A Map With No Meridian

Before the flood comes it will simplify
the argument of rock
the way we cover old belongings
with a unifying sheet
In the dark of the tent
she brought out words from sleep–
Daughter horsehair peninsula peninsula

A dazed morning draws attention to a crab
lugging a bit of drainpipe around on its body. It scrapes
the slabground and does not suggest a shell. I once read about

our landform on a piece of paper written by nobody,
the words on the page were the size of droplets on a mirror–
anyone can live
anywhere

and I remember this mostly when I sit down on the grass to eat.
Then the light switches on. The stacks of oil drums
reveal themselves against

those years of cooled lava. Everything
shakes like a mirage, and I see her run to her daughter.
This journey was for nothing when
anyone can live in a pod,
a bunker, a bit of land,
and a map is something
you receive in halves.

Posted in 114: NO THEME 13 | Tagged

On Falling

Leaves fall, blazing.
Fortune’s wheel; zeniths and nadirs.
De Casibus. Downfall. Comedown.

Lucifer’s fall, wings clipped.
“Hurled headlong flaming
from the Ethereal Sky,” sings Milton.
Fall of man; original lapse.

Down the rabbit hole, Alice.
Horatio’s vertigo on tower’s edge:
“The very place puts toys of desperation /
Without more motive, into every brain.”

From imagination’s heights.
blind Gloucester’s pratfall.

Hanged man’s fall, to end of rope.
The jumper’s from Trade Center,
tumbling; from fire into void.
Icarus’s, with melting wings.
The runner’s, tripped by root.

Galileo’s Law. Dropped together,
a feather and hammer (air resistance, excepted)
should hit the ground at once.

The tandem skydive from 15,000 feet.
Neophyte and instructor are
harnessed together for dear life.
Goggles for wind. Jump suits rippling.
For 60 seconds “more like flying than falling,”
before ripcord’s pull; then five minute’s
float to ground.

On Youtube, headset cams record
two daredevils in gliding suits.
They leap, one after the other,
from a mountain peak into updrafts,
soar down over cliffs and ridges,
until far below a valley greatens.
Leonardo’s dream turned sport.

Flight is careful falling.

Bungee cord’s elastic limit,
rescue’s heave, then down,
then up, resilience fading.

Falling in love.
Fallen soldiers; civilizations.
Dow falls, stocks lessen.

The precious bowl, escaped,
turns in mid-air beyond reclaim.

Our planet drifts, spinning.
Astronauts ricochet from padded walls.

The Runner picks himself up;
walks stiffly, keeps jogging.

The fallen king discovers
wisdom, humility, compassion.

Springs buds return.

My wife revises, “Down will come baby, cradle and all”
to “Down will come baby, into Mommy’s arms.”

Posted in 114: NO THEME 13 | Tagged

Frightened wolf / Sheep in the bay

The inlet water of the Chesapeake was held at a clarity, degrees before freezing. It could not, would not harden into a floor. Its bully in the Atlantic threw punches along the coastline. Our father demanded we paddle along the lake on New Year’s Day. My brother pushed into his kayak before us with a feigned excitement. At least my knees could see the sky, untucked in a canoe. His legs were tight in the boat’s pocket. Play is rarely a unanimous kind of fun. The bow of my brother’s boat hit ours. Once was all it took. We tipped over until my father and I were submerged. I knew the game turned sour as my lips came up for air, puckering from the salt laying sediment against my face. He, my brother, jumped in. I was heavy in winter clothing. Hypothermia begins with a fault in the bones. The inlet sought to shatter, but in truth it sought to snap off what it held hostage. Our father swam towards shore, not a word to us, not a promise for help, just his back to his children, the tips of his fingers seeking the plush of deadened grass.

Posted in 114: NO THEME 13 | Tagged

Eighth View of the Southern Cross

Easter Island, 1500 AD

The five stars tremble through the branches
of the last tree on this island. At dawn,
my loyal axe will cut it down to raise
the final moai of my ancestors
and the long gone dead will smile.
But there will be no wood for platforms
to one day lift me huge and rocky
like the eyes that talk to the sky,
my cold stone back to the living sea,
my painted eyes scorching the bare earth.
I tremble, too, but the ancestors call my axe.

Posted in 114: NO THEME 13 | Tagged

This Is How It Ends

After she says let me fill your collarbone with water, you think bodies are islands.
You wait for the shores to drown.

––

You are swimming and swimming –
in October, in the ocean, in a dream, in a poem, in a song. Fast friends,
days and nights agree not to keep you a secret.

––

Your father says I’ll be here tomorrow, and his shadow stays exactly where you marked it.

––

A name sits on your tongue and thrills you.
You call, somebody turns. The second becomes the stillest hour.

––

You live in a country where the government ran out of bullets. Each time fear arrests a heart,
somebody flies a kite. Children, bakers, fools, the village follow suit. As if to proclaim that
sometimes we are protected from the vastness of the sky.

––

No mouth is left to dry.

––

Days and everything they hold flee you.

Trace of birds, blur of trees, ripple deforming
your face in the puddle.
A sentence with the word hilarious in it.

The lack of need to record it.

––

You kneel. You trace beads of rosary, and a song
stands inside your throat.

Even the wind and the space it fills are sacred.

––

Your friends tilt their heads back.
The air is laughter.

Posted in 114: NO THEME 13 | Tagged

Marry Right Man Mary


Reference: Co-respondent is “the right man;” will marry her. (1936, September 7).
The Daily News (Perth, WA: 1882 – 1955), p. 2 (Final). http://nla.gov.au/nla.news-article82531019

Posted in 114: NO THEME 13 | Tagged

Sydney Poem

I.

With the release of his hoof from the pitted step
crushed frangipani petals spring,
wet with perfume, to broken pyramids,
stained-glass rubble.
He gangles his way down the steps,
vast rounded thighs shifting like drunk
whales courting. The fawn blinks in the new century
and he casts his leer out to Middle Harbour
where he heard you were out in the sun,
dear companion,
roaming this joyous city of the dead.

II.

I almost broke my neck
hopping down the steps at Potts Point
because I heard you were floating,
wide-eyed and tendons sliced, past Goat Island and out
to the humpback bridge
to the pearly xenomorph of sharpened curves
past the galleries where every piece of painted plywood
both adopts and subverts the
iconography of power
to interrogate the nexus
of capital and the state
(if they didn’t, would we survive the shock?)
and poets mutter under their breath
on the light rail:
things looked bland.

III.

Lines rise to the surface like bodies
washing up at the Gap and like bodies
washing up at the Gap most of them aren’t mine:
RATS IN PARADISE
shriek the gorgeous new apartments shitting
on the earlier bird’s views. There’s a bit of everything
poured into these steel
and watery glitters. Joe Lynch decanted himself in 1927
not – as Brennan lamented – onto a cranium
but into a poem. Shaking his massive legs in the sun
he clops down Writers Walk, too huge,
too wrong, stumbling over
one of AD Hope’s chiselled iambs.
Lunch is drunk in that Sydney way
of investment bankers at the Quay,
sluicing their misgivings out to sea
to boil up as clouds and piss
back down on you and me.

IV.

Emerging
from the Opera House underpass for a second
everything is just what we were promised:
fistfuls of sudden sunlight knock out
your vision, glory in the skies,
a faint smell of sewerage
and shirts brighter than a song.
For a second it’s goodbye,
as the sun fills your mouth
and you spin out by the crushed light
of the Heads,
singing to the glass sky.

Posted in 114: NO THEME 13 | Tagged

HELSINKI SESTINA

Even in summer, it is difficult to think of cane toads abiding in Helsinki.
In this Nordic city, flies are scarce. I can’t imagine an amphibian predator
beefing up sufficiently to hibernate through winter, even if the freeze
did not still its heart, that pump sometimes stolen, in lust for vivisection,
by Australian water rats that carve out the organs with surgical precision.
They gorge, they scurry, large as cats, from the river banks after the floods.

Beekeepers struggle to recover when toads invade hives following floods.
Mackay is a sugar town built on a swamp. That much it shares with Helsinki,
where bees may be kept in parks. Bears lack the necessary skill, precision,
to extract honey safely. The Eurasian jay remains the chief bee predator.
Stung bears yowl like cats waking from ether while undergoing vivisection.
Bears are not to be crossed when feeding, laying on fat before the freeze.

Back in Mackay, the hunters bag the toads to take them home to freeze.
Some drive at them with golf clubs. Divots rise from tees soft after floods,
but toads have been known to land live on par three greens. Vivisection
is frowned upon by the ethics committee of the University of Helsinki,
but desperate measures prevail against the toad that poisons all predators
other than the water rat. Pleasure derived by some is practiced precision.

Introduction of the toad, presumed to focus diet, with exclusive precision,
on the cane beetle, was a blunder causing those bold agronomists to freeze,
too late to backtrack, to reverse their SUVs across the cane toad predator
plague released on native fauna, rafted across the country by the floods.
Away on the other side of the world, at the end of summer in Helsinki,
I dream of execution. Unconstrained, toad in hand, I opt for vivisection.

How the toad inspires sufficient hatred for those who abhor vivisection
to lose their scruples can best be understood studying the art of precision
archery. Placing a shaft between the shoulders is prohibited in Helsinki,
and is an illegal discharge of a firearm (unless the archer shouts “Freeze!”)
even in suburban Brisbane, that city so severely ravaged by the floods
that brought toads as big as dinner plates to feed their water rat predator.

For Australians, feral cats rate second to the toad as most hated predator
of native fauna, and it was toads and cats that were subject to vivisection
in physiology experiments, in medical schools, before activists, in floods
of indignation against poor, cruel science, lacking in purposeful precision,
through the Animal Care and Protection Act 2001, brought about a freeze
on vivisection in Queensland, which is not in any way relevant to Helsinki.

Ranidaphobic, the predator travels, seeking refuge and solace in Helsinki,
dreams amphibian vivisection, contemplates winter cold enough to freeze
the Queensland floods, gives thanks for physicians with skill and precision.

Posted in 114: NO THEME 13 | Tagged

if you want a daughter and don’t mind that she’s a little off

Make a cage and call it ribs.
Make it of whatever you have. Wires, or animal bones.
Place inside a raspberry for the heart
and press it until the juice comes out, red.
If it’s the wrong season for raspberries, use a stone,
and below it put some kind of waiting vessel.
The head can be a rounded vase, the hair flowers.
Fold cheekbones out of paper, and polish marbles for the eyes.
She’s better off without a mouth,
but give her shells for ears, a spoon for a nose,
and use crochet hooks for fingers, so she can be useful.

Give her soft limbs of folded bedsheets and prop her up
in your window, so people will see what you have done.

Posted in 114: NO THEME 13 | Tagged

Techno and Hall Passes

Layered kicks one
with high pass filter
slapping one
with low pass filter
thumping
Bass syncopated
Saturated, running
Into next bar, tappy little
speed rims, touch of

Anna Torv lips pursed oversized button up.

Soft cymbals panned,
reversed with a whip-sharp
clap reverb
ballooning
eight bars of high hat
coming in, phaser
subtle, boosted air
lifting and cutting through the
weight of

Zan Rowe sultry voice saying that’s fucked.

Build-up of snares
Snapping and rolling into
Break down, a deepening
atmosphere, delays
on gritty synths, notes
lingering, last beats
spilling out, feathering
into white noise and
whispers of

Anna and Zan cradling wines wall seat dive bar.

Posted in 114: NO THEME 13 | Tagged

In which I haunt scholar poet William Empson

William Empson stands at the basin to shave.
His face in the small mirror becomes
a series of surmountable practical problems for the hand and eye.
Every visitor describes his digs as ‘squalid’
but in this imagined moment he stands in a rhombus of sunlight
steam rising from the water.
Scents of soap and an orange only beginning to mould.

William Empson, I want to write about a Lake.
I thought of you, who wrote “lack of conversation
makes it hard to write anything”.
I’m making this fictional visit to talk it over.

How do I write about a place that’s stolen
from the people who know it and live with it still
through cedar and whales cut and made away
cattle occupying land
the violent outrages
Mr Throsby, the 40th of Foot
his majesty’s blankets
the trawling and dairying
the spoiling of the water
sand dug up and stirred into concrete
children taken
pea picking race hate
acacia planted for a tannery
breakwaters the new suburb without a sewage system
slag poured into the saltmarsh?
The rubbish traps across the creeks catch plenty.

William Empson is only half-listening
as he stands in sunshine that suggests warmth, but doesn’t provide it
with the idea of a drink already lapping at his mind.
It’s only when he’s softened by the concentration needed to soap and scrape
fine bubbles of lather, the pleasure of hot water on a cold morning
that he decides to wait
for his walk to the lecture hall
to work out how to make the letter he’s writing to the TLS
funnier, less hurt, and attend to
my hovering presence, a ghost from the future.

William Empson meets my eye in the mirror while he pats dry his face
and quotes from his book, Some versions of Pastoral, written in 1935
the year before the Windang Bridge was built across the lake mouth.
The pastoral is “felt to imply a beautiful relation between rich and poor”.
The pastoral is “any work about the people but not by or for them”.
The pastoral is a process of “putting the complex into the simple”.

The pastoral, a gilty frame that leaves out labour, sex, milk, nest hollows, undergrowth, a shoulder smashed by musket fire,
dried fish, strips of calico, tobacco, overseers, avoiding the lobsters, drowning in sawdust, cockles, butter shipped to old gold
mountain, a woman growing grain, the incinerator on the island, banqueting, the cop’s pleasure boat, the man who needed
to get away, coal, a delegation to Macquarie Street, goats, absconders, miners, machinists, drivers, shopgirls; favouring
instead the poeting Bishop D’Arcy Irvine’s “white boats”, “purple hills”, a “flat sheet of water” and “the busy town” in
“mellow light”.

William Empson puts his spectacles back on.
The shaving water, grey and scummed, drains and runs through pipes into the River Soar.
William Empson’s soap and stubble will be – was – dispersed and digested
by the microscopic lives of the river, but he does not think of this as he swings on his coat
feels for tobacco in the pocket, picks up his papers and lets himself out.
William Empson has had enough of me. I can take what I need and leave what I don’t.

I’ll take his delight in ambiguity, fluid misquotation, I’ll take his naming of the lie of the beautiful relation and bring it to the
plaques and inscriptions, the paintings, poems and photographs, the stories repeated, the works performed, the plans and
programs, the lie, bright and sharp in some guises, in others, heavy scattered churning settling.

Posted in 114: NO THEME 13 | Tagged

Ravioli

I used to think there was loneliness
in the fabric of the American soul;
a matter of great distances,

an aspect of being scattered
across boxes of drywall and vinyl siding,
being conveyed in velvet-steel cages—

I felt there were traces of solitude
so I read Travels with Charley to see
what Steinbeck discovered, on the road.

Aloneness, then, was a presupposition:
reared at a distance, without siblings,
counting migrant friends on thumbs.

When someone learns I’m an only child,
their face flickers like a smiling flipbook,
depicting: “that explains a few things.”

I figured they caught a glimpse
of this far-off mark on my skin
like a long, straight scratch on the moon.

“I want to be your one and only,” I croon
once again, to a faceless every-mannequin
who too remarks: “that explains a few things.”

Somehow I began to think
I would be repaid for it all,
as if I held some holy IOU.

Reading Travels with Charley back then,
huddled aside, isolated, telling nobody—
something essential had been jumbled.

Yet, Steinbeck: he was rarely alone
on his journey, sharing each meal,
coupling words to unsaid feelings.

A red sun sets over the Atlantic
saying, pain knows no nation
and closeness is fleeting.

Tony makes me ravioli. I mumble—
“Something in here is broken.”

But Tony knew. He is broken too.
Long, straight scratches on the moon—

astronomers call them lineae.
I’m just glad they have a name.

Posted in 114: NO THEME 13 | Tagged

Laverton Ghost

They are gone now. Fled, banished in death or exile, lost, undone.
– Cormac McCarthy

see him now wandering still
through the Truganina marsh
in tattered tracksuit, broken baseball cap,
bad walking cane scratching at the paths
before the slow shuffle
of his tiny, duct-taped runners.

he was here before I was, before my folks migrated.
they used to say he was stuck out of time;
this old geezer forever on the one route
from West Altona across the swamps to Laverton
then back again, every day – rain, hail, or shine.
they called him the Ghost.

I’d hang out with the neighbourhood kids
on the Reschke Court cul-de-sac, skateboards in tow.
at the mouth of the street you’d see
the Ghost cross: this tiny, clunky thing
wobbling to and fro, the way a child
pretends to walk a toy figurine.

the younger kids, the meaner ones
would skate after the Ghost, wheeling behind.
they’d taunt him, chucking bark bits and bottle caps:
50 points if ya knock off his hat!
he’d brush away the barrage like it was houseflies
and press on, undisturbed.

here the rumours grew of the Ghost’s past.
Colin Sheedy spotted the Starry Plough
embroidered on the sleeve of his bomber jacket,
so told us all he was an Irish National
loyal to the Ursa Major, haunted by the Troubles
thoughts now doused in blood of the dead.

but then Nick Portello reckons he saw
a genuine Hell’s Angels tattoo on the Ghost’s neck;
Nick’s old man, up in Pentridge, had one.
we didn’t buy that the Ghost was a bikie,
he was of a horse and cart era
and to me, he just seemed too gentle.

my Dad drank with the fogies at the bottle-o
and they all thought the Ghost was a crim in hiding.
Mum was more sympathetic. she thought him
to be Saint Roch reincarnated, and he trekked
that route across the swamp each day
because he was looking for his lost dog.

I’d see him, riding around the streets at dusk,
the loneliest time in Laverton back then.
it’d be 40-something degrees and the ghost would be
wrapped up in his scruffy black garb;
his ashen moustache trembled and dripped with sweat.
his old, squirreled eyes set on the path ahead.

see progress shove itself into the unlikely nook,
unwanted, refused. the suburb then sprawled
and the train station was refurbished;
the Māori and poor whites were edged out
and those old bogan loons of Bruno’s bottle-o
were nipped by creatures and cancer.

all this change around so that Laverton
soon caught up to the 21st century.
blocks of medium density dwelling
for the new, rosy families.
the bottle-o evolved to a cheeky café
and the pot-holed roads were remade.

still there would be the skyline of Melbourne
seen from the top of the station’s overpass.
and there would be a graceful cool change
come in off the swamp to break the stifled air,
and the dusk streets still retained the peace
of scattered kids whose imaginations flared.

and you’d think along with the old vanguard
that the Ghost would be gone,
but there he was, come up from a
graveyard of construction,
tottering that bad cane, the slight breeze
that rocked his tiny frame.

nowadays, though, he moved slow;
He was stuck out of time, said Mum.
he was alone, more so. those that taunted him either
moved away, went to prison or died.
in the streets the Ghost would pause to rest.
just stand there still, and rest.

the milk bar, post office and Polish butcher
were all abandoned, boarded up and chained.
back in the day, the wood and shutters
would have been tagged in crude graffiti scrawls
thrown up by the silly, vulgar gangs of yore
I’d have been part of them.

I’d visit my father at the nursing home.
docile and hunched in a reading chair,
brushing bent fingers over the page of a book
I recognised from childhood.
in the shaft of warm windowlight
the few stray hairs on his head glinted.

I’d come to know quite a few people
buried at the Altona Memorial Park, a resting place
surrounded by freeways and warehouses.
we laid my mother there.
the priest’s prayer boomed over
the blow of a Kenworth’s dual-exhaust.

now he was all but bone, the Ghost.
pure relic of the streets and swamp.
he exchanged his walking route for the train.
on the platform, he’d hear
a horn sound and wince in fright
as though it was a trumpet of death.

he was always marching on, persistent.
you’d see it fixed on his face.
his perseverance was so humble. no jonesing
for grog or junk, that manic desperate gait.
he was craving home, I reckoned.
a place to be still, and feel good.

I would like to imagine he had
someone waiting for him after his treks.
he’d wander against the fiery sky, wreathed in smog
push through the front gate at final light
and be seated at a table before a plate,
across from someone who loved him.

ordinary legend of no real weight or gravitas
whose rumours diminished a small, dignified life;
to have haunted the mind of a suburb
and not even know it, a fixture of the streets
as much as the architecture, now gone
in a past that slowly fades with us.

Posted in 114: NO THEME 13 | Tagged

Easter Weekend, Saint Kilda

Deathwish bar and tattoo parlour personnel in their themed tees
stand shopfront to review an El Camino Chevrolet
and brace of Hogs. The deep end of Acland Street.
You see a skateboard matador who turns a V8 off loose jeans,
you pass the sign for tarot and an impromptu boxing clinic,
pass Italians, fish n chips and four éclair shops, Readings
booksellers impasto gelato smear and palette knife
scrapings of dog, walk on past ghosts of genuflecting seniors
whose spook bowls indulge their biases on grown-over greens
where co-op veggie beds are raising ropey sunflowers
and scrap metal whimsy to keep out rough sleepers,
coming at last to Luna Park’s impassable tramline knot,
the giant mouth Edvard Munching dental tools awhirr.
Look through the rollercoaster formwork to the pink sun
setting on a fake west coast. A number 16 tram departs
like a spat pill while patron Saint Paul looks on from his mural
on the Espy, harmonising guilt-cred with nostalgia for 13
hours on a bus, the Cross, this promenade both he and I prefer.

Posted in 114: NO THEME 13 | Tagged

Prove that you are human

Select all squares with crossings.

The blue wheel goes round.

This park looks familiar
and I had a bicycle just like that.
I wonder where the motorbike rider is going?
Maybe to his long-lost mother’s house.
They’ve only just rediscovered each other
after a lifetime of separation.

Select all squares with traffic lights.

That woman sitting on the bench
behind the stop sign,
she’s a refugee who’s spent years
trying to prove she’s human.

Select all squares with clouds.

including clouds with silver linings
and clouded judgements.
Every square has clouds.
Is that a metaphor?

Prove that you are a human.

Do something lovely
or vicious
or both.

Select all images with stairs.

The young man going up those back stairs
is on his way to a click farm,
a windowless building in
a street without a minimum wage.
He’s paid a pittance to plant
likes and follows and five-star reviews.

To continue, type the characters
you see in the picture.

What language is this?
Those twisted cat scratchings
look like my failed drafts.

The blue wheel goes round
and round.

‘I’m not a robot.’

Please believe me.

Posted in 114: NO THEME 13 | Tagged

Mt Mueller

a duel in snow,
so many seconds
and sunken paces;
are these brigades
drunken with laughter
and wild aims?
if he chooses,
he can thicken the air
with grapeshot from the
south, but it is clear:
with such clumps
of bold weather
cuddling his back,
the mountain loses.

Posted in 114: NO THEME 13 | Tagged

papatūānuku

Now, I worship
an empress of
solitude / I do not
know
how to bloat
slow / feather
like bird-stunned
truths / river says
we are stories
furred with
pulse / dreaming
cinders / twinned
geographies
of breathing
hinterlands / earth holds
our wintered
hands / imagines
a life without
living / a love
without
losing / unstrings
the nerves of
now / but I loved you
a mountain
ago / & I loved
you,
body, an ocean
ago / a-
go: heart’s
tracery / a juddering
caesura / the goddess
still asleep
inside
herself, inside
our harvest of
gentleness,
singing:
we all turn
to mountain
sometime / we all turn
to throbbing
estuaries of
days—

Posted in 114: NO THEME 13 | Tagged

ALTAR GIRL

and God said


i will give you such a sweet taste blood in the lap of pleasure


& too ripe a heart a name


for every body that drowned


& tears for cells still living in the water


& the color blue to make you forget


i will give you beauty for ashes but first ashes

Posted in 114: NO THEME 13 | Tagged

Museums of Temporary Art

for Sam

A. FORESTS

In the forest, there are two boys, one ditch, and they crawl into it together.

Now flesh of a madrone tree serpentines two boys in its filament of viridescence—

In the forest, an anxious family of flies wrap around their peach-fuzzed faces,

fades into fingertips slicked with their crushed bodies.

In the forest, miniature sparrows switch into leaves and refuse the boys’ brown,

outstretched arms, their elbow skins lotus pads in puddles of wind and recognition.

This must be the place. They hoist each other into endless flight,

two skies acquiring the sounds for falling into forest.

I admit, I still pick and choose when to see the forest for the trees.

And noble trees, enduring weights and revolutions, growing wilder, recasting

burrowing insects, the little, impervious, and numerous legs for new ones—

The forest rings, then into grain and knots, the forest continues––

A stringed instrument, ukulele made of wood and nylon.

I was an eternal perch of dawn, while the other boy’s strum

An aubade to proximity.

A madrone relies on fires. So much of what shouldn’t be burned is,

a coniferous longing for the forest.

Like eucalyptus, he’s thick-skinned.

Like eucalyptus, he’s burned to a hallowed core.

We placed our ears to it. You said you heard the forest.

Once, you showed me how, eyes closed, chanting:

When the forest is quiet, that is when you should really worry.

We climb to the canopy with our imaginary canoes.

There’s a forest on top of the forest, silence tidal against our song.

B. THE LAMENT OF GUAVA

Well, the fruit warmed in your palm,
wept its juices out as you whispered Guava

into my ear. It was so ripe.
Your saliva, shimmering fish

caught in tidepools
we hold each other in.

I offer it. I offer it. I offer it to Sam,
pressing it to his mouth to cease his singing.

Your dying.
Your estuary, where lulls and grief mix,

Your ukulele,
Your thighs straddled around me.

Your guava pieces like pink jewels as you spat them out
onto the bed of your thick palms,

and basking there,
and as if Sam did this all the time,

crushes them behind a piece of cloth,
polishes his ukulele with its essence.

You’re telling me, Look at it!
Taste it!
Shouting with the certainty of excitement and aggression

the way adolescent boys always seem
to possess.

C. THE SWIMMING HOLE

In the dream, there’s a lake forming between fingers

and my god: He could be so plump
full of muscular water

and salt, iron, cement: At night, the lake and
a gracious downpour of gold coins

bouncing, then, spinning on the floor—
when we wake, the sun so pure,

morning, a hue-less brightness,
the backs of fish, scythes of silver

breaking and riding the surface, our lake,
day after day, a reluctance that takes

well to a satisfied face
and fills an eyelid—

The forest walls surrounding us,
I hear ponderosa pines

stomping in the air,
and when we’re done,

his wet fingers
soaking

the chords of my throat
with indignation,

Open, he says.
And I know which parts to open—

D. GRAVE // GROVE

It said it burned like a steady flame,
and the boy was extravagant.

It said the word “suicide,”
but I only know the word “energy,”

the word “forceful,” the word “choke.”
I admit I tried to forget him and the town,

which is wanting to fail
to remember our shared fruit.

Suicide stands himself in the corner of my room,
as hopeful as solemn

Guava staining both our lips,
only wanting

sweetens our letting go.
But why?

I wanted to linger around a bit longer
than what I was allowed, to keep those words

to myself, the light, tumbling
of fruit like

his name—I wish it were so simple:
Oils I use to rub grieving stomachs,

learning to play an instrument enough,
such as love—the

tethers of a human to a soul,
and thus, to this one material world.

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Ruins

On the wall, an old Ottoman carpet,
a white curtain over the window. Only two days ago
we arrived on a late ferry.
A man plays a bouzouki,
its name given after the Turkish word bozuk,
meaning broken. You left
with a story I still don’t understand.
In 1922, during the Greco-Turkish war,
port workers went on strike,
and the Greek government ran out of money.

An empty rattan chair.
A painting of a boat.
We went to Monastiraki, past ancient ruins
you didn’t care for, painted blue tables,
clothes hanging from balconies.
Moses was given the ten commandments on Mt Sinai,
the same mountain
where he came across a burning bush.

The room is quiet.
You left, and I didn’t get to say
farewell. No, fare well.
When the Greeks were driven out of Asia Minor,
cypress and plane trees,
women thrust on stakes.
The city of Smyrna on fire,
allied boats in the harbour.

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Sydney, 2018

We sit in front of chefs gutting amberjack, black intestines
unspooling memory to the tune of Yoasobi and Korean,
knives turning red as they gouge white-pink flesh open.

Salmon, sea bream, squid pass us by in shells of plastic,
are squeezed between oily chopsticks. Waitresses laugh
when blowtorches, like stars, light up the winter wind.

Newtown sleeps in the distance, dreams in the dark blue
of the sea. Trattorias and izakayas etch neon words on the sky,
angler fish drawing the drunk and nameless in.

Alan from Perth, not yet twenty, dreams of escape.
He’s learning Japanese, leaving after his studies
to stay forever in the land of anime, onsens and ramen.

He’s thinking of the abuse he suffers under his parents,
the walks around Haymarket, the echoes of empty streets,
the nightjars and wattlebird singing their goodbyes.

Under fluorescent lights, camellias and crocuses bloom
in his mind. In his eyes, his pilgrimages to the Blue Mountains:
he brings only a sleeping bag, seeking out answers.

Now, the steady koan of bronzewings guide our fingers
to furikake-topped gyudons. To eat is to forget, to share
the world on our tongues. Huddled in this dingy corner,

we swallow our words, content to read each other’s faces.
In his parka, I smell orange-scented coffee, the wind
of the cities he’s searched in for a home.

At midnight we slurp on tonkotsu and drink sencha,
purple rays dancing and spilling into our cups,
dark clouds floating by like horses kissing.

Alan, who ate snow off mountaintops,
hurled himself off sandstone mesas,
drank the yellow glow of arroyos,

listens to the lullaby of the Clock Tower,
watches the orange lights of Central Station go,
the cooing cockatoos, the morning rose.

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Phosphenes

Maybe it’s part of being a mother
to haunt after the 3am feeding:

feet planted in my dreams
in the middle of the produce aisle arguing
about how many onions we need for dinner.

She was never one to tiptoe
around what she was thinking
despite her slight frame, now bones?

I teach my son to be gentle with the earthworms,
sliding through decomposition,
what masses they’re responsible to digest.

How long will I be out?
As long as needed, now lean back.

Protocol involves sealing valuables,
rings and glasses, in a bag
and naming next of kin.

As I drift off
they say the process will be easier
if I shut my eyes and picture my happiest place.

So it had to be you, leaping
along the shore with wild excitement
only a toddler can have.

That season you were eye level
to the Atlantic’s boundless waves
swelling and breaking into a hiss of foam.

Our favorite days were quiet and gray,
inspecting seaweed and chasing gulls,
the sky blanketed in clouds,

and no other mats on the sand but our own,
laid out carefully before the rising tide.

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Weathervane

for S.K. Strandlund

Wind-scrivener, penning its ongoing
revisions, the copper schooner spins
upstream (parrying the day’s
against-us). Moored to the weathered-tin
and pigeon-shit.

Scudding clouds; a loosed,
rusted arrow. Finger of execution, the
blackjack dealer rotates like
a revolver—another card? Do you
want another card?

Crowsnest—the next war or next
beautiful thing! The way life pursues
aptitude; sniffing-out the invisible
beginning.

A boat drives into the wind—the
stubbled captain, replete with
manifests. The wind speaks fluently
every language, pursuant to bathymetric
rumors.

Pleated epoch—stitching time like
a bullet; deliberate as the
footfalls and tipped vodka-bottles
of a Shostakovich Waltz. Pointing to
the bloodred Soviet flag.

Brisk, fingering wind, like a
sightless hand learning a new
face. Circumspect, I and others build
the promise of home.

Our fathers have taught us, and
our flags, that the wind—which is no
more than time—conquers
by attrition. Or, one could say, conquers
by untiring fixation.

Poet—antagonist—tacking into the
gusts; like a compass-needle,
confident, but never reaching home.

In the ruderal willows, in the
Rembrandt light. In the fading yard, a
dead barn—poet of echoes—its
weathervane still pointing to where
it will come.

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Grasslands

What’s left? You ask. Strips akin to Freddy’s promenades. Visibility pushed to the peripheries, something not equal to but greater than resilience. Still we don’t fuck here—shame. Three untenable public spaces, oft observed, rarely trod, thrum with intercession. You flew across the track despite the oncoming traffic. A phrase book might prove useful to interpret your interpretations while the referents resist classification, are unstable and subject to adaptation. Hazard a guess, maybe, on the verge. Does the number increase its value? You, afraid of profundity, chose to close your eyes—unfortunate. Note the line between curiosity and awe with your wide-angle lens, she with the macro peers for the micro to draw a line in the ash—felt with the tip of your tongue the differences in reflection. Here is pasture carved out for our departed, teeming. And the hectares adjacent, white space, save for a few errors with thanks to historical land management. Code: your four fathers demanded this place be productive, simple and silent—for the best.
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