-----p. K. PAGE B. RUDDICK P.ANDERSON F. R. SCOTT A. M. KLEIN 

.. ' ' ... -' ... .. ~ 

MONTREAL SEPTEMBER 1944 
AN EXPLANATORY ISSUE 
SOMETIME AGO A YOUNG MAN INTERESTED IN PREVIEW, A CAPTAIN (N THE CANADIAN ARMY, ASKED US IF WE WOULD CONSIDER THE ADDITION OF SHORT EXPLANATORY PASSAGES TO THE POEMS WE PRINT. HE HAD HIMSELF FOUND IT MUCH EASIER TO UNDERSTAND WORK WITH WHOSE GENERAL ATMOSPHERE AND TECHNIQUE HE WAS UNFAMILIAR AFTER HE HAD DISCUSSED IT WITH THE POET CONCERNED. THIS SUGGEST
ION WAS DISCUSSED BY THE GROUP AND THE PRESENT ISSUE RESULTS FROM THAT OtS-
CUSSION. WE ALL FELT THAT IF WE COULD MAKE IT EASIER AND PLEASANTER FOR PEOPLE TO COME TO OUR POETRY, WE SHOULD CERTAINLY DO SO. AT THE SAME TtME WE THO~GHT IT NECESSARY TO STRESS THAT AN EXPLANATION OR A PARAPHRASE IS ONLY A GUIDE AND, USUALLY, A DUBIOUS ONE, TO THE POEM ITSELF. As WE KNOW 
FROM OUR DAYS AT SCHOOL, NOTES AND PARAPHRASES CAN DO A GREAT DEAL OF HARM, 
IF TAKEN TOO SE~IOUSLV. 
FEEL THAT THIS ISSUE GIVES ONE AN OPPORTUNJTY TO ENLARGE UPON THE CENTRAL PROBLEM IN THE UNDERSTANDING OF POETRY, THE PROBLEM OF COMMUNICATION ANO OF THE READER 1S CRITICAL ATTITUDE. 
A POEM IS UNPARAPHRASEABLE AND UNTRANSLATABLE. ONCE SEPARATED FROM THE POET 1 S EXPERIENCE, IT IS A SOVEREIGN ANO AUTONOMOUS ENTITY. THE POET KNOWS THfS ONLY TOO WELL WHEN HE REALISES THAT THE POEM --ONE KIND OF SOLUTION TO AN INNER TENSION BETWEEN HtMSELF AND HIS ENVIRONMENT --IS NOT ONLY OFTEN EITHER MORE OR LESS THAN HE INTENDED BUT ALSO IS LIKELY TO SE AN ON-IHE-PAPER SOLUTION OF AN EMOTIONAL CONFLICT THAT CONTINUES UNRESOLVED IN HIS PERSONAL LIFE. THE READER IS IN A SIMILAR PREDICAMENT WHEN HE DISCOVERS THE INTRANSIGEANT UNEXPECTEDNESS OF THE POEM. 
THUS IT IS REALLY IMPOSSIBLE TO SEPARATE THE 1MEANING 1 OF A POEM FROM ITS ASSOCIATIONAL VALUES, THt AFFECTIVE CONNOTATIONS SET UP BY IMAGERY, RHYME, RYTHM AND SO ON. To THE READER 1S EXASPERATED CRY 1WHAT DOES IT MEAN? 1 THE ONLY COMPLETELY CORRECT ANSWER WOULD BE THE POEM ITSELF. AN APPROXIMATE MEANING CAN OF cour-sE BE REACHED CRITICALLY BY A PERSON CAPABLE OF SYNTHESISING THE PSYCHOLOGICAL IMPULSES AROUSED BY THE WHOLE CONTENT. Bur MOST READERS ARE INCLINED TO LET THEIR COMMENT BE YEA OR NAY: 1 I LIKE IT1 OR f I DON 1T LIKE IT 1 • IN VIEW OF THIS, THE READER SHOULD BE ENCOURAGED TO BE SUSCEPTIBLE OVER AS WIDE A RANGE AS POSSIBLE TO THE CONNOTATIONS . WHILE IT 
IS INEVITABLE THAT HE SHOULD, ESPECIALLY IN 'THIS POLITICAL AGE, BE STILL ANXIOUS ABOUT MEANING, IT IS DESIRABLE THAT HE KEEP THIS HUNGER OF HIS 
RELATIVELY IN THE BACKGP-OUND, ESPECIALLY 0N THE IMPORTANT FIRST READING. 
8Y ATTEMPTING TO ENJOY THE POEM, AS HE WOULD ATTEMPT TO ENJOY MUSIC OR 
PAINTING, HE WILL BE MORE LIKELY TO LAY HIMSELF OPEN TO A GREATER TOTALITY 
OF MEANING THAN IF HE ANGRILY SUSPECTS THE POEM OF BEING OBSCURE. HE WILL 
THEN BE ABLE TO APPLY HIS PARTICULAR, AND MAYBE POLITICAL, STANDARDS. 
THE OUTSTANDING PROBLEM OF POETRY IS THAT, UNL(KE MUSIC FOR INSTANCE, 
IT 18 CAUGHT IN AN INEXORABLE DIALECTIC BETWEEN T'1E WIDEST VISTAS OF EMOTIONAL ASSOCIATIONS AND THE DENOTATIVE FUNCTION OF WORDS, THEIR LOGIC OF GRAMMATICAL PROGRESSION. A POEM BY MALLARME OR VALEnv TRtEs ro BE ALL Music: A POEM OF POPE 1s OR 0~ SOME OTHER POINTED AND EPIGnAMMATIC WRITEn TENDS TO BE PREDOM

P~GE 2 
INANTLY EXPLICIT. 80TH ARE PJETRY: DRYDEN IS AS MUCH A ·POET AS THE AUTHOR OF 1JABBERW0CKY 1 : BETWEEN THESE POLES LIES THE MAJ0RITY OF CREATIVE VEP-SE, ONE CAN JUDGE IT SATISFACTORILY ONLY WHEN ONE HAS EXPERIENCED IT, OR AT LEAST MADE A GENUINE ATTEMPT T O DO SO. 
A P~EM APPEALS PRtMARILY TO THE EMOTl~NS. UNFORTUNATELY WE MOST OF US POSSESS LARGE AREAS OF FACILE EMOTION WHICH ARE PROMPTED INT0 ACTIVITY, JUST AS THE ADRENAL GLANDS ARE IN TIMES OF FEAR, BY ANY REFERENCE TO CE~TAIN GT~CK SUBJECTS SUCH AS Goo, MOTHER, SUNSET, ETCETERA AND so ON, TOWARDS THE MORE S~PHISTICATED TEAn-JERKERS. BAD POETS HAV~ UNSCRUPULOUSLY EXPLOITED OUR TENDENCY TO PREFER THE STOCK RESPONSE TO THE MORE UNFAMILIAR AND MORE SELF REVEAL!NG RESPONSES. ONE IS REMINDED THAT ONLV Goo CAN MAKE A TREE AND THAT, OF GARDENS, 1 TIS VE~Y SURE Goo WALKS IN MINE: ONE REMEMBERS TOO CERTAIN QUAINTNESSES AND CUTENESSES OF RHYME AND EXPRESSION WHICH HAVE DEEN EMPLOYED IN THE SAME NEFARIJUS CAUSE. 0N THE OTHER SIDE 0~ THE SCALE, THE READER MUST BEWARE 0~ THE GROUP RESPONSE ANO THE VAGUE PSYCHOLOGlCAL EXCITEMENTS. A HOM08EXUAL PR~BAOLY ENJOYS WtL□E 1 s 'CHARMIDEs 1 , A LEFTIST MAY TH ~ ILL TO A GAD P~EM SIMPLY BECAUSE ITS SUDJECf 18 A SYMPATHETIC ~NE TO HiM. OTHERS WILL FEEL A VAGUE FASCINATION IN THE MOST AUTJMATIC KIND 0~ SURREAL
IST VE RSE . THESE ~ESPONSES, ODVIOUSLY OF A SPECIAL CHARACTER, AnE NATURALLY 
TO ~E CONSIDERED SUSPECT. 
PERHAPS I CAN HE r E, AT THE RISK OF STICKING MY NECK our, SUGGEST
• CERTAIN AIDS T~ THE APPRECIATJ JN OF MODE~N POETRY, DASED ON WHAT I HAVE SAID AOOVE. l . DO SO IN T~E BELIEF THAT AT LEAST A LARGE SEGMENT OF DAO P0EMS ARE EASILY DETECTED AND THAT THE ~ E IS A GENUINE DESIRE ON THE PART 0F MOST READERS T~ ENJOY GOOD WORK. HERE ARE THE QUESTIONS I WOULD SUGGEST THAT READERS ASK THEMSELVES • •• 
1. 
ls THE LANGUAGE VITAL AND ORIGJNAL? ARE THE EPITHETS AND IMAGES EXACT AND FRESH WITHOUT GEING FORCED OR OVEnEXOTIC FOR THE GENERAL COHERENCE OF THE SUGJECT7 ls THE POEM EMOTIONAtYEVOCATIVE? IF THE POEM PASSES THIS TEs1· YOU CAN SAY THAT YOU HAVE AT LEAST THE MAKINGS OF A GOOD PO~M. 

2. 
DOES THE POEM HANG TOGETHER? 00ES IT SEEM TO SPRING FROM A GENUINE EXPERIENCE? ls ITS DEVELOPMENT COHEnENT, so THAT IT SEEMS TO OE ALL OF ON E PIECE? 0 o ES IT THROW NEW LIGHT UPON THE MATTER IT TREATS? IF THE ANSWER TO ALL THESE QUESTIONS IS YES, T~EN YOU CAN SAFELY. SAY YOU ARE FACED WITH A GOOD POEM. 

3. 
DoES THE POEM SHOW A GENERAL AWARENESS OF LIFE AND Of ITS PROOLEMS? 00ES IT HELP YOU TO UNDERSTAND WHAT IT DESCRIGES WITHIN A GENERAL SYSTEM OF RELATIONSHIPS? HERE WE ARE ON MORE DUOIOUS GROUND, OF COURSE. 

4. 
~ow □ ~ES THE POEM TIE IN WITH OTHER POEMS DY THE SAME AUTHOR? WHtT ARCHITECTURAL EXPRESSION DO YOU GET FROM HIS WORK AS A WHOLE -FROM TH~ RANGE OF HIS SUBJECTS AND THE DEGREE OF GENERAL UNDERSTANDING HE SHOWS? THIS, LIKE THE PRECEDING POINT, IS LESS EASY TO ESTADLISH EXACTLY OUT ONE CAN OE PRETTY SURE THAT POINTS THREE AND rouR, OR OTHERS LIKE THEM, MAKE THE OASIC 


.DIFFERENCE GETWEEN THE MINOR AND/OR OCCASIONALLY GOOD POET AND THE GREAT MASTER. 

BETWEEN, SHALL WE SAV, THE POET OF RESTRICTED RANGE ANO THE POET OF WIDE HUMAN UNDERSTANDING. 
To suM UP: BELIEVE THAT THERE ARE GOOD POETS IN CANADA AND I BELIEVE THAT THE POET HAS A REAL FUNCTION TO PLAY IN OUR SOCIETY, PARTICULARLY WHEN SOCIAL ANO ECONOMIC PROGRESS IS GETTING AHEAD OF CULTURAL AND 'sPIRITUAL 1 DEVELOPMENT. I THINK THAT THIS IS OBVIOUS WHEN WE REFLECT THAT FORCES WHICH ARE PROGRESSIVE POLITICALLY ARE SOMETIMES LITTLE MORE THAN REACTIONARY CULTURALLY, WHETHER WE DEFINE THE ROLE OF THE POET AS BEING TO STRESS THE IMPORTANCE OF THE ECONOMIC AND PSYCHOLOGICAL INDIVIDUAL OR TO BUILD UP A RICH ASSOCIATIONAL BACKGROUND FOR OUR INCREASINGLY COLLECTIVE AGE OR SIMPLY AS A MEANS FOR INTERESTING THE MIDDLE-CLASS IN SOCIAL CHANGE, OR ALL THESE THINGS AND MORE, I FEEL THAT HE HAS AN IMPORT
ANT PART TO PLAY, HE CAN BE A HUMANIST LEADER OF THE MODERN MOVEMENT. 
8UT  THIS  CAN  ONLY  HAPPEN  IF  HE  HAS  AN  AUDIENCE,  IF  HE  IS  USED,  IT  
IS  IN  THE  HOPE  THAT  WE  MAY  PROMOTE  A  BETTER  UNDERSTANDING  BETWEEN  OUR  POETS  
ANO  OUR  READERS  THAT  WE  PUBLISH  THIS  EXPLANATORY  ISSUE  OF  OUR  MAGAZINE.  

p .A. 


MONTREAL A.M. KLEIN 
( • • SUITING LANGUAGE TO THEME, THE F~LL)WING VERSE, -AS WILL BE NOTE9, IS WRITTEN IN A VOCABULARY WHICH IS NOT EXACTLY ORTHODOX ENGLISH. IT IS WRITTEN SO THAT ANY ENGLISHMAN WHO KNOWS NO FRENCH, ANO ANY FRENCHMAN WHO KNOWS NO ENGLISH (SAVE PREPOSITIONS -THE PANTOMINE OF INFLECTION) CAN nEAD IT INTELLIGENTLY. TT CONTAINS NOT A WORD 1 SUBSTANTIVE, ADJECTIVAL, OR OPERATIVE, WHICH IS NOT EITHER SIMILAR TO, DERIVATIVE FROM, OR AKIN TO A FRENCH WORD OF LIKE IMPORT; IN SHORT, A BILINGUAL POEM, A.M.K ••• ) 
Q CITY METROPOLE 1 ISLE RIVERA IN' YOUR ANCIENT PAVAGES ANO SAINTED ROUTS TRAVERSE MV SPIRIT 1S CONJURED AVENUES! SPLENDOR ERABLIC OF YOUR PROMENADES FOLIATES THERE, ANO THERE YOUR MAISONRY OF PENDENT BALCON AND ESCALIER 1 D MARCH, UNIQUE MIDST ENGLISH HABITAT, Is vtvtD NoRMANDV! 
I I 
You POPULATE THE PUPILS OF MY EVES: THus, ooEs THE INDIAN, PLUMED, rURTIVATE STILL THROUGH VOUR PAINTED AUTUMNS, VILLE-MARIE! 
' 
PA6E 4 
MONT REAL A.M.KLEIN 
l I 
THOUGH PALI SADES HAVE PASSED, THOUGH CALUMET WtTH TABAC OF Youn PEACE ENFUMES THE Al n, STlLL DO I S P Y THE PHANTOM, AQ UILINE, GENU~ LECT, MOCCA S IN 1 D, BEHIND Hts STATUE IN THE SQUARE! 
I II 
THU S , COS TUMED IMAGE S BEFO RE ME PAS S , HA UNTJNG · YOUR ARCHIVE S An CHITECTU RAL: CouREUR DE BOIS , IN POSTS WHERE PELTS WERE PORTAGED; SEIGNEU R WITHIN HI S CANDLED MANO t R ; ScoT AMBULANT THROUGH HIS BANK, PILLAR1D ANO VAST. WITHIN YOUR CHAPELS , VOYAGED MAR INE RS STILL PRAY, AND PERS ONAGE DEPARTED ALL PRESENT FROM Youn PAST' 
IV 
GRANO PORT 0~ NAVIGATIONS, MULTIPLE THE LEXICONS UNCARGo'o AT YOUR QUAYS , 80NNANi THOUGH STRANGE TO ME; BUT CHIEFEST, I, AUDITOR OF YOUR MUS IC, CHERISH THE J O INED OOUBLE-MELODIED VOCABULAIRE WHE RE ENGLI SH VOCABLE AND RO LL Ecoss1c, MoLLfFIEO BY THE PAR LE OF FRE NCH BtLINGUEFACT YOU R A t R t 
V 
SUCH YOU R SUAVE R VOICE, Q HoCHELAGA V Bur ~OR ME ALSO SOUND YOUR POTENCIES, FoRTISS fMOS OF S IRENS FLUVIAL, 8RUfT OF MA NUFACT OR Y, TONNE RR E F RAPPA NT FROM F OUND RY, ALL PUI SSA NT TONE I MP LE NI S HING YOU R HE BOOMAD; AN D THEN SANCT S ILENCE, AND YOUR ARGENT BELFRIES CLAMANT IN o n 1s0N' 
PAGE 5 
MONTREAL A.M. KLEIN 
VI 
You ARE A PART OF ME, 0 ALL YOUR QUARTIERS AND OF DIRE PAUVRETE ANO OF RICHESSE To FINISHED TIME MY HOMAGE LOYAL CLAIM; You ARE LOCALE Or ENFANcv, MILIEU VtTAL OF" INSTITUTES THAT FORMED MY FATE; AND YOU ABOVE THE CITY, SClNTILLANT, MOUNT ROYAL, ARE MY SPIRIT'S MOTHER, ALMATIVE, POITRINATEt 
VI I 
NEVER DO I SOJOURN fN ALIEN PLACE Bur I DO LANGUISH FOR YOUR SCENES AND SOUNDS, CITY OF REVERfE, NOSTALGIC ISLE, PENDANT MOST BRILLIANT ON LAURENTIAN CORDE' THE COIGNS OF YOUR BOULEVARDS -MY SIGNIORY; YouR SUBUR~S ARE MY EXILE 1s VERDURE FRESH, YouR PARKS, YOUR FOUNTAIN 1 D PARKS PASTURE OF MEMORY' 
VI I I 
CtTY, 0 CITY, YOU ARE VISlON 1D A~ 
A PARCHEMIN ROLL OF SAECULAR EXPLOIT INKED WITH THE SCRIPT 0~ ETERNE SOUVENIR' You ARE IN SOUND, CHANSON AND INSTRUMENT' 
MEN TAL, YOU REST FOREVE R EDIFIED WrTH TOWE R AND DOME; AND IN THE SE BEATING VALVES, H~RE IN THESE BEATING VALVES, YOU WILL Fo R ALL MY MORTAL . TIME RESIOEf 

TWO POEMS F.R. SCOTT 
( .• ONE ASSOCIATES PRECISION OF STATEMENT AND EPJGRAMMATIC BREVITY AND WIT WITH THE POEMS OF F.R. SCOTT. WHILE THE FOLLOWING TWO POEMS ARE PERFECTLY EXPLICIT, THEY REVEAL AN EMOTIONAL DEPTH ANO CONCERN WITH SUBJECT
IVE EXPERIENCE WHICH HAVE NOT ALWAYS BEEN PRESENT IN Scorr's VERSE. WINDFALL HAS SEVERAL INTERESTING AND EVOCATIVE PHRASES: 1CONTAGION OF THE SUN 1, 1VEINS STIFF WITH SHOW 1 • NOTICE ALSO THE VARIATIONS OF' THE 1 o 1 SOUND 4N 1GROWN 1 ANO 1 TORN' ANO THE ECHOING 1Now 1 ANO 1STONE 1• THE SECOND POEM, BEDSIDE, L~AOS UP TO THE CONCLUDING LIN~,EXPRESSIVE OF THE DISINTEGRATION Or A rAMILV: 
1ANO FIVE NO LONGER INTEGRAL DEPAflTEO 1• p ,A. • ) 
WINDFALL 
UNTIL THIS POEM IS OVER, I SHALL NOT LEAVE THIS LEA~, HELO LIKE THE HEARTACHE IN MV HANO, FALLEN FROM BRAVE CONTAGION OF THE SUN FALLEN rROM BRANCHES WOUNDED BV A WIND AND RESTING, NOW, AS GREEN AS WHEN IT FLEW WITH SAP IN THE STALK AND VEINS STIFF WITH SHOW, 
ANY SMALL COMPLETE AND PERFECT THING Cur OFF FROM WHOLENESS IS MY HEART'S . SUFFERING. THIS SEPARATE PART OF SOMETHING GROWN AND TORN Is MY HEART 1S IMAGE THAT NOW FALLS ON STONE. 
THIS ts A LEAF I TALK TO AS A LOVER AND LAY DOWN GENTLY NOW MY POEM IS OVER. 

BEDSIDE 
IN JUNE I SAW THE WITHERING OF MY MOTHER, . OH TREES LIKE TEARS, OH FELLOWSHIP OF STONEf WE MOVED AS ONE AND STARED INTO OUR HEARTS TILL NIGHT 1 S LAST ROUND AND MIONIGHT 1S COURTESY WAS l<ERCH I EF T O OUR EYES, WHO F'OUNO · NO OTHER. 
OUR SILENT STRENGTH NO HELP IN THIS ASSAULT WE WATCHED HER TIME CREEP CLOSER BY THE HOUR, AND EVE RY LENGTHENED INTAKE, EACH RETUP.N, BROUGHT BACK SOME TENDER MOMENT OF HER SUCCOUR. EACH ONE OF US WAS HERS, AND NONE HIS OWN. 
THE ROOT WHEREIN WE JOINED AT LAST UPROOTED WE LINGERED, REACHING IN OUR SHALLOWER SOtL. WHAT CAME BErO ~E SEEMED NOW BY TIME INVERTED, THE GR OUND I TR OD WAS ALL MV PORMER HOME. 
AND FIVE NO LONGER INTEGRAL DEPAnTEO. 

WINTER IN MONTREAL PATRICK ANDERSON 
IN THIS POEM I HAVE TRIED TO EXPRESS A SOCIAL STATEMENT ABOUT CANADA 
IN TERMS THAT ALLOW MV ESSENTIALLY EMOTIONAL ANO ROMANTIC NATURE FREE PLAV. WINTER POSSESSES FOR ME SEVERAL POWEF<F"UL SYMBOLISMS: t SEE IT, AS A SORT OF EM800 I MENT OF THE f·NNER L (F"E: f T BR t'NGS A MYSTERIOUS PEACE AND BEAUTY, A SUSPENSION OF ORDINARY HABITS -THE ST 0 RM-WINDOWS ARE SHUT, THt WARTRAFFfC IS BANISHED FROM THE RIVER, SKIERS GO UP TO THE MOUNTAINS TO P RACTISE THEI R SECRET ANO DANGEROUS IDYLLS. BUT THIS EQUILIBRJUM 1 THIS CULT O F SKI ING O P-CHRISTMAS, IS REALLY ILLUSORY. IT IS FULL T00 OF' A LONELY VIOLENCE. AND IN THE VI OLENCE OF ·WINTER ONE CANNOT HELP THINKING OF HOW A REAL CHANGE MIGHT DEVELOP FROM THE TEMPO RARY, BUT STILL BEAUTIFUL, CHANGE BR OUGHT UPON THE W·.)RLD BY I CE AND SNOW. OR, IN TERMS OF" THE t NNER LIFE, FROM THE FRUST RATl 0NS ANO EXCITEMENTS OF A ROMANTIC CONSCIOUSNESS. 
I  HAVE  WR ITTEN  A  NUMBE R  OF  POEMS  ON  SIMILAR  T~EMES,  SOME  DERIDING  THE  SNOW  
AS  FALSE  PEACE  AND  SIMPLIFICATI ON,  OTHERS  CELEBnATING  IT  AND  THE  SPORTS  
THAT  GO  WITH  IT  AS  A  PRE-FIGURATION  OF  S OCIAL  CHANGE.  •  •  )  

GOING HOME ONE NIGHT THR OUGH THE FnOZEN FALL I KICKED A KETTLE OF ICE ON THE LONELY STREET, SCAMPERED A BLACK CAT DOWN THE DntFTS OF AN ALLEY WHE RE SHADOW WAS SH OT A PICASSO WAS CANTERING: THE WIND CAME SLIDING UP WITH NO THROUGH A ZE RO AND OVER THE RAW-RED PARLOURS, ORNATE AS WOUNDS, THE IODINE BLINDS DREW DOWN IN A TOUGH IMPASTO. 
ONE DAY I WOKE AND TOOK THE MILK LIKE A F"LOWE R PR OT RUDING ITS FR 0 7EN NECK ON THE OUTD OO R STEPS ANO A POLE FR OM MY BATTERED SKIS THAT WERE STACKED IN THE HALL AND BEGAN TO JAB FURI OUSLY AT A WONDERFUL CRYSTAL CHANDELIER THAT HAD GROWN DOWN FROM THE ROOF IN THE NIGHT, A THEAT R ICAL PIECE OF ICE, 
AN D THE NEXT DA Y IT HA C GROWN AGAIN TO GLISTEN EXACTLY AS BEFORE, AN D A FUNGOID MIRROR HAD SEALED THE GARBAGE CAN TO THE BALCONY FLOOR. Q WHEN SHALL WE BE FnEE OF THE WINTE R PALACE? ARMOR I AL IN AIR MY BREATH WAS PLANTAGENET AN D MY HEELS WERE S P URRED. 
AN D, CLIMBING THE MO UNT A IN, I SAW IN A BIRD1S EYE VIEW THE CITY BELOW WITH ITS WAY OF A PHOTOGRAPH ITS IRON WOOD BR ICK BUT NEVER QUITE REAL TONES I HA D NOT THOUGHT SUCH SILVE R IN STATISTICS COULD PLAY SUCH A TRICK IN THE MIST . AROUND ME THE SKIERS RUSHED SI LENT LY. THE SNOW LIKE CHLOROFORM MASKED MY FACE . AND I TURNED TO ONE 

WINTER IN MONTREAL 

OF THE SKIERS WH OS E NERVOUS CURVE NEATLY MISSED Mt AND SAW HIS HEART SPREAD OUT IN A FLUTTCRING TARTAN AT THE DELICATE P LEASU8ES WHICH HE WAS SUFFE R ING AND I SAID: CAN vou TELL ME? Is THIS CANADIAN, TJ SKI-I MEAN, TO DAR E SO SILENTLY WITH NOTHING IN FR ONT AND BLUE BEHIND LIKE A RAILWAY? 
I WAITED FOR HI S ANSWER OUT IT WAS WAFTED AWAY IN THIS SANITARIUM SNOW WHE ~ E THE SKIERS FLUSHE D LIKE THE H£CTIC TUBERCULAR SCHUSSED DOWN THE FEVER OF THEIR FEATHERY PILLOW. 
AN □ AFTERWARDS ON THE RINKS DOVS MASHED THEIR STICKS IN THE VIVI D COLOURS OF THEIR AWKWARD AGE WITH 0 1ARcv-M1GEE AND L~YOLA ~VER THEIR s nEASTS KNOTS ON THE l R 'KNEES BUNCHES OF LUMPS ON THEIR SHOULDERS AND ON THEI R LOIN S A STRAP AND A CODP IECEIN THE EXTREME RA BB LE OF THEIR BEING SUSPENDED WITHIN THE MIR nOR OF THEIR GAME AND THEIR YOUTH I GLIDED 
AMONGST THEM WITH A WHISTLE IN MV HAN D AND WATCHED THEM LONG AND HALTERED, ALL SHOULDER AND HIP, TRIP AN D GO DOWN BY THE BOARDS, SILVERlNG THEIR SIDES, SLITHERING THE!~ THICKSET HAIR. THEIR FACES FIERCE, OVER THE ICE THEIR CHEEKS AND STOCKINGS SLIPPED AND CHEWING GUM THEY ROSE CU RS ING INDIFFERENT. IN THE CL~MATE OF A MIRROR THEY MOVED AND MASSED ~ND MASHED THEIR STICKS IN A SEASON ~F FROZEN MIST. . \ 
IN THIS SWAN NECK OF THE WOODS , THESE .CRYSTAL STICKS, A HICK T J WN, ICICLE THICK, SUCH ~n o zEN BUMPKINS KNOCKAOOUT BOYS, KNOCBLY WITH SEX, FLICK THEIR BLACK PUCK IN THE NtT. Bur I MORALISE ~ N THE RIOTOUS QUIET THAT MAKES THE COLONY: TH OSE WH O LIVE IN THE CA ? tTALISTS 1 CRYSTAL SURGE LIKE A REVOLUTIONARY FUTURE AG OUT ME. 
THE o,:)UGLE Wl'NDOWS CLOSED UPON JANUAr~v I HE AR THE DEC REPIT MOVEMENT OF" THIS Tt'ME CREPITATE WITH ICE AND CREEP WITH SHADOW, PRECIPITATE DUST AND FR OST IN MV ROOM. I HE AR THE SKINNY WIND IN THE CHIMNEY SLIGHTLY MOA NING ALL NIGHT. I W<) NDER WHAT WILL COMEWHAT COMES WITH A LIMPING STRIDE IS Ft□ RUARV 
AN D ON MY PANE A PRISM BURNS IN THE FERN THE F R8ST HAS MADE, A WIND BEGINS :r o GNAW AT AN IVORY TQWER AS IF" IT HAD FOUND A DONE AND IN THE SUSPENSION OF THE HOUR THAT IS NOT REALLY SO I MM OE.3 1LE ·AT ALL, HEAR 0RTONA, ANZI O AND THE .GOMOlNG OF ROME! 
PAGE 9 
WINTER IN MONTREAL PATRICK ANDERSON 
IN THE ROUTINE OF SNOW AND THE DREAMING SEASON I HEAR THE AVALANCHE FALL FROM TH~ VILLA ROOF LIKE THE PLUSH OF A CRASH IN SLEEP 1S DEO ILITY 
• OR BERLIN DYING, THE GLOVED AND FEMALE GASH OF A GREAT WOUND GLIDING INTO A SOLDIER 1S BODYA CRUMPLED THUNDEn AND FAINTNESS SO FAR AWAY THAT THE LISTENER DOES NOT STIR NOR THE SKIER WAKE NOR I J NOR I DROWSING UPON THIS POEM WHICH PUNS AND PURRS IN THE GAP THE ARMIES MAKE. 
THE DEMAGOGUE BRUCE RUDDICK 
( .• THIS POEM ATTEMPTS TO SAY SOMETHING WITH THE ECONOMY SOUND AND IMAGERY ~F POETRY. IT SEEMS OOSCURE MAINLY DECAUSE IT ATTEMPTS TO GAY A LOT DY GIVING A SPECIFIC PICTURE WHICH IMPLIES SIGNIFICANT GENERALIZATIONS. I WROTE IT AS IT IS ANO CAN MAKE NO EXCUSES FOR IT. HOWEVER, SINCE I HAVE GEEN ASKED TO EXPLAIN IT, I DO SO IN THE HOPE THAT SUCH EXPLANATION MAY HELP THE READER TO UNDERSTAND OTHER 1POETRY OF IMPLICATION 1• 
THE dema•30GUE ACTS IN MANY WAYS. HE MAY ACTUALLY PLAY UPON ANO FOSTER PREJUDICES DV USING THE TWISTED LOGIC OF THE EM OTIONS. OR HE MAY CONTROL THE MEOIA THROUGH WHICH PREJUDICES ARE ATTACKED. 
THE EXTERNAL EARS HERE ARE TAKEN AS A SVMOOL OF THE SENSES THROUGH WHICH WE PERCEIVE WHAT W~ LIKE TO CALL 1TRUTH 1 • ANY LIMITATION OF INTERNATIONAL ('THE RUNNELLING WORLD 1 ) OR INTERPERSONAL RELATIONSHIPS 18 AN AID TO PREJUDICE. 
WHEN ANY ACCEPTED HUMAN LIOERTY IS LOST THERE IS A REACTION 1 DUM □, LAVISH WITH □ LOO □, ANT ICIP ATING THE NEURAL TERROR'. Bur, AFTER THE SHOCK HAS WORN OFF, THE HUMAN MECHANISM ACC~MMODATES ITSELF 1GENERAL, UNALARMING 1• HERE LIES THE DANGER, BECAUSE THE VUL~ERAOILtTY IS INCREASED. THE 1FROCK MAN OR FRIEND 1 APPEARS AN O GY DEMAGOGUER Y FURTHER CONTROLS HIS AUDIENCE. 
THE ABACUS IS A COUNTING MACHINE STRUNG WITH □ EADS (1 .E. HUMAN INDIVIDUALS) WH~ CAN OE SHIFTED 1To Hts SCORE AND POWER'. 
WITH HIS SCIMITAR LOGIC HE PRUNED THEIR EARS LOOPED THEY FELL LIKE LILLIES TURNED TO TOADS. 'PEACE 1 HE SAID. 'Now THE RUNNELLING WOR LD WtL~ NOT WHIRL RAUCOUSLY TO THE NERVE 1 • THEN, WIDE-EYE D THEY ST00D AND DUMD, LAVISH WITH BLOOD, DISORDERED, • 
ANTICIPATING THE NEURAL TERROR. 
PA~E 10 
THE DEMAGOGUE BRUCE RUDDICK 
LATER, THE STUMPS WERE UNALARMING 1 GENERAL ANO NUMB, 
HA, HE THOUGHT, PROPERLY SET AND MARKED FOR TRANSFIXING WITH ABACUS-WIRE -1TAKE EASE NOW KNOWING MV AID AND AIM. I AM YOUR FROCK MAN, YOUR FRIEND , 1 -ALREADY SHIFTING FIGURES TO HIS SCORE AND POWER. 
CHILDREN P.K. PAGE 
MORE THAN DISCOVERING FOR THE FIRST TIME, THEY RENEW AN ACQUAINTANCESHIP WITH ALL THINGS AS WITH ~LOWE RS THEY SAW IN DREAMS. 
AND, DELICATE AS A SKETCH WHICH THEY HAVE MADE 1 THROUGH BEING, THEY MERGE IN A SINGULAR WAY WITH THEIR OWN THOUGHTS, DRAWING AN ARABESQUE WITH A SPOON OR FORK CASUALLY ON THE AIR BEHIND THEIR SHOULDERS, OR TALK IN A CONFIDENTIAL TONE AS IF THEIR OWN EARS HELDTHE HEARING OF ANOTHER. 
LEGS 1N THE DANCE GO UP AS THOUGH ON STRINGS PULLED BY THEIR INDIFFERENT WANTON HANDS 
WHILE ANGER BLOWS INTO THEM ANO THROUGH THEIR MUSLIN EASILY AS SANO OR WIND. 
OLDER THEY BECOME ROUND ANO HARD, DEMAND SHAPES THAT ARE REAL, CASTLES UPON THE SHORE ANO ALL THE LINES AND ANGLES OF TRADITION ARE MUSTERED BY THEM IN THEIR EAGEnNESS TO BECOME WHOLE, FIT THEMSELVES TO THE THING THEY SEE OUTSIDE THEM, WHILE THE THING THEY LEFT LIES ~IKE A CAUL IN SOME ABANDONED PLACE, UNREM~MBERED BY FINGERS OR THE INCREDIBLY BRIGHT STONES, WHICH FOR A TIME, REPLACE THEIR EYES. 
PAGE I I 
FIELD TACTICS WM. McCONNELL 
..... 
JENKINS WAS THE SHORT-NECKED FORMER CLERK. RoANTREE WAS THE STRIPE-SUITED SODA-JERK. AND KNOPF WAS THE SIBILANT-VOICED SCHOOLTEACHER. THREE ROUNDED CHARACTERS UNSUITABLY BELLICOSEO INTO FAIRFI TT I NG KHAKI. THE P.C'.RT OF Fl FTY OTHER CHARACTERS UNKNOWN EXCEPT BY CURSE, ROBUST LARKING, SYNTHETIC GRUMBLING; THE PART OF A GROUP COMPRESSING ENTITLED DISCIPLINE, COMPLET~D TRAINING, SUCCESSFUL INSTRUCTION. 
THE GROUP TALK HAD OOZED FROM THEIR TONGUES TO THEIR RHYTHMED FEET, THERE TO DAMP THEIR SOCKS AS PERSPIRATION. ONLY THE OVERHEAD FLIGHT OF AV OF P-40, OR THE QUICK SPLASHING-BY OF A CIVILIAN CAR, OR THE CHANGE OF VOICE-KEY OF THE SERGEANT 1 S 11 PICK-IT-UP ••.• LEF'T •••• LEFT •••• PICK-IT-UP, PICK-IT-UP •••• LEFT, 11 OR THE PROSPECT OF THE TENMINUTE SPELLOUT FOR SMOKE, EASING OF STRAPS, JOCULAREO HORSEPLAY, SLOPPED MOPING OF HOME AND ETCETERA (FOR THOUGHTS OF UNIFORMS MAY BE MOLDED, BUT NEVER JELLED INTQ A PATTERN EASY TO SAY)• 
AND THE SCENE? ONE OF THOSE LATE-OCTOBE R DAYS WHICH ARE COLOURED LIKE THE SURFACE OF A DAYOLO CUT APPLE; NOT YET WRINKLED INTO THE COLDNESS OF WINTER, NOR RETAINING THE SPICY AWARENESS OF EARLY AUTUMN. NOVEMBER, THEN, WITH SUFFICIENT ABnASIVE COLD FOR EACH BODY TO CHILL ITSELF IN A SLIGHT ORGASMIC SWEAT WHICH ENNUIED. WITH A PLUM-COLOURED FIELD TO THE RIGHT, ANO ON THE LEFT A WELL-SCRUBBED BLUFF, ANCHORING THE HIGHER PINEWOODS ABOVE THE TE RRA CED ROAD. A DAY MIGHT HAVE BEEN FOR SNIPE OR GROUSE OR FEATHER COLOURED PHEASANT ROUSED FROM APPREHENSIVE REST IN TUSSOCK OR BRUSH. To JENKINS A DAY SLIGHTLY nEMINISCENT OF YEAR-END BALANCE. To RoANTREE THE BOUNDARY BETWEEN MILK-SHAKE AND HOT CHOCOLATE WITH RED MITTS AND JACKET S ON THE FULL-BOTTOMED GIRLS OF THE CORNER SCHOOL. ANO TO LETHARGIC KNOPF, A DIM REMINISCENCE OF THE DAYS HE GALLOPED ACROSS FIELD AND PRAIRIE WITH GENGHIS KHAN LAMB. To EACH OF THE FIFTY (sPACE FORBIDS) A PERCEPTION OF WINE, BLAZING FI REP LACE, on PERHAPS CLEAN WINDOW-PANES LOOKING OUT OVER THE CORNER FOOTBALL LOT. 
THEY HALTED AND COLLECTED ABOUT Mn. MonE , THE QUIET LIEUTENANT, 
AND THE EAGE i< SE f'<GEJ.\NT • AN EXPLANATION OF EXEHC I SES• 11You SEE HOW TH IS 
BLUFF COMMANDS THE ROAD? AND SUPPOSING, SUPPOSING, A MORTAR SECTION · WERE UP THE RE NOW. UP AHEAD, THREE HUNDnED YA nos , BEYOND THE BEND. You 
KNOW THEY 1RE THE RE. A SCOUT CAn RAN SLAM-BANG INT O THE TRAP. NOTHING 
IN FORCE. A SUICIDE SQUAD, LEFT T~ BADGER YOUR AD VANCE FOR AWHfLE. 
SERGEANT' WHAT wouLD v o u Do? No, I KN OW vou KNOW. WHAT ABOUT soME OF 
YOU OTHE R MEN7 WHAT IF YOU WERE ON YOUR OWN? JENKINS. KNOPF. AND YOU, 
RoANTREE. 11 
11 8 IR t 
StR'" 
11 YEs,  NOW .  WHAT  WOULD  YOU  CHAPS  oo?  No,  DON 1T  TELL  ME.  THE  REST  
OF  YOU  MEN  DEPLOY  ALONG  THF  FJELD  BELOW  ANO  ADVANCE  SLOWLY.  COR PORAL,  
STAY  HERE  WITH  ME  AND  OBSER VE. 11  

PAGE 12 
FIELD TACTICS WM. McCONNELL 
111NHAT WOULD I oo? 11 ASKS ROANTREE TO HIMSELF". 11 HELL! 1 COULD CREEP UP ALONG THAT RIDGE SO QUIETLY THEY WOULON 1T KNOW THERE WAS ANYONE AROUND FOR MILES. Bur FOR THESE OTHER DOPES. THEY'D SURE CUT IN MV TIME. HEY, KEEP DOWN FOR CHRI 1s SAKE, KNOPF . YouR FAT REAR-END WOUL0 1VE BEEN PERFORATED FIVE MINUTES AG0. 11 
?11
11 WHAT WOULD DO ASKS l<NOPF'. 11 8EAT FURTHER OVER THAN THIS AND THEN CREEP BACK ON THEIR REAR, AN ELEMENTARY TACTIC. WHY COULON 1T MR. MORE ASSIGN ONE OF us, ME, TO DECIDE AND ORDER THE OTHE RS TO FOLLOW. Now THAT FOOL IS HOLLE R ING LOUD ENOUGH F"OR ANYONE TO HEA R . 11 HE HISSED FOR RoANTREE TO BE QUIET AND HUGGED THE COLO EARTH TO HIS FATIGUE J ACKET, FEELING THE BUTTONS CATCHING ANO TWISTING TOUGH VINES. 
AND JENKINS CREPT FORWARD MECHANIC ALLY, NOT RAISING HIS HEAD TILL OBSTACLES WE RE MET. A BEETLE SCU~R lED BY HIS WHITE PAWING HANDS. SUCH DELICATE GREENS AND BLUES. WAS IT ACTUALLY A BEETLE, OR SOME BEHEMOTH TANK CRUMBLING THE GRA SS-STOCKED JUNGLE, EAGER TO MAKE RENDEZVOUS WITH THE COMP ANY IN THE CLEA R ING BEYOND. Hrs FINGE RS CAUGHT IT, FLIPPED IT INTO AIR, AND HE RES UMED HIS PATIENT,tNTERESTING PROGRESS. Now OOWN A SLOPE, OH so SLIGHT, AND DAMPNESS TRICKLING HIS STOMACH. Now UP THE SLOPE, BUT OVER ON HIS SIDE. WHERE WERE THE OTHERS? NEAR? 
So THE THREE CANKERED THE WAY TWO HUNDRED YA RDS, WITHOUT CONTACT, YET NEAR ENOUGH NOT TO WARRANT SURPRISE WHEN THEY BURGEONED INTO ONE APPROACHING FORM. 11 8PREAD our! 11 HISSED KNOPF. 11 SURE, SURE, 11 REPLIED JENKINS, AND A SNOTTY GLARE FROM RoANTREE. Bur THEY SPREAD OUT AND ADVANCED. 
Two HUNDRED YARD S . WAs IT A GAME? WAS IT A GAME WITH ONE HUNDRED YARDS TO Go? PE RHAPS THEY WE RE TOO CLOSE. RoANTREE STRUCK OFF, DEEPER INTO THE WOODS. JENKINS FORG OT HIS WET SKIRT, HUGGED THE GROUND STILL _ CLO S ER, ANO WO RR fEDLY LISTENED FOR SOUNDS OF B~EATHtNG FROM HIS MONOTONOUS~ VOICED CHEST. KNOPF THOUGHT OF SIGNA LLING TO HIS COMPANIONS, BUT DlD NOT DA RE. THEY WE RE TOO CL OSE NOW. EVEN A LOW WHISTLE WOULD GIVE THEM AWAY. HE FELT AGAIN THE NEED TO CIRCLE THE POSITION AND TAKE IT FROM THE REA R , HE FOLLOWED RoANTREE 1s MANOEUVRE AND CHANGED HIS COURSE. ONLY JENKINS CRAWLED Dl ~ECTLY ON, UN SEEING, LIKE SOME BUG WHICH KNOWS BUT ONE DIRECTI ON, THE SHORTEST, TO FINISH HIS JOURNEY. THEY INCHED ALONG. FtFTY YARDS. 
AND TWENTY-FIVE, THE REPETITION OF LECTURES SEEPED THROUGH THEIR MINDS. THEIR LIPS TIGHTENED. THEIR PACKS WERE SHIFTED, CAREFULLY, SO AS NOT TO MAKE TELL-TALE MOVEMENTS OF THE BRUSH. THEY TESTED THEIR BELTS, EA S ING THE SOUND OF CLICKING WITH THE PALM OF THEIR HANDS. THEIR HEADS LIFTED SLOWLY AT EACH YARD OF GROUND COVERED, GLANCING AHEAD, TO LEFT ANO 
11
TO RIGHT . A MORTAR? IT WOULD HAVE TO SE A CLEARING, WlTH UNOBSTRUCTING T FH.:ES IN FRONT. IT HAD BEEN Fl RED RECENTLY. A SMELL OF BURNT POWDER SHOULD HANG DELICATELY IN THE BRUSH. WISPS, NOW BLUE ANO VERY FA(NT 1 MIGHT STILL SHOW. 11 THEY SNIFFED. 

FIELD TACTfCS. WM. McCONNELL. 
• 
KNOPF HAD CI RCLED, TIMING HIS PROGRESS DY THE FAINT SOUNDS OF RoANTREE 1s ooov, NOW ON HIS LEFT. HE URGENTLY HOPED THAT JENKINS WOULD 
NOT OREAK COVER TOO 808N. Ht WAS IN HEAVIER TIMBER • . IT WAS SAFE TO RISE 
AND DODGt FROM Tn EE TO TREE. IT SHOULD DE ADOUT HERE. Now TO LISTEN CAREFULLY F"OR Ro ANTREE. No SOUND. GooD • . HE SHOULD OE IN POSITION. IF ONLY JENKINS IS IN POSITI ON. COUNT TO TEN. SLOWLY. THEY WOULD OE DOING THE SAME. ONE •••• Two ••••THREE. SLOWER? •••• NINE •••• TEN. WITH A WILD 
SCREAM HE HURLE C HIMSELF FORWAR D . 
AND JENKINS AN D R0 ANTREE, FR OM AHEAD AND CENTRE. BOTH SCREAMING. A RUSH INT O THE SMALL CLE AR ING, RIFLES JA OO ING, FINGERS CONVULSIVELY TWITCH
ING ON THE TRtGGER-GUARu . BREAK DUSH! CLUO WITH THE DUTT! HOLD tr' THE 
LIEUTENANT•AND THE CORPORAL, GOTH STANDING THERE GRINNING, SATISFIEDLV OACKE D AWAY A LITTLE FR OM THE THREE STALKERS. 
NOTE: PLEA S E SEND ALL DONATIONS, LITERARY CONTRIDUTION S AN D COMMENTS TO BRUCE RUDDICK, 1491 CRESC£NT STREET, 
MONTREAL. 
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