2
" This Is a Photograph of Me
It was taken some time ago.
At first it seems to be
a smeared
print: blurred lines and grey flecks
blended with the paper;
then, as you scan
it, you see in the left-hand corner
a thing that is like a branch: part of a tree
(balsam or spruce) emerging
and, to the right, halfway up
what ought to be a gentle
slope, a small frame house.
In the background there is a lake,
and beyond that, some low hills.
(The photograph was taken
the day after I drowned.
I am in the lake, in the centre
of the picture, just under the surface.
It is difficult to say where
precisely, or to say
how large or small I am:
the effect of water
on light is a distortion
but if you look long enough,
eventually
you will be able to see me.) "
― Margaret Atwood , The Circle Game
4
" Being with you
here, in this room
is like groping through a mirror
whose glass has melted
to the consistency
of gelatin
You refuse to be
(and I)
an exact reflection, yet
will not walk from the glass,
be separate.
Anyway, it is right
that they have put
so many mirrors here
(chipped, hung crooked)
in this room with its high transom
and empty wardrobe; even
the back of the door
has one.
There are people in the next room
arguing, opening and closing drawers
(the walls are thin)
You look past me, listening
to them, perhaps, or
watching
your own reflection somewhere
behind my head,
over my shoulder
You shift, and the bed
sags under us, losing its focus
There is someone in the next room
There is always
(your face
remote, listening)
someone in the next room. "
― Margaret Atwood , The Circle Game
10
" Against Still Life
Orange in the middle of a table:
It isn’t enough
to walk around it
at a distance, saying
it’s an orange:
nothing to do
with us, nothing
else: leave it alone
I want to pick it up
in my hand
I want to peel the
skin off; I want
more to be said to me
than just Orange:
want to be told
everything it has to say
And you, sitting across
the table, at a distance, with
your smile contained, and like the orange
in the sun: silent:
Your silence
isn’t enough for me
now, no matter with what
contentment you fold
your hands together; I want
anything you can say
in the sunlight:
stories of your various
childhoods, aimless journeyings,
your loves; your articulate
skeleton; your posturings; your lies.
These orange silences
(sunlight and hidden smile)
make me want to
wrench you into saying;
now I’d crack your skull
like a walnut, split it like a pumpkin
to make you talk, or get
a look inside
But quietly:
if I take the orange
with care enough and hold it
gently
I may find
an egg
a sun
an orange moon
perhaps a skull; centre
of all energy
resting in my hand
can change it to
whatever I desire
it to be
and you, man, orange afternoon
lover, wherever
you sit across from me
(tables, trains, buses)
if I watch
quietly enough
and long enough
at last, you will say
(maybe without speaking)
(there are mountains
inside your skull
garden and chaos, ocean
and hurricane; certain
corners of rooms, portraits
of great-grandmothers, curtains
of a particular shade;
your deserts; your private
dinosaurs; the first
woman)
all I need to know:
tell me
everything
just as it was
from the beginning. "
― Margaret Atwood , The Circle Game