Paola Bilbrough Reviews Andy Kissane

showcover.jpgEvery Night They Dance by Andy Kissane
Five Islands Press (2000)

Andy Kissane's second collection of poetry begins with the evocative lines:

In my dreams I blow glass.
My breath spirals easily
up the rod,
My lips are loose and supple
as if I'm panning cool notes
into the evening.

This is an apt description of Kissane's work. There is a certain lyrical effortless to his poetry that makes it very readable, and indeed many images and details in this collection have the beauty of blown glass. However, there is also a very different sensibility in operation; many of Kissane's poems are also robust, meaty creations packed full of information.

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Festivals

Welcome to the first Internet-only issue of Cordite. Issue #8 reflects a period of transition within Cordite. Migrating to the Web has been a difficult and confusing process, with which we have not yet fully come to grips. We now receive as many submissions via e-mail as we do through the post. The range of poetry we are sent for review purposes is diverse: CD Roms, zines, self-published works, chap-books in rich text or PDF formats. Who said poetry was dead?!

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Deb Matthews-Zott Reviews Dorothy Porter

whatapieceofwork.jpgWhat a Piece of Work by Dorothy Porter
Picador, 2000

Dorothy Porter's previous verse novel, The Monkey's Mask, was a huge success – it won The Age Book of the Year for Poetry award, as well as several other prizes, and has been adapted for stage, radio and film. What a Piece of Work is Porter's third novel in verse, and takes its title from Hamlet's soliloquy (Hamlet, Act II: Scene II).

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Gaby Bila-Gunther: It’s not easy being zine

How can one ignore names such as Inter Urban Service, RIP, Anti-Gravity or Lose Ugly Flab By Eating Less? They come inside matchboxes, envelopes, or gently packed in wrapping paper. Some you can't even view without 3D glasses. Some are only one page long. Whatever their shape or size, zines are a direct approach to self-expression – away from glossy, elitist print media.

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Chris Mansell: Poetry of the Northern Territory

Region is not acknowledged in contemporary Australian poetry – which is strange since the way we see our tradition is in terms of bush and country. It's also what most contemporary poets have rejected in fact (and, legitimately, act in opposition to). What is now forming is an urban/suburban/rural split. Les Murray remarks on this often – the title of his recent collection Subhuman redneck poems is itself a direct challenge. This is how Murray thinks some suburbanites see non-urban people. If the country is seen as wildly exotic, how, then, is poetry of the Northern Territory seen? Or not seen?

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David Prater Interviews Pi O

Pi O was born in Greece (1951) and raised in Fitzroy, Melbourne. A founding member of the Poets' Union, he has edited books of poetry such as Fitzroy, 925, Missing Forms (1980) – a visual poetry anthology, and Off the Record (1985) – a performance poetry anthology by Penguin. In the same year, he toured the United States and later performed in Colombia. Pi O is an Anarchist. Fellow insurgent Brad Evans interviews Pi O via email for your re-education.

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Prithvindra Chakravarti: Twin Mangoes

We never spoke, never sat face to face.
Our company evaporated with the morning dew.
The midday sweat dried up on the quilted
rice field: our wornout scarfs and robes

reincarnated as embroidered ripples
all around, a blossom in the centre,
the rainbow snakes guarding the borders.
We never sat face to face, never spoke.

We hung like twin mangoes
from the forked bough of an ancient tree.

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We All Discard Our Eyes

We all discard our eyes one day.
Sticking them on the wall, we scratch around
caught in a cobweb, relish our rest peacefully.
Once Anancy created a whole world,

now he will undo his mischief, relieving us
of our routine: no more seeing then
those soft, harsh colours; figurines, ribs —
only sticky gum will put us together

if we fall apart. We’ll enjoy the warmth
released by the dazzling eyes disowned long before.

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Some Lines for Reading

Adelaide River War Cemetery

Bones of Polly Mop or Mine
below
the last plaque on the grass.
Blasted into death,
there’s now no flesh
but her still fresh name
has stopped me.
Fourteen runes I read
‘POLLY MOP OR MINE’.

Her secrets buried deeper
than JF Simon’s,
Corporal, twenty,
whose familiar letters
burn bullet hot in the tropic glare
but tonight will share with Polly
all the grave black air
beneath a clouded moon —
his too soon death made me stop and wonder

if JF Simon was a white man
his rolled Up sleeves with cigarettes tucked under,
or Polly Mop or Mine was Black:
she’s nearer to some other stones
like CHARLIE LARRAKIA standing silent
in a separate line.
And yet they’re linked —

I think back then
the kids were told it’s true
— he died for Polly —
and maybe even JF Simon tried believing too
in his untaught understanding
as he marched off scared but smiling with the band.

Complexions fading into land
whose surface has been lately labelled with secret signs
JF SIMONS
CHARLIE LARRAKIA
POLLY MOP OR MINE.

 
 
The cemetery fence

a crude inscription
reads
“Kill all MABO’s”.
The red paint bleeds on silent stone.

 
 

keeping records

On the surfaces
there’s a ranking by degrees
of anonymity
frorn least to better guessed:
xenophobe;
Polly Mop or Mine,
JF Simon; etcetera.
And yet, with a bit of effort,
I bet I could learn most about
the Corporal.
I reckon the Army
has a fading dossier
with further details:
blood group,
height, weight, parents (bereft) —
never mind that just like Polly’s runes
the writing’s all that’s left.

 
 

mind map

Like heated lead
these words burn into my head
almost under thinking,
ancl silent synapses
link tracer shells
across a darkened sky —
Charlie Larrakia
JF Simons,
Polly Mop or Mine,
the blood line defying all the silent stones
and what they stand for.

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Pandanus Fruit — Ubirr

for Elizabeth Mansutti

On the edge of the floodplains
At dusk
Beneath recursively barbed leaves
Shards of vermilion enamel
Drop onto burnt black earth.

Now delicately dismembered
The knobby sphere
Displays like jewels
On a jeweller’s cloth
Smooth inner membranes of vivid glass.

Stored in a basket
Beside my bed
Glossy cinnabar fruits
Exude a strange perfume.
The floury smell of semen
Penetrates my room.

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Slow Evenings

… when even words were eaten
and behind our backs

they were forming a picture an
inscription

illegible but flawless
as that other time when words

were still things their melody
ringing on the cold, charred ground

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A Double Life

At the end of their refugee journey,
the long forced pilgrimage, burdened
with the smallest and heaviest bundles,
they settle at last, uneasily, anxiously,
in the wounded heart of a city or
its distant fringes beyond
the fashionable and complacent suburbs.
The small children learn
the unspoken rules of a double life:
Here, in the father’s domain,
the old ways are preserved, the chickens
slaughtered in the back yard, the mother
tongue enforced, though the children
are already beginning to speak it
with strange new accents
that grate on their parents’ ears.
(Cut off from its source, that mother tongue,
like an old crone alone in the forest,
will grow odder and quainter by the year,
which they will not note until one day,
many years later, they meet a traveler
from their native realm
and marvel at his strange speech.)
Outside the father’s door,
in the streets and schoolyards of the new world,
the immigrant children soon speak like locals
and are re-baptized
by their new friends with new names.
Henceforth, they will respond to two names
and will carry them both separately for
separate occasions.
In the homes of their new playmates
they see what they never see under their own roof —
perhaps animals treated like people (dogs
and cats at table) or possessions
treated with supreme indifference
by those who never had to turn their backs
and walk quickly away for ever
with only the suddenly precious
contents of their own pockets.
To be human, of course, is to adjust
to almost anything, and the children grow
into their double lives
gracefully and easily in the end.
After all, it may not be
that much more difficult
to cultivate two identities than one — and
in the end, therefore, even
a little easier to see through.

Posted in 07: NORTHERN TERRITORY | Tagged

Zhang Zixuan: Untitled

there has been much rain this year
and I am very thin
there are three sparrows chirrping on the wall
when I get up in the morning I always hear Wang Huali
brushing his teeth outside the door
then I am reminded that I have been listening to him brush his teeth for a long time
and I shall listen to that for a long time to come
but I can’t figure out why Old Du has got so much grey hair on his head recently
I feel so bad
I recall that in the last few years he’s been telling me
how he comes to part company with a girl in Jiu Quan*
and how on one occasion he stole some wine
and got dead drunk
we all ran to console him
till we found
we were feeling awkward ourselves
then I remember there has been much rain this year
and I am very thin
and everybody is feeling awkward

 
 

* Jiu Quan is a place name in China which translates to “wine fountain”.

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