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1. RICHARD STEGER — listening to Richard Steger–
   & of course he’s a painter and the place is an art museum
   entered through a little door the way Alice enters something
   I think–or is it a hole, a small one & or/ equals the back of the wardrobe
   in Lion Witch Wardrobe. Like an implosion or inner exile that need interrogation
   of the negative sort the way the questioner says “it way dark that day, wasn’t it” and
   the one being questioned says “No” and then begins to tell more about the event of the dream:
   DOOR IN MY HEAD
   Orange ice on the roof we climbed
   the big tree to the top a little house
   richard went in through the door down
   into the rooms of the museum
   walking through all the rooms where
   uniformed guards seem surprised
   feeling apprehensive finally he left
   back out up the way he came and got me
   we returned together but were met
   by guards talking on their walkie-talkies
   don’t know how we escaped richard said
   but i kept thinking about that big tree

   © Copyright EDWARD MYCUE+

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2. BERNEVAL by Francois Lachance u toronto canada 2010 march

   Judith Lawrence Judith A. Lawrence CM is a Canadian puppeteer associated with the long-running CBC children’s television program Mr. Dressup.[1] Her best known characters were Casey and Finnegan, although she also created other occasional characters, such as Aunt Bird and Alligator Al. Judith was born in Bairnsdale, Victoria, Australia[1][2] and grew up in Ballarat, Victoria, Australia.[2] She came to Canada at age 22, earning her living as a kindergarten teacher. She taught at Cockcroft Public School in Deep River, Ontario.[citation needed]
   After a successful audition, Lawrence started work for the CBC, where she soon created her most famous puppet characters for the Butternut Square TV series[3] and they made the transition to Mr. Dressup. Lawrence retired as the puppeteer of the show in 1989.[4]
   Lawrence also wrote many books in The Young Canada Reading Series for Thomas Nelson publishers. Lawrence co-authored a series of books for D.C. Heath on women and work.
   In the 1960s she co-founded The Voice of Women. In the 1970s she was on the first National Action Committee on the Status of Women (NAC). She continued her peace and feminist views through newspapers like Broadside. She was awarded the Order of Canada in 2001 for her work as both a puppeteer and an activist.[5]After retiring, Lawrence moved from Toronto to Hornby Island, British Columbia where she became a strong community leader for the island, a designer of the recycling depot, and a farmer/environmentalist.

   Judith Lawrence’s poem:

   The Pet for Me

   Some people like a dog
   To play around the house.
   Some people like a kitten,
   A hamster, or a mouse.
   Some people keep a fish
   In a bowl made of glass.
   Some people like a bird
   That whistles when they pass.

   But I would like a dragon
   With red, shinning eyes —
   A friendly green dragon,
   Just my size!
   Wouldn’t you?!

   And so for day 1204
   31.03.2010
   Labels: Dragons

   Seep Age Drift Age
   […] l’être du language n’apparaît pour lui-même, que dans la disparition du sujet.

   Michel Foucault “La Pensée du dehors” Critique No. 229 (June 1966)
   Dispersal. Refiguration.

   In the poetry of Edward Mycue, collected in Mindwalking 1937-2007, one comes to “Word Thumb” which is a paean to the songs and stories heard in a childhood family setting and lead the speaking voice to claim by poem’s end
   I carry in me a singing man my father gave me.
   Note that it is not a father that “I” is carrying but a “singing man”. Note too that as readers we have witnessed a performance of the singing man by reading the previous lines celebrating the “radiance of life’s simple pleasures”.

   Inspired by Mycue, I look to my history with my own father to see what equivalent to a singing man I might have internalized. My fond memories turn to the beach. There I recall how I learnt to trust. Learning to swim alternated between trusting that my father would not only buoy me up should I begin to sink but also that he would in his wise way let go. It was an experience that repeated itself in learning to ride a bicycle.

   The other condensable image that the beach trips gave me was the memorable experience of digging a hole and marvelling as it filled with water at its bottom. It’s fine introduction to the penetrating power of water and water-like thoughts.

   And the long walks along the beach in search of driftwood, I like to think have made me a patient hunter of treasure tossed up. Life’s a beach.

   Indeed it is this careful searching along the littoral that allowed me to come across Mycue’s signature on the copyright notice page. Odd little bit that we set afloat again here like a note from a signing/singing man.

   And so for day 1195
   22.03.2010
   http://www.chass.utoronto.ca/-lachance

   EDWARD MYCUE: REMEMBERING:
   BANGING OUT
   i keep banging out stuff with no publication plans and don’t think of them as ‘privishings’ (as lawrence fixel spoke of work assigned to the drawer vs publishing work that you consciously decide to send out).
   “there” is where they come from: ‘there’, for the inside to outside and i don’t pay attention to the shape the outside becomes. of course, i may change it, reshape it by mixed arrangements. operating not simply without shame or style but from impulse (pulse)because i feel the time is a worn thread.
   a dumpster of memory and idea that is only phenomenologically momentarily necessary. if the moment passed without proceeding and how to make poetry work fun. if fun is the right word here.
   and is it poetry if it isn’t fun in the making no matter how serious the content? well maybe, but i’d have to fiddle with the ‘fun’ concept.
   “making” is the operative word really: and the pleasure or satisfaction of making something well and the thrill of the doing in the making.
   ©Edward Mycue 17 December 2014

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