Old Spookses' Pass, Malcolm's Katie, and other poems — Key Ideas to Explore

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Crawford, Isabella Valancy, 1850-1887 Project Gutenberg 2004 Not confirmed
Canadian poetry Readers of public-domain and historical texts
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Words 44,035
Reading time 192 min
Text sections 5

Before opening Old Spookses' Pass, Malcolm's Katie, and other poems — Key Ideas to Explore, the edition data offers a quick orientation: 44,035 words, 3 hr 12 min estimated reading time, and 5 detected text sections.

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Isabella Valancy Crawford's collection juxtaposes a cowboy narrative in dialect with mythic and pastoral poems, revealing a tension between the catalog subject 'Canadian poetry' and the actual range of voices and settings.
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Thar was Possum Billy, an' Tom, an' me. Right smart at throwin' a lariat Was them two fellers, as ever I see; An' for ridin' a broncho, or argyin' squar With the devil roll'd up in the hide of a mule, Them two fellers that camp'd with me thar Would hev made an' or'nary feller a fool.

Fur argyfyin' in any way, Thet hed to be argy'd with sinew an' bone, I never see'd fellers could argy like them; But just right har I will hev to own Thet whar brains come in in the game of life, They held the poorest keerds in the lot; An' when hands was shown, some other chap Rak'd in the hull of the blam'd old pot!

We was short of hands, the herd was large, An' watch an' watch we divided the night; We could hear the coyotes howl an' whine, But the darn'd critters kept out of sight Of the camp-fire blazin'; an' now an' then Thar come a rustle an' sort of rush, A rattle a-sneakin' away from the blaze, Thro' the rattlin', cracklin' grey sage bush.

We'd chanc'd that night on a pootyish lot, With a tol'ble show of tall, sweet grass-- We was takin' Speredo's drove across The Rockies, by way of "Old Spookses' Pass"-- An' a mite of a creek went crinklin' down, Like a "pocket" bust in the rocks overhead, Consid'able shrunk, by the summer drought, To a silver streak in its gravelly bed.

'Twas a fairish spot fur to camp a' night; An' chipper I felt, tho' sort of skeer'd That them two cowboys with only me, Couldn't boss three thousand head of a herd. I took the fust of the watch myself; An' as the red sun down the mountains sprang, I roll'd a fresh quid, an' got on the back Of my peart leetle chunk of a tough mustang.

An' Possum Billy was sleepin' sound, Es only a cowboy knows how to sleep; An' Tommy's snores would hev made a old Buffalo bull feel kind o' cheap. Wal, pard, I reckin' thar's no sech time For dwind'lin' a chap in his own conceit, Es when them mountains an' awful stars, Jest hark to the tramp of his mustang's feet.

It 'pears to me that them solemn hills Beckin' them stars so big an' calm, An' whisper, "Make tracks this way, my friends, We've ring'd in here a specimen man; He's here alone, so we'll take a look Thro' his ganzy an' vest, an' his blood an' bone, An post ourselves as to whether his heart Is _flesh_, or a rotten, made-up stone!"

An' it's often seemed, on a midnight watch, When the mountains blacken'd the dry, brown sod, That a chap, if he shut his eyes, might grip The great kind hand of his Father-God. I rode round the herd at a sort of walk-- The shadders come stealin' thick an' black; I'd jest got to leave tew that thar chunk Of a mustang tew keep in the proper track.

Ever see'd a herd ring'd in at night? Wal, it's sort of cur'us,--the watchin' sky, The howl of coyotes--a great black mass, With thar an' thar the gleam of a eye An' the white of a horn--an', now an' then, An' old bull liftin' his shaggy head, With a beller like a broke-up thunder growl-- An' the summer lightnin', quick an' red,

Twistin' an' turnin' amid the stars, Silent as snakes at play in the grass, An' plungin' thar fangs in the bare old skulls Of the mountains, frownin' above the Pass. An' all so still, that the leetle creek, Twinklin' an crinklin' from stone to stone, Grows louder an' louder, an' fills the air With a cur'us sort of a singin' tone. It ain't no matter wharever ye be, (I'll 'low it's a cur'us sort of case) Whar thar's runnin' water, it's sure to speak Of folks tew home an' the old home place;

An' yer bound tew listen an' hear it talk, Es yer mustang crunches the dry, bald sod; Fur I reckin' the hills, an' stars, an' creek Are all of 'em preachers sent by God. An' them mountains talk tew a chap this way: "Climb, if ye can, ye degenerate cuss!" An' the stars smile down on a man, an say, "Come higher, poor critter, come up tew us!"

An' I reckin', pard, thar is One above The highest old star that a chap can see, An' He says, in a solid, etarnal way, "Ye never can stop till ye get to ME!" Good fur Him, tew! fur I calculate HE ain't the One to dodge an' tew shirk, Or waste a mite of the things He's made, Or knock off till He's finished His great Day's work!

The opening poem, 'Old Spookses' Pass,' immediately challenges any expectation of a unified Canadian voice. Its speaker uses a heavy dialect—'We'd camp'd that night on Yaller Bull Flat'—and adopts the persona of a cowboy driving cattle through the Rockies. This vernacular, colloquial register stands in sharp contrast to the more conventional, lyrical poems that follow, such as 'Bouche-Mignonne,' which employs a pastoral, almost fairy-tale tone with refrains like 'Bouche-Mignonne, good night, good night!' The catalog classifies the work under 'Canadian poetry,' but the excerpts show a deliberate range: from the rough-hewn, oral storytelling of the American West to the delicate, personified landscapes of a French mill-stream. This editorial note examines how the poems' formal and thematic diversity complicates the single-subject label.

Dialect and the Cowboy Persona

The first poem, 'Old Spookses' Pass,' is written entirely in a transcribed vernacular. The speaker uses contractions like 'thar' for 'there,' 'argyfyin'' for 'arguing,' and 'pootyish' for 'prettyish.' This is not merely phonetic spelling; it establishes a specific voice—uneducated, practical, and self-deprecating. The speaker admits that when 'brains come in in the game of life, / They held the poorest keerds in the lot.' Such lines suggest a class consciousness, positioning the narrator as an outsider to intellectual or literary culture. The setting is equally specific: a cattle drive through the Rockies, with references to 'Yaller Bull Flat,' 'Speredo's drove,' and 'Old Spookses' Pass.' The poem's structure mimics oral storytelling, with direct address to a listener ('Wal, pard, I reckin''). This voice is far removed from the refined, nature-oriented lyricism often associated with 19th-century Canadian poetry.

Pastoral and Mythic Registers

In contrast, 'Bouche-Mignonne' adopts a European pastoral mode. The mill-stream is personified as a speaking character, calling to the girl: 'Bouche-Mignonne, good night, good night! / Ev'ry silver hour / I will toss my lilies white / 'Gainst thy maiden bower!' The language is ornate and rhythmic, with repeated refrains and a regular meter. The poem is set in a vineyard-shaded mill, with 'swallows turn'd glossy throats' and 'dragon-flies a-quiver.' This is a world of innocence and courtship, where the mill-stream teases the girl about Pierre. Similarly, 'Beside the Sea' shifts to a symbolic, dreamlike landscape: a 'purple sea' named 'Eternity,' a 'shallop with a rainbow sail.' These poems employ a different lexicon—'tranced voice,' 'mimic stars,' 'pearl'd cliff'—and a more abstract, philosophical register. The juxtaposition suggests Crawford was experimenting with multiple poetic traditions, not simply documenting a Canadian identity.

Recurring Motifs Across Registers

Despite the tonal shifts, certain motifs recur. Water appears in multiple forms: the 'mite of a creek' in the cowboy poem, the speaking mill-stream, and the 'purple sea' of eternity. The stars are a source of awe in both 'Old Spookses' Pass'—where they are 'awful' and 'big an' calm'—and in 'Beside the Sea,' where they 'gleamed thro'' clouds. Crawford also uses personification consistently: the mountains 'beckon' stars, the mill-stream 'laughs,' and the sea 'sang.' These repeated devices suggest a cohesive authorial hand, even as the settings and speakers change. The catalog subject 'Canadian poetry' may imply a national focus, but the poems draw on American cowboy lore, French pastoral imagery, and universal mythic symbols. The excerpts do not resolve this tension; they present a poet who moves between worlds, leaving the reader to consider what 'Canadian' might mean when the poems range so widely.

Readers approaching this collection should attend to the shifts in voice and setting as deliberate choices, not inconsistencies. The dialect poem demands to be read aloud, while the lyrical pieces reward attention to sound and image. The catalog label 'Canadian poetry' may be a starting point, but the work itself resists easy categorization. Let the poems speak in their own registers, and consider how each mode—cowboy vernacular, pastoral idyll, symbolic meditation—contributes to a varied, sometimes contradictory whole.

Years of shelving have taught me that Crawford’s cowboy voice and her mythic woods share a lonely music. Both sing of a land that barely knows its own name. I find that same ache in Canada and Other Poems — Inside the Classic, where a nation’s grand promise whispers quietly between the lines, like neighbors nodding across a cold window.

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