ISSUE 20: WINTER 2013

The World Is Everything That Is the Case

If I am something


0. Invocation

If I am something

I compose an edifice

Firstly, in this

Instead of working I have

Been reading Wittgenstein’s Tractatus

And laughing my ass off. That I find

It to be the most hilarious thing I’ve

Read in recent memory is surely

Some sort of cosmological-grade

Reaction formation, e.g.

5.63 I am my world. (The microcosm).

Yeah.

The corollary dysfunction to this appended place

Is my lack of structure so I invoke

And hope to be made better by surrendering this shit will

To a circumference

Conjured by my inept I

So you can see

How badly I’d love to be fucked and forget about it just now

Kathy Acker writes about how as a child she

Wanted to be a pirate but not being a stupid child

Knew this couldn’t be

And also something about gender

And I think about how we sell the content of our

So-called selves online and thieve it back as identity

And probably these are the thoughts

Of an idiot

In a biblical parataxis of begetting

I too was a pirate; marauding the genesis

Of my being a fucking lunatic

Here is a list of terms from my memoir:

Walter Benjamin

Crack

Winnie the Pooh

Sault Ste Marie

Virgin Mary

Seascapes

Benson & Hedges

Snowsuit

Duplex

Illegitimate

Hippocampus

Nietzsche

Resilience

Baudrillard

Jack pine

Sudbury

Auster

I want you

All memory is a kind of death

Smiling

And

Every love poem is

A self-portrait of childhood

Really, maybe

Dwight Yoakam in tan leather pants telling me he’s a thousand miles from nowhere

‘There’s no place I wanna be’

 

1. The Appearance of Reality in Itself

A fly on my arm with metallic orange thorax and legs that look too long

There for a moment

I can still feel it when it’s gone

It is real and it is a desert

And I’m there but hypnagogically

Ariana Reine’s book Mercury’s cover is reflective silver

Like its liquid namesake I look back

At myself

The door is a jar

The impulse to recycle myself but it’s never enough

WE CAN DO IT—that we are the same in

Suffering fools gladly?

Synaesthesia means

A is red in my mind and the number 1 is white

These are only facts of my excess qualia

And nothing more

How’s that for solipsism

And in answer yes my heart does harbour a holy whore

All that stuff

Inimical

As the perjured self before the days’ tarry of hooks

And indigenous bits

If but for colour

And so also

2 is red in my mind and the letter I is white

 

2. Neither Nor

The sky opened up onto my stupid face

In the north

I was nineteen and begging for Orion

To relieve me

Of an abject longing for stasis

Marshes sullied

Trenchant pleura

Stuccoed purpose

Beseeched me

In the flagrant errors of any small girl there is

The stuff of fables whether false or guileless

This happened a lot

My mother combing through trash at the landfill I’m twelve

And there were ravens and black bears and an air of death

I sat in the back of the flatbed truck knees to my chest

Reciting ‘Tomorrow and Tomorrow and Tomorrow …’

From the entrance the gatekeeper smiled without teeth

And winked at me

Fatherless for six years that second winter

In the welfare duplex when the oil heat ran out

I’m seven and then it is twenty years later

I sit in the innocuous green of late summer what use am I

I am the one who is unfolding in full view

For no one

In particular

I rested one foot on the curb, the other

On the roof of the world’s mouth

Than myself

This is

Too large

High beams along the dividing line of the highway

So I take my galvanic bath outdoors

To complicate any transmutable or derelict vowel

If even your forests abandon the crucible of self

And grow weary into a climax of fur

And Manitouwadge, Manitoba, Manitoulin in situ

And it is neither I nor the white of it or you

Who are yellow and black and gold

Orion

I guess

We all should have been born on a Tuesday

 

3. Careless

One night I dreamt a man cut

Off his foreskin and threw it at me

And then he cut off his testicles and threw them at me.

Gathering them up I said, “uh, should we go to the hospital?”

“No,” he said, indignant. “You’ll have to live with this.

For I have made my covenant with loss.”

There is all that I do not hold in a percept

There is no part I do not give away

There is no holding out for love

Take the ditch

Suddenly the entire

ness

Invented judgement


Timid enclaves

I am your champion

This is after all our inverted stronghold of need

Let it taste you


Is it really necessary for me to say anything what is it necessary for me to say

I don’t know anything I have no referent give it up that largesse all that stuff


In the after of

How can I subsume my design?

I can I do not I who cannot subsume my design?

All creatures here sing or reek of subjectivity

It is the marrow of the shift

It is the marrow of the shift of how the present is never truncated enough for taste

I do not apologize I do not reflect

Only signify with each tenant toward the mammal’s being a percept

If only

The knapsack forsaken the antacid left astray

I can’t carry it all

Singularly

As I repurpose several ungodly stomachs for cud which is to say

Intention

The counteraction is my splendid tile work

The orator unspools from each tendon some ghastly new

We have it in the bag of civilized content

We are in a season a season surrounds us the season is the dominant narrative I had

A dream to this effect

I place my foot in the frame of a vehicle

I place my foot into the frame of a vehicle in motion and become predisposed to loving

Whatever really couldn’t

Care less

About the author

Liz Howard’s debut collection Infinite Citizen of the Shaking Tent won the 2016 Griffin Poetry Prize, was shortlisted for the 2015 Governor General’s Award for poetry, and was named a Globe and Mail top 100 book. A National Magazine Award finalist, her recent work has appeared in Canadian Art, The Fiddlehead, Poetry, The Walrus, and Best Canadian Poetry. Howard received an Honours Bachelor of Science with High Distinction from the University of Toronto and an MFA in Creative Writing from the University of Guelph. She served as the 2018–19 Distinguished Canadian Writer in Residence at the University of Calgary, and has completed creative writing and Indigenous arts residencies at UBC Kelowna, Douglas College, and Sheridan College. Howard is of mixed settler and Anishinaabe heritage. Born and raised on Treaty 9 territory in northern Ontario, she currently lives in Toronto.