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Archana Sridhar
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East Point Lighthouse, PEI

We stand at East Point Lighthouse,
stare at a sign that reads:
“The end of the world as we know it”
and we mourn us.

We’re locked in a cellar full of mice
and memories, side by side, blinking
tube lights, but really we are waves
that crest and foam by moonlight.

Comets shine themselves from nowhere
and teleport us through dark matter,
like silver-scaled monsters
suspended for eons from museum rafters.

And the seals – angel-spirits
hearken forth, plangent and playful,
to buoy us and calm the plum-colored night.

Civilizing Halifax

The waters change colour
like an oil spill
depending on the time of day

Islands dot the surface
disturb blue-grey
placidity with their presence

The coastline so shapely
she practically invites us
to tamper with her

A warm open mouth
calls for long-ships
and lighthouses

Granite fingers grasp for air
offer up bouquets
of dwarf firs like pipe-cleaners

The audacity of a garden,
Victorian order
this close to the sea

Evidence of man everywhere
chiseling civilization
out of her rockface

Toronto in Spring

Eastern redbuds ring the circle
adorn us with fuchsia petals
blanket the asphalt
into a carpet of auspiciousness

This trail of dharma a respite
from house-holdering
the business of tidiness
and the tidiness of busyness

And so I want to lay down on them
roll around on them
scoop them up in my cupped hands
drink them in with my pores

Rain them down on my head
like a goddess in this temple
to custodians of knowledge
and lovers of beauty

We walk the circle like pradakshina,
performing ceremony together
once, twice, three times, never seeing
those slivers shimmer and fall


Archana Sridhar is a poet and university administrator living in Toronto, Canada. A graduate of Bard College, Harvard Law School and a former Fulbright Scholar, Archana focuses on themes of meditation, race, motherhood, and diaspora in her poetry and flash writing. Her work has been featured in The Puritan, Barren Magazine, The /tƐmz/ Review, and elsewhere.







Photo credit: Soko Negash


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