I first began writing these journal entries to hide a secret inside of them. Jadeera, a character in my novel Within Sight, was confronted with this unsolvable mystery. Giant sea monsters started washing ashore with strange markings on their bellies—some dead, others half-dead and furious, wreaking havoc on her village. I created an artifact, the leather-bound leaflet in which these entries are penned.

My friend, artist John Gallagher, posted a collection of art pieces on social media. And I saw one that had two figures in shrouds, with smoke swirling around them, in a desolate place. It was such a mood—albeit one of predation and despair—and I immediately exclaimed I needed to write something inspired by that. So, I did.

This poem was inspired by folklore about devils and stories I’ve heard about The Devil visiting various communities. I used mistranslations of different cryptid lore and paired it with English and Mi’kmaw language—as Mi’kmaq is a verb-based language, it’s interesting to me to bring it into a genre where objects and subjects are alive and, sometimes, supernaturally alive.

I wrote this poem in a quarantine October; I wish the year that followed had made it a period piece. The title comes from the refrain of the “Lyke Wake Dirge,” which I learned as a child from the singing of Buffy Sainte-Marie and which has threaded through my own work ever since. Years after the fact, I discovered she was singing a variation on the classical arrangement by Benjamin Britten, but as much as I admire the eerie lilt of Peter Pears’ famously dry white tenor, less like the living waking the dead than one ghost calling another down, the old sistrum jangle behind Sainte-Marie terrified me.