Moths

I am a long acceptance of things rusted on
a passive agent of decay:
a sick flow, blooming/spreading
down weathered stair treads,
the rotten stench of paperbark trees rising,
a window-slung bed sheet, trapping heat.

I am complicit. I give and receive in equal
measure – a deep trouble settled:
the verandah and its war-weary
collection of baby things,
4pm starts, dark/dangerous – his kitchen
chair perch: rugby shorts and bare chest.

The idea of going is intermittent, delicate,
bursting quietly under hangdog skin
outside of the choke
when the wind/blood gets up
and the boiled night spills from hallways,
up/down streets: family lines and Bibles.

I grow middle-aged/ugly between walls.
I lay belly-up, like the letter D.
I imagine playing dead
my body, carried away by insects
better that, than the hunting inside this
blunt menace: mill town engines/denims.

I imagine the road out, serpentine sure,
hugging the thickened river’s gleam
past smashed bauble middens
surveyors’ pegs marking hot spots
for every broken angle here in this place,
each fall, effortlessly close to the branch.

Under my eyelids, the vivid flicker of flight
pictures – cheap rooms! ice cold beer!
the town’s deadpan whistling,
pocketed hands by the river,
generational harbours and hideouts for
pounds of muscle, straining at the chain.

Posted in 101: NO THEME 10 | Tagged

On a Normal Day

memory assembles me like a wildfire. My thoughts
feast on hollow, ears beg for his voice wedged
between wake & dream. Under pillow, motives loosen,
shadows reluctant. I lose tongue to specify the parts
that ache, manage to language a patchwork quilt
of accumulated bitter. I repudiate my leaving, wait
for him to pronounce my errors, give me reason
to return. He doesn’t come. Who does when it’s me
at the door? So I remain faithful to coward, inaction.
I refuse to admit fault. Feeding on impression of hands,
the warmed seat, hint of linger, I impersonate love
I’ll never have. How many times before the mind
understands it as a reciprocal trade that prefers to happen
elsewhere? Not where I am. Here, I scene the nature
of my lack: love me, love me, love me & yet I can’t learn to love
those who do love me. I’m fraud, self-sabotage, the sob
right after. Cloak fashioned out of contradictions.
Anticipation for flee the moment feet touch ground.
When I miss him, it’s the mouth accustomed to words
of kindness, because what I have, really, is hate speech
held back with effort. I miss him. I also disgorge all
that reminds me of him. Every day is a playback of losses.
There’s nothing I own. When I declare emergency,
in my hand is every image I’m backburning till past bone.

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Delicate Prophets | Storm Radio | Steam Under the Roof

Delicate Prophets

The heat isn’t a wave. It’s an increase in temperature that hasn’t gone away. There are bushfires everywhere, the scent of smoke sometimes wafting through the window. The news on TV is all about arsonists, firefighting, and communities fleeing their homes. It’s so hot that I’m damp with sweat in the early hours of the morning, with no drop in temperature to lull me back into my dream. When I was a girl and first started to learn about damage to the environment, it hit me first in my throat, the utter sense of powerlessness, the reality that the big decisions were being made by people unknown to me. I felt skinny, afraid and weak at the thought of it, achingly connected to nature, to the fragility of all that surrounded me. I was sensitive to where my fingertips fell, to the wings of dragonflies. Young people are important. They are closer to their own beginning and can feel more strongly what we are doing to our world. We need to listen to the young, and to the very old, to those who remember the way things were before.
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Things

“The Philippines – Marikina City residents on Friday tried to salvage what is left of their homes after severe floods
spawned by Typhoon Ulysses subsided, sifting through mud-caked appliances and cars.” (Reportr.world)

Shirts we’ve long grown out of. That
first radio my father brought home
one rainy evening. Broken mobile phones
kept in the drawer. Or a crumbling photo
from a high-school class pictorial. We hoard

these commotions and bring in new ones
to push back the dark. If the clouds can
be pocketed we all would, the sky ransacked
to an empty blue, the rain relenting
for a moment to allow us to clear the mud.

When all’s said and done, what to some
may be trash, to most are just things:
pure, simple things they own, that they’ve
got. Just like our hands before we invented
fire. A latch, a knob, a frame from a neighbor’s
window in the caking murk. The Turk writer

Mehmet Murat Ildan said we must go visit
castles in the fog because they hold
the extraordinary dreams. It’s true: we all
enter old places in our waking. But here
it’s often either to start sweeping the ground
or to run up to the topmost floor.

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Death Zephyr

After ‘Death Zephyr’ by Yhonnie Scarce, exhibited at the Art Gallery of New
South Wales, 2017

We stand under the glass yams
black and clear, they sparkle under
the gallery lights, so still but in a wave
as if moving, as if blown
by the nuclear wind of the Maralinga
tests they whisper of, they speak to,
they keen and wail, the ghostly
not-tinkling glass

My baby girl reaches up
to the dangling yams, she loves
their shape and drop, their shine
This work is a memorial
for the artist’s people and country burnt
again by the British government
(the words of the wall plaque in my ear)

My mother’s words in my ear:
My grandfather, with the RAF, in charge
of the tests at Maralinga. He flew
out from London, leaving my two-year old
mother at home, to work and visit his brother
in Adelaide. He knew people were there;
my mother told me. He was a soldier,
a military man. He followed orders,
just as his father did. For him, it was the same
as Hong Kong and Malaya, the same
as dropping bombs
on Nazi U-boats in the Atlantic

I stand under the wave of glass
I am outside of it
I am part of it
the black zephyr and the white
Too visible under the gallery lights
Too seen
in the silence
of those my grandfather chose not to see

My baby girl reaches up for the yams
She wants to hold them, I want her
to feel their smooth belly
and sharp point

But I pull her back, trap her hands
and watch only, from the corner,
as the death zephyr fills the room.

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Against Segregation

The idea of place-based identity. The potential in this. If settler and migrant mouths are to speak Aboriginal place names it is not enough to pronounce/ because shared speech needs to be an act that is an offering/ colonial language cannot hold this breath, it coughs and hiccups: hierarchy is not possible here.

My home is on Kaurna Country. To speak in this way is to offer language that acknowledges violence but does not carry violence/ I am announcing that this land (physically, culturally, and spiritually) is not mine, yet I am completely and utterly a part of it: we are Country and Country is us/ our being is entangled.

This way of speaking keeps showing us openings: rather than say I live on Kaurna Country we can instead say I live with Kaurna Country. I am accepting some kind of responsibility here/ something serious is being exchanged/ and with it the Queen’s country buckles and falls over itself/ unable to holdfast in the face of a sovereignty that is not bound to segregation.

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The House of History

i.m. Juukan Gorge

I (after Burchell Hayes: a found poem)

The house of history was a deep
And narrow gorge, each of its rock
Shelters a museum-room of heritage

Holding grinding stones, rock seats,
Blade quarries, flaked stone,
And genetically-matched hair,

With a sacred snake-head rock pool
Where the spirits came to rest
Long after the rain had fallen.

II (after Warren Entsch: a found poem)

Rio Tinto knew the value
Of what they were destroying
But blew it up anyway.

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welfare

and the brown-skinned girl is crying
and the woman sings a hymn they sang on sunday
and the man with a suit and tie and big black car
takes hold of the little girl’s arm

and the car and the man and the girl drive off
and the hymn becomes a wail
and the girl stares back at the disappearing woman
and the car arrives at a large brick building
and the man in the suit and tie hands over the girl
to a woman in a dark blue dress and drives away

and thirty brown-skinned girls sleep side by side
in one long hall in nightly silence
and they take their turns in washing up
and scrub the floors each saturday and take cold showers
and they cook and sweep and sew until they’re housemaids
fit to serve the pale-faced city-ladies or the farmers’ wives

and the brown-skinned woman sees the car drive past
and the man with the suit and tie walks up
to her neighbour’s door where a woman sings a hymn
they sang in church on sunday

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Cullen Bullen

The bus takes the old road from Lithgow
past signs to Capertee, Wallerawang
Tarana, Ben Bullen

Places echoing tribal words, their meaning
lost, misspelt by settlers moving onto Country

I follow the road to ‘Invincible Colliery’, pace
the high fence, count the stakes on the cyclone wire
Ignore warnings of ‘Danger’ and ‘Keep Out’

This working mine has cut a swathe for miles
worked underground till the last seam is spent
Up close, I find a hill sliced in two, the cliff-face
left gaping red

Remember fragments passed down. Generations
of hillside burials, ground slaked
with the blood of Ancestors after ‘the Round Up’

Their stories buried deep as denial

Now I read of new plans for an open-cut, posted
by ‘the Company’
With tunnels closed, the giant scrapers will scour
remnant rock for coking coal
until the last tree and gully are stripped away

Google has nothing to say about the clans
on Cullen Bullen
fleeing men on horses

Instead, we read of adventurers
Prospectors searching for treasure
Rivers of gold, here for the taking. Settlers
farmers taming the land with sheep

The web reports on wealthy Developers, building
roads over hunting tracks
Woodland cleared to mine the black rock
in the name of progress

Has nothing to say on our history, the First People
living, thriving here, who left without a trace
Driven off Country, lost in plain sight.

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Dust Red Dawn

Can you convince the wind to change
direction? The Opera House dishes in their rack
are browning again. The government wants them whitewashed
by massive, shock-jock-endorsed horse-racing ads.
It’s nearly summer and November’s going loopy.

The sky turns ochre, orange to some, amid purple-greys—
depends on the screen you see things through
and whether or how you recall the dust-red dawn
of 2009 that loomed over the Blue Mountains
from the southwest like something sci-fi,

how it crept in the early hours into the city in slow motion
the way a red container ship now glides as if on ice
over choppy waters under the Harbour Bridge.
Today’s another ‘scary fire day’. People are out and amongst it,
spending everything on Xmas, dealing with the trauma

of a year’s overload. The sun’s not a sphere,
it’s a funnel that sucks the world’s energy up like a vacuum,
spits it back out in shards of light or in hard
slabs of heat the size of continents.
Wind drags dust from inland out through the heads,

Country in its teeth. When the dust-red dawn
dwarfed Sydney it was much redder than this
orange-grey haze people are dissing on the tweets
like it’s nothing, like there aren’t still tonnes
of it settling on every windowsill, millions

of airborne specks turning sinuses to rage.
As a two-year-old, Evie was afraid of specks;
couldn’t comprehend them. She used to point and scream
at any tiny fleck invading her bath-time and -space—
they were alive, could morph into other forms.

Or maybe she understands them too well, how our bodies
are always morphing. She’s been watching
Alice in Wonderland—‘a big girl now,’ not a dot
inside a tummy anymore, and difficult to allegorise,
given our background in colonial poiesis.

The sound of an invisible cannon-shot thunders
and echoes from the sandstone and concrete
beneath the bridge on the northern side of the harbour,
dragging me back to the steering wheel I’ve drifted off behind
on the southern side as I take a break from deliveries.

Twenty more bangs go off and, with each, a further
twenty echoes are delayed by what seems
two hundred years or more. Sky turns maroon.
Through the windscreen, a dirty rainbow.
On the road, red’s caked in the puddles of this morning’s

rainshower. How do I talk to my daughters
about all the tiny beliefs being part of the big ones,
about tipping points that have already been breached,
about the version of history they’ll inherit
that can’t go back to time immemorial and that’ll

probably soon completely cease reverberating
through the future’s waters? The car shakes. Wind
lifts the sedan, spinning me up to the palm tree canopies
and for a moment we’re all doing helicopters—
fronds, hair, car, heads, arms (I imagine my daughters

airborne too)—dispersing dust, trying to shake it off.
I return to land, watch the specks we picked up
get whisked over Gadigal and out to sea,
tiny flecks of red and black subsumed back in-
to the ongoing fallout and wash-up.

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My Doll’s House

It was not a real doll’s house.
the discarded chest of drawers
standing against the fence,
a four-storey mansion
without gables and windows.
Tears of rain ran down its sides;
summer sun bubbled the white paint.
It was really too big,
difficult to fill and make cosy.
Some of the furniture was handmade
of cork and steel pins
with wool wound round and round
clumsy upholstery.
The cheap plastic furniture looked better.
Lolly pink bath and basin,
the pale blue dining table, white kitchen sink.
The carpets were real carpet, too thick,
and some of the wallpaper said happy birthday.

My father made rockers and desks and rounder bats,
even cradles and dolls’ beds,
but not a doll’s house.
He couldn’t see the point;
He’d never had one.

The dolls’ house mother was an ex-angel
with wings removed,
breastless, but plump and motherly enough.
The doll’s house children were twin girls.
There was no father.
He was absent, away, awaited.

I searched often for the perfect father doll
and told stories about his absence
and his finally coming home

But he never did.

Posted in 101: NO THEME 10 | Tagged

white Christmas

“How is your English?”
Maria kneels on the floor
elbow-deep in an ice chest
white collared shirt, black vest
she glances up
to let me know it’s me
she’s talking to
Andre stands next to Maria
arranging champagne flutes

I say “My English is fine.”
Maria sighs, hands me a tray
says “you serve food tonight,
Andre and I do drinks.”

big house at a Northwood address
Roman columns out front, triple garage below,
pool out back, koi pond as you walk through
the front gate
close to the bay, so I try to
picture the view from the
upstairs balcony
the hostess, Mimi,
is a tall, thin, dark-haired woman
the skin ‘round her eyes and mouth
plumped and pulled taut
by surgery. Difficult to say
if she’s in her 40s, 50s or 60s

her husband Gus
is an investment banker
every year, around Christmas
he throws a little get-together
for his clients. I thought it polite to tell her
she has a lovely house
Mimi cocks her head
wide unfeeling eyes
looking right through me
hollow voice
cadent with pity and curiosity
she answers “I do, don’t I?”
I smile and continue to move
empty wine boxes out of the living room

sent downstairs to the garage
where the caterers had set up
Tom wore glasses, hair cropped close to his head
has the kind of smile which makes me forget
I have a boyfriend waiting for me at home

Nate was the chattier of the two
asks me what high school I went to
“Macquarie Fields High”
“Is that Campbelltown way?”
“That’s right.”
“We drove through once on the way to a job. Picked up
fuel where there’s a KFC next to a Maccas.”
tell’em they’d found the hottest spot in Mac Fields
Tom laughs, makes me blush
wasn’t even joking. Anyone from Mac Fields
would tell you it’s the truth

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[Trigger Warning]

and what I’m saying is sometimes you don’t get a trigger warning before someone pulls the trigger, before you’re a body in the hot wet heat pressed by bodies hunting insides. there are sixty thousand women in my country—at least—and I want more for them than our painful avoidance. Yes! I want you to cry. I want you to feel the things you don’t want to feel, which are anyway only a shadow of the things they did not want to. I know I’m being polemic. I know I’m being unfair. I know that you don’t deserve this but neither did they. There is so much unravelling which we are permitted to turn from and I’ve lost interest in your feel-good Netflix binge, your escape from the escape that is your comfortable middle-class life. No one deserves this but some people must bear it and I want revenge for the sixty thousand women who did, the sixty thousand women who didn’t get a trigger warning and what good would it have done them anyway. You don’t get to opt out of genocidal rape. Not if you’re the victim and sometimes not if you’re the man with the gun.



[Trigger warning: rape]
[Trigger warning: torture]
[Trigger warning: war]
[Trigger warning: genocide]

I’m not usually like this but yesterday a friend said this is too much for me and we have been friends for so long and her past has never been too much but mine, my people’s, is an unbearable burden. another time my friends could not watch a documentary about refugees and had to leave the room and me, here, the only refugee in the room, knowing the value of not looking away, of swallowing hurt that is not yours because it should not be theirs either and if this is the least we can do, we must do it. because sixty thousand women could have been saved and a hundred thousand people could still be alive if only we hadn’t been watching Law and Order, if only we hadn’t left the room. I said look at me when I’m talking to you! You won’t believe the things I remember, the things I have seen and heard, the things that live rent free in my body and make my flesh a roiling parody of survivor’s guilt. I have so much pain to milk—don’t even get me started—but I’m not trying to force you to drink it, I just want you to know where it’s from and how dare you deny us that?



I said look at us when we’re talking to you.

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34 Weeks

March was a crazy year.
After the rains we were safe
or so we had assumed.
The era of weather as pleasure
is past and I spent this day
mooning over the poems
I squandered when I left
the laptop to update.
Snatches come back
(but only as a sense of presence)
and you try affirmating
yourself that it’s all deposited
into the great cosmic bank
of sit at desk and do the work
when time passed gilds the lost.
And it’s hard to grieve when
you can’t inventory what’s gone.
But amidst the missing I found
this poem, that’s something,
despite myself in my Sunday shed
remembering Toots Hibbert
bv letting Lenny Henzell
highlight the finest shades
of after shower sunshine.
Some clichés antiquate glacially.
My mates all make fun of
what will soon be ended
while I can’t even make sense
of what I can salvage.

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Sitting At A Table In A McDonald’s On Rundle Street

these sesame seeds are shaped like tears on purpose /
but i’m in an xl t-shirt on accident /
yellow as my best friend
from middle school / when she kept watching a film
about the awful things humans do to animals /
i’d say / why you wanna watch that? it’s gunk /
her midnight macaroni melted to one side of the bowl as she /
dreamt about smoking a cigar / or a textbook /
and this is exactly what i am /
praising my blood when it mostly works like it’s
supposed to / creating the wound myself
when i can’t explain why it should be there / i fucked up when i tried
to bury the past inside me /
my best friend is still watching that documentary /
she is still wondering why we brutalise the things we adore /
why the fuck aren’t you watching it? /
she’d said /
i don’t know man / i guess i’m not ready to admit
when i’ve done something unforgivable; / or when i should make up
for it, at least /

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Poem whose volume contains attenuated pause

If to care means look closely, then streetscape
here—you tell it—every gaze within the frame
a tangent line in Euclidean space,
not a single gaze intersecting another’s face
(except the one looking across this flattened
plane bent on asking) what in Godot’s name
are we all waiting for?
The crowded pause
does not reply, but its bodies do, or seem to.
Hands pocketed, arms crossed, what to
make of the bright white lines
whose oblique lapels & collars sweep
like arrows the civil gaze to inwardly
blank cross-purpose?
Unselfconsciousness poses,
unaware perhaps of being viewed,
yet plainly skewed
by the scrutiny of nails, whose shape
suggests no palpable social answer.
Misery walks on certain faces. The body
parses a precise language of anonymity
and rubs against, not quite touching,
perhaps about to,
some muted aggregation, a poly-
synthetic future, you and you,
whose determined lack can’t come
quick enough, god help us, in buffed
monochrome, absently milling
history’s streets, hands kept idle
in careful cuffs.

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notes to a landscape

It is a structural matter, a view from a window which has been carefully placed to exclude a whole quadrant of the landscape.
— W.E.H. Stanner

axe time, pale
austere, Gregorian
the ridgebacks saw down
bodies of clay
the eucalypt quills nestle
fractured rivers
forked light, shrapnelled sky
among plains:
everything happens once
to a grave.

myth softens,
lacteal foregrounds
invite gaze
and knot it.
distance is heroic
in an easel, a survey:
packed wadding and shot,
spit fumed wind-rose,
hints to travellers,
well-watered meadows and soft,
black poplars flourish

syntax is plunder.

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white space

memories of mother hands cool on skin
soft love not for bruising

current steep reading words and stories
Goenpul woman Arrernte poet Gomeroi scholar

blistering epic daily humming histories
each story its own

ordinary love conversation
but common refrain mother to child:

‘be careful of white women’

[protest: I am not one of those: they are not me]
[hold the words: don’t spit: let them coat my gums]

melt the looking glass that has shaped this body
let ‘me’ slide from my tongue

writing that speaks into white space pages
an invitation are you listening

holding notes that have vibrated
in bones for centuries

what we inherit can be so quiet
it takes another voice to dial the volume up

reading stories to peel back
skin of the past

ordinary love conversation
my mother to me

‘be careful when crossing the street
driving a car walking on your own at night’

in our household
where three white girl women lived

we didn’t talk about power
and bodies

actions of ancestors that moulded
where we stepped

no mention of
[raised to be kind but—]
[is silence violent or merely careless]

talk was sports bodies
‘I saw Evonne Goolagong play!’

‘Isn’t she brilliant—Cathy Freeman!’
no need to be schooled about

how women might— harm—
to stay safe from— bodies like—

writing is re-writing
an invitation are you listening

how to trace the imprints of
this ordinary body

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This is my storytelling!

This is my data, and
This is my Sovereign right.
No more whitewashing
Let Truth be told

Dear Australian Whitewasher,

Why do you find it difficult to understand ‘my kind’ and ‘my people’? Is it because of a whitewashed Australian popular psyche? My kind, you know the fair skinned ‘not real Aboriginal’ kind. Yep that is me the fair skinned one with a dark-skinned mother. The one you tried to make feel different and displaced. Sorry (not sorry) to disappoint but I do not feel different or displaced from my Yamaji cultural mob. I feel the exact opposite – strong, Yamaji, proud, grounded and defensively supportive of my culture. You continually tell me in meetings, in media, in print, online and in person that I should be grateful for being rescued by your definition of civilised people’s and a civilised society. You wrote and spoke that my people, First Nations-Aboriginals- Yamaji, were to die out and our culture and skin colour bred out to hide many true Australian history truths. I emerge from the Australian mindsets of ‘soothe the dying pillow’ and the ‘half caste problem’. I was 21 years old in 1984 when Western Australian Lang Hancock mining land thief said “the half caste is where most of the troubles comes I would dope the water up so they were sterile and breed themselves out that would solve the problem…” (Leschinski, 2012). This was only 37 years ago a white man’s solution was to make ‘my kind’ sterile not have any children and for my lineage to end with me. The intention was always about making ‘my kind’ disappear and making my ancestors culture invisible and taking, owning, and keeping the land.

      Therefore            I write / I protest /I talk/

                                                I tell my story … I am being me

Yours Truly, Charmaine – A Strong Surviving Yamaji Woman.

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Peach Scut

On the subject of woodlands, why
write what you don’t understand, write
lies about landscapes, for four days
it rains. I read
the books to have read them. I didn’t
read them I was moved by the titles, how
life quietly insists. Mammal in the kitchen
in a mew in Shadwell
cold soup and cataracts, mammal that would
mend the world, with words like landscape
nowhere but in poems. That is, writing
of morning mulling
greens and blues, describing the sky—
long and only window—nowhere writing of red
weather yellow weather, you, with clouds
around your neck
on a printed peanut travel pillow, half-asleep
in the passenger seat—to catch your eye
in the mirror. Undercast, I know
there’s a weather
for it, though not knowing the why, if it
will fit into life’s white envelope, why
caught under the netting on a fruit tree
a bird feasts until it dies.

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Joshua

– from Look at This Blue

Joshua Trees of the first vandalized during
shutdown, national park defunding

1,200 square miles at risk
high desert, 45 might as well have burned it all
rangy succulent majesty
said to straddle Mohave and Colorado Deserts,
incoming spray-painting rocks,
smiley face, THE 419, three underscores
felling Joshuas to make off-roading roads,
so they could drive into sensitive areas
where vehicles are banned”

by 2100 Climate Change rising temperatures
may take it all, they’re hurrying along.
People climbed the massive junipers to break
branches for prohibited fires, it’s welcome shade now gone.

“there is no Plan B for our national parks” – Rand Abbott

“Donald Trump is literally destroying America.” – Bill Prady tweeted

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Vespers

In the vigilant years, when the sunset rises to nothing
you see entirely what the screen sees,
completely at one with that

and don’t have to suffer.
To persist through autumn.
Keep pruning the herbs, like a Benedictine monk:

resentment of weeds – not what they are but over-abundant
in a ‘Godless’ fashion.

Work, read, pray, but mostly read
when you don’t need to skim
desiccated leaves off the pool cover.

Distiller of charms, you become
an expert on cisterns.
It’s what the website doesn’t mention that counts.

I too have fixed shoes, baked roti, and
advise my brother on the sins of idleness.
He likes a game of cards, a smoko at lunchbreak.

Remind yourself that
succulents love the rain,
that French recycling bins are a logical system

– bottles here, rustic nostalgia there.
the State promises no hassle.

OK, old policies have been revoked, though
they didn’t waste a letter to warn you.

Here the gap between love and hate
is infinitesimal.

I still miss the certainty I was,
A door fixed so it works.

The telegram arrives – LIVE LIFE PERFECTLY
But then it’s buried under compost.
Unfixed, the door still opens and shuts.

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Decolonial Research Methodology after the Bogong Moth

Supplant. Unsettle. Bury. Return.

Learn to live in colonial soil by incubating in every available abundance. Cutworm into crop and field, drink your nutrients from the earth. Swell and wriggle, aestivate in crack and crevice, in fallen trunk and crumbled rock, live quiet with proximate generations, then bury yourself deep to melt into your body, don’t let them see you before you’re ready.

Arise. Trace. Lead. Linger.

In the night, begin cartography. Your blood knows the journey your body seeks for dark, for damp, to eat. Grow fat and full, nestle together in the deep for your rest, go quiet. Do not let them see you before you are ready.

Return. Extract. Propagate. Remind.

You know where best to grow your children. You know when it is right to leave. Go home in swarm. Hum the air and fill the sky. You will eat as you will be eaten, you love the fire only when it is in the dark. Love in the flurry and frenzy of a plague, it is for no one to stop what your meaning has made you to do.

Refuse.

Find the deep and dark again. Collect in such hordes you will stain the soil metalloid. Die in such heaving mounds the earth is poisoned with your decay. If they want to feast on your carcass, let it kill them.

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Notes from the Corridor

Between 2012 and 2015, I traveled between Delhi and Chandigarh, pre-dawn, more than a dozen times, to avoid the thick, white fog that made travel impossible after 10 a.m. Sometimes in a taxi, sometimes by train, and sometimes with my uncle, who pointed out the factories we passed, set off behind lawns or right up against the road, where he’d worked — this one, that one — as an engineer. At 4 a.m., the agricultural ditches of this industrial corridor radiate a lime-green and violet light. Make me a pair of earrings. Knit me a dress. No, these colors don’t have shapes. I hesitate to put them in my art, the paragraph.

*

Is it the dark phase? Yes, I said, it’s the dark phase, making conversation. But soon, an orange sun was pulsing like a flat disc in the creamy grey air. As the sun rose, the air dropped out of the sky, turning everything pale yellow for a few minutes. Is a memory an adaptation to a fleeting visual field? My uncle’s eyelids were heavy. I often lack courage, but when things are difficult, I know what to do. This time, we were heading south, into a city with immense luxuries, a red couch in every room. This architecture flowed like music, on and on and on. My uncle had a new job, developing estimates for real estate brokers and their customers. Tell me a story, I asked, as the car swerved in the small night then corrected itself.

*

In December and January 2015, an average PM2.5 level of 226 was noted by US embassy monitors in Delhi. That winter, I sketched out a zombie novel in a cafe in Gurgaon, taking the occasional sip of my excellent Madras coffee, which was gritty and fervent. Did you know that I had a home in India? Did you know that as I stepped across its marble threshold, its wooden threshold, its rotting threshold, I glanced back and at the last moment saw something wrapped up? It was a hand-woven rug, made by hand in the 1930s, by my mother’s mother — of a leopard. This colonial leopard was wearing a diamond and ruby necklace, and it was saying something — the words were woven in bright yellow against a dull brown hemp background — directly to the person looking at it. “Goodnight.” I like to think of this leopard walking next to me, lightly growling at a level inaudible to others. Goodnight.

*

This morning, the particles of PM2.5 in Delhi have the capacity to penetrate the blood-brain barrier, at levels that exceed, by four or five times, the emergency of 2014/2015. “The level of PM2.5 pollutants, which are the most harmful because they can reach deep into the lungs and breach the blood-brain barrier, have reached at least 999 in parts of the city this week, more than 16 times the safe limit of 60, ” I read, pen on the saucer, spoon in my mouth.

*

On the outskirts of Delhi, my uncle pulls into an Ancient Greek-themed rest-stop with white deities (as tall as two houses) carved in local marble. We order parathas and chai, taking our breakfast on the patio. My uncle tells me the story again, so that I can write it down. He’s speaking in Punjabi, a language I can speak but not write, so here is a story of the corridor in English, and it’s yours to tell and re-tell. Four stories. I’ve suggested, I suppose, that I was a kind of assistant to my uncle. That’s not exactly right. I was here to sell my ancestral house, or empty it.

*

We stopped on the way to take this photograph of an apartment building. I can’t recall if we were going home or embarking on the long drive north. It was my uncle who was accompanying me. He was driving. “Women are never safe,” said my aunt.

Delhi, Winter 2014 (on the drive from Gurgaon to Faridabad)

*

Story 1:

“I worked for a Dutch-owned company that presented itself as (avidly) maintaining environmental and ecological controls and yet which (privately) was just as corrupt, if not worse, than everyone else. All those fires in the ditches along the road? Chemical fires. They dump it all.

There was a Dutch manager who was bribed to accept a lower-quality burner. It didn’t have the correct protective…and the two Sikh boys, only twenty years old…. They were monitoring it. There was an explosion. One survived through the night. I went to the hospital and sat with him on the balcony as he moaned in pain, then finally passed away. The company gave the families of the two boys $4000 in compensation, and that was it. The government person brought in to assess the incident, and “ensure compliance,” was bribed in turn. He was high-up in the environmental agency. I tried to speak to the Dutch owner. I wrote to the Dutch owner, who I had known for many years. Do you remember? He brought a dog from Germany and gave it to me. The next month, I had to go into hospital for an operation to remove my kidney stones, and when I came out, there was a letter. I was laid off.”

*

Describing the boys, my uncle can’t speak. He stops eating, pushing his plate aside, then throws his tea into the grass. Let me get you some more tea.

*

Denmark is the 26th largest investor in India; the Netherlands are 5th. Norway just altered the status of Delhi as a “hardship posting” for its diplomatic corps, due to the air pollution.

*

The world feels networked to recede, like the moonlight.

How to sit through the phases that are non-apparent, occluded, put nothing towards hope.

*

Notes for a novel never written.

*

Story 2: “They made us go down the ladder to test the equipment without protective clothing. My skin was covered with boils. Each night, your aunt washed my body with olives mixed with soap. It was calming down, but then one day, I slipped and fell.”

Story 3: “At lunch, in the cola factory, we’d enjoy chatting in the foyer, sitting on our folded chairs. One day, we noticed that the cola concentrate we added to our water, with pepper and spices we brought from home, had burned holes in the marble beneath us.”

Story 4: “The janitor found a nest of cobras in the basement of the factory. The manager made him catch them. He was so afraid. Then sent him in a taxi to the forest. Almost to Simla. And set them free. Because if you kill the cobra then your factory is cursed. The janitor let the cobras out of the basket, but one had escaped in the car. This was the end for him. The manager sent me to bring his body back. I was an electrical engineer. He said, take this money, buy a sheet.”

*

On the divan, before everyone’s awake, I transcribe the news into my notebook, pulping its grasses in service of this other kind of time. This is not writing, but it’s weighted language, which I prefer. I am not sure about including these passages here, something to skim but not read. Perhaps I will include them. Delete: Lavish descriptions of the enclave, the balcony, the weather, the surrounding landscape, the sky-line, the dead hours between morning and night.

*

“Fearing court sanction, the Government of Delhi decided to close (or ‘seal’) all industries in this group until a solution could be worked out. In the meanwhile, the puzzle of which other industries were to be sealed led to complaints from the factory owners alleging wrongful and arbitrary sealing. The lack of reliable ground information and corrupt practices added to the chaos.” (Hindustan Times, 12-12-2000).

*

We’re almost home. Behind the enclave is a crumbling pink wall.

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