Library and Archives Canada Cataloguing in Publication
Shin, Ann
The family china / Ann Shin.
Poems.
ISBN 978-1-926829-80-7
I. Title.
PS8587.H4786F34 2013 C811’.6 C2013-900989-2
Second Printing - October 2013
We acknowledge the Canada Council for the Arts, the Government of Canada through the Canada Book Fund, and the Ontario Arts Council for their support of our publishing program.
The author and cover photos were taken by Sandy Nicholson.
This book is set in Minion Pro, designed by Robert Slimbach and released in 1990 by Adobe Systems.
Design and layout by Cheryl Dipede.
Printed and bound by Sunville Printco Inc.
Brick Books
431 Boler Road, Box 20081
London, Ontario N6K 4G6
www.brickbooks.ca
To my family
FORGOTTEN FIELDS
FACTORIES OF DISCONTENT
SPEED OF NOW
LOVESHORN
WE ARE WHAT WILL BECOME OF US
ACKNOWLEDGEMENTS
BIOGRAPHICAL NOTE
Pressing sponges to the wall as water dripped from elbows,
they gift-wrapped the insides of a farmhouse gone to bush.
We weren’t allowed in ’til moving day, then
we ran through the rooms like it was Christmas.
A plastic-wrapped window bed, a warm spot by the wood stove.
We claimed corners of the house with our dolls, our bodies
knitting in with this place that so wanted kids.
Trees sprouted apples, cherries dropped from heavy boughs.
The farmhouse mellowed, ripened, held secrets so long
infinity bloomed as wind lifted the curtains,
leaves dusted shadows across his face
as fleeting as day, inchoate like the night.
My brother fell asleep with his heel banging the wall.
Now wallpaper peels like petals drying on the stem.
You can fit half a kid between the dark walls,
the other half floats somewhere over the fields
where dew dots long grass stalks and cows rub against
gate posts. Clean nicks. Chapped lips. Wet hair.
Fingers flutter over the barbed-wire fence
where he fell. Black stitches on cold, white skin.
Through the still water of a round glass vase
the yard primps perennials in pink and yellow –
refulgent, they live again, as they do each spring.
A cow lumbers past, rubs the fence post again.
A moth dusts my fingers and is gone. The earth’s mantle
folds, forming a skin over my brother’s body
and I am wedged between wooden slats, not breathing.
My mother washed the walls of that house
with the assurance of those who see order in chaos,
doors flung wide to butterflies trussing their beds outside
among weeds, tumbled hay bales, twisted apple trees.
I never caught a butterfly all the summers we lived there
never tried enough, afraid of crushed wings releasing
orange-yellow dust into the night breeze.
My mother’s breath at my ear freed me into sleep
while luscious fields edging up to my window
swished their long grasses onto my carpet.
Slipping headlong I slept like a riverbank,
waves lapping against my velvet clay chest.
Few words were spoken, even fewer remembered
for I’m still half submerged.
The practiced hand of progress
did its surgery on our village,
its skin razed concrete-smooth,
raspberry thickets, knotted roots and stones
peeled back like thick handfuls of scalp.
The mind startles.
A crop of beige houses sprouts up erect,
the celebrated seeds of eugenic success,
while weathered barns and wooden fences crumple under.
The seams of a yellowed map – its terra incognita
glimmers in the dusk of our awareness.
Now no location is unknown
and places we secretly inhaled
like the scent of our bed pillows
are lost in the static of an electric night;
this is the sound of our proliferation
as we pillage ourselves in darkness,
scattered points of light.
Meticulously ravenous,
the plane erases all that I call my own.
Forceps pull weight through customs,
a body – not mine but an occupancy en route –
pulls the seat up, remembers roaming
the fields like a dog off the leash and
huddling to pee under a giant hemlock
as the carpool mom drove by, calling, calling.
We were farm kids going nowhere.
We have everywhere now
and it has us.
The city’s intersections dilate in the slick night.
We course the dark streets in our fathers’ cars
along roads too narrow to contain our desire.