colour

Meet our new Managing Editor

Hi Word and Colour readers,

I’m Caitrin Pilkington, and I’m Word and Colour’s new Managing Editor. That means I’ll be working on staffing, administration and marketing. I’m very much looking forward to getting started.

I’m a writer and editor working in Toronto — you can find my work in VICE, THIS
Magazine, the National Post and Halifax Magazine. I’ve previously worked with the
Ecology Action Centre in Nova Scotia and Banff Heritage Tourism to tackle things like marketing and membership.

I’m so excited to be working with such talented people — Editor in Chief Nailah King and former Managing Editor and founder Liam Lachance have been so welcoming and have so many good ideas for the future of this publication.

I was first drawn to this position by the core values of this publication, and I care deeply about upholding them. I’m passionate about promoting writers whose voices are so often not included in the literary world, especially IBPOC, LGBTQQIP2SAA, disabled and non-binary writers.

Over the next few months, we’ll be working on developing a new quarterly format for the magazine and other exciting developments. We look forward to receiving your work and sharing more written talent and artwork in the very near future.

You can always get in touch with me at managingeditor@wordandcolour.com.

 

“Madonna” – Tristen Sutherland

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My Madonna stands ten feet tall. She has a certain swing in her hips, wry smile on her lips.

I can tell she knows something. But I don’t let on. I prefer to watch her go about her day, arranging flowers on the table, setting the vase this or that way.

My Madonna is no prude, she makes risqué jokes and sunbathes in the nude.

I want to tell her something, but I can’t find the words to speak,

So, I let her go on talking, maybe I’ll let her know – maybe I’m too weak.

My Madonna loves dancing, she takes me to wild soirees, we dance with many people,

We always end up parting ways. People like to watch her dancing, there is power in her sway.

I bite my tongue and avert my eyes, I’ll see her the next day.

My Madonna sometimes cries, she conceals red eyes with misplaced humour and a weak smile, I comfort her holding her in my arms, she holds me close, disappearing into sobs.

She whispers secrets in my ears, about her lovers and her sadness, I suppose I’m her mere–

My Madonna looks at me with stern eyes when I tell her. She is upset, curses, this is always happening to her.

I try to take it back, but she says she always knew it, she calls me “twisted and sick.”

I don’t see her after that.

My Madonna is not my Madonna, she isn’t anyone’s to keep. She’s a person, not a deity. This, I am embarrassed to say, I didn’t see.

I regret my confession. All she wanted was a friend in me.

I sometimes think of not-Madonna when I sit by the water, where we used to bathe in the sun.

I think of what I words I would say to her now.

I look off into the cotton candy water and ponder.

Still, I think of none.

these words by Tristen Sutherland were inspired by the work of Lisa Vanin

“Fondness” – Samantha Lapierre

blue ghost

I am trying my best.
When I need to, I hide in the depths of blankets and in deep thoughts of living in a forest with you in a small wood house.
You are doing your best too, I see it.
Making coffee in the early hours, feeding the cat her food, huddling with me in the cold as we wait for a parade.
We’ve remained soft around our edges, we’ve let light and colour in our home. I feel found, I’ve found more comfort in that forest. We’ve grown older and fonder.
Remember when we said hello?

these words by Samantha Lapierre were inspired by the work of Sophia Moore

The views expressed in the texts do not necessarily represent the views of the artist.

“Red Night, Black Night” – Martha Batiz

the red coat_szente-szabo akos

The last thing I saw — Mother, torch in hand, racing back home at the skirts of the volcano.

The sky was dark and grey—an impenetrable shade of grey, darker than night yet cruel enough to let you see as if through a veil, fight for breath, scampering for your life.

I watched her leave me. Begged her to stop, to run away with me. The gods had made the earth tremble. Made the volcano spit out its burning-hot entrails. We’d been trained to read the signals in the sky and below our feet; we’d been taught to fear the gods’ wrath—to be ready.

Nothing prepared us for what happened.

It had all started many moons before, I was a child, yet I remember. When they arrived—foreigners with tall, four-legged beasts, wearing clothes stronger than obsidian knives and bones—we took them in. We admired their skin, rosy as a seashell, their hair like threads of gold, and the weapons they called “swords,” which we had never seen before.

You cannot carve anything that long out of stone.

We thought they’d been sent by the Feathered Snake, Quetzalcóatl, our long-lost god who promised to return bringing blessings.

We were wrong.

They brought sickness and pain; the urge to take away, to dispossess. Forced us to give up our land, our freedom, and our beliefs.

It was too late when we discovered they were not gods, because our gods had appreciated the gift of fresh beating hearts. Our gods had given us rain and sunshine; crops grew and we were satisfied. But, those creatures had skin that blistered up and turned red and vulnerable under our sun; they pushed us to the ground, took our bodies, and then despised us; they were thieves who dug holes in our land and took everything precious, offering nothing in return.

So, it was time for war. Our men fought while we danced. And we prayed for forgiveness, for we had been forced to betray everything we had been, everything we had believed in. Then, our rivers turned red, and so did the sky.

We were not absolved.

Smoke opened an endless night as the earth trembled. As I saw her leave me, torch in hand. Me and my red dress—made in advance to mark our victory—were left alone. Alone, and drowning in the dust of loss.

these words by Martha Batiz were inspired by the work of Akos Szente-Szabó

Meet our new editor!

 

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Dear Word and Colour readers,

My name is Nailah King and I’m Word and Colour’s new Editor in Chief.

Firstly, I want to say how honoured I am to take on this position and be a part of this team. To be able to work with such a talented team is exciting and invigorating. I want to thank Liam (Managing Editor) and Leah (Outgoing Editor in Chief) for allowing me be to be a part of the beautiful community that’s been built here.

For those who don’t know me, I’m a Toronto-based writer and my work focuses on social justice and explores racism, discrimination, identity and my Caribbean heritage. I have been a member of Room’s growing collective since 2011 and in 2016 I served as Co-editor for the first Women of Colour issue.

Having been a past contributor to this magazine, what I love about it is its commitment to centring stories about anti-oppression. I’ll be working together with the existing team to make the content on the website more accessible and help continue to grow our readership.

I want to hear your stories whether they’re poetry or fiction. To continue to make the conversations around anti-oppression inclusive and intersectional, I encourage underrepresented writers (including IBPOC, LGBTQQIP2SAA, disabled, women and non binary writers), to get in touch and submit your work to us. Email me at editor@wordandcolour.com.

I look forward to working with all of you in the future.

Nailah

Read Nailah’s past prose at the journal

“The Best Lover” – Charlotte Joyce Kidd

Twin_Blouse

I think the best lover would be really scared of dying. They would come home early every night. They would never bike in a busy city, never drive at all. They would never jaywalk. They would never do drugs—maybe pot once in a while but only on a couch, between four walls, when they’d checked the forecast and there was no chance of natural disaster. They wouldn’t drink too much, make enemies, ever go off their anti-depressants. Even when they stopped being mine, I wouldn’t have to worry. There would be no chance of disappearing endings, of being left holding feelings severed at one end.

I think the best lover would want to spend all their time with me. They wouldn’t be able to imagine anything else they’d rather be doing. They’d hold my hand while they went to the toilet. We’d reuse the toothpaste foam. When we’d walk in public, they’d tangle their fingers in my hair, palms not enough, scalp warmer, closer to bone, closer to brain. They’d cancel their Saturday nights, make every hour 8 a.m. Sunday, when together is unthinking. They’d sit behind me in my classes. They’d finish my sentences in therapy. They would text me once an hour just to tell me a joke.

I think the best lover would have a million lives, so that each time they fell out of love with me they could be reborn. They would walk in the door of the night they first met me, look around. They would come up and say hi, knowing nothing yet.

 

these words by Charlotte Joyce Kidd were inspired by the work of Miza Coplin

“Les fauves” – Jenna Jarvis

matisse_girls2

 

in 2014 sally hansen replaced its beloved pacific blue with a shimmery doppelgänger
of the original to the consternation of nail polish fans on instagram and makeupalley

that year a girl said jewel tones
couldn’t be smoky like
queer uniform wasn’t an oxymoron

a devoted winter i wore cobalt
wondered why women trusted
beauty guides insisting

via goethe that most people
of colour are winters but transitional
seasons get fucked anyway

now i’m supposed to choose a name
in chinese like it’s middle school
whether in language class

or on a forum roleplay
remember habbo hotel giggling
a room of 13-year-olds pretending

they’re just one & a little older
a dyadic encounter

when cyber meant tweens’
incumbent nomenclature

in 2004 burger king launched subservientchicken.com an early viral marketing campaign
featuring text commands hyperlinking to clips of a person in garters and a chicken suit

obviously we typed in sex
got a wagging finger not thrills
later summer basement laughter

stifled unlike the spread
thigh under that first skirt
black & baby-goth despite august

truth is the only
frying we did was vocal

 

these words by Jenna Jarvis were inspired by the work of Miza Coplin

“Checkmate” – Manahil Bandukwala

centaurette

You enter a room with a checkered floor, a chessboard sprawling outwards. Your side is just you; on the other is a jester, a devil and a centaurette with a gun. You have no weapons. You don’t know the rules. The game is stacked against you before it begins.

White starts. The jester advances forward five spaces.

Black’s turn. You feel behind you for the doorway you entered through, but it’s not there. The only way to move is forward. You brace yourself to run, and smack against air. Staggering back, you find yourself a space ahead of where you were. Only one square at a time for you. A bruise starts to form on your cheek.

White. The devil moves to stand on your left side, brushing your leg with its pointed tail.

Black. You take a step forward and the devil moves with you but doesn’t touch you. There is a window across the room, your only way out. You count the number of steps to the mountains outside. Three. If you survive even one more step forward, it’ll be a miracle.

White. The centaurette cocks her gun and shoots. The bullet flies between your legs and goes cleanly through the wall behind. She gallops forward and stops two squares in front of you, right in front of the window. Her smile teases you to come forward and take her crown; she knows all the rules to the game and you’ve only figured out one.

Black. You stick to your plan. One square forward—the devil moves too. The jester dances around outside confines of boxes.

White. Nothing. They’re waiting.

Black. The window is almost there, but the centaurette sits spread across the tiles.

White. A shadow belonging to no one flits across the wall. Everyone jumps in surprise, including the centaurette. The square in front of you is empty.

Black. You leap forward and jump out the window, falling past storeys until you hit the ground. Glass rains over you, cutting into your skin. You hear a faraway giggle echo through the trees. You are a lump of flesh lying in a bush on a riverbank. The river snakes through the landscape, washing your blood away.

 

these words by Manahil Bandukwala were inspired by the work of Miza Coplin

“I’ve got to make it show” – Jeff Blackman

Holy_Hell_WebV

The place we were reared in was a safe place
but we spoke hard words. We ached for war.
As for me: I was baser than that—I claimed a cause.
A teen brushing their mouth
of consensus, awe and doubt.

We place demands in our prayers
as if we place ourselves in G-d’s path.

Off rhyme of my joy and FML.
An off rhyme—that’s all.

Our rubbish mounts within a big frame
we colour key to pride and shame.
We fasten to the architecture
like a file that’s been saved.
We’re sure that we’re saved.

Our heaven may be a small heaven
but come now—the gate’s ajar.

In time you forget you’re faking it.
Resign. Be calm.

 

Miza Coplin‘s Holy Hell inspired Jeff Blackman‘s rough parody of Randy Newman’s adaptation of Peter Gabriel’s “Big Time”

“Spread” – Sarah Christina Brown

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This is a found prose poem – all lines are dialogue spoken by women in porn films.

I would never describe myself as a bad girl. I’m eager to please. I’m too tight. I’m too tired. I’m eighteen. I’ve never even had a massage before. It’s my first time. It’s the last time. It’s the only time I can do something like this. This is my first real job. This is what I’m here for. What are you doing with that camera again? Do you want to fuck me? Do you want to stretch me open? Does your wife suck your cock like this? Did you drink all the fucking orange juice? If you hire me, I’ll make sure my pussy’s spread open right here every lunch break. But I’m your stepmom. But you’re my boss. But you’re my best friend. But I’m the goddess of big dick, I don’t want any more grapes. I want a full-time position. I want you answering my calls from now on. A girl like me plans to get behind the camera someday. A girl like you could learn a few things from my tongue. We girls have to stick together, you know. I tell men they’re going to think about me the rest of their lives. I told you, it’s Titty Tuesday. Don’t you want to touch me? Can you finish me off? Shut up, Gerard, you know I deserve this. Don’t be shy. I’m coming. She’s coming. Give me my happy ending. Give it to me. Give it to me.

 

these words by Sarah Christina Brown were inspired by the work of Miza Coplin

 

 

“Screams in an empty place” – Jerry Corvil

nicolas sanchez-Lineage_JPG1

Alone in my room, my thoughts are dark
I live in a place where they hate me because my skin is dark.
Whoever says “smile and your misery will be history”
Is lying; the harder I smile the stronger it’s hurting me.

Knees to my chest, my soul crushing into pieces,
Sinking into darkness, happiness is all my heart misses.
Should I even write this; am I ever going to feel better?
I have long been digging from within, looking for a treasure.

Maybe I am not worth anything; should I even keep fighting?
All those thoughts and demons inside of my head.
I call for help, and no one hears me except those monsters under my bed.
I’m asking, to whoever can answer me, how can I survive when my mind is fading?

Those paintings inspire me, tell me there’s still beauty all around me.
I might be sick, who knows? I can only write when life’s hurting me.
Is it ironic to say that the only one who’s always been there for me is loneliness?
I have lived most of my life, lost, scared and confused; I feel better when I’m depressed.

This is what my mind is constantly repeating to itself.
It’s like one side is trying to find solutions, while the other’s killing itself.
I am not asking for much, only need somebody’s presence.
I’m tired of screaming, sitting in this blue room hearing only the echoes of silence.

 

these words by Jerry Corvil were inspired by the work of Nicolas V. Sanchez

 

 

“Pawns” – Stephan Enasni Sunz

nicolas sanchez-Extraction_JPG

It all began as a game of chess;
history always repeats itself.
We were all hoping for the same mess to be gone.
It’s no mystery that we are being tamed and depressed,
obsessed with the disbeliefs of becoming kings and queens.

Yet reality is so keen on having other plans for us to string together.
As seen before, we are another set of oppressed pawns
stuck with the beliefs of hearing a lord’s call.
Words are left unspoken as we have lost our will to sing;
vocal cords are suppressed as the hours continue to crawl.
This world is the rich man’s board,
with the poor men drawn and stressed against their choices.

Even after falling down the herd’s still willing to take back their voices,
to fill up the void caused by the reign’s vices,
as they believe it’ll only bring hope to the birds with broken wings.

 

these words by Stephan Enasni Sunz were inspired by the work of Nicolas V. Sanchez

 

“White Dresses” – Ruth Daniell

nicolas sanchez-Birthright_jpg

At the open house held the day after the wedding
you did not recognize the bride until you asked

and your mother pointed her out to you.
Surrounded by wrapped gifts and ribbons,

she was wearing an elegant pant suit appropriate
for a garden party, but you were unimpressed:

you remembered the white gown of the day before,
the tiny pearlescent beads sewn all over its bodice

and the flowing skirts, the way the music swelled
around the fabric as she danced with her groom

and it made you understand something big
and important was happening to the bride

and you thought it must have something to do with
the fact she was beautiful. If I had a dress that pretty,

you said with all the wisdom of your five years,
I would wear it every day. Your mother laughed

and the anecdote became famous in the family
as you grew up. Truth is, you still feel this way,

sometimes. Your own white dress is sheathed
in plastic at the back of your closet and you worry

you will never again be as beautiful as you were that one day
you wore it. You worry it is important to be beautiful,

that there are so few ways for you to be seen in this world
because you were a girl and now you are a woman.

these words by Ruth Daniell were inspired by the work of Nicolas V. Sanchez

“storytelling” – jesslyn delia smith

nicolas sanchez-Displace_JPG

i could not see it
before needing a mother,

again,

someone to reframe
a past

no one else
will remember —

there will be days where
you fear your reflection

in that aisle
where they keep frozen food

a parade
will pass
by

they will
all have his face

you will learn how to fold
your body in half

like a woman

let everything
roll down the strands
of your hair

your legs will not hold you
but you will

not need
them by then

these words by jesslyn delia smith were inspired by the work of Nicolas V. Sanchez

“E Flat” – Ivana Velickovic

OLYMPUS DIGITAL CAMERA

The windshield wipers,
unable to keep up
with the onslaught of rain,
conduct the evening’s nocturne,
making the street
seem so soft.

The lights,
they bleed, dissolve,
delicately struggle to keep the night alive
through the threat of approaching dreams.
But they persist,
twinkling like slight touches
on piano keys.
Each flat note an
intentional drip of the rain.

Filmy logos flash like traffic lights,
except they all feel like
green.
Go, quickly now.
And yet I don’t.

I step out of my car,
leave the door wide open.
The streetlights cheer and brighten
as I walk into
a watercolour dream.

 

these words by Ivana Velickovic were inspired by the work of Lin Bao Ling

Opening: Reading Coordinator

The Reading Coordinator organizes literary readings with Word and Colour authors and similar writers in the Montreal community. They share the work with the Managing Editor and Community Outreach coordinator, organizing readings at least once per season.

Because Word and Colour is a collective of volunteers working under the mission to confront oppression with words inspired by colour, an ideal candidate would benefit from the position for their professional experience, as it is a volunteer role with the rest of our team. Readings

In general, the Reading Coordinator:

  • finds an appropriate venue;
  • arranges audio equipment;
  • works with the graphic design team for posters;
  • works with the social media team for marketing,
  • and works with the Managing Editor to establish a roster of readers.

To apply, contact word@wordandcolour.com by September 15th with a resume and an answer to the question: why do readings matter?

“Starlight” – Nailah King

kyoto nocturne ii_linbaoling

Lena loved to move.

Through space, through life and across lands.

The first thing she ever learned when travelling is that, as you land, the lights dotted along the skyline will take your breath away.

One summer she crept onto roofs in Barcelona waiting for nightfall. Against the purple sky, lights twinkled back at her, the warm air rushing over her, her wine-kissed lips chapped against the sea air.

In movement, she felt free. Each new place cast a spell on her—she walked differently. Sometimes a stride of confidence, sometimes one of fear.

Her mother often asked her: “When are you going to settle down? When will your heart be still?”

She couldn’t answer.

Her mind was often so cluttered. A voice would whisper darkness into her ear. When she couldn’t move, she woke up, either alone or with a lover, in despair.

Many nights she’d walk along the train tracks behind her childhood home, wondering if she’d be hit and if she’d be grateful. Or, sometimes, she wondered if she could run fast enough to hop onto the train and ride it to places unknown.

Bright lights were a beacon of hope; new experiences and people.

On sleepless nights, she curled up by the window waiting for sunlight. Her body marked by tiny incisions from the past, she thought about each scar—a map of the past. She wondered why there weren’t passports for sorrow. To mark the ebb and flow of sadness and joy, destruction and rebuilding, regression and growth.

Once, when she was in the hospital, she booked a flight on her phone.

The nurse screamed at Lena but it didn’t really matter. The nurse’s words sounded warped, gargled even, the onslaught of disappointment and disbelief drifted over her. All she could hear was the sound of the ocean. She closed her eyes.

She heard the blaring sound of the train horn and raced along the tracks, dawn rising behind her.

 

these words by Nailah King were inspired by the work of Lin Bao Ling

“Tickets and Rides” – Josh Elyea

nocturne with ferris wheel_linbaoling

The neon from the carnival lights, bright against the black sky, hurts my eyes when I stare at it for too long. It’s hard to tell where the light ends and the black begins; no matter how hard I try to hone in on the exact place where they meet, the edge never reveals itself. Sometimes our love is like that, too; even when I want to, I can never really find where the good bits stop and the bad bits start.

It feels as though something horrible is about to happen; the air is heavy, laden, just as it is before the breaking of a storm. I like storms. I remember fondly those moments when I would sit, as a child, on the porch swing with my mother and we’d watch the thunder clouds roll in across the fields. With the defiance found only in youth, I’d scream back towards the lightning with all the breath in my lungs, as my mother shook her head.

You have to whisper to the thunder, she’d say. That’s the only way it can hear you.

My wife looks like my mother, a little.

 The heavy air feels hot on my skin, and I worry my hands are too clammy to reach out and grasp the woman next to me. I do it anyway. As I do, I say that ferris wheels aren’t supposed to move this fast, my darling. They aren’t supposed to fly.

Cotton candy flavored kisses, corny lines like you complete me, cocaine drips and my corduroys rubbing together with that shhhk, shhhk. The drugs were her idea, I swear. Something about shaking the monotony of Saturday night rituals, of having a suburban crisis of faith.  

Stopped at the top, I stare deep into the sky. It’s moving, like a Rorschach without the white. Pulsing, and at the very edges of my eyes, from below, the neon creeps into view. Who knew a glimpse into the abyss could be bought with a single carnival ticket. Here I thought it would cost me a white picket fence.

 

these words by Josh Elyea were inspired by the work of Lin Bao Ling

“And I Inhale Again” – Nahomi Amberber

Babe-in-the-Woods---Selina-Vesely-(2015)

I lay myself down in between you
And us
And inhale.
You do not smell like home
Like they said you would.
You smell like old pine trees and the mud they root themselves in,
And I inhale again.
I begin to weep and you ask me why;
“You smell like land unconquered,” I say.
“You smell like a dream.”

these words by Nahomi Amberber were inspired by the work of Selina Vesely

“Beige” – Jo-Ann Zhou

Icy-Void---Selina-Vesely-(2017)

The oddest thing about this new land was the blandness of things constructed by people. She remarked on her first day that all the houses were more or less the same colour. They were brown or grey, or varying combinations of brown and grey. Occasionally a house would have a colourful door. She learnt about a third colour, beige, that described most of the houses in her new land, and she decided it was also the best way to describe the food.

All the food was varying shades of brown and beige. Potato. Bread. Noodles. Meat. Repeat. All brown or beige. Sometimes there were splashes of red for things that were supposed to taste like tomatoes, like this sweet concoction ketchup, but it really didn’t taste like tomatoes at all. Apparently there were colourful foods in this new land too but someone told her that not everyone could afford them.

By far the best thing about this new land were the colours in the trees and on the ground. In summer, there were so many shades of green. It seemed almost a shame that there was just one word—green—to describe all of these magnificent colours, as if a mere word could capture the magic of this land of forests. Back home, all the trees and bushes were the same dull matte green covered by a thick film of grime. In retrospect, maybe her old land was best described by that new word, beige, when it came to the flora.

She was pleasantly surprised by the explosion of oranges, reds, yellows and purples that came in autumn, another new word, and was amazed by the new textures of the leaves which crunched beneath her feet. When winter came, the newest word of all, the white was blindingly beautiful; she wanted to touch it all the time, except that it was cold and afterwards her hands would turn red.

The white stayed for a very long time, much longer than the greens, the oranges and the yellows. She could tell her parents were getting impatient with the white and browns. How dull this was, especially next to the brown houses and the brown food, they complained. They missed the colourful houses, the colourful foods. They missed seeing plants all year round, even if they were dull matte green and covered in grime. Sometimes they were so sad they would cry, or yell at each other, or call family back home to cry and yell. She thought about how happy they had been when they first arrived, when the colours were there to welcome them.  She was certain that there were still colours out in the woods, and she decided to go collect some to make her parents happy again.

Down the road from her new brown-and-beige house was a little pond covered with a thin layer of grey-white ice. The ice, which had previously been solid white-blue, had begun to turn into lacey webs, peeking through to still dark grey water. She peered over the side of the pond and spied some reds and oranges. The leaves from autumn! They were still there, in the dark grey water, just beyond the thin white ice. How lovely it would be to rescue the trapped colourful leaves from their cold wet prison, and bring them home to make her parents happy again. She would dry them off and make a bouquet, she decided. Slowly, she shifted herself down, sliding her purple boots onto the grey-white ice, over to the edge of the dark grey water, when she heard a CRACK beneath her feet.

The local newspaper tweeted the next morning: “Illegal immigrant, aged 6, dead in Greenpoint Pond.”  The comments read: “serves them right anyway, they get what they deserve,” “now deport her family before they get on our EI.”

 

these words by Jo-Ann Zhou were inspired by the work of Selina Vesely

 

From the author: Aside from the ending, the rest of the piece is actually based entirely off of my own personal experience; even though I was born in Canada, I moved abroad to Peru when I was a baby (thus the inspiration for the “beige” land, since Lima is very dusty) and moved back when I was five years old. So, even though I’m “Canadian” I still feel as though I’ve lived through the “immigrant experience” since I had to learn the language and get used to the new food and customs. I wanted to write a piece that conveyed the mixed emotions of arriving in a new country: the excitement of discovering new things  but also missing certain things from home. As a kid, that also meant watching my parents work through those emotions too, which I partially conveyed here. The jarring ending is a second commentary on my experience as a “kind of immigrant”; most of the time I love living in Canada and have a great sense of wonder and respect for it, but this is occasionally jolted by rude comments from strangers who don’t think that immigrants belong. The juxtaposition is meant to show the reader how jarring these comments can be, as they often come totally unprovoked and with no context.

“Passage” – Jess Goldson

Icy-Melt---Selina-Vesely-(2017)

The young woman clothes herself in fall colours year-round. Something about being surrounded by hues emblematic of death gives her a sense of peace. Enrobed in maroon, and burnt oranges and umbers, she feels a crispness in her step, a frail assuredness. As she treads through autumn, flattening the leaves, she, too, finds herself bent backward. Snowflakes descend, stifling the last breaths of crunching leaves — disembodied trees. Sheets of ice overwhelm battered leaves, soothing and preserving their bruised tissues. Although she anticipates destruction, winter heals her.

 

these words by Jess Goldson were inspired by the work of Selina Vesely

 

New poetry from Oumy Dembele, “MEIOSIS”

evelyn bencicova_druhe3

“Home is not where you live but where they understand you.”

-Christian Morgenstern

So
apparently
in Europe I’m too African
in Africa I’m too European
and in Canada I’m too French
I’m done.

How many years
have I lost
in a camouflage?
Trying to eclipse one side of myself
just to be told
that the other one is wrong?

I’m so stupid.
Self-love? Ruined.
Self-esteem? I’d like to see that.
You. Words. Irony. Jokes. Silences. Looks. Because.I.don’t.belong

It’s like seeking affection and never finding open arms, reaching out to your mum’s hand and
never grabbing it, wandering around the world, homeless, rejected by your own kind
Every-fucking-where.

With multiplying comes the division. It’s nature. Maybe that’s how things are supposed to be.
Maybe my home doesn’t exist.
Maybe my will is unrealistic.
Maybe my hope is a camouflage too.
To hide the ugly truth.

these words by Oumy Dembele were paired with the colour of Evelyn Bencicova

“Healing” – Shagufe Hossain

Chelsea Rushton_In Which God is a Woman, part ii 300 dpi

It is not the same, the rain here and the rain there. Even though the sky is heavy with untold secrets the same way. Even though when the clouds breathe, they breathe tears. Even though it falls, as it does everywhere. It is not the same. I suppose it can never be the same in any two places. But it takes a while to know the difference.

People are people and places are places. But the earth breathes differently when water touches it, depending on where it is. Sometimes, touches make it shiver and shrivel away. Or don’t make it any more or any less than it is. And sometimes, touches make it come alive. You can tell how the water makes the earth feel from the way it smells.

It is the same with people. You can tell how touches make one feel from the way they smell. There is either the distinct fragrance of desire or the distinct odour of disdain. Or sometimes the distinct scentlessness of indifference that makes your feel like you have anosmia.

That is the worst of the lot. No stench. No perfume. Just scentlessness.
But it takes a while to know the difference. Nonetheless, it falls. Everywhere.

And sometimes, as it falls, it stirs a storm.

There is a storm in you and there is a storm in me.
You have blizzards that are icy. Cold. They stir broken pieces of glass that cut through the heart, leaving you wounded.

My storms are warm. They stir something soft. Clouds that melt, pour water. Heal.

Your blizzard is what you seek refuge from. Sometimes. My storm is what you seek refuge in. Sometimes.

I don’t know if your storm reflects my soul or your soul is reflected in mine. But there is a storm in you and there is a storm in me. And I hoped, maybe, if you saw the storm in me and I saw the storm in you, we would know some calm in each other. That is why I offered you my storm. So you would find some solace in mine and I would find mine in you. So none of us would have to hide. And both of us, maybe, would begin to heal.

 

these words by Shagufe Hossain were inspired by the work of Chelsea Rushton

“Caged” – Francine Cunningham

Chelsea Rushton_Vesper xiii 300 dpi

we’ve never seen the sunset,
just the reflection of it
on the mountains
our windows face

we could drive to the other side of the island,
i guess
we’ve talked about it
packing a picnic
blanket
all of it
but we’ve never done it

tonight, we sit on the patio
bathed in the noise of buzzing mosquitoes
loud and piercing when too close to the ear
the smell of citronella not helping,
it never does

the light fades on the mountain side
pink
gold
light and then dark green

when twilight envelopes us
we rise on stiff legs
hobble to the bedroom
silently undress
i don’t know anymore in which emotion we look at each others bodies
indifference, boredom,
maybe even hatred
sliding under stiff sheets offers
reprieve
and in the darkness our dreams take hold,

what wondrous things they are

 

these words by Francine Cunningham were inspired by the work of Chelsea Rushton

“Vancouver to Edmonton, 2017” – Erika Thorkelson

Chelsea Rushton_The Heart's Prayer

We’re driving back to the prairies for your niece’s wedding. Hottest day of the year and the truck’s AC is broken. The mountains are blue ghosts under a gauzy sky. On the radio, the news is bad. Riots in Venezuela, squabbling world leaders, white supremacists. Everyone wants more than they have, even if they already have everything. The air tastes like wildfires and cow manure.

My horoscope says to stay positive, but I don’t buy it. You say you have a headache and my brain sidles into worst-case scenarios—a stroke, a tumour, viral meningitis. To cheer you up, I sing show tunes, but I only know the chorus to “Good Morning” from Singin’ in the Rain.

I’m supposed to be navigating, but I never speak up in time and you never listen. I tell you to take the next exit, but you keep going straight. We have to cross a bridge and do a U-turn to get back on track. A couple hours later, after lukewarm sandwiches under anemic shade trees in Merritt, I ask you to pull over so I can get my bearings, but you’re already turning. Now we’re flying toward Peachland instead of Kamloops.

Peachland. Again!

I tell you to turn around the next chance we get, but the map says we’re locked on the wrong highway for at least 20 minutes. Voluptuous hills with sun-bleached grass rise and fall on either side, offering no shade. The air in the truck gets heavy. It’s pressing on my lungs, my jaw, my shoulders. We sweat in silence, waiting for the other to talk, waiting for the other to apologize.

My horoscope says to stay positive, but I’m with the stoics on this one. Our strength shows not in good times, but in bad. That’s when we learn our hearts are not petals in the wind.

Where we’re going, there will be a beautiful wedding for a young woman who’s already seen more than her fair share of grief. There will be a family who drinks a little too much but only argues over the rules for crokinole. Your dad will be doing okay since he came off chemo and got a better hearing aid. He will hear your voice for the first time in years. It will all be fine, but I don’t know that yet. I’d rather not take any chances.

I swallow and speak first, knowing it’s the best way past this. We’ve been on this road before, I realize; we’ll travel it again. We get better at it every time.

 

these words by Erika Thorkelson were inspired by the work of Chelsea Rushton

“Summer 2017” – Alex Leslie

Chelsea Rushton_it is supposed to be raining 300 dpi

The fire puts a hand into the earth puts down roots spreads underground interpsychic hillsides blooming all at once. As a child I watched planes open their stomachs make room scoop water from mountain lakes and limp across the sky rescue plans fleeing to the smoke several islands always I wondered, my mind reddening, where they were going

Here they are circling the death of seasons like buzzards around a house holding out for peace. Shadow images of horses running yellow running orange into the camera an RCMP officer with Caution tape looped around a donkey’s neck, uniform and fur burned together they float into the sky together perched in the belly of crisis the donkey swims through the murky heat tree sap boils in veins I watch the sky for planes water on its way

The shore is the only place without an evacuation order unless the ocean rebels. We are trapped between two extremes now, blue above black below. Overcast or clouds refugee smoke cover can’t tell the difference between migration and evacuation. My yard on the coast is full of birds screaming for sugar and wet. The sky is thick with endings none of them prescriptions for rain. Those planes when I was child always knew where they were going, they aimed for one hot spot on the horizon, rash in a green mountainside, when fire was fire not

Rhythm, the newscaster recites, the fire could leap, with no elaboration on this process and how it occurs. The way a fear travels from one mind to another. The way, when you look at me, I have instant recall of our history of eye contact. The fire lives most of its life in the air. Red hand plunged into the earth. Above, imaginary pastel world, drifting castle of rivers and trees, ignite like a stick of dynamite on a raft in the current. Just push off into the slipstream rage and watch it ride.

Here is the fire jumping and here is the mountain wobbling in the oven. Here is the blood-brown band between earth and now. The sky blistering in the background. The fire could leap at any time, the news anchor repeats. Where? Oxygen is unlimited travel. Breath dancing out there in the waves, soaring among the tidal pools of the ashen coast, skipping rocks through the windows of bedrooms

 

these words by Alex Leslie were inspired by the work of Chelsea Rushton

 

“Sammie, Cindy, Hen” – Natalie Morrill

EB_NEHERA_0621

You said you couldn’t remember the time we almost ran away. Do you really not remember? It’s funny how I assume you must. You were about six, I think, and Hen made me think we were going to do it. It was while we still all shared a room. Do you remember that?

There wasn’t much to run away from, you’ll probably say. Our bedroom was pink and musty. We had a dresser drawer full of magazine clippings, mainly boy band members, and also some prayer cards with the pope’s face that one of us had probably stuffed in there while cleaning up. Hen had the wide bunk under mine, and I could slip down the ladder at night and lie spooned with her there if I didn’t wake her. Sometimes I’d find you with her already. I wonder if you remember that.

Your hair was very red back then. I was jealous of you for it and mean about it. You and I were the young ones, to my chagrin, but we pretended a lot together. Whenever Hen pretended with us, the game would become wonderful.

“We are in Arabia,” she told us once, as we made our slow ascent of the staircase, which was a sand dune that day. “We’re riding dromedaries.” I thought it was an animal she’d made up. I imagined something like a Chinese dragon. When my dromedary started to fly Hen said only, “He hasn’t had a drink in days, remember. Don’t let him wear himself out.” So I had him land and plod obediently behind her. It took us three hours to get up that dune.

You were sometimes a little behind in the games. I know we’d take that out on you. You wanted to know the rules but the rules kept changing. Sometimes I changed them on purpose to make you feel small. Sometimes Hen got sick of our smallness and left the game without warning, leaving me bewildered. I’d be cruel to you then, I think.

But I thought I always knew when she was pretending.

• • •

What happened was one afternoon I found her curled in her bed with her face to the wall. I lay down beside her and pressed a hand into her back. She sniffed hard and I understood she’d been crying. It all seemed very real.

She rolled toward me. Her face was very close, her eyes red. She said, “Cindy, we have to run away.”

Now that I write it I realize it was not so simple as I figured afterwards. Then I felt only that I’d failed to understand what was real and what was pretend. It made me feel stupid and little. But I wonder about it now. I think perhaps Mum and Dad had started fighting. Or there may have been something else. I always wondered if there were something else. Maybe you know.

She said, “We have to run away,” and my mouth went dry. I stared at her. I wasn’t altogether opposed to running away, as long as we were running toward something nice, but the seriousness of her face frightened me.

“Where?” I asked.

I don’t think it was the question she’d expected. It’s not the question I’d ask if I could go back and be eight years old again. She swallowed and looked at the ceiling for a minute.

“To the woods,” she said.

This made me feel a bit better. I loved the woods. I liked to imagine living there. The woods were just a block away and we’d built some forts in the bushes already.

I said, “Okay. Tonight?”

“Yes.” She took my hands. “Tonight. Don’t tell anyone.”

“Not even Sammie?”

“We’ll tell Sam. We’ll bring her too. But you can’t tell Mum and Dad. None of your friends.”

I wouldn’t, I promised her. But I was a bit disappointed about bringing you. For a moment it seemed like a wonderful adventure I was going to have with Hen, just the two of us, which was something that never happened anymore.

When I found you I took you to a corner of the den, made you stand right against the wall, and I told you, with hard low words, “We are going to run away.”

I saw you grow frightened, more frightened than I’d been. I thought you might cry and I put a finger under your nose. “Don’t you dare cry, or Hen and I will never speak to you again.”

Everything in me was grim. Everything in you seemed terrified.

“But why?” you asked me.

It was the question I should have asked Hen and I didn’t know the answer. So I said, without thinking, “We’re in serious danger, and everything depends on you being quiet.”

And you were quiet. You watched me all through dinner and hardly ate a thing. Hen stayed up in our room, I think. I don’t remember Mum or Dad saying much at all, but I was stuck in my own head that evening, wondering what would happen next.

Right after we turned the lights off in our bedroom that night, Hen got up and said, “I’ll be in the bathroom.” I watched her disappear, a silhouette cut out of the brightness through our door until it swung shut behind her. I couldn’t remember if this was part of the plan.

“Cindy.” Your voice out of the dark. “What’s happening?”

“Shh.” My heart was thrumming. For reasons I couldn’t guess, I felt sick. I remember thinking faster than I’d ever thought. “We’re supposed to meet her outside.”

“How?”

I said, “We’ll climb out the window.”

It was something I’d often thought about but never done. The trellis reached almost to our window, after all. I got down from my bunk and wrested the sash open.

“You go first, Sammie,” I whispered.

I can’t believe you don’t remember that. I have never felt more outside myself than in that moment. I was pretending as hard as I could, as if believing it fiercely enough could make it real.

Though you were across the room, I could feel somehow your small body tense and shaking in the dark.

“Me?”

“You’re littler. You won’t break the trellis.”

Maybe you forget because it didn’t feel real. For me it didn’t feel real. I was watching a girl tell her sister to climb out the window and wondering what each of them would do.

You came up to the sill beside me. I couldn’t hear you breathing. I put my hand on your back and whispered, “Go, Sammie.”

And you went. Little body out the window like the wind had caught you up in its hands.

I was frozen for a moment, and then I leaned out. “Sam!”

“I’m here,” you said. You were only a voice. “I fell part of the way but I’m okay.”

Which meant, unfathomably, that I had to climb out too. If only that unreal feeling had lasted. Everything was much too real in that moment. But what could I do?

I remember the windowsill rubbing rough against my thighs as I swung my legs out, shaking. The paint must have been flaking off on the outside. I slid down on my stomach, arms stiff as death as I gripped the inside edge of the sill. One of my feet found the trellis and I thought, for a second, that this would be fine. I leaned my weight on it. There came the snap like stepping on a twig in the woods and then I was tumbling through the air.

I landed in a bush. Maybe you’d landed in it first. I remember the moment I realized I was not dead: it was the moment before I realized my ankle was broken.

My screaming brought Mum and Dad out, of course, and Hen. The rest of the night was cars and hospital waiting rooms, delirious cups of hot chocolate sometime around bed at four a.m. In the midst of this, naturally, our parents asked me what had happened, but before I could say anything, Hen told them she’d put us up to it. It was a game, she said. We were pretending to run away. Only she hadn’t realized how seriously her little sisters would take it—she felt sorry, she said, for seeming dishonest. She would be more truthful about our games in the future.

I remember the look on her face when she said it: she was like a medieval penitent, stretched thin by the pull of remorse. So what could I do but believe? I was an idiot; I was a child; I didn’t understand a thing. I fell asleep crying that morning, but only a fraction of it was from the pain in my ankle.

It was very soon after that that Hen convinced Mum and Dad she needed her own room. I don’t think she played with us much afterwards. I’d load you, as my donkey, with a laundry-basket saddle when we climbed the staircase, which was the Grand Canyon, but Hen would be locked in her own little room, doing I don’t know what. And of course not many years after that she left us, suddenly, for good.

• • •

It was kind of you to ask me about this. I’m glad I’ve thought it through and written it down. But I reach this point—and I realize I don’t know if you meant it when you said you couldn’t remember. Write me about it sometime, you said, as we left Mum at the hospital. But you had that look, too—I ought to have learned to notice that look. Did you want me to remember it? Did you want me to tell you my version of things?

I really don’t know anything, Sam. If I could slip down some ladder and cuddle into a warm musty space beside you, and beside our Hen, I suspect there would be less lie in that than anything I could write to you. And I don’t mean that we lie to each other, really. It’s just that the truth is a very hard thing to tell.

 

these words by Natalie Morrill were inspired by the work of Evelyn Bencicova

“pink” – Jenna Jarvis

evelyn bencicova_taste of leaving3

break plans like a scorpio
unto the skin
sagging cling
film by Hasselblad
caught the ersatz moon
landing
like this unboxing
a recession upside:
nothing for plastic
surgeries i envisioned teenaged
stranger yowls shaped brows
awaken faces unlike siamese
cats’ ecstatic sealed ones
cooled with breaths
vacillating
as though eyelids or testicles
in gemini ascendant

these words by Jenna Jarvis were inspired by the work of Evelyn Bencicova

“Taste of Leaving” – Jess Glavina

majkapincik

The off-whites of your apartment
The buzz of your kitchen lamp
The halo it casts around your red hair as we wait for your friend

The fewer days you have to leave, the slower it feels

The essentials:
The two people you must say goodbye to.
The books to return. The one to get back.
The borrowed transit card. The money you owe.

I leave like I came
Moving alone through the city
A zigzag
Promises spoken lightly
turning to finishing nails in my pocket

these words by Jess Glavina were inspired by the work of Evelyn Bencicova

“White Light” – Charlotte Joyce Kidd

_MG_5326p5

To have your body be struck by a force that comes from completely within itself

To know that you cannot save yourself from it

That in every silent second lurks a light that will hit you between the eyes from behind your forehead

That cold will come in waves and shivers will grate the underside of your skin

That something will gurgle up through your trachea until you are sobbing not because you are sad but because the sobs have always existed inside you and want to see day

To try, desperately, to stave it off, to force it down with anything that you can grab and pull into yourself, through mouth and eyes and nose

So that it explodes in the seconds between: the moment when your feet touch the ground, before you have reached for the curtains

Light brighter and sharper than the sun you were trying to let in

Assaulting your eyes without your permission

Shaking your body like a silent church organ

This thing that is you now

That feels like it will not leave

It will

I promise

 

these words by Charlotte Joyce Kidd were inspired by the work of Evelyn Bencicova

“Tiny Stones” – Leah Horlick

kaefig_cage

Whether or not it was you
who set off the firecracker in my backyard, all that matters
is that I thought
it was you,

writing to the landlords I’m just sending this to you now
so that in the morning
I don’t think that this was a dream.

I await the presence of someone who understands
the genetic impact of a siren. I pull a siren
around me and glow silent, I pull a web of nerve endings

over my own face and touch everything like it is covered in dust—
dust is a shawl, dust is a veil of static. I reach a hand through
thick white noise towards a feeling.

Everything you say sends me further into myself
whether you like it or not, whether you mean it.

I fell off the horse into a bush of thorns and it was a choice between
the thorns and the hooves—can you guess which I chose?

I overwhelm my house with peonies.
When I go home I shut the door and my

eyes and my phone in a drawer
and I sleep. In the morning I look at the Internet to remember

what I look like. I drink so much water
I boil everything—

basil and rose petals,
yarrow and chamomile,

eyeliner and sitting in the dark theatre.

I slowly weigh myself
down with tiny stones.

I hide another set
of eyes beneath my dress.

I slowly accept that this new scar will come out
every time I sit
in the sun.

Sometimes I call it having a flashback.

Other times I just
like to have everything
in one place to get a good hard look
at my life.

 

these words by Leah Horlick were inspired by the work of Olaf Hajek

“City” – Samantha Lapierre

ernte_beute

City, please be gentle with me. Be kind when I close my eyes and the pitch black becomes starry neon lights. Be sympathetic when I ride the streetcar alone, when I fall on the sidewalk and bust my knee open, when I descend wobbly stairs into basement bars illuminated with glowing red lights.

There are streets lined with Internet cafés, shadowy music halls and hole-in-the-walls that all house anonymity. I feel like a very small anonymous blip on your ever-growing radar.

Our necks twist and turn as we leer to recognize a familiar face. We pick fresh fruit from the market stands; cars whiz by and I hear a bicycle bell in the distance. Dead fish rest in storefront windows and people shuffle by. Everybody is hastily going about their own business.

I’ve given you a year of my life, and I’m not sure how much more I have left to give. City, please be gentle with me.

 

these words by Samantha Lapierre were inspired by the work of Olaf Hajek

 

click here for the live audio of our Cagibi reading!

Audio of the first leg of Word and Colour’s Summer Reading Series at Cagibi on June 24th, MC’d by Dena Coffman!


Readers, in order of appearance:

Nailah King, a member of the Room editorial collective. She is also a writer, avid reader, and blogger. A UBC alumnae, she is currently working on completing a thus far untitled manuscript in prose fiction. Read King’s recent word and colour prose, “Diaspora Blues,” inspired by the art of Shanna Strauss

Taisha Cayard, a Social Services student at Dawson College who has recently found interest in writing poetry. She loves to sing and to socialize. Read Cayard’s recent wandc collaboration, “But What Can I Learn From You,” in dialogue with the poetry of Audre Lorde

Lily Chang, who writes, edits, and pays rent and hydro in Montreal. She is a recent graduate of Concordia University’s MA program in Creative Writing. Her work has appeared or is forthcoming in Headlight Anthology, Word and Colour, Voices Visible, and Frog Hollow Press’s City Series. Read Chang’s poetry, “White is Not My Colour,” inspired by the art of Tran Nguyen
wordandcolour
Oumy Dembele, a Professional Theater student from France. A scriptwriting graduate, her writing is mostly focused on fiction and scenes. She recently challenged herself to write prose in English. Her work, “Meiosis,” is forthcoming at Word and Colour.
wordandcolour
Tristen Sutherland, who studies English Literature and Political Science at McGill. When she’s not writing, she’s performing improv comedy or debating whether it’s safe to eat raw cookie dough. Read her recent Word and Colour piece, “Mango,” inspired by the art of Angela Pilgrim.

 

See more photos of the reading via @wordandcolour

 

“Seeds” – Erin Flegg

meditation

For two weeks straight we lay flagstone, my head emptied of any thought that isn’t engage your core, what happens when we’re married, lift from your legs, how do bodies shift, protect your wrists.

We work every day, more hours than we’re used to, to finish the job before a deadline imposed by a surgery that will change everything, but only a little.

When we finish you tell me you have a surprise for me. We get in the truck packed full with tools and gravel and lunch scraps and you drive me to the nearest nursery, tell me I can have any plant I want.

In my excitement I forget to lock the passenger door, drop dust and crumbs from my clothes as I touch dry hands to shelves of zinnias and calibrachoa, different colours than the ones already hanging in a pot on our deck. On the boulevard is a bed of poppies, paper thin and swaying yellow and orange. I’ve been trying for years to grow poppies but the morning glory always ravage them below ground. Shadowy invaders hide behind pale blooms and grow large on a diet of my tulip and crocus bulbs. Seeds and seeds and seeds and no fruit.

In the spring I planted seeds in plastic pots indoors, hoping to keep them safe on the second floor. I worry about them more than I did last year, probably something to do with turning 30, ticking clocks and revolution.

In the back of the nursery there are Icelandic poppies, big and showing pink at the tips of their pods, about to burst. I consider one, its stalk thick and hardy, its tallest pod independent but inviting. I imagine it in the backyard, then take a step back from the display. I think about my existing allegiances, the potential still buried in poor dirt and plastic. I want it, but I shouldn’t. Too much is already at stake, too much time spent comforting my own frilly green leaves as they attempt to sprout stalks and pods of their own. I have to give them a proper chance. They’re so delicate, the comparison might crush them, and I can’t sacrifice any more flowers.

One shelf over are the anemones, white with yellow centres. They’re nice but they’re not enough. Don’t fuck it up, you say, poking me gently in one rib and smiling. This is very important.

There’s a plant I don’t recognize. There are no flowers, just wide flat green leaves on narrow stems, fanned out like enormous nasturtiums. On the tag is a dark flower. It’s a hollyhock, or at least it will be. The tag says it will bloom deep burgundy and solid, almost black except for tiny yellow centres, by late summer. I pick it up and try not to imagine what it will look like, leave space in my mind for it’s unfurling.

I carry it on my lap in the passenger seat, dig a hole in the ground in front of our house and plant it. I press the dirt in with my hands and sit down next to it. Everything will change, but only a little.

 

these words by Erin Flegg were inspired by the work of Olaf Hajek

“Foxglove” – Keah Hansen

precious_collection

Foxglove
Rough hands
The open ended
Tending
For life
In this chalked over
Bite
Of soil
Worms and cat
Piss
Be damned
Ignored
Amidst
Packets of seeds
Dry
Expectant
In the barren
Echo chambers
Stained with
Small blight
Residue of last years
Failed perennials
Soils that seem
To collect rocks
Like rainwater
Save the draining.

Foxglove
I tend
To pull
This dirt up
In sparkles
And turn the stones
To mica
Splashed between
The sun and
Shadows
Looking damp
As if to quench
Though offering
Hope in
The cast-off shapes
Of stalks I
Pulled out
Piece by piece
Last year with my
Arms all crossed
To stop the flint
Caged inside
My ribs
From being sodden
By the storms
Some plant life
Seems to
Carry.

This year
Foxglove,
Is no different
My chin
A spade
I’m making
Place for you
By shaking my head yes
Or no
Learning how
To till the soils best
Most oxygenated
And minerals peopled
In healthy
Numbers
I’m counting
The hours
Until the bells
Ring
In your blooms
I think
They’d sound
Like milk drops
The dew
I taste
In new growth
Your petals
Cupped in joy
Like feet flexed
Dancing
With root systems
Made proverbs
Answering
My questions
In anachronisms.

The wind returned
Fibrous,
Vegetal
And familiar.

 

these words by Keah Hansen were inspired by the work of Olaf Hajek

“Breakfast” – Kate Shaw

Kevin Calixte-Sukhasana-Cel-1024x683

The views expressed in the texts do not necessarily represent the views of the artist.

 

She sipped her coffee soundlessly. It had always struck me, how little noise she could make over breakfast these days if left unprovoked. Her fork never plunged all the way through a waffle to clink! the plate, her knife never scraped or dinged! the fork. She drank her coffee, and the mug didn’t make a sound when placed back on the cork coaster.

“What time will you be home from work tonight?”

A guffaw during silent worship is more acceptable than words over breakfast with her. Startled eyes flashed at mine from over the orange juice. A silent sip. A hiss of a word, “Eight.”

I nodded, castigated. She deposited her dishes in the sink with a clank! that resounded as she exited the kitchen. There was shuffling in the den as she gathered her things, and soon the door closed behind her.

“Yes, this is Amadeo’s? I’ve got a reservation for tonight under Polowski. P-O-L…Exactly. I need to cancel.”

 

these words by Kate Shaw were inspired by the work of Kevin Calixte

“Star gazer” – Alex Leslie

Kevin Calixte-Garudâsana-Kay-1024x683

The views expressed in the texts do not necessarily represent the views of the artist.

 

In night, your strained vocal chords form a glowing band around the moon. You do not know what you are asking for this time. Shapes assemble at the perimeter and call themselves fingertips, cheeks, inkblot torsos. They have been here before. People you love are recycling names the way the world recycles seasons. Bees with frequency, voices turn on spokes, slow in the days, adrenal dive through the green substrata, decade roulette, but what is the true indicator of new life. The future sits across from you in the greasy spoon diner, saws into pancakes with ketchup on top, wields a steak knife, lectures you about making better choices, the long hall of unintended consequences. And if you can. If you looked harder it would come to you; if you could just focus for once, this wouldn’t be so hard. Clavicle and tracery of eyes would make themselves present, no diagnostic mist, this time. Shutters tumble around your fingers, rising in the darkness. You understand something about tone, about how to lie down in a throat and fall asleep like you own the place. You have always excelled at Rorschach tests, can read suggestion in the shift of shoulders, some air seeping from a mouth at a specific tilt, a thread you can grab and twist. A mimic fish spreading over eyes, cheeks, collarbones. Every face, a display plate on a simple white stand. Star gazer. When you were small, a big kid taught you to cut a slit down the luminous belly of a green blade of grass, break it open with your breath, and make music, and it was the first weapon you ever made. You aimed it at the sky, blasted an escape hatch. But now there is a shift, a settling. It’s dark. Portrait game. Voices turn on spokes, more slowly now. The faces carousel around the small hot triangle of your hands. Milky light seeps through the seams in commuter traffic. When you narrow your eyes, your fatigue blurs into the tactile future. Haloes, overexposures cast into the deep pools of other minds. Butterflies pressed behind eyelids. Drape all the mirrors. Learn how to pray.

 

these words by Alex Leslie were inspired by the work of Kevin Calixte

“On How to Say No” – Annie Rubin

Kevin-Calixte-The-Black-Key-683x1024

The views expressed in the texts do not necessarily represent the views of the artist.

 

It was unsettling to be back there alone. An impulsive decision spurred by the phone call—or lack thereof—and now she was sitting in the square by her old apartment on a bench in the dark. She checked her phone—it was ten. Still no messages.

She’d taken a seat between the trees that shook gently in the wind, and a rain repeatedly sprinkled and let up as if on a loop. She figured it would be better to be out of the house if he did decide to ring. Public spaces always felt more manageable, controlled: don’t make a scene, Ma used to say; Dad followed her words like they were law.

He slammed the door when he left, causing the dishes to rattle on their shelves. She feared for the porcelain set of four plates and bowls—hand-painted from Sorrento—they’d bought together on holiday. One of them had chipped once and she’d read somewhere you were supposed to throw it away after that but she never did.

She was walking now, in circles up and down the block that smelled like home. Tomorrow she would change the locks. There was no guidebook on how to say no. Only repeated frustration, feigning forgiveness until she overflowed, erupting with all that was never said.

It came out as glitter, bursting into his crevices, filling him with remorse, and an anger as uncontrollable as the thundering laugh she was once able to evoke from him by singing his name. He used to call her his.

Now she wanted to be her own. Didn’t quite know how to do that either. She stared at the ground, hovering before the doorstep of their building. She ached to know what it takes to rebuild.

 

these words by Annie Rubin were inspired by the work of Kevin Calixte

“f e t u s” – Jo-Ann Zhou

Kevin-Calixte-Open-The-Door-683x1024

The views expressed in the texts do not necessarily represent the views of the artist.

The pounding was growing louder and louder, like the thump thump thump of an insipid beat on a dancefloor. It was closing in around her, pressing on her back, her temples, her chest. Breathing became difficult as the air around her thinned. Her body ached from exhaustion, as the walls—thick with red grime—loomed closer and closer.

“You’ll never make your way out.” The taunt seemed to come from all sides, echoing inside the dark sickly warm space.

“FIGHT BACK!” the voice inside her insisted.

“You won’t amount to anything substantial. You don’t have what it takes to make it out there.” The call reverberated, cutting through the hot dense air, ringing in her ears. It filled her heart with dread, punctuated by that incessant thump thump thump that echoed deep in her chest.

Maybe her captor was right, she thought. Maybe she was in safer in here, in these familiar red walls.

“NO! FIGHT BACK!”

She took a breath of precious, scarce air and reached out with her fists, hoping to face her tormentor, but her hands were met by thick red clots punctuated by a sweet metallic smell that was engulfing her nostrils.

“You clearly aren’t trying hard enough. You could do so much better than this. What is wrong with you?”

The little voice inside her head considered this. Was this true? Was she not trying hard enough?

“No,” she thought. She needed to get to the other side of the walls that were closing in around her; she needed to see her tormentor. “I will find a way out.”

Blindly, struggling through the darkness and the tightening space, she reached up above her, thrusting through the red mucous to grab hold of the wet spongy walls. The thumping continued to crescendo, reaching a feverish pitch that vibrated through her core as she hoisted herself up. The walls contracted, forcing her back, but she pushed upwards again, and the sheer effort of the movement was taxing with so little oxygen. Finally, her head pierced the pulpy membrane, bursting forward into a rush of cold fresh air.

As her shoulders, then arms emerged from the hole, she opened her eyes and looked out, ready to face her captor. It took a few moments for her eyes to adjust to the light, and when they focused she saw her at last—an anxious gaunt face covered in blood glancing at her through a single pane of reflective glass.

 

these words by Jo-Ann Zhou were inspired by the work of Kevin Calixte

“Cut From the Same Cloth” – Tristen Sutherland

Heart_Of_Darkness

Mrs. Anita Thomas loved her rocking chair. For hours, she would sit, rocking back and forth, humming to herself, blanket tucked neatly in her lap. Sometimes, I would watch her from across the street, as I toted my schoolbag home. She was a creature of habit. Always in the same spot. Staring at her blanket, like a statue.

On a day when I was feeling particularly brave, I crossed the street to get a closer look at Mrs. Anita Thomas. I peeked at her porch from behind one of her neighbour’s bushes, when she spotted me and called me over. Sheepishly, I approached, eyes downcast. Her face was hard and her brows were furrowed. I prepared myself for the reprimanding, keeping eyes on my scuffed shoes. Then, there was laughter? I looked up at Mrs. Anita Thomas, who was wiping a tear from her eye. Her face was soft, her smile seemed to disappear into a sea of welcoming wrinkles. I smiled weakly, not understanding the joke.

“I’m sorry,” she said, composing herself a little. “I couldn’t help myself. What’s your name, little girl?”

I told her and the next thing I knew, I was sitting alongside her nibbling an almond biscuit. It was strange to see her up close. She wasn’t a statue at all. As she spoke, she gesticulated, her chair rocking more severely when she was impassioned. I watched her as she spoke, transfixed by her whole demeanour. That was the day I became a part of Mrs. Anita Thomas’s routine.

Every day after school the scene would be the same: Me, sitting next to Mrs. Anita Thomas, her in her rocker and me on my chair, her weaving together a tale. Every story began the same way. I would take a bite of my biscuit, and Mrs. Anita Thomas would point a dark root-like finger towards the green and red blanket on her lap. Each day, her knobby finger would point to a new section of the blanket. Once settled, she would begin: “This is a story of our ancestors, and it begins with this piece of cloth…” Every time she said this, I would marvel at her use of our. It implied that we were one in the same, cut from the same cloth somehow. That was always my favourite part.

I remember asking my mum where we were from and her responding, without looking up from the newspaper, “Halifax, sweetie.” But that was not the answer I was searching for.

Mrs. Anita Thomas’s stories were always about our ancestors. She spoke of complicated plots involving star-crossed lovers, with mahogany skin and dueling families and traditions that I never heard of. When I pressed my mother further about our family’s origins, citing Mrs. Anita Thomas’s stories, she would assure me that those were just stories. As far as my mother knew, our family was from Halifax. We were Canadian through and through.

Despite my mum’s insistence on our Canadianness, I believed in Mrs. Anita Thomas’s blanket. I imagined our ancestors weaving together the cloth, infusing it with their stories. Knowing the stories of our ancestors made me feel strong. There was an our.

Mrs. Anita Thomas passed and left her blanket to me. I was 12 at the time, still clinging to my childhood, still clinging to her stories. I was shattered when I discovered the “Made in China” tag on the underside of the blanket. In that moment, I accepted my Canadianness like a bitter pill. There was no our.

When my daughter walks in, to see me in tears holding an old red-and-green blanket, I don’t know what to say. She stands in the doorway, peering at me, eyebrows implying an air of concern. After a moment, I spread the blanket on the floor and invite my young daughter to sit on my lap. I take a breath and point to a section of the blanket. I begin: “This is a story of our ancestors, and it begins with this piece of cloth…”

 

these words by Tristen Sutherland were inspired by the work of Nick Liefhebber

“A Guide to Bringing Me Back” – Nahomi Amberber

Tuscan_Hills
when i tell you that i can’t get out of bed today
i want you to whisper to me
in the greens and blues
of the backyard of my childhood.
i want you to speak to me of safety,
of rolling down a hill
that will always catch you at the bottom.
tell me how the leaves will come out again in march
and fall in september
and the sun will never be more than a few hours away.
please just
lie to me—
and say that i can be that happy
again.
these words by Nahomi Amberber were inspired by the work of Nick Liefhebber

“Natural Behaviours” – Ruth Daniell

Witchcraft

On Wednesday you find a white-crowned sparrow
dead on the front step. On Thursday a halo of grey

feathers on the front lawn. You think mean thoughts
about the neighbour’s cat. On Friday you see him,

a handsome silver-coloured fellow dashing
under the wet cedars. He has no collar or bell

and he probably kills for fun. Studies report
that cats don’t only kill when hungry

and they are the number one killer of wild birds.
You have been watching the sparrows for weeks,

cheered by their haphazard foraging, their hopping,
scratch-scratching on the ground. You listened

to their thin, sweet whistle. You admired their black-
and-white heads, their pale beaks, their bodies

chubby and energetic. Wednesday’s dead bird
seemed diminished: suddenly slimmer, elegant,

none of the pleasant enthusiasm of breath and noise.
Thursday’s halo of feathers just felt unfair, obvious:

You hate that birds die. You hate that cats kill them.
But you do not hate cats. No, you hate how difficult it is

to feel good about the ways you love the world—
selectively, prejudiced towards the beautiful

and the gentle, towards the ones that remind you
least of yourself, or most. It is nesting season now

and the birds are tending quietly to their young
and you think, If they can do it, so can I.

You rub your rounding belly and you wonder.
Some conservation experts recommend all cats

be kept indoors. Yes, you think. Save the birds!
Let them all return to their carefully hidden nests.

But what do you know of feline happiness? It is
only an accident of desire that you love the birds

first and foremost, that you have spent so much time
imagining their lofty fealty to the sky, learning

their modest dedication to twig and egg and song.
It takes very little for you to feel guilty about the cats

allowed only limited natural behaviours, felt mice
and braided yarns, chicken-flavoured snacks.

When you see a cat looking out of a sun-filled window,
you do not know if you witness your own longing

or the creature’s—if you fail, as you so often do,
to forget your own feelings, to see the world

as another soul might: all that exquisite light,
that darkness, the life fluttering in the trees.

 

these words by Ruth Daniell were inspired by the work of Nick Liefhebber

“Goodnight (Again)” – Ajay Mehra

The Door of No Return_hires

I’m sad I saw you.

I’m sorry. I’m happy you’re happy. I’m happy. You’re happy.

Old pictures are magic. Memories are magic. Disneyland and imagination and the faces in your messages are magic. Everything is magic except now.

I’m sorry I left. I’m sorry I came.

I met a very beautiful woman at bridge two years ago. We see each other often. I should have said.

I wanted to see you.

You walk the same. I think I do too. I saw a video of me and I knew it was me. I miss you more everyday.

You were so beautiful.

Goodnight (again).

 

these words by Ajay Mehra were inspired by the work of Shanna Strauss

“Grandma’s Hands” – Josh Elyea

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As I sit on the bus, I look to the lady next to me. She has severe hands, crooked fingers with hard knuckles. My grandmother had hands like that. I used to stare at them, gnarled and hooked like talons, as she tried to teach me to play the piano. She used to laugh when I’d play only the black keys, and she’d sing softly, almost at a whisper, when we’d play her favorite hymns. She had a terrific voice, my Gram—one of the all-time greats. It was a voice of contradictions, hers—polite but gravelly, blue collar but lyrical—and she had a funny way of speaking, an off-kilter cadence to her voice that was somewhere between southern drawl and Irish poet. She hated her voice, but it made for the best stories and the best Sunday mornings.

My grandma’s hands used to drop the needle on her old Crosley, and somewhere in the fog of my memory I remain a child, wide-eyed and dumbfounded, awed that such a primitive system of bumps and ridges could summon forth the soul, the smoulder of Sam Cooke with apparent ease. The needle of the record player was hypnotising, intoxicating, but there seemed to be no immediate correlation between the movements of the needle and the sound of the soul music cascading through the room. I couldn’t understand, and when I asked my grandmother why this was, she told me that you couldn’t see soul, you just had to listen for it.

 

these words by Josh Elyea were inspired by the work of Shanna Strauss

“Diaspora Blues” – Nailah King

SHANNA STRAUSS_ Hadithi Njoo_ Mixed media on wood_ 24in x 30''

“Where are you from?”

He was asked this often and the answer was always difficult. What they needed to understand was his journey didn’t start here but a place miles and miles away among lush earth and under a coral sun. Massive ships sailed to the shoreline taking whoever couldn’t escape, headed to the unknown. Those they captured cruised through seas and oceans but many died along the way.

He imagined that his ancestors made a break for it and ended up in the Caribbean. Warm shores, tropical fruit, sun, sand, but far from home.

Some of his friends talked about creating family trees on the internet, talked about their families. Uncle John is married to Auntie Lynn. They met in university in the ’80s. How nice to have an ancestry so clear and defined, despite having robbed others of the same.

He often thought about them.

It made him angry to think about a known point in his bloodline where the stories stopped. He couldn’t get stories about any time before his great-grandparents. Even those stories were limited. His parents couldn’t even remember their names.

They talked about carnival, Kadooment days of the past, in great detail. The costumes, the music and the food. Who they saw and who they danced with. They didn’t want to think about that dark history; about who before them could have been slaves.

What he knew of any place was a story. Even in Canada.

He’d never been to Whistler—or even Banff. He remembers the Rockies from a train ride they took when he was very young. His mother told him that the mountains were beautiful and breathtaking. He just remembered a flash of brown and grey rock and wanting to use the bathroom.

Sometimes, he remembers the beaches. The smell of the sea and the sound of his grandmother’s voice.

He wondered, did she think about them, his ancestors?

His friends often questioned him about his heritage. “There’s no information earlier than your great-grandparents?” they’d ask him.

Depending on his mood, sometimes he understood their incredulity. With modern technology like ancestry.ca, and 23andme, he should have been able to make inroads, progress.

Still, he didn’t want simply names. He wanted their stories.

He wanted to know what Africa was like, what life was like before lives were taken. Before histories were skewed, erased or lost.

It was good enough for them to have their meaningless anecdotes about how their uncles, aunts and whoever else got together. He wanted more.

Each year, a new patch of information came to the fore through old photographs, family connections or new stories.

Still, he wondered about them.

Who did they love, or lose? Did they know it was the last time they’d see their lands and what would happen to the generations that followed? Did they have hope they’d return?

“Dude, you totally drifted off.”

“Oh, I’m from Vancouver.

 

these words by Nailah King were inspired by the work of Shanna Strauss

“The North Star” – Shagufe Hossain

The Universe_hires

We wake up
and walk streets
comforted
in fit-in-or-leave boxes
disillusioned into belonging
but You
my dear
were born to wage wars
simply by virtue
of your existence
on all cages with bars
made of traditions, rituals, and values
none.
You
are like the North Star
shining light on the path of the misguided
navigator
looking to find his way
back to values.
You
burn in passion
and desire
and love that conquers all
so the rest of us
can see light
head home.
So on days
when you feel lost
and losing
sight of north and south
east and west
right and wrong
remember
you are the compass
that burns brightly
in the nightly skies
to shine light
to guide home
the rest, lost
and the North Star
knows no direction
for she does not need one.
Remember my dear
you shall be your own
compass,
light,
guide,
so the rest of us
can find home.

 

these words by Shagufe Hossain were inspired by the work of Shanna Strauss