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
- 91: NO THEME VIIISUBMIT to C Gaskin 90: MONSTERwith N Curnow, coming soon! 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 Fiona Hile 82: LANDwith J Stuart and J Gibian 81: NEW CARIBBEANwith Vladimir Lucien 80: NO THEME VIwith Judith Beveridge 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith Keri Glastonbury 56: EXPLODE with Dan 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 Pam Brown 52.0: TOIL with Carol Jenkins 51.1: UMAMI with Luke Davies and Lifted Brow 51.0: TRANSTASMAN with Bonny Cassidy 50.0: NO THEME IV with John Tranter 49.1: A BRITISH / IRISH with M Hall and S Seita 49.0: OBSOLETE with Tracy Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with Corey Wakeling 47.0: COLLABORATION with L Armand and H Lambert 46.1: MELBOURNE with Michael Farrell 46.0: NO THEME III with Felicity Plunkett 45.0: SILENCE with Jan Owen 44.0: GONDWANALAND with Derek Motion 43.1: PUMPKIN with Kent MacCarter 43.0: MASQUE with Ann Vickery 42.0: NO THEME II with Gig Ryan 41.1: RATBAGGERY with Duncan Hose 41.0: TRANSPACIFIC with J Rowe and M Nardone 40.1: INDONESIA with Kent MacCarter 40.0: INTERLOCUTOR with Libby Hart 39.1: GIBBERBIRD with Sarah Gory 39.0: JACKPOT! with Sam Wagan Watson 38.0: SYDNEY with Astrid Lorange 37.1: NEBRASKA with Sean Whalen 37.0: NO THEME! with Alan Wearne 36.0: ELECTRONICA with Jill Jones
- Review Short: Simeon Kronenberg’s Distance
- Review Short: Judith Beveridge’s Sun Music: New and Selected Poems
- Melody Paloma Reviews Keri Glastonbury
- Submission to Cordite 91: NO THEME VIII
- Judith Bishop Reviews Phillip Hall’s Fume
- Bella Li on as Associate Publisher
- Alex Creece on as Production Editor
- Review Short: Diane Fahey’s November Journal and Carmen Leigh Keates’s Meteorites
- Review Short: Vahni Capildeo’s Seas and Trees and Jennifer Harrison’s Air Variations
- To Outlive a Home: Poetics of a Crumbling Domestic
- ‘The Rally Is Calling’: Dashiell Moore Interviews Lionel Fogarty
- Jackie Ryan: Teaser to Burger Force 3
- Dispatch from the Future Fish
- Introduction to Cordite 89: DOMESTIC
- 7 Portraits by Ali Gumillya Baker
- Selections from 3 Yhonnie Scarce Series
- Kathy Acker and The Viewing Room
- To Live There: on ‘Dispatch from the Future Fish’
- The Wild Workshop: The Ghost of a Brontëan Childhood in the Life of Dorothy Hewett
- Externalising the Symptom: Radicalised Youth and The Membrane
- On Deep Breaths and Friends Forever: Im/materiality and Mis/communication in Happy Angels Revisited
- Letter to Anne Carson: Work of Remembrance and Mourning
- Translated Extracts from Chantal Danjou
- Translations from Old English
- The Poets: Pejk Malinovski Self-translates
- Carnage, Crosses and Curiosity: 13 Images by Yvette Holt
- Body of Sound