we're
giving
distance
a
chance
by
staying
together
we're
giving
distance
a
chance
by
staying
together
Dear Jim, WAR!! Pls keep postcards comin!
Last one I got arrived w/o a stamp (goodie
for my luck!) and that was a while back.
Sunny and windy w/headache in SF w/
birds and peaceniks whom I passed this
morning getting arrested w/plastic hand-
cuffs at Montgomery and California,
police in riot gear marching down Powell
to the kids sitting on the Bush St cablecar
tracks. Powell and Bush! Tough kids.
I'm not one of em. I sit cubicled,
waiting for Godknows. Love, Del.
white socks and dirty dishes
I haven't mustered to clean
honestly with my head like this
I feel someplace like nowhere
which is probably good but
there's this pain in my neck too
from resting said head
against the shower wall FUCK
“In real life of course
I'm totally into kindness”
says Eileen Myles and
I wish I couldn't agree more
in a letter to my boyfriend
I tell him “you're too far away
I need you HERE I need a kiss”
to be kissed and not bulldozered
Here's my war poem: fuck the
almighty war! I climb the
steps up to Whaleship Plaza,
walking while writing again.
“No Smoking!” But look at this
war and sunshine in the streets!
And little plastic airplanes in
the sky. Coit Tower rising like a
missile toward the sun. Pretty
day, sunshine, a little wind, and
chainsaws. White roses and
tiger lilies. I can't take it anymore!
So I sit down in the sunshine
with my fucking war poem.
curve of white spray blowing back from wave breaking
across channel, wingspan of pelican gliding above it
Author's note: HUMAN / NATURE is a 1,000 page book of poems composed between 10.19.02 and 7.14.05 (1,000 consecutive days!) which takes up where Portraits & Repetition (The Post-Apollo Press, 2002), REAL (Avenue B, 2006) and CLOUD / RIDGE left off. The book is a kind of ?´essay' on relations between things seen/observed in the world and how such things might be made (´transcribed'/'transformed') as works of written (or visual) art — the paintings Kandinsky takes up in Concerning the Spiritual in Art for example. Every poem has ten lines in four stanzas, with the outer two stanzas recording things seen and/or heard in the world of ?´nature' (the first stanza on each page ´looking' at things out the window here in Bolinas, the last stanza at things which I've seen out in the water when I go surfing), the two middle stanzas noting things seen or read/heard about in the human world (that is, things made out of language). Thus on every page, perceptions of actual ´real' things in the natural world ´frame' what might be thought or said or written or in fact made of things in that world — e.g., as ´works of art' or ´transcriptions' of actual, ´real' things/events/actions in the world, which I've noted and ´written down' in exactly such shapes on the page; likewise in any series of pages, the two middle stanzas on any given page, which write down or ´transcribe' facts of activity in the human world, ´frame' the perception of actual ´real' things/actions/events in the natural world.
woman in green sweater recalling arriving with 105 degree
fever in Tahiti, thinking she was tired because of jet lag
woman on plane with bad back asking man to get her bag down
from overhead compartment, older woman in window seat asking
him to “get mine too,” man saying “no”
plane of grey-white
cloud slanting across pale blue-white sky in the upper right
corner, sunlit slope of the sandstone-colored cliff below it
woman in maroon sweater standing in front of the brick-
red plane, who says “I want to lead us from one form
of reality to another, and I've got myself up a tree”
white gulls moving behind circular green pine on tip
of sandspit, blue-green wave breaking across channel
blinding silver line of sunlight reflecting across channel,
whiteness of gull on triangular orange tip of the GROIN sign
Their tan lines are showing
Their hard taffy candy breaks in two pieces
that is its attraction.
Even if you had no friend to share it with
you would still break it, and eat both pieces.
The atmosphere is crisp and cold.
You would break his back at the tan line
His friend sat back, according to his will
Up to the balls, up to the balls
The day comes to a succulent close
Distinctions disappear, you're better
off by yourself
or with somebody else
Maybe two people
These ribcracking boys Timmy
and Tommy of the Stadium
This image, the most Lacan of my friends,
is writ in water, won't shut his eyes.
Even when I'm bad, he takes me,
and unlike my woman friend the broken record
never repeats what I say, what I say
Kevin's his name, and Kevin his reflection.
He's got a bad bite on the side of his neck.
Where I thought it was love, he knows
what the fuck I was doing with
a glass of wine in human form.
Under the influence of your love I
broke off with Mr. Potato, the Irishman.
Once I'd adored him and gone round the world.
Under the influence of your love I
made a few mistakes, I see, in my mirror,
in the mystic ball mounted in the garden.
The sun seems to whisper what time it is,
and rows of flowers bow and curtsy,
stately as diplomats. Daisies who don't tell
what the fuck I'm doing in a garden,
under your influence, in your wine,
hearing your whine across a hollow of
dark tarn, friendless now in your love, in
your urine like a string of blood
churned in a vodka, so, where am I?
I, says the cat, will sit
upon the chest of my conquered curl.
I, says the gun, will kill
anyone who comes between
the pressure of my trigger??
and what? Did I intend rain?
Evidently. The sufferers line up
to petition our please.
And-and-and the stutterers
sing the siren's curse.
Now is the season?ñ
the reason for our furrowed brows.
Pop-pop!
the gun goes.
The stage is empty.
there weren't any heroes.
Los Angeles, 16 April 2002
Back may reject
the mince of ejaculated
threats, but the arrested eye
exacts a snide pinch
among those athletes
who seek any game.
Elegy suits homecomings
as if warding off
the sailor's neck, voices
besieging the staircase's
twist. Over the spool
they slump down to breathe
simple syllables just as the moon
calves the thighs with what
you can well imagine absorbs
the traceless suppression
of all those unexplored desserts.
There is a wisp of the white hair
summer verges on its threshold
deposited there as a groan
that rhymes with the moan of hesitation's
open spiral, a fill that is to be
it seems apparent in reflection
of what bringers brought the slip into,
cupped in surprising handfuls
of an impotent seed thrust
to surface deep.
Los Angeles, 10 February 2006
Cigarette smoke
spills from her red mouth,
demonstrating
chaos.
Voices, movements,
shift the smoke,
take us where
story
and image
deteriorate.
A narcissist
immersed in her own voluptuous<
wickedness,
she is a state of mind,
the image of an irreal city
more than a place, a
blurred figure
going in
and out.
Sensuous camerawork,
romantic atmosphere,
gowns, balls, staircases,
polished, epigrammatic dialogue?ñ
films of her
make her,
make her her.
Did she or didn't she?
Does she, or doesn't she?
Her legs are two wild claims,
disruptive assertions
raised to the level of staccato shouts,
become vehement lowering.
She leads with her feet.
Only eyes walk
up the seams
of her stockings,
stalking
their fishnet.
Who's caught?
Who's hooked?
Last night, again I wandered through the world
where everyone's implicated
as though I'd become a shadow alone,
the lonely implied,
not entangled, not entwined,
bound to keep supplying motive, delivering drive,
tourist, audience, flying trap to trap,
puzzling spectacle to idiosyncratic performance.
I drop crumbs and blood drops,
I scratch initials, waft perfume,
but where do victims dwell?

In February 2004 I went on a one-month meet-as-many-poets-as-possible trip to the U.S. A mobile phone would have made everything so much easier. I call my friend S from a public phone at LAX, eventually getting through. I dump my bags at his shared one bedroom flat and we go to a nearby market, where I buy some dice, candles, and the best cookie I've eaten in my life.
It's a commonly raised question within the Melbourne poetry community: how to bring poetry back into the public mind? Are we content as readers and writers of poetry to remain marginalised while sport maintains its deified position in this country? Moving Galleries, an initiative recently launched on Melbourne's trains, is an attempt to redress this imbalance.
Slivers by Ian McBryde
Flat Chat Press, 2005
Nine Hours North by Tim Sinclair
Penguin, 2006
Two recent Australian poetry titles – one from a 'cult' adult (and at times 'adults only') poet, another from a newcomer writing for 'young adults'; the former published by a new small press and the latter by one of the world's most recognisable publishing empires; the former experimental and minimalist and the latter conventional and extensive; and so on – offer formally different yet discursively complimentary views of the state of the poetic word. In spite of their blatant differences, Ian McBryde's Slivers and Tim Sinclair's Nine Hours North both convey a seemingly pessimistic discourse, one consumed with disenchantment, the death of things, and a growing awareness of 'the end'.
The Biplane Houses by Les Murray
Black Inc., 2006
Given the title of Les Murray's latest book, you'd perhaps expect that 'The Shining Slopes and Planes' – the poem in which the term “biplane houses” appears – would provide a key to unlocking this collection. In a sense it does: the poem evokes a runway full of simple Australian houses, entities that appear the least likely to sprout wings, organic or mechanistic, and fly. The poem implies that it is the people within these houses that possess the possibility for a non-literal take off, a spiritual or at least psychological flight. But for this reviewer the poem 'The Tune on Your Mind' offers a more satisfying access point to Murray's first collection with Black Inc.
In a sand casino we devour the sun
standing like two dimensional cut outs
spinning roulette under a three hundred degree rainbow.
I leave friends orbiting the night.
Neon lights with cues
push me into traffic's deafening rune
where subways converge.
Now, I slam against a naked human pyramid
balancing so high
I think it might spill
as simply as my last martini.
I meet a corpse in a dinner suit
he feels for my pulse under folds
of this green shantung frock.
It's a place you can't film.
His hands tap the fandango.
Spindly branches tangling my high fidelity.
The corpse in his crumpled dinner suit
corners Los Galapagos Boulevard
calmly stepping to a conga line's limbo.
I'm bent in tai chi's harmonising languor:
lost in dead spaces
between my minds fix
and a nicotine rush.
Some faces flick past
pages from a book I've never read.
He thinks I am like him:
he checks my vital signs:
says we're facing the wrong way.
His double breast shields me
from a city's metallic rage.
Later, at the sand casino
I order grilled parrot
from a waiter who juggles watermelons.
The corpse isn't hungry
he's shredding clouds
pleating napkins into geodesic domes.
Hooded boys frisk
the sidewalk,
somersault gutters
or stand around swinging bats.
The paper seller
at Angel
listens to “Do the Locomotion”.
Tourists hog footpaths,
stray across Queensway.
They feel safe in less hurried postcodes.
Windows here
won't open.
Praed Street Shops
sell Union Jack jock straps.
Girls want to look like Kate Moss.
Saplings as mannequins.
Wreaths pile up outside
Edgeware Road tube.
In London, tequila is the new vodka,
and vodka is the new tequila.
Some churches only open to tourists.
I want to take up religion.
I will lift my hand up and there will fall a silence
And I will call you as I will lift up my nose and
There will waft alluring aromas and the bombe will inflame
As I will lift my eyes and see all the hunger fleeing
And a healthy insatiability settling quiet upon desires
I will lift my voice up and say it was good and
You will lift your spirits up and say we tasted it we tasted it
Without making you feel at all
In lands very distant from you
I raised flowers which you like
I know
I left you by yourself
With unforgettable memories…
Every so often
You felt uneasy
Because of my badly digested words
You stayed sleepless…
During successive days
I dragged you towards mornings without a sun
I was in these pages.
I hurt you with touching songs which I liked
I touched you with my poems
Again and again, I drenched you
With my feelings…
I was in these pages.
I often took you for walks
On the most populated streets
Of Istanbul
With your heart beating
Your beliefs and acknowledgments moulded time
Behind blurred window panes…
I was in these pages.
The sky was different
Light was acid
Avenues were without people
Streets were without soul
When I lost you
In the stopping of a bus…
I was in these pages.
I made you wait until mornings
On the streets of Istanbul
I made you tremble in full jolts while you dreamed
During your sighs I threw your shades
Into seas
On blank pages I wrote that I love you…
I made your drawings
On all the walls of the city…
I was in these pages.