99 Problems

After a short film by Ross Killeen

You’d see him after school, clattering about
in his hot pink ice cream van, dispensing fistfuls of joy
from broad, calloused hands. Seven days a week
fronting raucous gaggles of us, rapping the counter
with his knuckles to call us to order.

We’d chase him like a pack of alley cats —
slick skids on push-bikes, screaming at slow pokes to keep up.
Burst-lunged scrums of us huddled at the high end
of the estate green, whooping at the wonder
of soft milk solids; the buzzy rush of sugared blood.

The hours suited him — no mother would let you eat
ice cream before noon, so he’d start the van at lunchtime
and be out till nine that night. He’d spend mornings
at Baxter’s gym, bouncing punchbags off his shoulders,
toughening them up between bouts of sparring.

Once, my ears pricked up at the squeal of a diesel in a
rushed reverse — a rival van had boxed him in down
a side-street, but he’d come out on top: when I arrived,
he kissed his scuffed-up knuckles, winked, handed me
a ninety-nine (two flakes); said don’t tell anyone.

The streets are emptier these days —
fewer kids, waddling about with X-Box bodies —
but you see him still, head hanging out of the van,
yelling a half-threat of violence if you don’t buy a cone,
doling out sweet, generous dollops of delight.

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Bad poems

1.

It’s fucking odd to know you’re also just
another person. Makes sense, I guess.
You too drink cold Milo and spill coffee

on whites. You too write bad poems
and read better ones. You too sing off-key
in the shower and totter off-kilter

after three glasses of wine. You too
walk beside me, glancing up
into sun-glittered tree, squinting

to see the culprit:
a lone lorikeet, screeching.

2.

It’s fucking odd to know you’re also
attracted to me. I mean, I like me
but how the fuck did we get to the point

where you like me too? We both drink
cold beers and spill curry across white
tablecloth. We both write bad poems

about each other and read better ones
in bed out loud as day whispers
through hotel’s curtains. We both glance up

to see the culprit:
the sun singing, rising.

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Trick or Treat

October 14- Australia votes no to an indigenous voice in parliament.
October 31- My four foster children want to go trick or treating.

It’s too hot in Perth already. The 8-year-old has taken off her Wednesday wig because she’s sweating. She is now dressed as “gothic girl”. The 3-year-old in his batman onesie eats every treat as soon as he receives it. It’s the best night of his life. The 7-year-old is Autistic and stops to inspect the Halloween decorations, checks with me what is real and what isn’t, makes sure his brothers and sister take the correct number of lollies. The 13-year-old is too hot to wear a mask, he has ditched the cape too. Now he’s just a teenager wearing black, asking for free food and it dawns on me, that he is an Aboriginal teenager, wearing black, asking for free food and my stomach sinks. I call him back as he runs ahead to the next house, tell him that he can’t get treats if he isn’t in costume, when I really mean, they might not even open the door to you. ‘Do you think you’re getting too old for this?’ I ask him as he gets his treats from the next house, despite wearing no costume and being as tall as me. ‘Never too old for free treats’ he says, and I hug him next to a ‘Vote Yes’ poster discarded on the ground next to us.

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Bio-diversity Note

Moving through this climate-fucked world
in a racialised body made Australian by birth
made Asian by an askance glance of the white gaze
claimed hybrid by the pride of identity politics
and anthologized by diversity ticks, half-

marginalized by ancestry but privileged by class
announcing my gender as a Cartesian metaphor
floundering upon pronouns as I fall
through age groups that keep ratcheting up
like bracket creep, feeling seen

as the patchwork of my belonging comes into being
through coordinates of place, race, sex-
uality, mobility and brain chemistry to forge this
teeeming bio-diversity, this identity sales pitch
for a submission checklist like census day come early

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Fullest

I’ll allow happy enthrallers,
unruly and sparkly-booted. I
know them and I wave them
through.

Can clear roads fascinate? Arise,
mist, and surprise me! I just
trust updrafts: if I fall off a cliff
I’ll laugh.

I’ve had it with eking; cream-
cake’s for drowning in. Commit
like an ocean wave, risk ruin, fall
back, spout foam, shrieking!

************************************

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Reflections on a Waiting Room Lithograph

after Käthe Kollwitz’s ‘Mothers holding their sick children waiting to consult a physician’ (1920), lithograph

I.

No one knows exactly how paracetamol works:
its mechanism for reducing the body’s temperature
a black box according to a lengthy article on the subject.

I read this article on my phone while my daughter
fights fever in her sleep. The blue light in my palm
forms a raft in the darkness. She is as warm

as a stovetop. Heat radiates in small waves so that
I feel it through the air: without touch. I say stovetop
but I mean pulsar. My neutron star with the sticky brow

sweeps and rotates, turns to and then away from me.
On the bedside table, a bottle of children’s Panadol
stands guard. The plastic, stained brown like glass,

feels weightier than it should. Clear syrup,
its strawberry tang unmysterious to the tongue,
swallowed by nightlight’s glow. She sleeps deeply,

cooled briefly by a commonplace elixir
only partially understood after seventy years of use.

II.

The women in the lithograph hold their children
to their bodies. We do not know what ails their offspring,
only that the date indicates global years of pain:

an influenza pandemic has churned out more loss
than can be absorbed. Their exhaustion
so palpable, I feel its dull weight in the space

between image and eye. The women, huddled in
the waiting room, speak only to their shadows.
We do not know if the shadows speak back.

And perhaps we won’t ever understand what eases pain:
even the healing properties of time are unstudied,
intuited by those whose wounds are no longer tender

to touch. Eventually the darkness drains from the sky
like fluid. By morning, the night is mostly forgotten.
What else is left but a cool, bright mark. I know

the worst is over when she rises and lunges for me:
leonine, hungry for water. I think: if only sickness
could be thwarted by the fierce worry of mothers,

wrung out and tossed aside by their skilful, death-
knowing hands, then we might never be ill again.

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Coffee Donuts

for Nicola

I’d never had a confidante before. You looked at me
like I was the salmon of knowledge, and, sure,
I knew calculus and could recite King Lear
and the periodic table of the elements,
and I was told I was a great kisser,
though I knew nothing of fucking,
and only pretended to have actually done it.

We were getting ready to go out (out-out),
Levi’s and camisoles strewn about the bed,
hairspray hanging in the air, and that perfume
I brought back from summer in France—
we always pulled when we wore it—the Martini
bottle almost empty; we used to leave
a finger to prove we weren’t alcoholics.

We’d been to the place in the inner city
to go on the pill, and we couldn’t stop laughing.
Let’s never get married, you said, afterwards,
and I said, never! though we both did.
Let’s always be confidantes, I said. You weren’t sure
what coffee donuts meant in this context, exactly,
but you signed up, regardless.

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How to treat a dairy cow

Swap the number on her laser-printed electronic ear tag for a name.
Name her for something rare and precious, something
Earth has produced as a miracle. Emerald, say.
Name her without appropriation.

Consider her hourglass face. Her time hasn’t been her own.
Give her time, cow time, a good twenty-five years.
Let her decide how she spends it.

Admire the yin-yang of her coat, her long, appraising stare,
her eyes that take in light and all she’s seen, their secretive lashes.
Understand her blind spots.

Re-think your grammar: refuse lactations plural.
De-frenchify your lexicon. Lose the duplicity: if you eat it,
call it cow or calf, not beef or veal. Go further,

lose language altogether. Stand on all fours. Begin a day-long wait
on shit-slimed concrete to be hitched by your nipples to a machine.
Feel the stupefying cold make its way up through your legs,

between your hips, the skin slung between them like a collapsing tent,
and down your useless switchless tail, even as your full udder burns,
stretched and pendulous as a water-bomb, so swollen you have to straddle it.

Google udder size. You’ll find her genes are engineered for yield
and milkability. Next, search markers for chronic stress, tie stalls, zero-grazing
systems. Don’t trick her into thinking she’s outside.
Ditch her virtual reality mask.

Look elsewhere. Follow Denmark’s rulebook: install a tube-broom
scratcher and a salt-lick laced with molasses. She’ll know exactly
what to do with them. Watching her, you may see something of yourself:
a need for trust, for unselfconscious pleasure.

Think Sikh. Judge the moral quality of the State by its cow protection laws.
Summon Khamadhenu, fragrant one, cow of miraculous powers,
cow that fulfils all desires.

Campaign for bovine rights. Persist. Feel for those who tell you
you know nothing about her. They’re squeezed between the world
and their idea of the world.
Let her keep a calf.

Or, if her last has just been taken, take the risk. Find her an orphan.
You’ll be surprised how soon her eye-whites disappear,
her ears begin to slacken and hang backwards
as if they’re starting to come loose.

Turn off the let-down music. She needs to hear only danger
and the bleating of her calf. Listen to her low lowing when he strays.
Learn to differentiate her calls.

If all that’s too much to ask, do simply this: release her into pasture
with a tree to ruminate beneath and the company of her kind.
Expect nothing from her.

Now treat yourself. Go out on a cloudless night and stand
among the herd. Just you, stars, cows and the sound of tearing grass.

Note: ‘squeezed between the world and their idea of the world’ is from the poem ‘Spiritual Chickens’ by Stephen Dobyns.

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Delicate Men

I wake up in the house
happy with the two men
who are sleep-creased and delicate.
They are trying out new meds.
They compare notes
and sometimes do cautious swaps.
They take it or they don’t take it.
Sometimes they double it and crash.

Our conversations consist of:
A/ unlikely animal friendships
B/ cleaning products for glass
C/ resumes written by ChatGPT.

When I change the shower-curtain
I look at the Dutch people printed on it.
The boy and the girl are always kissing.
Only the boy gets a panel of his own
on which he skates with hands folded.
What can he be looking for?

This day that opened with hopeful doses
ends with the scene of a polyester sea,
the swapped out curtain,
suspended on the clothesline
so close to the waves themselves
that we laugh watching
dazed butterflies as big as small birds
flapping across its depthless blaze.

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This Be The Chorus

after Philip Larkin

Like mine and yours before,
Theirs, and my own to come,
Our flow-on of flaws is more
Or less the root of the sum.

When faults are handed down,
Where can you lay the blame?
You end up making your own,
In turn, they spell out your name.

We’re fucked up after all,
Like a fool in an old-style hat.
Come, know what it is that you will
Die for; start living for that.

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Three Durians

i.
Singapore, early monsoon season.
Your uncle comes home from the market
with three durians in a plastic net, helpless
and threatening as string-bound mudcrabs.
He sets them out on a chopping block
and splits them with a meat cleaver.
Their insides are a putrid-sweet secret
glistening under a surgeon’s lamp.
You think of the Old Testament stories
read to you in class, of a slain brother’s black blood
crying out from the soil, of a lust that writhes
and agitates inside God-anointed men
like a ball of serpents. The stain of a strained fruit
plucked by your ancestors, their criminals’ fingers
crusted with the promise of divine candy
turned to rot. So you understand yourself
infected with the same disease. You are a blind leper
languishing on a dirt road, a bad son
crushed underfoot by your creator
and all your Singapore summers imitate these scriptures:
you gorge yourself on durian until your breath
turns fecund and foul, and after, you drink saltwater
to rid yourself of the smell. A weird sacrament
for a Buddhist child to observe, but you observe it
faithfully; sip the saline from the durian husk—
the cup of thorns overflowing
not with blood, but with salt.

ii.
Blacktown is home, is the bone-dry heat baking
all the Western Sydney basin when Dharug summer
radiates from black asphalt like ancestors’ ghosts.
Your house is too small for all this yelling,
your parents’ curses burning holes in the carpet,
their no cow sense and I hope you die with your eyes open
shocking the windows like a violence of thundercracks
from within. All the while the double brick facade
expressionless as a hockey mask. Every weekend
you watch your father shear back the lawn
and think about the buzzcut heads of Singaporean boys
sent to weapons training at eighteen, an age you cannot fathom
ever reaching. The years, months, days
are intolerable already. How often have you wished
you had never been born? In your mother’s house
it’s always the same storm, just different thunderings,
each fork-tongued bolt of lightning striking
once, twice, three times at the familiar grievances
like salt rubbed into old wounds, or tilled into new soil.
And there you are: growing out of it, cowed and quiet,
withering on the branch like diseased fruit.
To be known here is to be naked, and to stay intact
one has to cultivate a hardened shell, a thorny demeanour
and a way to cover up that rancid stink
even if you believe that you could never be clean.

iii.
You grow up, grow out of your parents’ dreams,
exhaust yourself trying to explain
exactly what is a durian to the uninitiated.
(It’s easier just to show them your spikes.)
You live half a life barbed and difficult, another half
scrounging for a knife strong enough
to split yourself open, and do this all long enough
to know that if you wrestle with a durian
you will only hurt yourself. Better to leave it
until it ripens to its own breaking point;
better still to accept that bruised fruit
never falls far from the tree. You learn to accept
this like a bronze medal, equal parts sweet and sour.
Therapise yourself as you might, you will never not
have lived those years in the desert, sand-burnt,
half-mad, grovelling after manna from heaven
and the pillar of smoke twisting always
just an arm’s length out of reach. God doesn’t care
for your atheism; forgiven, forgotten or denied,
your childhood is as binding as sacred scripture.
All its rooms are inhabited by the smell of durian,
the memory you carry. You can only hope
that someday you may partake of the familiar fruit
and hold before the saltwater
not only to ask yourself if the cleanse is required,
but to question whether you have ever been unclean.

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Unmentionable

It is almost never 7 o’clock in the morning
in Melbourne city, after the trains run
out of the dark, lit only by passengers
I’m shopping for kinds of winter
letting the marshmallow in my [brand]
[brand-specific size] hot chocolate
heat up soften and geal, such that
I can pressure-differential-with-mouth the thing
through the tiny rounded rectangle hole
in the to-go cup, like the sun through the dawn

I am guilty
of incredible topological violence
to the dusted shapes
of sweetness, and the forms
I am going to pressure-differential-with-mouth
your face
though the tiny rounded rectangle hole
in my heart
good morning can I please get two of those
and make mine a ventricle

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The N Word

for Jesse

These things usually
start small
on the soccer field/in the playground –
you be the goalkeeper, no you!
The N word
fell heavy from a rooftop
like a gargoyle.

You kept it together son
but it hurt deep in your gullet
reminding
you were grotesque:
your father white, mother not.
You felt your race
like a granite weight.

The next time
the N is fast bowled at you
keep your shoulders straight,
your grip soft
bat that monster with power
into the brilliant blue sky
where it belongs.

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Cleaning Caravans

To have a foreign holiday, progress.
Their parents never left England.
Retirement savings not enough.
Every Saturday they labored, cleaning

the caravans in Goodrington Park.
Grandad did hoovering and dusting,
Nan the heavy lifting: the stove, sinks,
kitchens. No one spoke of bathrooms.

Two hours tops before the next punters.
The whole summer season to save up
for two months in Benidorm, Spain.
All the caravan cleaning money spent

for foreign sunshine in the old winter.
Granddad shared the swimming pool
with old war enemies, no one speaking,
rivalry resurrected over towel placement.

They returned to spring and a pension.
Same summer work, never spoken about.
Shame and pride mixed with sangria –
a particularly working-class cocktail.

Over the years, the prices crept up,
cleaning caravans lost their sparkle.
Keys handed in. One final trip. A toast
to hard work, the sea, old enemies.

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My Golden Friend

By six pm on Friday afternoon, I take my promised pleasure
from the fridge. All week denied to safeguard function of the
liver, deter heart disease, ensure that I can take the wheel
at a moment’s notice, or simply claim I’m not the lush I could
so easily become. A sigh of sweet surrender to the lull and hum
of its nerve-softening song that tempers all the tensions of the
working week, each compromise and hassle on the street, each
forced smile and weary offering of self. Such Nectar of the gods
feels more like succour of the suburbs as I plop the kids in front
of the TV, flop down beside, prepare to dull my loathed sobriety.
With house keys on the hook, bra strap unclasped, golden friend
and I will sink into easy chair and easy evening, burble platitudes
and pleasantries of nothing in particular, and nothing much to fear
while blurring my ‘to do’ list into background. Cup the cool curve
of my glass, tip the full, round brim of yellow gold, so sharp-sweet
so tingling cold towards my lipstick chafing lips, then let elixir slip
along my throat like liquid silk. Only a glass or two but just enough
to ease, enough to soften creases in my forehead, the stiff set of my
shoulders. Smooth the light and mute the drone of all the buzz and
bluster of the day, rocking evening into golden amber mellow.

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Today

I fell asleep to the faint sound of wedding music.
When I woke, the sun was in my eyes. Mohammed
was standing over me with a tray of coffee and scrambled eggs.

“Writing,” he declared with mock disgust, gesturing
at the laptop on the mattress. “Today you are
banned from writing.”

The ride to Beach Road felt faster, despite passing
the same patches of farmland, shantytowns and palms.
The driver dropped us off by a hut where a man was
napping in the shade, keffiyeh over his face.

The afternoon sun was burning through the blue.
I was dying to jump in the water, clothes and all,
but when I said as much to Mohammed, he said,
“The water is for admiring.”

Fishing boats rocked softly. There were
military submarines two miles out.
The next day we’d ride through Beit Hanoun
after a month of military siege and find the city
unrecognizable. But that would be tomorrow.

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Howl

How to explain to you the horse-joy of this body
but to say—you hear those huskies howling?
Multiply that times ten different kinds of flowers.

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Car Wash Reiki

When all hope is lost
can I recommend
a ten dollar self-care session
(who can afford more
than that in this day + age)
The therapy of cleanliness
next to goodliness
already has a lot to say for itself
so when life is a blur
through smeared windscreen
when you are grimed by sap
and the daily accumulation
of dirt and muck and dust
(on your car’s duco
– but read that as you may)
drive between the car wash rails
sink into your seat
wait for the machine’s
low hum

Then it is a bubble bath
for the qui
Trapped for eight minutes
(by the watch
– your phone is turned off)
encapsulated in time + space
Mind free to let go
its grinding reign
as blue rollers cover you
up and over
sending vibrations
pounding against your chest
Believe me – such blessed release
as you sit embraced
in this slow moving
Cookie Monster hug
When hot air is just hot air
the deepest wounds heal well
sealed under warm jets of wax

Now start your engine
drive on drive on into the day

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Warm all week

thanks for telling me

how to say hi and welcome

in Bundjalung

on my birthday

jingi walla

I kept it warm

in my mouth

all week

jingi walla

it was the only thing

that I could say

with all the killing

and the wanting to die

what should we eat?

let’s go to the supermarket, then the park

let’s cook dinner and watch a movie

let’s got to the pickets and the rallies

did you see my queen on the kayak

stopping the boat?

did you hear our queen speak of love

of the love of the Yemeni houthis

stealing ships from the red sea?

did you see the bodies in the graves

wrapped in blue plastic?



what should we talk about?

let’s talk about Palestine

let’s talk about

our bodies and our clothes

our work and our homes

let’s keep teaching

let’s keep learning

how to say

hello

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FROM THE GUIDE TO URBAN LIVING

(i) How to hug a tree

Find the widest patch of parkland,
the longest line of trees.

Walk the path between them,
like a sergeant major—
walk until your rhythm
dissolves
all notions of hierarchy.

Notice how the trunks are spangled
pale green,
as if the heartwood
is imagining
how to live at its rim.

Sprawl yourself under a canopy.
Let its green wind
rinse clean through you.

Travel your eyes along each speckled limb,
each tracery of tiny branches,
the internet of green.

Observe how its leaves sift sunlight,
how it sounds like water
running upwards.

Yet, when the sun slips,
a tree empties itself
of light and air, unhitches from the sky.

And binds, densely, to the earth.

Lay your spine down
among its roots, and stay,
for as long as you can forget

how to stand up and walk away.

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Mother Tongue

My tongue is not practiced in the yoga of my mother’s tongue.

It does not bend its back to salute the sun, does not curve its spine to whisper to the uvula of പഴം [pazham] and മഴ [mazha].
It does not bend its back to salute the sun, does not curve its spine to whisper to the uvula of bananas and rain.

My tongue does not hop, hitting its head against my palate, to call for അരി [ari] or talk to മരങ്ങൾ [marangal].
My tongue does not hop, hitting its head against my palate, to call for rice or talk to trees.

My tongue does not lie flat, opening its vowels to welcome ബന്ധുക്കൾ [bandhukkal].
My tongue does not lie flat, opening its vowels to welcome relatives.

My tongue does not barrel into a tube for surfing Os, confusing a മൂത്ത [mootha] for a മുത്ത് [muthu].
My tongue does not barrel into a tube for surfing Os, confusing an elder for a pearl.

My tongue sits stiff and thick, swollen with defused plosives and vowels unsure of their own identity.

My mother’s tongue is lithe and graceful, slinking, sliding, summersaulting through sounds.

My tongue disciplines dogs.

My mother’s conjures cats, sings of magic and myth, warms like whisky on a cold winter’s day.

My tongue and my mother’s travel on parallel paths – always together, always apart.

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Tayta’s House

Tayta’s house is like a second home,
A second mother.
We play our games on the Persian rug
That is saturated in patterns, it is made from wool but
is coarse against our bodies,
And for this reason, we are glad that it only gets taken out in winter.
To shelter our bodies from the coldness of the tiles requires our
Tolerance from the coarse rug.

The musalsal plays in the background
Like a buzzing static, their Arabic dialogue projects from the television, and
I wonder how the sound of a language can be so familiar yet so foreign?
I have learnt this before, I know it,
Though there is a struggle to grasp its translation.

But,
Tayta is there to explain,
Convey their conversation in an Arabic that is more tangible to me
In a dialect that is digestible.

I never have to satisfy my hunger when I’m at Tayta’s house
Because she is always thinking about it before me.
Waking up to Jiddo coming back from the maneesh shop to feed us breakfast.
Zatar wrapped in a thin sheet of paper
Tayta dilutes the Black tea with milk for us
For we are children and not ready for the
Robust taste of black tea,
This will prepare us.

Tayta’s house always smells like a Lebanese recipe
Today she is making
Ros bi halib in bulk for the entire family
The aroma of rose water is the smell of giving,
It’s Floral notes welcome me.
Yesterday I watched her chop parsley
That Jiddo grew in the garden.
Tomorrow she will make maekaruna bi laban
For us to eat at lunch
A pasta coated in yoghurt, butter, and garlic
It is slimy, but reminiscent of our childhood.

Tayta’s house is nostalgic
Even when I visit today.
Its décor is outdated, frozen in time
It is almost nostalgic because I am still here
And I have returned, and how can you long to return when you are already here?
Tayta’s house is like a second home,
But it is the first home you learn about culture
And the last home to resemble you.

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Flying Over Birrpai Country

A plane propeller and clouds.

Figure 1: Plane and Clouds taken by Teneale Lavender
























QF126 – let me sing to you.
Will you listen?
Come closer, my voice only a whisper, over the roar of the engine.

A flying kangaroo.

Iconic.

Do you know we are flying over sacred land?
Can you hear her heartbeat?

The strength of Country, a gentle hum
Beneath us.

Always.

Soaring over Gadigal, Dharug, Darkinjung and Awabakal lands.
Taking me home,
Calling me back,

to Birrpai Country.

Gravitational pull, thrust and drag.
Much more than gravity, aerodynamics – white man’s science.
How to put into words?

This country’s pull.
Like a fish who took a vacation.
In the desert.
Thirst.

This Birrpai Country.
Feels familiar,
Like I have been here,

Before?

I know these gums.
How their leaves float,
As they drop from their host.
A blanket, scrunching underfoot.
A sister melody.

Cicadas in the summer.
The suffocation of a humid February.
The taste of salt water on cracked lips.
Deep tangerine coloured clay.

What do you see?
Beneath the wings and the clouds and the haze?
Dense bush?
Impenetrable in your eyes.
No good for farming, I heard 12B say.

Bush.
Harsh.
Dry.

I see life.
A palette of green, grey, and brown hues.
Medicine, food, shelter.
Stories and kin.
Healing.

I see,
Me.

I walked this country with Uncle John,
His country.
Yarning of medicine, waterways, meeting points.
Songlines – so many.
Assessing white man’s destruction.
Us both, dreaming of her revival.

Singing. Calling,
Country.

Can you see the signs of her resistance?
Her grasses, returning.
Thousands of baby gums, sprouting through Lady Macquarie’s lantana.
Fighting back.
Ochre found, colour of ghosts.

Her children – goanna, koala, wallaby, possum.
Returning,

Home.

“Look after my Country girl”,
He turned,
waved.
His car’s tires kicking up thick dust as he drove away.

I will, I whispered.
I will.

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Piano Moving

It is an old piano
and we are taking it to the wine caves,
piano movers in the mini-van, Herbert and I in his black Mercedes.

The piano sits in pieces,
rescued from the Klausterhopf Hotel, Vienna,
the van making its way across the 400 year-old city of vineyards nearby.

It used to play for Queens
and Presidents, but now, it is only us,
an investment banker and her client, each affianced to someone else. Entering

Herbert’s wine cave, we plunge
into darkness. We search for the remote
for the computer to turn on the lights. He pours. We drink white wine,

red actually, a claret,
he explains, pressed without skins and stems. As the assemblers
screw in the piano’s legs, lay down the bridge, attach the soundboard,

polish the bench, I climb
a dew-wet, metal girded barrel in the cellar. At the urging
of Herbert, the wine-meister, I dip my taster in, retract the cool, light liquid.

Placing one finger at the end
of the pipette, so as not to lose the wine, I drink. A melody
floats down from above, tinny. Like the first blush of a summer vintage.

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