That Changing Prairie Light

The pump jack on the horizon reflects sunlight so brightly, it could be an x-ray shining through flesh. It unsettles me, so I fumble for the sun visor. A truck passes to my left, and my car sways. I try to keep my eyes straight. I know this highway and its pump jacks, but I can’t resist another look at this one.

The light’s already changed; that’s how it is on the prairie. But what I see is more than a trick of the light. This pump jack has a roundness, a girth. The metal contorts in the sun, and it transforms into something different—a giant bison.

A truck flashes its lights and another honks, I’m crossing the meridian. I jerk back the wheel and look for the beast in the rearview, but the light’s shifted and now there’s only a pump jack winking back at me.

I shake my head. I’ve always been a daydreamer but not to this extreme. Maybe it’s my new transition lenses. I concentrate on driving as pump jacks along the road wave at me. I’m used to them, this is oil country. They’re everywhere on the landscape, pulling up what’s hidden underground, raw and unprocessed.

When I turn off the highway, the farmer’s field across my acreage hurts my eyes with its emptiness. I pull into my driveway and take a moment before turning off the engine. The after-image of the bison is still burned onto my corneas.

I take my cardboard box from the car and walk into the kitchen—Jay’s already waiting for me.

He rises from the table, face expectant. “Well, how was your big day?”

He’s not talking about the bison, but the other thing that happened today. I set the box down. It’s full of papers and random junk, the detritus of thirty years wasted.

He opens his arms. “Congratulations.”

I turn away and greet Rory, our lab mix. Jay waits for me, but I ignore him. It’s the first day of my retirement, and I don’t want to talk about it.

a black flower

Jay makes dinner and does clean-up. He massages my shoulders, but I don’t relax. We’ve been married thirty-four years, but I haven’t loved him since our honeymoon. My career’s no different. I stayed three decades with my employer and hated every day of it. But my work kept me busy, I didn’t have to think. Now that lost time haunts me.

Katie calls with congratulations. She asks how “freedom fifty-five” feels. I tell her the truth—I’m unmoored. She doesn’t speak, but her presence calms me. She’s proof those years were worth something. She talks about her studies. When I hang up, I’m smiling, and my shoulders are loose for the first time all day.

Katie’s in fourth-year university. She lives with a room-mate in Edmonton. It’s less than an hour away, but sometimes I wish she was closer. Katie’s nothing like me. She holds her head high; she’s going to be somebody.

a black flower

Jay makes breakfast while I stand in the kitchen listless. The corner of the quartz counter digs into my hip, and I look for something to occupy my fingers. Normally I’d be checking work emails. I don’t know how to drink coffee without working.

Jay says I should take each day at a time. I’ll figure it out; he did. He retired two years ago. Now he consults part-time and works out daily. Retirement’s been kind to him, his wrinkles are smoothing and his hair is getting thicker. His blood pressure’s never been so low. Nothing fazes him, he’s always moving forward in life, steadfast. He never looks back; the past hasn’t trapped him.

I start on the box with my work items. There’s a “director’s award” I shared for a project two years ago. A “thank you for being kind” certificate from a former manager. Forms about pension and retirement rules. A watch with my employer’s name engraved.

I chose the watch in lieu of cuff-links—those were the two choices in the catalogue. I try it on. It doesn’t fit. My co-workers gave me a vase. It comes with a card; I have to smile when I open it. I picked out the same one for a retiring colleague a few months ago. I wrote the same, bland “enjoy your retirement.” I shake my head: I’ve already forgotten the colleague’s name.

The next thing I pull out is a pamphlet. It says, “Preparing for the New Phase.” It was on my desk my last day. I didn’t mean to take it, someone must have packed it up for me. The pamphlet says retirement can spark “feelings” and there are resources to help me. There’s a 1-800 number; I throw it away.

The box bores me so I walk to the window. The empty field across my acreage looms. I pull out my phone—it’s only 2:30 p.m. I stare at the window and let my eyes blur. I have no idea what to do.

a black flower

Katie texts with an invitation for lunch. We meet at an Earls near the university.

Katie slides into the booth, smiling wide. “Taanishi.”

I frown.

Her eyes dance. “Taanishi kiiya?”

I don’t understand her.

She shakes her head, still smiling. “It’s Michif, don’t you know?”

She’s joined a language group at university. They’re bringing in elders to teach the language. She asks if I learned it growing up. I shake my head, sorry to disappoint her.

She teaches me “How are you?” and the reply. She asks if my parents or grandparents spoke it, and I don’t have a clue.

Katie says that’s a shame, and I agree with her. She’s taking courses on Métis history; I didn’t know you could do that in university.

Katie’s writing her fourth-year honours thesis on the buffalo and the Métis in the 1870’s. I shake my head, impressed. Before I can stop myself, I describe my imagined bison.

Katie corrects me. “Don’t call it bison—it’s a buffalo. Lii bufloo.”

“Lii bufloo.” I repeat it. She says it smoothly, but my unpracticed tongue stumbles.

That night at dinner, I tell Jay Katie’s writing about buffalo. He says good for her, but the scientific term for the North American mammal is “bison.”

a black flower

Katie’s words stay with me. She said the bison used to roam free. I think about it while I drive down the highway. Rub my eyes, I can’t imagine how that could be. To me, the oil derricks and pump jacks are the only constants of the prairie. That and the abandoned oil wells, they’re in the hundreds of thousands.

I let my eyes blur, and the afternoon sun glints off oil derricks on both sides of me. A pick-up truck pulls out from behind to pass. The driver honks, and I’m about honk back when I realize I’m 30 km/hr below the speed limit. I shake my head and tell myself from now on, I’ll concentrate.

Jay’s waiting for me when I get home. “We need to talk.”

I bend to greet Rory.

He holds out the work pamphlet. “It was hard for me too.”

I thought I threw that out days ago.

He sets it on the table. “Just tell me you’ll consider it.”

I take Rory outside, and we stare at the farmer’s field across the road. By the time we return to the kitchen, Jay’s made my favourite dinner—fried eggs on crispy potatoes. We eat in silence, then he goes downstairs like he always does.

I go to be bed early but wake in the night. It’s dark outside, I don’t know the time. I slip out of bed and feel my way to the kitchen. Rory’s sprawled out on the linoleum; I step around him to get water. Wind chimes hit the window, but Rory doesn’t move.

I sip my water and look outside. I’m about to turn when something flashes in the corner of my eye.

My breath catches. I press my forehead against the glass—there’s something across the road in the farmer’s field. My tongue tingles. I see a faint shine. Maybe it’s the moon on barbed wire. It flickers bright, then fades, not moon-like at all. I frown. A memory stirs, but I can’t grasp it. When I look again, there’s nothing at all.

a black flower

Katie’s calling every day now. As long as I say my “Taanishi” and “kiiya maaka’s” she keeps it up. I download a Michif app and mangle a text message, but Katie answers immediately with a thumbs-up and a bison emoji. I reply, “love the bison,” and she’s swift to correct me: “lii bufloo.”

She says she has a surprise for me. She sends a text, but even with my transition lenses, I can’t make it out. The print is tiny like microfiche. Katie enlightens me—it’s the scrip certificate of my great-grandfather. She asks if I know what happened to the land.

I reply with a question mark, and she answers, “Don’t you know the history?”

Later I look it up. They didn’t teach this in school. It’s funny, my daughter’s the one teaching me history. Though it makes sense. My grandparents rented their whole lives; their grandparents fought in the Resistance.

Jay asks what we’re texting about. I can’t resist but reply smugly—this is our special thing, mother and daughter. Jay has his relentless optimism and thick hair, but not this. But he tries.

Katie comes for dinner, and he surprises us with homemade boulettes and bannock. He and Katie talk about New Year’s traditions; it turns out he googled them with the recipe. I try to remember what my mom told me. I don’t tell either of them I’m eating boulettes for the first time.

a black flower

Jay makes hamburger soup from an online recipe. It doesn’t agree with me. I wake in the night with my gut roiling. Feel my way to the kitchen for water. Wind chimes smash against the window and Rory doesn’t acknowledge me. I lean over the sink, dry heaving. I swallow bile, and when I look out the window, the moon is so big it scares me.

I stumble back to my room. Hit the pillow and I’m fever-dreaming. I’m driving down the highway and the sky’s strangely bright. Something on the prairie catches my eye—it’s a herd of bison. The road changes and I’m speeding.

Wind roars in my ears and bugs hit the windshield like wind chimes. The sky changes, and when I turn my head, there’s a metal bison blocking the highway. I’m going too fast to slow down. The ditch is all barbed wire. The bison turns its head, and red eyes stare at me. The car lifts off the ground, and the earth rushes toward me.

I shudder awake, gasp for air, and force down vomit. My ears are screaming. I stagger back to the kitchen for water. Rory hasn’t moved. I have no idea how much time has passed. Wind chimes hit the glass, but I can’t hear them. The sound in my ears is deafening. I stand at the window, and there’s no moon at all.

Something shifts across the field. I try to focus. My stomach churns, and bile rushes up my throat. A moment later, I’m running, gagging to the bathroom.

My nausea’s gone in the morning, but my ears are still loud. I don’t have a fever, but something’s not right. I call the doctor, and she tells me tinnitus is often idiopathic. She asks if I’m stressed or have any recent life changes. I shake my head, “No.”

The drive home takes forever. My eyes catch on the gleam of passing oil haulers while derricks and pump jacks wink at me. I almost rear-end a braking hatchback. I breathe out slow. I’m almost home when two deer run across the road, and instead of the usual white tails, I see technicolour.

a black flower

Days pass. I’m seeing things every day now. I try to tally the weeks since retiring, but it’s impossible to count. I used to mark days by my work calendar, but now I’m scattered across time and place, unfocussed.

Jay makes my favourite dinner, and when we sit down to eat, he reaches his hand across the table. I lift my eyes and watch the movement of creases around his lips. His voice has a funny timbre, and it’s hard to hear with my ears ringing.

But that doesn’t matter. I don’t need to listen, because I know what he’ll say. I’ve known for a while now. He calls it a “separation.” He says I can keep the house. He’ll take Rory, but if I want the truck, it’s mine. We’ll be kind to each other, stay a family for the sake of Katie.

I feel like I’m floating. I chew my food and swallow. He asks if I’m okay, and I nod. He takes the dishes to the sink and washes them. I watch him work, useless as ever. Don’t know if I’m relieved or gutted.

Jay goes downstairs, and that pamphlet on the counter stares at me. Did he dig it out of the trash? I throw it out for the umpteenth time.

We wait until the weekend to tell Katie. I can tell from her blinking we’ve surprised her. She says she understands, but her voice quavers. Jay starts to cry, and I almost remember what made my heart flutter in a different time and place.

a black flower

I’m sitting at the kitchen table, drinking coffee and scrolling news headlines on my phone. There’s a story about bisons and I click on it.

There’s been a herd on the eastern edge of the city for as long as I can remember, but now there are herds in other places. There’s one at the cultural centre northeast of the city; they’re bringing bison back to Batoche, too. The article says they’re coming back, though it’s nothing like years ago, when there were thousands on the prairie.

I went to Batoche when I was Katie’s age. I was with my mom and grandma, my mom drove, and I remember the road, single-lane highway winding through coulees and spectacular ravines. The light was incredible, and the sky opened up to us.

I’m about to send the article to Katie when I get a better idea. I google the cultural centre and see they have tours. I text Katie the link and she replies right away.

a black flower

On the day of the bison tour, I pick up Katie near the university.

“Taanishi!” Her eyes sparkle.

She hands me a thermos of hot coffee, and I sip it while I pull up my GPS and try to orient us.

We drive an hour and a half through rows of refineries northeast of the city. The air is sweet and sour, sometimes smoky. Orange flarestacks wave at me, and oil and gas haulers drive too slow in front of me, while others tailgate behind me.

We come out of the refineries to meet the North Saskatchewan. The cultural centre is at the top of a thick coulee. There are willows, poplars, saskatoons, and smatterings of spruce. It’s only September, but the trees are bare. It doesn’t make them any less beautiful. I park and take a moment to admire them. Katie nudges me.

We join our tour and climb into a jeep with three other visitors. Our guide drives through paddocks across a field. We see one bison, then another. Moments later, we come across a whole herd. I suck in my breath. They’re the size of pump jacks.

We watch while the bisons flick their tails and snort at each other. Our guide points out the differences between wood and plains bisons. Katie takes pictures. I have no words.

Katie and the guide trade facts. The guide calls them a keystone species, Katie describes how their presence changes and strengthens the ecosystem. I point out a pair of romping bison calves, and Katie corrects me, “bufloo!”

It’s strange to be so close to them. They’re nothing like the metal spectres I’ve been seeing. I can smell these creatures. They’re undeniably physical. They eat weeds, and birds land on their backs. Their scent and their presence grounds me. For the first time in days, I don’t feel lost.

Katie turns to me, and her eyes are more shades of brown than have names. A bison huffs, and its eyes are the same colours. The resemblance makes me giggle. Katie frowns. I try not to laugh but let out a snort. The other tour members look at me. Katie starts to smile. The tour guide asks if I’m okay, and I nod. A moment later, a guffaw escapes me, then Katie throws her head back and laughs with me.

We eat boulettes at the on-site cafe and agree they’re better than Jay’s. We turn onto the highway to drive home, and Katie talks about bisons. She has new ideas for her thesis—she might need to do an MA or PhD to explore them all. She pulls up the scrip on her phone and reads it out to me—Batoche, 240 acres, my great-grandfather’s mis-spelled name. She says maybe we can go to Batoche this summer. Maybe we’ll find where our family lived, maybe we’ll see the new buffalo.

I keep my eyes on the road, but something rises in my gut. It’s been so long I barely recognize it, but as we drive, I put a name to it: it’s somewhere between excitement and hope.

The smoke thickens as we drive. I should be used to it; wildfires last six months of the year now, the only seasons left are smoke and snow. When I was young, the air was clearer. Now, with the refineries and wildfire smoke, the landscape’s apocalyptic.

Katie googles travel routes to Batoche while I concentrate on driving. My eyes lose focus, and smoke curls around the road like it’s eating it. I jerk the wheel to stay in my lane. Katie doesn’t look up from her phone.

My lungs ache. I try to keep focus but I’m sleepy. I reach for the thermos but it’s empty. When I turn on the radio, there’s static. I turn it off, and Katie thanks me.

The sky darkens, and I can’t see the road in front of me. I turn on my lights. My eyes start to water, and Katie bends forward to cough. My heart seizes, and I see her as a little girl having an asthma attack in the hospital.

I look up to the road, and my breath catches. The smoke curls back to reveal a red-eyed metal bison blocking my lane. There’s no time to slow. I hit the brakes.

Everything slips out of sequence. The SUV sways to the right. We rock to the left and Katie screams. We cross the meridian. An oil tanker charges out of the smoke toward us. The bison flickers like a failing fluorescent. My ears hush, and the only sound is my heartbeat.

We hit the ditch on the other side of the road. There’s a whoosh, and the oil tanker thunders past. I swallow blood, and the earth shakes. My tooth slams through my tongue. We come to a stop.

Katie’s hunched over, not moving. My breath rushes out, and panic takes over. I want to scream, but I’m winded. Dizziness hits me, I’m on the cusp of fainting when Katie starts to move. I take in a ragged breath, and she reaches for her phone. She’s stopped coughing, and I remind myself she hasn’t needed an inhaler for years now.

I fumble for my keys, but my hands are shaking. Katie puts her fingers over mine and says it’s okay. I turn off the engine, and we sit in the ditch without speaking.

When we pull back onto the highway, the smoke is thinner. There’s no sign of the bison. I ask Katie if she saw anything, and she frowns at me.

I give the road my full attention, and the concentration gives me a headache. I drop off Katie and apologize for our incident. She laughs and waves her hand. I ask her, half-serious, if she trusts me to drive to Batoche. Her eyes soften, and she says she’ll go anywhere with me.

a black flower

When I get home, I dig the pamphlet out from the trash before taking off my shoes. I call the 1-800 number, and “Wanda” assures me it’s okay to have feelings. I correct her—it’s not a feeling. I try to describe the bison.

She scribbles, and her voice changes. She asks, guarded, if I’m sure. Her voice says there’s something wrong with me. I try to backtrack, but she won’t let me. She says she’s referring me to a specialist, then gives me a breathing exercise before informing me our time is up.

a black flower

Jay moves out with Rory. I’m listless home alone, so I tidy. The box from my work is still on the counter. I put it in the trash. An hour later I dig out the vase and the watch, and after two hours, I take out the pamphlet.

I open the fridge, but it’s empty. I find Kraft dinner in the cupboard and eat it plain. Pour myself a glass of wine then change my mind and dump it. I try the radio but there’s only static, and my tinnitus is louder than the wind-chimes.

I wash the dishes and look out at the farmer’s field. It’s getting dark earlier now, and there’s smoke outside. Cold seeps through the glass and makes me shiver. I miss Rory. I haven’t had the house to myself in a long time.

a black flower

I wake in the night with my ears screaming. The bedroom’s dark, and I don’t know what time it is. My head is fuzzy, and my teeth have a film of starch. I sit up, and my head pounds. Did I brush my teeth?

I feel my way to the kitchen. Step around the linoleum before remembering there’s no dog. Gulp down cold water that hurts my teeth. The wind chimes don’t move.

I turn around, and the brown and cream squares of linoleum rise in front of me, three-dimensional cubes in technicolour. The kitchen counter isn’t just round, it’s also lengthening. The pamphlet is no longer rectangular.

I blink, not comprehending. Then all I know is I need to get air. I reach for my lumberjack sweater and pull it over my nightie. When I step outside, the cold pricks my bare legs. The air’s smoky, but I look up and see satellites and stars. I start down the driveway, and cold gravel digs into my soles. I should have worn shoes. I don’t know what’s wrong with me.

I pause at the highway. There’s no cars, not even distant headlights. The asphalt is soft on my feet after gravel. I cross the road.

The farmer’s field is full of dried grass and rocks that stab me. A twig catches between my toes, and I yelp. I can’t see the ground below me. I hold out my hand and try to remember where there’s a gap in the barbed wire. Feel my way through. The air’s different on the other side of the fence. I don’t smell smoke now. My tongue tingles, and the static in my ears becomes a crescendo.

I take a step and feel it. Smell it too—something metal. My ears hush like I’m in a tunnel. The only sound is something breathing.

There’s a groan of metal as it turns. My breath catches—its eyes are every possible shade of red. And its body—I reach out with trembling fingers and steel turns to ether as the bison flashes in and out of time and space like an x-ray.

The after-image dazes me, and when it snorts, the earth rumbles. My teeth go through my tongue a second time. It flashes again, and the revelation comes to me that it’s standing in the future and the past and every dimension. I suck in my breath. Even with this discovery, something tells me I’m not grasping the half of it.

There’s a sound behind me, I turn, and a truck is barrelling down the highway. It has on its brights. I crouch down, hoping the driver won’t see me. The truck rushes past and then disappears into darkness. I turn back to the bison, but the headlights have blinded me. I reach out but don’t feel anything. My knee hits something hard and I feel pipe—probably another abandoned oil well. I turn around and my fingers catch on barbed wire.

The next thing I know I’m crying. I run across the road, sobbing. Twigs and rocks gouge my feet and I rush up the driveway. I slam the front door and lean against it, then sink down to the floor. I can’t see through my tears; grief overtakes me.

a black flower

The itch in my legs wakes me. There are dried leaves and twigs in my sheets, and blood from the cuts on my feet.

I spend too long in the shower. Have to brush my teeth twice to stop tasting Kraft dinner. My eyes are bloodshot. I try and fail to count the days since my retirement. I don’t even try to measure how long it’s been since Jay left with Rory.

I drink coffee and stand at the window. The barbed wire across the road reflects sunlight, and the field is unspeakably bare.

I google “metal bisons,” and “smoke” and don’t find anything. I squint into my phone and my eye aches. My transition lenses have been missing for days.

I’m sitting in the kitchen staring at space when Katie texts. She’s thought of a topic for her graduate studies. She sends another text before I can reply. “I’m tracking our family’s scrip. We can investigate on our road trip!”

I send her a heart. Katie cheers me, but I still feel a heaviness. I haven’t shaken last night’s grief. I don’t even know the reason for it. I stand at the window, and the field stares at me. Finally, I put on my boots.

I walk down the driveway and can’t believe I did that in bare feet and a nightie last night. I hold my elbows against my chest to keep out the cold. Cross the highway and squeeze through the gap in the barbed wire. Shake my head—it’s a wonder I didn’t shred myself.

At first, I can’t find the oil well. It’s hidden behind long grass, not immediately visible. There’s broken glass all over the place. I whistle at my luck last night. I reach out to touch the cold metal. It was probably abandoned decades ago.

I turn to leave, but my eyes catch on the barbed wire. The static in my ears gets louder, and the light reflects against the metal. The sky changes, and my eyes tear. An old memory comes back to me.

It’s in fragments. I don’t know how I remember, I would have been so young. I’d think it was made up, or something I overheard, if not for that sky. I can still see it, etched in my memory like microfiche.

We were driving on that highway. The road was different then, narrow and single-lane, ringed by aspen and birch trees instead of refineries. I don’t know if we’re driving east or west. I was a child, in the back seat. A pick-up truck flew by us and we wondered at its speed. It was so fast I saw it in technicolour.

We kept driving. We went down a stunning ravine and across a river. We climbed up a ridge, and the sky was spectacular. We started down a hill, and the light changed to illuminate everything. We saw the door first, and then the fender. We didn’t know what we were seeing until we came across the smoking metal.

We found her in the field. The driver must have lost control. It was the time before seat-belts. She’d gone through the barbed wire, and the metal shone red with her blood.

She was so pale. We held her hand, and the sky opened up over her face. She would have been Katie’s age. The light shifted, so the colours around us changed. The sun was incredible. That’s always how it is on the prairie. When she was gone, we looked for the driver.

We found him in parts. It was too late. The light was different already. My mom hugged me and told me not to look. The metal of the wreck was so bright I couldn’t look at it.

I walk home lost in the memory.

a black flower

Months pass, inexplicably. Winter passes, then spring. The pamphlet’s on my counter, but the specialist doesn’t contact me, and I don’t feel the need to call Wanda.

I’m still waking at night, but I no longer walk around the linoleum. I don’t know if the tinnitus is gone or if my brain has finally gotten used to it. The farmer’s field is yellow because there’s no rain, and the city’s surrounded by wildfire again.

I take a calendar and manage to count the days since my retirement and Jay’s departure. I write down the number. It’s already July—there’s not so many days now to our road trip.

I pull up the Michif app on my phone and scratch out the English numbers of my tally and re-write them in Michif. I like these numbers better. I look up the names of the months and the days of the week and I change those too.

I’m no longer haunted, but a part of me mourns that metal beast. It tormented me but also showed me possibility. That maybe those years weren’t lost, that the past and future could brush against each other. That things could change, that my life wasn’t wasted.

Jay stopped texting me. It’s typical, Jay knows to be steadfast. He only looks forward, he doesn’t look back.

Now when I drive, the pump jacks are pump jacks. Oil derricks don’t contort into bisons. Nothing blurs. The past is imprinted and unchangeable like microfiche. Like the landscape—the bisons are gone, it’s all pump jacks and oil wells now. And the only certainties of the future are more oil derricks and hotter, bigger wildfires.

It doesn’t bother me. I’m past that silly daydream. It’s not just the delusion that gets me, it’s that I couldn’t even picture real bisons. All I had for reference was this burned landscape.

Katie dreams big, but the limit of my imagination is a metal beast of industry.

a black flower

I pick up Katie on the day of our road trip, and she hands me a thermos of coffee. Her smile fills the car, invigorating me. I turn onto the highway, and the lines of the road soften.

We drive on divided highway ringed by refineries and gas plants. The sky is orange in some places. Katie talks about her thesis; she hasn’t made headway on our family scrip, but she’s hopeful. Besides, she’s changed her focus—now it’s the future that has her attention.

I listen to her talk. She’s not like Jay, looking forward as though there’s no past to speak of. Katie looks in all directions. She’s still learning Michif. She says the buffalo in Batoche are thriving and remaking the whole ecology. They’re changing the landscape, even. I try to picture Michif rolling off our tongues and real buffalo in place of metal derricks, but the dream is still too big for me.

Katie talks the whole drive. She says Jay is doing well and Rory ate her slippers. She’s teaching first-year students Michif. The light changes, and I tell Katie the story of the accident. It feels good to get it out. Katie shakes her head, and we don’t speak for a long time.

The road isn’t all refineries. The landscape changes as we drive. The sky is still wide, and when the sun comes out from the clouds, the world around us softens. It’s strange, everything’s rounder and the hues are all brighter. My vision should be blurry, but instead everything is in focus, like I’m wearing my long-lost transition lenses, though I lost them months ago.

My tongue tingles, and I’m in a different time. My shoulders tighten then relax when I see my company. I’m Katie’s age with my mom and my grandma, three generations driving eastward. It’s our trip to Batoche. The sky opens up and illuminates the prairie. I see our backs brightened by sun and aspen trees on both sides of us. The woman in the middle turns, and I expect to see my mom but instead I see Katie. Her face is full of laugh-lines. The younger woman who I thought was me says something, and Katie laughs and corrects her, “lii bufloo.”

My breath catches, and the road comes back to me. There are crows on both sides of the road and hawks in the sky. Prairie dogs scurry across the road in front of us. The road is ringed by saskatoon bushes and willow. Everything’s alive.

Katie’s watching me. “All good?”

I nod, and she passes me coffee.

We drive through spectacular coulees and alongside aspen bluffs. I start to remember the names of trees, and Katie translates them into Michif for me. It makes me doubt my previous certainty. Maybe Jay’s wrong about everything. Some things are past, but there’s a world of possibility.

We’re almost there when I see a silhouette on the side of the road. I wait for the flicker and for its red eyes to turn to me. Katie holds up her phone to take a picture.

I slow the car and look for the reflection of steel. Close my eyes and it still isn’t there. Katie rolls down the window and I don’t smell metal. She turns back to me and she’s smiling so wide I can see the beginning of laugh-lines.

The beast snorts, and we both say at the same time, “lii bufloo.”

The light shifts, and the sky opens up. The sun changes, and farther up the road, we see a whole herd. We drive closer. Katie’s eyes dance, and we take in the changing prairie.

Not the Bajau Yet

Because I have a large spleen

and can hold my breath

but am traumatized enough

to keep my head swiveling,

I ask Nani, an island child like me,

What’s the most landlocked

state you can live in?

Because I have a large spleen

and can hold my breath

but am traumatized enough

to keep my head swiveling,

I ask Nani, an island child like me,

What’s the most landlocked

state you can live in?

as if being inland and diving

are equal amounts of claustrophobia.

She asks “Is there a lake?

Can I follow a river?”

I say yes.

“Then Pennsylvania,”

she says. “Two hours

from New York

and touching a great lake.

You?” As an American child,

I have no feel for geography

and say “In for a penny,

in for a Pitt or a Phil.”

We laugh as we pull up

on our house, uphill

from the sea. The air,

when marine-thick and tide

low, smells like salt, decay,

and promise. This is home,

but our blood says to make

the stilts strong and tall

for when the tide changes

and the ocean returns.

The Pelican in its Piety

The boy in his Sunday clothes stared at the pelicans scattered blackly on the shore like slick and globous stones, right where the monster had left them. He remembered them flying in great lines above the oil rigs at dawn, dropping singly into the ocean like Saint Peter in his doubt and then floating fishful and satisfied, as though everything had been resolved.

That was before the monster.

The oil rigs were quiet now, and it was rare to see even a single pelican, and the fishermen who still went out in desperation from time to time caught things that were not good to eat. The beaches here, then there, were covered in the traces of the monster’s forays: dead fish in their thousands and sands coated bubbling black. Even people had disappeared into the shining ooze, but no one from Mikey’s town, at least no one anyone talked about.

So they all stayed and prayed and shut their eyes and said the monster would go some other place, until it came, and then they said that it wouldn’t strike the same place twice so soon. And now when they saw that it had, they would say something else. Mikey clambered down the rocks and drew near to one of the pelicans. A creature from another, nighted universe, a photonegative world. The eye, steely blue and stark against the tarred feathers, stared up at him. He knelt and put his head close to its face to see. The bird suddenly shuddered and Mikey jumped back, surprised and terrified in his hopes.

He saw then that many of them were breathing, some trying to move, some even standing, trying in vain to extend their sticky, heavy wings. He thought of Ezekiel and the field of bones, the stirring, groaning army of the dead, one of those Bible stories that haunted his nightmares. Like the flood, rising and carrying the bad people away, and he knew he wasn’t one of the good ones. Like Leviathan, God’s laugh at doubters—and he knew he was a doubter—or Jonah’s whale, God’s punishment for the disobedient—and he knew he was one of them, too. Like the monster, creeping along dark waters, coming to shore by night, swallowing more and more of the world and of everything they lived by.

Mikey thought of the pelicans flying. He thought that if they were not to fly again that it might kill him, as sure as the monster might—as sure as the monster would. He stared for a minute at the dying bird beside him. Then he ran home, half an old documentary in mind, snuck quietly in the back so as not to disturb the Bible study, and returned to the beach with a bucket and a couple of towels and the big bottle of dish soap. He drew near to his first bird. As he reached out, the beak snapped up suddenly and scratched his arm. He jumped back, tears in his eyes. But then he bit his lip and went to the bird again. It seemed this effort had exhausted the bird, and Mikey ignored the little trickle of blood on his arm as he gently rubbed the oily remnants of the monster’s touch away. Once he pressed his face to the bird’s bad-smelling down and felt the trembling heart, and he didn’t have a word for it but home.

a black flower

All day he was at them. He didn’t know what he was supposed to do, really, and he paid for it with more cuts and scratches and a few near misses at his eyes. But slowly he got the hang of it. He held their bills shut, and if he gripped them just so, they stayed still as statues as he worked the oil out of them. Most of them were too tired to fight their salvation.

In his memory of the documentary, they came out clean and fresh and recovered in some special room, and then, somehow, the film cut to a shot of them flying like nothing had ever happened. That wasn’t what happened with his birds. Despite his best efforts, patches of the oily black stuff still clung to them. When he released them, they often just flopped back down on the beach. Sometimes they managed to stand and ruffle up their half-cleaned feathers. None flew.

It was afternoon, his towels black and soaked, his arms and coat and slacks a ruin of oil and mud and scratches. His eyes stung where he had tried to wipe away sweat and tears. And then he saw it. Maybe it was that first one. He wasn’t sure. But its wings beat and it made a halfhearted little turkey flap across the beach. Some big stone in his heart went with it, and he found himself yelling for sheer joy Oh Jesus yes.

“Michael!” His mother’s voice, anger, shock, shame, and the big stone crashed right back down.

“Oh sweet God have mercy,” she screamed across the beach, in a voice that had in it no mercy at all. She did not run to him, but only stood, her face pale, and as he approached, dragging the towels, she turned her head and called back, “Abe, what are we going to do with him?” He felt his jaw going tight and hard, and out of the corner of his eye, he watched his pelican flop down onto the beach again and lay sprawled there, one wing out.

“How could you,” she said, as he came near her. “Ah! My towels! What’ll we do with you, what’ll we do with you, I just don’t know . . . .”

A titan shame settled across his shoulders. But a little Satanic voice in him said that they were only towels, only clothes, that the birds had to fly again and they would have died and maybe they still would die, but at least he tried, and he started to say it aloud when Dad came snarling out of the house. “Just what do you think you’re doing?” he snarled. “What are you doing, down here, ruining your good clothes like that? You got a brain, don’t you?” And then, “What if that thing had gotten you?”

He thought he would try to explain, that the monster would get them all, that if it had gotten the birds, it would get all of them no matter how tight they locked their doors and shut their eyes, and that the birds had to fly again, they had to, but he couldn’t explain, and he yelled, “I hate you! I hate you!” He threw the towels down and felt all the hot tears coming that he couldn’t control, and he hated that too.

Mama shook her head and sighed heavily. “Michael, no.” And Dad at the same time, “Quit crying. What were you thinking?”

And what are you, what are you thinking, what kind of thing are you, banged around his ears and his head like a gong as he followed them home and as he pulled his clothes off and threw them into the steel bucket his mother had put on the porch and went shivering, shamed and almost naked into the house.

When he came down his mother was waiting.

“Your father went out for more soap so we can do the dishes tonight. And I want you to kneel down and ask God to forgive you.”

“For what,” he mumbled.

He could see rage bubbling under the skin of her neck, the vein of her forehead.

“Your fourth and fifth commandments, for starters. Say them.”

He glared at her.

“Say them.”

He mumbled honor father mother Sabbath holy.

“Kneel down.”

He got down on his knees, white rage in his chest, thinking of the pelicans flying, and then all of a sudden his heart sinking and the rage turning in on himself, blazing hatred at the monster he was. The stupid, disobedient kid he was. What kind of thing, what kind of person goes down to where the monster made its kills? What kind of person goes in his Sunday clothes and plays with dying birds? Tears again, hating the tears too, hating himself.

“I’m sorry,” he said.

His mother knelt down next to him and took his head in her hands. He felt it again, the home feeling, and he tried to think how the one could be right and the other wrong.

“Think, next time,” she said. “Think.”

“I’ll be good,” he said quietly. “I’ll be good, I just . . . .”

“What are you doing?” came his father’s voice. “He doesn’t need any of that. He needs to learn consequences. Up. Up to your room. And you’ll stay there through dinner. Cost of those clothes means you’re out a meal tonight, and that’s getting off easy.”

The white rage came back, but then the desire to be good, the feel of his mother’s hands around his head settled over him, and he nodded and walked slowly up to his room. He felt dirty inside, wrung out like a rag, angry and tired, the feeling that nothing would be clean again.

The vision of the dead and dying pelicans would not let him go. He saw their oil-spotted feathers. He saw them flying in popcorn ceiling of the room, and thought in his parents’ voices disaster, disaster. You’re a disaster. This is a disaster.

a black flower

He heard them eating their dinner downstairs, sometimes their voices rising over what to do with him. He thought now, while they are busy, now, I will sneak down and finish the work. But the Satan voice put courage in him. I am not wrong, said the voice. They have to fly, and if they don’t it will be the monster killing us all.

“I’m going back out,” he announced as he came downstairs into the kitchen with an armful of bath towels.

Dad froze with his food halfway to his mouth.

“You go out that door, you aren’t coming back in tonight.”

His mother said, “Abe.”

“I mean it. Up to you, Michael. Up to your room or this isn’t your home tonight.”

“Abe, the monster,” said his mother. They were talking as though he wasn’t there. He opened the screen door to the porch and picked up the bucket and the dish soap, and stood there watching them decide his fate.

“Thing won’t come back. Was just here. It rolls around the Gulf,” he grunted. “Anyway, what’s he going to do, sit there and let it eat him? Boy’s got no more brains than that he deserves it.”

Mikey was thinking why is he doing this, he hates me, and I hate him, and I will stay out all night, and if it eats me maybe it should, and then you’ll go to Hell because you killed me. But under that another thought persisted, that he had to get to the pelicans, that there were so many of them, and that maybe some of them might fly, and that would be the one good thing he could do.

He slammed the door behind him, spilling suds from his bucket. He heard it lock behind him, and his mother’s voice raised saying, “Oh, sweet Lord, help us.”

a black flower

The black beach was peaceful as the grave. The moon gone skinnydipping in the dark waters lit the oily lumps that were the birds.

Mikey went to work. He was rougher than he meant to be, and he kept telling them, “It’s for your own good,” as they pecked and clawed and flapped at him. But once he had them in the hold, they were quiet, and as the night went on, both he and the birds grew calmer. It was hard to see, but it seemed like the monster’s oilstuff was coming out better.

Little by little, as the moon got smaller and higher, the brown and bedraggled bird-shadows on the beach began to outnumber the slick black ones. Alright, he said. Alright, something. But still the birds did not fly. They stood, like dumb things, like shocked things, like things that did not know what they even were anymore.

But he kept at the work. The towels he had taken were soaked and black again. He took his shirt off and used it, and then his pants, and then tried his best to rinse the towels in the waters of the Gulf.

The moon was climbing down exhausted; his skin now was stained and cut and his arms beyond exhausted. Barely able to hold the beaks and bodies of even these exhausted, dying things. He collapsed at last, saying, I’m sorry, I’m sorry. But when he sobbing got up and began walking along the beach like a night orderly in a field hospital, he realized that he had finished. Every bird that lived—and there was one dead one for every two he’d gotten to in time—had been cleaned.

Not cleaned completely. All of them bore the marks of the monster and the water and his own crude handling. Feathers askew and smears of black. But touched, at least, by someone trying to help, pulled free at least a little from the thing that was killing him.

He found himself sobbing, with exhaustion and relief and despair all at once. They were all just there, not a one of them flying. Some were starting to walk. That was something. But they had to fly. If they wouldn’t fly this was all for nothing. The monster would come back. No one would say it, no one would believe it, but of course it would come back.

The one he’d cleaned first was just about where it had landed when his mother arrived. He thought, this one. It can do it.

He went close to it and shouted. It blinked at him. He ran toward it, and it raised itself and hopped away. “G’on,” he said. “Fly, will you.”

It waddled along the beach and he ran after it, but it would not fly, not really. When he drew close it would do its little turkeyflap at an angle to get away from him, hit the ground again, then moved clumsily away as he chased it across the stones. He felt like an idiot, in his underwear, chasing the bird around the beach.

“You stay here it’s going to get you,” he said. “Stupid bird.” The bird regarded him.

He yelled, “G’on! G’on!” but the bird just looked at him. At last, with a roar of rage he circled around behind the bird and began chasing it toward the dark water. “G’on!” he yelled. The pelican wobbled its way toward the sea. A fierce smile fell over Mikey’s face and he charged.

The bird ran down to the water line and the boy rushed after him, and the bird looked for a minute as though it would just walk into the water unconcerned, but all of a sudden, as its feet touched the water, its wings spread, and it flew. Not the jerky turkey squall that it had done, but flying, real flying, the graceful thing that Mikey remembered. It took off and was out into the dark night, a weightless shadow in the moon.

The boy crashed into the edge of the water himself and fell down heedless of the stones on his naked belly, relishing the sting of saltwater on the many cuts the birds had gifted him, laughing and laughing and laughing, yelling “G’on! G’on! G’on then!” The pelican traced a line and was gone, and as the boy threw his head back he saw more of them taking wing, as if they’d just been waiting for the one to show them, and he laughed and laughed and laughed, feeling that rock in his gut being lifted and tossed a hundred miles away.

Then the monster came.

It slid shiny black and silent over and out of the water like an enormous puppy being born, like the thing after. It seemed slow and fast at once, like a gentle wave getting ready to cover the world. The boy gasped and got to his knees, staring stupidly for a second, then tried to scramble up on the beach. Gently, without any effort, the monster took him, and he fell.

It swept over him greedily, coating him in an instant like a second skin. Mikey gave a choking gasp and then it was over his face and the moon went out. He struggled with his hands and pulled it away from his mouth long enough to take another breath, then felt it slide over his mouth again. He felt it moving into his mouth, coating the insides of his cheeks. When he tried to scream, he choked and gagged in his dark caul, and he felt the monster oily and slick working its way down into his throat.

Then there was a sudden searing pain on his forehead, and the lights came back on. Everything was confused. He felt something cut his cheek, and then he could breathe. He felt hundreds of darts stabbing him, hundreds of tweezers pulling at has skin, and finally he could see what was happening.

The pelicans were all around him, stabbing at the monster, pulling it away from his flesh. Hair and arms and legs were all agony as they did it, but they were making him free. He managed to stand and started to struggle painfully up the beach. The monster was trying to follow, but the pelicans harried it, drove at it, and when it reached up to grab them, they flew.

They flew.

The sight of it gave Mikey’s quivering legs new strength. He charged away from the water and gained the high place above the beach. He turned and watched the pelicans in their relentless assault. Some of them were too slow, and the monster dragged them under. But there were many, and they seemed wholly unafraid, and though the monster was huge, it did not seem to want to push past the throng of assailants.

He was covered in patches of black, sticky film, but the stuff on him was dead, no longer moving across his body. He dropped and vomited. When he looked up, the pelicans were still at it. More of them were being dragged under and he yelled “No! No! G’on! G’on! Get out of there!” And at last, the remaining pelicans took to the air, and the monster slid back with the waves into the night waters.

He sat shivering and shocked, watching the line of birds winging its way into the night sky, and then he fell down.

a black flower

He woke with a flashlight bright in his eyes, and the hands and arms of his father and mother around him, anxious voices and tears, tears even from his father, and I’m sorry even from his mother, and everything so strange and warm as they wrapped him in a towel and carried him gently home through the unlocked door and the hot bath.

As they hovered over him and washed his hair and body as though he were a little child he didn’t know what he thought. Only maybe that he was glad they had come. Only maybe that they didn’t want him to hurt after all. Only maybe that he had done a good thing, and they had been wrong. Only maybe that there was something between them now, thin and impenetrable as the oil slick on his skin had been, that there was another home for him now, and it wasn’t here. Only, maybe, the thought of flying, light as anything, over the dark and haunted waters, into some other world.

Biologists say it will take at least a generation for the river to recover (Klamath River hymn)

The salmon are flocking                     we got in the habit

of doing            without them             their scales         scraped

prickles across       clotted current                      and made us whole

The salmon are flocking                     we got in the habit

of doing            without them             their scales         scraped

prickles across       clotted current                      and made us whole

 

The salmon are flocking                     we got in the habit

of picking the locks          along          the blocked channels

we feel               their fingers                            we got in the habit

 

of being reliable              of sober                     containment

The salmon are flocking                      we got in the habit

of blank utility       we got in the habit       their scales feed the oaks

 

The soil           that we held         cupped     in our mouth

itself       a mouth opening                   it got in the habit

of engorged quiescence                       the oaks clutch the egg sacs

 

the shorelines absorbing                      the seed birds are skimming

The salmon are flocking                     we got in the habit

of waiting         of waiting                  they nibble the blackflies

 

from our pooling            basements               they bareback

our greetings       the veins reconnecting    we got in the habit

of strict separations         we got in the habit           of being

 

drawn under      the habit             of having           no more

than we got       they’re planting the seedlings       they’re softening

they’re ripening            we got in the habit       the gravel is stirring

 

the old channels shaking             the salmon are flocking

we’re tasting     the ocean           we got in the habit

we’re ready                                            we’re coming

We didn’t start the fire.

The smell of burning wood is pouring in the open window over my bed, filling my nostrils before I even have the chance to open my eyes. The last time I smelled smoke this strong was two summers ago when the corner of my trailer was on fire. I don’t jump out of bed, though. These fires are an emergency of a different kind. The winds have been blowing from the northeast for five days; the sky is hazy, and the sun looks like a lens flare from the wildfires in Quebec. It’s hard to say if the smell will disappear if the wind shifts because the province of Ontario is also on fire. The bush behind my house has yet to catch, but the nearby community has.

Last night my Elder’s husband was driving around the rez with tobacco pouches to find a firekeeper for his brother-in-law’s funerary arrangements. He joked that they didn’t have to do this because the presence of the Catholic Church had prevented them from practicing their ways. It was illegal. Over here, the people light and tend a sacred fire when someone walks on to aid them in their journey to the spirit world. It feels ironic to be lighting fires in the middle of wildfire season, and the bitterness I am feeling is matched only by the acrid smell of smoke wafting through my trailer.

I remember my father shouting at the tv screen during the evening news one day that he didn’t understand why people who live in Tornado Alley in the US don’t just move. Why do they continue to live in places where they know their homes will be destroyed? Before I understood the world, I’d agree with him. Now I know. In the 50s and 60s there was a lot of uranium mining around here, and corporations in charge had promised economic development to the reserve if they would host an acid plant for processing the mineral. Having barely survived generations of poverty and having been promised that it was safe, the people agreed. Three generations later, they’re still waiting for the government to make good on a grant to clean up the site. The chiefs have signed another bad faith deal for a quarry up the highway in the wetlands that threatens to disturb the uranium tailings. I want to scream at them, ‘Don’t you remember what happened last time?’ And remind them of when they had to move the pow-wow grounds because the dancers were getting holes in their moccasins from the acid that had seeped into the earth.

Now I know why people stay. Even if I could afford to move somewhere else, my adoptive family is elderly, and I can’t leave them to haul their water if the watershed becomes poisoned again. I also can’t abandon the land; she has welcomed me and loved and nurtured me in emotional health. If I leave to go somewhere else, the destruction will follow. I cry for the land and the people who have forgotten that all the wealth we need around us comes from the surface we stand and rest our bodies on. ‘The bush has everything we need,’ I had said at a meeting of native and non-native grassroots people for the protection of the Blanding’s Turtles. ‘If the water becomes poisoned, we won’t be able to hunt or harvest; then we will know true poverty,’ I said with vibrato, my voice shaking so much.

I have long suspected that the ‘proposed quarry,’ the one that has already been signed off on for the trap rock in the Canadian Shield, is so desired to build the billion-dollar highway from the south of us to stretch up to the lowlands of James Bay, the 5,000-kilometers-wide ‘Ring of Fire’ touted as the most significant mineral deposit in the country. More importantly, though, the remoteness of this territory means that life has remained relatively unchanged for the dozen or so First Nations in the area. And while I can’t speak for them or their experiences of poverty, I know that the wholesale destruction of the land makes me afraid. More afraid than being shot at by militarized police and mercenaries for oil and mining companies deployed to every land-defending camp across the continent in the last few years.

The provincial government has removed endangered wildlife protections and the firefighting budget. They want to, quite literally, smoke us out so they have unfettered access to the minerals below the surface. This has always been the goal of the colonial project and the genocide of Indigenous peoples globally.

I look out my window at what Grandma calls ‘our emerald green forest.’ ‘I’m scared,’ she’d said just a few days ago, ‘that soon our emerald green forest won’t be so green anymore.’ I know what it feels like for me, a person who has just rediscovered what it means to be human again in the last decade and a half, but I can’t imagine what it must feel like for her, who has always lived in this way. When I was depressed, Grandma told me to go outside and pick the bright yellow flowers that looked like sunshine. ‘Three breaths,’ she says. ‘In the language, we call this medicine. The people say when you are three breaths from suicide, you make a tea and ask this medicine for help.’ And the red clover that grows all around is for balancing estrogen hormones and preventing osteoporosis, the horsetail that grows by the base of the big shield rock behind the house is for collagen, the sweetgrass that grows high around my plywood cabin exterior is for soothing the nerves. ‘Everything we need is in the bush,’ I whisper to myself again.

We need help keeping medical professionals at the health center up the hill. One nurse practitioner works seven days a week, one day in each community along the North Shore of Lake Huron. With rising food costs and soon-to-be privatized health care, what will we do when the land is too poisoned to use folk medicine? What will we do when the rivers and lakes are too poisoned to fish? Every day it’s looking more and more like those who remember what it means to be human will have to give our bodies for the land and the faces that haven’t appeared yet.

Inanna and the Haruspex

You are asking the wrong question—

that is my fault

in part;

 

it’s not about any bird but why

the bird is nothing like

you and how you

must therefore take it

as far down your throat and into the soft cell

as possible.

You are asking the wrong question—

that is my fault

in part;

 

it’s not about any bird but why

the bird is nothing like

you and how you

must therefore take it

as far down your throat and into the soft cell

as possible.

Here is the right question:

 

Once flying footless on these back roads I saw a dead fawn fetal circled

circled in the long grass

and jewelly weeds.

I returned

every day I returned to look at her peripherally: it’s true

no thing should ever die

and dissolve

unwitnessed, but the eye’s eye

contains too much, is constrained by veins that memorize. Anyway

 

the weather turned a while. I stayed away until when I finally returned she was

a perfect circle of bones, and then one day she was nothing, or, no,

 

something else: a perfect spherical indentation in all the long and jewelly grass.

Somewhere unseen behind me

her mother? Was there? That

 

is the right question. What’s not

but what keeps getting asked

is—

was it one of those

 

holy spots where your voice is swallowed

when you try to say,

when you point

and try to say: there;

meaning! I am

on a good day: made of hunger, of

 

three good hands and one inscribed

by fire—

 

but that is the body’s body hand.

It cannot, because it will not, know

what its mate look likes. Did you know

they work ceaselessly in the increasingly tender dark? That is one of the right questions. Light, and

 

the space between

the amount of time light requires

to exit the image

for your eyes—

and the eyes, realizing, reaching

for it means most things

will have already turned away, degraded—

 

but you

are the only present. I wired for you the biological thinking toward a kind of way;

 

the way—truly it is exactly this way—

every ancient idol contains as aspect

its own antithesis: like so, listen! Listen: healing

if the lady of war;

time,

if the lady of inscrutability;

bird,

if the lady of uncovered fires. Speaking of the bird.

 

In the early evening it storms; I watched

birds get blown from the trees. Listen;

This is a real thing that happened.

Later I found parts of their nests

in my hair. It wasn’t accompanied

by hunger so

it didn’t mean anything. Localized exceptions—

brontoscopic, maybe, but localized nonetheless.

Katrina

Changing leaves colored

Cruel luminous

Red then yellow safety

Was it all a confused dream?

That week when August

Tripped into September

People trapped in a sports stadium

A woman carries

a collie to safety

Changing leaves colored

Cruel luminous

Red then yellow safety

Was it all a confused dream?

That week when August

Tripped into September

People trapped in a sports stadium

A woman carries

a collie to safety

A thirsty child

begs

A man gains

a television

A rescue worker

rubs his aching eyes still hearing the screams

Six dolphins

safe in a hotel swimming pool

Cloud, Cloud

In Egypt, at the 27th United Nations Climate Change Conference (COP27), a South Pacific leader asks the world to bear witness to the death of his homeland. He is speaking from a screen. In a full suit, flanked by the flags of his country and the UN, he stands behind a lectern on the shore of a nondescript island. His voice carries over the sounds of water on sand, wind through palm trees, and tropic birdsong. He says his islands are sinking. Rising sea levels will swallow Tuvalu whole in a matter of decades. The world has not acted quickly enough since his last speech at COP26. International law determines that a country is legitimized by its physical reality. Tuvalu shrinks. Tuvalu watches king tides erode their statehood.

Addressing the international stage—including the imperial core of industrial and military giants complicit in the climate crisis—Foreign Minister Simon Kofe delivers his people’s final plan for relocation. We have no choice but to become the world’s first digital nation. They will move online. They will somehow upload 3,000 years of history, language, art, culture, stories, people, memories, places, sounds, to the metaverse.

The video is a three minute speech and a slow reveal. It’s a re-creation of Kofe’s recorded message for COP 26 the year before: a lectern and flags set outside, a close-up shot of his bust that pulls back as he speaks. That time, Kofe was revealed to be standing in knee-deep seawater. We are sinking, he said. We cannot wait any longer. A provocative staging, a nation and her ambassador partly submerged. This time, Kofe has remained on the beach and there’s a distinct surreality to his background. You are to believe he’s speaking from the same place as before—the last remnants of Tuvalu’s first casualty in the climate crisis—a small, disappearing island called Te Afualiku. But instead of rising seawater, the camera pulls back to reveal a simulation: Kofe is not in Tuvalu’s islands at all. Instead, he looks out from Te Afualiku’s digital twin. He speaks from a future homeland—an illusion which quickly gives itself away by the tell-tale sheen of video game graphics, palm tree leaves that cast shadows but lack texture. The uncanny flatness of Gaussian blurred skin and sand, an image that falters as it widens toward the pixelated edge. White birds and coral rock wink in and out of existence, a daytime scene is set against a contradictory black sky that is not a sky at all but a data void, loading…loading. It is the first digital rendering of Tuvalu’s family of islands. A reanimated corpse—swallowed by water, rebirthed online. It is the place where Tuvalu has been made to hear its last rites.

The video was a collaboration between the Government of Tuvalu and The Monkeys—part of Accenture Song, and therefore Accenture [ACN), the gargantuan tech company whose employee count is roughly the entire population of Seattle. Its global virality after COP27 belongs to ACN, whose client projects range from national climate advocacy to Bitcoin Super Bowl ads. ACN’s self-proclaimed goal is to help the world’s leading businesses and governments “build their digital core.” They believe in the promise of technology, that the digital future is as real and vital as the deteriorating present. When faced with the question of an island’s drowning, they proposed a sovereignty that goes beyond homeland—untethered, invulnerable. A 200 billion dollar company offers a powerful dream: if reality fails, the immaterial plane will redefine its tenets. In the future, statehood is forever.

Tuvalu’s digital-nation launch would reach some 2.1 billion people globally. I watched it on TikTok that week.

I had just come home from a public hearing: a new resolution to halt U.S. military construction of a live-fire training range. Some 6.7 million rounds of lead ammunition to be fired annually above Guam’s main water source. The resolution was our latest protective attempt in a years-long battle to prevent our islands from becoming mass testing grounds. We’d been here before—our third time in the legislature that year. I hadn’t expected people to show up. They came in a crowd: a young girl in purple overalls holding a painted sign, two old men in dusty polos sporting veteran hats, a row of college students in matching shirts, four senatorial candidates for next year’s election, a pair of moms and their squirmy babies, cultural dancers in traditional regalia. It was a big day. It was a long day. It felt like every big, long day we had organized over the past decade of military buildup activities.

We pled our case for three and a half hours. We itemized our death: 338 acres of bulldozed limestone forest. 260 football fields of our oldest trees and natural filtration systems, gone. Impending lead contamination. 79 ancestral sites impacted. Bones unearthed. Bones boxed and stored in filing cabinets. Re-death. Reburial. We appealed to life: 1.7 million gallons of Guam’s water drawn per day from that single aquifer. We took turns testifying. We held signs. We cited studies. A recurring song and dance performed on the worn edge of old frontlines—our litany for the surviving.

I said my piece and went home in a daze. How much longer of this, do we think. 27 WhatsApp notifications from three different community groupchats. Pictures from the roadside wave where my mouth is somehow open in every single shot. YouTube link to the Guam Legislature recorded livestream of the hearing. Poll for the best day to meet next month to discuss base-building strategies. A clip of the young girl in purple who made the room cry. I tapped to expand the video. I remember her as a child, following her mom to Chamoru language classes with her rainbow assortment of sparkly gel pens. She tells the senators that she’s been coming to these hearings since she was a toddler. She’s graduating high school soon. She doesn’t know if she’ll have children of her own but she hopes she can tell them that she tried. She chokes up when she talks about the land, about a future, better Guam. The room is silent. I still can’t tell if we were all crying for the same reasons. I wish I hadn’t heard her testify. It made me morose. No one tells you how long you’re supposed to keep doing this when you start. The future is a wall.

I muted WhatsApp and scrolled TikTok instead. I saw a video with a Tuvalu flag emoji in the caption and immediately liked it before it could play. I watched as you watch all Pacific news when the world doesn’t pay your region any attention—in solidarity. Then the camera pulled back. And I listened in stunned silence to Kofe’s words playing over a badly rendered VR scene: The world has not acted, so we in the Pacific have had to act . . . we’ll move them to the cloud.

I couldn’t stomach it. The thought of any of our islands reduced to a crude Facebook Sims project with Halo graphics made me ill. I watched it anyway. Because Tuvalu asked. And in the many Pacific sagas of mass dispossession, we are rarely allowed the dignity of last rites. The glitchy birds, the shiny trees, the black sky. Kofe said in his UN speech what we never really get to say in the courtrooms where we beg for help—that mostly, it’s too late. On the international stage and in legislative hearings, the rules are simple: you don’t air grievances without presenting solutions. Any acknowledgment of permanent loss must be accompanied by a meticulous breakdown of advocacy plans, mitigation, and compromise. This is how you’re asked to turn existential mourning into political momentum. In the strategic landscapes of grant-funded projects, the benevolent hands of federal programs, philanthropy orgs, and national museums will throw millions of dollars toward the campaigns of native revitalization—but they do not fund vigils. They have a vested interest in the process of resurrection. No one seems to know what the plan is if none of this shit works out.

The tonal expectation in the goals-outcomes-outputs model of project planning for Indigenous creation has struck as a mass muffling. It resists declarations of catastrophic loss. Gestures at dystopia like Kofe’s undead nation are an ideological liability, a contagious defeatism that kills movements and meaningful base-building. Humanities councils, national coalitions, global initiatives—the great problem solvers of the world offer the dispossessed mile-long applications for assistance that all hinge on the fantasy of our immutable restoration: if you can tell us how you’re dying and how you’ll fix it, then we’ll help you.

The Tuvalu launch of Te Afualiku’s digital twin, then, is a blunt unfixing. As Kofe speaks from a doomed future, he calls into question the deceptive optimism of climate movements that have run out of time. If you won’t accept an invitation to our funerals, then you will deal with our reanimated corpse. If you refuse to hear that it’s too late, we will speak to you from where you have sentenced us: the polity of memory.

a black flower

In Tokyo, at a live show in a dim bar, artists from Okinawa and Guam sing to each other about an old homeland. The crowded room is thick with attentive quiet, lit in tungsten yellow. The wooden walls are a mosaic of linocut posters and rebel iconography haphazardly tacked over every inch of visible space. A painted underwater scene with a mother and child dugong that says NO BASE! An anthropomorphic cat character aims his slingshot at a sky full of helicopters. OSPREY OUT, NO NUKES, SAVE TAKAE. The rolled corner of a silhouetted Che Guevara portrait droops from the ceiling. Some thirty anti-war resisters and serious jazz fans have sardined their way into this upper room that is part izakaya, part pocket-meeting space. Music in English, Japanese, and Chamoru is performed with minimal translation. I’ve come because my sister and her husband are one of the guest bands, Microchild, and we wanted an excuse to visit our friends in Asagaya.

Mostly though, I’ve come for Mizuki—a clever translator and artist who’s been organizing in the Okinawan demilitarization movement for over a decade. She’s friends with the bar owner, the singer from Takae who’s wearing a very cool hat, the pretty belly dancer who performs during the week, the table of old ladies sitting close to the stage, and us—the visitors from Guam. Mizuki knows everyone. She wears a neat bob and smiles with her whole face. She drinks all of us under the table despite being 4’11 and never seems to suffer from hangover. I first met her in Guam, where most people encounter Japanese visitors as tourists—but Mizuki is not a tourist. She’s a resistance leader whose faction consists of highly-organized Japanese grandmas and grandpas who all remember the war. Once a year they visit Guam in little groups to build support across our community movements. Mizuki calls the trips de-tours. When she speaks about Guam she often says I love you and I’m sorry.

Chamorus in Japan can be a confounding spectacle. The entangled history is brutal and sad like everyone else’s in the Pacific theater during WWII. Japan paraded their war crimes across many islands. We were raised by the occupied generation whose landscapes shifted beneath them: villages carpet-bombed, jungles flattened, roads widened. Every day on my way to work, I drive across a river that trails a valley where Chamorus in labor camps were tortured, raped, and beheaded by Japanese imperial soldiers. Then the war ended, some survived, an empire rehabilitated their image, and my grandparents who were there for it all raised kids whose kids love anime. Time passed anyway.

I look across the room and Mizuki beams at me with a watery smile. Soragoro, the Okinawan man, sings Aguas de Marco in his native tongue. A stick, a stone, a sliver of glass. He offers a traditional song from Takae in northern Okinawa, where helipads threaten to destroy his home. He says culture is resistance. He sings and tap-dances and smiles in one sustained lilt. He could be a Yanbaru forest bird. He could be summer rain. Microchild follows his act and performs songs off their Chamoru album, Sengsong Mapagåhes (trans. ‘cloud village’). Eclectic sounds of jazz and soft rock frame vocal laments like the title track and Remember Me—songs that speak of a great vanishing, of a cloud that cannot be seen but whose rain can be heard. A melodica, a sax, a guitar. The trio moves from crooning restraint to lifting crescendos and the room rises and falls with them. I take as many videos as I can. My mom back home is texting me for the play by play. I forget to order something to eat, and matching Mizuki drink for drink makes me warm and dizzy. The show concludes with a spontaneous duet by Soragoro and Microchild performing Blue Moon, parrying the same melody back and forth in Japanese then Chamoru—harmonious in tone, dissonant in language, jazz in execution. The night slips into a pleasant buzz as my foggy knowledge of the original song lyrics in English floats to the surface. Something about a moon that saw us dreaming—alone, then together.

Our walk back to the hotel takes five goodbyes: one in the bar, one at the top of the stairs, one at the bottom of the stairs, one out the window, and one shouted down the street before we turn the corner and out of Mizuki’s sight. The cold has sobered me up enough to follow my sister in a straight line. She gestures widely to her husband, and I think of my grandma. Shannon has a way of benignly pointing at things as we pass them that reminds me of those hands—my grandma walking by a cafe sign and reading it aloud with no intent to expound on whether or not we should further investigate the place or if she’s been there before or if she’s in the mood for a hot beverage. A sort of general, constant acknowledgement of our surroundings. I wonder if our being here makes her ghost a little sad. Tokyo turns my mind into a river. I trail each memory upstream, through the long and tired years.

Sixteen summers before this one: I’m in my grandma’s living room. She’s telling my aunt about a valley. Japanese soldiers. A slow march to a wide clearing. The soldiers are hostile and on-edge. Something is coming. A girl falls in the road and doesn’t get up, an uncle is cut down in the mud. My aunt is asking about a song my grandma struggles to recall. At night they couldn’t be loud. The lyrics remain unclear. They sang in whispers and slept in rows. Crowded bodies murmuring like cicadas. Five summers before this one: I’m marching in Japan with Mizuki. Thousands gather in Hiroshima for the August anniversary. I speak with nuclear survivors here for the World Conference Against A&H Bombs, the soft voice of a translator in my earpiece. An old man describes a river of bodies. Melted skin. Red and red and red. After the public hearings, earlier in the year: my feet are warmed through my shoes as I stand on hot concrete and read a memorial plaque above a glass-covered pit. I’m in Tinian, a sister island north of Guam, at an overgrown airfield. I’m standing where the Hiroshima and Nagasaki bombs were loaded into the bellies of B-29s and sent off to level a city. The memories blur, my vision swims. The heat of nested summers. I don’t know if I’m remembering it all correctly. I follow my thoughts like receding water until I exit in a cloud.

My sister turns around and tells me she’s hungry. Her husband is navigating us to an udon spot and she’s laughing with too many teeth at a joke I didn’t catch. We’re absolutely sauced. She begins to hum very loudly, a little badly. A group of nice strangers applaud her as they overtake us on the narrow alley path. I try and fail to place the melody.

 

Blue moon, you saw me standing alone.

Blue moon, now I’m no longer alone.

a black flower

In Yona, the road cuts through a valley and I’m still fifteen minutes late to work. I’ve gauged it all wrong again. Woke up early enough to get ready slowly, went slower still. One minute lost scanning the fridge for a nonexistent apple. Three minutes lost listening to the rain. Five minutes lost trying to decide if the rain is bad enough for an umbrella or if a jacket will suffice. Two minutes lost sitting in the car deciding which station will upset me the least. Four minutes lost checking the office group chat to see if work will cancel for inclement weather, even though we never cancel. I’m stuck behind a school bus for predictable reasons. Traffic crawls up the hill near Pago Bay. A pond-sized puddle will soon be a flood warning.

I piecemeal the news through radio static. Operations have begun at the northwest field live-fire training range. It is an uncharacteristically rainy January. Camp Blaz’s completion initiates the multiyear relocation of 5,000 U.S. Marines to Guam. High-surf warning for Boat Basin and Rick’s Reef. Stars and Stripes reports that the plan to move the Marines off Okinawa was born out of massive protests following the 1995 rape of a 12-year-old Okinawan girl by two Marines and a sailor. A developing system 100 miles south of Guam brings heavy showers. Locals demanded the closure of Marine Corps Air Station Futenma due to safety concerns in a densely packed urban area and sought a smaller U.S. military footprint there. 2023 was the second highest year of rainfall ever for Guam since NOAA began recording in 1945. Post-Typhoon Mawar, scientists claim we can expect an increase of extreme weather in the Pacific as climate conditions worsen.

I’m beginning to second-guess the net benefit of morning news. Water drips through the torn seal of my passenger window, sloshes inside the back left door, pools at my feet. Something up the road has halted traffic altogether. I can’t see further than the car in front of me and this too, feels familiar. We idle and I wait for a sign. Nothing moves here but the rain. Where are any of us supposed to go?

 

We in the Pacific have had to act

We’ll move them to

The cloud

//

Sa’ malingu yu’, malingu yu’

(because i have vanished, vanished)

Sengsong Mapagåhes

(cloud village)

Sengsong Mapagåhes

(cloud village)

—Kofe // Microchild

baby’s breath

I try to banish it from my brain, these dreams where I am bulbous & beautiful. where I am the butternut & she is the squash bug, burrowed into my bosom, my bowels, the base of my spine. her vine. a buzz betrays a blush of bees & bougainvillea above me. I blink & the bubble-gum blossoms crumble into beetles & blistered bark. the little bug breathes in. begot onto a barren land, she makes the best of each feeble bounty: the bullfrog’s lullaby, the bird eggs, the bunnies. boredom, bravery, bear tracks, brackish baths & in the bleak midwinter, cranberry beads on balsam fir. for birthdays, bouquets of box elder & bur oak, bracelets of buckthorn & birch. she can’t believe how many flowers there were, once, buds & blooms with bouncy names: buttercup begonia bluebell black-eyed susan bachelor buttons bleeding heart. I teach her, in turns, how to bite & beg. how to boil burdock, bait traps. how it all must be: blood, blight, boars, boys, berries. how to cut away the bad until the blemish is gone. how to begin anything with a bundle of sticks. how to build, balm, blacken, bury, obliterate. this poem is a backburn, a minor blaze born to bleed the fuel of the bigger, more desperate flame. am I an arsonist? her braid becomes a brushfire before I can tie the bow.