking myself, beardless ... sexless?

      My fingers stroke the throat’s Gibraltar,

      Its message adamant: to the touch

      My imaginings are off the map.

      Back at the flattering mirror,

      In the curtains’...

    • JELLYFISH
      JELLYFISH (pp. 15-15)

      The sea brought us smack together. Inevitable,

      though neither chose the course that brought us

      head to head. Limbs or tentacles do little more

      than serve their purpose: propel, paralyse, give pain.

      In my face, it trails poison strands, a pumping

      lung of phlegm or brackish lymph. I freeze

      in the ache of fight or flight, the fear

      of a soft-bodied, mindless menace,

      gripped by the urge to hurt, to hide, to deny.

      I escape the water scarred with stings:

      mother sea's reminder of when we dumped

      her and rose upright to the land. From above,

      I see them pumping...

    • PACEMAKER (SESTINA)
      PACEMAKER (SESTINA) (pp. 16-17)

      Tapping fingers keep time. Looking to the clock

      (Hunkered down between the ferns) on the up beat,

      I come face to face with the moment’s emotion,

      (Asking for my status: starting early... running late?)

      The brief despair of seeing unwound time:

      Hours sit, unfractioned, around its steady hands.

      It’s a gift from a relative, no emotion

      (The music curves out of mind, like a question mark)

      Attached, just filling a need known to beat

      In every heart and home. And the clock,

      Neglected and run down, twice each day hands

      Me an urgency, a marker, the veritable time.

      Inanimate, it...

    • ANIMA
      ANIMA (pp. 18-18)

      Her pace is slow, but I fall behind to illustrate

      My distance from what she’s come to mean.

      The glimmer of streetlight rises half an inch

      From where her skates touch down on scourged ice.

      Her round cap is the first sphere of a trio that ends in

      A black skirt hanging from her fat behind.

      Moving through the unmeasured, shifting night,

      A loafer in each hand, she carries broken bread,

      Sacred books or green boughs. The image of her

      Waited for the cold's kiss to wake

      Its likeness in my head. A few breaths end its captivity

      In memory,...

    • EIGHTH MONTH
      EIGHTH MONTH (pp. 19-19)

      Though it’s all about excess

      (full to bursting she is)

      her legs look starved below

      the life-flooded abdomen.

      She would not welcome the child

      right now, unless it was shaped like

      a footstool. She could not bend to

      pick it up or feed it:

      the food she sees she takes

      to fill the unsevered hunger

      the unborn dreams for her.

      A presence, not diminutive but double,

      sits behind her slanting eyes

      as she swallows the last spoonful....

    • HEAVEN AND HELL
      HEAVEN AND HELL (pp. 20-20)

      Renovation rolls into the new year

      and they’re still living in two rooms,

      lives and objects strung together

      in a tight-knit cradle of a home.

      The child runs back and forth,

      trailing a toy and defective words.

      They know it’s no great distance

      from one room to another.

      On grounds of either/or and “yes, but”

      the domestic scene can change.

      To hold it together, you sit

      on the stove instead of a couch.

      For love, you watch the sink like it’s TV,

      and pass the milk like a prayer....

    • FRAGMENT
      FRAGMENT (pp. 21-21)

      The tablecloth pink

      As this raw moment

      Beside the canal at dusk.

      The waitress asks:

      “You want that toasted?”

      I say no, knowing that

      I've already burned enough.

      Spun outside my insulation,

      I keep looking at blooms

      Arranged in mouthfuls and

      Algae-covered moorings,

      Because heaven’s every feature

      Has a twin in hell

      And with this ripple past

      The two will, like me, recollect

      And claim they are one....

    • THICKENING
      THICKENING (pp. 22-22)

      Like shadows clearing, the demons rush out

      when I think of what I’ll build today.

      They are dinosaurs rising with shifting jaws,

      long madonnas trailing golden yarn, things

      with wings and thin, knotted fingers.

      I act fast on sketchy plans, with the urgency of

      the childless man, who tries 30 on for size

      and feels a pinch. Somewhere a scale

      holding body and sense wavers, then tips.

      At the hardware store, I join a long line

      of men, some fathers, who have come

      to weigh down their arms and load up the family van.

      In the aisles, they measure and...

    • GOLEM
      GOLEM (pp. 23-24)

      Still sticky from her lips,

      the stitched description

      of what she’ll wear that night

      got up and walked away.

      The story has taken on

      a life a step away from hers.

      Strapless, beltless, hanging.

      At the bosom, a monstrous bow,

      freed from the label

      of accessory. The hide

      is velvet, a dusty texture

      altered by gestures into

      refractions by Vermeer.

      (Stripped and dripping,

      the last bath towel

      used to wipe the coffee cup

      saved from the abandoned kitchen,

      Monty jettisons the rod and,

      in the ruin of a good set of drapes,

      enters the living room in velour

      cinched at...

  5. III MEDIA
    • NEW YEAR’S LETTER (1995)
      NEW YEAR’S LETTER (1995) (pp. 26-27)

      Stroke by stroke, the world takes on

      the pattern of our inconstant motion

      as we paint a friend’s new home. The rooms

      turn shining wet and white, like eggs

      flung inside out to hold the days to come.

      Oozing from the bucket’s spout,

      the white on white effect spreads far beyond

      our provocation: we brush against it,

      it falls on us in pearls. It takes hold like

      everything you live with does, even what

      you’ve left behind.

      I heard about the split today, what’s come

      between who’s here and who's not. At least

      a few of us have made up...

    • UNTITLED
      UNTITLED (pp. 28-28)
      Anish Kapoor

      Three half-spheres, set mouth to mouth

      As if I (agape) complete the set

      And find my likeness in these domes

      (Each more than my height,

      Skinned with moon surface,

      A lacquer of proscenium drape).

      Their sheen is pure pigment.

      Set free of base mix, the insoluble blue

      Gives the vividness of scenes

      That are seen as something new then

      Shift back, again unseen.

      You have sculpted the mind’s

      Doghouse, an opening to no dimension,

      A blackness that first looked solid

      To the indifferent eye soon drawn in.

      Next time, flashlight in hand,

      I’ll add a bright chancre

      Of ease into...

    • MOONDOG
      MOONDOG (pp. 29-29)

      Please, take one more look. Lunacy, indeed.

      No glow, just pitted and left to shine

      Like the bloodless flush of half-life, still

      Buckling under the human wish list,

      Matter that yields to mortal fissions.

      I looked my fill one night, drunk as a trout,

      Mouth open to the tasteless water of

      The northern lake. My constant embraces

      Kept me afloat and ready to sink for good,

      Cupped by the devil’s waters: scotch, summer and night.

      Resting under the deflated day, I listen

      To Vickers’ voice, open, open, open, no end

      To breath, assuring his comrade or his woman.

      I ingest...

    • AUTOEROTIC
      AUTOEROTIC (pp. 30-31)

      Hired hands did in the scandal,

      excised with yellowed veils the bits

      that breed and nurse us into what

      Michelangelo called

      God’s image. As if we’d never guess

      the parts from the imperfect whole.

      Below his Judgement sat holy men,

      scalded white and thin, who

      put on scarlet robes and Latin phrases

      to masquerade as monuments

      and hide the eager, mortal hand.

      But for the chosen, time was threatening.

      The brimming, interminable mass

      dragged on like the world’s last days.

      Their eyes looked up, beyond the censure of

      the horny finger and its ring, and turned,

      full throttle, to the...

    • TO THE WALL
      TO THE WALL (pp. 32-33)

      Judgement, the scene

      that hangs my head.

      Neither “the last” nor lasting,

      the vision has suffered

      100,000 considerations

      and now a good wash as well.

      Sponged free of dirt

      and sepia complacencies,

      it moves out of the world,

      rippling fictively.

      The eye can’t hold it.

      Canonical weight breaks

      into relics of the glorious whole

      on the faded, ground-up

      blue of edenic skies or

      millennial wash-out.

      In the search for authenticity,

      every layer shields offence,

      the tense space

      where someone’s laboured

      to skew perspective or

      twist limbs ’til they agreed.

      Skilled use of colour.

      Lessons in the morgue.

      Human arts of...

    • MISE EN ABYME
      MISE EN ABYME (pp. 34-34)

      You fall silent, your response a captive of the deafened room.

      Into the vacuum goes your prayer, speaking the crime

      I'll answer for on Judgement Day.

      I rest on the edge of my insistence and the threadbare sofa

      that becomes your cradle in blind afternoon sleep.

      Good Catholic boy, they pressed you down

      with all the baggage, the ancient scripts that have us

      in different corners: Poor in Spirit (that’s you)

      despairs in hard squints below the shifting blinds,

      tongue held in trust of doomsday gold,

      as Worldly Desire (that’s me) brandishes the hope

      that something less than death

      can...

    • SUMMER EVENING, 1995
      SUMMER EVENING, 1995 (pp. 35-36)

      Smoked out of the city, the antidote

      to the day’s admixture of heat and fatigue

      was cool nature, a drive with friends

      to the world at the water’s edge

      that would clear our heads before

      we’re drafted into sleep.

      The people we meet on the way down

      have tossed off more than us, though

      we’d never thought to escape

      something as simple as clothes.

      They weave in and out of sight,

      finally settling on the rocks in poses,

      their eyes masked in the serenity

      that comes when the final veil falls.

      Upwind from theiresprit de corps,

      my eyes rummage...

    • ON THE CHATEAU TERRACE
      ON THE CHATEAU TERRACE (pp. 37-38)

      River and rapids flow on

      And it’s beyond me, to capture

      Each leaf in words or paint.

      From above, I can imagine

      A place in the locks, afloat,

      Living life buoyed up

      By lowering horizons,

      Feeling the hidden current’s

      Push towards the sky.

      How much has passed over these

      Flagstone spaces unimpeded,

      Tossed down as if by thought

      Into the water bordered by

      Soil furrowed and black,

      Grass levelled to mown thickness?

      Take your moment on this concrete

      Tongue, which cares enough to stress

      Only intention, its proffered view....

  6. IV THE DISTANCE FROM
    • NEW YEAR’S LETTER (1996)
      NEW YEAR’S LETTER (1996) (pp. 40-40)

      For once, no words. Just conversation,

      tossed around like a clear stone.

      The days have shaken off their measurements

      into the open boxes at the end of this so-called year.

      Someone has hushed up the stores,

      forgot to clear the sidewalk on the Laurier Bridge.

      And in the newspapers, the annual attempt to

      clean the smudge off has come up clean.

      Some people were counted, among the countless dead.

      It was out with the old, in with the neo.

      Each evening people are appearing on TV

      with light instead of skin, their bones uncertain.

      There was something I had to...

    • OLD FLAMES
      OLD FLAMES (pp. 41-41)

      “It was only for the sex,” he says

      as we wait for the light to turn.

      Or else it was to have a story to tell,

      one we’ve all heard before.

      Like the tale of the lover

      who ate oat bran every meal,

      only showeredaftersex,

      became famous, or

      beat me black and blue with words.

      We mark them “ex,” then pluck

      them out to illustrate when

      the subject is the inner lining

      of the stomach and what makes it

      throb with a hidden, unseen ache.

      Lost in the telling are

      bits too delicious to share,

      that ever since...

    • MOVING IN
      MOVING IN (pp. 42-42)

      Where was I but in the kitchen (elbow deep

      In what needs be done before I sleep)

      While you set out our socks, side by side?

      You relayed the simple fact at my side

      With a kiss, holding out your delight,

      Which caught us like the sun’s receding light

      That still brings a glow, however small.

      It appears our common stock, unmentionables et al.

      Has gone up, like a new moon.

      Tried, true and tired. Too much “real life”?

      But old tongues have shown that

      Puns preserve as surely as amber sap.

      Our settings are indispensable,

      Raising hardened truths until...

    • ACCOMMODATIONS
      ACCOMMODATIONS (pp. 43-43)

      I’m stuck with the tour.

      Giving it, that is. As a host,

      it's the perfect way to manage the fear—

      rushing in afresh with each arrival —

      that I live too differently

      or, worse, much the same.

      I skew the directions, herd them on past

      the bedroom walls, still the sorry pink we found them,

      and the boxes that look dispossessed

      even though they’re labelled by name and room.

      (We just arrived ...is it five months now?)

      But I’m guide, not guard, and one gets through

      to the kitchen, a flirtatious pinch of a room,

      and just as unsettling as a...

    • UTENSILS
      UTENSILS (pp. 44-44)

      Scuttled to the kitchen

      you find something set out

      to thaw. Beans have been

      soaking. A few still float

      as you plunge fingers in

      to the knuckle. Stir. Round

      and cool, dark skins thin

      enough to hatch. You’ve found

      here both a child’s mind

      thinking pebbles from a stream

      and waters close behind

      where senses rest in dream

      and memories are held like

      prisms of thought to your

      retreating eye. So like

      sauce that’s prepared before

      to add flavour to the brunch,

      the past can be seasoning

      for a tame, hungover bunch:

      Sinking down, beyond reasoning,

      to where metaphor’s meat...

    • INVASION
      INVASION (pp. 45-47)

      Ants in the bathroom.

      With B-movie blather,

      I say how much I care:

      “The Encroachment of the Ants?”

      Maybe. The slow insinuation

      smacks of a James novel.

      Still there they are,

      strung out like seeds

      or chatter on the page.

      A room tiled with habits,

      ornament of interlock and

      fissure. In our home

      shutting the door is

      a tendency, but at times

      deliberate. And now

      we close ourselves in

      with their slow

      progress. They will leave.

      What’s here but

      a meal of suds or toothpaste

      mint? All the good shit’s

      whisked away....

    • “BODYWORKS”
      “BODYWORKS” (pp. 48-48)

      “Now touch with the toe!” At first I prod,

      The way you’d check a corpse for signs of life. But

      My foot catches the beat. The touch

      Goes short and sharp, for seven more, six more ...

      This afternoon, I’ve kept my appointment with health,

      As marked on the schedule I’ve pinned up.

      I step in and out of squares we’re asked to imagine,

      And we're cutting up the floor, for six more, five more ...

      Legs and elbows tick-tock across the room, arms reaching,

      To get air into that clutching vacuum of a muscle.

      I trip by myself in...

    • EMPTY
      EMPTY (pp. 49-49)

      We set a date to take possession, behind

      the windows someone papered up

      to hide the empty life inside:

      a burlap backdrop never meant

      to face the world alone, a few raw bricks

      reduced to the job some dumb rock could do,

      a line of mismatched nails, dusty logs.

      Enough to make the emptiness complete.

      For months the store repelled each applicant

      with its vacant stare. Even as we sign, there is

      no outward hint of acceptance, or disgust, in its

      Little Orphan Annie eyes. And when it all comes down,

      what of us goes on display? We’ve planned

      a...

    • SOME LATE AFTERNOONS
      SOME LATE AFTERNOONS (pp. 50-51)

      Lying in the room the sun

      Cracks open, we wish

      It could always be so bright,

      In the places where we eat and sleep.

      Last week you whitened this shell,

      Brushed over its creases, “cut in” the windows,

      Turned the pipes into their shadows.

      Your white moves over me, sinks in.

      The sloppy job has trailed a pile

      Of speckled clothes. On your skin

      The mottle of mole and hair

      Turns white as I close my eyes.

      When you are not here and light

      Floods in, moving closer to leaving,

      I remember and ache, floating

      Like a black X off...

    • Back Matter
      Back Matter (pp. 52-52)
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