Lost
When you get back to the campgrounds,
you’ll have a hot shower and cook
some rotini with canned mushroom sauce,
sprinkled generously with pepper.
And on the way to Nipigon tomorrow, you’ll
sip earth-black coffee and listen to the conclusion
of Smilla’s Sense of Snow, on tape.
You try this line of reasoning,
but the trail takes you with its logic:
a phantom limb, the wet spreading blindly
through your clothes, grazing the skin: the memory
of fire, and trees upended like torn dresses,
the stutter of branches, the strangle of vines:
before you know it, you’ve been caught
in a drowning of such faith, that when it ends
at the edge of a lake, a small part of you, a candle
in bone, is sure that this is where you
ought to be. Of course, it is only a mirror
at the end of a dark hallway, a glimmer
of false dawn: dinner tonight, Nipigon tomorrow
are the itch in your throat now; and the hunting lodge
half-eaten by moss and the fire-tower scorched
by rust are barely biblical, little hands that point.
But the long heavy growl, the glyphic movement
in the undergrowth is your revelation, a language
of tongues broken by its own harshness, the scrawl
of the infinite, scratched in the leaves.
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ReplyDeleteNipigon is a rural community north of Thunder Bay, Ontario, that attracts fishermen and other outdoorsmen. Perhaps it is relevant that the Nipigon River Bridge is the narrowest transportation bottleneck in Canada, in the same way that the poem itself describes a sort of emotional bottleneck. And of course, in Tina Nunnally's translation of Peter Høeg's Danish thriller, SMILLA'S SENSE OF SNOW, the bi-cultural heroine's investigation into the mysterious death of an Inuit boy is actually a plot device for exploring the nature of relationships between individuals and societies...
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