THE RESCUERS (TRIPTYCH)

At first, the
Photographs
Carried like
Voices, the
Followed
Calling
To the
Site.

II

Slowly
Coming
Face to
Face, the
Frantic
Calls traced
To our-
Selves.

III

The final
Irony, the
Photographs
Found in
The rubble.

THE WAR

Who says
There's a
War on?
Cameras and
Tourists, the
Quiet shots
Ring out in
The square.

FEAST DAY (HUMAN RIGHTS)

The feast of
The Assumption
Every day; the
World for the
Taking, cameras
Devouring
The Angel's
Every move.

THE FAMOUS SCENE (MODERN PRODUCTION)

Ophelia
Floating
Towards
Us in her
Shroud,
Drowned
In the dark
Room.

DESIGN FLAW (DEVELOPED WORLD)

The photo-
Graphic
Chrysalis, the
Butterfly re-
Placed in
The shroud.

MOVING PICTURES

I: Gethsemene (Negative)

So hard to stay
Awake in the
Photograph;
Jesus un-
Followed,
Moving
Through the
Shrouded
Garden.

II: Avalon (Positive)

The poet
Believing
Her own
Eyes; follow-
Ing the
Butterfly
Through the
Shrouded
Garden.

Sean Howard moved to Nova Scotia from the United Kingdom in late 1999, and is now a permanent Canadian resident. He works as a writer on arms control and disarmament issues, editing the journal Disarmament Diplomacy for a British Institute. http://www.acronym.org.uk. He also researches and teaches as an Adjunct Professor of Political Science at the University College of Cape Breton. Since 1987-2000 he has had short stories and poetry published in a number of British magazines, including Acclaim, The New Writer, Writers' Monthly, Envoi, Haiku Poetry Quarterly and Poetry Nottingham International. In Canada, he has had poetry published in Another Toronto Quarterly Spring 2002 and in the October issue of The Breath E-zine, as well as some experimental prosepoetry accepted for the forthcoming issue of stonestone.

Email: Sean Howard

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