- Mikaela Brewer
- Oct 9, 2025
- 3 min read
by Mikaela Brewer âfor The 44 North
Senior Editor
âhalf-bloodâ by Justene Dion-Glowa from The League of Canadian Poetsâ Poetry Pause, June 5th, 2024

Note: This poem is not in the public domain! Please use the link above to read it.
Justene Dion-Glowa is a queer MĂ©tis poet living in SecwepemcĂșlâecw. An alum of the Banff Centre for Arts and Creativity, they now work in the non-profit sector and recently released their first full-length poetry collection, Trailer Park Shakes, available now via Brick Books.
The brilliance of Justene Dion-Glowaâs poem shines through their use of white space on the page, which is one of my favourite craft tools in poetry. In âhalf-bloodâ, spaceâincluding caesuras, stanza breaks, line breaks, and indents, for exampleâworks as hard as words, enacting the feeling of being âhalvedâ alongside a sort of sinister whiteness. But there is also space for thought, pause, breath, love, and reverence, for âthe strength of our people / and Creator / reflecting in my eye shineâ. The title of the poem, âhalf-bloodâ, isnât extrapolated directly, but this is why it works so well: it layers the poemâs language. And although it likely speaks to Dion-Glowaâs MĂ©tis heritage, it also says: for so much to coexist is to be devastatedâto be in a perpetual state of halving oneself and being halved by society. Itâs both a brand of erasure and a necessary state of reflection.
Dion-Glowa, with tender care, also weaves in reflections on longing for the âsleek, hot, and slender-framed conventionally attractiveâ, ânot made for a life of hardshipâ. A longing, now, to be halved. But I also think about the etymology of the word âhardshipâ, which conjures the rigidity of the British and French ships seemingly pouring into harbours, everything aboard inflicted like a trap. Dion-Glowaâs lines, here, gently shift blame and fault from them and their people. Followed by white space, I see these lines afloat, reclaiming the sea dominated by whiteness.Â
There are also several short lines, intentionally placed to help us mirror feeling. For example, âspoons tapping along to the rhythm / I consider / how lucky I am / to have a weight I must carry physicallyâ offers space to mirror how we consider gratitude, particularly with the inclusion of extra space beneath âhow lucky I amâ. Similarly, Dion-Glowa leaves extra space for generations to hurtâthe past is not obsolete or âback in timeâ, itâs ongoing and always with us. The hurt didnât happen behind us, itâs beneath our every step.
Iâm also drawn to the musicality in âhalf-bloodâ, specifically in âgirthy thighsâ, âbison & bearâ, and âfood / fur / fibre / so / I starve no longer.â When rhyme and alliteration are used here, they ask us to chew. The language is delicious, so an excellent craft choice for the content of these lines (which become memorable for these reasons).
In the same vein as musicality, word choice profoundly shapes a poem. The word âmeagerâ stands out, starkly, because itâs the only word italicized. It also drives the last line, and is uncapitalized when weâd expect a capital âMâ. We so often repeat âmeager meansâ when weâre speaking about intentionally marginalized and âunderprivilegedâ folks. By using lower case and italics, Dion-Glowa is tapping on the shoulder of the inflectionâfear, discomfort, disgustâthatâs used when we say âmeagerâ, which our lexicon bolsters: âdeficient in quantity, fullness, or extent; scanty, deficient in richness, fertility, or vigor; feeble, having little flesh; lean (The American Heritage Dictionary of the English Language, 5th Edition).â Anti-fatness and ableism are apparent here without these exact words, reflective of the covert ways they outline our world. This is the power of poetryââmeagerâ is one word, and placed well, it does the work of evoking everything âhalf-bloodâ is alive on the page to say: in body, mind, spirit, and relationship, Dion-Glowa and their people are not, never have been, and never will be meager.



