Derek Webster
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Is a yearling a perfect metaphor for a poem? What is to be said about the doppelganger in your reflection? How does one break the spell of all that is left unspoken? Although Derek Webster’s three poems may differ in style, they are unified in the way they gently ask the reader to pause, take a breath, and, with this, a moment to consider questions larger than oneself.
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Poetry
No longer mottled, driven off,
the yearling makes a new path through forest—
going left, going right, snorting at
nosed branches which invite
its body
—we will forever
be finding our own ways to it—
around
a stubborn, wet stump
across the bog, the scattered bones,
back to its grazing art, each spring
a tired, brown line.
Born to green, yearlings
startle
themselves
to a musky vim,
creaturely sound, unseen
emerging from the crackling canopy
or passing unheard
—and bow heads
and kick alive—
and gone.
Ancient, unnamed,
a humid bubble
leaves our mouths to hang
among the bulrushes, heavy, glassed
with ice, leaning into the road.
King Canute
We are debating the limits of power
late one night at the kitchen table.
“He told his soldiers to attack the waves–”
says my father
“—and there his reign ended
but for the crying,” I cut in, mocking.
He looks surprised. I am thirty-one, tired
of the wise king’s lessons. He sighs,
says the king was trying to say something.
In the window, reflected, our deaf-mute
alternates swing mythic objects, stabbing
at doppelgangers in silence.
Outside
by a gopher’s den, furred shoulders shiver
and crows blink their third lids. Under the grass,
water marches, slaughtering the hills.
Dominion
i.
At the cabin door
spring wavers.
Undressing, sighing
seal mitts
great coat
beaver hat
a gaunt figure
unwound, the tartan scarf
revealing a face—
ii.
Birch creak and deer bark and
other alarums.
They come
wrapped in rabbit hoods
with spears.
Others
come wrapped
in sheep’s wool
and Christian fervor.
In their ordinary desperation
they know why
not what
they are accepting—
iii.
Drive by your old life—
the hills produce shadows
the future buries
and the birds sing oblivion
estranged from all things
as you follow an old Abenaki trail
through ghostly thick-rumped horses
past the grey-green, half-forgotten monuments
mottled by pigeons
imperial in their silence
iv.
Our canoe keeps sinking.
Something inside remains too heavy,
flowing in and out when seasons change,
escaping all our frantic bailing.
Who stands vigilant on the shore?
What animal calls from the ripening wheat?
v.
Northern fields
depend upon
blackened snow
the mud glistening
with pure cold water
beside a fawn’s
skeleton
vi.
My mother sings along to the radio
looking back
over the car seat, smiling down—
she knows
how to draw a protest
a grudging laugh
out of me.
And in that moment
a grain slips
to mind, and the heart
starts to itch
and lacquers itself
by accident
into memory.
vii.
Let the spell of unspoken
be broken.
Let the spoken be acted upon.
Rightness cannot be inherited.
If you want it
you must
obtain it by great labor.
Dominion help us
love you
for new reasons.
Derek Webster’s Mockingbird (Signal) was a finalist for the Gerald Lampert Award for best first book in Canada. He received an MFA from Washington University in St. Louis and was the founding editor of Maisonneuve magazine. His poetry and prose have appeared in many publications including The Malahat Review, The New Quarterly, Boston Review, The Walrus, and recent work appears online at Columba Poetry, Font, The Honest Ulsterman (Ireland), and Pulp. He lives in Montreal.