Poem for Bats

there hangs the poet
ripe before his time
slighted in the moment
adored when, fanged, he dies

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Inheritance

i


There’s a complex certainty in coming home.
It keeps on, something like faith – shakes the red dirt
shoulders of the Maranoa and prickles up a spine

of Ooline trees to the west. I have not travelled nine
hours here bearing sorry words, because this poem
has long been carved into the palms of my hands.

This is not the place for absolution. Not here, where
clay plains repeat with the smell of ashes and burning.
This is a wasteland for sepia-drenched stiffs, and crows

tossing gunfire emptiness with bullet-point eyes. I’d
rather drive through this molasses-thick heat, away from
ancestral fossils. Out here, Mandandanji feet know the earth

and I am only a stranger – a tightly clenched prodigal
alone with the pull of regret behind my rib cage.
Out of the car, I fall hard into my own body.


ii


There’s a fanfare building in the mess of my chest,
at first – the dull insignificance of white noise, a bedrock
for more obvious sounds. Ghost movements about the old

homestead’s bones as daylight’s axe splits the dawn.
A tin mug, filled rough from the bore – a timpani
to ring out a father’s cut-throat kind of loving. Cattlemen

have such little cause for conversation and I never knew
how this land could colour your blood, ink your
shadow. How it could spark like live wires across the

fence post props of this old town; mouth dropped down
at one side – beaten to chalk dust by heat. Still, a strange
beauty glows in small town geography. And even here

by Oolandilla Creek (where nothing is particularly beautiful)
something bigger burns through me – leaves white light and
saltbush scars, my fingers moving along the same lines as yours.


iii


At the back of the cemetery, I sit by you, wearing cobblers’ pegs
and eating plums from the Amby store – wondering if your
constant absence was just your version of a blessing. But it’s easier

to understand all this out here, when the land continues
before you’ve even noticed it begin; the quiet flow of the
Maranoa River pushing on, emptying slowly into the Balonne.

At the artesian spa in town, a trio of boys hold a fourth
under water, til he thrashes like a hessian-bagged red-belly.
There’s not a soul in Cambridge Street after midday, as a

B-double truck rumbles over the bridge. From a clutch of
belah trees, a black-striped wallaby appears, turns to outback
coral then dust. I think of your headstone, weathered to ghost

text and about the blinding nature of recall and bloodlines;
about how the walls of this dam always seem to hold, even when
the avalanche comes – and there is nothing else left but bones.

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Deserts and Promises

My people make
deserts and promises.

I can live quite beautifully in words
assembled and disassembled so easily,
as if we conquered the world with riddles.

I once lived on an island
with no word for thank-you,

this is the art of small places.

When the colonialists came
they took the teak and sandalwood and cinnamon,
and left a please and a thank-you
where once the forest stood.

My father left his island, cold,
where the people speak like songs,
and talk in stories,
and whisper that the name of their city is a lie.

I was raised in a forest without trees,
a forest that existed only in the memory of birds
they would come winter mornings
and suck dew from the grass.

My mother’s people, from the high country
lived in a place once called after a river,
but now bears the name of a long-dead colonel
in a battle that only the cannon survive.

This town
is called by a word
we don’t understand,
a symbol
carved from a language
expelled from the landscape.

The name may mean ‘red earth’
or ‘bend in the river’,
or ‘where the wide waters meet’.

It could be a crooked curse
or a lullaby,
a passport
or a prayer.

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Discourse on Blue: Three Colours

1) Tyres at blue speed a TV channel off-tune we see is jammed on Blue. The foil wrapper rattles the wind, is a disappearing. It flies in blue schema. It’s sound makes us watch, this scene is sound.

2) Her daughter watches the past recede as colour of cars in the rear window; the girl will not see it catch up or the future soundless. We will: film over the eye, the ear, of the past swimming back into a woman who

3) stopped for death. Daughter. Husband, Patrice. This eye-on-death close-up, her eye, our eye, hospital air and breath of feather, fabric, close as art-house. In dearth and in this world, wealth. Effects are alone aesthetic. The grammar of that sentence.

4) We. Our. If viewing seems singular, it’s learnt in plural. This film coheres as soundtrack, coheres as filmtrack, as tracks it more than usually coheres. We are underwater with her. Our senses fish.

5) Her track is the orchestra agush, at life at death. It. The pills she tries to swallow gag back on her hand. The Julie they met in her mouth, ugh, the self who won’t, the self the colour blue. Krzysztof! tablets so huge? They’re white, at least, for the non a colour’s inscribed on.

6) But the great music must be finished! (is music ever finished?). Form is. Not pills but Patrice’s melodramatic concerto for Europe. In his mouth, in hers? Or the flautist’s ragged busking on the pavement, lungs filling and breathing, who pipes to haunt (us) and almost live (us). Pan is loveless.

7) Love? Tightened blue in her knuckles rub bloody against the wall of stone (my back skin shifts like shingles) after she disabuses Oliver (who loves her) by making love to him, and resists the music. The crystal light-hanging (she tore from the ceiling) shimmering, that fills her hand like a glassy daughter grasped up from a river. Her grief so ruthless it weakens everyone she meets. Renouncing, them, the unfinished. Blue is the colour of scrutiny. Julie is learning: to see in the dark and feel nothing.

8) This music or grief inner as herscape, her free indirect speech, our narratology enters her like her black coffee seeps into a sugar-cube. Visual motif. We wait. We hear the flute’s high notes the sunlit busker, a melancholy nest of Preisner each film of Kieslowski.

9) Grief as pre-speech: wailing, silent, Lacanian. And post-speech, wordless. Can the imaginary be full of chords? (Must it be so serious?)

10) The frames erase story so the eye is filled by currents of blue. Not I. Don’t live with me, life, I am death. In the absence the blue the wish to swim underneath, descend, past and through, the line on the bottom of the pool the weed the frippery of light-hurting-voice of go on, kick up, break the surface, the film.

11) An orchestra erupts through surface! Her, blue, narrative … I shake and am wet but she doesn’t and isn’t and Kieslowski knows it. Music finds us and draws from where it wasn’t to where it isn’t. The remnant, trace, the film floods.

12) We are her fear of mice, a mother and its hairless young in her room: life finds her in the dark and enters her. Life is tiny and grotesque! A mouse of self-reliance! Julie wants to be without fear. (But fears mice – who will kill the mice for her?) Mice?

13) Juliet (Julie) Binoche so poised and beautiful, at a remove in her pale face, classically sculptured (her face her music) as … marble? what else to compare her to (permanence… I pause on her cheekbones, her downcast eyes, the stillness of her mouth.) The vulnerable flesh of religion. In side-frame a man rushes past, mere, plain.

14) Olivier spreads out the printer’s-quality paper (the sound of it, beautiful as Binoche) the staves close up, seeped-into by ink (coffee into sugar-cube) that only Julie can compose in her composer’s self (as Patrice, amanuensis ..?) but Olivier knows she is dead, Olivier knows she will rise. (We too.)

15) She says, show me what you’ve got (the ghost of her says). If she listens the film must run its course, its of-course. So the past catches up like cars flashing on the front of her daughter’s death.

16) No! Patrice had a lover. The lover is pregnant. Don’t think of mice! So late in the blues Julie is cheated. To lie in white sheets of music. She knows. She in her blue lack composes.

17) Composes. In her own pen her pen is, is music, lived-in like goodness. Is not all music? Too good to be true, this, his gongs and angels, she loves … something. (She knows how he loved.) There in the scrolls. ‘If I have not love… ‘ Don’t end it.

18) Love, her estate, her wealth, her blue. Her film effortless and rich, her art as class, as landed, city, aesthetic, her exception to history, her ink this gorgeous paper scratched into with love, the instruments endless.

19) If hers it is, Patrice’s it isn’t. To end or begin? She forfeits. Her denial her silly kind of love. If not hers now, when? Style more self, less love.

20) But if hers shall be his? A soprano pierces.

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(untitled)

 
 
 
 
 
 
 
 
 
 
 
 

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Berg

A fin of ice arising out of sky, frigid sea A single
turret above belies the monolith beneath The berg
advances at the speed of a pilgrim travelling
on foot

Calved from huger sheets and carved, desolate its
drapery, its skirts submerged

The berg at a palmer’s pace dissects the waters

And you: First anatomise the cryosphere Breathe
out ever-condensing vowels Capture its face then
explode the berg bring the wreckage to light

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In Flight Entertainment

‘no more blues’, that’s not a promise
there’s no traction or policy in the blues

all those bars are too long a cycle
to make for twittering views

no more plaints or graces
no thanks, ‘watch and listen carefully’

enhanced performance, premium economy
‘a loss of consciousness’, ‘oxygen will flow’, ‘settle back’

it’s a field day under the smoky hills

what does my tray table say about me
the colour of my life jacket, indeed, my life

‘woke up this morning’, that line’s been used
an immense dark blue sea nothing like the Pacific

it’s a long way down, it’s a long way home
even the clouds are small

perhaps something scary or precious
will break loose as the screens fall

what if there were no more blues
everything white and cloudy, ’nothing to see here’

does Europe seem safe
there are checks again in the Schengen zone

‘strong margins’, more landings on Lesbos
ancient songs for peace, love, weddings, thanks

‘persons of interest’, abductions
the last Commodore rolls out of the factory

what do you do with your hands
time is pressing, ‘enjoy the service’

‘the cost of complexity’, alive in the aisles
‘full of self belief’, ‘materials handling’

showers in Cape Town, sunny and dry in Lima

your own youtube channel must be full of likes as well as gripes
as the news disappears into itself, by jings it’s hard

but not so hard as no more blues

and there’s New South Wales or whatever it was
or will become, cultivated white squares and a haze

‘being a personal trainer’, ‘a true Aussie lifestyle’
from Port Macquarie to Wagga Wagga

which state would you settle in

‘the Australian dream ticks all the boxes’
welcome to the Gold Coast, five minutes from the beach

no more blues, it’s all white from now on
‘a loss of consciousness’, ‘settle back’ –

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Chronotope Highway

The forgotten allure of conversations inside cars, like fast and furious, but cooler. Your brown dog in his many pantone shades is left behind in Cooranbong where we kill the get directions voice, her indefatigable English accent permanently miffed at being called to account for anywhere. At the petrol stations I feel sleepy like River Pheonix, though when we hit town you crave background noise. You’ve got the pinball hips, as the multiballs rain down, though ordering fish this far inland is a risk. Soon we’re holed up in our executive apartment by the mighty Murrumbidgee, two women enter…Even mum’s sure she’s met this one before, like in that Seinfeld episode when Elaine decides to stay with her ‘bizarro’ friends. Out on the balcony, with a rubber tire ashtray, ugg boots and Suntory the cockatoos are ecstatic. Or we’re having a Sunday roast chicken expertly stuffed up the jacksie. Until the drive home spools on like archival footage, passed the cli-fi of the wind farms and a burger in Gunning.

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snake-well : a suite of wheatlands poems

i.

ash loam and foot flesh
farm-bones and skin maps
pink, grey, graveground,
form-grasses and wavetaints
wellbaked and seed black


ii.

starlows the cropframe
saltcanvas of generation, plateau
waist the size of place


iii.

tigerhand by jokebite, and
fivethink of bootstub
hand-me-down, snow hot
tamarisk, sack-a-flour,
jackgun trapchasm foreign sun
our unsettlement

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The Future Un-imagine

On the run from the W.A. police, her faking German accent
could be someone else: embassies [snapshot] in their circular
drives, late night music. Claus plays haus in Canberra,
surrendering to the domestic obscene. She home hones
in mu-mu when home so foolish, stretches her long legs
to admire shell pink toenails. Claus is punk hausfrau who only
just makes code. Still the morning deflate.
Before this rapid joy in sunglasses, remote mutes happen
in a box. Did you say instant? On the opposite side
of the lounge they have closed the borders to Europe.
Claus works the images, kills the sound. Prone and sensitive
before afternoon soap, that cool ex-wife, next-wife plot
creates such cosmetic intersect. All goes quiet, actors tho’ and
monstrous nobodies. Sound down politesse: each listening
elsewhere. Why we feel torrent almost tolerant. Outside
the wind freshens to mass moist air above the continent.
Though as a rule clouds avoid this place. Elsewhere
is mayhem in what should be Spring. Where’s the hope,
where’s the promise? It’s a disaster end to end, and everyone’s
muscling up, muscling in.
What really interests jostles her. Pause
and stretch: jigs, cutouts cutaways and reveals to that soft
unused skin. Could they be implants? Now she is sell, the soft
sell. How did it go so wrong? Inside the cage, life hardly moves
:toy truck, broken glass, rotten goop that is so sub-urban
:she’s been here long enough waiting at the zoo with the other
animals. Claus remembers the different pleasures of kissing a man
with three days growth and of a woman.
This is big. She feels irresponsible. Forget the future, un-imagine
a past, there is only here Ground Zero where she rents the view.
What did Little Gidding say about ends and beginnings?
The landline rings. Overhead a helicopter hovers, and out on
the street the police negotiator leans over the roof of his car.

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Those Who Want to Fight

Now people are scared to talk about this. People are sleepwalking in peace and love and privilege, and they forget that one morning there were ships in the water and in a jocular fashion the Native people were given axes, blankets and mirrors for their land and then the Black Line came, then Blackbirding. Beards were shaved in a spirit of friendship and commerce and capital punishment. Displaced by war, massive head wounds, fences, Native people kept house, chained to the verandah, learning the new language; accept tobacco and damper for labour, labour for tobacco and damper. Now everyone is sleepwalking in peace and love and privilege, applauding a basic recognition as it slides into place, a final victory; whilst justice waits like a rock in weather, like a word guarded by fire.

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The Last Suburb

Bird has died of fear in her cage
cuttle bone’s harried

her mate’s chattering at his mirror
bashing the bell

our child studies ants migrating for water
she pincers a lagger and licks him all up
follows the rest to their nest with a stick –
it is her nature

they all die so easy
not like us

I’m reading my guts coiled in the usual
usual shapes but casting
a differing inference
and ask

People like us who read things into things,
Who really knows? What the hell?

You’re drinking in the kitchen,
the whites of your eyes roll back
like rearing stallions.

I want to know whose butts are in the yard
seeing we don’t smoke anymore?
Whose butts?

They are burning leaves again, you say.
It’s a kind of meditation
inviting fire or keeping it away
getting rid of the rubbish
is an occupation
for these ends of days –
Dig a hole, I say.

The oil stain in the drive has Rorschach wings.
I scry the bathwater we kept for the plants.
The dog laps at it and growls,
I pull out the plug.

I can read the signs but can’t do anything
about them. The past is here and the future, so
I read the toilet bowl and the dirty
hand basin and the drips from the tap
are very telling
I don’t even need
to really see or listen
as the evidence is here.
Then I flush it away.

An ant holds a bead of water,
his mandibles quiver.

The dog is frothing with snail killer,
next door’s cat shat
in the kid’s sand pit.

The washing stinks— smalls, colours, whites,
delicates soaking, old blood
stains set.

It’s getting hotter and we talk about rain
as if it is the only topic, rain or flood.
What we’d do if we got washed away.

How long we could hold our breath
what we’d grab on to.

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Caesura

My heart, it started ● drives my breath still
sun ends begins
snow-laced mountains edge tomorrow
threadruns through veins ● the cotton or wool of my clothes
and shades of leaves in change

my father’s friends, mother, family have been-gone
knit purl knit purl ● the currawong warbles into the sky
drops, from branch to branch

like the rain that falls from leaf to leaf
It is 1984 forever ● month after year after week fold ● into a caesura

disturb the dusk ● silence the day ● soft like a wolf’s tread ● high the flag flies
is it the cloud that moves ● as wet glistening wires

tram lines
Victorian chimneys grey-net branches
Here, in this room
the Infant of Prague
will swell real tears
Instead, forge playful ● skip on wet-stone ● heaven has retracted its edict ● and heathens
thrive limn this morning frost ● St Kilda road is a stepped skyline ● glyphs along
the margins of the streets ●
The city anaesthetised ● a torn Mobius strip

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(untitled 3)

The throaty oesophageal tissue dislodges as if to say here be
nourishment & battle Keep going & Peer at the womb that
haemorrhages post-coitally Remove the tube & it’s still a sticky
mess So fraught & such Arcadia Didn’t you hear enough of the
brutality Erode your name it doesn’t lift me He outlaw’d coffee
Tore the stitches out with his tongue Rampant bills fettered Tear
my hair out All wanton debris Part-time venom surges at the
brunt of attack Move toward praxis and away again I have
outlived usefulness The utter stirring of cheerful standards
Renders us human Place the realm of agency into the volta
Unthinkable: the way you held me in your contract These days
we don’t even take our clothes off A million practices beholden
Textures of disobedience & textures of entry I am thinking of a
hiatal place: a rupture Remember child: he’s just a boy Just a
human boy He fills up & empties out same as all of us

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(untitled 1)

& here have arrived the days of Hillary Clinton quizzed over Benghazi attacks Count the marriage lines Each regrettable error Too polite for the Semester to end this way This devastating Man at your knees humour Rouse suspicions with a round of bellicose Avant garde: the state I’m in

Whoever left love unscarred never left Redressing the bodies of the dead How fevers derived from the architecture of moods Marshal in remission lasting between one day & six months This pilfering & endlessly astray body Every arrangement is happening except serological work: the

gamma globulin series The human experiments occupying lung space Stop writing about wombs you sick fuck We know you’ve got to live & the Eulogists will look for signs that just one more assault is good for the elegy I’m here for the home stretch This patch of mottled skin enjambed internally We

have to be quick & sequential So you are faced with dying & nobody is intervening Who siphoned all the serotonin Left wondering if this cognitive dysfunction is part of it too It requires some pressure to remain coping & often I mother the children in a way that implies I’ve just found them under my

care: Undifferentiated Absence within us Multi-sensory the spectrum we use for the invulnerability of love Put the burn on me You don’t need to attack me Vulgar lover the would-be long night Lolling head & mouth & No seam between To feel a surge of pride Are we boycotting

countries or just too poor to travel Deforested & corroded : here in these spaces New password new password hello Dorothy 25% off winter & my heart is a layaway Off to Parson’s green for an amuse bouche or two Rewards for the latest bloods Such a racket being here with my scribbles There’s a

new ecosystem growing in Just you wait until your funeral I say & we laugh : sure sure of the refusal of aftermath Shut up & consider hieroglyphs & wait in case the antidote is digitalised I didn’t think the girl could be so cruel: there’s an almost hospital level sanitary nature to her

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(untitled 2)

I am finished with beauty & money Close the gap between us which is imaginary but nonetheless I’ll put your position into my poem: Luton Premier Inn with temporomandibular jaw I may never share my google calendar again The scars within him are much more frightening than the scars on his body There’s a hint of superiority Being Alive Staying Alive Strangled into Being If we break-down the ethics of listening Surrender bloated poems Loving you until there is no cartilage left Can’t quite look at men my own age yet w/ their cumbersome flirting My working hand writes this poem & calls out to the complexities of entanglement What has happened to you is everywhere on the lips of strangers tiresomely & I’m never sure if they are talking about my faith or my body But at least the body can count metrics & clean up its act Who knows where we might turn in negation The war in my body has something to do with this entourage of medics who are past caring Put this in your mouth Use this for your impulse Put this slantwise


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(iii) after Sherry Turkle + John Cage

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After the Orgy

i is an / ugh it’s an ignoramus
jamais jamais u say / or maybe nether nether
its inland sequel is counting on this Eur
optic allusion to echo it &/ or braise it w/
outsourcery in terror pots of ennui & rain
flowers overtly peer out
no less ensorcelled than stoner food
so naturally some cat

whose deputy moi disappoints
is appointed montage
& the relevant delusion is a man w/ money
& ici an aussi trysting the rules
that like a tonne of organic eclairs
drape a new noir across the Bois-like lures
i’ll pass on the pas des deux thanx
get to the point

that our swords had a tang & whereas o
& u caressed me w/ red tape
worms castigated
our puerile & futile violence toward the budding
bourgy eggheads burgeoned & now
log on to download God from the bots
i dance on the verge of & purity deserts
time lore & legislation

deploying a Leunig moon
night unshackles
dense with chaos & glass above the hotel’s pole
fat spleen bats careen about
a party rented out by a billion celebs
channelled through cathodes to audit each
Everest movie premiere in which Madame
XXX turns tables on a P&O

coming down from the Alps i clock out
from the party but land on its feet & like another
glib latency we did
pirouettes for cock & held a tournament
our comprehension of bras was
so hammed up a unicorn in denial of plaques
flogged the place & although rustling
infants regarded this

mauve imagery as a great maze of in vitro
in a coruscating vein today
fumes w/ magazines that mate
& guesstimate like machine guns as to why why
why do bats on castor
sugar always sing in technicolour
a cirque de slander let’s elope
my funnel webs my blemishes

we’ll sing chez Bluebeard’s at the abbatoirs
taking pot-shots at Targét
at the haughty few who suck back the gravity
of long tirades & bark in voices
our settler mess ruing the grand
spent at the sales
where flowers retrograde queerly
mercurially déjà

voodoo & u who peer at my cash my
precious poor lark’ll hit the ceiling we’ll traverse
toilets dissing the clock
wise anti-delirium & go back
Down Under where the rest sank Freud
après the ludic deluge
ici aussi
totes


(‘After the Orgy’ is an inversion of Rimbaud’s Après le Déluge)

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Put Your Helmet On

get your chewing Gum. get Time like a Man in a tin
Frock. in the Field, the naked Butterfly is fending off
the Microscope. a giant Sunflower is roaring Seeds at
the Enemy. it’s Autumn, and the carrot Pickers bend
over. I’ve a Sip of old Religion and it tastes like Paint
Everything is being sucked in. the Apocalypse will be
blue and yellow with a bottled Accent. Years on the
debating Team funnelled into a shouting Match with a
Machine. the Nuns admire my bolt Cutters, the Goats
my Boxers. We had stolen Something, it was the
Anniversary. We had our gold Gloves on, and a hotted
up Wheelbarrow. it was Then or Now. it was There or
Nowhere. it was listen like a Wattle or talk like a Sap
the Ferry the first Conveyance, where We lost a Body or
Two. curious, the English spoken on It. Tourists
Observers of Penguins. Suits worn to genet Plays speak
of going over a Hill, and finding one Tree. There was a
lot of Desert to fang across. Bikes, Dust, Letters from
Doters. They were Poetry, but I had to find … You’d
driven here in a State of Loveliness, but were then
advised of Infidelity, Treason, Infanticide and the
Shooting of a Horse. of a great many dishonourable
Fights. a Silo suffered, some wild Girls started a Ranch
Someone else wanted to go Home. mow the Lawn to
Kingdom come, You thought. the Turkey in the trinket
Shop gobbled under its Breath. We were starting to
situate Ourselves on the Show. I had Walnuts to pelt or
nibble. there were four drag Queens sitting on my Chest
not my Idea of Heaven either. yet We were slowly
annexing History, converging on the peppercorn
Grove that marked the Spot. the Patterning was enlarging
there were no major Poems on Dolphins as far as We
could tell, but with our Teeth in our Ears to stop the
Tears, We weren’t the best Judges. We tried pouring
cheap Plonk on the Soil. We set up Camp. We tried to
read the Grass and our Stock tried to eat it. the Ride was
slow and dangerous. You took your Frock off and I tried
to like You out of it. You ate Mushrooms out of the
Ground now We had fallen in Love: it was Summer. We
had reverted to Diesel; We wrote up Suicides as Cases
and found Everyone living shallow. there were three
drag Queens sitting on my Chest, and Everything an
Oyster or Chisel. the Bus wouldn’t start, there was Beer
and Donuts on the Floor, which wasn’t the best Policy
the Paintings told me More than your Dreams ever did
your Painting of the dead Neighbour, your Painting of
the polar Bear with scared Eyes. a Spanner came in handy
at the Gates. She did not have all her Arm, and the Rocks
hid potential Mercenaries, Windfallers and bull Ants of
the human Type. it had not rained for ninety-eight Days
this was on the Outside. We began to trust those We
knew from the bowling Alleys. We began to talk Tactics
Ideas, ‘What we wanted’. We agreed it was the long
Game. We wanted to still be there in the Morning. I
sewed a Pocket on your Shirt and took ten per cent of
Everything that You put in it. I wrote a Book about lou Reed
to keep me occupied on Lookout. I had been given a lot
of Information about lou Reed from an indiscreet
Source. my Agent suggested We call it a Novel and
change the Name to michael Stipe. I remembered
michael Stipe eating beer-soaked Donuts off a bus
Floor with two drag Queens on his Back. We posed as
Couriers. We drove the whole Way with our Eyes on the
Road. We failed to see the hitching Skeleton. We saw no
wind Farms of chivalric Beauty. We licked the Lizards
and went on, bad Memories of bad Furniture and give
way Signs. Everything within the World is round: every
Move is a Turn. I know that cricket Ground, that rodeo
Site, those lovely tan and white Kangaroos (part Dingo)
the Tank is leaking, We’ll be ill for Days. stay in the Air
as long as You can. burn a grass Circle around You. put
your best Eggs in the Pine. some Parts of my Brain that I
wouldn’t miss. What would You do if your Mother
married a police Inspector when You were just coming
into your Delinquency? declaim Modernists on the
Beach I suppose: to the Lighthouse a Plum, a black
Bough. but We are Nowhere yet, as long as We can see
Houses, Cars. I think about the town Option, as two
Ducks stripe my Vision. yet I know the Hut burnt down
before I was born, don’t I? We have Bases all over the
State. I think of going Somewhere with a Mob, merging
into it: think of hiding under Wildflowers, or using
Bellbirds to tune into the Bush. These are the Uses of
Poetry. it makes You warm, it replaces Cinema, it helps
You put Words between Self and Heart. there’s no
original Poem, it’s all Sequel as far back as We can
remember. We embrace this, for the Loneliness is hard
Enough. the Souls of our Cats power the Gloveboxes
the Souls of our Dogs the Guidebooks. our Vehicles
and Minds are parallel Worlds where the Dead live
You’re bent over at the Creek, pretending to pick
Blackberries but crying. the Radio is pumping ‘Gold’
I can’t help thinking of morning Tea and the Rations
and putting my Frypan in a Mynah’s flight Path, but
instead retrieve the Tofu from the Boot. You make
savoury Lamingtons using Miso and I feel Time go back
or sideways like an elbowed Head. We recede North
making Strudel while driving. the onion Vines thicken
their Bulbs whack against the Windshield. it’s a
Sanctuary of sorts, but so many Escapees, Manatees and
Derros live here, It can also be a bit hairy. palm Readers
yell our Fortunes at Us but We only show them the
Backs of our Hands. We’re only an Etching we yell back
an Etching of multiple Jeans and fluffy Jackets. We’re
Metaphors, Messengers, Hieroglyphs. though We might
bring or mean Nothing but Damage, it’s not Something
We’d give up to Anyone differently iffy. those still wearing
their full ethical banana Skin like They’re god’s
Breakfast can implode on their own. let’s see Who
dissolves if it ever rains, Who breaks up first if it
hurricanes. weather or be weathered. the Stars are not a
Target. if We yearn it’s for the tomato Fields We were
born in. a Cup of Surf and a kelp Biscuit. ave Tarantula
sitting on the Shells that They paid Us. when We get
cracking We’re like a six-legged crow Race: two Feet
on Salt, two more on Glass and two on Sandpaper. a drag
queen Skull in our Lapel for Luck. Lice our Jockeys

Posted in 72: THE END | Tagged

Traces 6: Quality time

I spent quality time after her memorial
reinventing banalities.

The absoluteness of her being
here, then ™Photoshopped out.

What is it that anyone
remembers? Most of the speakers

were not and could not be
eloquent. Everyone nibbled

at the borders of her life
and of the unspoken.

Nothing scandalous–just
you can’t articulate it, any

of it, either in part
or as a whole.

Of course, memory itself
is one culprit: iterations,

inventions, re-castings, thoughts
escaped, home movies, rifts,

pretensions, chains, scraps of fabric
and frozen evanescence.

Did you so believe in soul?
I didn’t know! I thought the word was odd—.

Someone stripped away the black
of the beleaguered words,

to reveal the shadows
beneath their nakedness.

The heavy doors of travel
pivoted on hinges and turning points.

Sometimes hinges make a sound
like vermin. The mist

between landmarks encouraged earworms.
A Chopin étude, caught in a loop

and never resolved.
Or the “Chiquita banana” ditty,

pert, didactic, unforgettable,
a Potemkin village of kitchen pleasantries,

stereotypes and housewife-ry
under which tentacles

of collusion, massacre, preferential
access, policed economies,

and paramilitary activities
far away from home.

You can see right away there are
two stories—the palpable, but insignificant
and the hidden, real enough but all obscured.
What? That number is patently
ridiculous. Two says nothing. It’s wrong already.
It’s certainly simultaneous conflicting,
overloaded presences of “story,” crossroads, the honey of personal life,
one tiny part of a well-built honeycomb,
done beautifully, with compassion,
sweetness, and the rocks onto which
some jump or fall–all that
narrates nothing, all that loses everything,
though a number like two or three might do to symbolize this
so long as one doesn’t forget intricacy and the networks
of collusion, themselves limiting us to the
binary, the trifecta, the 4 cardinal points of mists
neatening or sweetening all of it, the lot.

Time’s pale light upon the trees blinded the viewer
as the rushing stream rushed on.

Of course we spoke
awkwardly, a translation

without an original.
How could we have not?

2.

The poem, unwritten, is concealed by the poem, written.
It’s kind of a disgrace.
There is a lot of blank paper in this notebook.
Perhaps it should be left there, empty.
Time is gone, emphatically lost.
Its feeling tone
persists.

That’s what you say
because you want to say it–but
does it really?

Perhaps there is no choice.
This unwritten–reliably as
a force that unwrites itself–
creates spray and backwash,
recriminations in the holes and crevices
that fill, some seasons,
with the powerfully dangerous tide
of what some person meant to do
and did
not.

Especially sediments of unfinished
stories, eroded stories–

Any solid page of print
is a bluff–or I guess, that
is art.

It should truly be full of
ripped paper, holes,
elisions, burns
white spaces
and actually

emptiness.

Posted in 72: THE END | Tagged

Lovestore

To request the presence or attendance of
to wish, long (to be, have, do)
to ‘toe a line,’ meaning stand in a row

Of things: to require, need, demand
a vehement pang, eyther of bodie or mynde
zealous pursuit of paltrie trash
a fit, outburst or state
marked by or of strong excitement

Amorous impulses, lewd behaviour (obs.)
senses relating to passivity and activity
the affections of tropes and intimate apparel
limping made unconditional

Thy darling sin which to enjoy thou couldst
resist all others (at least thou thinkest so)
frigidity, the proper passion of water,
sometime accidentally hot

Posted in 72: THE END | Tagged

Whatever

dictate your every word, you bright nymphs
mistake the possible. Thank you for the plangent
note, the sacrifices that were not at all intended
as an offering. The snare you prepared with the guile
of an anxious siren. If I was ungrateful, I was startle-
hitched. If I tried to be direct, or refused
to condemn, there was something knowledgeable.
Here we mistook the gun who was neither bodyguard
nor the decent acquisition of lymph-yielding limbs.
The rustic incursions of cellophane lips. There is nothing
in you that is not interrupted by flow in the opposite direction.
The capacity of an imperium is the power to command
but how can ridicule sustain this kind of asymmetry?
Why would I erase you when one fatal day I might find you
in your own dress? What more could I have to say to you
that is not a swarm of twentieth century cavalcade?
To pluralise one’s contractions with an apostrophe is a sign
of trustworthiness, the formal vanity of the tuxedoed
vernacular. Everything that is hidden becomes crucial.
So why do things light up when you go away, but go away
when you come near? I fear I must keep you with me at all
times, without knowing what this might suggest. The radical
social and cultural delinquency of thought shivvies,
asks ‘what if you are the envoy of smaller things?’
The problem is: you are prose and I am lacking a differential
topology of holes. Shooting out radicle sense-organs causes
arctic overload, you split into non-commodifiable units of
paraphrase. If you think of me at all it is to replicate
my need, harvested from the vertical Norwegian glassfields.
Everything I see and hear reminds me of you. Vegetables
left to rot in the car overnight, the boisterous dysrhythmia
of hunger. Extension du domaine de la lutte. Melodies
of songs that you wrote but never listened to. Tagging
the Elwood estuaries with a bag full of poppies, eating Pho
in a Vietnamese diner. Choosing between pale ale and desire.
Is this our ruination in reverse? We are carbon neutral,
paid-up members of the union at the end of history.
We are kosher. We are sweet. We are all doors open
for business. I see nothing in your eyes but pure belonging.
For those who have nothing it is forbidden not to relish filth.
Like a man who has seen too much, I am tamed in the snare
of an earlier desire. We are dreaming in tandem now,
in this life that is not a dream. Not fearful but minuscule, Decisive.

Posted in 72: THE END | Tagged

Nuit

even though the new specs made nuit jus a shadow of her former featherd self at least she no longer had to squint n fidget like a fruit bat at the regi swipin the organic as hell hand creams (which smelt of sex she thought) the pricey ones at the supermarket the one next to saint francis reserve where she’d sit quiet at lunchtimes under the pohutukawa in the days after she bartered her wings away for a pair of ray bans which she was told was the cream of the crop for her ruru riches her featherd furies pearls soft as oysters moist wit rain which would jus shake off wit a shake and she could shake fury from da sky she could and cos wing amputation was quite the surgical procedure afterwards a nice nurse took a polaroid of her damsel scar now retrospective in a snap (six hundred stitches swollen n swabbed) then gave her a back rub till nuit finally let go of all that she owned till the prospect of returning to her job pleased her untold (now that she cud see proper all fixed up wit her new ray bans) which woulda took a load off if it werent for the back pain the gap left pulsin like a secondary artery between her shoulder blades drawing horizons of weepin stars which’d never set which would constantly remind her of her loss her sense of deficiency and whenever a customer came up to the counter wit a pair of their own (synthetic whatever) on their shirts skins or simply silver round their necks she’d tell em of the other wings she’d seen (2 so far this mornin) along wit the myths n legends dat came wit it and all this kinda banter bout wings wit customers helpt her breathe away the dull aches her headaches and lopsidedness and helpt her breathe at the end of the day breath was all she ever had she thought it’d be all she’d ever own so she’d feel grateful for the next

Posted in 72: THE END | Tagged

Wasted

the toppled woods were beautiful –
palm needles, car tires, bark and heat.
ash-plumes tickling the armpit
of sky, cloud ribboned like
cassette tape. we found Ozymandias
submerged in a century of polymers,
the gadgetry of bored children –
playstations, waterguns, ancient tvs.
the trash-amphitheatre sprawled like
a city before us. we took tiny breaths,
coughing up treacles as we spoke
bilingual tongues of ghetto and dirt.
later, we lay on sheet-metal counting
space-junk and satellites, and yes,
the toppled woods were beautiful
but we were not crying. acid rain
tiptoed down our faces like falling stars.

Posted in 72: THE END | Tagged