Writings

The Lodge

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I stood shirtless in my own sweat and started to shiver.

I watched flecks of ash drift through a forest smudged by the curling heat waves of the fire at my feet before my lightheadedness and I sat down. My skin had only just stopped steaming and body was confused. I could hear the clatter of the crows bothering the osprey in the east, but the world sounded muffled, filtered through a helmet of nausea that mocked whatever relief the cool air and fifty cent water bottle contained.

As more ash collected on the stones in the fire, the smell of smoke and lavender dried with the earth’s grit to my skin and a manageable clarity returned in time for me to take my last drink, thank my lineage and crawl back into the lodge for another round of shared steam, darkness and humility.

When the door shuts, vision is left somewhere else in the world where distinction matters. It’s packed up in the men’s shed with old tools, weathered chairs and the steer skull in the rafters where the rats can’t get to it. Here in the lodge, my hair curls, perspiration slides down the ridge of my nose and light is shut out by secondhand blankets and thick black canvas. Sight is meaningless next to all that’s rendered speakable by burning lips.

Among the currents of breath, there is little the heat does not touch. It fills the blanketed willow frame from the top down, poring up from the superheated stones in wet sparks and cascades down my back until it pushes me and the memory of the cold completely to the earth. It’s here that I find some measure of peace at the edges of the blankets covering the ground. They are the ones that start to soak up the mixture of steam and sweat pouring off my body and around them are patches of muddy earth that resist the heat better than my soft flesh. I whisper to these patches of mud with pants of ever-increasing single-mindedness and with cooler echoes of my own words the ground touches my face, offering more comfort than I imagined I’d need.

Somewhere behind me and in the background of my thoughts, the others sing and chant in a different language. I suppose if you could sing, it would take your mind off the heat. Theo runs the sweats and his voice is the first and last you hear. “Try to breath slow.” He told me, “Otherwise, you heat up from the inside.” Theo has demeanour of a man who’s walked through a solar storm of ionizing radiation and come out the other side with a peacefulness and a taste for heat.

With Theo and Ken’s help, my brother and I spent an hour bending willow saplings that were dug into the ground into an eight-person tent frame that we secured together using a basic square lashing of ripped strips of one hundred percent neon green cotton. Theo told me he called the lashing an Easter knot. I’m not sure why I didn’t follow his obvious prompting, but I just nodded and continued to hold two perpendicular branches together. My naively staged conversational rebellion in failing to ask after the knot’s name wasn’t going to stop Theo from telling the story, however.

“Do you know why it’s called an ‘Easter knot’?” He asked me as he swung one of his four long braids of thick black hair over his shoulder. I didn’t know. Theo smiled and said, “John Easter started tying things with it, eh?” He and Ken both laughed.

Theo continued, “I said it’s called an Easter knot, after him. He said, ‘You can’t do that.’ I said, ‘Why not?’” Theo chuckled again and I smiled like a child among grownups.

When I first arrived, I introduced myself twice to a man named Sy and felt foolish. In the calm before the storm, Sy struck up a conversation and introduced himself more thoroughly. For eleven years, he’s worked at a shelter downtown. He’s proud of his position and unafraid to enforce their strict behaviour and entrance policies. He’s a man used to kindly reminding people of the rules. The first time the lodge door opened, Sy stopped my exit to let the ladies out first. As we sat during the first break, he stopped me from drinking water before offering some to the earth in ceremonial gratitude. They were kind reminders of rules that harken back to a tradition now mingling with invitations sent via global satellites and donuts that arrive in a box covered with images of more donuts.

The sweat was supposed to start at 2pm and last a few hours. With the remaining fire left to extinguish itself behind an oasis of trees, my brother and I waited at the edge of the small lot next to orange pylons and tufts of weedy grass for our ride just as the sun set around 9pm. Like so many other things, time means something else here. You wind through the trampled path to get to the clearing that holds the Grandfathers and you bring in little bits of your world. We carry in schedules, dinner appointments and clumsy expectations only to watch their importance scatter with each swipe of the pine tree brush on ash covered stones.

I stood flushed and happy in my own skin and shivered a bit with the wind.

A prayer to the sun at Broadway and Clark

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Broadway at Clark has a community garden, “La Cosecha” next to the bus stop. A car sits in its corner with the top cut off and dirt where seats should be.

This morning, remnants of the weekend’s snow fall lurk in the shadows. Fortunately there are few places to lurk as the late wintry morning light floods most of this side of the street.

Any peaceful warmth the sun may bring, however, is ignored by the endless and overfed traffic. Clark is the main artery for industry in east Vancouver. It’s the kind of road whose flow rips with the dirty roar of metal combustion and a speedy indifference to the stillness of its salt-sprayed sidewalks.

Some busy roads offer the personable context of community: Large sidewalks with cafe destinations here. Not even a spring-time version of the roadside garden can outweigh the onslaught of this road, though. Its business is a destination sustained only by a noise that industrial city angst can maintain.

Today, I wait foolishly hoping that the sun may banish, however slowly, the chill from the wind sneaking around the glass sides of the bus shelter. The traffic monster next to me drones on with its technological existential crisis. Movement captures my attention as I turn away from it.

An old Chinese lady in a burgandy jacket sits cross-legged on her balcony facing the sun. Her eyes are shut and she rolls back and forth on her seat transfixed. I can’t tell if she is crazy, just trying to stay warm or engaged in some practiced exercises. I decide that it would be better for the world if it were the latter.

So with my decision, at once I am impressed with the humour and beauty of the situation. She is obviously passed the needless worry of self-consciousness that plagues spiritual practice and youth in western society. She is in clear sight of a busy intersection that wouldn’t have time to notice anyway.

On the one hand, what kind of meditative peace could you possibly find next to the hungry traffic monster caged in cement, meridian dividers and paint? And on the other, what could be more symbolic of the conceptual struggle between movement and stillness?

I’m astounded by the easy power it would take to turn the roar into some white noise, some ocean. She sits next to that mechanical river of contemporary life and prays to the morning light while I jump in, carried away on a numbered boat and can’t pull my mind from its flow.

Dripping gold leaf and the most deadly foe

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Grendel’s mother in heels

I find that animated features are so closely linked with children’s narratives that when a mature animation comes along, complete with gore and sexual allusions, it takes me a while to adjust (this is a cartoon, they shouldn’t be doing that!). Aside from the more blatant story deviations in Robert Zemeckis CG epic Beowulf, there is one that sticks out the most.

The filmmakers felt the need to exaggerate the terror that Grendel’s mother possesses and the danger that she threatens. There are only a few key steps that are required to really make this happen and in the process ensure that this becomes the blockbuster ode to the Anglo-Saxon heroic oral tradition that it really should be.

First off, let’s cast Angelina as the great object of all male lust – a pretty scary thought, either because of her market value to all the gamers who are dying to see this film or because of the nature of the motivation behind this deviation.

Next, let’s make her more powerful than Grendel. She kills only one man in the epic poem, but our unfortunate CG Beowulf wakes after the victory-over-Grendel-celebration to find all the men in the mead hall dead and hanging from the rafters. Suddenly she is much more monstrous.

Lastly and best of all, the one thing that will make her stature more terrifying than any foe that Beowulf has ever faced, the one thing that will solidify her both in the hearts of all those gamers and in the halls of fear and wonder as stunningly powerful, stunningly beautiful and glowing in all her twenty-first century adaptation glory, is her shoes. Let’s clad her only in dripping gold leaf and heels. Man, if she has time to braid 12 feet of hair, can rip !@#$ up, walk on water and do it all in heels as if it were a regular day at the water cave she must truly be the anti-Christ.