Toronto, Again

I am in Toronto for a few days. This city was my home from 1965 to 1989. 

I have been walking Bloor Street West. First, the Mink Mile, that stretch between Yonge and Avenue Road lined with the tall glass storefronts: Zara, Birks, Lululemon, Holt Renfrew. Rich people shop here. Very few birds fly above these tall, inhospitable stores. Instead, big bird shapes in bright shiny colours line the sidewalks, ghosts of extinct species. 

It’s cold in Toronto for late May. I wear a toque, jacket, leather gloves. But now I wish I’d brought a scarf. I admire the scarves in the window of Black Goat Cashmere, next to Ashley’s in what used to be called the Colonnade. This mall was one of my mother’s favourite places; after window shopping Bloor Street arm in arm, we’d drink coffee and eat pastries at the Coffee Mill at the back of the Colonnade. 

I enter the store. Two saleswomen are upon me immediately. I ask about the small scarves, lifting one of them up out of the wooden box where they are displayed like confectionary, soft cashmere in artful designs, wool watercolours. “How much are these little ones?” “Oh,” says one of the women, advancing, “the Carre scarves are $385.” I laugh, folding the luxury item back into its box. “Perhaps in another lifetime.” 

Pulling my zipper up to my chin and walking into a fierce wind, I take a detour to wander around the grounds of my alma mater, Victoria College. I feel nothing as I gaze over the green lawns, watching two young men kick a soccer ball.  Alma mater means “nourishing mother,” but this place was not that for me. Those four years as an undergrad in English Literature are a blur. One thing stuck: a Shakespeare lecture by Northrop Frye when he—already extremely old—told us in his quavery voice that Bach’s Mass in B Minor was the voice of God speaking. All of us bent over our notebooks and wrote that down. It sounded profound.  

I was a lonely young woman. Barry Lopez writes that “It is not possible for human beings to outgrow loneliness,” and that seems true to me. Though I’m not as lonely as I was. I admire a pigeon perched in the recessed window of the Victoria University Common Room.

On the way up University back to Bloor Street, I check out the Gardiner Ceramic Museum, where I hope to see the work of contemporary ceramic artists, only to find that the main galleries are closed for renovation. I continue back along Bloor. It’s time for a coffee and I remember a Second Cup in the block before Spadina Avenue. And if that is no longer around, there’s a coffee shop in the old Jewish Community Centre (JCC), where my mother did aquafit for the last decade of her life. Back in the seventies, when it was the Young Men’s Hebrew Association, it was home to SEED, the alternative school my sisters and I went to as wild teens. 

Second Cup is gone, and so are many of the other businesses on that block. Everything in life is impermanent, so I am not surprised Second Cup and Noah’s Health Foods have disappeared, and the spaces are vacant. Once upon a time there was a greasy spoon in this block where we drank coffee in thick cups, smoked cigarettes, and ate French fries. We walked over from “school” and stuffed our electric bodies into the vinyl booths, laughing, talking, flirting, mystified and excited by life. Once, for a time, my sister lived above the restaurant with her boyfriend, an apartment with burlap on the walls and plants everywhere. There’s history here.  

The wine store remains. This is where we bought bottles for the meal marking my mother‘s death in February 2019. Her house is only a few blocks from this corner, and she died at home. We carried the clanking bottles through the snow. My sister made bouillabaisse and we sat around the teak table, drinking, eating, and telling our Virginia stories, stories filled with love, regret, sadness, and confusion. 

I cross the street twice to the southwest corner and pull on the doors of the Jewish Community Centre, but my pull meets resistance. A security guard opens the door from the other side, just a few inches, and peers at me. “I am trying to get into the coffee shop,” I say. “No more coffee shop. Coffee shop no more,” a sort of palindrome of endings. And he closes the door in my face. 

I keep walking. Surely, there is a sweet, cool, interesting café somewhere along Bloor. I am Ahab stalking the great flat white, but she’s nowhere to be found. I pass more than one Tim Hortons among the restaurants and bars still closed this cold morning, but no, I won’t go there. Cigarette butts decorate the grey pavement, evidence of parties spilling onto the street last night. Pigeons strut their stuff. I keep walking. Yes, I know Futures Bakery might be considered an interesting coffee shop, but I hold out for something else, some uncertain thing, something new, something not in the algorithm. 

I keep walking. The Hungarian restaurant where we ordered dumplings and gravy and goulash soup:  gone. The delicatessen and the cheese shop with a cow in the window: both gone. The café that once took up that southeast corner of Bloor and Bathurst: gone. Now there’s a Fancy Burger outlet, where you can add a syringe cheese shot to your beef patty for $1.49. This part of Bloor continues to metamorphize. Ethnic restaurants and record stores turn into cannabis shops and bubble tea counters. Used bookstores become pet pampering salons and tattoo parlours. 

I am happy to see Midoco, the office supply shop, a place where you can lose yourself among the art supplies and fountain pens, is still in business. Ditto the Home Hardware.

I keep walking, knowing that somewhere soon, I will come upon something interesting. I pass the small corner grocers, happy to see they still sell bargain produce and hanging pots of flowers. I pass Euclid, cross to the south side, and then, suddenly, there is an A-Frame sandwich board picturing a fox with many tails. I walk into Ninetails Coffee Bar, where two young Japanese women bustle behind a honey-coloured wood counter. White walls, a few small round tables graced by simple folding chairs. A coffee bar decorated with ceramic tiles patterned in grey, blue, and white. A full pastry case. Smiling faces welcome me.

 My flat white, delivered in a short glass with a foamy fern on top, is delicious—strong and hot. While I drink my coffee I read about the coffee bar’s philosophy. 

In Japanese folklore, Kitsune are foxes with mystical powers that can grow nine tails.

“we embrace the Japanese philosophy of ‘ichi-go ichi-e,’ which translates to ‘one opportunity, one encounter.’ This concept underscores the importance of cherishing every moment and every connection we make with our guests, as each encounter is unique and irreplaceable. Our goal is to provide you with a little window to Japan & Japanese culture within each visit.”

I gaze across Bloor to the north side and see, to my delight, a used bookstore that I’ll visit after I drink this coffee. It’s too easy to get lost in the past during this trip. Wandering through old neighbourhoods, remembering past experiences, feeling traces of old sadness and joy. But Toronto, like Freud’s Rome, is a metaphor for the mind. There is no denying that my personal history, etched through the decades, permeates my experience of Bloor West. I feel these vestiges of the past in my body.

But there is also the present: every moment is unique and irreplaceable. 

The sun finally emerges from behind grey clouds on this cold day and streams through the glass over my table. I will never experience this moment again, as I drink this coffee, as I gaze at the people around me, the heavily inked man, the woman with green hair, as I examine the fox on the sandwich board outside, waving her many tails. She reminds me there is only one opportunity, one encounter. This is it. 

From Ninetails Instagram acccount

On unprized poems and why we write

Five years ago I got interested in corn.  I found out about maize, its history, breeding, and physiology, about Barbara McClintock’s work on maize genetics, leading to her Nobel Prize. I looked into corn’s many creation myths told by Indigenous tribes and cultures. I read about how genetically modified maize under the product name StarLink was sold in hundreds of different food products (for example, Taco Bell tacos) before it was recalled, not approved for human consumption by the FDA.

I was also interested at that time in giving objects voice in my poems, making objects subjects.

I spent some time reading, researching, and then writing a poem in which I envisioned a cob of corn speaking to a little girl at a Fourth of July picnic.  I wanted to express how food is sacred, it has its own history of being used, abused, loved, and narrated by humans. With a 7,000 year history, corn is an especially rich source of stories.

I entered the resulting poem in CBC’s poetry contest that year.  Of course I didn’t win.  David Martin deserved the prize for his ambitious poem, “Tar Swan.”

But not winning meant that I buried the poem deep in my computer’s archives and banished the thought of it.  It was, after all, “unprized.” But does that mean it’s not worth sharing?

I’ve been using Caroline Sharp’s A Writer’s Workbook to get my daily writing practice back on track. Today, I came across her inspiring words of encouragement:

 “Practice, practice, practice. Stretch your voice. Assert your talent and speak loudly because this is a short time we have here, to be alive, here and now, with this pen and this piece of paper.  This day matters and this word matters and your story matters.” (p. 34)

So take heart, writers.  Keep writing. Don’t permit not getting the prize stop you from setting words down and then sharing them. We write to communicate, and if we keep waiting for prizes and praise, we may never connect to readers.

 

Corn speaks

I

Alicia, before you eat me,
listen, child,
listen:

Teosinte is my wild cousin five genes distant,
her leafy bush concealed a few hard nuggets,
hardy ancestors to my lush abundant bumps.

Before your big white American teeth
crunch me, think of my long history.
How centuries ago, early farmers in what
we now call Mexico worked to breed,
selectively, the very best parts of me.

Native Americans mythed me into being.
I am sister to squash and beans, I am
Mother corn. I shake my thighs in secret to
birth my maize.  Sons and grandsons,
voyeurs, are dismayed, disgusted.

Are you amazed?  When you see an ear of corn
looks like a baby wrapped in silk blankets
you might pause.  But eventually you’ll see we are always
already cannibals, my dear.

I am Mondawmin, the sky-boy. I came
down to earth, surrendered my fight with Wunzh, was
buried bare and bronze in the earth, sprouted green with
silk-bright hair so hunters could stop
wandering and become farmers.

You eat pure history in my sweet starch.
Butter slides like sweat across the brown ribs
of the tiller of primordial fields.
Time throbs your tooth against the cob.
Alicia, stop girl and bless me!

You eat the creamy flesh of time,
you are connected to the calloused thumb of a
brown woman who seven centuries ago
culled the best and plumpest kernel from the plant
and bred me into being.

Bless the starch, the flesh, the sweet
kin to your own silky meat.

II

Okay Alicia, your corn is done,
spent cob lays on your plate,
dull remnant of a summer feast
beside the stub of a stale hotdog bun.

Has any other food been used, abused, so vigorously?
Kellogg’s, Karo, your will be done,
but those sly modifiers, those slick scientists
crept into my buttery insides and played with
my genes; those white coats took my soul when they called
their stuff Starlink and hid it in a taco shell.
Fool’s gold it was, fool’s gold.

I love to serve, to submit to your extractions of
sweet, of starch, of ethanol to run your
cars, but don’t mess with my soul.

Alicia, warn your people that I am not
just vegetable. I am woman, mother, sister, boy, god, goddess,
baby. The history of the Americas rests deep,
deep in my kernel.
Get back to basics, girl. Get back to sacred.
Third week of August, ancient tribes
worshipped me, my yellow more precious than gold.

Bless me girl,
Bless the starch, the flesh, the sweet
kin to your own silky meat.
Bless me.

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Inspired by “Corn Maiden” by Marti Fenton

 

 

 

More sequential art: Athena’s Thigh and The Facelift

My online comics class is going well–a great group of creative people sharing work and learning from each other.  Check out the online classes offered at Sequential Artists Workshop if you want to know more. Tom Hart is an inspiring leader/ facilitator and he offers sliding scale tuition.

Here are two more pieces. The first strip is from our homework about “Birth, bodies, and death.” Our prompt was to start with a body part. . . . you’ll see.  And the second one, “The Facelift,” continues with my earlier strip and gives a voice to the dead addict.  IMG_2192IMG_2193IMG_2194IMG_2195IMG_2196IMG_2197

 

The Facelift

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