The old Champlain Bridge |
Cranes used during the construction of the super-hospital |
On this day in 2009, it was 14 May 2009, I visited my grandmother's home at 2226 Girouard Avenue for the first time since 1969. My grandmother died in 1965, just a few days before my fifteenth birthday, she was one month short of her 90th birthday as my Auntie Ivy told my mother that morning when she phoned to tell her that my grandmother had died. For years, when driving passed the Girouard Avenue flat on my way to work, I would look up at her living room window remembering the many memories of my grandmother. It wasn't until 2009 that the flat was being sold and I had the opportunity to take these photographies. It was the last time I would visit my grandmother's home, where she had lived since the mid-1920s.
Walking up the stairs to the flat |
In the living room facing the Girouard Avenue |
Entrance to the flat from the stairs. |
In the living room. |
The bathroom with the original claw foot bathtub. |
This was my Great Aunt Essie's bedroom, she was my grandmother's sister. |
The back porch facing the lane. |
The kitchen. |
This room off the kitchen, at the rear of the flat, was where my grandmother's father slept after he moved to Girouard Avenue. |
To the left was my Auntie Mable's bedroom, to the right was the living room. |
The living room, facing Girouard Avenue. |
The stairs and front door. |
The upstairs is 2226 Girouard Avenue. |
Published on The League of Canadian Poets website, March 3, 2020.
Poetry is the voice of the human soul, speaking across time and distance
– Stephen Morrissey
In A Poet’s Journey Montreal native Stephen Morrissey shares four decades of insight about what it means to be a poet and the process by which a poet can discover his “authentic voice”. The book includes astute impressions of other poets Morrissey has met along the way, among them George Johnston, Keitha Macintosh and Artie Gold who, like Morrissey, was one of “The Vehicle Poets” in Montreal, beginning in the mid-1970s.
What makes Morrissey’s book such a fascinating read is the thing which makes his poetry so indelible: accessibility, and a hard won, pared-down wisdom.
Stephen Morrissey’s father died when he was six, his life abruptly and permanently reconfigured by fatherlessness. Unable to verbally articulate his emotional devastation, at the age of 15 Morrissey began to express his feeling of being “damaged” and “different” from his peers (and from people in general), in poems. The inexpressible had become expressible. Profoundly “dispirited and disempowered”, he had found a way to connect / re-connect with his “spirit”, and to empower himself, by himself – through poetry. He instinctively knew that this was his only way forward.
A section from Morrissey’s poem The River:
Because I did not grieve
when I was a child,
I have spent a lifetime
grieving, always on the edge
of sorrow
and from My Shadow:
always the shadow
of Father who died-
always the presence
of the knowledge
of death – my burden
I carried even as a child,
my shadow
Morrissey analyzed his life, in his diaries and poetry, during the years in which his stepfather was dying (when Morrissey was in high school), and following the dissolution of his first, early marriage. During these years he came to the realization that “real art lies in the insecurity of life” – in the ability of art to capture life’s fragility and evanescence.
Early on, Morrissey made the decision not to self-censor. This was due to his belief that, as he writes In A Poet’s Journey, “A poem that has been censored, that does not hold within it emotional, psychological or spiritual insight, has lost its poetic truth.”
As expressed in these lines from "Divisions" (1983):
all along I have worked at
emancipating my being
cutting through to the truth
this for me was always
the point the single point
Uncovering his “authentic voice” has lead Morrissey to a meticulous, lifelong examination of his Shadow. The pursuit of that Shadow, together with his decision against censoring what he writes, has taken him to places in his life that other poets might just as soon forget. Forgetting is not an option for Morrissey, however. He believes that “to forget is to lose part of our inner being, part of our lives, part of our soul.”
That includes not forgetting “the ancestors” who have come before. Some of Morrissey’s most evocative poems feature vignettes of who his family members were as individuals. Not having had the opportunity of getting to know his father, Morrissey was determined “to remember as much as possible” about his ancestors, in order to “keep an accurate record against time”. During the process of which he became, in his words, “an archivist of memory.” These poems are an exploration of human nature and of the interconnectedness of family over generations – in Morrissey’s case, as set against the backdrop of 20th century Montreal. He calls them “poems of witness”.
“The ancestors visit us if we listen to them,” he writes, “whether it is in our dreams or by their actual presence”.
As exemplified in these lines from "The Dead of My Life":
how often I return to them
the dead in my life
who inhabit dreams
memories while rocking
my son to sleep or a
dream that my Uncle Alex
was alive although we
thought (in the dream)
that he had been dead
these seven years
they are like flies
beating against an autumn window
… this ever diminishing
circus parade of old
people I hang onto
as though without them
I too would cease to be
As an undergraduate in college (Louis Dudek would later become a mentor at McGill), Morrissey intuited that the “central myth” of his life, and the central theme of his poetry was the Garden Myth – the “fall from innocence to experience”. As he has said, “My nine published books follow the progression of my life as it fits the template of the Garden Myth.” The Garden Myth is inherently fascinating and may be one reason why Morrissey’s poetry is so compelling.
Although a life-long observer “of the architecture of darkness” as he puts it (in his poem "Waking at 4 a.m.") in another important sense Stephen Morrissey’s poetry is, as he writes, “an affirmation of the life force , the triumph of the spirit, and the survival of the individual despite what has been experienced. This is the foundation on which my poems are written.”
The following extract from "Reincarnation" is reflective of this:
We meet again, again flesh
and blood, again bone, tendon
and memory. Events of old lives,
clothes divested as I divested
the past in meeting you,
in meeting you again
and again and again
into infinity.
Forty years of waiting for you,
a dark delirium of the soul;
we met apparently for the first time
but home is where we are together
in this room, this house,
the two square feet we occupy
in a single embrace
The “mapping of the soul” is Stephen Morrissey’s signature – and his genius. His ability to transform the “the personal” into the “the universal” in his poetry is also what makes A Poet’s Journey an invaluable resource for anyone who aspires to become a poet.
About the reviewer: A native of Montreal, Cynthia Coristine currently lives in Ottawa. She is co-author of From Griffintown to the Square Mile: The Life James Coristine
Strathern Park, Montreal West, spring 2021 |
Continuing yesterday's discussion with ChatGPT, I asked ChatGPT (OpenAI) the following:
These answers from ChatGPT are interesting. Whatever ChatGPT or MetaAI give answers to it is all advertising by them to sell a product. Users of ChatGPT and MetaAI, just like people who use Facebook, are advertising for what AI is selling to other people; this is no free service, this is a way to advertise ChatGPT and Meta and what they are selling are their AI services to wealthy clients. This suggests an different aspect for whatever AI gives you as an answer to your questions; it’s advertising, entertainment. When you, or I, use AI we aren't just talking to a computer, we are talking to the person who programmed the computer and wrote the algorithms. It’s entertainment but fear can be used to sell a product, it is an advertising ploy, it makes AI more attractive and seductive when AI is believed to be taking over the world; but this doesn’t cover up the pedestrian aspect of AI. The following "interview" reads like a brochure selling ChatGPT. Like Facebook, it isn't "free", you are the product they are selling to prospective customers; in effect, they are saying “we have so many million people using ChatGPT, and that means we are successful and you can use our services." AI for the public is an advertising gimmick selling AI; and what is the cost to you? Does ChatGPT or Meta AI have a conscience? Obviously not. It’s all for money baby. And never trust Mark Zuckerberg.
Note: These answers from ChatGPT are interesting. Whatever ChatGPT or MetaAI give answers to it is all advertising by them to sell a product. Users of ChatGPT and MetaAI, just like people who use Facebook, are advertising for what AI is selling to other people; this is no free service, this is a way to advertise ChatGPT and Meta and what they are selling are their AI services to wealthy clients. When you, or I, use AI we aren't just talking to a computer, we are talking to the person who programmed the computer and wrote the algorithms. It’s entertainment but fear can also be used to sell a product, it is an advertising ploy, it makes AI more attractive and seductive when AI is believed to be taking over the world; but this doesn’t cover up the pedestrian aspect of AI. The following "interview" reads like a brochure for selling ChatGPT. Like Facebook, it isn't "free", you are the product they are selling to prospective customers; in effect, they are saying “we have so many million people using ChatGPT, and that means we are successful and you should use our services." Free AI for the public is an advertising gimmick selling AI; and what is the cost to you? Does ChatGPT or Meta AI have a conscience? Obviously not. It’s all for money baby. And never trust Mark Zuckerberg.
A fire at the Village Shopping Plaza (corner of Robert Burns Avenue and Cote St-Luc Road), on 5 May 2024, has gutted the interior of the building. Arson is suspected. The building was destined to be demolished but this kept being postponed; maybe this pushes up the date for demolition and new construction.
On May 5, 2024: rain all day; +10 C. this afternoon.
It’s taken over ten years for this lilac bush to recover from being cut down to the ground, but here it is with many blooms; now 15 feet tall. |
Day lilies, hydrangeas, and hostas. |
Hostas coming up… |
It was a mild winter but lots of rain, muddy and the grass has died here. |
Hosta |
The sumac on the left self seeded about three years ago. |
"Sunset Landscape" by Darrell Morrisey, dated May 1917 |
In March of this year I was contacted by Gretchen Shoring of ARTI, a company selling antique paintings located in London, UK, about a painting possibly by Canadian artist Darrell Morrisey. Darrell was a "forgotten" member of Montreal's Beaver Hall group of artists; while some members of the group have become famous, Darrell and several others have mostly disappeared from public view.
"Sunset Landscape" is not signed on the front of the painting, but Darrell's signature is on the reverse, written in pencil in cursive; on the previously discovered painting (see below) by Darrell, her name is printed in block letters at the lower left of the painting; in both cases she has written her name, "D. Morrisey". Duggleby Stephenson, the auction house based in Yorkshire, UK, which first acquired this painting, describes it as follows:
Description: Darrell Morrisey (Canadian 1897-1930): Sunset Landscape, oil on board signed with initials, inscribed and dated 1917 verso 13cm x 19cm
Here is a suggestion of what might be the provenance of "Sunset Landscape". The painting might have been a gift by Darrell to someone she knew, I suggest it was given to Charles Darrell (or a member of his family), after whom Darrell was named, as he was both Darrell’s godfather and a close friend of T.L. Morrisey, Darrell's father. In 1913, when Darrell was about fifteen years old, she left Montreal for the UK, accompanied by Charles Darrell to his family home in Chiselhurst, Kent, where she would board at Tudor Hall School. Charles Darrell and his wife, Emily Harries Jones, had four daughters, all older than Darrell, and Darrell could easily have been included in family gatherings. Charles Darrell was born and raised in Yorkshire, where Duggleby Stephenson is located; is it not possible that a descendant of Charles Darrell returned to Yorkshire and, many years later, in 2023 or 2024, decided to sell the painting? Someone identified the artist, Darrell Morrisey, who was a family friend, on a note attached to the reverse of the painting. I think this is a possible scenario. But, obviously, I am just speculating and I could be totally wrong.
Finally, I like this painting very much; it demands our attention. To me, the painting has a charisma (assuming a painting can have charisma; Darrell definitively had charisma). Of course, what we need are more paintings by Darrell, and we may find a few more, but for now we have her life story that is still unfolding, and we have these paintings by her.
Here is a link to my 2012 essay on Darrell Morrisey: Darrell Morrisey, a forgotten Beaver Hall artist.
"Sunset Landscape", by Darrell Morrisey, 1917 |
Reverse side of "Sunset Landscape” with Darrell's signature and a sticker identifying Darrell and her brother, Thomas Sydney Morrisey Two paintings by Darrell Morrisey |
Painting by Darrell Morrisey discovered in 2014 |