get that now just as Iâve learned that reaching out takes a lot more guts than pushing away and tall tales are better saved for firesides when hurtâs involved  there are scars from knives and bats and fists that create a map of everywhere I fell without knowing that I did and there are scars from falling on broken bottles careless work with tools and simple drunken buffoonery that I eased with lies because the truth was so embarrassing  my skin is broken territory and my heart went along for the ride  but Iâve learned to see my scars as something far more telling than the fables and tall tales I created just to manage having been an idiot more than a handful of times over time because stitches and the billboards of bare spots only mark the places I deserted myself in my search for rest  outlaws in their hideouts dream of a gentle touch and curtains far more often than they give away
Grammar Lesson    Thereâs a silence words leave in their wake once theyâre spoken thatâs the true punctuation of our lives  like when I said âI love youâ the full colon stop made my heart ache until you continued the phrase and said dash âI love you tooâ  period
Voyageurs  for Anne Doucette and Michael Findlay    Dvorak wrote the âSerenade for Stringsâ in just twelve days and trudging through the snow drifts along the bluffs above the North Saskatchewan River with Saskatoon huffing its breath across the frozen fling of it in the valley, the violas sashay in waltz time through the headphones and I tuck my chin closer to my chest and walk in counterpoint to the edge and gaze in rapt wonder at the skill of this Czech composer and the hand of Creator at work together in the same morning twinkling with frost  the river current buckled ice and sent shards of it upward hard into a January sky pale blue as a sled dogâs eye and the ice crystals in the air wink in the sun like spirits dancing so that Dvorakâs masterpiece becomes a divertimento to the history that clings to the banks of this river and thereâs something in the caesura that harkens to a voyageurâs song perhaps when this river bore stout-hearted strangers into places where only the Cree and the buffalo could last the bitter snap of the Long Snow Moons and starvation was the only verb in a language built on nouns   crows hop across the drifts like eighth notes and the larghetto when it eases in as wistful as a prayer for home becomes the idea that weâre all voyageurs really paddling relentlessly for points beyond what weâve come to know of ourselves and time and the places we occupy so that history whether it comes in a serenade, a fugue, a chanson or a chant sung with drums made of deer hide becomes the same song eventually and rivers like this contain it hold it, shape it to us so it rides loose and easy on our shoulders  Dvorak wrote the âSerenadeâ in 1875 and turning to the city now marching to the beat of the teeth of the wind that churns upward suddenly out of the valley Saskatoon becomes the everywhere of my experience and I ride the current of it to the resolution of the theme
Paul Lake Morning    from the deck you watch over coffee as everywhere shadow surrenders to light thereâs a motion to it, a falling back as though the world were being pushed into daylight shapes again the boundaries of things assuming their more familiar proportions so that from here you get the sense of the universe shrugging its shoulders into wakefulness all things together  you come here to be part of it this ceremony of morning, this first light they call Beedahbun in the Old Talk you can feel it enter you the light pouring into the cracks and crevices of your being even with your eyes