Unwelcome Lycra/Portrait of a Patron with a Straw, Loafer

cnr St Georges Rd & Scotchmer


i.
Half a metre from a calf,
cycle – frightened & tanned,

flexing opine occupy politics
with a cracked bat – he seems to

know everyone in the bakery. His
argument (buttered, smoothed &

neatly we shake hands he) invites
me to the park for a game. I put

my hand into my loaf & refuse –
tuck it under my arm. Running

shoes & sourdough, a simulacrum.
I want, here, to reply. I want argument,

fey. But have tan trousers inappropriate
lunch in my hands, ears etc.


ii.

I sat next to the pig. A patron brought it in mistaking it for a meal and it stayed close to his tarpaulin. He placed it on the table every time he ordered his Sunday lunch “eating as his subject”. I could smell it like a milkshake tucked into a felt dicepouch. It was absolutely rude! I had no idea what time the last train left. I could sit for hours. The pig’s breathing was rolling everywhere hours away and I salted my chips. They were “piping” hot. He had a small tuft of tobacco coming out of his ear and his haircut, the salt and pepper whiskers placed into cigarette paper hanging from his cracked lips, wobbled as the pig nudged him. I sat next to the pig. It was afternoon. I couldn’t sleep. Billy was tuning his guitar to a few pigeons he’d been feeding in Piedimonte’s. I can’t read English in as much as I can blow hot chips and put them into my face my tongue knowing how to guide them along with punctuation. There is in my mouth a ladder (Jorie Graham). Pigs are messy as rugs or, at least, lean in metaphor/self conscious exclamation or bleached hair. I take my straw from its strawberry hide and in no time its gone as a mouse or heart murmur.

Posted in 62: MELBOURNE | Tagged

Bar-Jar-Oh

oh oh oh (etc.,)
The curved corner bar reflected sun off cars oh
Tiled corner bar of all favoured bars oh
Fortune cookie of bars oh
Roast duck corned beef calamari risotto bistro of the bar oh
Carlton and United blackboard of the bar oh
Alcohol floods through all who stop to worry that things could be better oh
oh oh oh (etc.,)
It doesn’t really matter any more because we’re all whores oh
All attention seeking whores in a city of whores of phantasmagorical super capitalist
slave whores oh
I could slit up right now here in the bar slit up right now no one would care oh
In fact they’d insert theirs and not care put their little knives in there and not care oh
If they slit up I’d put mine in theirs I’d put mine in theirs also
oh oh oh (etc.,)
We urbane ourselves like wild things in the boredom of the bar oh
The decay of everything and the beauty of everything by the jar oh
The jar of every diffuse sundown until all is undone and re-discovered in the darkness
of the bar and bistro oh
The jar of all starlight and moonlight through haze of stars the jar of blackest night oh
No moon or stars the jar of no stars and bars but navy blue and moustaches oh
Tables out the back and toilets bare moustaches football stars and palm trees oh
This jar you gaze into crystal ball of jars oh
This jar oh
Facing the jar I’m doing to the jar what I always do to the jar oh
The jar you go looking for and never find until it’s there oh
Facing the jar you’re doing to the jar what you always do to the jar oh
You make the jar feel wanted the strangest jar the usual jar oh
It is the only jar that can call itself a jar oh
It is my jar my lovely jar oh
oh oh oh (etc.,)

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me n me trumpet set the controls

me n me trumpt have unccontably misplacd our new grindr
so we take to the streets clutchin our big bouncy baglettes of beans
we bought in bulk from a boutique boutique in brunswick
extracted from the rectum of a nut-mental monkey
all t’while engagin’ in mutual admonishmentizings
whaddya do with it? you were looking after it! you always lose me stuff!
at each other ecetera et ecetera interminabababbly
(basically he convincd i lost it when i know he did)
until we crossly come across a new cafe just crotting at the crossrds
in a casual yet snobby kind of way tho’ remaining a bit undecided
when — WHAM! — YEAH! — we cogitatated simultabraineously
THERE BE GRINDRS HERE LET US TREAT USELF TO ONE NOW
so me n me trumpt sneak in behind the sleek untreatd teak counter
past the well-heeled designer backs of the hip hipster caffeinators
to dump our bean babies in the gargantuan zigurratish industrial grindr
and hit PLAY! with the pulverizing air of a coffee bagatelle

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Field Recording 1 – Clarendon Hotel, South Melbourne

He’s turning 57 in a month and the last six months, I don’t know, he’s

You don’t compromise yourself, no, no, they’re there, but so many close family friends

People like Steve and Jane, they’re the types … You know it’s ridiculous,
everyone’s on edge, so you’ve got to sort it out

My son in law, last Saturday night
I put the caravan at the front door, I put it at the front door, and I was rooted.
It weighs a tonne.

But not quite…the guys from repat came but they can’t do it until next Tuesday … Your birthday present.

It’s your factory, you’re the one with the title. When I went to the footy Anzac
Day the MCG’s drainage, the big difference is you don’t see mud on the ground.

I’d just like to learn about it, guns and knives, and the general of Rome. His general knowledge just leaves me speechless … He should be running the other way, not looking at the sun, he hasn’t got a mean bone in his body.

Wait until you see my new shoes.

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The Satisfaction of Speech

Stretched out across the selfish wool table,
I fix on a mood in the high key of you,
twiddle my hi-viz wedding ring
and laugh at the way rhyme and metre
protect us from happiness. Angels’ tears
fill the rivers of hell in a song I wrote about you
but nobody’s crying in Atlantis now that we’ve
franchised the reckless antinomies of belated
centurian. Flickering intimate ceremonies
across elmscape cinemas – I wonder how I got so far
away. Landscaped by patent-pending geography,
maxed out in the merchant’s tent of never giving up
on always disappearing. Something in the way you
move, the stave that answers to what was barely
required. The concentration of your Northern Rivers
Cattle Rustle Drawl strings silence across the estuary
wide on sonic sighs and moans. Hitching a ride on your
electrical substation, the way you say my father’s name,
a high tension wire whipping through the gizzard
of I feel too much the surfeit. Are you a real shearer
or just pretending? Your Yackandandah stare fleeces me
witless, that wolf you’re wearing goes with everything.

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The Apocalypse for Non-Believers

At the work barbeque they burnt the sausages and chatted about death.
The four horsemen of bureaucracy were late, traffic, they said, shaking their heads
like scythes. Steven had put off doing the mowing for this, and regretted
it. Only fifteen minutes in, and he’d already run out of compassion and
conversation topics. His wife had kept him up all night, washing the sheets
of their son who was no longer home. He’d rolled his sleeves up for the occasion
and bumped into Maddie, who he’d accidently professed a drunken affection
for, long ago. She avoided his eyes, having taken a small breath of her boyfriend
and his joint, in the car before arrival. He was waiting there now, like the beach
trips she always promised herself. The potato salad tasted strange and they
spoke about the Ukraine. Martin took the floor with the surety of a man
who’d been divorced twice but was still looking. Only being the boss saved him
from the ridicule of being caught on dating sites at work. He held forth a gentle
tirade about America. The half-dozen employees bobbed heads like sunflowers
drunk on sunset. A child with a kite ran along the Yarra and they looked, whether
they had their own child or not. The sky is falling, he shouted, eyes wilder than tigers
in a zoo in winter. He ran, leaking string and gaudy patchwork. For a long time after
they’d returned to their sausages and favourite end-times, they kept looking upwards
at the sky, which remained a beautiful, almost painful, blue.

Posted in 62: MELBOURNE | Tagged

Glazed Glitter.

     Love you, no he’s nervous, and we just now had a couple of coffees. An urban sock or about three avocados. No crap no yep. The other day. On the board, you do have milk if that will go away with for service, I saw Snickers ones the other, do it for the cash I had the capability they see it got me into are they there already. How to earn money from the custom well I’ll see.
     From AFL country I’ve been curious to know. And like just properly an architect. Lives an amazing. Isn’t she she’s a gorgeous. They will never see why they, will just need to be prepared two of the regular. Like when he was at my flat and saw me it was credibility to the venture I don’t know where I’m going.






I made this poem by transposing found phrases into the metre of a pre-existing text: Gertrude Stein’s ‘Objects’ in Tender Buttons. The found text comes from speech I overheard while in one of the four spaces in which I often write: a café in Balaclava, on an afternoon train down the Sandrigham line, in Bourke St mall or at my kitchen table. (The titles are Stein’s.) I wanted to maintain the spoken rhythms of the Stein, but the results only show up the constant skirmish between metrical rhythms and the phrasal rhythms of the vernacular, one-upping each other within the line. This poem is extracted from a set of 50.

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KPTEA

Lucy Guerin Inc
28 Batman St
West Melbourne 19/3/14:11.30-1

Dancing new work
Make feet swan neck swoop
Uh ha uh haha
Silence ooh! Wh whwh heel around heel
Everything depends on what happens next
Who who aspirated
Hahaha whwhwh
Uhhahawhwhwh
Landed uuup
Kptea
Stutter shoulder stutter chest
Solo 60 seconds/30/5 rest
Woh woh wee kptea
Hoo woo whit
Wahwahwah we
Woo woo chchchc kptea
Dsh dsh dsh dsh
In stay out in stay. Out
Yeeehy
He heeeer wrrrr wrrrrr hahaha yep yeeeh
Yeyeyeh
Whwhwh wwooofff ha
Image screen rest revise kptea

At the QV stout man (attempts to)
Runs
Flapping penguin propeller arms
Laughter approaching
Laughter following
Red light startled
At the crossing his gazing up to infinite lunchtime sushi blue

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Changing the Names of the Past in the Years of Curious Habits

1. Melbourne, 1968

Except for thistle girl,
we never questioned wiping up
the hidden pools

of urine from under
someone else’s skirt.
Mother Eucalypt’s voice,

known as whip crack,
pitched to scatter even
the suggestion of ants.

There was no use for the yard
either. Outside the Morton Bay fig
tugged threads

from under doors. The four seasons―
did what they were supposed
to do. I swear,

for the well-thumbed chapter of a year,
we never left that room.
Inside the clock spoke

conferred with a no-way-back
roundabout of hymns, confessions,
multiplication tables.

Thistle girl, clever by account
of her ancestral belligerence,
keen to stand high-toe kilter,

described the yard through a porthole―
like us, the yard existed as if
never knowing its purpose.


2. Melbourne, 1970

Seven years old, caught under
the abstract glow of her grimace,
Sister Heath’s

bull-dog eyes appeared
at the palm-end of her
air-curling finger―

if you walk your muddy soul
in the gully, you’ll meet Death
like Mother Magnolia.

Sister’s neck muscles
snapped into inimical position,
tight bundles twanging.

And even though a body
would follow the black trail of her
into the dormitory,

her cold breath huffing
new lists of punishments,
my mind was back in the gully,

inside a vacant bower―there, looking up,
seldom a presence in the light,
pollen’s blanket floating.

Sitting in low-limbed shadows
with moths, the conversation
of leafhoppers, away from Sister’s

God, the one with his own troubles,
away from all
the bleeding bones.

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An Enough [letter to those Melbourne poets]

putting an end to . to fin
ish . after an exhaustion , a sent
ence . not of a person . not a . ho
w of . much heaves . nor to ma
ke pure . nor change . most a how of dare o
r share . much of the space without the cu
t . first the sound them . sec
ond the sense those . first the poem the
se . second the theory . without the line
ar one is . prove to variety they .

yet half if just the said said later wi
th a difference . enough then . eno
ugh now and nothing bundled . and brea
th has less to do than ever . no
t barren . or rich . not this writ

istling . neither resolving the li
near nor solving the circle .

probably the atom more rearr
angeable than the alphabet .
a search for beauty nor to stump .
nor how thort followed think
ing . . no
r an intervention .

nor stating a th
ing a thing more appropriate under
neath . a somewhat flippant strange co
mment surface .

nor to make no . concessions be
cause of the difficulty . these poles ha
ve the between them .

the
re is nothing to show for th
is . the moral is honest eno
ugh to turn on quicksand .

Posted in 62: MELBOURNE | Tagged

Streets

twentieth century flinders st
was a salon throng
south eastern bitter tinny
tasting koala skull
psychofederation that tanned
orange into a current
sponge cake million fake
denim catwalk corporate
smoothie shop.

sydney road is a
pram sucking wedding
smothering gutter beer
swilling turncoat bubblegum
runway that can spit
further than thornbury
& looks shit but isn’t
& stretches like rabbit proof
fence.

elgin/johnston st will
sink into a nose blowing
green river of gold
detritus sweeping foolish
pregnancy testing ideas
people into dull trends
& will flatten into a flathead
bike tube esplanade costing
darebin.

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Worry rung (Wurrung)

The hour strikes and you strike
back a feathery blankness pre-Socratic
mean sets up a fervor specked with
broken elements, waking to the heat
and driving hither air and you particulate
the more like license of a congregation giving
itself an audience giving starry
bodies flashing on her head
that vent or gain conversion to
cessation made a ruse of pastoral

The observer stands in front of living loops
enhancement, aft of public stripping
further to a child’s order
inside out, a Circuit of the Mind becomes
monumental in the cardiac sense
you swallow the Museum the day’s
cavernous architect enfolding
the night we count invincible, as
in we swallowed continuously and naturally
sliced through, translate

you’ll end the weekends of your castle hands
moving your cultural life through earth
unaware as water on the floor approaches
rivulets translating red divides
the cave between a contact troupe
committed to a hall, entering in terms of
collage, hermosos hijos smiling in small loops
with an accent pretty city
ochre talking through the caves they meet
the red hands touching on the walls across the long walks
through protective stone you are providence to a fable
later made of teargas blown across the vowels
kindly, very nice

Turning fell to a machine, your body
swerves its balance inside shoes
in which we understand the peeled-out inhibitions of
comparatives blind history
waste arrivals only pelt the beautiful children
part the legs continuously performing axis
past the jacket a community gave
to get it fixed, burn on the design

stippled in text the bred reeds make
the images of sky fall down
the city as she walks to get
the famous bakery items crumbling in her mouth
she’s folding another country further asked
for body ankles and the touch
stones fresh positions for the hair
finger scales in excess proven instruments
gently take on kitchen splashbacks Wathaurong
Glass and stories, we’re really trying
feedback for a mock trial of witnesses
none of whom can be said to have seen

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Williamstown

1

low native scrub on the promontory
palm-ends splattered with birdshit

upper decks of ships
luminous in the Bay

cloud from the northeast gathers,
the poems dry up,

at the edge of the military base, leaves hang
awaiting scent release

the closest gum, a scribbly trunk,
red-tipped branches,

amid the foliage, bunches
of spherical green pods


2

turbulence on Port Phillip,
Hobson’s Bay out of sight, behind the station,
Corio behind the football stands

anamometers spin

three khaki trucks
two yellow outboards

cirrostratus as punctuation


3

rusted locks face south and east

only the upper level cognisant of light

the rail draped with spiderwebs

a loose strip of flywire

fur jacket on a collapsed settee

The Oxford Book of Jurisprudence


4

a kite, bird-shaped
above the depot

above a protected cove
of black swans

vessels silhouetted
seaward.

the brilliant device
perturbs local birds

hovering low
over the parade ground

an asphalt park’s
empty space,

wire fence disappears
over a hump, on which

the great one falls
entangled on barbs.

over the battery
gulls rejoice

the raptor, unpicked
lifts off, then plummets

gains altitude again,
then it’s gone


5

low coastal eucalypts, ti-tree, palms (introduced)
bend with the wind

figures leave the park
waves flatten

lights, port side
of a monolith

shades of grey-blue
above and below

an odd chromaticism
ship shape under cloud

chatter of settled birds
upstairs, under billiard lights

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In Line

.
.
.
If I stand here
with my references
and wad of cash
but I won’t
stand here
with my references
and wad of cash
I am tenth
in a line of
borrowed suits
and excuses
and my hair
isn’t quite parted
the right way
but there is no
right way
and nobody
notices the lack
of security
and dodgy leaky
gritty sink
taps on the blink
if taps could
blink
and if I stand
in
line
I might not miss out
on this des res
or I miss out
on this des res
and not miss out
at the tapas
van where
references and
wads of cash
are in short supply
and I am fifth
in line

Posted in 62: MELBOURNE | Tagged

Melbs

pelt harbour / more of the ice-same. ‘memories’ make a ‘memory’ seem triffle / seem tripped. ‘i don’t understand why we’re’ memories make a memory bank extension no? ‘i’ no ‘you’ want ‘all my memories’ up. who knew there was a cave under the citilink so we walked through it / no ran & i ran back again / i ran back to call your father: ‘dad – don’t explain.’ i know what a trip down rock-lane explains: ‘are you bored?’ i said ‘he’s a pebble’: no refraining. a whole nother shelf reels extended in the back-lane. you don’t know coburg’s secrets cos coburg doesn’t know / they’re like the things that kids know / triffle. mums made this possible. who pulled all the cars in. who put each shoulder to a shelf – the only reason you know this is cos everyone kept driving their kids. memories make a right-lane extended: don’t trip. don’t call attention a: ‘don’t think about that’ guy clagged your hand-brace / made a four-letter ice-break / put a dog in a kind of open-ended family-type station with the radio turned to on / it’s tuning. always assuming there’s a station and what if all your ideas are in the bottom of the coopers and the beer’s done & it’s closing? quit: i call a favour. rabbits make this tangent. don’t expect them / don’t reject them. they bounce into screen / make a nuisance / make sense: a boy is just a simple returning. that is it is no thing to ‘don a bother’. open old streets onto a pale street theatre / call shots / call game / take a cake of salt to your craving and give it all kinds of names like ‘now’ and ‘elsewhere’ or ‘i knew there was no returning’. mice make for an indelicate returning. wherever you are they are / sorting broken glass from the future / HA. i see your door frame and raise you game / more than ice / it’s coburg door frames. it’s car doors whirring. in the present it’s your mobile making candy threats punching out your big-fame.

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Carrionblush Hotel

(Abbotsford)

reanimating the squirrel stiffed
in your pocket. A light bulb holding you above the surface.
Keep yourself south of the sidewalk
Myself as girl I take a gin in the bathtub
Sixpence abortions round the corner of your
curled lips, widows peak
Grey hat on the corner of the League of Beautiful Thighs

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The German Consulate in Melbourne

As seen from the street the building was reminiscent of a
German consulate in Melbourne.

— GIORGIO DE CHIRICO

… take any risks you like, but never listen to a deconstructionist.
— CHRISTOPHER KOCH
author, and grandson of J. A. B. Koch,
architect of the German Consulate in Melbourne


Abel Tasman, whose sea-faring adventures in the great southern oceans — having cartographed Van Dieman’s land out of the austral island, plotted an inverted Novaya Zemlya, and pondered Psalmanazar’s boast to have eaten human faeces or flesh in his Historical and Geographical Description of Formosa (2nd ed.) — found his most ardent admirer in one Johann Augustus Bernard Koch. As soon as Johnny “Kokosnuß” was old enough to dream (he was the kind of boy who would have asked to be born), he dreamed of the explorers’ strange land, where style stood preontological to Hegel, & prephenomenological to Husserl; where the body was subjected to nothing more than an ozone-depleted Atlantide or the brunt of a bronzed sun in paradise. At the age of eight — in 1855 — he was to journey, after a short circumnavigation (divagation) of Die Künstler, to Melbourne, capital of the British colony of Victoria, where he was to aspire to become a speculator on the Zeitgeist (for his signature was daedalian and case sensitive). — Which would not have taken even the most sittlich of the nineteenth-century golddiggers by surprise! And so he found himself flung into a quasi-respectable milieutopia. Like all those around him, he was from somewhere else. Two worlds: one substantial and legitimate; the other, irreal and exoticist. The island continent was more than a real frontier, however; it was the last “Other”. Yet, despite its quickly filling “emptiness” (terra nullius), it never did transcend for him the idea of the New World as such, nor counter the predominance of the transatlantic. It was, at base, base coin — from the silver dump to culture as exhibit. To the splendid mansions he built, to the German Consulate in Melbourne, which only a poet or painter could ever dream up …



Acknowledgements

The poem ‘the german consulate in Melbourne’ was first published in pointcounterpoint: New and selected poems 1983 – 2008 (Salt Publishing, 2007).

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The Weather Broadcast

i could not look at you on the weather

when they panned across the nullarbor i kept my eyes on the floor til it swept up the gold coast

you reminded me too much of the boy


nevertheless you persisted. the third date i was cast into the iron-green crest of the state library you breathed me in a new ventricle, laneways unfurling. to university on a rusted bike and the trees framed with sudden clarity my passage to the horizon. you smelled right, old paperbacks in bookshops, lentils simmering, even my reflection glowed


i stopped dreaming of the boy.

there was no space on the couch for two, no salt on my tongue, no ghost of Lot’s wife gazing on the old city

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Plus Ça Change … 1981–2011

HOMO NEST RAIDED, QUEEN BEES ARE STINGING MAD

— JERRY LISKER: New York Daily News, July 6, 1969.
Report on the raid by the Tactical Patrol Force on the Stonewall Inn,
a private gay club, at 57 Christopher Street.

Listen. Whatever we do from here on out
Let’s for God’s sake not look at each other
Keep our eyes shut and the lights turned off—
We won’t mind touching if we don’t have to see

— PHILIP WHALEN

1: Move On (1981–1983)

[Chief Justice of the Family Court]
CALLS FOR REPEAL OF HOMOSEXUAL LAWS
[New South Wales government] COY
OVER RIGHTS FOR HOMOSEXUALS
HOMOSEXUALS GAIN RIGHT TO VISIT
U. S. [Stupid As a Painter by]
JUAN DAVILA GETS AN
R-RATING [at the Sydney Biennale, for
“explicit
homosexual material”] [Armed] SERVICES DRAFT
NEW RULES ON HOMOSEXUALS BAN
ON HOMOSEXUALS’
[Ex-Servicemen’s Association] WREATH BID
[at
War
Memorial
service]

2: Look Back in Anger (1984–1988)

EQUALITY FOR GAY DE FACTOS
A[ustralian] B[roadcasting] C[ommission] POLICY A TEST FOR
GAY RIGHTS SAYS LEGAL EXPERT P[ublic] S[ervice] BOARD
WON’T ACCEPT GAY PARTNERS — “I’M OWED SOMETHING”
SAYS BLOOD AIDS MAN [Anglican] DEAN [of Sydney] ATTACKS
ABC OVER GAYS/AIDS: A PHONEY WAR’S PALL OF
FEAR POLICE GIVE AIDS THE SPRAY FUNDING FOR
HOSPITALS SLASHED AIDS-INFECTED INSECTS MAY BE
TRANSMITTING DISEASE GRIM REAPER AIDS AD ENDS
EARLY REAGAN BACKS AIDS FIGHT AIDS WAR STARTS: 2
MILLION AT RISK BLOOD BANK EXPECTS NO LEGAL
ACTION OVER AIDS SHOULD WE ALL BE AFRAID OF AIDS?
AIDS CONFINED TO HIGH-RISK GROUPS BLOOD TESTS SHOW
AIDS PLAN PROPOSES TESTS FOR LONG-TERM PRISONERS

3: Boys Keep Swinging (1989–2000)

[Australian] GOVERNMENT TOLD
IT BREACHED GAY RIGHTS TAS[manian] GAYS
EXPECT TO BE CHARGED FEW BLINK AS HIGH COURT JUDGE
KIRBY GOES PUBLIC ON [his] HOMOSEXUALITY GAY [cabaret
drag] ACTS UNDER FIRE FOR
RACISM
ROMANS PUT
ON A GAY FACE LIMITS
TO EQUALITY [for gays]
MORE LAW CHANGES FOR GAY COUPLES
R[eturned &] S[ervices] L[eague] DECLARES WAR ON
HOMOSEXUALITY
POPE FEELS
BITTERNESS
OVER GAY FESTIVAL

4: Silver Jubilee On: And the Beat Goes On (2001–2011)

GAY TRIAL AN
ISSUE OF STATE SECURITY IN EGYPT
EGYPT JAILS 23 OVER [being in a] GAY DISCO
[Tom]
CRUISE WINS: HE’S NOT GAY
U. S. GENERALS ADMIRAL COME OUT
OF THE CLOSET MACHETE MAN CLAIMS
BIBLE PROMPTED
ATTACKS ON GAYS SPAIN:
SAME-
SEX MARRIAGES GET GO-AHEAD
ELTON JOHN TO WED DAVID
FURNISH RIGHTS ACTIVISTS RECALL A TIME WHEN
GAY
SEX WAS
A
CRIME
GAY HATE CAMPAIGN ROCKS DEFENCE FORCE:
HOMOSEXUAL SOLDIERS OUTED ONLINE AND VILIFIED FOR
“FILTHY LIFESTYLE”
This cento has been composed entirely of headlines quoted verbatim from the poet’s “serious” hometown broadsheet, The Age (Melbourne, Australia), over the past thirty years. Any elucidations or interpolations are indicated in square brackets and are printed in lower case.
Posted in 62: MELBOURNE | Tagged

Fed Square Spots Romantic Three Storeys Up

Don’t think I can’t see you
thumbing your nose
at my reputation
Lady-of-the-Tennyson poem

You should know I am here
trumping Gas and Fuel ugly
Lame water feature, flat screen
no one loved
Volcanoes of bluestone
have given me up like a martyr
River pebbles
will carry you downstream
Just you dare

How many times
have I watched you
cocooned in a spider’s web
Hair down your back
to attract some dude

Four gray walls Four gray towers
Background scenery in your book
You can’t bear to look at me these days
Straining to see the reflection
of some flaneur punting up the Yarra

Remember, I am most dramatic
in silhouette at night
When white lights shoot shards
that should have been
Black suits imagine they’re in
some piazza in Rome as they sip
Pinot Gris, order tapas
Not that you can see

After a hard day on Collins
Off home to tuck the baby in
Kiss the wife Goodnight
Maybe more
Not for you, my dear

Back to your fantasy
Tapestry with the gaps
Peep through my honeycomb, Madam,
You’re done

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Simon Stone Circa Whenever

I am Simon Stone. Or I am Simon Stone’s idea of his public image. I am Simon Stone’s publicist’s mother.

I am Simon Stone’s publicist’s mother, standing over a garden bed, looking at the sky, and thinking ‘Huh, good job I guess.’

Her daughter is on the phone sobbing because a newspaper printed an article called Simon Stoned.

Simon Stone in a rage this morning, we forgot to think about him last night, and he’s really upset his publicist didn’t embed those thoughts better.

Simon Stone tried to finish The Simon Stone E-newsletter tonight but lord knows that thing goes for 444 pages.

Simon Stone Fruit. He’s not even joking. He wants in your kid’s lunchbox.

Simon Stone is trying to figure out if and how that article about Haiti is secretly about him.

It probably costs like $7500 to fly Simon Stone to Melbourne to speak at a writers’ festival or playwriting event.

Simon Stone, sitting back, sipping a Bundaberg and Coke, imagining middle Australia; a hot dude telling me Belvoir Street is a dive.

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Orientation

i felt sad when the NY man left
i was on a tram
travelling west on Bridge Road
towards the city
i cued a tune by Beirut to repeat
while i smiled through smeary windows
did some tears

in the centre i got down
took the alley
full of overhanging
awnings and windows throwing
the colours of people
crossed at the crossing
entered an arcade
remembered a birthday
late so
bought a gift
in slow
motion
for another man i love
then personal cosmetics
in the plain white light
of a day spa

i was lucky since a waiting tram
was mine and
travelling north along Elizabeth Street
at the market intersection
on the aluminium seats
i saw a girl
with
the thinnest legs
i’d ever seen
in tight
pale blue denim but she
was really laughing
(its blue was not unlike
the wrapping
on my
fresh present)

going up Victoria Street
i talked to myself
silently in imaginary discussion
with the NY man
whose body all the while
was in the tightness of a plane
travelling east
and mostly very north

in the inner west
and very south i left the tram
stepped between bumpers and
went breezeway carpark footpath home

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Grey, Green, Silver (elemental machine)

I had forgotten rain’s mechanism: how it doesn’t fall
but is requisitioned, plucked from a city’s plumage
that in its arrogance of towers has forgotten to ask,
windows like little green parks
peering onto cafes, consultants’ cases
arranged between tables like fat, black tails.

I had forgotten that only when those who are changed,
damaged, awry, stand beneath the peppermint
gums’ crabbed and burled witness, touch
the grudging tapers of its foliage, somnolent chandeliers
lit by evening unrolling like some honey
flowing fabric flung across market
trestles for those who have arisen and gone,
homing from their burnished councils

only when tiny paper boats
of chance and repercussion have navigated
beyond permission’s precincts, down acquifers
of possibility and hodge podge, a transit across
the river’s floodlit shimmer, tap dancing
for the gauged seasons—only then does the rain begin
sheets of pewter coinage poured
into that unexpecting, unresisting lap.

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Snottische.

Richmond hotties are hotter than other kinds of hotties but harder
\ to find (trobar trouver)
They may not even be hot at all
There is a man with a bag of tripe.
I wonder is he thinking ‘Tripe Shantey?’

The hands give it away a little bit
The hands give it away every time
The hands give away nothing (prokoffief sneaky bitch!

Last night I was t the pub with five people I wanted to fuck at some
Time &
Last night I wanted to fuck them all last night! Hiho &
Aukenward.

Gorgeois Karen (Black) we called her ‘Death Bags Murphy’
Death bags Nasty. Death bags goes to Hollywood
\ as shae did
Which is this poem except that the real we
Sit in Richmond over late lunch for breakfast (for which we fight the supper-fly)
Judge the faccions of others with a less than sporting eye
Laugh rippishly – you know – ‘the flickering little victory’
O my bonton bébé be my little
Cobra in a box?
Xx

Vida: Nora Pike was married to a Victorian Lord, and spent much time at court in
‘Melbournen’ [which means at once ‘everywhere a swamp’ and ‘Triggertown’]. Though
she references others in her songs she seems to have been the only trobairitz of this
place, and so she seems to have believed whatever pleased her. She made and sang many
fine sirventes and canso, was red in the fur and was oftent’ called ‘the
greatest of gingers.’

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