Don’t expect anything new.
You know my kind:
We are mock and echo
you say we’ve ripped your song
but that’s another story.
is full of noises. Listen.
They have lost nothing from this change
do the can-can, cancan can
The main thing the ACL wanted was to take out
the mimicking parts of the acts says Wendy Francis
Queensland director of the Australian Christian Lobby
wen wen wen when when when when when
a civil partnerships system mimics marriage
and attempts to set up a marriage-like system
when when when when can can can
In songbirds, the choice of song is learned
but the need to sing’s instinctive.
Maybe for humans, too.
In mountainous parts of the Canary Islands and Turkey
the hill people whistle to talk
across miles of rock and cliff.
A dialogue of trills and warbles
rings out all day, the air filled with the
uncorded, foldless language
of lip and tongue and breath.
(the canary is named after the Canary Islands
which are named after
dogs that might have been seals
but no one knows for sure.
Origins aren’t what they used to be)
Mozart bought a starling in May of 1784.
It sang back to him a scrap of his Piano Concerto No. 17
with a G natural turned sharp. Some scholars say
it wasn’t Mozart who composed it
but the bird.
When the starling died, Mozart staged a funeral
and wrote an elegy.
Poems about Mozart’s starling have been written by
Daneen Wardrop, Karl Kirchwey, Robert Cording, and
Something here about mimicry and love and awe.
Something here about creation.
the mimicking parts
wendywendy can wendy can wendy can do
do the can-can
show us your galop infernal
Love you Queenslaaaaaaand
Where the Bleijie hell are you?
ralphburns ralpburns ralphburns ralphburns
When singing back the songs they have heard
starlings tend to sing off-key
and to sing fragments only.
How do songbirds transmit vocal motifs?
Researchers report that a starling cried mizu, mizu (Japanese for ‘water’)
after it flew to the tap for a drink.
after listening to basketball on TV.
we spread the bridal creeper
we probe and sally and lunge and glean
as each new man comes with nets or traps
or talk or gun or broom.
We speak in more tongues than you can fathom.
Our variations on your song are not
variations on your song.
What came first, theme or variation?
No, think again:
What came first,
theme or variation?
It’s not that we want to be chickens or phones
or humans or alarms
just us just us
but we like to talk
and talk back to the world
and chickens speak chicken
phones speak phone
and maybe everything seems like mimicry
if you only listen for yourself.
- 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
- 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
- Submission to Cordite 93: PEACH
- 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
- Aussi / Or: Un Coup de dés and Mistranslation in the Antipodes
- Every other Friday
- I Still Love Without My Head
- Heath Ledger’s Joker
- Only fair
- small town lazarus
- from Red Black & Blues