“Secret kabals of vegetarians habitually gather under the sign to exchange contraband from beyond the Vegetable Barrier. In their pinpoint eyes dances their old dream: the Total Fast. One of them reports a new atrocity published without compassionate comment by the editors of Scientific American: "It has been established that, when pulled from the ground, a radish produces an electronic scream." Not even the triple bill for 65˘ will comfort them tonight. With a mad laugh born of despair, one of them throws himself on a hot-dog stand, disintegrating on the first chew into pathetic withdrawal symptoms. The rest watch him mournfully and then separate into the Montreal entertainment section. The news is more serious than any of them thought. One is ravished by a steak house with sidewalk ventilation. In a restaurant, one argues with the waiter that he ordered "tomato" but then in a suicide of gallantry he agrees to accept the spaghetti, meat sauce mistake.”

“He never described himself as a poet or his work as poetry. The fact that the lines do not come to the edge of the page is no guarantee. Poetry is a verdict, not an occupation. He hated to argue about the techniques of verse. The poem is a dirty, bloody, burning thing that has to be grabbed first with bare hands. Once the fire celebrated Light, the dirt Humility, the blood Sacrifice. Now the poets are professional fire-eaters, freelancing at any carnival. The fire goes down easily and honours no one in particular.”

“The flowers that I left in the ground, that I did not gather for you, today I bring them all back, to let them grow forever, not in poems or marble, but where they fell and rotted. And the ships in their great stalls, huge and transitory as heroes, ships I could not captain, today I bring them back to let them sail forever, not in model or ballad, but where they were wrecked and scuttled. And the child on whose shoulders I stand, whose longing I purged with public, kingly discipline, today I bring him back to languish forever, not in confession or biography, but where he flourished, growing sly and hairy. It is not malice that draws me away, draws me to renunciation, betrayal: it is weariness, I go for weariness of thee, Gold, ivory, flesh, love, God, blood, moon- I have become the expert of the catalogue. My body once so familiar with glory, My body has become a museum: this part remembered because of someone's mouth, this because of a hand, this of wetness, this of heat. Who owns anything he has not made? With your beauty I am as uninvolved as with horses' manes and waterfalls. This is my last catalogue. I breathe the breathless I love you, I love you - and let you move forever.”

“The first star tonight insanely high, virgin, calm.I have one hour of peace before the documented planets burn me down.”

“You have the lovers,they are nameless, their histories only for each other,and you have the room, the bed, and the windows.Pretend it is a ritual.Unfurl the bed, bury the lovers, blacken the windows,let them live in that house for a generation or two.No one dares disturb them.Visitors in the corridor tip-toe past the long closed door,they listen for sounds, for a moan, for a song:nothing is heard, not even breathing.You know they are not dead,you can feel the presence of their intense love.Your children grow up, they leave you,they have become soldiers and riders.Your mate dies after a life of service.Who knows you? Who remembers you?But in your house a ritual is in progress:It is not finished: it needs more people.One day the door is opened to the lover's chamber.The room has become a dense garden,full of colours, smells, sounds you have never known.The bed is smooth as a wafer of sunlight,in the midst of the garden it stands alone.In the bed the lovers, slowly and deliberately and silently,perform the act of love.Their eyes are closed,as tightly as if heavy coins of flesh lay on them.Their lips are bruised with new and old bruises.Her hair and his beard are hopelessly tangled.When he puts his mouth against her shouldershe is uncertain whether her shoulderhas given or received the kiss.All her flesh is like a mouth.He carries his fingers along her waistand feels his own waist caressed.She holds him closer and his own arms tighten around her.She kisses the hand besider her mouth.It is his hand or her hand, it hardly matters,there are so many more kisses.You stand beside the bed, weeping with happiness,you carefully peel away the sheetsfrom the slow-moving bodies.Your eyes filled with tears, you barely make out the lovers,As you undress you sing out, and your voice is magnificentbecause now you believe it is the first human voiceheard in that room.The garments you let fall grow into vines.You climb into bed and recover the flesh.You close your eyes and allow them to be sewn shut.You create an embrace and fall into it.There is only one moment of pain or doubtas you wonder how many multitudes are lying beside your body,but a mouth kisses and a hand soothes the moment away.”

“Children show scars like medals. Lovers use them as a secrets to reveal. A scar is what happens when the word is made flesh.”

“In Montreal spring is like an autopsy. Everyone wants to see the inside of the frozen mammoth. Girls rip off their sleeves and the flesh is sweet and white, like wood under green bark. From the streets a sexual manifesto rises like an inflating tire, “the winter has not killed us again!”