I was just sorting some photographs taken a month ago, in Ottawa. There was a moment in late afternoon, in Forrest and Manon’s back garden, when I was sitting on their deck and looked over to see my sons holding their babies above them.
And looking at the photograph a few minutes ago, I heard so clearly a few lines from one of John’s poems, in which he meditates briefly on fatherhood in the larger context of house-building.
I built in a blur but sit on
with a view — definite trees– an acreage
to be landscaped — orchard to complement
woodlot. I’ll work it for years. For my sons
I’ve apprehensions, don’t care
for legacy, paternal imposition, clay
I felt my father fumble handling me.
But I build, deep-bearing
in fluid bonds gone concrete
a southwest exposure.
I live in it for love…
—John Pass, “Days in the Dark of Building”, from Forecast: Selected Early Poems (1970-1990) (Harbour Publishing, 2015)
It’s always been one of my favourite poems, one I’ve heard at public readings many times but without the sense that one day it would mean something more. That the sons would hold their own children — a son, a daughter — aloft with their strong hands. Tomorrow is Fathers Day. The sons are far away, the father will be celebrated with barbequed steak and good red wine, and the concrete still supports the house we live in for love, after all these years.