Soraya Peerbaye’s first collection of poetry, Poems for the Advisory Committee on Antarctic Names, was nominated for the Gerald Lampert Award. Her poems have appeared in Red Silk: An Anthology of South Asian Women Poets (2004), edited by Priscila Uppal and Rishma Dunlop, as well as the literary journals Other Voices, Prairie Fire and The New Quarterly; she has also contributed to the chapbook anthology Translating Horses. She holds an MFA in Creative Writing from the University of Guelph. Peerbaye lives in Toronto with her husband and daughter.
Judges’ Citation
Harrowing and deeply empathetic, Tell: poems for a girlhood traces the events surrounding the 1997 murder of teenager Reena Virk by a group of high school classmates.
Harrowing and deeply empathetic, Tell: poems for a girlhood traces the events surrounding the 1997 murder of teenager Reena Virk by a group of high school classmates. Peerbaye bears brave witness to the unspeakable brutality of these events, drawing from testimonies of the convicted, the victim’s autopsy report, and a history of the landscape itself. And yet, the power of this book derives only partly from the unbearable facts of violence, hatred, and alienation. The true miracle of Tell is not merely its choice to sing of such things, but its ability to sing in such a way as to urge the reader to embrace painful sympathies. Peerbaye’s language becomes a vehicle not just for exploring what others in the world may be capable of, but also of drawing readers into excruciating proximity with our own adolescent longing, fear, shame and rage.
Selected poems
by Soraya Peerbaye
I have
a white floor
and the floor was clean,
there wasn’t any mud on it,
said Kelly’s stepmother, testifying
in her daughter’s defense.
Cool linoleum.
The Gorge by Craigflower Bridge,
full
of seaweed and filth and mud,
her daughter’s skin
clean, white.
Copyright © Soraya Peerbaye 2015
Clean
She sways, shifts,
a hunch the current follows.
Chagrined, it sifts the shirt,
the camisole, the effortless hair.
(Earring tangled there, gold crustacean.)
She is a slow, sunken spin, slow sweep below. Silt-
stroked eyes. Silt-stroked tongue. The inlet of her
mouth, silt-stroked teeth.
Copyright © Soraya Peerbaye 2015
Silt
It wasn’t said. What we were, beneath the skin of our respectability. My father, a doctor, his accent learned from Indians who studied in England. My mother, a Mary Kay consultant: pink makeup kits in the living room, the paperback success story on her night table. How I dreamed of her winning the pink fur-trimmed coat, the pink Cadillac.
Unsaid, as she held my brother’s hand, going door to door to find out who had beaten him with a bag full of bottles. Her wrist a golden ribbon between the gap of coat sleeve and glove.
~
Once I woke in the morning and looked out my window to see boot prints in fresh snow. A trampled path, as though someone had taken a shortcut through our backyard, suddenly unsure which way to go. As though I’d rubbed my eyes too hard, opened them again to see dark stains on the light. An afterimage. The watermark on my grandfather’s stationery.
I went outside in my nightgown and winter boots. Stomped it out, beat my arms, did a little chicken dance of fury and shame. Paki. I wasn’t even – A word, mouthed in snow.
~
I perfected my English. That is not what I am. I wasn’t even from there, didn’t speak that language, was not dark brown like the servants, les bonnes who cleaned our house, the chauffeur, the gardener, the tailor “back home,” Bhai Aziz, Bhai Yousouf, Shiva. Did not carry the bitter scent of turmeric on my skin, the smoky rose of agarbhatti; did not glisten with the shine of almond oil and sweat. That is not what I am. That is not what I am. I perfected my English.
Copyright © Soraya Peerbaye 2015