Abstract
In this Ottawa writer's first volume of verse, there are trees, of course—catalpas on stained-glass transoms, an ever-present crabappel, nameless species in whose bare branches the winter solstice lurks. There is music, too—a whorehouse tango, a string quartet enthralling a favourite cat, the silky caress of a clarinet along the remembered flesh of adolescence. And visual art, from the Middle Ages through Matisse, is reenacted in vignettes of desire or dereliction.