
Game with the Wind | Debby Sou Vai Keng | ink on rice paper | 1704x1205mm

Game with the Wind | Debby Sou Vai Keng | ink on rice paper | 1704x1205mm
Deadly flotilla of purposive sails, twisting, spruiking the wind, caught more than a squall, caught a gale, leaving them stranded. Vicious strings of stings, ultramarine webs – spread in the sand, anesthetising nothing. Bloated and swollen, dark pirates deceived in the sea’s silver mirror. Breakers smack sand, whale’s fluke hurls foam – sea’s breathing a false wind
Twisting, manoeuvring, bruises on sand, lethal stings laid flat, nothing to drag, no silver fry entwined. Cnidarians, animated water, trawled Ediacaran seas, garden of sea pens, nodding quills – if there were tentacles, what was the catch? No mouths then, no anus in sight, no teeth, claws or eyes, pulsations only, animated water, clear blue moons, waxing or waning, predictable as water lilies
Stranded in motion, I’m stripped back to bone, my skin is a parchment, hieroglyphic of lines, staring ahead for a change in the weather, at the blueing horizon, around and around, hugging the shoreline, clinging to visage, purple rocks and spume, on this balsa wood raft, both stable and dangerous
Raft turns, follows the current, around to the point, past torn cliffs and back again. Siren sang as she drew me under, and then there’s the other, lashed me firm to this mast. Tell me what’s wrong? If I did it would hurt you. This relationship’s dead, she says, in a hurry, walks gaily through water, waving a hand, disappears into fog
Sea rears up, racing white horses break legs, storm hurling bodies out of the water, great rolling logs, entire trees, a forest it seems, wrenched off at the roots, arms lopped, water lapping, sea smoothed breasts, stripped and skeletal, stranded on sand, sand blasted silver, smoothed dead hands, petrified grin of a petrel, a sand smashed crashed bomber – shattered blue beach-glass, and the bluebottles twisting, inflating – what is this catch that is dry as the sand
Return to the point, the point where I’m turning, here on my raft, which her hands are now clutching, she slides in the seaweed, fingers like starfish, hair streaming sea, eyes of a seal, yet her toehold’s the other, the basking deceiver, booming through fog, won’t drive a wedge, as she picks up the hammer and drives it in – split – ¬my mouths full of sand, and the bluebottles turning, twisting in sand
Rubble of shells all weed and wet feathers, the pirates are stranded, deceived by the sea, what was the catch in those looming pulsations, the strings of stings, a net cast wide, what writhed and was still? Hearts an anemone, crimson and pulsing, shrinking when prodded, dark, dark crimson stuck to a rock, tied to a mast, turning and turning, past the point and back
Here is the earth, here is the sand, each shell discarded, salt stained, sweat stained. Old woman collects shells and says, I will throw them all back, at my age, what’s left? Seen them before, those razors and cowries, cream swirls or chocolate, echinoderm spines – whose eyes will remember, will the wind remember as it gnaws on a shell? All is wound up, poised and watchful
Mind moving matter and the whole world ages, ages beside me, the beach wild no longer but spattered with plastic, the jetsam on ropes, dragging me down, into the current, around and around
Neon flashes and the beach is still writhing, twisting with ribbons of liquid sky. Twin clouds close their lips on a sky of cumquat, sea-winds herd a third cloud, the cumulus, the other, out past the point; it’s gliding, crumpling the ultramarine. Flash – lightning strike – bluebottle cloud, whips of its tentacles, dragging horizon, gone
Pale clouds gone further fractal, reforming, reshaping
Grounds in her coffee cup, her book by the bed
Her shape is a shadow, impressed in white sheets – I smooth it away

Gestures in Dreams, No. 1| Debby Sou Vai Keng | ink on rice paper | 683x1215mm
Dear friend,
In such a small town our car had actually survived a hundred thousand k’s. The tyres slowly rolled over the erratic streetscape and left it flat on the slightly rugged tarred road. The aggressive pattern had long been ground introspective and smoothed. Our car was towed to a drab auto garage. The engine was jump-started, caught between whimpers and silences, reliving its eloquence of the good old days or worrying about its voiceless prospect. With a trunk of dingy rusty gears, it contemplated the highway of tomorrows. The dents needed the plastic surgery of panel-beating, not to mention new-skin transplants. The frail interior was taken apart, we needed to collect its fragile bones and hunt for substitute tendons. Half of the wires short-circuited. More than half of the oil hoses were jammed. The dyspeptic stomach needed to adjust itself to the impure domestic petrol. Would a mug of black coffee help digest the anxiety outside the operating room? But the vent-pipes belched out pungent bitter black smoke. And the filth of the motor oil, its sour smell spread like a discordant nocturne slowly pouring out. And what was the mess of imported used auto parts on the shelf prophesying? Our past was fragmenting into discrete pieces. The rear-view mirror used to have your approaching image from behind after class; the windshield wiper used to wipe off the heavy-clouded loads on our minds; the headlights used to light up the indistinct journey ahead. But the mechanic handed us a critical condition notice. We understood weighing it for scrap was hardly a fair deal for our feelings. But what would ferry us across the time lag from a death-bed parting to the nostalgic retrospect? How should we deal with the haunting codes on our loved one’s organ donor card?
Yours sincerely,
Your friend
who also lost his car
She loves him, the young certainty of a train wreck deep inside his need isn’t fair but is trying like that sun hanging onto an indifferent escarpment mid winter gut his eyes are warm. Will you stay? Marry me?
Under all that grey know the secret garden has rats. Something more free an incontinence of desire still burgles in the grate. The forest is open. Her eyes are not. We all get killed by the ride.
The globe is crowded by those up ahead. This gangrenous queue. We have machines but lack the touch. That dangerous emission from our uncalloused hands. We commute in cannibal majesty to the wall-less, floor-less offices. Parents ate all the furniture ten years ago then headed to the country where supermarkets are polite & they can drive home drunk.
Health scares create jobs that children won’t touch with a barge pole. We wait for robots & “foreigners” to build a future while they fix our bottoms. Still trade, bargain – wouldn’t swap all this for the world even though it is the world it somehow fits these calm old hands.
She’d ring but the phone is estranged. His mortgage comes by for coffee then steals the pot. Jobs are a lie, no more long service leave after 3 weeks retire at 30 sacks of nothing & everything. Weren’t warned as we fretted texting in the womb. But straight as stringent. It somehow gets better. No use complaining, just keeps on raining. We are cut on a rug sign our names in blood. That human curiosity killing a lifetime. Familiar faces. Worn friends like slippers. Truly placed as we discover… this. Another Happy Birthday. Hello teacher, I’m me. Then travel to be you.

Time with the Sky #6 | Carol Archer | 2009 | charcoal on paper | 76.5 x 57.5cm
I was telling Jurgis last night that his bats had arrived again to eat the figs. I said:
‘Your friends have been coming again, the other night, while I was on the terrace, with their floppy wings.’ And he:
‘… airing their arm pits …’ We laughed.
Their wings in the night about the tree, heavy dark cloth flowing through the air, dropping, closing in, gathering themselves …
After dinner we walked through the garden to the sea. Night. The sky full of stars, the Milky Way, past the sea wall the hills full of lighted houses, the sound of a motor, the sea moving silently, waves that advanced as if made of silk, retreating, coming back. A tree that looked like one in Tuscany on postcards, and in the middle of the dark park this lonely telephone booth… lighted up… golden in the night.
Before me longing
and behind me fate
Umar ibu al Farid 1181-1245
More mines in the North. The land viewed from a helicopter, this beautiful, warm red brown expanse that they are hacking at, the skin of the earth that they are constantly cutting away, taking no notice of people, animals, vegetation. But what about the Aboriginal people whose land it would have been. What do the elders around the area think, they probably die of desperation and in silence, only the noise of the miners is heard everywhere, constantly demanding.
On television they were discussing AUGMENTED REALITY. They must have discovered the means to do it.
We went to hear Hilik speaking at the SQUAT, the young were cooking, some came with cooked food, all these squatters – young, vulnerable looking, some amazing hairdos, partly shaven heads, rings through their lips, tattoos.
Squatting upstairs and in some other houses nearby. Some of them artists, radio people, some wanting to be writers. A friendly atmosphere of broken down chairs, cedar staircases painted black, all trying to escape into a freer world.
During Hilik’s talk about sculpture, his sculptures, at one point, near the kitchen some talk, the level rather high, and the young man who had introduced Hilik, calling out:
‘Silence please. An artist is speaking.’
A. rather liked that.
An interview in the Sydney Morning Herald with Bob Gould, of the famous bookshop. He hopes to live till 80. He is 74 now. Quoting him:
‘I am hoping to last for a considerably longer period by the use of considerable ingenuity.’
Maybe we too can use our ingenuity to that effect.
The Birmingham Orchestra conducted by Simon Rattle, a disk of 20th Century music. John Adams’ HARMONIUM – a massive composition with a large orchestra and massive choirs, on a poem by Dickinson:
Wild Nights! Wild Nights!
Were I with thee
Wild Nights should be our luxury!
Roaming in Eden
Ah! The Sea
Might I but moor – Tonight –
in Thee
Women’s voices from the garden next door and above them a crow putting its spin on the discussion.

Lilies on the Dam | Anna Couani | 2012 | watercolour and inkjet print on paper
four weeks since the night fed ice fed you cube by melting cube
on a certain day of July in 2012 commenced sunshine day’s early on
secret smoke the Bosnian bedsocks toed out in sandals
garbage out fire fixed lit compost gone recycling chimney checked smoke blue sky sunny bathmat dry already 8 32 15 inside 12 out burning something green needs attention only down last week
for a first thing blue persisting the dream remembers me now – I made a waterfall out of milkcrates doesn’t matter which colours there’s some bamboo structure I explain to Max from next door remains of something I built with Halliday I can’t tell what it was anymore certainly not my place but of course it has to be continents drift all night like this I dream the perfect virus wipes everything you look for and following Elpenor to some unnamed town in Hell, he re-enacts the roof tumble which is when everyone’s head comes off and we go to the real underworld torsos left frozen the kids upstairs put rubbish on those clean cut neck plinths and what can you say but how would you like it if someone did that to you when your head was off …
… a night of such toil and scribble it down
see in the blue that old cloud comes for me time to time and up to the dairy for inksports for colour drift for the grist oh pleasantly pleasantly by saliva we wash o pups slush tongue of the place Ganesh hello in passing and shall I so visit the elephant kin? be out in the lemonfall garden be winterchipping show growth for winter is the season of garden to lurk and to linger in sickness and health
they came at you with knives
here’s hoe it has a handle x x x then up the garden path as recently set in stone
who knows where next appreciate it and while with the spin of words fresh yellow
someone with some arse to echo birds through the tree
so many mail order green things to ground to mulch to water
the fire worries me that plate at the back needs someone stronger than me to shift
best to be under when they come at you best to be talked down those some seconds
by a radio voice and personable best to go gently dreamless into the tug and tear
something between rumble and flutter and the lowing ruts lower reaches as here the wrens
do flit of hommage and then the radio is with us pianos of the competition
gout and bunion fungus toe you can see why ghosts forego feet
four weeks since the ice night womb went praying for rain now the pump is fixed
behind the back dam a shag suns wings and fans to aid damp rays
only the winter bird does that weed beguiled the rendered spell is timber
saw and splutter and axe betide so many ways surviving
you see I’m in the dreamt of place subtle of the sight before writing on brown paper
in the one secret day of July available among the notes keyflung strung mr smokey say

untitled | kit Kelen | 2012 | acrylic and mixed media |40 X 40cm

sculpture installations 2 in Queen Street Glebe | Hilik Mirankar | wood carving & mixed media | Image by Anna Couani

sculpture installations 1 in Queen Street Glebe | Hilik Mirankar | wood carving & mixed media | Image by Anna Couani

Birth of the New Universe | Suzanne Bellamy | 2010 | acrylic & fabric on canvas | 2 x 2.4m

First Light by Kate Fagan
Giramondo Publishing, 2012
Poetry, Paperback, 96pp
First Light is Kate Fagan’s long-awaited second full-length collection. It was published in March 2012, almost ten years to the day after her successful debut, A Long Moment, was released. Ten years is a mere blip in time for planet Earth, but what does it mean to a poet and her history? Ten years can bring a well of experience and an abundance of living – of living the poet’s life and the musician’s career, and of the academic’s savoir vivre. Labels such as lover, wife and new mother are also pertinent to this slow burning collection.
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This week, Canadian poet Caitlynn Cummings, editor of the Calgary-based journal filling Station, gives us the lowdown on the recent Canmore artsPeak festival, which took place in the Canadian Rockies in June.
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[EasyGallery id=’junogemes’]
Andrew Sayers, director of the National Portrait Gallery, wrote of my work, ‘Trust is an important quality in portraiture. Trust is self evident in Juno Gemes’ photographic portraits’. The portraits published here were created in trust with literary friends.

Southern Barbarians by John Mateer
Giramondo Publishing, 2011
Southern Barbarians is a book that explores both the colonised and the colonizing impulse through the inflections of the Portuguese epic Os Lusíadas by Camões, the explorer/soldier/poet-traveller and heroic poet of the Portuguese. The book ranges from Lisbon to Macao, taking in Indonesia, Malaysia, Warrnambool, and Japan on the way. This is a world where African businessmen in Macao see ‘African wildlife’ in a travel agent’s window, in an image of savannah they are no closer to than the Macanese.
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In his introduction to The Random House Book of 20th Century French Poetry, Paul Auster quotes the great French thinker Maurice Blanchot: ‘Translation is Madness.’ Anyone even beginning to attempt such an activity (perhaps, especially, when dealing with poetry) soon senses the truth in this statement. However, I would add that it can be a pleasurable kind of madness and that for me, working with Hidayet Celan on translations of his own Turkish poetry, the process has always been a genuine pleasure … and only very occasionally maddening. Over the last five or six years of our friendship, Hidayet and I have together translated nine or ten of his poems. He has recently translated one of mine into Turkish.
It must be said, though, that we are friends first, and literary colleagues (of sorts) only after that. Unlike the large majority of poetry that is rendered into languages other than its original, ours is done so without any real thought of profit, or even necessity. Unsurprisingly, our efforts proceed slowly.
Often I’ll ask Hidayet the meaning of a work and he’ll explain it by means of a long and ancient parable, at the end of which I’m none the wiser. Despite the fact that we are both ‘amateurs’ at the art of translation, we still manage to satisfy the other in the end. After all, the word amateur itself comes from the root of the French word ‘to love’. We work together in such a way that it’s not truly work at all: I’m learning his language a little – as I don’t speak Turkish at all – but am at least bringing an affinity of his sensibilities to the process, and the ability to write poetry in English. Plus, there’s a mutual discovery in the intricacies and delights of each other’s world-view and the way it’s expressed.
In the piece of mine which was recently translated for the Melbourne PEN reading, it became abundantly clear to me that my poem (rather Australian in that even while protesting a particular mind-set, it remained agonistic in a dry, almost understated way) was being carried over into a totally different style – dramatic, impassioned, even theatrical. It’s a delicate balance, but often when we translate, we can at best only make the foreign work into something like what the writer would write if he or she was writing in our language, from our culture.
This phenomenon is apparent in a particular way when one experiences directly the musicality of different languages. This was especially pronounced at the recent ‘Freespeak’ reading at Federation Square in Melbourne’s CBD.
The writers and translators represented present were Nguyen Tien Hoang [Thường Quán] and Gig Ryan (Vietnamese), Anne Talvaz and Jennifer Harrison (French), Rochelle D’silva (Hindi – mother tongue, Konkani), Lauren Williams (Spanish), Ajak Mabia (Dinka), as well as Hidayet and myself. The environment itself was perfect for the event: a clear sound-system, quiet, attentive audience that was large enough in number to fill the room – itself arranged so that the focus was on the performers, not other distractions.
Significantly, a number of the pieces were sung rather than spoken – reminding us of the oral origins of poetry and therefore literature. Ajak encouraged the audience to clap in time and rhythmically chant – underneath parts of one of her pieces – the words ‘ya habib’ (my love/dear friend). As a translator and poet performing their work, it had exactly the kind of ambiance one would wish for. The variety of languages and approaches, as well as the brevity of the pieces, meant that very little appearance of the familiar ear/brain fatigue occurred, common at many poetry readings. I represent the views of all those involved in saying that the organisers should be congratulated, and one can only wish that such events were more frequent.
For those who wish to see a video recording of the event, it will be available for streaming on Channel 31 TV’s Red Lobster at some point in the near future, as well as at Melbourne PEN.

Seasons of doubt & burning: New and selected poems
(Five Islands Press, 2011)
Robyn Rowland’s poetry career spans thirty years, with her first book, Filigree in blood, appearing in 1982. Reading this volume of new and selected poems is a journey in memory, an almost autobiography. I first heard Rowland read in 1982 at the Sydney Women Writers Festival and I was very taken by her ability to phrase poems in just the right way so that a listener can follow and take in her meaning. Indeed, for some of her poems in this collection, it was as if I had Rowland’s voice in my head – no easy task for a writer to achieve that. It means that the rhythm or pace or vocabulary is just right.
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Soundscape II | Annette Iggulden | 28x29cm | Image courtesy of the artist and Watters Gallery, Sydney
We relate strongly to the way women have, throughout the centuries, found alternative avenues for their voices using different aesthetic forms. Our interest is with words, images, the interplay of verbal and visual languages in art, the role of words as images and the state of ‘silence’ created by cryptic or unintelligible scripts.
Annette Iggulden has exhibited extensively in galleries throughout Australia. Her work is represented in major Australian collections and at the Victoria & Albert Museum in the U. K. Her doctoral exegesis, Women’s Silence: In the Space of Words and Images (2002), is held in the Research Libraries of The TATE (UK), the National Gallery of Australia and other major state libraries. She has been awarded several artist residencies in Australia and overseas.
During Iggulden’s artist-in-residency (The Australian Tapestry Workshop, Melbourne: November 14 – December 2, 2011), she commenced an investigative series of works on paper, re-writing the words from ‘Aus-lan: Australian sign language’ by Australian poet, Jennifer Harrison.
Says Iggulden …
‘During my three-week residency at The Australian Tapestry Workshop, I concentrated on several investigative series of works on paper drawing from the poem ‘Aus-lan: Australian sign language’ (1994). This inspiring work looks at how the ambiguities of life might be expressed in different ways including ‘signing’ and other bodily performances of language, written, spoken, felt and experienced. Soundscapes is one of those series.
I am always moved to learn how groups of people have, throughout the centuries, expressed their ‘silence’ by creating their own language and forging alternative avenues for their voice. I copy the words of others, re-writing their words using the two cryptic scripts I have derived from alphabetic writing in my art practice. My intuitive method of re-inscription changes the written text into a visual image. The act of writing then takes on the role of drawing. The handwritten scripts retain a sense of the voice while enhancing the nonverbal aspects of the narrative, its ‘silences’. My intention is never to illustrate the text but rather create a different experience of its content’
This work looks at how the ambiguities of life are expressed in different ways – including ‘signing’ and other bodily performances of language, written, spoken, felt and experienced. Iggulden’s does not illustrate the text, but expresses it in a different, visual language. We wanted to explore how technological workshop methods might transform words/images when embedded in cloth.
Aus-lan: Australian sign language My deaf friend said to me: our conversations are overheard, everywhere we speak. He teaches me the sign for Sydney: the shape of a harbour bridge, skin webbing blue water. I hear a quiet voice in my hands in the silence when I am speaking and foam, rubber, snow and glycerine seem softer in the fingering span than spoken words falling short of what they name. I once saw a baby catching sunlight in his hands— everywhere the child touched he laughed at what he could not touch until language wheeled his pram away and he learned that silhouettes and sun were called chair and where. Precisely, in mother tongue, we categorise the conch shells, sea hollows the safety pins and taboos. My friend said: I will teach you what you need to know... other signs belong only to the deaf. He teaches me the sign Forget it is a fist placed against the right temple the hand opening, flicking sun away from the head.
Soundscape I | Annette Iggulden | 28x29cm | Image courtesy of the artist and Watters Gallery, Sydney

Thirty Australian Poets (University of Queensland Press, 2011)
Thirty Australian Poets is a new anthology out of UQP that focuses on the work of poets born after 1968. It’s an intriguing conceit that invites comparison with the work of the Generation of ’68 without actually issuing a challenge per se, but at least prompting a ‘look where we are now’ conversation. Since this constraint naturally excludes both poets who make up Australia’s vibrant live poetry scene (who tend not to be as widely published on the page) and also talented poets whose work may not have yet been collected, the poetry on offer does tend toward the formal.
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Coming from Melbourne, the best thing about arriving in Darwin was seeing that ol’ stranger, the Sun, shining in the sky like a big yellow present to me. I spent the first three hours rolling on the grass like a dog that had been locked in a shed for a week … but I cleared my throat, looked around self-consciously and straightened my skirt. I was here for words.
I grabbed the program and began to circle. It was stuffed full of fabulous guests, events and panels. Despite its small population, the NT has a large community of writers – the festival was packed with both local and interstate poets, novelists, writers and speakers. This year the Writers’ Centre had merged with Australian Poetry to bump together their biannual poetry festival with WordStorm. There promised to be ample Australian Poetry (AP) events mixed in with the main program – some were streamed live around the world and are still available here.
I went head first into the festival opening with a slam I co-hosted with Brisbane performance poet and cabaret superstar Ghostboy. The slammers consisted of locals and participants from the festival, all were judged by the audience. We named the winner, Nigel Ford of SA. The Darwinner (BAM!) Highlights included a poem by Lyndal Cairns made using words she learned from her Nokia phone dictionary – a girl who claimed she wants to start a movement where women carry round wet wipes in case they see 10-year-old girls wearing make-up. There was also a man who stripped down to nothing while performing his poem, leaving nothing but a half-eaten hotdog squeaky toy to cover his business. It was all quite marvelous and I do hope this is a trend we see spreading through the slam scene in Australia.
I performed a poem about being wet – a poem which the locals replied, ‘you have no idea about wet until you come here during Jan/Feb … you can’t write poetry about that … it’s inexpressible.’ This I immediately took as a challenge.
Darwin’s wet season sounds like an unbearable feat of human endurance. I later learned that it can come with uncontrollable weeping. Somehow the body – like the sky – just produces a torrent of falling water and there’s nothing you can do about it.
I got a small glimpse of The Wet the next night when I attended SlamTV, a showing of poetry ‘film-clips’. The two poems that stood out were by local Darwin writers; ‘Two Men’ by Dominic Allen and ‘Postcard from Hell’ that captured the horror of the wet season. It’s worth checking out on the Slam TV website. Clips were around three minutes, some were animated, some were shots of the poets performing and some were thick and arty. Most of it was fantastic. Some of it, awful. A real slam, only filmy!
The next day started with a reading in Civic Park which continued through the whole weekend, people gathered under a huge tree to hear poetry and stories from all sorts of writers, including Nam Lee (who was astonishingly underused), Lionel Fogarty, Jenifer Mills and Sam Wagon Watson amongst many more. It was kinda fantastic sitting out in the open, but was also kinda right next to the coffee machine. Readers were perpetually being sound-tracked by grinding and frothing … which is fine if all your poems are about zombies, but surprisingly, most weren’t.
My next event was a panel; ‘Ut Pictura Poesis: The Aesthetics of Poetry’ which, along with myself, included highly acclaimed Chinese poet and translator Ouyang Yu, Ghostboy, Australian Poetry Slam Champion Kelly Lee Hickey, Multiple award-winning poet Bronwyn Lea and American writer and teacher Ryan Van Winkle. I was excited to talk about the aesthetics of poetry, the essence of it, what turns you on as a reader and writer, what makes poetry poetic, beautiful and astonishing. But the discussion inevitably led down the old Stage vs. Page route which I find flaps on like a pair of old jeans on the line.
Things got a little blurry after that as we went out for drinks in the nearby bar. There may have been a heated political argument with actor William McInnes. I can’t be sure. Overall, it was a rewarding festival. I had to leave early on the last day so I missed the poetry debate ‘Are Sonnets Better Than Sex?’ I heard it was great though, and that poetry sex, as usual, won out in the end.
I’ll see you again soon, Darwin, armed with tissues, towels and a waterproof pen …
This is a country of ghosts and robots. A country of seven thousand living poets – none of them talking to one another. The once-hermit kingdom, where all but gentry were garbed in white, now spills the neon of frantic consumerism. Seoul is a city-state; big government doing big deals in big smiles (when they’re not throwing punches or teargas canisters across parliament). At its centre, Korea is fractured – shaded by the shadowy near-history of military regimes morphed into what now passes for democracy. Beyond the DMZ and the world’s strangest brother / neighbour, the DPKR, is a dim but palpable, threatening absence.

Underpassing in Korea
Is it unfriendly to claim Seoul is a city dislocated from itself? Unlike Warsaw’s old town, meticulously rebuilt after WW2 – brick by original brick – Seoul of the 1950s was terra-formed with the pragmatic architectures of a starving, cold people: concrete smeared over the razed post war landscape. A generation of socialist-minded poets traipsed across the border and disappeared. The civilian war dead numbered in millions.
Now business howls in the aeries here. The ambience is eerie; luxury everywhere while ghosts mill underground in metro stations. The shaman have vanished, and Buddhist temples un-favoured by Korean hipsters who flock instead to cathedrals to sing hymns. In this post-textual place, where internet is a sixth sense, it seems that all the songs sung belong to someone else.
Each ‘robot’ has a smart phone; pushing ghosts out of the way to clamber aboard the early morning commute. Do these multi-taskers ever really leave work?

Lobe 1

Lobe 2
Big busy-ness = an inter-generational enchantment. This is what makes skyscrapers grow at velocity and industries into empires. This obsession is what makes these emergent humans, so profoundly linked and connected, paradoxically atomized.
The young poets I know are non-participants, outsider offspring of two competing schools: the Ch’amyŏ’p’a Group, who critiqued Korea’s socio-political unevenness, and the Sunsup’a Group, who maintained a purely literary focus. The poets I talk to are writing about body modification, schizophrenia, collective exhaustion, and a patriarchy gone wild.
Seoul is a mono-cultural megalopolis where at any moment you’ll find five preferred haircuts / five fabricated pop tunes on high rotation / five fashion statements to choose from. In this rule-bound plutocracy, a poem (as always, and with thanks to Badiou) is a lawless proposition and necessary transgression.
Gridlocked = the state of traffic and mind; any voice that challenges these systems speaks independently and courageously. What is less heartening is that none of my students of English Literature reads contemporary Korean poetry. Their focus is elsewhere.
They want someone else’s avant-garde. The English canon = enhanced language skills = (potentially) escape to (a perceived) utopia (eg, elsewhere or upward).
The Korean education system is as mythological as the rate of youth suicide; those who do not simply cope (itself a feat) but thrive, arrive at university pre-programmed with three or four languages, maybe a blackbelt or municipal chess championship trophy, and the heaviness of an aggressively high pressure future upon them. Can they do English language poetry? With gusto. Tell them to think for themselves and these second-language users cannot stop: whether I throw Bernstein or Bök at them, they get it … perhaps because they’re from a place where ‘language control = thought control = reality control’.
What they want is critically literate English, in all its otherness and nuance. What they want it for is altogether another matter.