Five Sijo For My Raider (침입자를 위한 다섯 수의 시조)

A sound of hooves over the dry stones of my sheets at night

My arms are withered, my bones rise to the quivering world

In the space between our thoughts are three aching syllables

~~~

My almost lover, no photograph of you, no good-bye note

Enemy, you have raided my country, your handwriting floats

Downstream through the forest to the far walls of my kingdom

~~~

Your decrees are impulse, you enter without courtesy

And I become your dynasty, not knowing when to discern

Death, by the penitence of leaves, by the haloes of traffic

~~~

From the far east, when the river broke, came rumours of a tribe

I was alone that dawn, milking the soybeans, harvesting rice

With a bronze arrow you annexed my body to this design

~~~

Which of us abandoned the other? We cannot answer

How quiet the apartment: wind stirs, stars begin to shatter

Snow is a scherzo dancing over the words I’ve lost for snow

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

The Sign (표지판)

When I met you at the lights you were holding your bike and holding your brother and your anger. Your breath clawed the pedestrian. They you said and it was in your mouth, the word, like sourdough bread. They! You caught the asparagus green, oiled and wok fried lights and began moving across the traffic like a flock of geese. Your brother called. He had been in the army. There were complicated telephones, thirteen digits. He was an engineer and his nose had been broken by a bath tile. It was she who picked it up, too. Caught in her eye like a coin at the bottom of a public pool; a lost watch in a sex act; snorkelling; the sun glinting off a buckle

– on the road was a sign.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

This Is a Poem Without Mothers (이것은 어머니들이 없는 시다)

The alarm in the morning is made of rubber
invents the day around it like a drum. Leonard Cohen.

Um. The alarm in the morning is made of stones
we unearthed near a horse. My father, smoking a cigar.

The drip in the tap is the colour of moss. It drips five
six. Again, I taste rust wake nicotine – my grandfather.

A faucet, digital alarm clock, green, ripe olive
porcelain awakening. Rare fish skit, arc. Robert Hass.

This is a poem without mothers.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

Nick Cave (닉 케이브)

In Wangaratta
You live in the shadow of Nick Cave,
Who ran away to London or Brazil or Berlin or America or wherever.

Wangaratta, where my parents live, is ugly,
And I can see why overseas might appeal to Cave;
Just as Melbourne did to the year 12 class who joined me in heading south.

The pangs of jealousy you feel upon hearing a friend of a friend is going overseas.

Wangaratta kids
(Proper Wangaratta kids)
Can’t afford to go overseas.
All of us worked after finishing school and now, at uni or TAFE (or not), live on what the Government allows us.

Nick Cave hints at a depth of character we rarely get to express.

In Wangaratta we were drunk and choked with cigarette smoke and limited ambitions.
In Melbourne we are much the same, but without our parents consent.

We can’t love Nick Cave, as much as we might like to.
Nick Cave escaped, inadvertently maybe, but he escaped.

Wangaratta has aunts, uncles and cousins.
Nick Cave makes me blush.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

Carp (잉어)

One summer the creek dried up.
After cricket, me and a couple of the other boys,
In our whites,
Went down to the creek bed.

There was just a large puddle left, very muddy.
In it, a carp: huge.
It barely had enough room to turn around.
It was like a truck down a small side street.

One of the other boys scrambled out of the creek bed,
Up to the pitch, to grab the stumps.
He returned and we circled the carp trying to stab it.
It thrashed about- the only fish left in the puddle.

You had to really lean on the stump
To force it through the flesh;
Our whites got quite muddied:
Our mothers weren’t impressed.

Carp is a pest.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

Agent Orange (에이젼트 오렌지)

it is six years gone
that automatic expressline divorce operation
walking shellshocked from the wreckage
making no changes to diet or exercise

his head still stuck in the book of trees
the book of flowers
on occasion, the kama sutra
but usually the books on flowers and trees excite him more

and he can share them with his boy
who sometimes responds
more often plays his computer
and calls out ‘coming’ over and over

so it goes, a divided existence
he knows him
he knows him not
and lately, he knows him not

doesn’t get Facebook
or Call of Duty
recently discovered through the search history
that daisy-chaining is not what it used to be

and six weeks after the fight
realises the morning visits to the garden
were to put small doses of bleach on the plants
and there is no saving any of them

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

A survey of bearded men (수염 기른 남자들에 대한 조사)

I grow a beard because I hate constant shaving

I grow a beard to look distinguished

I grow a beard because it is the natural thing to do

I grow a beard because it is manly

I grow a beard to make me look older

I grow a beard to make me more handsome

I grow a beard because I am on the run from the law

I grow a beard to fulfill a dream

I grow a beard because I can

I grow a beard to make me look wise

I grow a beard to store crumbs

I grow a beard so people will touch me

I grow a beard to cover my enormous double chin

I grow a beard to attract men

I grow a beard to attract women

I grow a beard to feel better about myself

I grow a beard to detract from my male pattern baldness

I grow a beard because I am a psychiatrist

I grow a beard because it is a family tradition

I grow a beard because I am on holidays

I grow a beard because it makes me look rough

I grow a beard because I have left the army

I grow a beard to hide

I grow a beard to start conversation

I grow a beard because it is soft like an animal

but I do not wish to participate in your survey.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

“The sky becomes” (“하늘은 된다”)

THE SKY BECOMES more assertive and does not care for my clothes.

I stare at the driver until he stops cold, assertive.

She tells me a story of brothers and hospitals, it’s about success and inquiry.

I remembered the way you told stories, and how the table gleamed in its age.

In this new age the sea seems to be grey, perhaps because of its degrees.

Neither path has found me, on the level.

The grass is crunchy, the sand sings again, the waves wave without greeting.

I look around for something to eat, but the buns look too assertive, and the cream is no longer cold.

The book is full of tell-tale stains, marks of love and inquiry.

‘What if you woke up one morning …’

I don’t know what I was doing in your street in ‘94 but I was lost again.

All winter the southern ocean has been waiting and nothing is lost.

I may never get good at this but I crunch along paths, fed on inquiry.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

"I came from" (나의 고향은)

I CAME FROM the lagoon looking for air.
I had no companions.
I learnt to read by the wayside
who follows the hours with days.
The names of the gods are in the clouds
and on each numberplate.
I’m counting on you wherever you may be.

Twigs make their letters. What’s become
of the story lost into mangroves and tides?
Lists extend from scraps
and packages waterlogged with the moon.
The car tyre is without companions.
The lake sings a little. My consonants drown.
Nothing happens because of you.

Here’s a track and some old crime tape.
The highway is over the hill
where the harriers drift. Wings in relation to air.
Air by the wayside, in the trees.
Watery watery air.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

Bagnier (바그니에)

When their skirts swell in the flouncing water
like the thick wave
of a stingray, and their hair
grows weedlike on their cheeks,
and their eyes
are as swift as shoaled fish,
that’s when I know
I’m needed most.

Their limbs slacken,
then grow taut: there’s a seabeast,
instinctual, in us all.

The water foams their thighs,
and they stumble when they stand,
their own weight foreign to their footing.
Sometimes their toes break through the surface
in pink panic,
and they grip my hairy hand.

But we wear black, slick as performing seals
and we stare seaward, count the rhythm
of the breaking waves,
we guide them into shore.

The children aren’t as strenuous.
They’re used to abandonment
and thrall.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

Terrace (테라스)

for Tara

A girl in coral and horn glasses
is discussing the relative frequency
of her massages and orgasms,
and how protein shakes
are made from cattle hearts,
and how the sniffer dogs
might find the Valium in her handbag.

It’s an Indian Summer, and the fairylights
asphyxiate a tree, the bistro buzzers
skitter on the tabletops
and she leans in close,
and chews her plastic straw
and lets her eyes grow wide
on the nervous man beside her.

She tells him
about a recent wedding, where both parties
looked like they were eight months pregnant
and how she’s never understood
why lemons cost much less than limes
and that she’s still black and blue
from horse-riding
and this pub really changes of a Friday
and she never should have listened to her mother.

Three women haul their prams onto the balcony
and shake bottles of formula
and order bloody marys.
A girl in horn-rimmed glasses and coral nails
grabs the man beside her by his nervous hand
and leads him out into the street.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

The peeling (껍질)

Your peripheries don’t rest easily, expanding
to embrace the imposing strips of fallen bark
that gather all the russet pigments of carmine
and leaf mould with the mealy beige of new

skins, uneven pieces from an impossible jigsaw
circling the paled trunk. The stripped husks
round their winglike corners, your edge-skin
forming part of the peeled rind, till mosquitoes

find the warm-blooded animal that sits too still.
The night-thrum of the bush is quiet, a tremble
that tinkers with the background humming
of the mind, that intensifies closer to the creek

in a skirling crescendo, smudging the margins further.
You’d help unravel the softened rinds: from under
one piece scuttles the light solidity of the huntsman
spider, the shining length of a dark worm with

its singular white stripe. The bark-pieces resist
preservation, the collection of stylish scribblings:
they dry too soon and curl protectively into coils
that crack when unfurled, that collude in your edging.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

Nesting songs (둥지 틀기의 노래)

First song

Familiar curves of the downhill road
home, bodies swaying in unison
with steep corners; the quickening

of movement inside: a great fish turns
and glides away, an allegro low in the torso.
On the lounge room floor, a rectangular

patch of streetlight, Friday night
sounds floating upwards, lightness
of a weekend descending.

Second song

Constant growl of an unseen ocean
in the background; in the foreground
a swelling belly, navel beginning

to protrude. Unable to stop stroking
this cocoon, almost coveting a home
like the grey fantail’s: a deep cup of green

moss and lichen, felted with spiders’
web and plant down, the most delicate
cradle for a featherless babe.

Third song

Overnight storm, the spotted gums
hoary with rain, muted greys
staining the pitted honeycomb rocks:

the world rolls and turns inward
where hard surfaces press out,
elbow joints sharpening, a shell-

like carapace inside moss-lined
softness. Smallness of stones stuck
fast in the smoothed-out cavities

of a shell’s twisted inner skeleton,
a trickle of water building into spume
that crashes against crimson cliffs.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

Air (공기)

Had I but the right cutlery, I could cut it
but in this age of convenience and terror I
am not to be trusted. I’ve a piece of plastic
I must sharpen with my mind, that presently
tears, no wipes, the hang-dog expression
from the face of our single serve of lasagne.
This is not the end or rather the end as I’d
imagined it, this monochromatic restaurant
with its listless salads and half arsed pasta
bakes, its muzak and families dull as tines
on my fork. Craft taxi and dock, no this is
not the end, it is ends – and interminably so.
This poem wants to do so much, the cutlery
apposite: I am trying to lift love, I am trying.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

Letter from Sungai Buloh | 숭아이 불로(Sungai Buloh)에서 온 편지

Emptying an urn half her size of mosquito
larvae and water, the architect’s Australian
wife tells me of her husbands sister’s suicide.

The family never speak of it; the Japanese
occupation of Singapore the need to keep
her inside – for fear of kidnap. Wrigglers
in their throes she returns the vessel to an

upright position. As I write it now, it is
the conflation of two separate events:
the emptying of an urn, a suicide. One

preceding the other by several days. Days
in which I attend the needs of the kampong
in which I am staying. The shutters closed
for the night, twenty four in all, the house

cat without a lizard’s gut to puncture
playfully penetrating my hand. She draws
little or no blood that I can sense, certainly

nothing has reached the page. Truth be told
I’m reeling still – from last Sunday’s storm,
I was warned against ‘making calls’ in such
apocalyptic circumstances. Some appliances

I have simply refused to turn back on…
P.S. An injured boar roams the property each day
at dusk, the sport and buckshot of adolescent

Malays, men the world over – his wound
localised, his temper not. I know better than
to aggravate that animal with my presence
and so write or lip-sync nightly some titanic

ballad the cat will un-requite. Wishing
you were here, wishing you weren’t here
the urn, the suicide – love: a conflation.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

The Poet Asks His Love to Write Him (그에게 편지를 쓰라고 시인은 자신의 사랑에게 부탁한다)

After Lorca’s “Sonnets of Dark Love”

Twink, if you are reading this ring me, SMS
abbreviate or I am done for – dun 4 i tel u!
The creek bed is risen, bike path beneath. Two
days of constant rain, no you’d never guess

it our creek. If you are reading this ring me
ducks and geese disconcert at head height
& swans? Well, one fucked Leda for spite.
I don’t want to be fucked by a swan, please

if you are reading this ring me – or wring
my neck LOL. Be it on your head if I am
fucked by a swan or God LOL. Texting

LOL grows diffuse the deeper you sink
& these attendant plastic bags – well
a consumption if you’re reading me twink?

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

Shark (상어)

“Father-killer and father-supplanter. Go in, and think on this.”
– Sophocles

Reportage:

A man, a father taken today by shark
white pointer, a thrash of white water
whilst snorkelling with his son. A struggle
then blood – in the eyes of one onlooker.

Commentary:

I’m not one for the sea the underneath –
the three feet it can take! Circumspect
as the line gathering on shore, I collect
myself for the cameras as helicopters spy

above, there below a shadow the size
of a small boat. Should it be killed?
the reporter asks. Everyone else asks
after the boy. Should it be killed?

he repeats. I utter something about loss
my own father – they say the camera adds
weight, I think I even use the word love –
the sea is in my ear now. But it’s the shark

I’m after, for, about. I almost say thankyou
as the camera pans out across the bay
as the boy appears in the furrows, white
as a sheet, intact, a fleet of craft behind

him, a fleet of craft before him: dorsal fin
at the epicentre. The crowd agape, shoal
that they are, on land. Floundering, a woman
wraps him in a towel, pulls the snorkel

from his lip. Assumes in her absence
the role of mother. The Emergency
cannot get near him, he recalls nothing.
The reporter dives again, his father

in his mouth, Should it be killed?
the boy’s eyes roll back, his jaw widens
several teeth are missing – the crowd
rears – though this is hardly unexpected

given his age. I swear I can see right
into his gut as the reporter rephrases
the question. There is nothing of his
father in him, no stock footage. There

are no easy answers, no grab, bite
gear, goggles, no fragment of wetsuit
to cling to. Just expedition – the roar of
the sea, the tumult encased in shell.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

Cyclist (싸이클리스트)

He tells me he is lonely, his lover has been murdered
That was you? That was us. Motioning into distance
his eyes away from the toilet block, dismounting his

bike, keeping his helmet on; It was in all the papers.
He’s handling the bars, thumbing the levers, clicking
through gears, the park – the men and the scythe-like

moon harvesting light – the hospital and the road
ahead running, running, till the chain finally catches –
They almost got away with it, he brakes. We appealed

reaching through the framework, snapping each silver
vertebrae back into place, grafting metal link to metal
plate, the wheel turning now in its own cyclic coma.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

짐승 가공하기 (Curing the animal)

My husband hands me the animal.

A soft neck roll and a dead eye,

a lustreless fur that I must touch

to strip and salt and peg to dry.

He is away all the day in the dust.

a eucalypt oil smell taints his neck

he comes to me

bones meeting mine

a hard fit

a green lawn at the edge of a desert

my heart, inexact

There is a sharp knife in the house.

I gather the wattle bark and boil it in a drum,

leave the skin to reek and call flies to it.

weeks pass, his eyes squint with distance,

monosyllables doled out, hard shillings

minted rare from his mouth, whiskers on his chin

scratch my skin. I pretend. Sleep.

Pulling one parsnip each, one leek.

The hard-fought cream, the butter’s luxury.

The wallaby seasons its last useful night,

salt and pepper crusts its meat, the oil rolling

like mist off a morning.

Brown and sere of fat, it rests.

The marjoram rubs its scent on me.

The leek becomes soft, the parsnip tender

under butter. The meat drowns in gravy.

He chews ’til all the flesh is gone.

I pull the reddish hide from the reeking drum,

tip water to thirsty ground,

watch it drain.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

The Pastoralist Speaks (목가주의자가 말한다)

At the edge of the close-cropped lawn

laps the drought, thirsty tongue all out.

Every change of name pocks its mark.

A scratch of smallpox on a survivor.

The squatters clear a small place.

A tongue licks dry lips.

A hand swats a fly, its buzz an airplane overhead.

All lawns a transplant, every ant a scavenger.

Under sod, a small tear, a drop of blood.

A bead of sweat collected in a dry swell

of pale earth. What birds wheel on Mulberry Hill?

On the face, carved eyes look down.

Make space. This land is too wide.

Plant feet on it to make it mine.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

카탈로그 : 식기세트 인생 (Catalogue: Life as Tableware)

accessorise with simple, elegant shapes
choose muted bones, the subtle variations of sin
harvested from the last century

the alluring sparkle of toenails and teeth
and the reflective qualities of glazed eyes
mix well with hair
shorn from a passive
human animal
to be woven into the fabric of your life

Item:
A bound foot in classic white china
suitable for any occasion: $9.00

A pair of ankles
shaped into aluminium platters
Small $16.95, large $44.95

Wrinkled knees of hand-woven
cotton and fragrant vestier reed. $16.95

The pelvis makes an ideal drinks trolley
or side table. Drak cherry, 54 cm diameter. $129

The torso has a mirrored
black plate to reflect and increase
the drama of the spine. $27.95

The head, a contemporary form in silver-
painted timber. Small, $82, large $125

Ceramic brown cheekbones
work beautifully as a serving platter
or candle plate. $44.95

Existence is funky and retro. Life comes in a dark
cherry-stain timber veneer
with chrome frame. Mortality is made
from top quality stainless steel. Humanity is
smoothly polished aluminium inside,
a charcoal finish outside. $119

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

The Farmhouse (Ffermdy Cilewent) (농장 (펌디 싸일웬트*))

in the other room, the bulls
stamp and snort
their long horns scratch the walls

licked by its mother, flies gather
at the calf’s forehead
drool dropping to the floor

the smell of hay
their piss and shit
smear our shoes
no use          can’t keep it out

there’s only so much wood can do
to keep us warm
darker than dust or soot
the kindling waits to burn
everything’s black
even my heart, I think

the clock won’t let me forget
if only there was more light—
where is the sun’s one white eye
when you need it

upstairs we climb to our room
the children silent like we taught them
their eyes look at me, shining
I blow out the lamp

she is already asleep, warming our straw bed
I lift the coverlet
thankful for this small mercy

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

Sisters, 1907 (1907년, 자매들)

We are dandelions on the grass.
Pale and slight,
any breeze might
blow us away.

All around us, the vines
obscure the harsh lines
of stone steps          angular borders

Behind apron and pinafore,
our small hands work in our pockets:

a bead                                        a wooden spool
a coin for a wish          and its passage to safe harbour

Her ringlets couldn’t be more curly.
My hair is flat as tack bread.
‘Shall we?’ she asks,
eyes bright as a meerkat’s.

We link pinkies, friends for now,
though the knives might be out
come supper-time.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

Himalayan Fire (히말라야의 불)

As you casually entered the gompa
—travel weary, a meagre warmth in you
too much mist in the lungs—
the winter sun hit the sutras.

The mountain light, having raised the black frost
shafted the night wind south
raided the cave
struck the west wall.

The ten thousand leaves slept in their boxes.
Their hundred thousand sounds
were wrapped in saffron.
The scrolls were as separate as toffees.

Then, with the wall as good as on fire
and every box glowing like an old coal
you could hear the seed syllables
crackling away inside you.

– Darjeeling 2005

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,