Ninth daythe first daywas SaturdayToday’s againSaturday cooler less sunnyI’d like to cut my hairw/borrowed scissors____Here on a rock I see the loondoes not perceive meas a threat. She ate her lunchlooning aroundin circles, going under& coming back, always within12 feet of mebut in water if I approachshe goes under& disappears dislikingboat’s vibrationin her elementBut on the ground a mother grouseand 2 young freely walkaround the cabin—they’re not afraidof people, said Gillianthat’s why they get huntedbut we don’t hunt them she said, &I brought you some eggs pullet eggsand these purple flowers clustered on spindly stems—fresh thymeor is itoregano____Cloud opensnight’s mouth being written in the morningthe sexual words:ordinary nouns, verbsnow I’m stuck on a rockin a storm being written in a boatunder cobwebsunder the clawof a dead beechwith lush endrunkening cedar fronds & other ever greensthey breathe you in as you approachDidn’t make it to the high bluffswhere a triangle stone isstorm sent me backnow it’s calm but my clothes are weteverything’s wet, anyone saidabout something—the ground? the poemoh cut the bread
July 19
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“July 19” from ONE BIG TIME by Lisa Fishman.
Published by Wave Books on May 6, 2025.
Copyright © 2025 by Lisa Fishman.
All rights reserved.
Reproduced by Poetry Daily with permission.
Lisa Fishman’s eight books of poetry include, most recently, One Big Time; Mad World, Mad Kings, Mad Composition; and 24 Pages and other poems (Wave Books). A dual citizen, she’s also the author of two fiction books written and published in Canada: Write Back Now! (1366 Books, 2026) and World Naked Bike Ride (Gaspereau Press, 2022). A new chapbook of poems, What?, is forthcoming on above/ground press in Ottawa.
Lisa Fishman’s latest collection, One Big Time, is a one-woman quest narrative in a kayak, written during the author’s “journey-in-place” in Northeastern Ontario over a period of fourteen days in quarantine.
Here is Fishman at her most exacting and exploratory, in poems that hew with lyric precision to the immediate physical and geologic environment. At the same time, language is an alert, mobile life-form in active investigation of what one thinks one understands, and of where one thinks one is. While the narrator searches daily for a passageway from one body of water into another, words live in other words (“the hemlock / is a he / today”), and acrostics are illuminations: s-w-i-m is “sleek widening instant’s magnet.” Surprised by joy, these biocentric poems offer a way of being in the world with wonder and rigor––attentive enough to be lost, unknowing enough to be changed.
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