In 1845 Sir John Franklin with a crew of 129 officers and
men sailed hom England to map the Northwest passage
and to collect specimens of arctic wildlife. His ships the
Erebus and Terror were last seen in July of that year. In 1856 an expedition commissioned by Lady Jane Franklin found proof of Franklin's death and the loss of his men; an official diary exhumed from a cairn on King William Island also described the surviuors'plan to walk south to the mainland. Evidence shows they pulled a life-boat loaded with food and flammable materials overland for hundreds of miles before the last men died. . .

In blade-silver straits between islands even summer
was stillborn, endangered as the adamant songs
of gulls deserting into fogs above the passage

they did not discover. Twin ships lashed by anchor cords
indivisibly to their extinction. Well-crafted hulls
scuttled, crushed by shards of puzzling ice, sharp white as the
un-

marked fringes of maps, or fine English timbers
bleached and bleaching ivory under the blind-
folded hills. A certain shade of white but not

the white of certainty, that fabric of a virginal century's premise, torn. White of the whale, winter's bones
scrimshawed with piercing weather. The Erebus. The Terror,
the terror, To see that tone stare at the page's edge until snow-
blind as the sailors at their dying, staggering
south into gales, white of blizzard hail cracked shorestones and

this
untouched sheet
of ice, as I fill its pale
(white
whalers peering from the foredeck
of search boats into the freezing)
surface
with terms of unlikely rescue. . .

Sir John Franklin sailed with a
cargo
of proofs
and charts mapping the misty transition
from history to incoherence;
on his maps
a white fiercer than uncomposed parchment
a mutinous pallour, unshrouded cautions
of all colours spread outward like a blot, and hinted

there is no passage here for men
from Devon and Somerset
who have healthy sons and delicate
faithful wives
Whose whole world will become a margin
clenched white around their ships--

John Franklin did not discover his aim

but a whiteness in every sound as patient
and impartial as icebergs
awaiting the blind
century sailing onward, credulous, captained by a sane
faith in progress
that read meaning into every passage
because it was sailing ahead too fast, an evolutionary defect

dust
grinding the littoral under heads
where gravestones of three men face north like sentries
across a frozen sound
with no one left to inform
of anything

a hundred more who scrawled
a linear history
in snow and cairns stuffed with rope and empty tins and polished
bones a cold summer south to Victory
Point

then perished
in duned waves
Britannia never ruled, refuted

by blinding storms
the hoar
face of a spreading earth
hauling behind them a life
boat full of England

able in the end
to lift around them with only voices
a fleeting shanty
of song

"I have had a great deal of pleasant time with Rice lately, and am getting initiated into a little band-they call drinking deep dying scarlet."
- Keats to his brothers, January, 1818

John Keats and his circle in their cups
died scarlet. And the poet's life
to its dregs did the same, his linen
bedsheets and nightshirt finely spotted.
The world loves him for drinking so deep
from the few years he had, for those pretty
tipples he took from his days' good wine;
the world honours blood flushed in a pale
brow that bends above the blank pages in candle-
flicker, giving joy, believing. Vitality
is beautiful even coughed on a lace cuff,
o little red cosmos, little red heaven,
that last faint breath exhaled before dust
and the cold grave smothered his youth.

I don't know anything certain about the dead
except they're gone, young Keats and his brothers,
the two women named Fanny he loved, his friends,
the publishers who respected his art, the guardian
who didn't, Shelley with a drowned volume in his
shirt-pocket under Italian stars, gone. A century
of letter-writing, gossip, tuberculosis and poems.
And I don't know where the spirit of any poet goes
if it doesn't die scarlet wherever it can, Keats's
joy in October sunsets over the Adams River, full in
the salmon's scales as they scrabble to spawn before
the air eats to nothing their lace-threaded bones,
Keats's fear in the eyes of the ring-necked pheasant
shot out of its heart in the blue skies of my marshland
home, the long script of its bright death trailing
off into the ditches and rushes. I have heard the music
of his lines gasped from a thousand slack jaws
while the world stood crowded on the riverbanks,
amazed; my hands have touched the spots of his truth
on a thousand downed wings still quivering in frost.
In my wrists live the ghosts of all the words
ever written in his, and his Queen's, English;
they gather in my pulses, drinking life, dying scarlet,
unrestrained in their gaiety and rowdiness, dying
like the salmon and the pheasant and the flushed
eves of fall, dying as a poet dies, face turned
towards what's left of his life, the spatter
of his joy's heaven on his clothes,
the light going out on his page forever, the wax
of the last candle on his nightstand melted down,
as he lies grieving for every second he's lost
of the sun: I don't expect to know the vivid dawn
that finally dissolved the gay circle of Keats,
but if I'm blessed to die scarlet on my native ground,
let the wind dig a grave for my pallid song.

I HAVE KNOWN MALE SMELLS

I have known male smells
the sharp tang of sweat
he acrid biting odour of after-sex
the early morning heaviness
the chlorine-bleach smell of semen

Sharp, insistent, demanding scents

Now I learn my own scents
Soft pervasive woods-and-moss scents
musk and secrets
shadows and invitation

A very different world

Much
gentler

YOU

You
are Woman
You
are power
sheathed in softness
finely toned muscles
beneath velvet skin
clinging to me

You
are Woman
ripe scented and damp
enfolding me
holding me safe
your voice soft
in my ear
your breath warm
on my skin

There is safety in you
and nurturing

You renew me

You
are woman

DO YOU KNOW

Do you know
when you are lying with me
my hands on your bum, stroking,
my fingers teasing, exploring, entering,
Lips pressing
mouths fused
tongues touching
Do you know
what I mean
when I say
I Love You

Do you know
your nipples become pebbles under my palm
your belly softens
your thigh muscles tighten
your legs become rock hard, cling to me

Do you know
when I say
I Love You

I mean it

WHY

Why
do you trap your breasts
in nylon cages hide your nipples,
mask your body scent
with baby powder
and lock your
satin soft body
from sight or touch

Why
do you attack your body hair
with scissors
and razor
trim your bush
into submission
and flush the snippets
down the toilet

We
have lain together
soaked in sweat
on sheets rumpled and creased
by hours of love.
Then
as the storms receded
you noticed
your menstrual blood
on my fingers
and you were
appalled
because I was not,
and I do not
understand

They are in a room,
together. Their breathing, a rhythm of ages
rises and falls
in the small tempest of sleep.
One is a child, a girl.
Her breath, quick and light
falls as a petal of air
upon a small, rounded face
dreaming of the night's darkness
passing in grace of He
who answers prayers forever.
One is a woman breathing
taut and baited as one who is on the brink
of love's summation; passion
planted in the body,
now growing swollen and wanton
in the night's potted darkness, nurtured
on dreams of love lasting forever.
And she that is old, sleeps
still, body pulsing to the heart's sound
in the night's boding darkness
where dreams now
lie reverent to the mortal sound
that is not forever. Now
breath for breath's sake.