Like the Moon Does (In the Group Chat)

If I were to talk of bellies and sex to people I hardly knew
you’d tell me to grow up

It’s different for parents

Thirty-two members strong, you are the Night feeds
the witness of the goddess
in the watches of the night

I put the emojis after the name
First the stars

then teated bottle offered to the sky
then yellow cratered moon
that smiles but stops short
of true benevolence

Cracked nipples, splintered insides
Is this colour of poo normal?
I’m showering as a treat
Bliss

You wouldn’t even have been
friends with them at school

Grow up
Amy is pregnant with her second, without trying,
but swore she was one and done
Amanda wants another but every month
just cherryskins
so her grief weighs on

Angharad, her cycle a sea anemone

She left the group, to face
the night alone
now no-one’s talking

It’s as if there is a woman

a sleek and deathless phantom thirty-third

long as a dachshund,
juicy as a frankfurter

Her litter all around her
feeding
she smiles

like the moon does

it’s easy for her
all this

easy for her to feed on you

Posted in 120: DIALOGUE | Tagged

ANNA

my kid’s latest affection is rubbing his bum on your leg. correction: my leg. entire little poems emanating from his solar arsenal, our bodies spiralling to a dance of his enjoyment & my distaste turned over to curiosity & the concept of an entire empire in the bunghole (‘derriere’ / ‘tush’) of this little big poem. he calls to me the poetess the cloacina the parent (‘old woman’) who tends to it the emanator the shit stirrer either when preferred or when i’m the only one on duty. another affection of his is watching scooby-doo, most of the episodes are spooky so i slip in a ‘spooky-poo’ on my way to the kitchen to elicit a smile so he knows i care but it goes nowhere. it is important to care about poo in the company of five year olds & then to be reassured by the excrementalist tendencies of the poets, there are many too many to name one is anne boyer there is permission there deep in her fable (not hers) that the world is shit, that when adam & eve ate the forbidden fruit they needed a toilet & so they fell to earth & the earth has forever since been the toilet. i try to introduce place contextualise the poet angry brigadier anna mendelssohn’s ‘scoopydoo sounds’ gleaned from an abstract i find about her 2020 collected poems & it goes nowhere. it doesn’t land. ‘oh my’ / ‘oy’ / ‘oy gevalt’ / as velma dinkley used to say now she just says / ‘jinkies’. it doesn’t land it dissipates on an air like where are you? & i’m working here.

a friend relates the writing process to the feeding of the scoby the mother bacterium the symbiotic culture the symbiotic task of weaving the poem towards its final destination but there is none. there is the absurdity of going to mendelssohn’s own absurd / poetplace each morning / the unfathomability of an assured arrival at a prescribed location where poetizing might neatly commence & conclude each day 1 / but no, writing poetry is like shitting like shitting on your iphone notes, there is no routine there are only gestures & exigencies lewd & lurid sometimes lyric like when it just slides out of you & it is beautiful.

my grandfather antoni’s cleopatra was poland his other love was this speaker’s grandmother her nanna & she boarded the boat where the former did not & what is the sound of the boat that leaves the land behind? one pro-long-ed blast. i hear a foghorn a grief spiel a yearning detaching a slow bellows acoustic moan that dresses the polluted air / audible like overt pleasure how it comes. over the years her name followed a trail of a’s from alina to alicia to anna evolutions acquitting place to a life of migration to a possible restless attempt to belong, to find the title the outfit that fits the form & the speaker’s strongest most cherished memory is of her dressed in her matching blue tracksuit making kluski in her ground floor kitchen sometimes drying in the garden. to belong not only to earth but to story / the theatre of the overstory / & to author it & in the process abstract the author. take the philosopher günther anders / hannah arendt’s first husband second cousin of walter benjamin / who changed his surname / slur! / from stern to anders (german for ‘other’) / an anonymous name, without genealogy, or rather whose only genealogy is otherness.2 we feel shifty on our feet on our names we feel shifty attaching to lands stolen settled seasick borders seasick names also dredged remnants of the base names are sediments benthic rising. her maiden her midden a heap of language resounding a shell pounding & a mound / izydorkiewicz / & it was lost when she married in the displaced persons camp / twice displaced twice found / & the story is the newly authored tri bi nomial & the poem is the organism to attest it. ‘wicz’ an epithet for a lady dressed in black magic? but no pronounced ‘vitch’ a suffix & it dredges from belarus from the peripheral eastern territories across the green border in the former plc (‘lithuania’ / ‘belarus’ / ‘ukraine’) a suffix sneaking its way in before the terms are fenced. wicz also patronymic ‘son of’ not ‘daughter of’ means i am beginning to see all daughters & sons as sons of differently but similarly to how andrea long chu says that all men are females but females not women. 3 the speaker of this poem has a vision of themself in the leading motif of anna / son of izydor derivative of greek isidore (‘gift of isis’) / ania walwicz son of wal diminutive walenty (‘valentine’) / david wajnarowicz son of wojna (‘warrior’) fighting the tendency of a polanised german wagner / the way we try & shake the title as to gender to shake it off to shake it all off.

ania diminutive (‘nickname’ / ‘baby talk’ / ‘endearment’) of polish also russian anna crawls down to its roots in hebrew hannah (‘favour’ / ‘grace’) also chana, greek ania meaning ‘trouble’ / angry little brigadier / perhaps referring to the difficult placement / on the floor where we crawl / of the genus in a classification when first described (its lack) of a family of terrestrial orchids, eight species characterised by their pseudobulbs ranging from northeast india to the philippines & new guinea / crossing the pseudo force the coriolis the bulbous at the centre point of a vast fiction / described as glabrous some glorious gracious smooth thing hair down free (lacking) chiefly of the skin or leaf. when first described / the anima / carl jung’s term for the inner part of the personality the female component derivative of latin masc. animus / remove ‘im’ and you are left with the anus / rational mental power intelligence is newly vital principle soul / the small non-lethal pseudo bomb that anna mendelssohn (‘grace lake’) is alleged to have planted with her friends / sensationalist news headline reads: girl slept with bedside arsenal / against targets such as miss world pageant & others / i glamoured her i gloried her 4 / & they land her the sentence & her lines outpace the page / la gloire la gloire la gloire 5 / sentenced to ten years served five in holloway women’s prison one of four convicted of the stoke newington eight a genus of libertarian communists (5 /10, 1 of 4 / 8) the ring leader of which self describes himself as ‘angry’ the others he says were just ‘slightly cross’.

the leading tender of a name / a coppice for the forest / ‘an’ indefinite article used before words that begin with a vowel sound including words that start with a silent ‘h’, also a prefix denoting negation as in ‘anarchist’ ‘antithesis’ ‘anulado’ (spanish ‘canceled’) ‘anarchive’ or ‘anarchitecture’ / archist with no ‘an’ refers to a religious group that worships godlike ai & when placed into a human made phrase / vital principle soul / can find a pleasing alliteration in ‘an angry archist’. colorised and ai upscaled image of karina in 1967 is a caption, appears beneath a colour image of the actress on wikipedia. a genus of annas might be veronika angela nana natacha marianne paula odile & the ‘new wave bride’ a star, the star odile with the soft skin her soft skin as when the narrator says it & he is name dropping the title of a francois truffaut film. the civilisation of one epoch becomes the manure of the next 6 / duplicado anulado duplicado anulado by e.m. de melo e castro (1966).

the first animated hannah-barbera tv series to use a laugh track on a saturday morning was scooby-doo, where are you! somewhere between 1969 & 1978 the same years that mum was in california painting their animation frames for a dime & a laugh, getting married on a hill with flares flowers & tequila. they were not sovereign on that hill but they were free or so they thought & how strange for the feeling of free love / flowers & all that all their power / to culminate in being wed to the state. she never married again.

to annex to anneal to anoint. to anon anonymous to anyone? anyone does anyone announce and yet another does a nimbus does a ning-nong & where the cows go bong! & does anyone & where are you? veronika angela nana natacha marianne paula odile anna anna grace ania nanna david vera scooby, where are you & where are you going? & are you on tasha hill somewhere in provincetown? / which is very rustic which means wet wood & hobit houses & goats & horses & roaming dogs & chipmunks but like really chilly & the internet wasn’t working 7 / & all of this searching for where are you is a way of saying i’m working here & i’m working to remember you & you’re never really gone & what’s in a name if not the theatre of the canopy the overstory & finding ways to get back to it to the weather the climate / the name is the climate we live in / it’s a fog it lifts it shrouds pounds surrounds us it slaps us into ventifacts up on our various hills / the mistral tramontane chinook santa ana san andreas fault anaheim fault line southerly buster southerly roaring forties.



Posted in 120: DIALOGUE | Tagged

In the night space

Working the sexual assault & domestic violence lines

they ring & in the night space we draw circles
decorate them with an arrow to pierce a heart

we open the space & we wait
whether it’s 20 minutes or 8 seconds
& it’s reliable – they come
anything from very tentative, to a forthright telling

heavier calls overnight – we’re witness to a new kind of sorry in the early hours
we meander fingertips over paper – these old-fashioned lines to trace
begin to wind ourselves away from where each caller has been
that night & deep into an array of pasts

we collect ourselves & recollect
sounding outwards for the plurality of those who need
as they sound inwards for us
& voices together, feel our ways into & out of
the collective wound

silently we breathe out our own fears
soften our voices to soothe the outpaced minds who ring
the anxious unsettled, living in the checkmate of outsider positions

who are we? – whoever we are we stay
our presence dives, lifts to later coalesce
a voice tells us to isolate then reach towards
the fabled camaraderie of other counsellors

the hope hit & miss
as we attempt to navigate the psycho-social labyrinth
fingers try to find a path between
the tangled lattices of cares, fixations, myths & hurts

those of us doing the listening touch fingertips once more
tap tired words to one another across states laws & federal mandates
these are cobwebs that reach & stick

working the lines
in the night space, lonely, intimate
to be just there, to be just with – after abuse
all kinds – its hours & its torn love

afterwards I reach only for the company of trees

Posted in 120: DIALOGUE | Tagged

Hakka

客家 hak-kâ, lit. guest families

with ocean to the left and mountains to the right
the families travelled south

discussions often turned
to the building of permanent homes
when they eventually found somewhere to settle

but for now every night they rested
nestled together like aromatics in stock
as they closed their eyes they listened
to the elder telling stories of their future

one day our people will arrive
on lands far away from here
new lands where rice will not grow
where people speak without tones
a place of many ingredients
where we will invent a new cuisine
which everyone will love
but nobody will own

the further the families travelled
the more elaborate the stories became

sometimes they spoke of impossible things
like machines filled with boiling oil
or plastic boxes that heated up whatever was inside them

one night one of the younger men finally asked

but elder—how will the future generations
remember us

and the elder had no choice but to reply truthfully

***

that night
a single star above this family
grew just a little brighter

and generations into the future
here we are
all of us briefly illuminated

Posted in 120: DIALOGUE | Tagged

q. 14

Motion for cloture. Mouth stopped
Like a vinegared bottle.

The height of autumn. Saved daylight.
Right side up at last? Merely

Partaking of life, like a stone
In the shape of a statue.

Posted in 120: DIALOGUE | Tagged

Light of the South

i. 女人

All I knew about my grandma was that hiding out from air raids she was old enough to
recall Her mum chanting The Lord’s Prayer in mandarin [sic] All I knew about my
grandma was every time the soldiers come [sic] around her kampung she had to roll her
eldest daughter in a mattress and tuck it under her bed blacken her face and teeth with
charcoal wear a dirty top All I knew was they had to cut their hair short to look
ugly/dirty behave/look/pretend to be a man hide to avoid getting taken relatives
disguised them as boys the soldiers would throw babies up in the air then bayonet them
as they fall [sic] They dragged her off the road on the way home from school left in
disgust when they discovered she was on her period Her mum and the rest of the family
were all shot dead All I knew about my grandma was that.






ii. 男人

The known and documented locations were Changi, Punggol, Bedok and Sentosa.

My Grandfather didn’t tell us much until few [sic] years back
My grandfather doesn’t want to talk about the war.
My grandfather told us kids this (Story in hokkien [sic]
before he pass [sic] away) My grandfather heard
an explosion. he rushed back to see his village a sea of red
soldiers chasing villagers cutting them down
mass killings. bodies with nails ripped out, water torture
chopped off heads stuck on poles away into the forest
soldiers chased after him a bayonet. cut his leg deep
a villager threw a bucket at the soldier, and he half ran half
drag [sic] himself towards a bush among the trees and lay flat.

My grandfather was marched off to a beach with many others.
My Grandfather was rounded up and placed on the back of a lorry.
My grandfather was taken and died in a large vat of water(?).
My Grandfather managed to escape by hiding in a drain
Granddad on my mom’s side was taken they
loaded them up on lorries with other Chinese, drove them to a hill.
They were told to dig a ditch When it was complete, they
sprayed them with a machine gun. lined them up and shot them.
Everyone fell My grandfather got several ribs and teeth broken,
lay there amongst the corpses. was blinded for life. it was around
sunset. My grandfather played dead became deaf in one ear.
My grandfather waited and waited for a while more, out of the
pile of dead bodies, slowly, under darkness,
made his way home all covered in blood






iii. 忘記

Most older Singaporeans, at least in my family, refuse
I think their other stories are more interesting Uh,

warning: some grandparents really don’t like talking about it
Grandparents didn’t like talking about it at all.

Grandpa doesn’t want to talk about the war.
There was always a really heavy air and silence

between sentences so I just dropped it after a while
Nobody wants to relive watching their parents get shot.

Don’t be surprised if your grand parent’s [sic] don’t
say anything because

as much as there was [sic] atrocities
families also profited

in exchange for investment in the 1970s there was
a closed-door agreement to lower discussion

basically dump money on us to shut the fuck up
since investment help [sic] boost economic growth

Can argue was good [sic] though.
We needed money desperately then.

The attitude was to remember but not to be imprisoned by it.
they were more concerned with getting on with their lives,

a lot of the people who lived through that era are
already dead or don’t remember (or were too young ),

It has been years at this point after all.

Anyone managed to see the Soon [sic] Ching plaque placed at Sentosa?
a private golf course occupies the area so it is not accessible to the public…

a lot of the family stories are gone too.






iv. 食物

cold water some vitamins. biscuits

sweet potatoes. tapioca. tapioca for 3 years.

sweet potatoes (SP) the reason why

my father refuse [sic] to eat tapioca.

2 SP. sweet potatoes with rice

rice was a sacred item nothing

nothing but rice mixed with plain water

a rotting chicken a living scarecrow

battling hunger, for years Let’s just say

when things got bad… pets disappeared.







Light of the South was composed entirely of found text from the r/singapore subreddit.

Posted in 120: DIALOGUE | Tagged

Race Against Time

Race against time poem stylised as a diagram

Posted in 120: DIALOGUE | Tagged

Drinking Problem

I know it won’t be read
or understood. The text will sit
in your inbox like a Jack
in the Box. Only no puppet will appear.
Later. Ever. Have you grown used to it?
Not reading between lines that will never reach
you. Not having a body. In a tiny text,
making out like you’re three doors down, I write
to tell you all you’re missing, waiting
for you to respond. Come here, I hear you say,
it’s alright. Don’t be so quick to want for it
to be over. Which is to say, I want to scream
How dare you. Three syllables spewing
lava from the back of my throat.
I am so tired … I want to believe them
when they say: There Is So Much Good.
Everything’s Fine. It Gets Easier. You’ve Been
Through So Much. I want to believe them.
In thirty minutes from now, I will count the bottles
of champagne you left to expire in the bar fridge
wishing to God I had a drinking problem.
Can you feel the warmth of your son’s lips scrape your cheek?
Or your daughter’s tears in your hand at the hospital bed?
Two birthdays, yours—been and gone.
How the colour has returned to your face …
You’ve regained weight … Returned the rope to the shed …
Close the blinds, would you. It’s too bright outside.
Your eyes roll … a black clock shimmies on a white wall.
Tick, tock … Remember, you said, I’m too smart
for all that. I said nothing, only thought, I’m so stupid.
April … It’s here, again. How bright those city lights shone.

Posted in 120: DIALOGUE | Tagged

My Father Often Would Breathe Fire

The trick was to hold butane in your mouth,
he’d say, and at the match to aim a stream:
keep the flow steady, don’t breathe in. I’ve seen
it in a jittery home movie: Miklavž,

December ‘63 (before me, when
they still lived in the city), with a pack
of devils around him—their faces blacked,
stooped with chains, straining toward the children.

One figure stands now—is it him?—and flames
billow from his head. The frames judder, jump
cut—to memories of blows on my rump,
disgust at my lack of common sense, blame

cast at my mother. My father often
would breathe fire. The trick’s to not breathe it in.

Posted in 120: DIALOGUE | Tagged

At Chhatrapati Shivaji Maharaj International Airport

Where’s your OCI card

[the British stirred it in their tea
like sugar]

Why didn’t you extend your visa

[I thought the gods stamped it unconditional]

You will need to pay the penalty

[is that the wrong-passport fee
to visit our cultural sites?]

You have an Australian passport

[the loss was uninsurable
like a pre-existing condition]

What is your work

[I can only pay the penalty with ink—
here’s a poem]

In what language do you write

[unlike Sita, I can’t pledge my purity]

Angrezi is your stepmother’s tongue

[don’t you know? the ships unmothered me
before I was born]

Why are you still travelling

[it’s where I live
and dream]



Note
OCI = Overseas Citizen of India

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Reports in Manila After Tiananmen

There were many versions of the man
who stood before a column of tanks.
A student said he was a friend
of a friend of a friend— he woke up
hung-over in Cubao and still managed
to submit his thesis before he vanished.
His wife swore he was home that afternoon;
at sundown he was gone, the TV
was on. San Miguel was alone watching
soap operas with a plate of peanuts.
Some saw him being pulled away
by masked bystanders; he was later found
in a secret stockroom in Camp Crame.
Others professed to have known his real name,
a myth passed around like Nardong Putik
in Imus and Zapote. In other accounts,
he was dead—various witnesses saw him
murdered in Nagtahan, buried in a concrete-
filled drum in Pateros, run over by a bus
near Pantranco, his skull exploding
like a husked coconut on the asphalt.
The official report said he simply didn’t
exist, and like Trotsky disappearing
in photos of the revolution, the footage
showed the tanks halting for no reason,
trying to drive around no one,
perplexed like winter cranes.

Posted in 120: DIALOGUE | Tagged

after Antigόne Kefalά. Or noi, singurii martori ai noştri

Antigone, your many tongues, are they enough?

They are amphibian and
anamniotic, of water and in water, indiscrete. Are tadpoles
leaning, limbs sprouting (from long sleeves, late nights),
waves of hatching: to. From. A survival on a white and
fractal drift.

You’ve said: The whole texture of my language is not
an English texture. Is the heterodox defensible,
will you defend yourself?

The patterns are perpetual, are
outskirts thick with mice. Kavafis said: out of the world,
insensibly, they shut me out. But never a sound of building,
never an echo came. So what do I mean when I say
the suburb is abandoned? Or when I name the suburb
‘body’, ‘possession’, dispossession’, ‘grace’? The door
is locked or off the hinges, or there is no door, or there are
no hinges. No subjects, only objects (glands, olive trees,
blown crates, creases of prayer mats); the before and after
of satellite images burned into sentience. No, I mean
conscience.

You’ve said: There’s an assumption that when
you’re writing from the outside you haven’t worked
at your language long enough.

Closely enough? Enough is enough?
Entry depends on a show of recognisable biologies and
prepositions (over bodies, against intruders, to the gills). Yet
we slide through membranes, finned (and into downpours,
bomb-fall; the sun bleaching clear our barest parts;
our trespass into form).

Antigone, it’s hard to get a handle. Do you
have a word for common striving

like housing, habitat, the red
zone for our blistering transmissions εμείς,οι μόνοι μας
μάρτυρες

Posted in 120: DIALOGUE | Tagged

contact sports

a collection of words

Anne Waldman typed
into the Poetry Project New Year Marathon
livestream chat

support the
tentacular Poetry Project and keep the elections
of Warnock
& Ossoff in your psyche

these days, poet power change the
frequency
ditto activity de-
mon John thank you “dreamer
as artist shaper
knower” Lewis!

“moving through Air”
mow [sic!]…. learning to type
all over again
through tears

someone responds oh Anne I can
only imagine
&
Brian Blanchfield says Lew-is Warsh
= stimulus check

J speaks in the last hour
and tells the internet &
Anne Waldman I hope about
the time we walked
down Flatbush Ave and
I was mad in the rain

no trains no
buses just walking and he
called it glass on the ground
and he said I yelled
and I guess I did not like this

morning when I didn’t say
anything until
three o’clock
and spent a long time rearranging
the magnetic poetry
on the refrigerator

I am watching All the Vermeers
in New York
and eating
scrambled eggs

like I might pretend

it was all a deliberate act a decision
to push onwards to a topography
less familiar than

this poem
another poem
another
another poem small structures

that
stood
on the page
until yours flickered
and danced

it jolted

me and made me think

without
too much thought I
press buttons into the web chat

the ones that click in
and save Anne Waldman’s words so
I can come back to them later

and create
some kind of pale
nexus

at a birthday party I try to describe
my approach to Hinge
I just look at them I say and say no

G is a therapist and able

to look me in the eyes
he did such a number on you
she says and then goes to find a beer
to cure a headache

in the second series of Planet Earth

a heat camera follows
a tiger
in a Mumbai park at night

men walk along the path
and the tiger attacks and kills a piglet

I text snapshots
of caterpillars
eating lemon leaves
to you or whoever is tracking

the flight paths of smoke and
bearing witness
to the Bureau of Meteorology

a man sits on a boat
in the harbour
and I am reminded
of my uncle’s old bull Boss
huge and heavy breathing
as he swayed between the heifers

his hundred children
learning to walk through
the afternoon light to
the time where the hooves fly into
the punctum that life is

good and good for you

taste the warmth the vibes a climax

same network same time
it has not been such a long time between vibrations

I am so bored by
what has happened I can’t
stop telling people about it

I walk into Vinnies
with an idea
of buying a Bible

and walk out
with Murray Bail’s Eucalyptus

both work for me
I would like to know what HG

was reading
around the time
she went berserk
and stabbed a pen into X the painter’s
mother’s hat

every morning
a daughter in a high school
dress gets on the 418 bus
semi-accompanied
by an alternating parent
in city clothes
who sits at the front

while she curls up
under headphones in a seat at the back

she has seen me get pulled

off the bus by ticket inspectors
there is a part
of me that wants to tell her don’t

worry I talked my way out of it be proud
of me impressed by the way I handle myself

* I am having an HG summer *
I shrilly text my sister

lying on the concrete
at Ashfield pool and
paraphrasing
‘graceful easy kilometre’
from somewhere
in the diaries

all these European artists
all these bolshy Australian wives

maybe the problem is that I don’t know
how to sling an easy arm around a person

a couple kiss at a bus shelter near
Burwood Road I am lucky
to work in the #1 neighbourhood
in the city
where yellow signs
welcome home AC/DC and

a little girl calls me morning-tea-look
a phrase I say to her daily
and which has now become my name

her name a four-syllable reference

to the canoe journey
of the first Māori
mine joy
at the sight of biscuits I have
fantasies about seeing the dog
slow-motion visuals

of him running towards me other times
he is waiting for me at the front door

he has remembered where I live now
and has come to me
dry heaving in the backyard

I cannot bear to tell my sister

/ I am doing well /

/ my body did not ovulate this month /







I have washed the fragments of Malabar
abalone shells three separate times

letting them dry out the back
then out the front
and finally on my
windowsill

where their moss chips away in the sun

HG would hate this
who the hell wants a life like mine?

I go walking without the dog
am appalled by the quickness of it
the way in which I reach places when I say I will

the OT talks through parallel play
as the little girl attaches rubber bands

to gridded nails while the others build a
Magnatile house beside her

MB’s book is a mission a slog
of ideas about river women daughters

incessant droning about botanical names
I walk back into Vinnies and find a Gideons Bible a passage
that states that a man who divorces a woman must not marry
her again for she has been defiled

in the new house
maybe the problem is I have
not published an essay

two girls sit at the Marion light rail station energetically pulling
items out of paper Sportsgirl shopping bags to show the other I think
my whole day is worth it because of this

when I want to lie down and cry at work I think
about how I will write a story about it when I quit and I will
write it funny and win like Nora Ephron how many
times can someone text good luck with the book before it feels like a hex


when I was
twenty-one
abortion
was not decriminalised

in Queensland I laid in bed I laid in bed
googling protest frequencies googling protest frequencies
and generic costings

of procedures HG goes
to her analyst
about her two

and holds
an expensive silk scarf
to her face

walking up the hill
to the high street
I do not put my earphones
in until I have listened

for the wattlebird and
whoever is at the
blockade outside
what was the Prime Minister’s
office until he said
it was their fault
he had to move

I set up a selection
of ceramic houses on the buffet
by the dining table
at night when I light candles
inside them my housemates
make comforting noises the village is awake

I am not invited
to the HG symposium
because I have given up
on being around writers
and also I am not one

and also I don’t really
introduce myself
she has no idea

what kind of shoes I am wearing
probably boots or sandals my feet
mugging hers

in the Spanish wheatfields
a woman who we extravagantly
and behind her back

call Barcelona bruja catches up to us
she reads our tarot cards
at an outside table under a tree
looks me dead in the eyes
and says it will end soon

trying to march
across the Harbour Bridge
in bursting rain

I see a five-year-old Syrian girl
from work standing
on a barricade and holding a flag
this week her word is ‘cake’

sometimes every year watching the
marathon pretending I still live there

don’t live there am in a collapsing fibro shack
hotspotting a livestream

J’s poem is good he
looks trembly and worthy of worry
or at least a text chain
love the bit in the essay he wrote about us
where he remembers his charley horse
my instructions on how

to stretch it out

sitting side by side M and I say
we are not going to get too into it and soon we are almost crying
microplastics having babies the 100 proof evil
of turning communities against each other
not caring if they take our data because what will they steal
apart from four hundred dollars
and the regularity with which
our uterine lining leaves our bodies our lives our lives our lives



it is January 26th &

I have gotten pretty good
at remembering my dreams

last night I was in a large house
with a big kitchen

that had to be closed
down like a shift before you could move
into the lounge room huge windows
and doors

opening onto a balcony
opening onto a beach someone had

picked flowers big multiheaded red
things with dark green glossy leaves
and put them in vases
throughout the house

the flowers
drop black seeds around the vases
and I know more than everyone else

that this means animals will come flocking

and crazed to the house they do bombarding

the windows of the lounge room breaking
them off their frames and launching around the walls

owls bats feral cats something in between

in the kitchen I am safe because
I have put on a film The Secret of Roan Inish
no one else wanted to watch it so a blockbuster

is on in the next room am I sulking ?
hiding in the kitchen and missing

out on the action
as I sweep
up the black seeds from beneath
my bunch of flowers

scatter them

on the beach outside and return
to announce that this room is safe

no one comes to join me
I have gotten pretty good

at checking my phone
as soon as I wake up
and soon I am googling portaledge
and the likelihood of one falling

down the cliff face the internet
says that even with portaledge failure

the climber is still
clipped in to the rock
how deep do these bolts
go when are they checked how early

is too early to think about
what I would do if I was there
well now I am watching
climbing videos and hear
the scream of a woman
as she falls
in the long dark naturally
this is all because

the man climbed the building
yesterday one of the women
commentators now the scream
I know so well I have had some

sort of sinus thing for
weeks now metres of green and yellow

gunk pouring out of my face
and tooth pain that I didn’t know
was part of the deal every morning

a sort of gasping awake
turning
until my mouth can feed my brain
drinking

something to wet my throat sitting
up until the snot is ready to leave

and the pressure at the front of my
skull goes down a bit I am not an out

for dinner person right now don’t put me

in a place where I can’t regularly leave stand
outside use tissue after

tissue to make it possible to talk again
I remember
a similar feeling champagne
problems when my wire retainer detached
from my lateral incisor
and flapped in my mouth

the generations are slipping I can’t afford the dentist
like the teen dental plan used to and so for months

spoke with a lisp my tongue catching
on the wad of glue and wire and eventually stopped
talking altogether I remember trying

to accept—
walking up to the stage
with my tongue bending the wire

to the roof of my mouth
hoping
it would not drop
in the middle of me saying
thank you this is very nice standing in the kitchen

oscillating between tea and coffee
except coffee does this sort of thing
where it makes me want to faint L says
please get that checked out
but also M said

we can get a treat coffee before the march
so I’ll save all of that for that outside
in the yard
the fairy lights are dragging

and I wind them up click them back
into themselves the solar panel feebly

bleeping after days
in the sun and my togs
on the bricks
metres away
from the chair
I put them on it is windy

and grey the sun watchable
behind a thick film of cloud I like standing out here

in my nightdress planting my feet
outside my hiplines a cup of tea

like a shell in my hand
if you stand on a chair you can see

my favourite tree
eating a yard down the laneway

when I give tours of the house
come and see the new place I end with the tree
pulling two chairs out
from the table
and linking up
with the guest to see the view

right now the yard
full of compacted cardboard boxes
plastic cartons of beer cans
an extra washing machine
booked to be dumped

next Friday in lieu of the replacement

a swishy LG dropped off
by a man named Jez

who called me sweetcakes
M and I flower power girls
for offering to help in our bare feet
and his previous client’s wife a bitch
for not liking the fridge he found them

youse can have a whole year
warranty though
he says
he did a number
on us obviously
the thing he called
a King’s Cross model is done up like a blouse

the rubber seal glittering

with a layer of silver spray paint
that slowly erodes with the loads
to smile teeth of blossoming black mould

a few days later the fridge starts to go
and I try praying
don’t make us have to call Jez

again come on
fridge
and it works the freezer
starts talking
and the milk does not get chunky

I walk
back up the hall with my cup
the lounge room built
with the attitude of a terrace house

is dark for the daylight hours
until we turn the lights on
finally outside

we are talking about All Fours
after buying a coffee in a café
where a man dressed
entirely in Australian flags
was eating eggs
his little bucket hat
pushed back off his face
for focus
it turns out Miranda July
is too sexy
for some people

meanwhile M and I
bawl
on Sydenham Road

anti anti
tampon scene
when I’ve coached a diva cup

instead I say I love the passage
that describes each moment as immaculate
an unwillingness to leave any scene
washing dishes sex
sitting on the bus why walk
into the next one when we have all this here

why move into the next scene

an English couple
looking bemused
on Elizabeth Street
asking someone
in overalls to explain

why people would be so upset about a day

who could be against a day
the sun gloriously rising and setting

with or without cloud
the median daily deaths
in the world dependent
on the breaths and proclivities
of the people in charge of the explosions
the aid blockages the thankful ineptitude
to successfully detonate a ball bearing bomb
or walk without slipping
across slick Minnesotan ice

at Central Station a man
runs into the crowd his blue flag cape blaring

lying on the grass in
front of the Yabun stage
covered in gozleme oil G uses her Jungian knowledge
to analyse my dream the animals
are your base desires
she says you’re nervous you will lose
them while you aren’t dating anyone
should I date someone
I say no she says
and we walk to drink a beer

at the Marrickville library
two pigeons briefly mate
outside the window the cock
rushing the hen on the well-designed
public seating

when finished he jumps
to the floor and walks around to the café
while she sits hunched and quiet
on the concrete bench

in the toilets at the Vic two girls
bemoan a situation I have
a body count of 5

one says why would he call me a slut
in the next cubicle

I have decided to say yes to life
or at least Hinge
and now I am listing
my Letterboxd top 4
with an unnatural glee
who am I a PhD wet nurse

or a person with real furniture
and a refusal to fall in love
with another sessional academic

L texts saying quick
send me a poetry recommendation
to give to A
I say don’t do it or Midwinter Day

Posted in 120: DIALOGUE | Tagged

For Dan, On the Occasion of a Gig in Your Closet

Of course I believe in miracles
I saw your band play
I heard them, too.

Your band played the Cranka
Now your band’s playing for the Cranka
in a closet.
Your band’s covering Wonderwall
covering my shift
covering my ass. I make a lot of mistakes
but I never mistake your band.

The Beatles, my Dad would say, now that’s a band
—Blondie, surprisingly, is a band, too—
but he’d never heard your band.

Your girlfriend’s playing double bass.
Her girlfriend’s playing doubles.
Fans catch them
riding to rehearsal
and ask
how they carry their instruments around,
but just wait till they see where you’re playing!

You’re playing Debussy and Da Baby
in a diaper
in the moonlight.
You’re playing slide guitar on a slide.
I’m no tech guy
but I bought a microscope just to see.
You’re playing elevator music in a literal lift
and lifting us all up.
You’re playing house in the house
where you live.

Everyday brings smaller rooms
and less exits
more work
and less fun.
I could swear the horizon’s contracting
but I can’t see it
from my standing desk
or the centrelink line.
If the world’s not shrinking why are you
playing that tiny violin?

I’m playing funny buggers,
but your band’s playing the fool
from Twelfth Night:

“The rain it raineth everyday”

but your band’s playing One Night Only.

I’m playing online solitaire.
I’m placing huge bets
and losing everything but my name
and that’s okay because my name’s
on the door to your show
and it’s easier to fit your band
through the eye of a needle,
than for a rich man to enter heaven
—especially when your band’s playing there.

It’s standing room only
but tonight your band’s playing
the needle’s eye

and all our friends are here.


This poem was written for and read at a show Dan Kowald put on IN HIS LITERAL CLOSET.

Posted in 120: DIALOGUE | Tagged

Lucid Poem

(for Evie)

Last night, Evie came into our bedroom and curled up between Frankie and me, with River gurgling and dreaming in his bassinet beside us, at about 11 pm, a couple of hours after her bedtime but without having fallen asleep, and I asked her What’s up, and she said Nothing in that way that, as parents, you know it’s not nothing, so we asked again together more gently as Evie nuzzled her head into my shoulder, and she said she was scared, and I said Scared of what, and she said of someone coming through the skylight in hers and Tilda’s room and taking her, and this came shortly after Frankie and I’d finished watching an episode of crime show Mr Inbetween called ‘Socks Are Important’, in which Mr Inbetween is looking after his daughter (who is the same age as Evie at that point in the series) and her friend, a girl whose father, a friend of Mr Inbetween’s, has just committed suicide, and at the beginning of the episode they’re in a large sports store in Marrickville where Mr Inbetween is shopping for socks and the girls walk off to test out the bikes only for the friend to be abducted, a moment in which Frankie and I had to pause the laptop to discuss whether to watch any further, given that the kidnapping of our kids is perhaps our worst nightmare—and, even though this was a fictional representation, Marrickville is just down the road from us; I’ve even been in that particular sports store—but we watched the episode nonetheless and were soon after having to steel ourselves to talk about the fear with Evie, of how not to leave our side, ever, but also how to be street-safe when she’s old enough to have to leave our side and walk to school on her own through the streets of Newtown, and I could feel all the imagined threats coursing around in our brains and muscles like rogue particles, so, in the context of Evie’s many minor, though no less real, fears—dating back to her base, original fear of specks in the bath, on the ground or the wall, that would elicit blood-chilling screams from her as a toddler, a fear that developed into a phobia of bugs, specifically cockroaches and spiders—I thought it might work to talk about those smaller fears, but then I remembered how Evie had already found a way to process the bug fear, through her dreams, one recurring dream in particular that involved a bunch of spiders crawling up the hill of the laneway near our house toward her, to which she said, in a more recent iteration of the dream, No no no, no thanks, I’ve seen this dream too many times, and so she, in that moment of the dream, changed the swarm of spiders into a huge ball of pink and blue cotton candy, with chunks of black candy in it (which tasted the best), and the similarity of Evie’s dream to a recurring dream from my childhood, in which I found myself falling endlessly down a tree-lined hill, missing the trunks but crashing through webs full of spiders, struck me as uncanny, but what really struck me was not the clearly evident Freudian process of condensation in her dreams—like churning fragments of ice re-aligning the glacier of her anxieties—but Evie’s seeming ability to consciously alter her dreams, so in that moment in bed I asked her if she can do this to other dreams, because that’s called lucid dreaming and not many people can do that, and she said, Yes, I can, it’s kind of like pressing a bunch of buttons on a computer or like you’re telling your dog how to be on a leash, and then Evie recounted a dream in which she, a ginger cat with green eyes, was with her friend, a brown cat with blue eyes, and they were walking rooftops in the night meowing at each other in their special language (which they also do awake as humans) when they were suddenly separated by a giant space that came down between them, teleporting Evie the cat alone to the countryside, where she fell down a waterfall into a stream with a bunch of salamanders, which reminded her she needed food, but, to avoid waking up and, because she didn’t want to eat gross cat food and knew that a skulk of foxes was about to attack, she consciously chose to climb a papaya tree to escape and to eat papayas for 40 days in the treetops, and then Evie followed this dream with a description of another in which, at school, a large sushi train conjured itself high over the playground for the children and kookaburras to eat sushi from and watch over those playing a game below, during which if a special rock was thrown correctly it would start a disco party, but Evie threw the rock wrong and the ocean level rose really high, and at this point she felt so guilty, because she’d have to come clean to me about her causing sea rise, that she deliberately lowered the level of the ocean, and then the rock went in the right place and the disco just happened, and in my astonishment at this level of sleeping consciousness and self-awareness, I remembered that survival instincts come in many forms, and that one thing that apparently assists in lucid dreaming is practicing ‘prospective memory’, which is basically remembering to remember, or like, in other words, remembering to remember to get something from the shops or remembering to remember to turn out your socks before throwing them in the dirty laundry (something I frequently ask Evie to try to remember in waking life) can apparently help connect parts of your brain that need to line up for you to become conscious while dreaming, and I actually think writing poems is a bit like that—you rehearse poems in your head during the writing process, over and over, all sorts of fragments (of memory, event, feeling) get churned up into any one poem, the emotional arc of a poem slips in and out of your consciousness, and part of improving or perfecting a poem is remembering to remember the emotional arc so as to access the unconscious levels of what you’re writing about at the same time as finding language for all those levels while including real, everyday details, like socks—which are important—but then, with Evie still nuzzling my shoulder, I worried more specifically that the night-light I’d just installed in hers and Tilda’s room—so that we could finally close their bedroom door and turn off the big yellow light in the hallway to allow newborn River’s broken sleep and screams not to disturb Evie and Tilda in the neighbouring room—a night-light that shines revolving nebulae and bright green stars on the ceiling, might be triggering her fears, since the green stars are tiny specks, so I asked her how that fear was going, and she said, I’m not scared of specks anymore daddy, remember, and at that moment I did remember noticing this about a year and half earlier when we travelled to MONA in Tasmania to see one of its art exhibitions encompassing death and desire, where there was a series of prints by Tomás Saraceno reproducing cosmic dust from the NASA Cosmic Dust Catalog that Evie really liked, and in the interactive museum app there were various blurbs to accompany the artwork explaining how 40,000 tonnes of interplanetary dust fall to the surface of Earth every year, that a speck of cosmic material touches every person every day everywhere around the world, and that just as a speck of cosmic dust carries geologic history, the extent of the Capitalocene resonates through one mote of dust, expressing the tension between the micro and the macro as infinite timelines and disparate scales collapse into singular particles, and so, on the spot, I reconsidered Evie’s concerns about being kidnapped, and, finally grasping that her poetic mind can collapse the macro into the micro or expand the minute into the infinite, I asked her again about how her dream-play works, and she said, I can control my dreams but sometimes I pretend that I don’t know what’s going to happen, like in the Murder Game dream with my friend in the playground because it makes it more exciting—and here I thought perhaps that controlled excitement is similar to the dreadfully alive feeling when writing a poem and you both do and don’t know where it’s headed—and I said to Evie, Well this might be one way to fall back asleep tonight, maybe breathe deeply, focus on the details of the game in your dream and trust your instincts will find a way through any danger you’re feeling, and she said, Okay, I know daddy, and made her way back to her bunk bed to dream sweet lucid dreams about subverting kidnappers, and I closed her door knowing nebulous green stars on the ceiling would watch over her and Tilda, but I switched the big yellow light in the hallway back on, just in case, so I could see the dust descending on my own lack of lucidity.
Posted in 120: DIALOGUE | Tagged

When My Daughter Asks Why My Favorite Color is White

I do not lie, Ima. I go into the garden, conscious
of Ottawan winter and spring’s thickening specter.

The moment snow clutches at my arms, I gather
in my bare hand a clump, fingers stinging.

A suffocation heavy with the expectation
that I may throw what troubles me

into her laughing face, nose pink.
Swiftly, like you taught me, I turn it pinker.

I turn every color more than what it is.
I am not supposed to turn away.

And though we never spoke of it,
you once said that leaving was contagious

and without antecedent, sometimes,
like love and all its blossoming

hyperboles. When the sleeping beast
from our backyard woke,

smoke foaming from its mouth the whitest
white no one had ever seen,

you next to me spouting, If paradise is to be here,
like a prayer, an omen, a threat,

I chose to move, be moved,
because I couldn’t bear to be buried

by something beautiful that I did not know
the name of. My daughter breaks open

onto this same curiosity. In the room where we lie,
moonlight from the window

not the monsoon that had blown out
all the town’s streetlamps simultaneously,

I say often how white is agony but also two glorious eyes—
yours—when they remained open that epochal evening.

Year after year, it’s the still-thriving flowers
of our old home’s Mabolo tree,

the one I thought danced quietly
in death, weighed by plush ash. And God,

can death stretch a thousand miles.
Certain it’s a skipped stone cutting the waves

between us clean. How it pursues,
like memory, years full of absence.

And then, a conjuring. I’ve yet to learn
the difference between life and a lie.

But there seems always, unremarkably, to be more of it.
Like the apparition of petals you pointed out,
to me, that next morning—

Posted in 120: DIALOGUE | Tagged

Dust

Imposing three-storey, 31 bay, symmetrical,
U-plan classical complex of justiciary buildings
with pedimented, hexastyle portico

In the year 1649 I dissected a stone cutter’s boy
that dy’d of an asthma, in whose lung I found
a great quantity of stone dust suck’d in with the air

situated on a sloping site and falling eight storeys
to south Cowgate. Ashlar with rusticated arcade

and stuffing almost all the vessels, insomuch
that I seem’d to cut through a heap of sand

Coursed rubble to rear. Base course, impost
course, band course, cill courses, cornice,

so that the vessels being filled with dust,
could not admit the air,

balustraded parapet with decorative
panels surmounted by stone sphinxes.

which was the occasion of the poor fellow’s death.


Found poem. Sources: Anatomy of Human Bodies (1679).
The Architectural description is of the Supreme Courts
of Scotland from Historic Environment Scotland.

Posted in 120: DIALOGUE | Tagged

adhan

adhan: the Islamic call to prayer, recited five times a day from mosques to call Muslims to daily ritual prayer


I watch your hands
braid oiled dough into kleicha

pound cardamom and walnut
sugar and pistachio                                  

churn dates into paste                 
and nestle their sweetness

in undulating folds

a sea of domed pastries
calling us to prayer

until the sky turns black
and all communication is lost

*

lines are cut
to blind us while terror
stalks the people
like prey

like un human
like rats in the dark

sound is forced back into the throat
to choke us

only the mosque can
call out to its people

bid them to communal prayer

so that fear and faith bleed the air

and the adhan
breathes al-muqawama

sings sumud

ya ahl al islam
ya ahl al islam

as salat as jama’ah

ya allah

ya                                                   
allah

there is no one left but you

*

the domes have long turned to
grey and dust

askew on the ground

bereft of minarets
open to the sky
but each globe
remembers its echoes
holds those lost sounds
roiling in the sweep of its curves

a home for the
displaced

and I remember you tracing the air of
your grandmother

as you pleat and fold and cup

conjuring soft pillows
domed with secret delight

holding the story of
golden liras buried inside

a grandmother
smuggling home

resisting exile

and I know like fallen acorns

the domes wait for the soil to take them
for life to sprout again

for the muezzin
to sing his song in the half-light

ashadu alla
ilaha

illallah



adhan: the Islamic call to prayer, recited five times a day from mosques to call Muslims to daily ritual prayer

kleicha: traditional Iraqi sweet pastries that date back to the ancient culinary traditions of the Sumerian period, particularly
made and eaten during the Islamic holy festivals of Eid-al-Fitr and Eid-al-Adha

al-muqawama: resistance

sumud: steadfastness

ya ahl al islam; as salat as jama’ah; ya allah: ‘oh people of Islam; communal prayer; oh God’. These words were
part of a broadcast over loudspeakers from a mosque in Gaza on 28 October 2023 during a deliberate electricity and
telecommunications blackout by the Israeli army

muezzin: the person who proclaims the call to prayer from the minaret of a mosque

ashadu alla ilaha illallah: ‘I bear witness that there is none worthy of worship except Allah’. This phrase is part of
the daily call to prayer for Muslims and the Islamic declaration of faith

Posted in 120: DIALOGUE | Tagged

A Failed Bigamy

am dangerous splintering
sawing myself
sorry i meant seeing

they live in a promiscuous garden
forking between languages
but we who are
unable to knock open
the door of English
nor return to the family
tomb of Hanzi
have to chew down a tree
with our front teeth

Thank God
sorry i meant thank me
我 used to be
an ancient weapon 戈
serrated like saw-teeth
forking corpses

i am as much a sinologist
(i startle my shrink)
as a schizophrenic

now that i have killed
all my doppelgängers
and become
a widow of language

Posted in 120: DIALOGUE | Tagged

Rewilding Mother

after the hand-coloured drypoint of the same name by Mandy Renard, 2021

Each eight weeks or so we make our slow way here
to the ophthalmologist’s rooms. I heave the door, find
a mask, pinch it on her nose and loop her ears.

It catches in her hearing aids. I try to wind
it into place. Unless she sees my moving lips
she cannot hear. Each eight weeks I must remind

her why we’ve come. A soft-shoed nurse with stickers asks which
eye requires the needle. She’s sorry, doesn’t know.
I answer for her. Little moans and thin, high-pitched

whimpers leave her. She’s sick of school and ready to go
home, picks up her bag and walking stick, is restless.
I move her to the seats that face the other wall, so

she can see the egret in the etching press
its head against the woman’s head, its knowing eye
above the woman’s eye. Through her ribboned dress

of kelp, trevalla follow mullet; the sea or sky’s
a dreamy, streaming, turquoise bed where all is well.
Behind, beyond, two smaller u-necked egrets fly.

My mother squints. Her world is only literal
and only now or long ago, but there’s a need
to understand, to make the image out. She settles

for a mermaid. Yes, could be, I say, a mermaid
If my mother turns a moment from the spot
and back, the mystery’s renewed, the task replayed.

But still there are beloved things she’s not yet lost:
my sisters’ names and mine, the scent of fruit and flowers,
the mauve of lavender. She’ll plant an apricot

next year. For now we’ll sit together in the now
and wait. The egret-woman with her skirt of fish
is there again and still, steady in her power.

Posted in 120: DIALOGUE | Tagged

Olive Jar Ganga

i.
Peppercorn dot points in
Tupperware lunches
Work grind applications
Refine piquant supplications
2-3 years minimum expedience
Penniless by the pension,
No globetrotter before the age of muscular,
Backpacked tension
It’s been 7 years of liaison to see Nani in Melbourne
Ma says she has flybuys, but we’ll see, I’m barely getting by

Callous end line: When are you coming to mine?

Let’s make it 8
To the power of ‘th’
To the promise of ‘p.m.’
Any day now

ii.
I am a thirsty fish in ultramarine SEEK
I beg, do not laugh, Kabir
If my fear of never-ending poverty
Knowingly veils the Self on sale for
24 dollars an hour

iii.
Olive jar Ganga
Nor Zam Zam of Safa and Marwa
Could cleanse the omega bisayn of vain interviews
No matter
How long I rub and soak
In this vinegar lemon basin

I do not meet the selection criteria of heaven
Kabir, I am no musk deer
Aware of its glandular scent

iv.
Coffee bean, cleft chin pits in
Caramel lustre dates
Bundles of wrinkly wisdom huddled under
Some shadeless, proudful
Palm leaves

Fellow fruits are no longer an inspiration
If all I see is a tall trunk of competition
I repeat and revere, Kabir, a casteless hymnic melody
The washerwoman and warrior are one
When I am overcome by the acrid odour,
Like the landfill backroads of Blacktown, winding up windows,
Of my unemployable soil
My entry level manure

v.
I’ve tried to Kun Faya Kun 100s of rejections
Considered fired, blazing chilli-Nazar purges
Found myself in awe of the planets
Like beads weaved in His immaterial fingers

Repudiation strings renunciation near in my
Reduced commutes
UBER takeaways,
Social fuel &
Luxury getaways

The restless farmer pours a well
Onto an unproductive tree every
hour
Still,
With impatient faith in its unpunctual destiny
In the right climate, at the ripe season
Thumma Ameen


*Olive Jar Ganga (2026) is a free-verse, response poem to select renowned mystical Dohas (rhyming couplets) of the late
15th century Indian poet, Kabir Das. It applies the conventions and imageries of egoless spiritualities, particularly of the East,
to further contemplate job seeker incompetence, burnout, wealth decline, competition, and performance.

Posted in 120: DIALOGUE | Tagged

two words (rhymes with lesion)

today
the silence is
unprecedented
all language is
cancelled
each screen a
perversion of light
now & more than ever
we are doing it tough
choking on
Black Summers
past, matcha
sediment, our
pulped tongues
in these uncertain times
have you tried
shitting in
your hands
& clapping?
normalise the
new normal
teethmark
palimpsest
across our
cheeks, children
horsemanning
in the rubble, Albo
jumpscare! April Fools’
address to
the nation
managerial syntax
of puke, bureacrats
grammaring in
bile, bloodstains
visible from
space, our blind
boxed tomorrows
it is in our
national interest
to
take it easy
take the bus
take a nap
sleepwalk
into the future†
all of its expiring
shades of light
we must all
come to the table

where every
mouth is
a designated area
& everybody’s tongues
are prime cuts
arranged on beds
made by others
say
s*cial
c*hesion

until it
fastens
around
our necks
show-ponying from
the prize circuit
to the glue factory
they wanted
the streets
scraped clean
of banners
chants & song
our hands
bound
together
in resin like
redundant
insects
eye is
one of our
oldest written words
I see us trapped
in we, a word
weapon, mochi
soft, drivel
sweet,
one more
thing to
choke on.

Posted in 120: DIALOGUE | Tagged ,

Work Sheet

Name________________


–    Pick a number between 1 to 5.

If you chose number one, you have prevented stepping on the stones of death.

If you chose number two, your life is still one with your body.

If you chose number three, your soul is safe, yet you have lost the ability to roam this earth.

If you chose number four, your body is left on the cold floor of the field, yet you breathe warm breath.

If you chose number five, you have left this Earth, you have transformed into a being with wings that flap around the landmines.


–    Read this passage.

Planted in the soil of the DMZ, the death stones prepare their attack on the North Korean citizens, soon to be refugees. Soldiers of the underground, the landmines are the secret immigration officers that ban entrance to the South. The North Koreans dream of utopia on the other side of the 38th parallel. Crossing the border cut long ago, they decide to glue the two distinct societies. However, their minds fail to think of landmines deliberately planted to melt the glue. They played the random game of death and chose number five.


–    Solve this question by choosing your own ending to this poem.
      How would you solve this issue?

① From my wallet will leave financially significant papers that will be donated to landmine focused NGOs.

② The issue will be as a ghost as they cannot be seen by human eyes.

③ Raising awareness, the mines are to be implemented into people’s minds.

④ My pen is the weapon to this concern, ___________________________________.

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Court Transcript

STATE OF WESTERN AUSTRALIA

CASE 1234 BETWEEN:    THE STATE OF WESTERN AUSTRALIA

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Plaintiff
and

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Defendant

PART 1:    TESTIMONY OF A CHILD UNDER 18 YEARS OF AGE

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3.    I give evidence on CCTV in a room with dark navy walls. Navy is a trustworthy colour: the judges and lawyers wear navy blue robes; my school uniform has navy polyester pants. Today I dress for a wake. The fabric is as coarse as the ashes handed back to us. We must know who caused this death. Children rarely die from natural causes.

4.    Someone explains how the cross-examination will take place, the kinds of questions I will not face, have faced anyway back home (for every man I meet now, I wonder; would he found guilty if he raped me?). This service is a court date, is a date I have dressed up for. I tell my boyfriend about this other guy. I testify and he is there, but the camera stays tight on his lawyer’s face; we are being chaperoned today. They ask about my dating history, my intentions. None of their questions help them get to know me, none of them are open-ended.

5.    I put to you that
       you stole money from
       this did not happen / I put to you

       I put to you
       that this is not true
       this is not true
       do you need a break? / I put to you
       is that correct? / Was it the case
       that you lied to
       I put to you
       that you lied when /
       I put to you / is that true?

6.    Someone’s chair is scratching their weight into the marble floors. Is it him, uncomfortable with my answers?

7.    I tell them about the soil composition in his room, the carpet fibres that felt like dried grass in summer.

8.    This service says:
       I think we might be
       getting lost /
       she’s already answered
       the question.

9.    This service walks me down the aisle, manila folders are pressed like corsages into people’s chests. This service is a funeral that is poorly attended. This funeral is live-streamed and password protected. They ask me to perform for him. Entrance into this kind of show is usually expensive.

10.    The house I’m living in has no walls. The seasons of this court case make it in. My doona is wet. The bed is floating. I use it as a raft.

11.    I’m 32 years old now, and I often struggle to answer questions. Inside my head I’m still giving evidence.

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