Memory of Sounds

I remember the rattle of the dry leaves, crisp in summer wake, the moans of the gushy winds, making love to the reeds of bamboos over the streams of grassy meadows in the December winters. The thunders and leaps of rains deafening, reminding the monsoons of June. sounds of seasons different, marking the tiny village of Chellarcovil, where I lived, straining my ears, To the coos of birds many, flapping their wings long and wide meows of the household cats, ramping around in search of fish innards thrown, few hens, those survive the predative neighbors and animals other moos of the cows reminding milking and bleats of goats, suggesting food. A jeep selling fish, from fresh waters, sometimes bikes replace with their horns same occasional bicycles that bought Uncle Jon ice creams and Italian Delights. The northern survivors with blankets heavy and bright pink Panjumuttaiyis ringing bells! Ah! The sounds of that village where I drowned my childhood, remains vivid and alive brimming with details minute tickling my senses, sonorous.

Here, in the city streets of Chennai where I reside planting few seeds for future, I know few sounds branding the difference. Early mornings, a bicycle peddles, selling ‘idiyappams’, which my grandmother made effortlessly. He taking long breaths, between, idi and appam, gulping the grammar of merging. The tailor, with his machine on wheels, rolling over the roads, following a cry sound of ‘eup-eup’, he calls out to the mistresses of the apartments, for their mystic appearances. Then, few vendors who mend sofa, stove, the menders who follow the tailors, the buyers of silk, the worshippers of Sai Baba (Saturday special) marking their morning routines. So much of mending to be done in the morning, stitching the void open wounds of a homeland belonging. Afternoon and the balmy evenings witness no vendors much, occasional bicycle walas and northern survivors selling clothes, they don’t ring bells, they never shout either, like how us – the re-habited city dwellers move in quietness to our apartments. By late evening, the man on his bicycle returns with his idiyappams, closing the curtains of the day, for a sweet night’s sleep. All through summer, winter, monsoon like the warmth, that forgets to leave in this heat trapped city, these sounds stay, on roll, yearlong, reminding us what we miss! And to belong to either of the places, I failed, I know! to belong, the ultimate quest, to requite I guess.

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the midwife

in a tent pitched in a corner of the deck
you lit wax candles
soaked sponges with liquor
infused hot water with chamomile and hartshorn
pointed her to the stool
held it still while she
squatted and her
baby, through gravity, dropped, slimy, into your hands

ignoring the burn playing in the space between warmth and
fire travelling along your inner
wrist, you listened to her eyes, lifted water to her lips, pressed
sponge to brow for

centuries, back on land, you’d answered to the church letting them
know if any mother had killed their child or
conducted a heathen ritual with their placenta

here, far from surveillance and steeples, you
helped my ancestors
return to what the doctor called
a ‘natural state of good health’1 as if

nature might be separate from knowledge from
sponge from tendon


1Dr. Bland, quoted in Sian Rees, The Floating Brothel, p.176.

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Second home- Sasural (in-laws house)

A woman moves in-between homes
homes that own her.
Her body is not
even her own
Home.

My body
Once upon a time before me and my sister’s time
love was an arrangement
The men of my family
were wedded to their land
before they married their wives.
While my mother, grandmother and the mothers before them
were wedded to an endless motherhood.

“You have a mother’s body”
they told us everyday
So learn to care
learn to nourish
practice everyday
to pour your love in others vessel.

He’ll build a house for you
brick by brick
the walls are to be painted by you
your kids will call it home.
Together you’ll save them.

But you alone will mother them,
The house, the husband and the kids.

Because “you have a mother’s body”
It’s always someone’s home.

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Big Boy Yarns

In the backseat
of the lime green holden gemini
I sat in just my undies, pudgy pale
flesh folding under sunny skies
with the windows rolled down
in January school holidays.

Mum told me about the mission,
being Kamilaroi,
her mums siblings,
the girls school
and the blood shed
and all she knew.

When I’m older
details fill in gaps,
explicit pain piles
events contextualised
and deeds left by dead
turn into hell
no time can
heal over
hour long
phone call crises between
city and Country.

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Mami Wata

I used to visit her
in her cottage by the sea;
my grandmother.
She spun silky stories
of a creature some had seen
and one that swam in streams.

It spoke in storms,
a spirit of the ages
cast away
into sunken seas.

Seal coat
night eyes,
ancient foe in amorous disguise.

There was always a golden comb
in her hands –
those brown, leathery hands
hands
the colour of mahogany,
and palms
palms as white as the shells on the shore.

Beware, my child,
of that creature on the rocks;
when tides ride low
she combs her locks.

Take heed, my child
of that creature on the rocks,
luring Freetown’s fishermen
from their docks.

And if my child, you must seek land
beware of the one that extends his hand.

I never saw that creature on the rocks
but I could always feel it
dwelling
in the crevices of my memory.

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Toast

Vegemite on toast is what the locals eat around here.
not sure we can call ourselves that, with our lack
of pantry. a few shelves of Home Brand basics:
my childhood. sometimes news in the morning.

toast is what my father started eating as dessert
when he could afford a toaster. a luxury, he
called it. guess that’s why it was dessert. Мама
would never touch it. she used to visit the Russian

supermarket when it was still open. guess it’s not
needed anymore. i remember the store in Melbourne
where Папа used to buy me глазированный сырки. don’t Google
Translate that. doesn’t sound too appetising in English.

toast is what we became when Папа lost his job
some years later. by then all the Русские supermarkets had
been declared redundant, like him. guess we’re expected to
assimilate. forget our old comforts and eat Vegemite

on toast. last month Мама cried when her friend
sent us a box brimming with Русские sweets. i sat alone
in the corner nibbling on toast. Мама told me to speak,
to smile. the dry crust scraped my throat tongueless.

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On the eve of All Hallow’s Eve

We sit together in a biting wind
at Sydney Cove
while you talk of thin places
and we agree
that this is one of those—

filled with the spirits of your people
who had lived here for millennia
and my people who had come
and gone

I say
Tugaim ómós do do sheanóirí a bhí
agus atá ann fós

my words carried on
the bitter breeze
in my native tongue
that was torn from my people
along with our true names,
stories, songs—
one in every three
of my people perishing
during our own
enslavement on a farflung coast

From my lips to the ears
of your ancients

I implore
as
we sit together
in a biting wind at Sydney Cove
while you talk of thin places
and we agree
that this is one of those


Tugaim ómós do do sheanóirí a bhí agus atá ann fós means ‘I give tribute to your elders who were and who are here still’ in the
Irish language (Gaeilge).

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statement

I am trying to get back to the womb
where I was cradled before I was civilised

before I was civilised
I had a song sung freely

a song sung freely
and without tremor

without tremor or
the thought to be ashamed

to be ashamed of
my clothless voice

my clothless voice we
didn’t know enough to not

enough to not be
as we were: woundless

woundless we were
in the womb

in the womb
before we were civilized

now the wound is a kind of womb

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Clutter

Precious little things
Collated treasures
Curated bundles of dusty leaves
Wood and clay
Stones and shells
Dried flowers and feathers
Nestled between plants and baskets

These aren’t trinkets
Or knickknacks
Or junk
They’re domestic altars
Tiny shelf temples
Priceless pieces of memory
From where her heart goes when she’s tired

Ready to fill a few blue biscuit tins
Labelled and left behind when she is no more
Solitary inheritances
Lonely little legacies

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Tasseography

For my Dapir

She holds the teacup to her lips,
gold-rimmed, a protective eye of tea leaves,
cardamom swirling, a caldera
of hidden depths; divination in the debris.

Honey-drenched, rose-scented,
stories run through my mind like sepia,
her voice dark like tea as it steeps.
Her face is cast bronze by a veil of light
shining through the lace curtains.

She cries into the brew, tells of her troubled eyes a
reckoning of tears. What her eyes have witnessed.

There are quiet moments like these,
where tea soothes and there is nothing left to do
but to listen, sit, sip together,
watch mountains bloom and tides change
in our teacups.

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Homesick

homesick. home sick. sickhome. sick at home. sick of home.
sick— of all the times i am woken up by the birds chirping out my window until— i remember
that the room where i spend my darkest days is but a forest’s exoskeleton,
a reminder of human intrusion,
that we are trespassers no matter where we stand.

if there’s no place like home,
then why is it in my own yard where the stars don’t shine their smiles
in my own deaf bedframe i lie regurgitating days’ worth of worries and crude thoughts until my
body is a hollow shell with nothing left to retch
my feelings are suppressed
only when i gnaw the insides of my cheek till they swell and burst and bleed.
谁知盘中餐,粒粒皆辛苦1
when the broken shards of porcelain and spilled sticky rice leave me in tears on the kitchen floor,
you scold me tell tales of the farmers who feed us their backs forever hardened at that ninety
degree curvature from the hours spent coaxing the earth.

妈妈 (mā ma)2, i wonder what was it like when you first came to america
your throat harboring a voice that spoke megalopolis in one country
but was silenced by a maimed tongue in another
how were those nights where you traded crimson firecrackers and explosive laughter
for loneliness and alienation that tinged your cockroach-infested bedroom a shade of indigo?
at night your furrowed brows show you sleep with dreams battered by the breadth of the Pacific
its roaring waves inflicted bruises on your mind, giving you too much hope for the world

妈妈, this is a nation people like you have built
GENESIS has footing on the shoulders of those with wanderlust
not by choice but as a survival mechanism
like moths drawn towards light, the land of opportunity drew us in
but the man holding the lantern fueled by xenophobia
saw our blackened scalps and sallow faces
and turned the light so high up that genealogy, unable to see, burst into flames.
the mud our houses are built on swirls
thick with exodus and survival and the stories of you and a thousand others
it is mud doused in apartheid and ostracism-charged diction and penniless brothers
smothering you with the conviction
to scrub your limbs white until there is no more dirty yellow.

except you are not left with pristine white; instead,
festering wounds of identity led astray
and an abandoned concept of home.

妈妈, do you ever miss your home country?
where your tongue is no longer put into an aviary
where streets are lined with lanterns guiding you back to the sounds of home even when
mushroom clouds shroud the moon
in the land of rolling hills jaded with sweet sweet scents of 梅花3
we can still see your footprints impressed into paddies,
filled with the mud that bore you into existence rather than devouring you whole

妈妈, i have heard people say “home is not a place, but rather a feeling.”
in that case, let me love you the way the songbirds
have learned to love perching on fleshless/desiccated/lifeless bones.


1 These lines from a Chinese children’s poem roughly translate to “Who actually realizes that each grain of rice /
is the product of arduous labor?”
2 mom in Chinese
3 plum blossoms in Chinese

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EOS

In the dawn I find everything
I don’t want to say aloud
bright shadows meandering
through uncanny air
all silences pour out of me
& puddle somewhere unseen
my heart empties
& fills with something else:
the weight of history
centuries of struggle
crowd-roar & banner-paint
birdsong, leaf litter, fruitbats
seeking eucalypt blossoms
while the long veil of night
withdraws, softening
the hot rush of your laugh
your warped pupil
reflecting in mine

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Yamaji Kin Songline

I am kin to the Bimarra creation line
Snaking across country into bloodlines
Creator of Yamaji life and culture
Sustaining very old ancestor our old country

Nganajungu Bimarra is our medicine

I am kin to the old people now sand grains
My barefoot lifting their spirits into my being
Their quiet soft voices floating like invisible
Feathers in the Midwest wind into our hearts

Nganajungu Gami- Aba brings us medicine

I am kin to the bushfoods on my kitchen table
Gifted from family tree hunters on country
Collected by family gatherers from seasonal foods
Sustaining our spirit in town colonised spaces

Nganajungu warany -guga is our bush medicine

I am kin to the colonial archives violence
Family stories of removal, genocide , eugenics
Social experiments inhumane and cruel
Treatments of a First peoples on own country

Nganajungu yungatha needs our medicine

I am kin to family tree descendants of our
Many Ancestors guiding each generation forward
Coming back from ancient waterholes to babies
Family song lines sung in many different ways

Nganajungu Bimarra
Nganajungu Gami-Aba
Nganajungu Warany -guga
Nganajungu yungatha
Brings me culture and medicine
Grows our Yamaji Kin Songline

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cambia

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Four Tanka, Four Seasons – Breezes in Tokyo

fluttering, fluttering, fluttering, cherry blossoms
I’ll live away from my family
ARIGATO for all your support.”
language fluttering in
spring breeze

after I leave my nest
I hear a swallow’s mother chirping to chicks
a letter from my mother
brings
summer breeze

lockdown
deserted shopping street
torn between staying and going home
blowing through a big hole in my heart
autumn breeze

flurrying, flurrying, flurrying, light snow
university campus shutdown because of COVID
SAYONARA, I’m going home.”
words flurrying in
winter breeze

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matrihaemoglobin

i.

i will not bear children. my hips wide and unyielding.
our arms, rivers of bloodline.
minangkabau—world’s largest matrilineal society.
our continuation, padusi.
our joys, bundles of infants.

the choice to unmother in one way is a choice to mother other things.
is a choice for one body to extend the luck of breath.

stopping medication during pregnancy.
how would baby bear the pain i’ve learned to river.
how could i welcome a soul to womb with toxic shock.
how would i propel us both through eugenicist clouds blocking airpipes.

to recklessly induce another life, when bloodline
is asking me, eons of padusi in mitochondrial chorus,
back and back and back:
‘onde mande, la laruik sanjo.
makin lamo hiduik,
makin banyak diraso.’


ii.

the land belongs to the minang woman.
more rarely said: the land is inside us.

i hoard the rustling quietude of tanah datar fish ponds.
pandemic-besieged in a flat in south london,
i close my eyes to the beat of bedug and the laughter
of thunder-voiced girls aged eighteen to eighty,
in rumah gadang lintau buo.

once, on a village visit, my brother
met a woman working in paddy fields
who said she’d held our uwo as a baby.

how could this land not be in our mouths
our glands, stoked granular whims, our legs
bathed in instinct, our hair thick and braided
my lost ones are soil embedded in skin
are the breadth of breathwork across rapid straits
are the way of return, the weight of migration
turned satchel that fits in the hand, compared to
the borderless country that lives molecular
speaking to vast populations of daughters
and bending oxygen into the forests
alive in our raucous eyes, the life ahead.

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A Sense of Home

Home is not just pho or rice paper rolls
Or the textures of fresh herbs and crispy red shallots
Or even the taste of lemongrass infused in our palettes
It’s even subtler than the crunch of bread rolls or elephant ear stem
in our sweet and sour tomato soup broth

Home to many people like me and my family
May contain smells of fish sauce and pungent spices – to our senses not domineering
Sometimes it’s the case when its durian but other smells spread beyond the kitchen
For one, the hint of incense lingering when we do our honouring –
such peace it brings, remembering…

Beyond food, home is where you hear spontaneous karaoke, sad ballads, and your native
tongue spoken
A language you think sounds melodic, beautiful, poetic, and warm
Despite not necessarily knowing every word said, you savour the sentiment and its harmony
Sometimes love emanating from the warmth of the voice is just as sweet as it is soothing

See, home is the little things you cannot see at first, such as the sacred;
The unseen paths of our ancestors for which we continue on and give reverence
Traditions and stories shared across generations to which we give remembrance
Even existing beyond the confines of imperialism, communism, or any isms that tore us apart –
led us to war, and to seek refuge and a new start

Sometimes our homes are not within reach or no longer exist – sometimes we must uproot to find sustenance
It can unsettle us to move away from what we know and our comforts
For home is of many things all at once; taste, smells, sounds, sights, touch
See, home is not just where we reside, home is a place that nourishes us –
and more importantly, it’s a space where we can truly flourish…

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A Scorched Earth

All Aborigines from Sydney onwards are to be made prisoners of war and if they resist they are to be shot and their bodies hung from trees in the most conspicuous places near where they fell, so as to strike terror into the hearts of surviving natives…

–Governor Lachlan Macquarie, orders to troops, circa 1816.

(1 of 3)

I will not be moved…
Long have I recognised the states of being on this country; collaborator or captive…the drought takes too many prisoners…and those who are compliant end up living on their knees anyway…in the heat-haze, barbed-wire fences sing 3-bar-blues…twang, twanging twang, twang…accompanied by murders of crow. In their black capes punctuating an endless blue horizon…red-dust twisters smothering everything in sight…wind-swept plains of nothing are still something…the rich ghost nation we have sewn into the fabric of our identity…this scorched earth…
I will not be moved…

(2 of 3)

I will not be moved…
Nothing else in the world smells like bushfire…early morning curlew-wings sing death into burning-season…the unique perfume of burnt eucalyptus welcomes new life, unlike cordite and the screams of murder…the scars from purges run deep…we all bleed red… nature and nurture…a seasonal inferno may bring destruction but desecration by inhuman action delivers curse…a grass will not dance until it’s seeds are seduced by flame…a death-mark will never yield life…
I will not be moved…

(3 of 3)

I will not be moved…
My memories dwell and never dwindle in the solemn air of my late-father’s study…a street sign liberated like a trophy, hung above his desk…NIGGER CREEK…as a child I sat in his big chair, my mind bewildered by what kind of hatred could craft such a trophy…and burnt into my mind’s eye, the incomprehensible simplicity of how ignorance and fear can produce such horrors…the ghosts of those quiet hours are branded into my memory forever…how the abuse of language can char a place in the conscience…to stay fixated in that place, as a prisoner, as a witness on this scorched earth…
I will not be moved…

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Naming Ceremony

i am named for the rain / in the old tongue / i am named for the river / on my great-grandfather’s land / i was plucked from the soil / like a seed brown and sprouting / in the sun’s familiar gleam / i am the long finger of country pricked with a needle / to get to the blood where the stories live: / the peace-time, migration / invasion, diaspora / the one about the holy book / ours, the old rituals / the drought and the flood and fire / the mountains too remember everything / there was the linger of country in a look / every story becomes prophecy / wetheyi give it all ourmytheir names / i carry them all in the dip / of my nose, the melanin blooming from my skin / history stirs / i whisper it awake with the sound of a name / mine / dreams are a well of prophecies / i am the land i walk / a memory / my ancestors do not know my name / dreams are an ocean of memories / i dream-remember them all / our everything bound together / i will touch the ocean floor with my fingertips / for the first time / i will understand the words //

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Memory Curls

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western sydney fugue

1. parramatta

childbirth is as bloody as war & I am
due to give birth soon. I too am being reborn
as a mother, an indian mother, an australian mother.
there are weights attached to me that drag my limbs under.
in every place I’ve been is every other place I’ve been.
we immigrants live out of boxes
in our heads even after
we’ve unpacked the ones in our garages. I was born
in a hospital south of murtala mohammed airport in lagos, but I find
traces of lagos in parramatta, where I teach when I’m
eight months pregnant. there are many of us here,
sudanese, indian, nigerian, pakistani, lebanese, iranian, malaysian,
sri lankan, filipino. my students come from homes where the parents watch
english movies with tamil subtitles & the children
watch tamil movies with english subtitles. within the older boys boils
a khoon-red rage
emasculated
by otherness, by lessness, by being labelled
for every step they take, every word they speak,
the intonations of those words, their gestures, allowed none
of the invisible liberties
white boys enjoy. within the girls & the women is a silt-dark
hunger to be, to be allowed to be, untouched & uncontained,
spoken & heard,
heard, heard, heard.
charred dust & ants in the cracks
of our mouths. our blackness, our brownness, washed
up on the sugar-white shores of a country where
the hospitals aren’t clogged like
sclerotic arteries, their tiles slick with piss & vomit,
where the people aren’t bled like cows
for sacrifice. we are seeking shelter. shelter is seeking us.
our organs grow outside of us, pumping, pulsing, vulnerable
to the knives of the questions we are asked:
where do you come from? when will you go back?
some of us have no choice but to go back. no choice but to stay.
our brothers, our sisters
in detention centres & those of us outside of them with survivors’ guilt
eating away at us like acid. we are journalists, doctors, labourers.
we are farmers whose villages burned, whose crops succumbed to
warfare & drought. we are artists who bleed onto canvases
& lovers who flee beheadings because our bodies happen to be
the same sex. we push & push, birthing a tomorrow
that never seems to arrive. an unending, wracking labour.
when I think about giving birth I consider blacktown hospital
because I live there, but am advised by my obstetrician
to opt for norwest instead. I am upper-middle-class,
with private health insurance. I can afford it,
despite the colour of my skin, despite having been born
across the seas myself, in a hospital where my mother lay
sick & haemorrhaging on an unwashed bed
& nearly did not survive me.
now, my mother puts betel leaves in my mouth
for luck. my child squirms within my belly. across
parramatta the train track stretches,
a dark vein, needle-pricked, inflamed.
there are nerves that spark between the bones of this
place, its vertebrae of concrete & eyes of glass,
the shops the smoke-filled lungs of its body
& the streets its grey-white ribs creaking under the weight
they bear. the heavy quietude of the train station at sunrise
is an unborn child, a conglomeration
of all our silenced words, our terrors, our hopes. I fall asleep
to the rhythmic clacking of that silence, my hand curled
atop my swollen abdomen.
my child, I decide, my child will speak.


translations
khoon: blood

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Rivers

Three rivers run
in my blood, where my mother takes
me home, where mud lives between toes, and rain
is a creature that transforms before my eyes, into river water
falling from rocks into my blood, stepping
carefully along Country, breaking
it gently as it does.

Here where I river-float
with my ancestor brother. I make ripples
he doesn’t. We’re laughing at Dad, tellin again
how Billabong comes from a Wiradjuri word. Old man crow
is eyein us from the banks. We know it’s
Grandfather tellin us youngfullas
“Respect your Elders.”

This River is old
like Earth’s granite bones
endorheic and slowing, for marsh lovers
reed weavers, for migratory mob. This River flows
old magic backwards from sea, makes saltwater
spirits in freshwater
shallows.

This river
is swollen with matriarchy
she’s boiling, flooded and cold
she jumps dams, eats earth with insatiable hunger, dumps fish
on front lawns, puts a couch in the tree
tells the kids “Get in
here NOW!”

This river
inhales and exhales
with the tides, she is connected to the rhythm
of all things, pulled and pushed by the gravity of dark matter
she flows where she wants, grows where she wants
and menstruates mud
along coastline.

River’s name is
changed from the place where
Brolgas played
to the name of a man who once
owned a company, a company that changes the shape
of the river, bares Country of bush
makes it barren
and used.

This English language
is full of polite words for things
that are violent. Ownership. Colonisation.
Non-consensual. Stolen. Dredging. Damming. Irrigation.
Mining. Aqueduct. Rape. River sleeps this year.
Sleeps deep. Where river?
Here river.

My river, my river
my river is a finger of universe
pointing, is spring-fed, is snowmelt
is rain-filled, is flesh warmed on bones, is Country
knowing, flowing, flooding, my river
my body, your river, our body
soon may be gone.

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Kinship Country

~ Written with deep thanks and respect for the Elders, families and land that generously held me as I grew on Aṉangu | Pitjantjatjara |
Yankunytjatjara | Alyawarre | Arrernte Country.

Claustrophobic without the coast
I worry that desert Country
far from salt and sea might landlock me

but she opens with

v a s t

plains
and vocal cords
like winter

o

w

fl er

she sings–
Aṉangu | Pitjantjatjara | Yankunytjatjara | Alyawarre | Arrernte

gifts me
the word I need
kapi

teaches me to
g.a.t.h.e.r. bush
food
in sand ..d:u*n:e..
with her bubbies

tells stories in ochre and earth
akin to ours

c
r e
a t
i o n
s e
r p
e
n
t

( flies like an eagle
– eagle
|
hunting
on-
updraft )

fights
for the same rights
[-o-]

looks at me like my Old People do
over campfire
coals cooking roo
through
sips of tea
sweet and blak

from
panni
kin

She asks
when you coming back again?

I promise

soon

Good she says

Bring your Mum too.

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Introduction to Joan Fleming’s Song of Less

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A song exists because something has been added to the world. A voice strikes out, human or angel or bird. Hands clap together, skin against skin, or move upon an instrument made from a different animal. Catgut, turtle shell. Horsehair, ivory. Note for note a song carries through the air and our world becomes more because the song is on the air. Add electricity – the song now sounds across vaster distances.

Song of less, then: song of a world without the neigh of horses, cats or crooning dogs or magpies carolling. In this shadeless season, on this blistered earth, a small band of humans, some of whom receive the names of birds, in memoriam, are singing. They are trying to remember; they have tried to forget. They are making up something from the things that are left, which add up to more than nothing but are less than what has been. What might have been.

Once upon a time I heard a talk on climate change and grief; the presenter played recordings of insects in a certain forest, taped forty years ago, then taped more recently. The song of loss – the loss of songs – was palpable, but only due to the jumpcut in time between recordings. One would have had to listen so carefully to catch it as it happened, the singers extinguished in real time. This memory of change and loss, then, must be passed on. It is a part of what a song is for, and has been, in this land of so-called Australia, since time began.

The end already happened, the invasion, the apocalypse. Joan Fleming’s epicedium is not taking place at The End; there will be no time like that. We will not get a time in which to sit and be enthralled by our own demise, like watching a movie. ‘It is hard to believe I used to ridicule other citizens for their habits of entertainment,’ recalls Yana, one of the company here, in a time that has arrived.

Our time of electricity. Our time of songs that have existed thanks to electricity, and how I loved those songs: the ones we wrote on plugged-in instruments and played on the radio and pressed onto plastic. Fossil music. And what did we know that we refused to know, when we sang those songs about the leaves being brown and the sky gone grey? Fossil prophecy.

Time will go on as it does, as we lose songs and their singers. In the absence of an End there will be no Beginning, no place from which we can make (up) the world again, out of whole cloth. We are left with what we are left with; we are salvaging.

The noun salvage dates from the seventeenth century: payment for saving a ship or its cargo from wreckage, or from piracy. The most valuable cargo in that century was human beings, captured and enslaved, the chief commodity of capitalism. We are still living in the wake of that history – everything, including this ( end ), has followed from it.

In salvage is a Proto-Indo-European root, sol: ‘whole, well-kept’, and this root, this ancient note, made its way into the word holocaust, in which the whole of things burn. Holocene: our epoch of many burnings. But also solidarity, this song we will keep singing in the wreckage.

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