




After the storm, spindles of ice turn a length of driftwood into a sparkly comb, and a forsaken branch nearby bears ice down to the stone.
Anchored in a resolute stance between jutting shards of rubble, repeated lashings of water and freezing spells have burdened the wooden frame. However, a thousand gale-driven waves have not been able to shake it from its moorings.
A sculpture carved in adversity at the edge of the lake, it resembles a silent harp resting on its side. With strings ever more shellacked as winter deepens, the harp seems both haunted and haunting, a formerly melodic rib cage benumbed by cycles of fear and grief. And as the storms intensify, layers of icy bulk cling more fiercely to the body: a freeze frame of memory rendered visible.
Come the melts of spring, the icy coat dissolves and bare driftwood testifies to the hardship it has endured — rough exterior sanded, an extremity sheared from its host.
Cracked and forgotten, the harp-shaped branch may be flotsam, but it is not an useless instrument. With her strings missing, she is all the more open to the beyond. She still stands and bathes in sparkles. She still sings.
At the freezing point,
wild west wind and lake spray
mantle the trunk, marzipan on a rich cake.
Thickened ice highlights the outer layer
then darkens to charcoal-purple,
legacy of the long drift from forest
to midnight bonfires on the beach.
As it salves driftwood burns,
ice defines the border of a helmet
whose irregular edges soften the dark wedge,
trace translucent deltas that flow,
river to ocean evolution
from eye of shark’s prow
to fearful mammal below.
As I nestle between lakeside boulders, drifted ice drapes me in a veil. Successive layers of frozen water etch a daguerreotype portrait of arrested lava, once-fluid anger trapped by a season so heavy and cold.
Behind my nape, the thickness of the ice is greater, and swirls of gray-blue shadows entwine in smoky tendrils with hints of ash. From my chin, crystal shards have grown into a beard that flows from the seam where my edges meet the lake’s beach below.
The ghostly poncho that almost completely glazes me has left only an egg-shaped tonsure melted by the sun. In a few weeks, spring’s solar ascent will fully dissolve my obscuring cloak, but for now I am content with the small oval that lies exposed to the elements.
One day soon, an exhausted bird will warm its feet on my crown. Resting after miles of migration, my guest will sit for a spell all hunkered down into its feathers. As it turns its beak towards the water, it will flex its wings to the humming thwack of high winds that scour my quiet skin into forgiving sand.
My grandmother Mary Raine gave me this Christmas tree when she was 93 years old. She no longer felt like putting it up every year, especially after the deaths of my father Ron and his younger brother Bob, so she passed the tradition to me in 2004, the year my uncle died. At the end of a Christmas haunted by absence, I carefully wrapped the treasured tree in my suitcase for the rigours of its plane journey from Missouri to Ontario.
I hadn’t decorated a Christmas tree since I was a teenager, but Grandma Raine’s gift inspired me to start again. My mother also gave me some decorations that had been in the family since the 1960’s, including cookie dough ornaments I remember from my childhood.
Artifacts like the dignified Wise Man connect me to home, family, and Christmas traditions, for when I rest him against the tree in 2020, I return in memory to a much earlier era. Once upon a time, my father, mother, and brother used to decorate a full-sized tree together while Birthday the cat lay in wait to attack the glass balls on the lower branches. Christmas carols bathed the tree-trimming task in familiar melodies such as the “pa rum pum pum pum” of Dad’s favourite, The Little Drummer Boy.
I’m fond of the cracks in these circular faces that once inhabited the tree of my childhood home. The cracks testify to the survival of countless Christmas seasons, each with its own tales of cat-paw attacks, breakages, and transfers to new storage locales.
The small red wagon has a story, too. Mom bought it for me one December in the 1970’s when we visited Kansas City’s Wornall House Museum to see it decked out in nineteenth-century Christmas décor.
To blend new memories with the old, I supplemented the original ornaments from Kansas City with ones I bought from Ten Thousand Villages, a shop that specializes in handcrafted items ethically traded from India, Bangladesh, Nepal, and many other countries.
Angels, elephants, lions, and moons mingle on the branches with a reindeer, a yak, and a yeti. Together, they honor Toronto’s multiculturalism and integrate the Christian traditions of my childhood with the religious and cultural pluralism that energize today.
In addition to a tree rooted in the present and the past, festive details like colourful textiles that Grandma Raine crafted — place mats and Christmas tree skirts — brighten the living room.
Also, two books that I received as presents in the 1970’s surface with the arrival of Christmastide. The first one is Christmas Stories Round the World, kindly given by my cousin Denise.
The second book, The Night Before Christmas, evokes happy memories of my parents reading the poem on Christmas Eve, just as their parents read it to them as children. The rhymes and folksy illustrations contained in Grandma Raine’s 1974 gift are enjoyed to this day.
Finally, giant postcards that my mother purchased in the 1960’s serve as Christmassy accessories for staircase spindles. I love how they jazz up the stairs and suffuse the atmosphere with psychedelic cheer.
All in all, sharing stories of Grandma Raine’s tree and other yuletide trappings has heightened my gratitude for gifts that gather layers of meaning as time passes. Thank you, dear reader, for indulging this narrative sleigh-ride through topographies of memory and family history. May your celebrations be merry, healthy, and bright!
A screen of ice has pinned my body to a puddle.
Caught between the surface and the depths,
my fluted edges have been numbed and blurred,
robbing me of external definition.
The blessed sun has melted my face to visibility,
fooling viewers with its tawny cheer.
In fact, the roots of my smile do not reach the deepest veins,
which await the body’s liberation
from the clutches of cold fear.
Testifying to repressed power,
iced etchings trace the shapes of submerged wings,
wavy carvings that design their whims
as they skate on the very surface they groove.
The stem lives in contradiction;
part of it captured in ice
but the tail released from confinement.
Not gripped by the dark blue crystals,
nor defined by white scratches,
this licensed grace heartens,
strengthens desire for freedom
to be lifted whole from this chill bed.
Hopeful of return to movement,
the blood irrigates polar and temperate veins alike
whether I believe in restoration or not.
If I desire to be more fully alive,
I must warm and be warmed —
fueling faith in winter’s end.