• ABOUT
  • PRINT
  • PRAISE
  • SUBSCRIBE
  • OPENINGS
  • SUBMISSIONS
  • CONTACT
The Missing Slate - For the discerning reader
  • HOME
  • Magazine
  • In This Issue
  • Literature
    • Billy Luck
      Billy Luck
    • To the Depths
      To the Depths
    • Dearly Departed
      Dearly Departed
    • Fiction
    • Poetry
  • Arts AND Culture
    • Tramontane
      Tramontane
    • Blade Runner 2049
      Blade Runner 2049
    • Loving Vincent
      Loving Vincent
    • The Critics
      • FILM
      • BOOKS
      • TELEVISION
    • SPOTLIGHT
    • SPECIAL FEATURES
  • ESSAYS
    • A SHEvolution is Coming in Saudi Arabia
      A SHEvolution is Coming in Saudi Arabia
    • Paxi: A New Business Empowering Women in Pakistan
      Paxi: A New Business Empowering Women in Pakistan
    • Nature and Self
      Nature and Self
    • ARTICLES
    • COMMENTARY
    • Narrative Nonfiction
  • CONTESTS
    • Pushcart Prize 2017 Nominations
      Pushcart Prize 2017 Nominations
    • Pushcart Prize 2016 Nominations
      Pushcart Prize 2016 Nominations
    • Pushcart Prize 2015 Nominations
      Pushcart Prize 2015 Nominations
    • PUSHCART 2013
    • PUSHCART 2014
Literature, PoetrySeptember 8, 2016

Letter (after Dionne Brand)

Artwork by Atif Khan/Damon Kowarsky. Image Courtesy ArtChowk Gallery

Artwork by Atif Khan/Damon Kowarsky. Image courtesy of ArtChowk Gallery

after Dionne Brand: a glosa variation

“all I can offer you now though is my brooding hand,
my sodden eyelashes and the like,
these humble and particular things I know,
my eyes pinned to your face.”

~ Dionne Brand, ‘Inventory’

I

I must tell you how moved I was
astonished, perhaps like the wind’s castanets in palms
outside my window, like the shak-shak of shells

under the interfering proddings of surf —
how you drew me close, yes, to brimming
over your so-unexpected full-veined

lines that were the archetypal echo
humming under my breath
and, indeed, here you were, Brand —

all I can offer you now though is my brooding hand,

II

parsing your notations, perusing your inventory
of our blasted days, Aleppo now
and then Nice and yesterday Orlando

tomorrow Laventille again, Trench Town recurrent
Richmond Hill impossible to forget —
ossuaries, yes, of failed states and their politricks

babies broken on beaches, Mediterranean
drowned in overladen caravels
our islands’ doomed alleys mocking

my sodden eyelashes and the like,

III

exhausting, these post-modern certainties
no truth, no meaning, no author
no beauty I suppose in the old songs of remembering

upon drum, string and bones
dimpled laugh of the old woman who loves you
long arms of the dancer from San Fernando

sacramental light rimming the ends of sunsets
languid cruising of scissor-tailed seabirds
through our horizons, reading a fine poet from Toronto —

these humble and particular things I know,

IV

add thresholds of jalousied doorways I crossed
pursuing mystery love, drawn even then by the echo
quivering on metronomes of evening softnesses

to find faith waiting in lines of dread-locked canticles
pointing couplets of dark sayings
terrible chapters of mighty prophecies —

anyway, like some minor April epiphany
am downtown Port of Spain, corner Hart & Abercromby
and you reading, tenderly, at Bocas

my eyes pinned to your face

~ John Robert Lee

John Robert Lee is a writer of prose, poetry, journalism; a librarian; and a former radio and television broadcaster. His latest publications are ‘elemental: new and selected poems,  1975-2007’ ( Peepal Tree Press, 2008), ‘Sighting and other poems of faith’ (Mahanaim, 2013), ‘Bibliography of St. Lucian Creative writing: 1948-2013’ (Mahanaim, 2013), and ‘City remembrances: Poems’ (Mahanaim, 2016) . His bibliography of Caribbean literature is available here.

Tags

Atif KhanDamon KowarskyDionne BrandJohn Robert LeePoem of the Weekpoetry

Share on

  • Facebook
  • Twitter
  • Pinterest
  • Google +
  • LinkedIn
  • Email
Previous articleHideout
Next articleAs heavy as the bottom of the sea

You may also like

Billy Luck

To the Depths

Dearly Departed

More Stories

A Cold Day in Hell: Gothic Weather in Let the Right One In

Film Critic Marcus Nicholls writes about the manifestation of Winter Gothic in John Ajvide Lindqvist’s Let the Right One In and its film adaptation.

Back to top
One last love letter...

April 24, 2021

It has taken us some time and patience to come to this decision. TMS would not have seen the success that it did without our readers and the tireless team that ran the magazine for the better part of eight years.

But… all good things must come to an end, especially when we look at the ever-expanding art and literary landscape in Pakistan, the country of the magazine’s birth.

We are amazed and proud of what the next generation of creators are working with, the themes they are featuring, and their inclusivity in the diversity of voices they are publishing. When TMS began, this was the world we envisioned…

Though the magazine has closed and our submissions shuttered, this website will remain open for the foreseeable future as an archive of the great work we published and the astounding collection of diverse voices we were privileged to feature.

If, however, someone is interested in picking up the baton, please email Maryam Piracha, the editor, at [email protected].

Farewell, fam! It’s been quite a ride.

Read previous post:
Spotlight Artist: Albin Talik

"What drives me? Madness I think. I just can't stop." Haseeb Ali Chrishti interviews Albin Talik.

Close