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kiyâm: Spinning

kiyâm
Spinning
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table of contents
  1. Cover
  2. Foreword
  3. The Sounds of Plains Cree: A Guide to Pronunciation
  4. kiyâm
  5. Family Poems
    1. The Road to Writer’s Block (A Poem to Myself)
    2. Trademark Translation
    3. paskwâhk - On the Prairie
    4. kiya kâ-pakaski-nîmihitoyan - You Who Dance So Brightly
    5. tawâw - There Is Room, Always Room for One More
    6. Perfect Not Perfect
    7. tawastêw - The Passage Is Safe
    8. pahkwêsikan - Bread
    9. ê-wîtisânîhitoyâhk asici pîkiskwêwin - Language Family
    10. ê-wîtisânîhitoyâhk êkwa ê-pêyâhtakowêyâhk - Relative Clause
    11. Critical Race Theory at Canadian Tire
  6. Reclamation Poems
    1. Cree Lessons
    2. tânisi ka-isi-nihtâ-âhpinihkêyan - How to Tan a Hide
    3. aniki nîso nâpêwak kâ-pîkiskwêcik - Two Men Talking
    4. nôhtâwiy opîkiskwêwin - Father Tongue
    5. ninitâhtâmon kititwêwiniwâwa - I Borrow Your Words
    6. aniki nîso nâpêwak kâ-masinahikêcik - Two Men Writing
    7. sâpohtawân - Ghost Dance
    8. ê-kî-pîcicîyâhk - We Danced Round Dance
  7. A Few Ideas from amiskwacî-wâskahikanihk
    1. The Young Linguist
    2. tânisi ka-isi-nihtâ-pimîhkêyan - How to Make Pemmican
  8. History Poems
    1. maskihkiy maskwa iskwêw ôma wiya ohci - For Medicine Bear Woman
    2. mistahi-maskwa
    3. Take This Rope and This Poem (A Letter for Big Bear)
    4. sôhkikâpawi, nitôtêm - Stand Strong, My Friend
    5. kâh-kîhtwâm - Again and Again
    6. nikî-pê-pimiskân - I Came This Way by Canoe
    7. Spinning
    8. Practicing for My Defence
    9. Like a Bead on a String
    10. ihkatawâw ay-itwêhiwêw - The Marsh Sends a Message
    11. kakwêcihkêmowin ohci kânata otâcimowina - A Question for Canadian History
    12. kiskinohamâkêwin ohci kânata otâcimowina - An Instruction for Canadian History
    13. kiyâm - Let It Be
  9. Notes on the Poems
  10. Cree-English Correspondences
  11. Bibliography
  12. Publication Credits
  13. Acknowledgements

Spinning | kiyâm | AU Press—Digital Publications

Spinning

My grandmother’s hands, veined with the labour

of children, milking cows, kneading

bread, and pulling Seneca root

nimbly finger the wool.

She has warmed nine younger siblings

with her knitting. Now, she and three

sisters are the last to remember.

She twists the unspun wool into the spinning wool.

My hands, chafed with the work of canoes, children,

and changing the oil, eagerly card the wool.

The secret, she says, is in the carding.

If you’re a good carder, then the wool

will wear much better.

I card the wool. Flecks of dust and hay and dung

hang on. Like her five babies, four of them dead,

like the memories that won’t let go.

She feeds the spinning wheel

while I card the wool.

The travails of the Depression, dusty poverty,

and caring for many children,

not all of them her own, have shaped

her slippered, arthritic foot, which now

deftly pumps the pedal. At the age

of thirteen she went away to work. More

bread, more laundry, and more cows,

she helped to make the ends meet back home.

Don’t hold too much, she explains, fingering the wool,

it goes on better a little at a time.

You try, she tells me, and my clumsy, sweaty hands

palm the wool. It goes on in clumps.

Don’t hold the wool too tight,

this part will join that part

if you feed it through your thumb and fingers like this.

Her brother Bud built her first spinning wheel

from a bicycle wheel. He brought it home

for her when she was twenty-two.

Grandma’s nimble fingers were in demand

when she worked that wheel. Her wool

was known in the district and people paid

for well-spun wool.

My fingers curl under in an inherited gesture.

Grandma’s brown hands guide my pale hands; we

make the ends meet. The ball of wool grows larger.

The unspun wool meets the spun wool.

Annotate

Next Chapter
Practicing for My Defence
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