Lines

Then,
My father,
Six foot two,
Shoulders back
And proud.
With blazing hair
Of orange gold
And hands
Like obliterators.


He takes me
In those quiet hours
Not far, too far
From sleep,
Crosses me
Across his chest,
And sings me
Through the morning
Drive, with the streets
So dark
Blue
And empty.

And at the tracks
The station lightly humming,
He tells me tales
Of the men
Who drive
Those dirty trains,
Across this dry
Flat country.

As the steam
Comes rushing up
Swallowed by
A starlit sky,
And the rails do their shrieking,
He lifts me up
Like Holy Cargo
Up Up
Into the cabin.
I wait for him
Then, there,
To come lurching up
Behind me.

He does not come.
Work ahead. The day has just begun.

These men
Of lore
At their gears,
Turn to
Further tales.
This time
Of ten foot horses,
Bellies big with
Human corpses,
Of towns where
Water runs like blood,
And the ladies
Yes!
They’ll take
To bed
When this
Ironclad
Centipede
Settles
In the west.

I am only seven then
But so much younger
With my mother
In my eyes;
Those eyes
We share
To this day,
Blue
Soft
And yet
Resilient.

They do not know
That what they say
Means nothing
To someone
So small.

In the cabin,
I sit back
As the first
Lines
Of sunlight
Hit
The railway
Lines
And the dull
Shimmer
Of the
Rails
Become
Forces
Almost,
Immutable.

These men
They carry
On
Through tired
Work,
Carry on
And on
With their sad
Little tales
Of the uselessness
Of women
Of the futility
Of youth
Of the idiocy
Of dreams
Of the madness
Of age.


They do not know
That what they say
Means everything
To someone
So small.

And in the
Perspex horizon
With the powerlines
Like visages
Of founding fathers
I watch my father
With his arms
Of light
Dancing
Subtly
Jerkedly
Angrily.

The lines
Beneath his feet,
The steaming shriek;
This body moving forward.

And, complete,
As he takes me from the cabin,
My feet dancing through the sky,
My body then, pulled close to him
Crossing his chest
Like a young fault-line,
He says in the mockery
Of only a true man
In the good
Old days
Women were
Like packhorses,
used to shovel the shit.

Ah, the good old days. They sigh. When men were really men.

Their skin
Their skin
Like glass with sweat
I could not say a word;
My mouth
Like a fine line
Across my face.

Some years
Later
When girls
Have become
So real
To me,
Their shapes
Glorious
Stitch lines
In the fabric
Of all else
He
Tells me,
(his head growing bald now),
At the kitchen table
Many times
Like it is the first time
And the last time,
Every, single, time,
That
Women are like horses
Always getting in
The way.

Silence.

His jokes,
Even then
(a boy as big as a man),
Are bones of meat
Stinking, ragged
Remnant
With the flies
Circling
Diving
Falling
Rising up,
The dull
Immutable
In their million
Beaded eyes.




It is when
I’m twenty eight
And these women
Will no longer
Have me.
And the lines, I use, like trench-lines,
Are the lines
That my father
Left me.

And as
I talk
Of broken hearts
Of the bitterness
Of being
Alone
But wanting
Nothing less
In the early
Hours after
Everything
Else

He says,
Son,
Women are like
Riding horses;
If you fall off one
Get on another
And soon
I’ll guarantee ya
you’ll forget about the first.



And I sit
There thinking,
All twenty-eight
Of barren nothing,
In this town
Where I always end up,
What is with
This old man
And the bloody horses?


So I
Ask my mum,
Secret keeper,
What’s with
His equine obsession?

But my mother,
Her mouth
Moving
Like strings
Across her face,
She doesn’t know,
Besides to say
He used to waste
His pennies
On the ponies
Always begging
For the big
Buck bux
And never
Winning nothin’.

Everyday,
My mother says,
He was there,
In his early twenties,
Flapping his tickets
About
Subtly
Jerkily
Angrily
Like a sullen pelican
Wringing out its wings.



And so now,
My father,
Six foot two,
Stooped,
One hundred and
Twenty kilos,
Drooped,
That golden hair
Gone white and grey,
That golden hair,
Gone white and grey,
And thin
So thin

A deforestation
Revealing
The lines
Across his scalp.

Those lines
There, almost immutable,
Dulled somewhat
By the quiet question
Of age,
Like fault lines
Like trench lines
Like track lines
Like stitch lines
Like power lines
Like blood lines
Like,
Almost,
A life-line
Between us.


For
Father,
In denial,
Voiceless now,
The glue factory
Is coming.

Posted in 93: PEACH | Tagged

Spherical Aberration, One

Will we, again, call
the disappeared space between
two flesh communion,

how synonymous
the cormorant, plunged, hungry,
is with the ocean,

how confused
the vision in the mirror
with the unremitting glass

or is distance forgotten
as measure, the heft
of a fallen trunk

that offers these few
steps
to heaven, the selfish
body, turned aside?

Call it forgetting –
a colour in itself,
pastel, pitted, less shine –

or resistance. Refuse
to lose anything,
calls, comebacks, promises.

Posted in 93: PEACH | Tagged

Memories of a Revolution

1. Bandung Conference

1955

the non-aligned emerging nations

a roar of post neo-colonialism

a communiqué flourished in optimism

Sukarno the conductor striking up an orchestra


now enter

a museum of flags

2. Borobudur

1959

Sukarno hosting Che Guevara

Che a ritual circumambulation

quiet devotion in the shaded terraces

the outlook to Merapi


INFINITY

3. Jakarta

1995

dipping water from bucket to cup

watering the plants dotting the balcony

at the stone railing

staring into

a wall of lush ferns

thinking of Sukarno

gazing over to the

neighbourhood kids

springing about flying kites


sunyata

N

E

F

O


S

Posted in 93: PEACH | Tagged

Manky Bandaid Sandwich

Mammalian life trying hard not to exist as manky bandaid sandwich.
The fillings that serve as the space between us,
flesh echoes in the conversational cloud. Miry, like margarine,
swan songs of a sensory condition that lies mute, inarticulate,
in the new virtual century. We resist at the last moment of mourning.
Not angels, nor heathens neither, but bodies of a kind
now emptied of innocence and inference. Scratching the sunspot
that crusts around youthful headiness. The golden age is before us,
not behind us.
This body once had wings and a myth,
delicately worked, this body once had collagen and memory,
was warm and bready, sprang back at a knife’s touch,
knew how to read and desist the meet-me-at-the-edge instructions.
This body that failed to dress the open wounds that lie between.
Yeats’ turntable rambles: even the best of love must die.
This or sufficiency just not to exist as manky bandaid sandwich.

Sources: Henri de Saint-Simon, Opinions littéraires et philosophiques (1825);
W.B. Yeats, “A Memory of Youth”

Posted in 93: PEACH | Tagged

The Poet and the Pig

Translated by Hedgie Choi

The pig is dying. Because the poet is raising a pig they write pig-poems. The poet lays down hay for the pig and washes the pig and sleeps with the pig. The pig is nearing death so it cries sometimes in the kitchen and goes out at night and comes back at night. Even if the pig doesn’t cry its body is swollen fat and because its body is big it dreams big difficult dreams.

It is the pig’s last hour. The poet has never made a friend and has only lived with the pig. The poet feels pig-sized feelings and writes pig-sized poems. A pig is a little too big to be considered a poem, the poet fails to think.

The pig is dying. The pig and the poet go to the river bank. The poet does not know the pig’s death. But the poet knows that death is similar for everyone. Like a zipper on the back of a dress, something you can’t reach yourself but is easy for someone else, writes the poet. The pig in need of help looks up at the poet.

Help me

The poet looks at the pig who is asking for the zipper to be pulled down because it can’t breathe
and writes in the poem,
pigs have swollen bodies from birth to death

The pig is dying. Things that are swollen seem like they’re enduring everything, the poet thinks. The pig sweats. They sit on the river bank where dusk is falling and play the game they always play.

The poet throws a rock and the pig watches
Concentric rings appear on the surface of the water.
In the ring a smaller concentric ring
and inside the smaller concentric ring an even smaller concentric ring
concentric rings that are small and therefore good for belonging somewhere
appear
one after another
They watch them get smaller and smaller
If you keep getting smaller and smaller you can safely disappear,
the poet does not write in the poem

There is nothing bigger than the pig by the river bank. The dying pig looks at the small things. The small rock and small birds and the small dew that can belong to the blade of grass because it is smaller than the blade of grass and the bugs that curl their bodies. The pig is dying. A mosquito lands on the pig’s back.
A mosquito dies a death the size of a mosquito and a pig dies a death the size of a pig, a pig dies more than a mosquito,
the poet writes in the poem.

The pig is dying. Because the poet has no friends they write only about the pig. The pig dies soon. Time goes on. But like clasped hands resting on a knee time is indifferent toward everyone, the poet and the pig think together.

They look at the pig. The poet looks at the short and cheerful tail on its honest ass and cries. The pig who is dying sets its six nipples down on the ground and collapses instead of saying it is sad. The grass pinned under the pig’s belly must be warm. The poet can write that kind of thing in a poem. The pig cannot feel the entirety of sadness but feels a part of the sadness and closes its eyes. The pig dies and the poet writes. The poet only wrote about things with bodies that do not diminish even after death.

Posted in 93: PEACH | Tagged ,

Undoubt

I have always been her
I am not lost
No blackened hour
can nullify the dawn
that broke, a thousand suns, inside me
I have not bowed
or if I did
It was mere gratitude
a surrender of arms;
a peaceful offering.
I have never woken
to doubt that it will be
only to doubt my deserving
which we, women,
learn to unlearn

Posted in 93: PEACH | Tagged

Dream# The Re/locations

verboten – buy love bulk

I partly OCD the O part am

feminine side overdue coming back

manifestations unrest

lady don’t laugh

sayings with double meanings impeach

forever overnight

describes a dream into ontogeny

this empty space of infinite depth

informs

my native sex industry

geodesists so to speak…

calcification on the the left

node of the prostate

Posted in 93: PEACH | Tagged

Anecdote

It swelled to palming
of no higher design
than the blind siphon of hues

Three wide yellow bites
of implied violence, then
the red warp of the thing itself

Posted in 93: PEACH | Tagged

Sweetness

In 1956 a seven year-old boy takes the train from Manila to Dagupan to meet his mother, a hawker selling seasonal mangoes, woven slippers, and candied peanuts along side streets and church yards. At the bangketa – a spot which frequently changes, bustling with people en route to somewhere important – he tries to look for his mother, spots her long wavy locks held together by a crimson bandanna. Every weekend that year, save for Todos Los Santos and Semana Santa, he would search the nearest vending grounds from the train station, lost in a sea of strangers. He listens as her voice grows near, and always, the boy finds a gentle scene amidst the dissonant crowd: Masamit ya mangga1, his mother calls, and he runs toward this petal of her—a memory tempered by repetition, enduring for the next half century.


1 Translation: Sweet mangoes

Posted in 93: PEACH | Tagged

The Five Stages of Grief

In the 1960s
when Elizabeth Kübler-Ross was writing
On Death and Dying
NASA was preparing to fly
an eagle to the moon.

This was before Chernobyl
before The Challenger exploded
before Lindy looked down the barrel of a gun
and said without knowing why it was
a dingo stole her baby.

In clamping jaws
we sleep restlessly
while the cult of the mourning rise early
to dress their wounds. And to worship
Cassini’s sacred loop.

*

In the 1980s
when Elizabeth Kübler-Ross was building
a healing centre to administer hope
and other drugs, her husband divorced her
because she claimed to speak to the dead.

Her black-veil brides are calling
but you refuse to answer
asking instead
what if Reactor 4 shut down
for maintenance
and the O-ring closed
and the Chamberlains, exhausted,
turned back at the rock
and hired a van instead of a tent?

Between parallel ribs
in red desert sand
one woman buries her defence.

*

In the 1990s
when Elizabeth Kübler-Ross was dying
our daughters locked arms and sang
red rover red rover send someone over
and eventually she came.

Perhaps this is why she gave us
numbers instead of names—
she was a triplet—
and three sisters never take
the path of least resistance.

A biography of Earth confirms
light cannot escape a black hole.
I suppose what I’m trying to say is
grief is a lemniscate
that turns on itself.

Posted in 93: PEACH | Tagged

In the Field Someone Labels Bodies Discovered

A Chicken neck rolls down the hill while soup simmers on the boiler. Goats are found gutted, strewn around the field in patterns of bleeding. The sun bears down on limbs dismembered, animals scatter around what remains of remains. A farm house is closed while a pair prepare to vacate north. The smell of decomposition begs the question of an onlooker.

When the first body is discovered an old man limps away screaming. Harmless he is received as witness. A plastic bag unzips, falls to the ground and embraces into exchange. Another followers another. One. Two. Three. The field is marked plastic obituary. In the distance a crow eyes the burning flesh of a bullet wound.


Aftermath. Or a crime in which only heroes in uniform are heard. Gunshot. Bullet Wound. Bloodied farm clothes. Stalks of crimson wheat. Sachets of crystal. The narrative that emerges does not really emerge, rather it is mumbled through sobbing teeth. In the night a hunger is understood to exist. No one can figure out what the hunger is for.

In the distance smoke billows against the half-cut tree in frustration. Winds slam the door of a hollowed out home. Here a child sips tinolang manok and asks for his father. Mother hesitates and calls it circumstance. Hundreds of miles away a man is awarded a medal for curbing the travesties of drugs. The audience claps before turning to the next tab. No one remembers the news except for the uncaring archives.

Posted in 93: PEACH | Tagged

Woomera

The two of us ten and shirtless on a white quartz slope.
Chalkdust and sweat crumb our backs like a schnitzel.
The horizon is the furthest thing from us but we go there.
It will be ten more years before a sand filter breaks.
There is no need for shoes but we wear them to death.
We peel and burn and peel and burn.
Growing new skin that seems to get thinner.
My fear of snakes is Born This Way™.
There used to be houses on all of these streets.
It is cheaper to crush a weatherboard shell.
White stucco hinting at a kind of permanence.
We broke the bomber shield with a single rock.
Pieces of space lay spread across cages.
The centre of town is filled like a ghost.
We stand just like children at an empty intersection.
Three hours of daylight go by without movement.
Twisted fingers help us to find exits.
Past the roadhouse, toward the other horizon and farther.
I have never been back there, there has been no reason. But
Google Maps keeps me dreaming of formative plants:
Saltbush that grows in picturesque dryness.
Eucalypts that are older than my name.
The Money Tree we hid beneath in 40-degree heat.
Pants ankled. Stroking what little was down there
With boyish fingers and black crow quill.

Posted in 93: PEACH | Tagged

lamentations with the list of the abiku stillborn’s demands

after Kechi Nomu’s body parts

the tears continue to pour like wet season.
when the woman came, her womb in her
hand, the wound poured more, squeezed
tight by the mob. your father was reborn
seven times before staying, his back full
of knives saying please stay, please stay
his mother telling us how the slavers did
the same thing to the father of her father
scourging them as they bruised the map
out of their arched backs with a pearl of
bones in the middle, ’til the body forgot
where it came from. which makes me a
spiritchild tonight, begotten of Mimesis
which is the oldest stimulus. the serpent
knew this but never warned her that she
would feel dizzy with God; their garden
spinning. it stretches that language with
a wide contagious yawn: as her hunger
opened along. the last thing i have ever
wanted is rescue or catharsis or a happy
ending. why waste such sorrow in one
act? the slaves distrust seas that sprout
towers of light from the shark’s belly:
the phantom limb of a hand reaching to
to a drowning voice. which makes me a
seachild drowned in tears and my role is
to hoax a friend’s death to a mother I’ve
never known in a cue of memory; but by
my dream her eyes were cut out of cold
stone. to survive here is to stage our own
own death, to die every day, embalming
yourself; through a world that has caught
flu that wiped half of the bees and snakes
but all i could think for succor was an
artichoke rolled in a cucumber-skinned
hotdog rough like a snake half-formed in
God’s palm, yet un-cursed, yet unbruised.
the garden was still tunnel-shaped, His
slender fingers of sunlight for trellis. but,
God, i’d rather my body a garden and not
a temple. a temple means felled trees.
there’s a snake in this poem but all i have
is a language forked into a hiss. there’s
a woman not moved by the lie. dressed in
a wolf costume, i growl into a lamb sad at
its owner’s passing. the desert leafed into
a rainforest filled with wolves. somehow
my grandmother plays Electra; prefers
the son of man to cleave and not the man.
Electra spreads her loss on a mat, silently
as she cuts his back, scratching a new city

Posted in 93: PEACH | Tagged

In response to police brutality against civilians

Posted in 93: PEACH | Tagged

Oral History of a Joke

To my great-grandfather who exists in me
as a ratio of nose-to-mouth, blueprints for which
lie within that withered photograph of the gaudy
bridal feast, full of buildings and no doors.

I am travelling back to you as a tragic mime at your nuptial
hour, to you I long to announce my recurring nightmare:
kind of like the dream of the haunted stage
but without the costumes, without feeling like Gilles,

no sequence of embarrassments, no. I shall describe it for you.
Imagine writing a poem titled “Nostalgia” in a glass carriage
a hundred years into the future, and now imagine
the glass carriage as some kind of metaphor

for the transparency of your hunger. And for what,
for whom? Plausibly it’s my desire for another great
memory machine, with flashing eyes, no snooze alarm,
runs only on steam and purple rice. And so here I am

along a road I presume is caked in dirt. Me, a dust mote
among the scrolling dragons on the tablecloth, the wall hangings
and the window shade, the textiles, the flags. You don’t know it
yet, how the recipients of your present’s future wait

at the end of a sentence, punchline of modernity’s
grand joke, the one that starts with the bar and ends
with a peace conference, tries again from the top and does the
pun with the ears in the cornfield, their uselessness.

Posted in 93: PEACH | Tagged

Triple

Year of the Aboriginal
Inspired by popular words and phrases from “Redfern Address” Paul Keating (1992)

the year of the
indigenous

we cannot imagine that
they
have shaped
our nation

year of the
aboriginal

the year we imagine
we non aboriginal
how much
we took

imagine
we non aboriginal
imagine
imagine
i say it because
how well we cannot
imagine

we non aboriginal
we failed

fifty thousand years
in history books

we cannot imagine
we are beginning
are beginning

year of the
aboriginal

we are beginning
we non aboriginal
to recognise how much
we took

We homes where hearts go to rest
Inspired by popular words and phrases from “The Forgotten People” Robert Menzies (1942)

you who do not believe in class
you who do not believe class is to be
as if at the end we speak of frugality
as if the middle eat and drink
are equal

give the workers the scale
the answer we are human
and homes this class this margin
in a false war

you eat and drink and be drink
and be and come out to discourage those
who believe the truth
that power and material
exclude

i do not believe that homes
material homes human homes spiritual
eat drink and be merry at the end
as if we have the time
as if it weren’t the end
as if it were

It’s time
Inspired by popular words and phrases from “It’s Time” Gough Whitlam (1972)

my fellows we will—
do you believe we will?
I put these questions to you, are you
prepared? crisis after crisis, week after
week, will we—will you
accept another two hundred
and forty years of this? will we—will you
again entrust the nation’s economy
to men? we have a new chance
for our nation, we can recreate
a nation.

australia cannot stand still
at such a time, australia
cannot stand time. we are determined
that country shall be restored to its rightful place
as participant, partner, owner. we will
put the land back into the business of running
australia. we will establish a new australia.
my fellows, we will—it’s time,
we will.

Posted in 93: PEACH | Tagged

.free electrons in a magnetic field.

Posted in 93: PEACH | Tagged

Honey

Hypothesis

Father (f) (h) (ch) ucks mother
when it is really his own fears & | &
anxious avoidance of recovery
that he needs to (f) (h) (ch) uck;

Mother (f) (h) (ch) ucks father
when it is really her own fears & | &
anxious attachment to discovery
that she needs to (f) (h) (ch) uck.


Materials

Me, A. (1972) Cell Suck He, B. (1973) Flotsam

Father: French crumbs in aerograms Father: Inside blue free
Mother: real v. ideal abandonment Mother: pinkcamipushprettythroat
Womb: my face before birth Womb: a hat-pin, a pub-din


Method

i. I try contemporary poetry
Sugar appealed for its inventiveness dissociative,
so was shortlisted snorted, but & I am sorry to say
I had to reject accept that poem kick & many others
that were attractive deviant because of constraints
of page numbers pretty cons; I could make
an anthology affirmary of all poems addiction
with such appeal, if chance pluck permitted.
Please do consider sending other work

c
a
n o c e b o
d
y

during the next submission period nix.





















ii. We try contemporary coupling

he : me : candy of cheats
my eyelids for his snakes
embroidered into subtext
sex, the ¡ of extraordinary

his omphalos, my ox tongue
the caffeine in our detail
change, the ¡ of relapse
love, a silhouette Sexton

a fig-leaf for our Facebook
how I hang my thoughts
love, a porcupine cycle
to anchor self ie

what I hang my thoughts on
to sew our silhouette nest
his self ie, my poem
synonym : marriage : repeat :

iii. He tries contemporary vinyl

Vodka purrs to tune a Tardis: { IN UTERO
{ IVY AND THE BIG APPLES
{ LOVELY CREATURES
{ SUMMER TEETH

{ CALIFORNICATION
{ MASTER OF PUPPETS
{ OK COMPUTER

{ CHAOS A.D.
{ GET BEHIND ME SATAN

{ NEVERMIND

iv. We try contemporary therapy

; so sweet my anxious addiction. To his avoidant attachment.
To the fonts of my inner-critic & its overeaten, bloody bio. I am puce, brass,
headlong. He is tulle, dew, bee semen. The psychologist strikes: Contain your
identity-anxiety in private, or express in a non-dismissive way.

Now we are quiet, our shadow a Tardis.
The clocks drip caramel. Cotton finds fuse blues for Gallifrey. We notate heavy
dismissals; flipbook fear of self. A mercy simmer cell suck slow.


Results

Me, A. (2019→) I love people so they’ll do what I want.
He, B. (2019→) You don’t have to be perfect for me to love you.


Discussion
We progress, our folio of bruises
ease hypothetical T&C’s;
@ our next ketamo ¡ sex I text :

r
e
t i m e .
r
o


Conclusion

Divorce appealed for its dissociative, so was shortlisted.
However –
I had to reject that poem because of blinkered (f) (h) (ch) ucks
(the intergenerational transmission of pheromone memory).
I will make an anthology of all armour as pluck permits

& | &

as we me-he anchors for sugar,
drizzling trust on your ox tongues,
please do consider sending the why of your honey v. self ie ¿

Posted in 93: PEACH | Tagged

Acting in Awe

The phone kept ringing & even though I was holding
scissors to cut the cord it only took three more slow rings
for me to become defenceless, cloaking my dressing gown
over my shoulders as I announced myself into the mouthpiece.
It was not my manager but his desperate voice,
a role reversal we were both uncomfortable playing.
There was a film casting that evening & after last year’s excesses
I still owed him, plus the favours he had done in order to obtain
my new number & address. As this was communicated, we slid
back into our usual dynamic, hope leaching from my body
& dampening the floor. I scuffed my new patent leather shoes
trying to find the location of the casting studio on time.
I finally found the two-storey brick building — vertical metal
blinds, opening slightly after I knocked several times. I pinched
the side of my neck & rolled my shoulders back.
Although I had passed a public restroom on my way to the audition,
I skipped the opportunity as my manager advised that my performance
required an expression of concern & I needed to look authentic.
A man answered the door & greeted me in the redundant
way to which I have become accustomed. As I walked up the stairs
& into the allocated room, he explained that there were no lines
in my role, that it was very image dependent. Each facial muscle
was vital to convey the exact point of view the writer/director
had envisaged while on a mountain retreat decades ago. The gaze
they were seeking was to be so commanding, that the climax
of the film would rely upon my precise expression. After this explanation
the writer/director rose from his chair, smoothed down the gathered
creases of his grey suit & suggested a prop be introduced to assist
me with this assignment. From behind the pillows on a cream leather
couch the writer/director presented a fuchsia-coloured canine harness
& slipped my head through the nylon neck piece. I raised my arms
as the bottom straps were pulled down past my chest & over my stomach,
the top straps arranged across my back & the side belts were pulled in tight
so they could be clasped together. There was a sharp metallic click
& reflecting back on their faces was the expression requested from me.

Posted in 93: PEACH | Tagged

Obligations of Voice

Posted in 93: PEACH | Tagged

you have built

call me Hadrian’s, call me The Great,
name me ten-thousand more,
but never forget who urged your
hands away from neighbours,
who pushed your fingers into
the carnality of clay and gypsum
so I could stand, stand again—

—higher than a human shout,
a circle of motionless strength
to girdle every square and factory.
you have built bricks on every hour.
bricks in every utterance. bricks
that do not perspire, that form
an indivisible image of—

—a looted, etherised past.
so mix my slurry in dimness
and ignore your spinal ache,
your hips souring from the tilt.
ignore it. there is no rest. not till
the horizon is scaffolded; not till
the clouds themselves are fortified.

you’ve served beautifully.
so why do your children refuse the call?
why does your son find stepping stones across
the creek?
why does your daughter plant flowers in
the riprap?
why do they ignore exigency? ignore my purity by partition?

—you must stop them. beg them
stop. they are pluck ing my slabs like cotton
from a doll. stop. they are crumbling down my mortar.
tapping out my quoins with bell hammers. I can
feel it. I feel a gaping breeze, sparrow flits,
the invasion of moss, curdled roots,
a brocade of ivy on my colourless rubble.

I am of Jericho. I am of Berlin. of history. I am
all that kneels down when the curtain rises.

Posted in 93: PEACH | Tagged

Stand-off

Prague Spring Photograph, 1968

The Prague crowd jostles a tank–
soldiers, just boys, at the gun turret.
Legs stretched out, feet crossed,
one seems relaxed, but a tense torso
and Kalashnikov negate the casual pose.
His comrade’s leg dangles over the tank’s edge,
steel boot-tip just clearing the crowd. He too
cradles a weapon, muzzle aimed groundwards.
This boy tries to ignore a girl, hair close-cropped
as Saint Joan’s, who beats the tank with clenched fists,
and open-mouthed, shouts defiance under his averted gaze.

Posted in 93: PEACH | Tagged

Shi Jianmin

I must confess that I have not included him in that fiction although I am not sure if that is the reason why he bumps into me now in this crowd. Even though we have not met for nearly 30 years he acts as if he did not care. He simply ‘hello’ed. Or perhaps it is only a reaction to my nonchalance? I need a mirror to check. But, then, people’s faces are mirrors in which you see the same, and more of the same, or same of the more. If you smile, the faces smile back. If you look glum, they do the same, looking different, always different, unlike this guy who looks like Hong Geli, this guy hosting a TV program on his journey across the Tropic of Cancer. When I commented on how much he looked like Geli, particularly when you only glanced at him, she agreed because we both knew him in our young days. We did not know then, though, that he was to die in a decade.

In a few words, just as we went past each other, Shi intimated that he was back working in the same city where we went to the university together. It was not until long after that that I realized that he was telling me he was working in the tax office. I do not understand what English has got to do with tax. Perhaps he is assisting in the process.

Subsequently, I am embarrassed to find that my pants are smeared with fresh semen, so squashed in their semen-messiness that I have to hide them. The woman comes over and puts them in a trolley. She does not seem to take any notice of the semen but I think she does although she does not want to show it; at least the aroma of the semen is strong in the air, any noses would know it.

Posted in 93: PEACH | Tagged

Black May 1992, Bangkok

In Bangrak:
glass towers, decapitated by smog;
swallows flitting through the lattices
of long-necked cranes;
traffic lights semaphoring dumbly
down miles of roads
fuggy with the absence of cars.

At Sanam Luang:
tannoys blaring martial songs;
the stuttering of guns;
surging roars of a restive crowd —
no longer believers in mythic futures
of fish-filled streams and golden rice —
arrhythmic throbs in the breasts
of students soaked in gasoline,
clumped under the smelting sun.

Elsewhere:
in locked boardrooms,
barb-wired mansions,
cardboard shacks along railway tracks,
the Nation gathers round TVs
and, with shock-wide eyes,
watch gilded generals
and God-King stills,
and rumour’s inexorable advance
toward torture, death.

In Bangrak:
the migrant swallows
unhitch swatches of silence
from the cranes,
lay them across the city,
the students, bound and broken now,
slumped semaphores on grass.

Posted in 93: PEACH | Tagged