From spruces to palm trees the birch-bark canoe long hugs the coast that watches it pitch in the distance in the empty expanse that embraces the country’s profile where roads and expressways and streets and lanes and tracks and footpaths initiate a network that disappears into the interior to clasp the face of the earth to map a history of intentions and actions. The United States watch the empty birch-bark canoe that drifts by in a dream carrying a molecular impetus over the edge of a drum the snow rumbling.
The Invisible Sounds of a Filmed City
Deep uneasiness rises to consciousness on the dirty surface of the swimming pool dug out years ago in the urban desert long after the great plants and humid terracing up to no one’s sky that dripped from leaf to leaf on the impassable fragrant ground. Towers have grown up around the almost empty pool bludgeoned by the sun. You can smell the heat peeling the odours. The towers encircle clutch the filthy reflection caught in the trap of the land register like the eye’s image captured by the sounds and their echoes that cover the limits of daily life over the resonant intrusion’s sharp or blunt shade forcing dwellings. The city is only an ear to the mirror.
Stéphane D'Amour has published four collections of poems in French: L'île, 2006, shortlisted for the Prix de la Fondation L.A. Finances pour la poésie (Paris), La peinture, 2008, Dans mes paysages, 2012, and À demeure, 2015. His poems have also appeared in reviews and anthologies in India, Mexico, Japan, China (Hong Kong), Macedonia, Spain, Mongolia and Québec. He has read his poetry at festivals in El Salvador, Macedonia/Albania, Mongolia, and Québec. In 2009 he was awarded a joint grant from the Conseil des arts et des lettres du Québec, and the Fondo Nacional para las Cultura y las Artes that enabled him to write a book of poetry in Mexico City about a house without walls. He won 3rd prize in the World Haiku Association contest, held in Japan in 2019.