Critic: Tell me, Mr. Balanchine, where did you ever see Apollo on his knees?
Balanchine: Tell me, Mr. So and so, where did you ever see Apollo?
All good art begins with a weird birth unseen,
or seen as dotted rhythms knocking hard on high: here
a mountainous mother, heaving a landslide
to cushion the fall
out of the swaddling massive. Quick—coupé
turning point to quaver weedy limbs.
There will be no dead spots anywhere.
II. Variation of Apollo
The problem of the poem—like the problem of the lute—
can be thawed with play. Instructions:
~ present outwards, unsure of score or strength or harmony;
~ pitch arms wide for a full circle strum;
~ learn the sting of withered efforts and proceed
body over neck over body with youthful generosity.
These are studied revolutions in attitude and grace.
III. Apollo & the three Muses
A choreographer may tell you this: it always pays
to reinvent oneself, surrounded by women
adept at odd lines—women who grand battement
on pointe and stretch their blistered toes to the sun.
Women who insist a flat-footed shuffle, a turned-in leg
or bent pirouette; sharp educators in civil disobedience
offering tutorials in filigree counterpoint:
Variation of Calliope
These hands conduct ecstatic verse from the ribcage
through an over-thought Alexandrine density.
When vision is thin, the chest caves in. (This I know).
If you turn your head, I’ll scribble in your sidelines.
Variation of Polyhymnia
sh| gesture can be taught at great speed;
a saucy pirouette with one finger to the lips—
the imagination goes wild. sh| The fun of mime
can be a tonic for new movement; the danger is
(mouth flung wide) O ||
Variation of Terpsichore
One must use the stage wisely to reveal
the body’s jigsaw precision: here are the hips,
twisty as a soda top; the arms breezy; tendons flexed.
The dance is lean-revelation and pluck; the body is a neat thing.
Apollo is opening, closing his fist—neon
flashing lights—and now he knows this
about kick and control; subtle liaisons
of language and line. Let us go, he says,
for a slow walk, or a swimming lesson, or frisky
diversions in the troika. Bounce the strings
fast and strong enough to test our laurels without
fear of fall or rest within the score.
His attention is drawn wide as a curtain
on a New York apartment window.
Adolescence is a half-hour exertion—so it seems
what’s hard is best learned fast. To dare not use
everything but draw together certain family relations
in one’s art: music, movement, humour—
humble pie and vodka with a side of disagreement
cut short. (We’ll continue the conversation upstairs).
Based upon the choreography of George Balanchine, 1928 and music of Igor Stravinsky, 1927/28
- FREE: 20 Poets anthology
- 93: PEACHSUBMIT to L Van, G Mouratidis, L Toong 92: NO THEME VIIICOMING SOON with C Gaskin 91: MONSTERwith N Curnow 90: AFRO AUSTRALIANwith S Umar 89: DOMESTICwith N Harkin 88: TRANSQUEERwith S Barnes and Q Eades 87: DIFFICULTwith O Schwartz & H Isemonger 86: NO THEME VIIwith L Gorton 85: PHILIPPINESwith Mookie L and S Lua 84: SUBURBIAwith L Brown and N O'Reilly 83: MATHEMATICSwith F Hile 82: LANDwith J Stuart and J Gibian 81: NEW CARIBBEANwith V Lucien 80: NO THEME VIwith J Beveridge 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith K Glastonbury 56: EXPLODE with D Disney 55.1: DALIT / INDIGENOUSwith M Chakraborty and K MacCarter 55: FUTURE MACHINES with Bella Li 54: NO THEME V with F Wright and O Sakr 53.0: THE END with P Brown 52.0: TOIL with C Jenkins 51.1: UMAMI with L Davies and Lifted Brow 51.0: TRANSTASMAN with B Cassidy 50.0: NO THEME IV with J Tranter 49.1: A BRITISH / IRISH with M Hall and S Seita 49.0: OBSOLETE with T Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with C Wakeling 47.0: COLLABORATION with L Armand and H Lambert 46.1: MELBOURNE with M Farrell 46.0: NO THEME III with F Plunkett 45.0: SILENCE with J Owen 44.0: GONDWANALAND with D Motion 43.1: PUMPKIN with K MacCarter 43.0: MASQUE with A Vickery 42.0: NO THEME II with G Ryan 41.1: RATBAGGERY with D Hose 41.0: TRANSPACIFIC with J Rowe and M Nardone 40.1: INDONESIA with K MacCarter 40.0: INTERLOCUTOR with L Hart 39.1: GIBBERBIRD with S Gory 39.0: JACKPOT! with S Wagan Watson 38.0: SYDNEY with A Lorange 37.1: NEBRASKA with S Whalen 37.0: NO THEME! with A Wearne 36.0: ELECTRONICA with J Jones
- Introduction to Zenobia Frost’s After the Demolition
- Phillip Hall Reviews Robert Harris’s The Gang of One: Selected Poems
- Adam Ford Reviews Rae White’s Milk Teeth and Anders Villani’s Aril Wire
- Jennifer Mackenzie Reviews Elif Sezen’s A little book of unspoken history
- Introduction to Charmaine Papertalk Green’s Nganajungu Yagu
- Brigid Magner Reviews Michele Leggott’s Vanishing Points and Elizabeth Smither’s Night Horse
- Jack Kelly Reviews Liam Ferney’s Hot Take
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- Introduction to Cordite 91: MONSTER
- Poetry, Whatsoever: Blake, Blau DuPlessis, and an Expansive Definition of the Poem
- On Being Sanguine: Two Years of Panic and a Response to Terror in Christchurch
- A Deaf Rough Trade: Defending Poetry to ‘regular people’
- 12 Panels by Chris Gooch
- 5 Translated Yosuke Tanaka Poems
- A Buzz in the Retina: On Translating Luljeta Lleshanaku
- ‘That is some crafty bite’: Trisha Pender Interviews Melinda Bufton
- ‘You’re never disembodied from the action’: Dylan Frusher Interviews Judith Beveridge
- Excerpts from Neon Daze
- Chorography and Toute-eau in the Waters of Lower Murray Country
- 6 Poems from Robin M Eames
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- Every other Friday
- I Still Love Without My Head
- Heath Ledger’s Joker
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