Armand Garnet Ruffo has published poetry and prose, made films, and created anthologies in addition to his academic credentials. The various skills required for these successes come together in The Dialogues: The Song of Francis Pegahmagabow, creating a literature that is extraordinary.
The Dialogues breaks the boundaries of what we think of as poetry. In poetry, we expect “density of meaning, felicity of language, authenticity of feeling.” It should also “deliver to us…the sense of urgency,” and Ruffo gives us all this and more. We don’t expect the weaving of documentation through the book-length poem, but here it is, smoothly echoing the poetic voice of Pegahmagabow and that of the poet-narrator who occasionally intervenes. And as suggested by the title, this overlays the idea of musical performance. The demands of staying true to an historical life, while working within the constraints of the musical, has resulted in the unique the structure of The Dialogues.
The poetry, as we’re accustomed to think of it, is on the lefthand page. On the facing page are facts substantiating the poetics: sometimes it is in the form of the poet’s memory; sometimes in the form of a government or military document; sometimes a background statement as is “An Interlude to Discuss Francis’s Encounter” (35). As well, this collection weaves an actual musical score from the production that inspired this book (21).
The Dialogues is innovative in its narrative and story-telling, not only in its voice and in its structure but also in its immense impact. Reading it, I thought of Omeros by Derek Walcott. Ruffo’s scaffolding may not be created on a myth, but The Dialogues is mythic. Francis Pegahmagabow is a hero: in his soldiering; in his life after the Great War; and in his legacy. The Dialogues takes us on a time-journey, a culture-journey, a life-journey, from which I came away bruised but better understanding a life, a time, and a People in a “felt” way beyond intellectual knowledge alone.
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