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Hoa Pham

RR9jqEyYHZIB3bK-_j6eggBdr9saQs5J1svFbe6_G3Q Hoa Pham is an author, playwright and psychologist. Her novella The Other Shore won the Viva La Novella prize in 2014. Her play Silence was selected as a text for VCE Drama in 2010 and has been performed at La Mama in Melbourne. It also toured throughout Victoria with the support of VicHealth. Hoa was awarded the Best Young Writer of the Year Award from the Sydney Morning Herald in 2001 for her novel Vixen. Hoa’s work has been published in numerous periodicals including HEAT, Griffith Review and TEXT Journal. She is also the founding editor of Peril Magazine of Asian Australian arts and culture.

 

Excerpts from The Other Shore

My name is Kim Nguyen. I’m sixteen years old and my secret middle name is from a poem that means ‘good heart’ in Vietnamese. I have kept many things I see and hear to myself. This protects me, being a plain ordinary schoolgirl in uniform, a white ao dâi that is impossible to keep clean. I do not show off at school, because the pressure of the student competition and the ritual picking on the weakest students by the teachers was too much for me. I learnt about competition on the first day of high school from my best friend, Lien, who told me not to get angry at the teachers’ jibes about me being the ugly sister. ‘They will be silent after they receive a gift,’ she told me. This was my first encounter with corruption—a corruption everyone expected.

In our house many people died, but all of Việt Nam bleeds ghosts from the wars. When I was growing up I would see other ghosts, like Americans, and would practise my English with them. Sometimes they would be wary, other times not. I have gradually learnt not to be afraid of strangers.

My family lived south of Hoan Kiem lake. When I closed my eyes at night I heard the steady whirr of traffic going by. Hà Nội only sleeps from midnight to four am. In the early morning old women like my grandmother would do tai chi on the shore of the green lake. At four am goods would be brought to the markets and to the noodle hawkers on the street. Then the traffic would ramp up and tourist touts and beggars would take to the lake, while the more affluent would lunch and eat ice cream.

In the middle of the lake is the One Temple Pagoda, fierce with a tiger guarding it, a constant reminder of King Le Loi and the legend of the turtle that carried his sword away.

To most people I am no one. To Bà, my grandmother, I was someone special that kept her secrets.

*****

 

I was awake and dressed at four the next morning when the driver knocked on my door.

Huế was just beginning to wake up. The pho sellers were assembling their wares and the roads were almost empty. The dawn was mild and I was grateful for the thermos of tea that the driver thoughtfully provided us with.

It only took ten minutes of driving for us to reach the countryside outside Huế. Trees and greenery dominated and chickens ran across the road. I spotted a turn-off sign for Chùa Hương  and knew we were close.

We came across the new highway suddenly in an open clearing. The road was newly asphalted and came to a halt at a large roped-off pit. Already two labourers were standing around, smoking. The driver parked and we got out, catching a glimpse of the pink dawn edging over the horizon.

Bác Phúc approached the workmen who straightened up and only surreptitiously glanced at me. ‘Are the novices from the temple here yet?’

One of the workmen shrugged.

Bác Phúc gestured to me. ‘Come have a look.’ He didn’t have to tell me to not touch anything.

‘The geomancer tells me that the discoloured soil here is decomposed bodies.’

I glanced into the pit. Mud and water oozed and I glimpsed shards of bone embedded in the sides of the pit.

‘Mass grave. Why did you bring a woman out here?’ one of the workmen said.

‘She’s a psychic. She’s part of the reburial team.’

The workmen’s eyes widened.. Then they nodded in understanding as the sound of a moped cut into the quiet of the dawn. Pulling up at the site was a brown-robed abbot and a novice robed in grey. The novice was holding onto ceramic pots, precariously bundled together, for the remains of the bones.

I bowed to the abbot, who smiled at me and Bác Phúc. ‘Thank you for coming,’ he said to us gently. ‘These disturbed souls have been troubling us greatly. We have been waiting for you.’

The novice set up incense on a little mound away from the pit. ‘I can assist you in finding the descendants of these men and women if they are from around here.’

The workmen holding small hand shovels bowed to the abbot, then jumped into the pit. Too soon I was presented with a shovel full of mud and earth from which shards of bone were poking out. I took off my gloves and gingerly reached out to touch the protruding bone.

A scream. A bolt of pain lanced through my insides. Then wailing. She had been abandoned, defiled, and murdered. Her family could not find her. They offered outdoor offerings to the lost souls but could not honour her at the altar.

‘She lived in the village not far from here. She was killed by Americans.’ I could not bring myself to say what had happened to her before her death. So I began describing the scenery around the village, the hills that backed her family’s farm and the closeness of Chùa Hương . She had three brothers and two sisters.

The abbot listened gravely to my babbling, then  produced a notebook from a bag by his side. ‘I think I know which family this is,’ he said and motioned for the novice to bring over one of the reburial urns. The remains were put in the jar and the abbot murmured some instructions to the novice.

Bác Phúc watched approvingly and smiled at me for the first time. Putting a hand over my stomach from the phantom pains I tried to smile back, but instead found myself fighting  tears.

Bác Phúc came over to my side with the thermos of tea. ‘Have a rest for a few minutes my dear, ‘ he said. Clumsily I walked away from the pit and sat on the car bonnet. I crossed my arms, hiding my head in my hands to conceal my shame from the men.

The hours passed by in a blur. I was hit by the pain and humiliation of death again and again. Bác Phúc began to work alongside me, his face stoic. He would squat down next to the remains, his face a frown, and close his eyes. Then he would tell the abbot what he saw.

With the help of the abbot we were able to identify nine people from nearby villages. Then I was presented with another mound of mud with bones protruding from the muck. I was reminded of the bones of a chicken after the slaughter as I braced myself for the impact of touching them.

The shock comes like a pistol shot to the back of the head. I am drenched in fear, standing in line, waiting. My mother stands next to me clutching my hand, sweating. I had been told to be quiet, and this time none of my cheekiness asserts itself; even the adults are quietly standing in the darkness down in the basement of the school.

Then a door opens and men in black come down the stairs with guns. With frightening efficiency they make us kneel on the concrete floor. A gun muzzle glints in the dim light and then a crack. My teacher Long falls forward. Someone screams.

Panic! . . . and Ma cowers to the ground, covering me with her body. More cracks and the smell of blood. Then a thunderclap in my ear. Mum goes limp above me and I am squashed under her weight. I wriggle and blinding pain shoots up my leg. Then I fall . . .

A child! The National Liberation Front had murdered families in cold blood, just like the Americans and the ARVN had. I recoiled from the knowledge. Opening my eyes I saw Bác Phúc looking at me with concern.

‘A child . . .’ I stammered.

‘Where did they come from?’ Bác Phúc asked, his stare fixed to my face.

‘South.’ The word was shaken out of me.

‘I see.’ Bác Phúc gestured at the workmen and the area of mud that the geomancer indicated was dug up and thrown to the side of the road. The abbot knelt by my side and I turned to him.

‘They aren’t honouring the dead . . . ’

The abbot looked at me with sorrowful large brown eyes. ‘These are Southern dead. Your colleagues are from the government.’

A chill ran down my spine as I realised the political implications of what I had seen. ‘They will still haunt the road . . .’ I murmured.

The abbot paused for a moment, then looked away. ‘In the eyes of the Buddha there are no political sides or ideology. We will look after them.’ He rose suddenly to his feet and Bác Phúc approached, indicating I should get back to work.

Fucking gooks. Never let a man sleep. Have to get out of this hellhole, stay alive for three more days then out of here. Never again.

‘American,’ I said. I wanted to sit down and cry and never get up again. The workmen heaped the soil and remains on the side of the road. The novice went away on his moped and came  back with wooden boxes lined with red paper. The American remains were placed in the boxes and put in the back of our car.

‘The Americans like it when we can return remains to them,’ Bác Phúc said neutrally. The labourers returned to work and Bác Phúc clambered back into the pit.

Exhausted and covered with mud I sat down on the side of the road. I imagined I was covered with the bloody remains of the victims I had seen. Even the American was treated with more respect than the southern ers. It made no sense. Surely the souls from the south would haunt the road too?

Shivering, I unwillingly flashed  to what I had seen of the American’s feelings. He had died slowly, suffering the same way our people had.

‘We will pray for them,’ the abbot said softly in my ear. I turned to the wise man standing impassively by my side. The novice had lit more incense and begun a quiet chant a few steps away from the open grave site. The sun had risen and the heat of the day was making itself felt. I glanced at Bác Phúc but his eyes were closed in trance talking to the geomancer about what he saw.

‘Politics keep men divided,’ the abbot said. ‘But we all suffer no matter which side we are on. After we die there are no distinctions. You are not like him. Your spirit is still young. If you need counsel please come to Chùa Hương  and ask for me.’ The abbot left my side as if he had said nothing of import and returned to the pit.

Bác Phúc had identified more southern soldiers and the heap by the side of the road grew. I sipped a cup of tea, listening to the chant for the dead and then the sound of the bell from the novice. Its sound returned me to memories of my own temple  in Hà Nội. A moment of peace came over me.

Then I began to cry for what I had lost.

(These excerpts are from page 1-2 and page 42-56 The Other Shore, Seizure, 2014)

Mary Branley

mary branleyMary Branley is a poet, writer, musician and teacher based in Sligo, Ireland. She has two collections of poetry: A foot on the tide (Summer Palace Press, 2002) and Martin let me go (Summer Palace Press, 2009). She is also a recipient of a Patrick and Katherine Kavanagh Fellowship and bursaries from the Arts Council of Ireland and Sligo County Council

 

 

Rūmī’s Letters to Shams

i

Shams, we have yet to meet
but I check the temperature daily
in Tabriz wondering

if it is the cold or the heat
that will send you to me
the dark season or the light?

Perhaps the fluctuations of the dollar
will have a bearing
as on the flow of oil.

Every night the angels whisper
sweetly in my ear, saying
soon your love will come

through the open window,
the smell of night rain in her hair,
dew of morning kiss on her lips,

a full moon language
in each moon eye. Oh Shams
my heart is ready for your hands.

ii

How unexpected it was
When the windows of the heart
Opened from the back like patio doors
And I entered the garden alone
Dazzled in sunlight, thick with birdsong
And the deafening fragrance of Shams
Whispers from everywhere
Stay in the garden, love from here.
Who knew the heart held such a secret?

iii

Let me make a bed of words for you
with sheets as light as the fall of dew
on the curve of your breast
and rest your head on a swan’s wing.

When you burrow in
the mattress whispers back
a silken phrase, the scent of your name
in honey suckle breath.

Let me tattoo my love all over you
with the nib of June’s new moon
indelible ink of midnight’s summer blue
crazy words you’ve never heard before.

Let me wrap your sleep
in the mandolin trills of dawn
and you can fold your dreams up small
and slip them in loose change.

George Michelsen Foy

 

head shot haiti

George Michelsen Foy has worked as a commercial fisherman, a magazine editor, and chief cream-puff transporter in a pastry factory in England. His latest novels are Mettle and The Art & Practice of Explosion (University Press of New England); a non-fiction book, Finding North: How navigation makes us human, will be published by Flatiron Press/Macmillan in 2016. His short fiction has appeared in Notre Dame Review, MonkeybicycleAmerican Literary Review, et al.: long-form essays in Harper’s, Rolling Stone, Men’s Journal, et al. He was awarded an NEA fellowship in fiction. He lives with his family in Southeastern Massachusetts and in New York City, where he teaches creative writing at NYU.

Ferguson

How wrong to walk the streets dressed how you dress and know those codfish eyes will follow you always, how wrong to know that voice with sharpened fricatives will slice a path to stop—hands pale as non-fat slap your thighs apart twist your head and depending on what you’ve done (and you’ve always done something) click chill around your wrists: and if you say no? And if you run or just move wrong? The voice that worms out, flattened by electrics and satellite, from your mom’s/ girl’s/ grannie’s/ dad’s cell phone will be a voice they do not know: that never said ‘Wait, I got a joke for you,’ nor ‘Happy birthday’ nor ‘Fuck you’ even: how wrong for someone they never met to say, ‘I’m sorry, but I must inform—

 

Sabotage

Tournan en Brie lies a little east and south of Paris. It was a quiet town when I was growing up. Nothing much had ever happened there. A minor lord or two bullied farmers from a tower. There was a church, two bakeries, two patisseries, a butcher shop, a pharmacy. Apart from wheat, the main crop was boredom. It was Kansas with good cheese. When my brother and I stayed in Tournan—we were there months at a time, visiting our grandmother, nothing to do but shoot gravel at each other with slingshots in the garden—we used to walk, with our parents, to watch cars hiss by on the highway running east and west. That was what passed for entertainment in Tournan. My grandmother called that highway la route des invasions, invasion road. She knew what she was talking about. The first time the Germans came from the East they killed her brothers, every one. Her husband’s only brother was also killed; he had come back from Australia to fight. Her husband, the town doctor, was gassed at the front. The gas braised his guts and he died shortly afterward, at home. Grandmère wore black, inside and out, for the rest of her life. She kept her husband’s surgery as it was the day he left for war, and raised their only child in a country of unrelenting loss. When the Germans returned, twenty-two years later, they billeted three officers in her house. Grandmère was pissed off. Not only had the bosches killed her husband and all the men in her family, they had given her son the excuse he needed to leave and not come back. Now she was expected to make their beds, sweep their floors and watch them brew coffee in her kitchen? They had real coffee, too, she said, a luxury in those days. All this was bad enough. What really made her sore was, these Nazi officers in their high conquerors’ boots would lie down on her mattresses, on the family’s lace bedspreads, without taking off their footwear. This was the last straw. Invasion and mayhem were one thing, but here was final proof the Germans were barbarians. So she joined the resistance. From then on she refused to acknowledge her lodgers. She declined to make their beds. She listened to the BBC in secret. And she sabotaged the coffeegrinder. This was a cruel blow. American B-17s were flattening factories—they would bomb Grandmère’s house toward war’s end—the maquis were blowing trains to kingdom come. And these three Wehrmacht captains were deprived of coffee. I still have her coffeegrinder, it still doesn’t work. I’ve tried to fix it many times and can’t figure out how she broke the thing. I suppose, as with most sabotage, all you need is sufficient rage.

Geometry and Geography by Marion Campbell

FoggyMMCMarion May Campbell is a Melbourne writer who currently teaches in Professional & Creative Writing at Deakin University. Her latest work of fiction is the short novel about failed revolutionaries konkretion (UWAP 2013). ‘Geometry & Geography’ is from a work-in-progress.

 

Geometry and Geography

Little sister is doing a maths assignment on the card table under the salty-louvred window in the Shoalwater Bay shack they are renting. There is the good feel of sand on linoleum underfoot. No one cares about housework here. One clean sweep is all. She’ll do the ten Euclid problems then get ready for Saturday arvo dancing classes — shave legs, shampoo hair to squeaky clean, since this is before conditioner, draw up silky stockings, trying not to ladder them with chewed fingernails, clipping each stocking with the rubberised suspender buttons, shimmy into the tight green and black hound’s tooth skirt and grey cashmere jumper. Slip into the patent leather shoes with the squashed heels. On the first floor Dancing Studio she and big sister will be lined up with the others, teased and bouffed and sprayed, along the studio wall for the boys, who’ll skid across the polished boards to choose their partners for the Pride of Erin. Will the tidal wave part around them, leaving them there? The word wallflower hovers. Oh the Red Sea dividing. Red is the blood that flows from me. Let the boy-wave not divide like the Red Sea around us, and leave us stranded like two cooling lumps of pumice stone. But let me not be chosen ahead of her. Then I’ll have to drag her sorrow, ball-and-chain. The mother has her hand cupped over the speaker of the receiver and says something to the blue-eyed grandmother, a tiny wrinkled and painted doll sunk in the depths of the cane armchair. Voice broken, the mother coughs. The big sister asks hoarse, What, what?

The scream comes from another world. With its savage ripping force it skins her. She sees herself blue, blood pulsing under the moon sheen, a skinned rabbit. That voice is a killer wind. She dares not look. She’s not where her big sister is. She cannot be. That space is always taken.  She doesn’t know what her sister knows. She’ll never know what her sister knows. She rents the space of not knowing. I still rent the space of not knowing. The scream rends the space of not knowing.

There’s only the scream in the room, all the air’s stolen by it. It’s a tearing of the voice box and there’s no stop to it, like a line with arrows on either end, it might be infinite. It’s a destruction of wave harmonics.

The dead father is made alive out of myths.

When he’s two the dead father’s Enchanted Mother lets him take apart the Mantle Clock, Mainwheel, Mainspring, Wheel Train, gears serially undone, the whole Escapement: Escape Wheel, Pallet Fork, Balance Spring and Balance Wheel, until wall-to-wall, the lounge room floor is Time dismantled. Endless space now between the tick and the… At two mind you, the mother on the phone has said. The younger daughter thinks that to dismantle is not to mantle. Now that’s all he is: a photo of a uniformed moustached head on the mantle. The dead father is the first on his block to make a crystal radio set and he makes them for the neighbours as well. This is around 1927 in his twelfth year, common enough, since they were widespread, even in WWI. But it’s from these he gets hooked on microwaves and condensers. It’s not far to radar and beyond. Just waves big and small.

In this family they are good at making up genius boy children. The younger sister will have a boy child who speaks in clear crisp words at nine months and at ten months in telegraphic sentences — uzza icecweam as they glide past a Peters Ice Cream sign on a Deli. Maybe it’s because myths make magnetic spaces. Events are pulled to them. The grandmother says, Isn’t that a-mazing, as the Toyota Corolla glides under a freeway pedestrian overpass. Under the next pedestrian overpass from the elevated safety seat at the back the Baby Genius voice pronounces, Uzza mazing. With these enchanting boys it’s serial mazing.

The two sisters in the beach house enchant no one. They understand that they are girls. The space of the dead father draws the big sister, who remembers everything about him, indelibly out of her own life. Only the little sister can have her own life. She knows she can rent the father if she wants because he has retreated and she can make him over for herself and from faded bits and pieces she can borrow him when she wants.

From behind the dunes through the house the jade waves pound. The boom, the crack, the boom. And the gorgeous salt sea-weedy smell rises to fight that ripping scream. There’s been a fire, the mother says, re-cradling the receiver, threading the cord through her fingers, lighting a Capstan cigarette.

Little sister has just had her first period. It’s over now. Outside, away from them, she slips her undies off on the warm weathered boards of the front porch, safe behind the unpruned tee-tree hedge. The wood presses into her bare skin. Wood prints into her. Things press and impress and your body speaks back. The sun draws on her sex. She thinks it drawls. The sun drawls on me, speaks intense and slow. It works on me, like that stuff for wounds that pulls out the gunk, like what is it, like Magma Plasm. Her young sex milkily responds. What is this, what is this, it says.  It is sweet salty liquid almond speech.  The world drawls on you. You whisper back.

Even when mother sister grandmother are sucked into the black sinkhole of the telephone—there’s been a fire; it’s all gone—you can let the sun draw on your body. The sun pulls like a poultice. She reads her geography text. She has a state exam approaching. Study is the sun’s drawl, letter-by-letter, map-by-map. The sense of sun and the drawn Earth orbiting. Geography and geometry are what Egyptians did as part of sun worship — earth drawing and measuring. She reads Huddersfield and Halifax. She has her memory tricks. She gives her own names to them. Her body drawls back its slow language. Shuddersfield and Whollyflex. The industries. Smelting. The likelihood of what goes with what —where there’s coal, there’ll be smelting. Steel. Summat like that. Where there’s moock there’s brass, her grandma says her Scouse great grandma used to say. Coals to Newcastle. The weather, the climate and geography. Sun- struck daughter of a man who would’ve made it rain. The rainmaker father is dead and dead again.

So much later the Midlands and the North Country will carry their charge back to this scene. Oh the smelting. She will top the state in Geography.

Sooner she’ll learn the microclimates of a lover’s body. The quite non-tristes tropiques.

Now from the fibro shack perched on the low dune over the road the daggy burred Border Collie comes and sniffs her legs, licks the salt. What’s happening here, whatcha been up to, the moist nose reads her. Dusty Springfield is singing on the leather-clad transistor, I only want to be with you. The younger sister and the Border Collie are you for now, for Dusty’s voice.

The scream has died in the dunes. All their stuff was in the removalists’ storage shed. Is in another form. Chemical change is irreversible. But not for the younger sister. She can reverse. Most of it’s gone. They will be repeating in their broken voices over and over. Gone gone. She hates their voiced grief.  She sees with satisfaction the great gothic span of twisted metal hangars above the ocean of ashes punctuated by small heaps of foul reeking globular nothing.

The mother’s voice is blank. What this means is — all the photos and pictures and furniture from when he was alive are gone. The scarf, the sister’s voice is a roar of stolen air, exiting. Like the scream of the bushfire. Maybe her sister is a fury. A fate. One of those Erinnyes. She had one thing that was the father’s — the Air Force scarf, not a uniform scarf, but in the deep grey blue wool, that someone, maybe one of those endless volunteers knitted for one of the NZAF boys, in thunder blue basket weave stitch. The bigger sister’s relic from the father gone — he to sea, now the scarf to fire. This burning of all his things, of the antiques he chose, the books he’d read or meant to read, incinerated in the cremation he never had. Of course the mother will not jump in the two-toned, olive and apple-green finned Morris Major Elite to inspect what remains, as the Storage Management invites her to do— the sprinklers saved some things, you are welcome to inspect, the mother says they said.

There’s never been a body to identify, so why would she run to contemplate the remnants of thingsthingsthings? The photos would’ve burnt first, she says, lighting another cigarette. No I couldn’t bear to rake through the wreckage. The older sister howls and howls until the younger one slinks off again to the dunes where the old Border Collie will follow her. They’ll sit together and watch the swollen body of the ocean roll and break. This loud grief will always upstage her, until she becomes a subtle actress, or so she thinks.

And the younger sister, callous, letting the sun milk her like crazy, sets her mind free to do geometry and geography, or daydream the German teacher taking her in her arms, meine schöne meine Liebe, or even the boys’ eyes lighting up as they skid across the dance floor to choose her. The ones with oily rock n roll quiffs, more than shiny Beatles’ mops, the rebel boys in tight black jeans and winklepickers are the ones she wills to notice her. She’ll tease her hair into the biggest beehive. Take that, Pride of Erin.

 

 

Rachael Guy

RguyRachael is a multifaceted artist engaged in writing, performance making and visual art. As a performer and vocalist, she has featured in major festivals across Australia and overseas. She has created puppet-based visual theatre for adults. Most recently she collaborated with poet Andy Jackson on Ambiguous Mirrors, a poetry/puppetry piece that toured Ireland in 2013. Rachael recently completed a Masters Degree in Theatre Performance examining anthropomorphism, transgression and puppetry. Her writing has appeared in Overland and Sleepers.

http://rachaelwenona.wix.com/disquieting-objects

 

Undone

a dour Mary haunts every crevice
and chipped plaster saints congregate behind
muted windows panes

on lonely escarpments Jesus thrusts his ribs to the sky
while in the foothills stone cairns tilt and endure

in backstreets, archaeological digs yawn
disgorging dust and secrets

in the museum Clonycavan Man lies undisturbed
by the incoming tide of spectators
pooling humidity and chatter in their wake.

traveller, you pass as shadow across building and field
headstone and turnpike
you stumble on the perimeters

of this foreign history.
it all looks hauntingly familiar – and now
your own country feels like a cheap imposter

at sundown you watch the wheeling rooks
they float as flecks in a darkening sky, just as they have
every evening and will forever more

and you? where will you take refuge
so far from home?

Supatra Walker

032015Supatra Walker was born in Thailand, attended school in New Zealand and has lived in the Northern Territory. She recently graduated with a BA in English and Creative Writing at the University of Newcastle and is now a full-time student in their BA (Hon) in English and Creative Writing. She writes poetry, short stories, memoir and essays. She owns 3 guitars and 4 ukuleles and plays them all enthusiastically. She is the proud mother of two gorgeous young women and a passionate Greenie. She has recently moved to the Hunter Valley to build a north facing house that will eventually overlook a thriving permaculture garden.

Gai Kiah

I begin pre-dawn, before
the sun’s alchemy transforms the Morton Bay figs
into giant feng shui money trees of gold and citrine. An uncommon feeling
had stolen into my dreams.
I want to be at my desk, pencil in hand to capture the images
the metered words whispering and coiling beyond my tongue.
Pen won’t do.
Computer won’t do.
There is something that keystrokes can’t capture.
I sharpen my pencil and begin to write.

               My hand is doula and letter
by letter
words are birthed naked defenceless     like wild things caught
in a snare in the glare of scrutiny   they string out
or jam up   struggling
for  a place  on the  page
for space     in a    line
for the chance to become part
of a whole
something
much bigger than themselves something
more metered than syllables something
as round as vowels
something more
percussive than consonants, the something
on the landscape of my page that is something
more meaningful than nouns and something
more cohesive than syntax and so
                    so
much more than mere conjunctions         but
the shuffling and writing and erasing reminds me instead that
my handwriting is gai kiah: the indecipherable scratching
of a chicken.

There is no beauty in gai kiah. This is not the hand that writes thank you
letters or the inscription in birthday cards.
I study the geography of my sentences,
the mountains and valleys between the letters,
the tails and rivers and streams that hook and bend
or simply
end and
then I am reminded of a story my Thai kindergarten teacher
read to us about
the seven chickens who had flung themselves into a fire
in grief when their mother   was killed  and
fed to a wandering monk. Their souls cast out
onto the night sky became a    cluster of stars. I cried.

When asked why I was crying        I lied
and said I had a dog that died.
I didn’t know the Thai word for sad, you see.
I didn’t have a dog either.

But here’s the thing: I remember
this story because ก (gaaw) is the first letter in the Thai alphabet
and ก is for gai as
a is for apple.
I formed ก on the lines of my exercise book.
I erased my mistakes but
the eraser caught the edge of the paper.
Then I knew that the crumpled and corrugated ravines
of my page are testament to my farang-ness.
And so the ungainly row of กs
big, and small some missing their beaks  legs    splayed, stiff
ungainly and culturally crippled     march
lost,  jammed    and shambling up    and  down
the papery spurs,  through the miserable smears and over
the rubbery    charcoal worms
of the erased dead and into
the history of me.

Kent MacCarter

KM by Nicholas walton-HealeyKent MacCarter is a writer and editor in Castlemaine, with his wife and son. He’s the author of three poetry collections – In the Hungry Middle of Here (Transit Lounge, 2009),Ribosome Spreadsheet (Picaro Press, 2011) and Sputnik’s Cousin (Transit Lounge, 2014). He is also editor of Joyful Strains: Making Australia Home (Affirm Press, 2013), a non-fiction collection of diasporic memoir. He is an active member in Melbourne PEN, and was executive treasurer on the board for Small Press Network from 2009-2013.

 

 

Jetstar to Rockhampton

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Pippa Little

 tunisiaPippa Little was born in Tanzania, raised in Scotland and now lives in Northumberland in the North East of England. She has worked as a university lecturer and tutor, a literacy development worker and as an editorial assistant and staff writer in publishing. In September 2015 she takes up a Royal Literary Fellowship at the University of Newcastle. Her collection Overwintering came out from OxfordPoets/Carcanet in 2012 and was shortlisted for the Seamus Heaney Centre Prize.

 

Moon Watches Earth

She’s a whirl,
a well-head’s
surge of white,
which way
curls her feather-tail of storms?
Which tight twist
pulls clockwise
or wind-borne,
Coriolis to her equator?
How the crystals shiver
in her wedding hat
as she circle dances!
How small and silver-dented
are her sad tarantellas!

I am umbilical and dark.
Energies in me, deep-burned,
thrash unseen, grind themselves in.
I remember everything.
Turn and turn and turn,
snake-tail mouth in a Mobius spiral.
I want wild tides sometimes
to make me simple,
muscle-cut. Yet my nature
loves its treadling, these wonky spirals
almost surfacing beneath the skin.

Benjamin Dodds

unnamedBenjamin Dodds is the author of Regulator (Puncher & Wattmann, 2014). His work appears in The Best Australian Poems 2014 and was recently performed on Radio National’s Poetica program.

 

 
 

Space Age

My mother’s breasts were astronauts
drawn up close and high

in a latex matrix of Playtex warp and weft.
They manufactured the moon suits

(Playtex, not my mother’s breasts)
to swaddle men against silent death.

Twenty-one layers of failsafe stitching—
cascading redundancy

made vacuum-tight by hand
under the brief

that space is equilibrium.
No blood or breath

or saliva out there;
given the chance

the void takes its share.
I’m told I screamed each time

like depressurisation
at their smothering press

and just like those gods of Apollo
had to be fed powdered milk.

The Sky Had Turned Pale Green by Emily O’Grady

Emily O'Grady picEmily O’Grady is a PhD candidate at Queensland University of Technology, where she won the 2012 Undergraduate, and the 2013 Postgraduate Writing Prize. Her fiction and poetry have been published in The Lifted Brow, Voiceworks, and Award Winning Australian Writing.
 
 

The Sky Had Turned Pale Green

When the drama captain dived into a shallow swimming pool in my final year of school the chaplain held a vigil in the chapel every lunch break. Each afternoon we gathered around a battery operated candle on the teal carpet in a blobby oval, offering significant memories while eating toasted sandwiches from the tuckshop and passing around a packet of Minties or Snakes. Each session began with two minutes of silent reflection and a meditative Angelus. When it was my turn to contribute I pretended I was too distraught to speak.

The vigils came to an end when she woke as a quadriplegic twelve days afterthe fall. The administration organised a free dress day to raise money for her family to renovate their bathroom, and renamed the end of year Cabaret in her honour. On graduation her parents dressed her in the school tracksuit and styled her short hair into a braided stump for the occasion. No one had thought of a ramp to get her on the stage so she sat by the bottom of the stairs—her parents gripping her shoulders—while a scrolled diploma tied with a purple ribbon was placed in her lap and subsequently rolled onto the floor. I couldn’t tell if the mood was one of mourning or celebration. She wasn’t wearing shoes, and I remember looking at her socked feet and thinking of sleeping lambs.

Everyone seemed to indulge in the witchy ritual of the vigils and pawed over the tragedy, debating fate and God and euthanasia in the hallways and beneath the ancient, Moreton Bay fig that left a bed of glossy leaves across the brick paths. When Felicity had drowned at the end of Year Nine, her funeral was held during the Christmas holidays, so by the time the New Year came around the murky disbelief had already lifted and any opportunity for bonding or existential discussion was avoided. Though the start of term mass was combined with a memorial service, because she’d only been at the school a few months there were no significant memories for anyone to share. Up until graduation Felicity was spoken of rarely and abstractly, as though she were a hazily remembered dream or a childhood memory you couldn’t be sure wasn’t one you’d absorbed from the television.

Felicity and I knew each other through the kayaking club. Every Friday we paddled a kilometre downstream and drifted along Norman Creek. I’d been kayakingsince Year Eight, but it wasn’t until Felicity began boarding at the College that I’d come to tolerate those afternoons sweating into the Brisbane River. It was mandatory for every student to play an extracurricular sport unless they had a medical certificate. I chose kayaking because for the most part it wasn’t a team activity, and even in April and October the heat could be so oppressive that the thought of hockey or touch on the oval was unbearable.

We kayaked three afternoons a week. On Monday and Wednesday we trained for the interschool competitions held every few months, while the Fridays on Norman felt like a holiday from the repetition of sprints along the bank. The creek was always dank with mangroves, and rotting jetties that led to shacks with weathered Tibetan prayer flags strung from their porches. Cans of XXXX bobbed on the water like golden, mangled logs. When we got too close to the mangroves the tips of our paddles would stick in the silty sludge that reeked of sulphur. The creek was always silent but for the chug of the coach’s tinnie, the slurp of fibreglass being suctioned from black mud.

Felicity boarded at the College even though her parents lived in a townhouse on the other side of the river. The other boarders were from out west, or from the Torres Straight and Pacific Islands, and had home visits only for term holidays and sometimes long weekends. At the end of each week, instead of going to the boarding house Felicity would skulk up the ridged boat ramp, bare feet slick with river water, to the school gates where her mother would be waiting with a taxi.

One afternoon I followed her from the water. While the rest of the team capsized into the river in ritualistic unison, Felicity dumped her kayak on the green turf pontoon and headed to the boatshed. She never capsized, not even on purpose.

She stood by the paddle rack, fingering the fibreglass cuts along her legs: swollen welts with glistening slivers prickling the skin. I unbuckled my lifejacket and took a sip from the bubbler. The water was warm and tasted of chlorine. Felicity leant against the cement wall and wiped her wrist under her nose.

‘God, this is such rubbish,’ she said.

‘What is?’ I said.

‘This,’ she said, gesturing to nothing.

‘Did you capsize?’ I said, knowing she hadn’t.

‘No,’ Felicity said. ‘But I’m itchy.’

‘Here,’ I said, handing her a greasy bottle of baby oil from the first-aid kit. ‘You’ll get used to it.’

Felicity shrugged. She flicked open the cap with her teeth and poured oil into her hand. It pooled in her palm and leaked over her fingers.

‘Have you kayaked before?’ I said. ‘You’re pretty good.’

‘Christ no,’ she said, glazing oil onto the cuts. ‘I hate water.’

She threw the baby oil back into the first aid kit and wiped her hands on her ruggers. From the pontoon I could hear girls capsizing, shrieking like seabirds as they plunged themselves fully clothed into the river.

Though my older sister went to a public school my parents had transferred me to the all-girls Catholic College halfway through Year Eight. While most girls complained of the school’s severity I found it calming, as though I were a baby being swaddled. Jewellery and nail polish were against the dress code, and if a teacher suspected you were wearing makeup you were marched to sick bay to strip it off with witch hazel and a fistful of cotton balls.

Rather than rebelling against the rules, it evoked a sense of ferality amongst even the prettiest girls. At lunchtime they’d strip down to their underwear on the H block verandas to change into their sport uniforms. When it rained, they made no effort to take shelter, and came to class with mud-flecked calves and their bras fluorescent under soaked blouses. During dissections in Science, a particular clique even hacked the tails off their rats and kept them as talismans, the limp flesh creeping out of breast pockets like thin, white fingers.

On her first day of school Felicity was fawned over.

‘You’re like a little doll,’ the girls said, as they draped Felicity’s hair over their own straw-like ponytails and compared the pale underbelly of her forearms to their freckled sunburns. At lunchtime they bought her cartons of chocolate milk from the tuckshop, manically grabbing at her clothes and hands to get her attention. But it wasn’t long before Felicity’s shine dulled, and after a few days no one was interested in her strange inflections or the way her fingers were like polished twigs.

My parents felt sorry for Felicity. Whenever she came over after training my mother cooked fancy meals from recipe books and had us sit at the table to eat. My sister bombarded Felicity with questions about her father’s job in Japan. My father switched off the races.

One night after dinner I sat in the bathroom with Felicity as she drew on her eyebrows with a black eye pencil. Most mornings she shaved them off with a disposable razor. When she hadn’t shaved them for a few days she compulsively ran her fingertips over the stubble.

‘Your family are really nice,’ she said, sketching the pencil along her brow.

‘They’re alright,’ I said. ‘They get so excited when you’re here.’

‘Your sister’s so pretty,’ she said. ‘Why don’t you go to the same school?’

‘I went for a while. They were all morons.’

‘Did you have any friends?’

‘Course I did.’

‘It was just a question,’ Felicity said, raising her eyebrows to her reflection.

‘I had this one friend but she was totally mental,’ I said. ‘We were playing Mercy one day and one of her wrists snapped.’

‘What’s Mercy?’

‘Here,’ I said. I grabbed Felicity’s wrists and laced her fingers through mine. I gripped her knuckles between my fingers and twisted until a knuckle cracked. ‘Like that,’ I said, freeing her hands. ‘But harder.’

‘That’s awful,’ she said. ‘Why would you do that?’

‘It’s a game.’

‘Pretty weird game.’

‘It was kind of funny,’ I said, washing my hands in the sink. ‘Plus, her bones were like little sticks.’

‘Did you get into trouble?’

‘It wasn’t my fault,’ I said. ‘She was so skinny.’

I flicked my wet fingers into Felicity’s face and she elbowed me at the waist. She’d changed back into her uniform after kayaking, and wore the blueberry skirt unbuttoned and low on her hips like how the other girls at school wore theirs. A strand of hair fell from her elastic and into her eye. She tucked it behind her ear and peered at herself in the mirror.

‘Your teeth are so white,’ I said. ‘Like little pearls.’

Felicity began to take kayaking as seriously as the seniors training for States. She was always at the front of the pack unless I convinced her to lag behind with me, and she never skipped training, not even if she had a cold. After a while her shoulders and stomach thickened from lifting weights on the scraps of dusty carpet in the boatshed.

‘I’m so fat,’ she said one night at a sleepover, pinching the skin of her thighs.

‘Well, you’re pretty so it doesn’t matter anyway,’ I said.

‘My mum says I’m getting fat.’

‘Who cares?’

‘I’m sick of kayaking,’ she said, collapsing back on the bed.

‘You better not have any of these then.’ I tore open a packet of Tim Tams and bit into one. The chocolate coating was mottled white from being in the fridge. It had no taste and the crumbling biscuit felt like ants in my mouth. Later, when Felicity went to the bathroom, I realised I’d been clutching the half-eaten Tim Tam in my hand the whole time. It had melted into my palm, a fistful of mud.

Unlike Felicity, most of the girls at school were soft and large. They took up space, sprawling their fleshy arms along desktops, hooking their feet around desk legs, skirts draped between their thighs. One of the girls had only four fingers on her left hand. We’d been in Girl Guides together for a short time in primary school. Despite her deformity the other girls had always given her the gifts we made on craft nights, trying to court her affection: flaking soaps moulded into pastel flowers and ducks, and splintered Paddle Pop stick photo frames.

One morning before Soc. Ed I saw Felicity staring at the hand. The girl was at the set of desks beside us, sifting through her hair for split ends and nibbling them off with her teeth. The hand was a rubbery pink, contorted into a stiff curl. She used it as a weapon, wrapping it around her friend’s necks, or scraping the splitting fingernails down their cheeks. She called it her paw.

When she saw Felicity staring, she jabbed the paw out.

Felicity turned back to her text book, but after a minute was gazing back across the desk as though hypnotised.

‘Can I touch it?’ Felicity said. She leaned over to where the girl was balancing on the back legs of her chair. The hand rested limply on the desktop like it wasn’t a living thing. Felicity moved her own hand tentatively. When she brushed the girl’s scaly palm with her fingertips Felicity jerked her hand right back as though the paw had electrocuted her.

‘Does it hurt?’ Felicity said.

‘Nah,’ the girl said. ‘It’s always been like that.’ She drummed her fingernails
against the desk and turned her chair towards Felicity. ‘Your dad lives in Japan, right?’

‘Only sometimes,’ Felicity said.

‘That’s so cool.’

‘I guess.’

‘We’re having chips in the park after school,’ the girl said. ‘Come if you want.’

‘Can’t,’ Felicity said. ‘I have kayaking.’

‘Too bad,’ the girl said, reaching into her pencil case. She unwrapped a pack of grape Zappos and placed a lolly on Felicity’s text book.

‘You should wear a glove,’ I said to the girl.

She ignored me and went back to her ratty hair. Felicity chewed on the Zappo and smoothed out the grey wrapper until it was ironed flat. Later, I wrote Felicity a note folded into a tiny square and flicked it on her desk, but she didn’t look up from copying off the whiteboard. When she yawned her tongue was stained purple in the centre like a pinch bruise.

The following week the river was thick with jellyfish. Usually the water was a dull brown, but it was close to clear, as though the blue blubbers were small moons illuminating the river.

‘Are they poisonous?’ Felicity asked as she rested her paddle along the pontoon, steadying the kayak as she clambered into the cockpit.

‘Only if you fall in,’ I said.

The water was choppy from the shock of frothy waves from City Cats zigzagging back and forth across the river. As we paddled along the bank I tried to spear the jellyfish with my blade. Every time I got close to slicing one it darted deep into the water.

‘You’ll make them angry,’ Felicity said. Her balance was shaky, and she kept her eyes fixed in front of her, not looking down. She’d forgotten to put on a lifejacket. Her thin shirt clung to her back.

‘They don’t have nervous systems,’ I said. ‘They don’t feel anything. How could they get angry?’

When we got to the mouth the rest of the team were already paddling deep in the creek. Because it was the end of term, instead of being in the tinnie the coach had taken a kayak and was leading the group. The sky above us was grey and as shadowy as the damp trees. The mangroves surrounding us like burnt forests.

At the first bend I stopped paddling. Felicity was in front of me. I prodded her in the back with my blade.

‘Let’s go back,’ I said. ‘We can paddle across the river. Go to the park.’

Felicity sighed and looked up into the trees.

‘Come on,’ I said. ‘It won’t take long.’

‘We’ll get in trouble,’ she said.

‘No one will notice us,’ I said, paddling beside her. ‘Look how far ahead they are.’ The last of the girls had turned around the second bend and were disappearing further up the creek.

‘I just don’t see the point,’ Felicity said.

‘What?’ I said.

‘I don’t want to,’ she said. ‘I don’t want to go with you.’

Felicity rolled her paddle along the cockpit rim, her water bottle sloshing between her feet. Falling, blackened leaves made tiny ripples in the still water. The string bracelet I’d weaved her twisted around her ankle like a multicoloured snake.

‘Fine,’ I said, reaching for the bottle at her feet. ‘Fine.’ The white food particles from Felicity’s backwash looked like Sea-Monkeys contaminating the water. I took a sip and the stale water felt thick and warm. I stared at Felicity’s shirt and she looked down as well. Goosebumps burst from her arms like lavender hillocks.

‘That was pretty stupid of you,’ I said, tightening the buckles of my own lifejacket. I tossed the water bottle into the mangroves and started turning and paddling up the creek, back onto the river. The sky had turned pale green, the infested water an expanse of eerie blue as translucent monsters riled beneath the surface.