And what of the cessations
the early heart never saw? Saying nothing
of the quick brown typist nor with curly hair
if possible. It does not so become him these
days, that constant glow, the moments
here of silence there of tacit after-words.
Pull free instead the door inside the door
pull free the view a page down with the
glimpse of her (just faintly underlined) as
far as, still, so far his dreams once more
these distant, beckoning visions of will be
stretched across the oblong frame. Nothing
likely soon enough who sees his studio,
his single bed, how apt.
He moving back to
the misery aspect of
the lyric poem.
Drift back to Ada
the imagined palindromic act.
His face pressed hard against the
she reflection—a mirror once
pertaining to his life. He taken back
again to poetry words coming
back to him, like has to be, like
words that lie beneath him pressing
forward gently in a not too quickly
saddened love. She nestling in
the countryside accelerator.
The poem, yes. Confessions in
a half-filled room. A superfluity
of like and as.
Not like now, those days—
long conversations in smoke.
He repositions himself,
ahem, bound with Anna’s hair.
Your hair, he says, is wicked, as
they say. In fact it’s been a wicked
evening. Or as they used to say
a the evening. Though you being
young may not remember as,
these days, no-one recalls Ava’s
feather trick. But take my word, the the
was the look then, among the attributes
of the 1960s. She has the the the girl
embodying the article as once did
the pronoun it and he suddenly unsure—
was his, the his?
Had she ruined him?
Was that it? Who had seen life
come to him, poor man?
And then the sudden
Eve idea—a they. And then
the sudden library. A room
whose shelves hold an equivalence
of silver-fish. So where does he
stand now? A Nightwood caught
out too late for the truly Modern?
Hears himself, says, I can only
say that I had the, then feared the,
was brought low by the. His hopes,
who gave his … his own, something
from the anything. The machine
silent again and the little his
fallen just like that.
More so than ever
it had vanished. Everything
with she already late, having
‘slept’ till three because of ‘dancing’.
He realising too late he was yet again
on a beginning he should not have been.
Words come to him from earlier speeches
words like has to be, words that lie beneath,
laid bare, pressing forward, an example of,
a case of. With the forgotten silverfish
well into Remembrance of Things Past
and she too young to remember. Voices
calling from memory an imagination of
found her at the nothing of had. Besides.
His answer still that she the tiny noise
hidden in the ball of twine.
linked together long enough
to become history.
- FREE: 20 Poets anthology
- 93: PEACHSUBMIT to L Van, G Mouratidis, L Toong 92: NO THEME VIIICOMING SOON with C Gaskin 91: MONSTERwith N Curnow 90: AFRO AUSTRALIANwith S Umar 89: DOMESTICwith N Harkin 88: TRANSQUEERwith S Barnes and Q Eades 87: DIFFICULTwith O Schwartz & H Isemonger 86: NO THEME VIIwith L Gorton 85: PHILIPPINESwith Mookie L and S Lua 84: SUBURBIAwith L Brown and N O'Reilly 83: MATHEMATICSwith F Hile 82: LANDwith J Stuart and J Gibian 81: NEW CARIBBEANwith V Lucien 80: NO THEME VIwith J Beveridge 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith K Glastonbury 56: EXPLODE with D Disney 55.1: DALIT / INDIGENOUSwith M Chakraborty and K MacCarter 55: FUTURE MACHINES with Bella Li 54: NO THEME V with F Wright and O Sakr 53.0: THE END with P Brown 52.0: TOIL with C Jenkins 51.1: UMAMI with L Davies and Lifted Brow 51.0: TRANSTASMAN with B Cassidy 50.0: NO THEME IV with J Tranter 49.1: A BRITISH / IRISH with M Hall and S Seita 49.0: OBSOLETE with T Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with C Wakeling 47.0: COLLABORATION with L Armand and H Lambert 46.1: MELBOURNE with M Farrell 46.0: NO THEME III with F Plunkett 45.0: SILENCE with J Owen 44.0: GONDWANALAND with D Motion 43.1: PUMPKIN with K MacCarter 43.0: MASQUE with A Vickery 42.0: NO THEME II with G Ryan 41.1: RATBAGGERY with D Hose 41.0: TRANSPACIFIC with J Rowe and M Nardone 40.1: INDONESIA with K MacCarter 40.0: INTERLOCUTOR with L Hart 39.1: GIBBERBIRD with S Gory 39.0: JACKPOT! with S Wagan Watson 38.0: SYDNEY with A Lorange 37.1: NEBRASKA with S Whalen 37.0: NO THEME! with A Wearne 36.0: ELECTRONICA with J Jones
- Introduction to Zenobia Frost’s After the Demolition
- Phillip Hall Reviews Robert Harris’s The Gang of One: Selected Poems
- Adam Ford Reviews Rae White’s Milk Teeth and Anders Villani’s Aril Wire
- Jennifer Mackenzie Reviews Elif Sezen’s A little book of unspoken history
- Introduction to Charmaine Papertalk Green’s Nganajungu Yagu
- Brigid Magner Reviews Michele Leggott’s Vanishing Points and Elizabeth Smither’s Night Horse
- Jack Kelly Reviews Liam Ferney’s Hot Take
- Submission to Cordite 93: PEACH
- Introduction to Cordite 91: MONSTER
- Poetry, Whatsoever: Blake, Blau DuPlessis, and an Expansive Definition of the Poem
- On Being Sanguine: Two Years of Panic and a Response to Terror in Christchurch
- A Deaf Rough Trade: Defending Poetry to ‘regular people’
- 12 Panels by Chris Gooch
- 5 Translated Yosuke Tanaka Poems
- A Buzz in the Retina: On Translating Luljeta Lleshanaku
- ‘That is some crafty bite’: Trisha Pender Interviews Melinda Bufton
- ‘You’re never disembodied from the action’: Dylan Frusher Interviews Judith Beveridge
- Excerpts from Neon Daze
- Chorography and Toute-eau in the Waters of Lower Murray Country
- 6 Poems from Robin M Eames
- Aussi / Or: Un Coup de dés and Mistranslation in the Antipodes
- Every other Friday
- I Still Love Without My Head
- Heath Ledger’s Joker
- Only fair