Ern Malley III: Fitzgerald (A visitation)

Prologue: Jay Gatz works a double on the ‘Belle’

The wedding guests had boarded late,
so entrees were not served til eight.
In silence, Jay Gatz cursed the bride
then turned back to the pan, the plate.

Standing in a glaze of foam,
it was surrender made him roam.
In full voice Jay Gatz blessed the bride
and named this place, this lot, his home.
 
1. Jordan Baker plays Wallacia

The coach ride reminded her that she was older;
as she stepped down into the Wallacia Hotel foyer
she felt a supreme distance thrown back at her
from the trees. The hotel was ridiculous
in its Tudor hosiery, but the course seemed green
enough, and she checked in.

The afternoon was filled with movement
and sound; her own bags perfectly still
in her room, the glazed tiles of the mock angles
burned with white fire. The park invited her
to join a nameless crowd for a swim.
She joined in.

On her return, the bar was all abuzz with men
who scorched the air with marsupial flair
and a new coarseness. A throng had gathered
round two fighting dogs, and someone told her
the hotelier was there, betting on the bleeding-out
like everybody else. She threw in

her wager with the boys, and stood under a fading
melaleuca sipping at a champagne flute alive
with dust. The bet seemed electric in its spread,
as each hard face fixed on the fight, as autumn
light ran over fields, and evening came with yelps
and bestial screams. She gave in

to the quick fulfillment of a dream, when
everything about her suddenly turned green,
as if she stood upon the water’s edge, straddling
the light that captured more than half the men.
She stood in a ring of man, green as the river
which ran away beyond the hill. She swam in

a waterhole as round as mythical desire, deep
as unplumbed depths, and her toes tingled
in the colder vein. Her rest would have to wait.
The night, starved of known constellations,
drew her into early morning admissions
concerning the circles she moved in,

and she gave the phalanx of men their fill
of explanations tinged with consolation.
They would have to go home without her,
to bungalows on floodplain sand and rocks
from dry ravines that boiled in moving crusts.
Alone they’d have to fill it in –

the second half of a single sentence: marriage
of a world that made its myths to one
whose moment as a whole had passed. The hotel
was a fitting cake, she thought, as stumbling through
the heavy doors, she found the fireplace of brick,
and turned as one who drinks a lot towards
the ostentatious stairs. In

her room she found the rest that had avoided her
in other lands, and after rolling darknesses
unveiled herself to images of men who’d paid
for her to visit at their course to play at golf
with rotund friends who’d bottled wine
they’d made themselves in

cellars cut of ancient stone – vintages they’d named
after their wives. In this brilliant vivid dream
she stood upon a fairway thick with dew
and cried to see the eucalypts thinned in portraiture,
as if she’d sat for an expat painter-friend,
and all he’d seen fit to paint were trees in

clear distress. She wiped the tears and took her stance
in slacks as rigid as the shaft and looked along
the golden fairway towards a haze she couldn’t pass.
The green halo she’d felt before had run away
and gone aground. She stretched her arms towards the light
in gracious imitation.
 
2. Tom Buchanan runs for Mayor

Council Chambers are the only rounded buildings in the district and
it’s never sat well with Buchanan. Half-baked red brick modernist blot.
He would have rebuilt ‘Regentville’, and what’s more, when he gets in,
he’ll bulldoze the damn lot. So the middle of his city won’t resemble
anything, and if that soft style should spread into new blocks,
he’ll wave a hard mayoral hand and reject all new building plans.

“Straight angles suit this place,” he’ll shrug to his supporters,
“and it’s not that we don’t understand, its been that way since year
dot, that you cannot change. Perhaps because the mountains loom
like waves above our streets, our children simply grow up loving lines.
Curves are not conducive to good policy, and ‘progressive’ will not
yield strong service delivery.” STARTING WITH SERVICE,

that’s his current hail. His campaign manager’s been servicing
the mail. Local Government elections should never be real
competitions. The plan was hatched on the candidate’s back patio
but this is the first time he’s heard of it. “What phoney pamphlets?”
The city will go to the polls, and above the line the hands will quake.
As they count, Buchanan will water-ski with mountains in his wake.
 
3. Daisy hits the sales

Bins arranged in clustered cells
picked at by credit card trash.

Corpuscles of retail light,
congregations of minute dreams.

She knows better than the crowd
who come for hind and off-cut.

Marked-down is exactly that –
a compromise, a come-down
off the rack.
 
4. Carraway in Castlereagh

Invited out to fish the shallows,
he stands and warms himself by fire
and plays self-consciously with line
that shakes away from hand and eye.

The river slowly starts to crackle
peeling back the gauze to show
with rise of morning sun, the mist,
the bank, the stone’s warm shadow.

The spot is confrontational –
fast water threatens grip and balance,
but Carraway is pleased to see the holes
below the fallen logs. Insouciance

carries him across the river’s sand,
and a child’s love of the river moves
his hand. His rod is brand new,
sparkling and light. He casts to prove

that any fly cast anywhere is just the same –
it is the surface and the rings around the point,
where line falls below the face of what’s perceived,
that holds the glimmer of a black-green joint,

a doorway linking the valley’s quiet verdancy
to a black and colder world beneath the skin,
where a fishes’ will is a spectral double running on
ahead of slowly swimming earthen kin.
 
5. George Wilson Automotive

Myrtle will be at the club again.
No reason not to stay for a few,
see in the weekend with the crew
and watch the sun sink into fen.

I hear the laughter from my chair,
something about a miracle product –
“it doesn’t work, its utter bollocks!” –
A ring of men with words to spare

for everything, but only at this time,
when the valley’s green air stirs and zings,
and the hazel-light makes a fool something
else, something dressed in iodine.

And in this mood I close the ledger,
move toward the garage door,
imagining the valley’s Friday splendour,
opened up, speaking a river.

But it’s amber light that burns the page of sky,
so the figure in my head begins to fail –
ash rains down in exploded scales
and losing life in air, comes to lie

on the baking asphalt and on grass,
catching in the wipers of gleaming cars –
mountain flakes that might as well be stars
trembling in a universe already cast

and set. Friday will become Sunday night
and Myrtle will soften in the blue morning.
Mounds of ash will leave just as they came
and a blackened world will spring, as we might
expect, into new and renewing forms.
 
6. Gatsby

He has already possessed her,
and they are both now waiting to fade.

He won her in the end, by swimming
across the face of the river – she fell

into his wringing arms, whimpering
about surrender in the green world.

She told him that he’d won, but the race
had changed him – the water was in his ear

and the coursing had made of him a reed.
Now his hair blooms blue-green, his eyes

are black stones. He waits in a groove
and he walks through the ground.

He has quenched, and is the quencher
of the flame in outstretched arms.

A shapeless flood narrows at the bend
becoming a new river. United man

and woman look together downstream
and fix a coupled gaze on the bright bank.

A shard of emerald glass catches the sun –
the light is out, and a new light is lit.

Posted in 42: CHILDREN OF MALLEY II | Tagged

Jason Silver: subtopia

scratched vinyl
a black snake swallowing its own
mornings: the dull clatter of a truck gobbling
the innards of bins: garbage, green waste
recycling
a DJ’s remix
all the same old songs just the order changes
like a game of cluedo: whodunnit? where and how?
drag races: revving engines
a baby’s cry
my mortgage my mortgage my mortgage my
mortgage mortgage mortgage – my!my!my!
a baby’s cry
an invisible black
eye hurricane
swallowing its own
snake: remix: mortgage: morning: clatter
dull
paranoia
petrol
a baby’s cry
whodunnit? where and how?
the innards of bins: green
waste / garbage
recycling a DJ’s drag race
remixed engines
secondhand sofa: black snake
scratched vinyl

Posted in 42: CHILDREN OF MALLEY II | Tagged

Gema de Malley: The sea alone is so irreverent

A Ketch, sails like twin flames, reaches
across the bay;
hand painted – repainted –
shades of blue and white
on the thin cloth of my folding fan.

Day does not dwell
and this breeze will not disturb

the sand’s temperament.

Bright waves against rocks; no sooner
are those strange sculptures to a moment cast,

they are taken apart. The sea alone
is so irreverent.
It cannot be fixed.

Posted in 42: CHILDREN OF MALLEY II | Tagged

John Malley: Soil of Brie

crossroad shit-hound
bound to concupiscent literalness
boundary-barker, holing up in a shift-shop
gears, open for years
selling antique British motorcycle parts
on the highway abides the devil,
on a freeway, on a bench
running motors to exhaustion
fumes blackening throats to purple and
wringing voices like dish cloths
like loamy Iruma soil, grow rice or tea there
the basil has been dead for months but still
it stands disconsolate and heavy under
new browning skin
as erect as the Eiffel Tower
looking down the pin hole
of the Arc de Triomphe
to thread is the miracle of finding the exact
spot of the thrash. crashing old intellectual
bones, inside was a little person of bone
fragments, watermelon, orange juice, and mashed
yam
acres of le bouche de affinoi
the dairy wept over the suicide
what a paste
martyrdom cannot be
dinner news, would sicken our guests, and they have
just arrived from Tasmania
their voluptuous hillside dairies know nothing of
the Parisian antipodes now calcifying and growing
blue within upset readers
continuing to brew yoghurt
filling the pumice holes
in all those books with burgundy
did fuck-all, ruined
our dry spell
drunk with love for winter
carrying picnic fish for our dog,
he licks his chops for the lawn.

Posted in 42: CHILDREN OF MALLEY II | Tagged

Five Malfunctions for Max

And a Vogel Sang in Victoria Square

 

To describe the sexual act with a friend
is hardly decent, said the detective.
It’s not cricket in Bradman’s own state.
Genitals connotes incestuousness, he,
(not knowing what that meant) avowed.
There is more than a suggestion of indecency
about it, he claimed. Let my white swan of quietness
lie quiet, then, in the black swan’s breast. And
offer your wrists to be manacled for my arrest.

Posted in POETRY | Tagged ,

Glen Phillips and John Kinsella: Mythology and Landscape

Future Ethnographies: Language and Landscape in the Wheatbelt

Founded by Andrew Taylor, John Kinsella and Glen Phillips in 1998, the International Centre for Landscape and Language has become one of the Australian homes for study of landscape, space and geographic space in contemporary literature. The Centre takes an interdisciplinary approach to learning, integrating not only an admirable academic team, esteemed overseas academic guests (Les Murray, J.H. Prynne, to name but a few), but also geological, biological and etymological experts in an increasingly interwoven approach to providing students with an understanding of the landscape of Western Australia.

Field Reports, such as the recent trip to the Toolibin Lake salvation project, Wave Rock and through the Dryandra Forest provide students and writers alike with an opportunity to actively engage with and discuss the ongoing developments and evolutions in this literary landscape, and gain a closer look at preservation efforts taking place. By engaging with the landscape in this way it gives one the experience of resurrection, restructuring and active engagement with the the land that has so affected the writers that live in this Western Outcrop.

Two writers at the centre of this act of reclamation, and, likewise, whose poetic histories find both a nascent point and consummate envelopment within the Western Australian Landscape, John Kinsella and Glen Phillips have shared with Cordite a transcript that examines and questions what it means to be a writer living within and actively engaging with the land around them. For both Kinsella and Phillips poetics is work: it is a continual and never-ending process, a symbiotic process from which a voice of activism may spring. It is the aim of this voice to put the land and its strength and survival at the heart of the contemporary landscape poetry.

Matthew Hall,

December 2010

Posted in ESSAYS | Tagged , ,

An Introduction to the Work of Glen Phillips

I initially approached Glen Phillips in the hopes that he would contribute to Cordite Poetry Review’s Children of Malley II edition, whimsically playing off the Malley / Mallee imagery. As Glen’s poetry, criticism and almost entire oeuvre deals with the landscape of Western Australia I thought what better assonant reference could we have for this, our second Malley edition.

Glen is, as it turns out, also someone who is greatly interested in the lore and the antics of McAuley and Stewart, and is delighted to recall being in attendance at a number of Adelaide Writer’s Festival events evoking the ghost of Ern and Ethel.

As the director of the International Centre of Landscape and Language at Edith Cowen University in Perth, Glen comes to us with more than 30 book manuscripts of prose fiction and non-fiction and poetry under his belt, almost all of which relate to landscape themes and issues.

He has also worked extensively in film, as a scriptwriter, presenter and performer both in Australia and overseas. To this curriculum Glen has recently added an annual pilgrimage to China, where he regularly lectures in Shanghai.

These travels have accounted for his most recent poetic works, including Shanghai Suite and Shanghai and All That Jazz. As the founder of the Katharine Susannah Prichard Writers Centre Glen now acts as its Patron.

He has also served as an executive member of the State Literature Officer Advisory Committee, Writing WA, The Children’s Book Council, the WA Writers Forum and the Australian Association of Writing Programs.

At the moment at ECU, Glen is working to reinvigorate the once thriving participation W.I.L.D. course. A significant innovation in student involvement, the W.I.L.D. courses (Writing in Landscapes Down-under) provide two field-based study units for international students during the mid-year break, which involve both classroom work and trips across the state of WA, for experiential learning from local writers, historians and natural scientists within these most unique of natural environments.

In addition to these courses The International Centre for Language and Landscape also produce the literary journal, Landscapes.

It is Cordite’s great pleasure to bring Glen’s work to our reading audience. As such we have asked Glen to make a special contribution to our Children of Malley II issue, which he has done in superb fashion with Five Malfunctions for Max.

Posted in ESSAYS | Tagged ,

"Zombies In the Fields"




zombies in the fields lifting each cauliflower decoy brains
(Scott Thouard)
footprints smell of fungus and new rain
(grant b)
in lust for the drummer this silent heart
(Lorin)
out in the dark behind the disco – waiting
(Genevieve Osborne)
new moon all that exposed flesh shivers my skin
(Graham Nunn)
the high-pitch screeches swallowed by fog
(Barbara A Taylor)
Salome's dragon coughs a wake in progress
(Liam)
prizes at Bar Etiquette for the best dressed dead
(Lorin)
stop! on the tailor's needle bits of blood
(Vasile Moldovan)
his mouth drawn shut a head-shrinker's trophy
(grant b)
dreaming of pearls the old actress leaves her teeth out
(Graham Nunn)
signing autographs sideshow seats glow orange
(David Prater)
Armageddon rules against the whistle blower a stiff wind
(Betty Ann Galloway)
midnight, the train departs for death camps
(Barbara A Taylor)
all by itself a hand creeps through the moonlight
(Ashley Capes)
whose coat of arms on this signet ring?
(Lorin)
nicotine sky dulling the smell of bodies
(Graham Nunn)
suffocated by datura's tubular bells
(Barbara A Taylor)
here in the garden worms outnumber the dead
(Graham Nunn)
reincarnations wriggling to escape
(Barbara A Taylor)
Cowards! I cannot believe they're gone
(Betty Ann Galloway)
‘scuse me, friend this spot taken?
(Liam)
our breathing stilled a city crumbles beyond the north window
(Wilie)
cutting deeper a blade fashions sorrow
(Liam)
iron coloured smoke slicing through the fallen trees never stops rising
(grant)
foraging wild pigs squeal on their backs
(Barbara A Taylor)
mudslinging zombie brides dirty dancing
(Betty Ann Galloway)
sweet words below the hedge the earth quakes
(Claire)
maybe it’s the tides pulling our bodies back up pulp gleams in moonlight
(grant)
spindle-limbs erected all along the shore
(Jasmina)
behind closed doors bony fingers are spinning thread for shrouds
(Genevieve Osborne)
esprit de corps! mummies scatter
(Liam)
swinging a baseball bat I hear that satisfying crunch
(Ashley Capes)
fresh mounds pop up in the soupy mist
(Jasmina)
bearded iris holds and shuffles the deck
(Liam)
each nodding head learning to crawl again
(grant)

This renga is a compilation of Zombie Haikunaut Renga I and Zombie Haikunaut Renga II. Read an explanation of the original instructions. And very big thanks to Ashley Capes, our renga master!

Posted in Haikunaut / Renga | Tagged , ,

A Field Report from This is Not Art

It didn’t really sink in that I was going to This is Not Art (TiNA) until about halfway through the flight from Perth to Sydney. I largely did not know what to expect, having done relatively little research beforehand and being chronically distracted by PhD studies/life as I know it. All I knew was that I needed enough money to get food and train tickets for four days, and possibly an umbrella (which I forgot). Even having returned from Newcastle, I am convinced that a return trip next year is needed in order to even being to understand the kinds of energies involved in arranging such a massive operation. Not only were the organisers incredibly friendly and motivated, but so was everyone else who made it there as well. Some kind of apparently boundless enthusiasm seemed to fill Newcastle. No matter where I wandered (lost or otherwise), I encountered like-minded individuals (often lost as well) and a genuinely friendly, passionate atmosphere.

My decision to attend TiNA was, like most things in my life, carefully and meticulously planned.  After submitting an application on a whim, with complete disregard for my inherent terror of public speaking, I was accepted by Critical Animals to present a paper on my PhD topic, namely Sappho’s subtly feminist poetic legacy.  The acceptance email arrived some time after I’d forgotten that I’d even applied, and inspired a combination of excitement and abject horror at what I’d signed myself up for. The terror associated with presenting said paper did, thankfully, pale in comparison with an accommodation debacle that almost left me sleeping on the streets.  (Courtesy of a computer error, I didn’t know until just before my flight whether or not I would be sleeping in a place with a roof, or making a makeshift tent at Tent City out of the printed out copy of my Sappho speech.  Thankfully the latter only had to be briefly considered when I initially couldn’t open the room door, but this wasn’t exactly a wonderful start, and I only had myself (and the hotel) to blame.)

Despite this hotel-related incompetence, the trip to Newcastle was actually very fun.  Even in my cranky and sleep-deprived state, the scenery on the train trip from Sydney up to Newcastle was very pretty, and the carriage blissfully free of noisy children.  Thankfully, I was too tired to churn out sleep-deprived and astoundingly awful poetry in response to said trip, and was resigned to enjoying the journey in peace.  After getting very lost on the way to a back-up hotel, I arrived on Thursday evening too late to attend any of the events held that night, so I resolved to wake up early and make less of a muddle of the next day.

Posted in GUNCOTTON | Tagged ,

Joel Scott Reviews Southerly

Southerly 70.1: Golden Tongues: The Arts of Translation edited by David Brooks and Elizabeth McMahon
Brandl & Schlesinger, 2010

Faced with the considerable range of work in Southerly‘s Golden Tongues: The Arts of Translation issue, I have resorted to the what’s hot/what’s not school of literary criticism, identifying what were for me the ten most notable elements in the collection. In the interest of balance, there are five positive and five negative elements, focusing on translations, critical essays, and the general themes of the issue.

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Posted in BOOK REVIEWS | Tagged , ,

Loula Rodopoulos Reviews Tom Petsinis

My Father’s Tools by Tom Petsinis
Australian Scholarly Publishing, 2009

I chose to review this book wondering how a poet could possibly shape poetic imagery from mundane work tools. Also aware of the multicultural background of Tom Petsinis’ work, I wondered whether he was able to forge something new from well-known and perhaps stereotypic perspectives of the migration experience. On both counts I found my reservations unreasonable, delighted with the beauty and originality of a collection of poems primarily centred on memories of the poet’s father that also depict wonderful metaphoric images of the poetic stimulus, as in the poem ‘The Doorknob’: “A token stripped of past, ripe with purpose,/Replete with future, new meaning, verse.”

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Posted in BOOK REVIEWS | Tagged ,

Greg Westenberg Reviews Jordie Albiston

The sonnet according to ‘m’ by Jordie Albiston
John Leonard Press, 2009

To read Jordie Albiston’s The sonnet according to ‘m’ is to play the part of the village agnostic watching the reliquary in the local saint’s procession. “In this form,” William Carlos Williams said of the sonnet, “perfection is basic.” As with the skilfully worked metal of the reliquary, the sonnet is perhaps a little white these days from infrequent dusting, yet it stands on a high shelf among the household gods of the Western Canon. The procession’s extravagances, however, can’t help but make the viewer uncomfortable, the dancing and clapping throng a touch too animated to display real faith. Albiston’s formal choices, although her collection’s strength, may produce a similar discomfort in their reader.

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Posted in BOOK REVIEWS | Tagged ,

Nick Terrell Reviews Jennifer Maiden

Pirate Rain by Jennifer Maiden
Giramondo Publishing, 2010

Since Jennifer Maiden began publishing in the early 1970s, her work has been charged with a commitment to frame the ethical challenges presented by manifestations of evil. It’s a commitment that was stated plainly in the title of her second volume, The Problem of Evil. For Maiden, theological definitions of evil, and the related controversies about an omnipotent God’s tacit complicity with evil-doing, are mumbo-jumbo; her urgent fascination lies in the concrete question of why people do evil things. With Pirate Rain, Maiden has taken the connection between politics and violence as something of a key with which to identify, and process, the always plentiful manifestations of evil in the here and now. Maiden is a poet-philosopher or philosopher-poet. She is also a storyteller and a conversationalist with an abundance of ideas.

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Posted in BOOK REVIEWS | Tagged ,

CCC Spoken Word Mix

[audio:http://cordite.org.au/audio/I-will-grab-their-bytes-and-they-will-secretly-not-like-it_MP3.mp3,http://cordite.org.au/audio/02-Not-Some-Racist.mp3,http://cordite.org.au/wp-content/uploads/2010/07/a-text-tale.mp3,http://cordite.org.au/audio/ladygabyandzimmerparadisefasterversion.mp3,http://cordite.org.au/audio/Jorja-Free-Information-Poem.mp3,http://cordite.org.au/audio/A-Night-on-the-Town.mp3,http://cordite.org.au/audio/cordite33creativecommonsyarranjenkins.mp3|titles=I will grab their bytes and they will secretly not like it,Not Some Racist,a text tale,Paradise,Free Information Poem,A Night on the Town,Creative Commons: Bastion for Utopia or Just More Creative Culture Juju?|artists=klare lanson,Paul Mitchell and Bill Buttler,klare lanson,Lady Gaby and Zimmer,Jorja Kelly,Eleanor Jackson,Yarran Jenkins]

Various Artists
Cordite Creative Commons Spoken Word Mix (20:23)

New tracks will load automatically …

Track Listing:

    Klare Lanson: I will grab their bytes and they will secretly not like it (1:16)
    Paul Mitchell and Bill Buttler: Not Some Racist (1:57)
    Klare Lanson: a text tale (3:58)
    Lady Gaby and Zimmer: ‘Paradise’ (3:40)
    Jorja Kelly: All We Wanted / Free Information Poem (3:36)
    Eleanor Jackson: A Night on the Town (1:25)
    Yarran Jenkins: CC: Bastion for Utopia or Just More Creative Culture Juju? (4:31)
Posted in 40: CREATIVE COMMONS | Tagged , , , , , , , ,

Ryan Scott Reviews The Return of Král Majáles

The Return of Král Majáles: Prague’s Literary Renaissance 1990-2010 an Anthology
edited by Louis Armand
Litteraria Pragensia Books, 2010

This book positively brims. With words, with pictures, with experiments and experiences. At eight hundred pages plus, it is as a definitive testament to Prague’s so-called International Literary Renaissance. Apart from the prose and poetry, there are photos of those involved and an extensive bibliography of journals, zines and newspapers which have been published in Prague over the last two decades. Such scope can be a little overwhelming, with exquisite works seguing into others of more questionable merit. Yet, despite some rough patches, or because of them, the poems and stories come together to create a work of verve and artistic boldness.

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Posted in BOOK REVIEWS | Tagged , , ,

WA[RRA]NTED, [MIS]TAKEN

– for Jane Gibian, with some trepidation

[the] OFFER: 3 cans [of] fly spray [or equivalent led more
or less straight to the] assorted videos
[Unreflexive then, she was more hate, less] Ashbery.
[The] Pregnancy test,
Hurl[ed, spun like a rune ]stone, [a compass, needling the marrow of Panhandle] Park

WA[RRA]NTED [the frail] Road bike [on screaming slopes, the sloe gin
burn: a necessary] (pref[ace to her] working condition)
[The] Plaster [rosette ripe] for mould making,
its green galaxy spreading above hers red below and coming round, she’s

[MIS]TAKEN [the fluting rods of the] old bamboo
blinds [for] St Peter’s [gate, turns back and

thinks the pr]OFFER[ed hand will hold the] Assorted shells
[she wears,] (Forest[all dis]Lodge[ment])

[D]ECEIVED: [shop]ping [while he’s in Pat]pong [she] table[s]

the OFF[END]ER[‘S traits]: half[wit, thick-]set [non-]vintage [money;
seamed like a] golf bag Darling[, not] ton[ight!]
Old Iron Frame [can never keep it] Pian[issim]o;
the neighbours gave up talking years ago.

[Still wasp-]WA[IS]TED: [she envies the] Bulky
knitting machine[s, purling quietly in the depths of their folded mantles]
please (No! [something seasick] Rocks) inside her hearing doctors
Trumpet[ing the miracles of] valve [and c]oil

[not realising until she got home that she’d] TAKEN [the] toy train
[from the burning wreck of the] Alexandria [waiting room].

WANTED: [a] garden [of co]gnom[ina]
[a fat] piggy bank
Beans for beanbag

[MIS]TAKEN: D[e]V[oi]D [spac]es [are not the same as] (empty)

View an animated version of this piece.

Posted in 41: CC - THE REMIXES |

Black n White Silence

Click image for larger version.

Posted in 41: CC - THE REMIXES |

Kerbside Collection Taken

Click image for larger version.

Posted in 41: CC - THE REMIXES |

Nostalgia

Your window
at my throat: the vaseline of strawberries

& musk. I rode
your lips lustrous, a smitten

interior, bride’s breath
broke open with salt

silk mixed in the singing
palms of apple trees.

Your hand stripping
the red from my hermit door

it goes down. Narcotic
oils the theatre of eros. All

the hunger a voice holds,
warm vowels in the bread of night, wanting

each maverick piece—all the derelict streets
of leg hair, burlesque music

shining in the temple fibres, maroon
sinews, dark woman

star. Dark
nights of soul.

So slow our cusp
slips opulent hallelujah!

A litany of comets
milking up the sky

Posted in 41: CC - THE REMIXES |

Silence for indifference.

There’s a siren but far away, A kitten blows like tumbleweed
down a street otherwise empty. The closed storefronts are vacant
as dreams, and the traffic lights like absence before the raw,
Streaks of wind, It is barely dawn, The wind filled your ears

with sounds, Colour spools from fruits & grains, The incline
runs to golden water, The sky has become Lined in dim light,
Late current buzz, Things from the side of the road, Road bike,
The lake Glitters, The lights go on uptown, At the top of the hill,

it goes down and there’s the store in a small valley. Spotlight
operator, A photographer in Bentleigh East, A pig with a solid
gold nose ring, It Definitely contributed to that, though,
The Word is like the hold of a ship Heemskerck, its timbers.

They Are traces of Surface effects, But Not the real thing.
A subtle mind tends to confuse thought with action.
A rolling cupboard gathers no moths A cup on a table
and it’s just about to be filled. I walk in the garden Hannah,

My tie is kept down with a tie clip, Footprints were black,
You, who call yourself savvy, The keys to your house
tinkle generously in my pocket. Even ordinary words
like the ones you’re reading now will end up as something,

Visits what ends — This is how you jettison a load slowly.
Everything vegetates, this is known. The cycle of nature,
we said, remains unbroken. Tongue stilled, dagger at my throat
Is who you are. You mistook my silence for indifference.

Phrases or sentences from each work in issue 33 were copied out, and then grouped together.
Capital letters introduce new transition from one poem to another. Even after a period.
Only one or two times were two phrase or sentence taken from one poem.

Posted in 41: CC - THE REMIXES |

[After sleep the body’s imprint lingers]

~ In the summer, they are tiny, cotton puffs,
thin with the need to escape …
These winterdreams are heavier
and take longer to sort. ~ unexamined life continuous
digital glitch presenting as analog texture.
In Fremantle we tour the wreck
of the Batavia — preserved immersed timbers tell us
humans are heavier than water, lighter than air— ~
[This line is splendid, till silence
becomes a better listener]

~ An arrowhead of cormorants strikes the horizon. ~
There are traces of coals in the lymph ~
[Someone practising the piano in a room nearby.]
~ Potted metal seedlings mock a germination clock,
Colour spools from fruits & grains, ~
I see cows on these pleasant journeys;
and I hear birds. I lean on my stick.
~ This sentence () the first lines of a poem
… interrupted thought ~ Cricket is a slow game. ~
[In the banana, the child asks] ~ Who is Allen Ginsberg? ~

~ Inside the rain bubble you feel no rain. ~
The earth is smoking its way to a new equilibrium.
The fish are fried, … The Mayans
feel vanquished. ~ before dawn
even flowers are grey
magpies monochrome flautists
pipe in the colours ~ after staring
at the sun all day we agreed~
this sentence should not be used in any poem ~
we agreed we could no longer see each other.

 
 

” ~” This is from a different poem
“[ ]” This is from me
“…” I omitted some words here
“()” The order of the phrase is flipped

Posted in 41: CC - THE REMIXES |

BEYOND BLACK & WHITE

SIMPLY BY SAILING
IN A NEW DIRECTION
A net of names
drops into the illiterate sea.

MY PRIVATE MISSILE CRISIS 28.03.10
Twice miss the mark by seconds.
Quivering nights await

The mechanic says my engine
Is easily fixed
Ignition falters three times,

Mark the miss
by years

SNOWY STREETS
SILENCE IN SNOWY STREETS
The footprints were black as tarmac,
somehow withholding the light
which otherwise streamed across

LOKI
I feel the leg hairs of ants on my temples
and they knock
and wait for someone to open the door,

but there is no doorman
in strangling suit of blue
or maroon, or some tertiary

before dawn
even flowers
are grey
BEYOND BLACK & WHITE

Posted in 41: CC - THE REMIXES |

Downhill

On good days, I go uphill again;
I walk uphill to get groceries.
At the top of the hill, it goes down,
there is a good place to sit near there.

I walk uphill to get groceries,
half-way, when the ground flattens itself
there is a good place to sit. Near there
I see cows on these pleasant journeys.

Half-way, when the ground flattens itself
I hear birds. I lean on my stick.
I see cows on these pleasant journeys.
There’s the store in a small valley.

I hear birds. I lean on my stick,
though sometimes I have a pot of tea.
There’s the store in a small valley,
I go past the store and then uphill

though, sometimes, I have a pot of tea.
I’d like life to go on for ever.
I go past the store and then uphill.
I walk back uphill and down, home.

I’d like life to go on for ever.
At the top of the hill, it goes down,
I walk back uphill and down, home.
On good days I go uphill again.

Posted in 41: CC - THE REMIXES |

88

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