The poetry of job loss

One more note on “luminous” as a poetry cliché: I would like to plead special exemption for Edward Lear, who wins my prize for the best use of luminous in a poem title: The Dong With the Luminous Nose.

A little more comment on Canada House, from the Guardian. I’ve been thinking about why I feel it so personally? Not only are the cuts harmful to the eternally under-funded world of Canadian culture, and not only is it tiresome to see what appears to be yet another new government thinking cultural funding is a conveniently disposable column in the spreadsheet – when as the Guardian article demonstrates, it benefits Canada’s cultural reputation in ways that go beyond the simply fiscal. But firing people to save money is also just a bad thing for those left behind, forced to try to do more with less, after having just witnessed the disposal of their colleagues.

I was really struck by a CBC Sunday Edition interview with Henry Mintzberg a couple of months ago. He talked about how the heads of organizations are axing not just people but corporate culture and corporate loyalty when they impose economic efficiency without regard for the long term health of the organization. While the big guys cycle through the corporate stratosphere collecting their multi-figure salaries and fiscal incentives, those beneath them are left picking up the pieces and selling themselves on to the highest bidder, because rounds of cost-cutting firings have taught them their experience and their knowledge of their organizations are no longer valued.

When you lose your job, you will be appalled by the swiftness with which a judgment can be made between your years of company-specific experience and skills on the one hand, and your salary on the other. More than that, you discover the obscene vocabulary that has been invented to mask the cruelty and destructiveness of the process. I actually heard someone remark – after the first unannounced round of firings in our company – that it had been a necessary and positive move, because it had eliminated “deadwood”. This person had actually hired some of the people who lost their jobs, after a dozen years of service or more. That remark showed me in a single sentence how the company I joined had ceased to be.


Call them
deadwood, downsized or first ones out;
right-sized, rationalized and repositioned;
call them someone we used to work with,
yesterday’s friends bent over their desks
filling shopping bags with coffee mugs
and office tat.

Computer screens gone blind, they are
erased already from the network, relieved
of their keys and shown the exit: dehired,
excessed, and made redundant…
from Survivors, in Cartography)

All fired up now? Canadian poet-workers might like to check out the poetry competition at Living Work.

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Hail to the Queen

From the incomparable 1955 edition of the Good Housekeeping Cookbook – its pages starting to scallop at the edges, spine restored long ago with silver duct tape – and with a little customization, one of my mother’s triumphs: Queen of Puddings.

For pudding:
1 qt. milk
2 cups 2‑day old bread in 1/2 inch cubes
1/2 cup raisins, plumped in hot tea, sherry or spiced water for half an hour
2 eggs plus 2 yolks
1/4 cup granulated sugar
1/2 tsp salt
1/4 tsp nutmeg
1 tbsp vanilla
4 tbsp melted butter/margarine
For topping:
2 egg whites
1/4 cup sugar
1/3 cup blackcurrant or other fruit jelly

  • Heat oven to 350f. Grease 1‑1/2 quart casserole. In double boiler, heat milk until tiny bubbles appear around edges. Remove from heat; stir in bread cubes; set aside.
  • Break 2 eggs and 2 yolks into casserole; beat lightly with fork. Stir in 1/4 cup sugar, salt, nutmeg, vanilla, melted butter then fold in bread/milk mixture.
  • Set casserole in baking pan and place it in the oven. Fill the pan with warm water to 1 inch from top of casserole.
  • Bake, uncovered, 34‑50 minutes. Remove from oven.
  • Beat the egg whites until they form peaks; slowly add 1/4 cup sugar, beating till stiff.
  • Spread the jelly on the top of the pudding and then heap the beaten whites on top of that.
    Bake in pan of warm water 12‑15 minutes more, until the meringue is golden. Serve warm or cold.
  • Alternatively, heap the beaten whites/sugar directly on the pudding, leaving impressions in each serving. When you serve the pudding, put a dab of jelly in each impression.

I do not know of any poems already written about or featuring bread pudding, let alone queen of puddings, but if you try this recipe it may drive you to verse. The blessed Delia (I’ve just read that she baked the very cake seen on the cover of the Rolling Stones album Let It Bleed!) makes a version in individual ramekins, which is worth looking at if only to see how beautiful a dish it is.

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Lady Sara

A year ago this week we lost our lovely Sara: Australian Shepherdess extraordinaire, aged 16.

…your gaze could cure
multitudes, the silk of your head
soothe any worry.
You teach us to taste
each morning as if it’s our first.

And day after day you lie
near my feet, dreaming and fixed
on some distant thing that is, at last,
outrunning you.

Last night we went to Alix Goolden Hall to see/hear a Ballet BC performance of the impossibly lovely Stabat Mater by Pergolesi . I hadn’t realised till I was home reading my cd liner notes that Pergolesi died at 26, and this was possibly his last composition. Quite a finale. In the recording I have, a countertenor, Michael Chance, sings the alto which is extraordinary, and it was recorded at Church of St Jude-on-the-Hill, Hampstead (London) by The King’s Consort, who play period instruments. “Forty minutes of undiluted peace” said one of the Amazon reviewers.

Off to dine with the relatives tonight, and I’m bringing dessert. Thank you Delia Smith (and my apple tree) for Baked Apple and Almond Pudding.

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Next year in West Chester

I have been looking with longing at the program for the 12th Annual West Chester University Poetry Conference: Exploring Form and Narrative. Among the offerings are workshops on rhyme with Dick Davis, meter with Timothy Steele, a master class with Mark Jarman, and a keynote address by James Fenton, who is also interviewed by Dana Gioia. Alas I can’t fit it in this year, but perhaps I can make the thirteenth edition next year. Never been to Pennsylvania…

Back here on the Coast, I was minding my own business on Tuesday afternoon… well, to be truthful I was engaged in some anguished last minute edits of my poems for the final Form in Poetry class, when the phone rang and Peg said: so, we’ve just got some fresh crab, want to come over and help us eat it? I dithered for a number of seconds, remembering several ill-starred occasions under the sign of the crab back in my Edmonton days. Then I thought, well, maybe it was a passing thing. Maybe it was bad frozen crab crossed with too many libations. Maybe it was just time to give it another try. So I brought along a quiche lorraine for a back-up, but the crab was fresh and simple, boiled in salt water, needing nothing but a nice bit of french bread and salad. And it went well with gin! The best news was that I suffered no ill-effects at all, so that strikes off the only food I’ve ever believed I was allergic, or at least intolerant to. I am grateful.

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Luminous shards

There is a word that has filtered into the collective consciousness of British poets, as memorably discussed in Peter Sansom’s enduring how-to text, Writing Poems, which first appeared in 1994, in a discussion about poetry clichés:

“Writers use them to try and lift flagging poems — hoping they will inject…emotional resonance. They do the reverse.”

He quotes Pound saying “one of poetry’s functions is to ‘keep the tools clean’… Using poetry clichés ultimately blunts the tools.”

His overtaxed word of choice is “shards”, one that I think is scarce in Canadian poetry. But I would like to nominate the word “luminous” for this decade’s hit list, a word which seems to be shining rather too brightly out of every other poem – particularly American ones – I’ve read in the last year. It’s a bit too… *poetic* to resist calling attention to itself; the poems I’ve seen it in seem to lean rather hard on it, and now I wince when I see it. It does appear a lot in reviews as well. A shame, as it’s a nice word. But it’s getting tired. Let’s give it a rest shall we? Anyone have a nomination for Canada’s most worn-out poetry word?

Rice is a fine word, one that can never be over-used in my cookbooks. And Kheer is one of my favourite desserts, a richer, runnier version of rice pudding, fragrant with cardamom, so good I have been known to eat it for breakfast. In my version, you forget the rosewater; substitute 2 percent / semi-skimmed milk for all or most of the cream; and add a third of a cup of golden raisins to the milk mixture when you add the rice.

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