Tag: Issue 23

On David Malouf

Nam Le

Black Inc, 2019

ISBN 9781760640392

Reviewed by JEAN-FRANCOIS VERNAY
 
 
“Identity can be experienced in two ways. Either as a confident being-in the-world or as anxiety about our-place-in-the-world; as something we live for ourselves, or as something that demands for its confirmation the approval of others.”
             David Malouf (1)

Published by Black Inc in association with the University of Melbourne and the State Library of Victoria, Nam Le’s On David Malouf is the fifth volume in the Writers on Writers Series. This hybrid exercise in literary sensitivity, halfway between biography (that of a prominent Australian writer) and personal memoir, aims at eschewing the typical university-level critical practice engaged in close readings. Such analyses are mainly to be found in academic exegeses of which Malouf’s work has often been the focus, with no less than 8 theses and countless monographs. 

A former academic, David Malouf (born in 1934) has grown over the decades into a prolific writer tapping into various genres: poetry, novels, short stories, essays, drama and libretti. At the core of his œuvre lies the idea that Australia needs to be re-imagined, constructed verbally in the form of literary and cultural representations. Throughout his literary career, Malouf has unflaggingly served this myth-making process in the imaginative space of his fiction. By combining mind and body, the individual and nature, past and present, place and identity, his books substantially treat polymorphic exile inherent in the Australian postcolonial condition. Beyond the multiple Australian accolades, Malouf has reaped an impressive harvest of international literary prizes such as the Commonwealth Writers’ Prize, the Australia-Asia Literary Award, the Impac Dublin Literary Award, the Prix Femina Étranger, the Neustadt International Prize for Literature, and he was even shortlisted for the 1994 Man Booker Prize.

This potted introduction is all the more necessary as On David Malouf is a slim monograph not so much about David Malouf as it is about Nam Le: his background and lineage, his childhood and schooling, his literary tastes and aspirations, his writing gigs, but also his vision of identity and immigration politics. The book-length hommage is divided into four sections whose titles are poetically playing with alliterations: Prime, Pigeon, Patria, and Peril. The first section establishes the elective affinities between Malouf and Le; the second part discusses sovereignty and territory in relation to communities; while the penultimate and last chapters cover Australian identity, history and politics. In these sections, Nam Le turns into a social commentator whose insightful observations might  occasionally stir the pot, as this one: “The White Australia policy may have been abolished in the ’70s but all non-whites know it’s as deeply situated in our DNA as our Western inheritance.” (90) 

No matter how erudite, Le’s roundabout way of paying tribute to Malouf is executed in a rather formal prose with a taste for sophisticated words and Latin phrases. The following excerpt aptly encapsulates the essence of Le’s literary hallmark and somewhat convoluted arguments: “Auden, to whom we both owe early and enduring faith, writes in Horae Canonicae that we should ‘bless what there is for being’. This is as close as I come to creed. This is what I see in Malouf’s eidetic writing. We share, I think, a sense of wonder towards a world that is both sui generis and palimpsestic, sacred with beauty and mystery — against which epiphany serves not as literary reaction but as dialectic of being alive. The world makes us. We can, in our small way, through our writing, perform the mimic miracle. Make a new world.” (20) Not to put too fine a point on it, it is unlikely that most readers, who are not university undergraduates enrolled in literary studies, will understand what eidetic, palimpsestic, epiphany and dialectic mean. 

Nam Le starts by sharing his first engagement with David Malouf’s work, which dates back to Year 12, when Remembering Babylon (1993) was placed on the VCE list. The first part of a colonial period diptych which was eventually matched by Conversations at Curlow Creek, Remembering Babylon is stylistically described as “a sentence-level novel” (7) and David Malouf as a poetic wordsmith “attuned to the molecular level of syllable and sound” (7). While Nam Le opens a productive dialogue with the intimacy of Malouf’s mind style, he rarely touches on the philosophical and psychological implications of Malouf’s variegated narratives, most of which lie beyond the remit of this book-length essay. Out of the thirty-nine books listed at the end of On David Malouf, Nam Le only draws on five novels (Johnno, An Imaginary Life, Harland’s Half Acre, The Great World, Remembering Babylon), one short story collection (The Complete Stories) and two non-fiction books (12 Edmondstone Street, A Spirit of Play: the Making of Australian Consciousness). Le eventually lists the commonalities between his background and Malouf’s to reveal the hidden connections which underly their writing lives: poetry, euphony, literary erudition, philosophical influences, to name a few. 

The last section is perhaps the one which pays the greater tribute to the Brisbane-born “multivalent writer” (68). Given the diversity and prolificness of Malouf’s fine writings, Le’s bird’s-eye view of such complexity becomes a perilous exercise in conciseness. The latter can only be expressed through thematic binaries which converge in a coincidencia oppositorum of sorts: “There is, in Malouf, a tendency towards wholeness. He creates tension through binaries (self/other, mind/body, past/present, human/non-human, human/world, European/Australian, Australian/Aboriginal, civilised/primitive, adult/child, experience/innocence, inside/outside, white/black, fate/free will, etc.) and then yearns, and seeks, naturally and inexorably, to syllogise them — often through lyrical transcendence — into reconciled wholes. At bottom, this is his entire method. At its best, it results in writing that is surpassingly beautiful, moving and profound.” (80) 

The reader’s pertinacity (I’m deliberately using this word as a discreet hommage to Le’s style) will be rewarded as the Melbourne-based memoirist provides useful insights into Australian history and culture in his polished and intellectually mature essay.

Notes
David Malouf, A Spirit of Play: The Making of Australian Consciousness (Sydney: ABC Books, 1988), 99.

Jean-François VERNAY’s The Seduction of Fiction (New York: Palgrave) and A Brief Take on the Australian Novel (Adelaide: Wakefield Press) were both released in 2016. His latest book, La séduction de la fiction (Paris: Hermann, 2019), the sequel to his Palgrave monograph, deals with all the cognitive mechanisms underlying literary passion.

Sergius Seeks Bacchus

by Norman Erikson Pasaribu

translated by Tiffany Tsao

Giramondo

ISBN:9781925818109

Reviewed by DMETRI KAKMI

Born to a Muslim father and a Protestant mother, Norman Erikson Pasaribu was raised in Jakarta, Indonesia, but his roots lie in the ethnic Christian Batak community of Sumatra. Though he writes in Indonesian, Pasaribu’s poetry collection Sergius Seeks Bacchus (translated by Tiffany Tsao) is a vehicle for queer voices outside western Anglophone experience, offering a glimpse into a world that is all too real for non-conforming individuals in much of the contemporary world.

As of this writing, in more than seventy countries it is a crime to be gay. In ten it incurs the death penalty, and in no country in the world are LGBTQI people treated equally under the law. Exposure, humiliation, forced medical intervention to affect a ‘cure’, and curtailment of basic freedoms are everyday realities. ISIS tossed gays from minarets, and in Chechnya men and women suspected of homosexual practices are incarcerated in concentration camps. In parts of Indonesia, homosexuality is illegal under Sharia Law and punishable by flogging. 

This in effect is the shadow under which Pasaribu writes—the kind of world western urban gays might believe was left behind in the 1970s, with the rise of gay liberation. And although the poet writes about Indonesia, his references are recognisable and relatable because they are drawn largely from a western pop culture ethos that pulls in television, magazines, social media, as well as the Judea-Christian tradition. Even Dante Alighieri gets a look-in with poems such as “Inferno”. “Purgatorio”, “Paradiso”, and “La Vita Nuova”, representing the symbolic journey of ascent and renewal that is at the heart of the book.

From the outset, however, Pasaribu evokes the spirits of Sergius and Bacchus, two early Christian martyrs who, like Saint Sebastian, have been absorbed into the global male queer sensibility. Mixing defiance and submission, all three are part victim, part rebel, true believers who suffer for their convictions; and, therefore, transcend oppression and persecution. As seen in the eponymous poem, death is not final but a doorway to redemption.

Snake-like, you shed your short-lived skin
and commence/continue your quest. Now the light from on high

passes through you. You’re luminous. Meanwhile, out west
in decrepit Rome sits Galerius, oblivious his end is nigh.

You seek your beloved — he appeared to you in your cell,
his body glowing silver as he whispered, Endure,

for I will always watch over you. With him you will rise
up to heaven and wonder at how familiar

it all feels. Hand in hand, you two will stroll the streets,
introducing one another to everyone you meet.

(p.5)

Far from saying homosexuals are better of dead, Pasaribu disavows doctrinaire notions of martyrdom in favour of an earthly paradise in which same-sex couples walk hand-in-hand without fear. His lines are metaphor for a lapsed Christian who follows in the footsteps of gay club anthems like ‘Go West’ by the Village People (later covered by The Pet Shop Boys) and ‘In the Evening’ by Sheryl Lee Ralph.

An admission. As an atheist who has lived most of his life in Australia, I had trouble getting my head around the notion that gay people continue to hide in the 21st century, especially to appease religious dictates. It seemed retrograde, like reading a book about homosexuality from the 1950s. But such is Pasaribu’s sleight of hand that he quickly popped my insular bubble to remind me what life would be like if I still lived in Turkey, where I was born. Indeed, most of my Turkish gay friends seek shelter in the closet or sham marriage.

The most revealing poem in this regard is ‘On a Pair of Young Men in the Underground Car Park at fX Sudirman Mall’. Here two young men sit in a Toyota Rush ‘parked in the corner of level P3,/stealing a little time and space for themselves,’ and poignantly ‘exchanging kisses wide-eyed — keeping watch as one/for security guards or janitors’ that might interrupt their stolen moments. 

Two things stand out in this cornerstone poem. First, the poem recalls the tone set by C. P Cavafy, the Greek godfather of all queer clandestine confessionals. Second, the secretive location, (simultaneously public and private), brings to mind early Christians worshipping in catacombs beneath Rome streets, awaiting their turn to rise and take over. 

Literally and metaphorically driven underground by unorthodox desires, Pasaribu’s primary stance is seeking; his is a restless questing as his cast of characters search for a shared history that is textually present but remains elusively out of reach. And because the queer body politic walks a fine line between visibility and invisibility, acceptance and rejection, it could be said that this collections is about absence in presence, and presence in absence. 

Despite advances in some parts of the world, the homosexual is still contested territory. Both present and absent in society, the homosexual is made painfully visible and inextricably invisible through obsessive, circular, discourse that seeks to simultaneously comprehend and to exclude. This contradiction is central to Pasaribu’s poems. Caught in the crossfire are men and women who continue to assert the validity of their lives against a tyrannical ideology.

The other emblem Pasaribu draws on is the tree—not surprising, given the book’s original title was Like Trees. But Pasaribu had a last minute change of heart, perhaps to align the book with evolving queer narratives; and, more important, to signal that in each of the fifty-nine poems the emphasis is on pairing, bringing people together, whether in love, quest, or Socratic dialogue.

As an animist, I lean more towards trees than to Christian iconography. That is just as well since the tree is a universal archetype that can be found in different traditions around the world. They are symbols of physical and spiritual nourishment, transformation, liberation, and union. Moreover, Jungian psychology sees the tree as a symbol of individuation, bringing together the feminine and masculine principles.

In light of this, it is interesting to follow Pasaribu as he weaves a path between doctrinaire religion and tree-worshipping paganism. This is best seen in “He and the Tree” where an individual stands at the border of civilisation and the natural world, seeking forgiveness from the tree that shelters his car from the sun in the company parking lot. As the tree listens, it remembers his friend who was ‘ripped from the earth for being too close to the foundation’, thus losing a chance to tell his friend ‘how much he loved him’.

If he were here, he would take him to a church. At the altar
they would be joined together before god, who had three branches
— like a tree — and their children would fill the lot, every
single square inch, so that someday everyone who passed
would think a forest had sprung up in the city’s heart.
The man hugged the tree and tree hugged the man.
(p.4)

This poignant, wryly observed poem would have been an ideal way to end the collection. It brings together the book’s main symbolic and ideological positions in an act of compassion and empathy that yields fruit; and that in a way is what Pasaribu hopes to achieve in this slender but weighty tome that both affirms and transcends the classification of queer poetry.
 
 

DMETRI KAKMI is a writer and editor based in Melbourne. For 15 years he worked as a senior editor at Penguin Books. His fictionalised memoir Mother Land was shortlisted for the New South Wales Premier’s Literary Awards in Australia; and is published in England and Turkey. He is the editor of the acclaimed children’s anthology When We Were Young. His new book The Door and other Uncanny Tales will be published in 2020.

Lucida Intervalla

by John Kinsella

ISBN:  9781760800079

UWAP

Reviewed by GABRIELA BOURKE
 
 

Can art make things happen? John Kinsella says ‘yes’. ‘Poetry functions more directly in cultures at different times, but it is part of most things we do. Consciousness of poetic language informs reading the newspaper as much as it does listening to songs on the radio.’ (Watts 2013) Kinsella’s most recent novel, Lucida Intervalla, is set in a frantic and failing world almost indistinguishable from our own, except that the things we fear happening – coastlines that are no longer coastlines, fire hail raining from the sky – are already happening. Lucida Intervalla might be read as a deliberative novel, one intended to provoke discussion and inform change, or it might be read as a novel resigned; to climate change and climate denial, to fallen cities and interminably displaced refugees, to an end ‘…without style. So bland. So fated.’ (233)

The world may be plummeting ever closer to self-destruction, but Lucida grants it little attention. As a child, she creates self-portraits in vomit and menstrual blood, the latter for which she is expelled. References to rising temperatures are rife and the planet seems on the precipice of collapse, if not already there. If this novel is a bildungsroman describing Lucida’s trajectory from troublesome child to super-celebrity; it is also one reflecting the gradual and uncomfortable movement of humanity toward accepting what is has done: to the earth, to the animals, and to ourselves, ‘…drowning and choking on its own goo and efflatus’ (219). This is unsurprising from Kinsella, a self-proclaimed anarchist pacifist vegan (link to Kinsella’s blog provided below) who coined the terms ‘pleasurism’ and ‘leisurism’ to describe acts of environmental degradation for, you guessed it, the purposes of pleasure and leisure. Uneasy and destructive relationships between humans, other species and the natural environment appear often in this novel. Wildlife is synonymous with road kill and forests only exist in conjunction to bulldozers. Young Lucida keeps mice as pets, one of which aggressively procreates and then eats its own offspring (32). Although mice are identified as herbivores and it is true that they can exist as such, they are opportunistic eaters who feed on what is available, much like humans. The incorrigible Pinkie, then, with the blood of his own and others’ infants on his snout, is the harbinger of society in this novel as in life.

This is the battle that rages between the old and new world in Lucida Intervalla, foregrounded by measured references to Aristophanes’ The Clouds. Lucida’s big break comes in the form of a trip to interview an aging and reclusive artist who has rejected the brave new world and retired to Centralia – a state which thus far does not exist, but is borne from the tentative idea raised by former Territory and federal MPs to merge parts of South Australia and the Northern Territory into one state. This move is touted as being a significant opportunity to reinvigorate this part of the country by taking advantage of its relative proximity to Asia, but Centralia as represented by Kinsella is as weary and shrivelled as the artist who has taken up residence there.

‘He is an artist and he should be in his prime…but his brushes dried with the wet and he’s not even done a sketch. It’s gone, whatever he had and whatever he hoped for. In the open, he is confined. In the open, and the blue sky, he is isolated. The birds are thoughts flitting by, or pecking at their stems. The heat haze shimmering within a few metres is the mirage he’ll never reach, never have.’ (50)

Centralia is hot, dusty, uninhabitable but for the regular delivery of water and other resources. The earth will not provide, not for aged celebrities nor ‘stray cows with calves, nibbling at the thin sheen of dead grass soon to be skin and bones…’ (54) yet it is from this dead earth that Lucida mines her fortune, capitalising on the fame that comes with proximity to celebrity. ‘Industrialism, consumerism, greed and general rapacity seem universal wrongs to me,’ says Kinsella (Watts 2013).

Lucida is an anti-heroine in that she actively profits from these things. At one point, envious of an author’s success, Lucida along with her team of managers and creators put together a book branded with her name which is published ‘…in a first print run of three million copies which took out a large chunk of forest’ (173) while the e-version ‘ate the energy from a dozen power stations around the world’ (173). Trapped and unable to cope with a conversation concerning indigenous land rights, she interrogates the speaker about the ways in which rodents are poisoned on his farm (183). This refusal to participate in imperative discussion concerning the future or lack thereof of postcolonial society repeats often throughout the novel, as each reference to climate change is followed by the increasingly desperate responses of deniers, each person willing to make positive changes stymied by the raising of a separate topic that successfully halts progress of any kind. This distraction away from imperative discussion of indigenous land rights toward an altogether unrelated – and comparatively unimportant – topic is an apt example. These kinds of unproductive conversations where significant issues are countered by irrelevant rejoinders abound in the media. Perhaps Kinsella, a vegan of many years, has participated in fruitless discussions with those claiming that the growing movement toward rejecting animal agriculture is pointless when rats continue to be poisoned in the process of wheat production.

Passivity is a violent act in Lucida Intervalla. Pro-Green artwork is funded with mining magnate dollars, activism is inefficient and often tainted with that which it seeks to reject and overall, things seem fairly hopeless. The characters are frogs sweating in water fast coming to the boil, unable or unwilling to leap out. And yet, perhaps Kinsella’s forlorn imaginings are deliberative. Perhaps the call-to-action is to jump from of the pot as quickly as possible, in any way possible. Lucida is an antonym to John Kinsella. He notes ‘[Lucida] …doesn’t like me much, and would disagree with most of what I have to say. She determines her own paths, many of which I find frightening.’ (Acknowledgements) Lucida is not a likeable character, but she is painfully familiar to anyone who has chosen to circumvent the difficult conversation and engage in behaviours we probably shouldn’t. She’s familiar to us all.

Humans should leave well enough alone, according to Kinsella. ‘People don’t have to occupy every square metre of the planet. Some places should just be left to do their ‘own’ thing.’ (Watts 2013) Reading is to be enjoyed, and books don’t need a takeaway to be satisfying, but if Lucida Intervalla is to continue to be speculative fiction rather than contemporary fiction, we need to do better.

Notes

Ryan, Tracy, and John Kinsella. 2019. “Mutually Said: Poets Vegan Anarchist Pacifist”. Poetsvegananarchistpacifist.Blogspot.Com. http://poetsvegananarchistpacifist.blogspot.com/.

Watts, Madeleine. 2013. “Interview With John Kinsella”. Griffith Review. https://griffithreview.com/articles/interview-with-john-kinsella/.

GABRIELA BOURKE is a PhD candidate in Creative Writing at USYD

Calenture

by Lindsay Tuggle

ISBN: 9780648056812

Cordite Publishing

Reviewed by HELEN GILDFIND

The striking title of Lindsay Tuggle’s poetry collection is immediately defined in her preface:

Calenture, n:

A fever incident to sailors within the tropics, characterised by delirium in which the patient fancies the sea to be green fields, and desires to leap into it. (ix)

This title, Tuggle’s preface, the book’s dedication to her dead sister, Kate Middleton’s introduction, and the notes that complete the text, provide an intriguing and welcome frame through which readers can ‘leap into’ Tuggle’s darkly beautiful worded-world. 

Tuggle’s preface notes that: ‘Every elegy needs an author. And then, an autopsy’ (ix). The themes and impulses shaping her book are thus clear, and she describes her collection as an:

ossuary to a constellation of deaths, some sudden, all strange. It is also a catalogue of medical and mercurial oddities, curiosities that call forth the exquisite corpse hard at work beneath our living flesh. The echolalic duet between what is lost and what is left behind. The phantom limb. The wandering womb. The book bound in skin. The face that ghosts itself. The fever dream that ends in drowning. (ix)

Tuggle clearly loves language that is ‘diagnostic, archaic, hysteric, mesmeric’ (ix). She writes knowing that the ‘management of thresholds / is perilous business’ (49), and her collection thus maps the obscure imaginative landscape that joins the living to the dead, the personal to the universal, and the abstract to the concrete.

Tuggle’s collection is divided into two suites. The first shares the title of the book, and is introduced by three eerie quotes, including ‘We need a dead woman to begin’ (Hélène Cixous), and ‘One need not be a chamber to be haunted’ (Emily Dickenson). In this suite, we meet a woman who cannot live ‘within her limbs’: she feels ‘on fire’ and ‘cut to pieces’ (34). We meet another woman (the same woman?) who ‘wakes to remember / her garnet cluster of early deaths’ (9). We glimpse ‘wrists / graced in the master’s hand’ (8), ‘mouthfuls of gravel’ (41), ‘bruised’ and ‘bandaged’ tongues (3, 5), and ‘feral anorexics’ (5)—including ‘the concave half of a sister’ (5). 

This reference to ‘a’ sister shows how it is never quite clear who the subject and object of these poems are. This ambiguity is elaborated by the poems themselves: ‘Some days her face obliterates my own’ (15), and ‘we wear / each other’s faces’ (4), and ‘I trespass her name as my own’ (25). Of course the reader assumes, as they’ve been directed to, that such phrases refer to an actual ‘sister,’ and Tuggle’s ambivalence towards this relational identity is expressed when she refers to the ‘ambiguous wound’ (19) of her loss, to the ‘old grievances’ (‘shame’ and ‘blame’) that riddle such relationships (20, 21), and to the archetypal sibling emotion of jealousy—expressed when she looks upon a female corpse and wonders: ‘do I covet her still / diluted by sleep.’ (5) The narrator chillingly concludes: ‘I love the dead more than you / always will’ (6). Tuggle’s ambivalence towards the ‘biological gift’ (21) of a sister can also be read from the poems’ most common structural constraint of couplets—two lines, coerced into a relationship, across time and space. 

More ambiguity is built into this first suite by reference to other deaths, including that of a man who lay ‘lay unfound’ for days (27), and the ‘integral burial’ of a flooded town where the ‘measure of loss’ lies in the ‘submergence of trees’ (31): 

in the vanishing tendency
of the object

where descent
is watery and burns. 

[…]

The wet are pretty. (33)

This deadly flooding is mirrored in a later poem, when a woman ‘walks in blindfolds’ into ‘bitumen tributaries,’ where ‘drowning ends in a glassy sprawl’ and roadside altars whisper ‘fire soars’ (41). As above, such vivid and violent references to suicide, death, drowning, burning, basalt and glass are often juxtaposed against the ostensibly trivial notion of ‘prettiness.’ Is drowning ‘a pretty way to die’ (19)? The ‘pretty suicide guide,’ would say so: ‘beauties never harm their faces’ (27). Of course, there’s nothing benign about the value of feminine beauty. This is made clear when the narrator looks upon a female corpse and thinks: ‘she’s prettier now / in coffined silhouette’ (5). Isn’t this the ideal woman? Pretty—and inert, silent, and surrendered to others’ devouring gaze? The narrator defies this value system: the female which dazzles (3) her gaze is a ‘raving’ (39), ‘ungroomed and carnivorous’ (3) ‘slattern’ (41).

The second suite of poems responds to the work of anatomist and naturalist Joseph Leidy (1832-1891), and the poet and naturalist Arsène Houssaye. Both men shared a bibliophilic ‘fetish’ for ‘anthropodermic’ books—that is, books bound in human skin. These books were normally created by surgeons, with Houssaye’s own book of essays bound in skin sourced from the ‘unclaimed’ body of a French, female mental patient (63,64). 

The woman (women?) alluded to in this second suite call out to the women-sisters of the first—relating the latter’s more personal specificity to the more universal history of ‘the diasporic womb’ (56). In the first suite, the very ambiguity of the poems’ subject-object allows them to enlarge on their own anyway, especially in the poems referring to medicine and asylums, like in ‘Asylum, Pageantry’ (‘it is best not to dream for long / here medicine disallows her florid stutter,’ 3), and ‘The Heretics’ Asylum’:

The physician knows nothing
of angels with proper names.
Reverence is permitted only
toward unseen patients,
an innate distrust of that
which can be embodied
in a creed. (24)

In the second suite, we enter a world where a woman is literally disembodied—torn from her skin: 

A splayed book attracts all the gazes.
You are the title closeted gazelle.

Just another posthumous seduction 

[…]

To best display her character

no other decoration is placed. This
book deserves its own human cover. (53)

Sickened, furious—and utterly entranced—the reader asks: what does the woman deserve? This ‘brutal homage’ (54)? Here, the woman becomes another version of the inert ‘pretty’ female corpse in the first suite—one which others can literally ‘open’ and inscribe their own ‘creed’ into. This ‘echolalic duet’ between the first and second suites thus evokes the notion of an everywoman—an anywoman—who literally fights-to-the-death against patriarchy’s reduction of her to ‘flesh / toying architecturally with bone’ (56).

What Flannery O’Connor says of prose, surely applies to poetry also:

‘The meaning of fiction is not abstract meaning but experienced meaning… A story that is any good can’t be reduced, it can only be expanded. A story is good when you continue to see more and more in it, and when it continues to escape you. In fiction two and two is always more than four.’

In Calenture, two sisters are absolutely more than the sum of their parts, and the sophistication of Tuggle’s tightly crafted, cryptic and compelling ossuary—her home for the bones of the dead—becomes evident with each reading. Like the best poetry, this book is first and foremost an experience—one which no analysis can do justice to. 

Note

Flannery O’Connor, Mystery and Manners: Occasional Prose, Farrar, Straus and Giroux, New York, 1970 (c. 1957), pp.96-102

H.C. GILDFIND (hcgildfind.com) is the author of The Worry Front, published by Margaret River Press.

The short story of you and I

by Richard James Allen

UWAPublishing

ISBN 9781760800215

Reviewed by Kyra Bandte

At first, The short story of you and I by Richard James Allen seems to exist in the liminal space between awake and asleep; the space where your psyche turns the familiar sound and scene around you into something altogether unfamiliar; the space where love and death coexist in the same ghostly breath.

The epigraph to The short story of you and I includes a black and white photograph of the poet, Richard James Allen, along with the imploring words: “My poems are sleeping in these pages, waiting for you to rouse them.” This connection between writer and reader continues throughout the book with Allen’s use of second person “you”. Whoever the poet truly speaks to, the persistent use of second person draws the reader close in a faceless kind of intimacy.

The book’s dedication whispers “for you”, and the first poem of the collection, ‘Delicate Awakening’, shows the poet’s persona vulnerable in sleep like a lover in a bed, needing to be woken “delicately / like raising an ancient shipwreck” (10).

The short story of you and I is, ultimately, a story of love and life (and death) from the moment the book is opened; from the moment the reader rouses the poems, gently awakening the sleeping poet in the opening stanza.

We slip through time and dreams in ‘Schlafwagen und Wunderkammer’, in “the long tail of a tall tale” (12) where “you were fairly certain it would be a normal sleep… but on the contrary” (13). We awaken into poems rich with seemingly everyday moments that Richard James Allen expertly transforms to spin a yarn so familiar it aches. One poem, ‘Espresso’, is a single exquisite line that holds a well of subtext within it: “There is no such thing as an innocent cup of coffee” (38).

But these everyday occurrences converge with the unreality of dreaming in ‘A Party in Small Moments’, which seamlessly slips between the macro and micro of our lives, asking “How can we have survived so many generations… and yet still come back to the tinkle of a spoon in a china bowl?” (17). Allen repeats the words “every moment” and the motif of tea cups and tinkling spoons, bringing the reader home with these everyday domesticities before asking “did you follow your dreams / or did you just fall asleep?” (20).

Using prosaic sentence structure and constantly addressing the “you” in the reader, Allen turns his poems into the little fictions of our lives. “I think maybe you thought your life was going to be a wall-size narrative painting… but somehow it turned out to be a quietly reflective line drawing” (23), Allen writes in ‘how life turned out, or Details of the Now’, making the reader feel quite insignificant for “this miniature of your life” (24).

A beautiful example of the way Allen uses colloquial prose in his poetry is in ‘Central Dreaming’, where the poet’s persona tells the story of how Sydney’s Central Station used to be a cemetary, now filled with ghosts “peering out from their unresolved darknesses / at the relentlessly colourful parade / of generation after generation” (33-34). This poem feels like a conversation, a casual story told from one commuter to another on one of Central’s suffocatingly humid underground platforms.

The poem not only demonstrates Allen’s articulate use of everyday scenes but brings two of the book’s main themes to light: life and death dance together in ‘Central Dreaming’, where the ghosts of the past drift alongside the “newer and newer Australians / right up to the drag queen in the hijab / standing nervously next to you” (34). The reader even becomes a ghost themself in ‘How we met’, where “The taxi stopped to let out its ghosts. / You were among them” (71).

The haunting middle between life and death is most obvious in one of the book’s final poems, ‘The Captain of the Men of Death’; a phrase referring to the sicknesses of consumption and pneumonia. The poem encapsulates the collection’s key themes of life and death while showcasing Allen’s technical poetic skill using language, structure and white space.

Filled with metaphysical, rhetorical questions (“What stands between you / and your dreams? [p93], “What can one patch of blue teach an overcast sky?” [96], “Who knows anything about souls anyway?” [97]), the poem is one of the most introspective in the collection. The shroud of everyday moments and conversational prose falls away in this long poem of constant questions, repetition and the grim motifs of body parts, sickness, trees and dreams.

Allen implores “you” to find un/consciousness: “You must understand now. You must understand now. / You must imagine now. You must sleep now. You must remember now, old friend.” (101) Then revives the reader with the state of familiarity that the rest of The short story of you and I presents, telling us to brush our teeth, shower, dress, step outside and “become just another metaphor for incompleteness” (102-103).

The collection shows the variety in Allen’s writing style, with the contast between seemingly simple poems (like ‘Espresso’ or ‘How we met’) and the more complex or sprawling poems like ‘The Captain of the Men of Death’. But more than that, The short story of you and I by Richard James Allen is an exploration of binaries and the ghosts between them; life and death, love and hate, you and I. It all starts with awakening the poet, and slipping into his dream.
 
 
KYRA THOMSEN lives and works on Dharawal Country. Her fiction and poetry have been published most recently in Cordite, AntipodeanSF, and Seizure, and she has reviewed books for Mascara, RABBIT Poetry Journal, the NSW Writer’s Centre and Writer’s Edit. Kyra was selected for the ‘Slinkies Under 30s’ program by Spineless Wonders in 2016, and co-won the Questions Writing Prize in 2012.

The Red Pearl and Other Stories

By Beth Yahp

Vagabond Press, 2017

ISBN 978-1-922181-51-0

Reviewed by PAUL GIFFARD-FORET

Australian, Malaysian-born writer Beth Yahp’s short story collection The Red Pearl and Other Stories (2017) navigates between different locations and time periods. It is resolutely transnational and transhistorical in nature. At times, the collection veers towards the metaphysical and abstract. Yahp also experiments with different forms, styles, modes and genres of writing. The title story draws its suggestive force from what a specialist in Asian Australian fiction, Tseen Khoo, had defined as “Oriental grunge” in her analysis of Lillian Ng’s novel Swallowing Clouds. As often in Asian Australian women’s writing, the “sexotic” is deployed as a strategic (al)lure. The cultural politics of the collection’s cover page is relevant in this matter. A young Orientalised woman appears dressed in a crimson cheongsam, looking passive, her lips closed, with the top of her face cropped out from the cover frame. In so doing the Orient comes to be marketed and packaged as a desired object of fantasy deprived of the basic attributes of subjecthood, such as the power to think and reflect, as well as to see and develop a critical worldview, or speak of its own volition. “The Red Pearl” is a love tale between a sailor and a dancer met at the Shanghai Bar. Located in an unnamed Asian port city (most likely Singapore), the story bears “the promise of anonymity, abandonment, delirium, dream,” (Yahp 43) as well as poetic grace. Counter to what might be expected from the book cover, the lover clearly has an agency and power of her own, as proven by the fact that “when she agrees to dance, the sailor lies mesmerised.” (44)

Male-female relationships are also addressed in Yahp’s introductory story in the collection, entitled “The Other Room,” about a woman apparently gone mad. From her side of their adjoining wall, she observes through a peephole a man fashioning doll-like female faces made of clay or glass that he hangs on the wall. This “other room” adjacent to hers is in many ways a product of her imagination and a metaphor for the mind. The female narrator’s mind is utterly alienated and colonised by her obsession with faces and inability to move beyond her “imago.” The term in psychoanalysis stands for “an unconscious idealised mental image of someone, especially a parent, which influences a person’s behaviour.” (Oxford Dictionary of English) I am here reminded of Lyn Jacobs’s literary essay, “About Face: Asian-Australians at Home,” concerned with fiction that may indeed remain about face unless women authors of colour have a creative room of their own, to paraphrase Virginia Woolf. The mysterious, unnamed craftsman situated in the other room “shapes faces in the dark. In the sweltering dark he traces the outline of my face, the roughness of my skin, and his hand is sometimes cold, sometimes burning.” (9) On display in this brief extract is the surgical care for symmetry and balance used by Yahp to craft her sentences. Yahp’s streamlined style matches in turn the man’s plan to rectify the narrator’s psyche: “You are in my image although you are other than I. You are not perfect. You are a scar. You watch and listen but you cannot speak. You watch through a crack in the wall like a thief. You are a slur, yet you are nearest to me. I will make you perfect.” (11)

The theme of gender oppression runs throughout the collection, as befits current debates in the West and beyond over sexual violence and predatory behaviour in the wake of the #metoo movement. It is made particularly poignant in “Point of no Return,” a story that tackles the Malaysian youth’s relation to sexuality in the face of a highly conservative society. As Nicholas Jose notes in the collection’s afterword, Yahp keeps returning to her native country, “realis[ing] how deeply and passionately she is invested in Malaysia as sometime citizen and activist,” (217) although Yahp left her homeland as a student for Australia decades ago. This Nietzschean eternal return of the diasporic back to its roots is a gesture I have observed before in this literary journal amongst more mature Asian Australian writers. Such writers do not so much aim at reconnecting with their origins as they intend to shed new light on the neighbouring Asian region for Australian readers, beyond Orientalist clichés. For Yahp, this preoccupation with Malaysia is nothing new but has indeed remained a constant in her work, from her award-winning novel The Crocodile Fury (1992) — a foundational literary text in Asian Australian fiction — to the publication of her family memoir Eat First, Talk Later (2015), which to a large extent discusses contemporary Malaysian politics and the resurgence of grassroots contestation from the late 1990s onwards. Yahp’s valuable contribution to demystifying Asia in the eyes of Australian readers challenges the widespread view that Malaysia is a successfully democratic, multiracial society similar to other multicultural nations such as Australia.

“Point of no Return” is a phrase that refers to a woman’s loss of virginity. Malaysia turns out to be a religiously intolerant, deeply divided country that polices its citizens and in particular its youth over private sexual matters and mores, in the same way that other hardline Islamic nations such as Iran do elsewhere. Yahp forcefully demonstrates the extent to which in Malaysia, the dominant, state-controlled media have played a decisive role in moulding the youth’s mindset and desires. Interwoven into the main narrative are newspaper clippings that the two protagonists, Bel and Deen, start collecting in a desperate bid to seam back those cut out pieces metaphorically standing for mutilated female body parts. As the postcolonial feminist scholar Gayatri Spivak warns, “couture carries the echo of the coupure or cut — the cut from the place or origin.” (172) These clippings (coupures in French) tragically project onto the young couple an image of their shared future with no outlet in sight but death, rape, murder, or the necessity for the youth to abstain from sex as a means of self-protection. These clippings constitute a most brutal rite of initiation into adulthood, a lesson that perhaps only the anecdotes or self-help sections of newspapers or popular magazines could teach them concerning violence (to gloss Frantz Fanon’s classic anticolonial essay) and the policing of youth deemed “deviant” or “sexually offensive;” the arrest of female teens at nightclubs for wearing “provocative” clothing; how there persists a strong incentive for Malay girls to remain virgin before marrying; how murdering a woman is deemed a lesser crime if she is not a virgin, based on a forensic examination of her vagina; the State’s repression of queer minorities; cases involving young girls or students or even women who, being unwed, decide to get rid of their babies; or the lingering taboo of divorce; plastic surgery and racial bleaching. In this regard, the irony consisting in forbidding plastic surgery and Botox injection under Islamic law, on the one hand, while tacitly condoning the disfigurement and dismembering of women by sexual predators, on the other, is not lost on Yahp:

She read: Two Syariah Law lecturers [stated] that the use of Botulinum Toxic A (Botox) to enhance beauty is haram (prohibited)…[since] Botox injections [were] not part of general regulation governing beauty process and procedure as allowed by Islam… [They] based their finding on the fact that the use of Botox would alter one’s look permanently and this could be considered as an act of deceit.

He read: Bone fragments of a Mongolian model who was shot twice and her body blown to bits with explosives were found on a hill near the Empangan Tasik Subang…Sources said [she] was shot in the head…before explosives were taped to her body and detonated. (103)

Yahp’s collection contains multiple instances of violent rupture changing the course of history and interrupting the main thread of the narrative, as in “Time and Again,” or constituting its chief fabric, as in “In 1969.” In “Time and Again”, the female protagonist, who happens to be a writer sojourning in Paris, like Yahp, bears witness to the Charlie Hebdo massacre, in which terrorists opened fire on the headquarters of a satirical newspaper, killing dozens in the name of jihad. This  resulted in the implementation of a more or less permanent state of emergency vindicating the curbing of press freedom and freedom of speech, the widespread use of preventive detention and house arrest of all types of dissidents — a situation, proportion wise of course, that Yahp would have been familiar with, having lived under Malaysia’s authoritarian regime. 1969 is an allusion to the Malaysian race riots, a historical event officially described as a case of Sino-Malay sectarian violence that led to hundreds of casualties, but which effectively marked the start of bumiputra rule (or ethnic Malay supremacy) in areas of employment, education, or the administration, and the ensuing relegation of other minorities — Chinese, Indians, Eurasians — to a second-class status. In both of these instances of violence, those who have had to suffer consequences have not been the perpetrators but the victims instead; the French population as a whole, on the one hand, and the ethnic Chinese in Malaysia, on the other, who represent the overwhelming bulk of those lynched to death in the riots, so that it would be more appropriate to call these a pogrom. It is in the midst of such a terminal atmosphere that the protagonist’s fellow writer in “Time and Again” reminds the reader of the enduring power of literature: “It’s there, and will never leave. No one can take it away, even if the ink dries in its pen, the pages rot, the buildings crumble, the stony ground turns to dust.” (187)

Yahp’s collection conveys other elements of violence still that are in some sense far more insidious than being the target of anti-Asian racism in a suburban train, as happens to Lisa, a freshly arrived migrant and university student in Sydney: “In one carriage someone has drawn large anti-Asian signs, like anti-smoking signs, an Asiatic face cancelled out.” (160) The story where this incident is narrated, “So we walked down Abercrombie Street,” takes on a nostalgic tonality for Yahp, by featuring a group of tertiary students in creative arts who share a flat in the largely immigrant outer Sydney suburbs, using it as a kind of bohemian haunt. In their film-making project, Janie and Lisa freely embrace a Kantian view of art — purposeless, disinterested, immanent — yielding to the pleasure principle of communion and communication: “Form is content. The telling of a story is the story. The film is about boredom and escape, they write. If form is content should the film be boring, escapist? And they draw a vase the shape of a heart and they fill it with flowers. They talk about everything except the film.” (154) Violence, then, consists in the abandonment of youthful innocence, of the ability to dream and of the will to resist to growing disillusionment born out of the pressure to conform and access relative material security.

In “The Beautiful Hour,” migration is initially experienced as an epiphany by its central character, Prabhu, who left Malaysia for Australia in 1958, after Australia somewhat eased out its immigration policy regarding non-white applicants. Yet Prabhu actually epitomises the “reluctant migrant,” an allusion to Mohsin Hamid’s novel The Reluctant Fundamentalist, since Prabhu is not grateful towards his adopted country, as might have been expected from him. He prefers to cultivate Meursault’s position of the Stranger in Albert Camus’s eponymous novel, who refused to cry on command at his mother’s funerals, as decency and convention would have required. Both Changez, the protagonist in Hamid’s novel, who left Pakistan for New York in the midst of 9/11, and Meursault, a pied noir, a person of French origin living in colonial Algeria under French rule, retain a critical, detached outlook towards the respective societies in which they have remained outsiders. Prabhu’s vehement views of Australian society, as being struck by “cultural poverty,” excess “freedom” and the lure of opulence and stability, must be placed in the context of the White Australia Policy and Australia’s ignorance of its indigenous past and Asian neighbours. Instead of the Lucky Country, Prabhu dubs Australia the “Great Southern Lassitudes.” Prabhu refuses to let himself put to sleep by the slow, quiet drone of the status quo as questions keep buzzing back to him in the manner of a fly, a flea or gnat. Here, to “resist” (145) means withstanding the false appeal of pacified domestication and middle class bliss from Sydney’s ethno-proletarian urban sprawls, where Prabhu now lives. It also means recalling the violence upon which White Australia as a settler colony was founded.

The last story title in the collection, “Dogs in Love,” can be understood as a metaphorical description of the academic workforce, or what Yahp calls the “lowest common denominator.” Yahp draws a parallel with the impassioned yet pauperised figure of the Clerk in Geoffrey Chaucer’s classic medieval epic poem The Canterbury Tales, from which she quotes this pentameter: “And gladly would he learn, and gladly teach.” (202) Lecturers and researchers are often passionate about what they do, yet their job has become increasingly absurd and dehumanising in the face of the onslaught of a market-driven nature on universities across Australia and around the world. Many Asian Australian writers, perhaps compelled by the precariousness of their position on the literary market, must complement their revenues with an additional occupation. Some, like Yahp, have joined academia as creative writing lecturers. In this regard, “Dogs in Love” demonstrates how lecturing has been downsized to an accounting, managerial logic. As the narrator’s ill-named HR explains to her:

‘That’s what the numbers say,’ she tells me. She taps on her keyboard, gives me a bonus of twenty percent here, five percent there in a different column, but my overall numbers are still too low.

‘You’ve got to make the percentages up in teaching,’ she sighs, adding three tutorials to my workload, over three courses I haven’t taught before. It’s a week before the new semester begins. She says: ‘Yours is a teaching contract anyway.’ If I reduce my hours, she tells me, I’ll lose my bonuses, and I’ll have to teach the old full workload, at half pay. (208-9)

There is violence in numbers, just as there is violence in certain words that are hammered in by those performance review jargonauts of the newly corporatised higher education system. Overall, Yahp may be considered an itinerant writer, not so much because she happens to be an experienced traveller who has lived across several continents, but rather because she has moved in and out of the academic profession, as well as in and out of the business of writing, publishing and marking other people’s work. Significantly, Yahp’s collection was published by a small, independent publishing house, Vagabond Press, which specialises in Asia-Pacific literatures and has headquarters in both Sydney and Tokyo. More than two decades stand apart between the publication of The Crocodile Fury and Yahp’s family memoir Eat First, Talk Later, aside from essays and short stories, some of which appear in The Red Pearl. A mode of living and being in the world encapsulated by Charles Baudelaire’s nineteenth figure of the Parisian metropolitan flâneur (Yahp 182), itinerancy seems especially suited to the short story format and to this collection in particular — stories directly drawn from Yahp’s rich, multifaceted imagination and life as a creative writing practitioner, traveller, and committed activist.

Works Cited

Jacobs, Lyn. “About Face: Asian-Australians at Home.” Australian Literary Studies 20(3), 2002.
Khoo, Tseen. “Selling Sexotica: Oriental Grunge and Suburbia in Lillian Ng’s Swallowing Clouds.” Journal of Australian Studies 24(65), 2000.
Spivak, Gayatri C. An Aesthetic Education in the Era of Globalization. Harvard University Press, 2012.

PAUL GIFFARD-FORET obtained his PhD in Anglophone postcolonial literatures from Monash University in Australia. He works as a sessional lecturer in English at La Sorbonne University, Paris. He is involved in political activism and a member of the New Anticapitalist Party (NPA).

Coach Fitz

by Tom Lee

Giramondo

ISBN : 9781925336900

Reviewed by JAKE GOETZ

Ever since the Little Athletics of my youth, I’ve always felt Australia to be a sporting nation. One that if viewed from an alien planet, could be mistaken as preparing for war through daily gym appointments, jogs and football. From my earthly confinement though, it is perhaps easier to consider this nation’s love of sport, or fitness more generally, as a type of religion: one in which people seek a ‘higher’ (endorphin-fuelled) meaning in life, or at least, a communal sense of belonging bought on by the routine devotion to a particular activity. Reading through Tom Lee’s debut book, Coach Fitz, it was hard for me not to reflect back on such feelings, and to then also look forward, following Lee’s ability to craft a narrative around a national fixation not often found in the pages of Australian literature.

Coach Fitz is narrated from the first-person perspective of the main character, Tom, who like the author himself, grew up near Orange in regional New South Wales. From the outset we come to understand Tom through his youth – as a boy plagued by self-consciousness and struggling to come to terms with his masculinity:

I began with a small body. Late to mature, I measured myself against my thicker, hairier peers. I sought advice from the magazines that displayed the bodies I desired. I needed muscle, a good layer of it, to make up for my lack of pubic hair (1).

Living in Sydney’s inner-city, Tom is now in what we gather to be his late 20s, and finds himself in a similar ‘emotional rift’ (3). Spurred on by thoughts of his once supportive, and recently deceased, grandfather, and the inner-crises provoked by the time he spent abroad with his ex-girlfriend, Alex, he again seeks to ‘use exercise to bring focus’ to his life (3). Employing the efforts of Coach Fitz – a middle-aged woman ‘rumoured’ to have once been an exceptional long-distance runner, as well as a student of psychoanalysis in the UK – Tom becomes immersed in her ‘training philosophy: a dynamic relationship between exercise of controlled intensity and a steadily growing curiosity about places, buildings, aesthetic and history’ (10). Fields which no doubt draw from author Tom Lee’s own interest in ‘landscape, technology and the senses’, and his experience as a lecturer in the School of Design at the University of Technology, Sydney (Author bio, back-cover).

If exercise can be considered a type of religion, then the book’s key activity, jogging, is the main form of prayer, or perhaps more apt, meditation: as Coach Fitz equips Tom with his very own mantra or ‘breath friend’: ‘hick-a-chee’ (25). The first half of the book centres around the pair indulging in the act of jogging and provides the narrative (to use the words of Tom) with a ‘direct, unmediated, sensory immersion’ in the micro-environments of Sydney’s parklands, beaches and streets (44). A narratological approach that harks back to Modernist texts such as Virginia Woolf’s Mrs Dalloway and James Joyce’s Ulysses. On their first jog through Centennial Park, for example, we are taken through a ‘gauntlet of Moreton Bay figs, their roots a web of tripwires in the sandy soil’, before climbing a hill from where Tom sees a ‘pavilion through the trees sitting like a UFO from ancient Rome in the fields’ – drawing attention to the alien-like nature of colonial architecture in the context of the Australian environment (8). On a later jog the pair find themselves on Botany Road, running ‘past the remnants of brick factories converted into apartments, self-storage facilities and car dealerships’ – what coach Fitz is quick to quip as aspects of a ‘postmodern city’ – with ‘the ‘heritage-listed brick shells of industry giving birth to minimalist apartment blocks distinguishing themselves in a contradiction of gaudy minor flourishes …’ (77).

Through the pairs observations and conversations, Lee’s narrative finds itself balanced by richly-cinematic and critical evocations of the places the two pass through; the pursuit of ‘lasting delight, psychological expansion and nourishment of the spirit’ through jogging (13); and the ‘failings’ in Tom’s personal life, which Coach Fitz seeks to remediate and turn into strengths. One of the finest expressions of such psychological mentoring occurs during their run along the soft sands of Curl Curl Beach, when Coach Fitz remarks to Tom that ‘Adolescence is just perceived as this problematic, disagreeable thing that arrives and then stops … What I reckon happens is that young men don’t recognise they need to transform in order to live well’ (38). She goes on to meditate on how a flawed cultural understanding of masculinity has led to ‘raising generations of man-children who suckle on entertainment as a mild source of amusement’ (39). Feeding on such insights, Tom feels a renewed sense of empowerment, and goes on to reflect how such advice could have aided his past relationship with Alex, which saw him flee London in a state of ‘emotional turmoil’ (46).

Within such place-based dirges, surprising historical snippets also often emerge. During their jog through Sir Joseph Banks park, for example, Coach Fitz details that the area once housed a zoo, as well as a track renowned for foot races in the 1880s: the ‘golden age of sprint racing’ (28). This observation then leads into the story of Indigenous runner, Charlie Samuels, who ran ‘134 yards in 12.3 seconds in this very spot in 1888, barefoot, complete with the nicotine and alcohol addiction that was one of the many gifts bestowed on his people after white settlement’ (28). In light of such historical engagements, and for a text that is so attuned to the nuances of place, I could have only hoped for more aspects of Sydney’s Indigenous history to be elucidated – allowing for a more multi-faceted understanding of the places the two absorb themselves in. However, this aspect is not the key topic in the book, and perhaps Tom’s narcissistic desire to improve his own mental and physical health could act as an appropriate reflection of contemporary Australia’s inability to look past their own wants and needs in an un-reconciled country.

Plodding through Sydney’s varied ambiances, I couldn’t help but think of Coach Fitz as a type-of Antipodean feminising of French Marxist theorist, Guy Debord, who instead of walking a city’s streets, has been forced to run to keep up with the frantic nature of contemporary life. This psychogeographic, or physical and mental engagement with the world, coupled with Fitz’s belief in using ‘history, memory and imagination’ (30) to inform her jogging practice, enables Tom and Fitz like Debord, to criticise the shortcomings of capitalisms use of space, transcend the ‘métro, boulot, métro, dodo (subway, work, subway, sleep)’ of everyday life and nut out what it is to be a ‘man’ beyond the expectations propagated by mainstream culture (Waxman 2010, p. 87). Such a claim is illustrated in the book’s second section, where Tom feels that their jogging elongates time ‘and refreshes a sense of the city’ (22). Even earlier in the book, following their first meeting, Tom is so enthused by Coach Fitz’s practice and the idea of becoming ‘faster on foot, sensitive to the environment and mentally resilient’ that he takes on extra work and moves from his Balmain house into his beloved Honda Odyssey in order to save the money to pay Coach Fitz (11). This drastic transition into a car-sleeping and fitness-obsessed bohemian is rolled out in just over one page of the book, and was perhaps a part of the narrative that I felt could have been better realised.

Through Coach Fitz’s attempts to remedy Tom’s ‘failings’, Tom too eventually uncovers cracks in the mental and physical make-up of Fitz, such as her smartphone use during practice, which goes against her spatially immersive training exercises, and the ‘grog-lover’ scent she often carries on their jogs (59-60). Following a bout of beer-drinking and novelty games at Coach Fitz’s house in Annandale one afternoon, a drunk and naked Fitz embraces Tom in her bathroom. Tired of the ‘discrepancies’ in Coach Fitz’s ‘theory and practice’ (106), and feeling confident enough in his own devices, Tom flees the scene and his relationship with Fitz: seeking to refine his own spatially-engaged and psychologically-charged fitness training methods. This leads into the second half of the narrative, which centres on Tom mentoring his ex-girlfriend’s brother, Morgan: providing him with the opportunity to put his own methods into practice. It isn’t long though, before he again feels plagued by a self-consciousness reminiscent of his youth – recalling Fitz’s advice, that men fail to understand they need ‘to transform in order to live well’ (38). The situation is only made more troubling by his perverse attempts to infiltrate Morgan’s family in a somewhat demented longing for Alex, and to, in his own words: ‘observe their phenotypical relatedness and share in the general effervescence of their group behaviour’ (192).

In addition to the complex and often humorous relationships on display in Coach Fitz, I feel the book’s greatest merit lies in the steady jogging rhythm of Lee’s prose, the ode-like evocations of Sydney’s parklands, beaches and streets, and a philosophy of remaining open, aware and engaged with one’s environment. I like to think of it as a wake-up call to all those locked in a passive discourse with the world, and a critical engagement with what it is to try and truly see, hear, taste and feel a place. As (the character) Tom ruminates after a swim at Bondi: ‘I spent the afternoon swimming and uttering expressions of deep thanks to the climate and geography’ (140). Anyone interested in exercise and its psychological imperatives; the complexities of masculinity and male adolescence; or Sydney’s geography, history, ecology or architecture, will find a point of immersion, and a rewarding read, in Tom Lee’s debut book. 

References

Waxman, L 2010, ‘Writing A Few Steps in a Revolution of Everyday Life’, PhD Thesis, New York University, viewed 15 April 2017, via ProQuest database.

JAKE GOETZ lives in Sydney’s Inner West. He holds a Bachelor of Arts (First Class Honours) in Creative Writing from Griffith University. His poetry has most recently appeared, or is forthcoming, in Overland, Plumwood Mountain, Tell Me Like You Mean It Vol. 2, Rabbit, Pink Cover Zine, past simple, Otoliths and Cordite. His first book, meditations with passing water, a long-poem written alongside the Maiwar (Brisbane River) was published by Rabbit in 2018. He edits Marrickville Pause.

Imminence

by Mariana Dimópulos
translated by Alice Whitmore

ISBN 9781925336962

Giramondo

Reviewed by SAMANTHA TRAYHURN
 
 

We’re alone together, for the first time. I have to touch him now. I try stroking a foot, then a shoulder. But no current lifts in me, nothing pulls at my chest the way they said it would… (p.1).

There is something strangely refreshing about a book that opens with a mother staring down at her newborn and feeling nothing. For a woman in her thirties who does not yet have children, it is the perfect antidote to scrolling through social media and seeing countless images of my friends’ perfect babies. While not immune to the appeal of maternal joy, I am circumspect about our dominant cultural representations of motherhood. It is rare when another story is presented. And that’s just what I found in Argentine author Mariana Dimópulos’ second novel translated into English, Imminence. Here is the moment that women are so often told will be the happiest experience of their lives, flipped and presented as a stark reconfiguration. However, this isn’t just a book about becoming a mother, it is also a book about becoming a woman, and what that might mean to a narrator who bounces between the orbits of authoritative men. Through the use of surreal and abstract elements, Dimópulos also hints at what it might mean to be a woman writer. She presents a fragmented novel, layered not only by overlapping narratives, but also multiple significances.

Imminence (or Pendiente in the original Spanish) is a clever title because it suggests to readers that something is going to happen whether we like it or not. Alice Whitmore’s translation is deft not only for bringing the novel into English, but doing so with close attention to its nuanced, embedded meanings. We are pulled through the novel’s broken mirror like shards as we try to assemble a clear picture of a story that takes place on a single evening, but by memory, is dispersed across place and time. It begins with a new mother returning home from the hospital with her son after an extended illness following childbirth. How this nameless narrator came to have a son, and why she is having trouble touching him, will be unravelled in a braided story that criss-crosses between her life with current partner Ivan, her previous relationship with the intellectual Pedro, and her trysts with a domineering cousin. Along the way we will examine patterns – numerical, relational, personal – and will be confronted by recurring images that hint at unsettling correlations.

The blowfly of that other night needs shooing. Last time we ended up with a dead cat, and nobody should die today (p. 14).

Suspense is built around a box containing a cat into which our narrator drove a knife on the final night of her relationship with Pedro. As she reflects from her Buenos Aires apartment, readers are left to wonder how the cat is going to relate to the child in a thoroughly page-turning experience.

At its core, Imminence explores what it means to be a woman nearing forty who does not yet have children. The fragments trace the narrator’s life during her twenties and thirties, a time when she is strongly influenced by friends Ludmilla and Mara; two women whom she admires for their rebellious qualities.

Mara and Ludmilla didn’t have parties. They didn’t go to weddings or family gatherings, and they had sworn never to sign a piece of paper with any man. When they spoke about the future they would carefully weed out anything rose coloured: they didn’t believe in love the way most young women do (p. 24).

After Ludmilla dies, another imminent event we must wait to find out the details of, Mara surrounds herself with other childless ‘beer-drinking women’ (p. 91). However, when later in life Mara decides that she does want children after all, our narrator must move through her own process of questioning what it could mean to become a nurturer.

Kindness: some women say it grows on its own, like a weed, once you have a child. But sometimes a man is enough. Or a brother. Or a sick friend (p. 56).  

Such a concept seems foreign to a woman who, in her relationships with men, is not nurturing, but heavily reliant on her own subordination.

The passivity of the central character is extremely interesting, because on the one hand she surrounds herself by strong-headed women, and in many ways considers herself to be one of them. On the other hand, she is seemingly incapable of saying no to the forceful cousin who incessantly pursues her, and always submits to the will of her partners. With Pedro:

I drank the several glasses he handed me. I did it for his sake, since I never drink… He insisted on walking, so we walked (p. 6).

Whereas with Ivan her acquiescence seems motivated by a belief that he has access to some superior source of knowledge:

He says something and then it happens. ‘The fever will go down’ he says, and the fever goes down. (p. 17)

Dimópulos paints a world that is certainly ruled by men – one in which even women who rebel are still not certain of their roles. This is clearest when Mara’s friends sit around ‘trying to understand, without centuries of literature and philosophy to orientate them, what it might mean not to be a man’ (p. 91). Therefore, when our narrator continually declares ‘I am not a woman’ (p. 5) perhaps what she is really saying is ‘I am not not a man.’ In refusing traditional feminine roles she is absorbed into masculinity; there is no liminal space for her to occupy.

The narrator’s post-natal depression is exacerbated by the fact that her child is a boy. She exhibits a large amount of distrust towards men, and often refers to repeated rejection. When Ivan leaves the room she sits

…spinning those threadbare, faithful stories that women like me cling to in the hope of forestalling the abandonment that always seems to lurk on the other side of waiting’ (p. 13).

It is unsurprising then that this woman is confronted by the fact that she must form an attachment to an infant man without knowing whether he will also hurt, deceive, or leave her. Through the narrator’s infatuation with mathematics, Imminence in many ways comments on patterns and cyclicity. We see how a woman finds comfort in numbers but can’t find a formula to solve the recurring problems of her relationships. Ultimately, it is the profoundly new experience of conceiving a child that is transformative in a way that nothing else has been.

I was a woman now…  (p. 112)

When I speak, I have to be someone new (p. 113).

The traits and perspectives of this new iteration of our narrator are revealed alongside the events that have shaped them – like flowers traced down to their roots – so that by the time the novel ends, we feel a deep connection to her.

At times it is difficult to tell whether the surreal atmosphere that shrouds Dimópulos text is an intentional nod to Borges, or her own commentary on the way that all female writing that ventures into the abstract will still be absorbed into a male canon. She could also be drawing on the strangely unsettling affects created by predecessors like Norah Lange and Silvina Okampo positioning her work alongside contemporaries like Mariana Enriquez with her darkly surreal feminism. Perhaps, in allowing for multiple readings, Dimópulos embarks on a different kind of feminist protest. Imminence is not only an enthralling novel; it is a complex project that highlights the congruent struggles that exist between giving birth to a child and birthing a novel. It suggests that one seemingly can’t escape what is prescribed, but if looking for a silver lining, or the inclination to reach out and touch the ‘lustre of a silver foot’ (p.2), it is possible to rework the formula to arrive at an entirely unexpected result.   

SAMANTHA TRAYHURN is a writer living on the Central Coast of NSW. Her work has appeared in Westerly, Overland, LiNQ Journal, eTropic, and others. She is currently a doctoral candidate at Western Sydney University. She is also the editor of Pink Cover Zine.

The Burning Elephant

by Christoher Raja

Giramondo

ISBN 978-1-922146-92-2

Book Launch Speech by NICHOLAS JOSE

Asia Pacific Writers & Translators Guangzhou
Kuei Yuan Café Gallery 24 November 2016

Who would have thought I would be launching Chris Raja’s beautiful book here in Guangzhou? Such is the river of life that flows into the ocean here at Canton, as Borges reminds us … There are many things to say about The Burning Elephant but, since we’re standing, I’ll keep it simple. The story is told from the perspective of an adolescent boy called Govinda whose world is his school and his family and his Kolkata neighbourhood—a world into which he doesn’t quite fit. This unease is focussed when an elephant is killed and then cremated in the schoolyard, providing an image that grows and mutates, disturbingly, through the book. ‘He was a strange boy, the way an elephant’s tail or Kali’s face is strange. He existed, and was perfectly made in every way … but he seemed not quite right for the world’ (8).

By the end of the book the burning elephant has become a ‘burning man’ (149). Sectarian violence has erupted into Govinda’s little world with political terror and the destructiveness of Kali. As he was warned: ‘Death and destruction rule. Bastard of a time.’ (21)

The family is taking ‘the Australian option’ – migrating, getting out. Amidst the extreme tragedy with which the novel ends Govinda boards a plane and makes the link between death and rebirth: ‘The flashing ruby-red lights on the wings of the aircraft reminded him of Kali’s tongue. The black tarmac looked like her arms and legs … Would home be a place he had never been to?’ (181)

This outline gives you an idea of The Burning Elephant. What starts as a memoir of boyhood becomes a story of larger disruption. Yet it remains personal at the same time. Things are seen from the inside. Raja’s writing is lucid and lyrical, replete with lists that find order in chaos and vice versa. His imagination animates the animal life of physicality and appetite in everyone and everything. Hierarchies of being are tumbled and churned. There’s a subtle distance too, even in the most intimate emotional turmoil. I am reminded of the young Marcel in Proust’s great novel of memory as he remembers his mother’s goodnight kiss, and of Alain Fournier’s recreation of adolescence in Le Grand Meaulnes, sometimes called the lost domain. One world is seen from another, across a divide. One lost, one complexly found. The distance is spanned by language, story, memory. It is the migrant’s fate. The adult condition. Where Govinda’s father was an orphan turned sahib, the son’s life has a reverse pattern, as he is severed forcibly and in different ways from his filial position.

All of this is handled lightly, experienced vividly, as The Burning Elephant unfolds. We recognise other resonances and versions. Violence, flight: we see it everywhere if we look. Truly it is ‘a dark age’ (21). But as Govinda’s father advises us at the end of the novel: ‘The trick is not to panic. That is Kali’s whisper.’ (182)

NICHOLAS JOSE has published seven novels, including Paper Nautilus (1987), The Red Thread (2000) and Original Face (2005), three collections of short stories, Black Sheep: Journey to Borroloola (a memoir), and essays, mostly on Australian and Asian culture. He was Cultural Counsellor at the Australian Embassy Beijing, 1987-90 and Visiting Chair of Australian Studies at Harvard University, 2009-10. He is Professor of English and Creative Writing at The University of Adelaide, where he is a member of the J M Coetzee Centre for Creative Practice.

Autobiochemistry

by Tricia Dearborn

UWAP, 2019

ISBN 978-1-76080-022-2

Reviewed by ROSE LUCAS

 
 
What are the elements – multiple, multivalent – which constitute and compose us as individuals, as bodies in time and place? What are the factors which make each of us precisely who we are, as well as who we might become? In her third book of poetry Autobiochemistry, Tricia Dearborn uses the analogy of the chemical elements which comprise physical matter as a framework for understanding a range of elements which contribute to a building of ‘self’: memory, childhood, the specificity of experience, sexual desire and love, the mesmerising world of ideas and of language itself. This is powerful poetry, engaging in its directness and emotional honesty and further establishing Dearborn’s position as an important voice in Australian poetry.

Riffing on an undergraduate experience in biochemistry, the poems in the first section are clustered under the signs of the periodic table; both separately and as a sequence, they gather and interpret various aspects of the speaker’s experience. In ‘Fe Iron,’ for instance, the poet recalls her first bleeding, recorded in her ‘pale blue Hollie Hobbie diary’ (p. 26); in ‘O Oxygen,’ she re-inhabits the gasping for breath as a childhood asthmatic, ‘hauling in triumphant/catch after catch of air’ (p. 15).  In ‘C Carbon,’ the poet recognises and celebrates the permeability between the individual body and the structures of the universe, between the brief passage of our personal lives and the wider currents of time:

When my body stops, its carbon
will be freed as carbon dioxide

by fire or decay
and a tree may breathe me.
(p. 13)

The poem ‘Na Sodium’ explicitly explores a fundamental tension between the search for a mythical element of stability and purity – a kind of prima materia ‘incorruptible’ as she describes in ‘Au Gold’ (p.35) – and a recognition of impurity or change as the only possible constant:

I wanted to be the pure metal
solely myself, self-sufficient,
swaddled in the safety

of needing no one
now I know we’re never pure
beginning as we do admixture

a dollop
of the genetically new,
from the outset, chemically intermingled

then we separate, but never completely
even when we feel entirely alone
our mirror neurons

prove us liars…/

I grew up in a house of liars
a houseful of people
pretending to be separate

but humans are never
found free in nature
(pp. 18-19)

Connecting and being separate, wanting engagement yet feeling at the margins of acceptance, celebrating individuality and pushing the world away – these ambivalence and defences mark the recollections and re-inhabitations of childhood encountered in these poems. However, in the section ‘Covalent Bonds,’ there is a definite movement toward connection and an acceptance of the risks and sustenance of loving in its different forms. ‘…how lucky/that I outlasted/my inability to feel loved,’ she writes in ‘At last’ (p. 44). It may be painful to reach the point of release, but eventually  ‘unexpectedly love/came flooding in/throwing the world open.’ Such connection is not sentimentalised in these poems. In ‘Phelgm: a love poem’ for instance, the labour of loving, ‘its energy and joy,’ survives even the contrariness and staleness of illness with its ‘fluorescent yellow-green phlegm’ (p. 40) and the disturbances of sleep. Similarly, ‘Ride’ explores the incipient violence of sexual encounter to identify the abrasion of surfaces which might exist even between two people who love each other: ‘my stubborn selfishness, your willingness/when pushed to ride roughshod’ (p. 39).

In the poems included in ‘Virginia Woolf’s memoirs,’ Dearborn shifts the focus from a more introspective style to consider how another person – someone else who is also a writer, who has documented and narrativized aspects of their experience and thinking – manages the complex elements of her ‘autobiochemistry.’ The Woolf whom Dearborn delineates, a little like the artist Lily Briscoe in To the Lighthouse, is both overshadowed by a-figure powerful father – ‘while he was in focus/you could not be’ (p. 50) – and struggles to be seen by a mother who would always serve husband and sons first:

Despite your singularity
her eyes, which were yours,
never saw you (p. 51)

And when Woolf undertakes her own explorations of self and memory, she too finds ‘liars in the house,’ a violence at the heart of the family romance:

…When you started tunnelling
in earnest, excavating

the caves behind yourself,
a small you was spotlit

on that ledge, your half-brother’s
hand under your clothes
(p.58)

The ‘Elephant Poems’ see Dearborn undertaking her own tunnellings of memory and psyche, enabled by the caring structures of therapy. As in ‘The invisible elephant,’ this involves the excruciating process of admitting to the dominating element which has always crowded the psychic space of her life, ‘us[ing] up the room,/ breath[ing] my air/ fou[ing] the floor’ (p. 62) – no longer avoiding or pretending, but actually naming the debilitating shape of pain: ‘the shape of/stifled cries in the dark/fear of footsteps/waking in puddles’ (p. 63). This psychic and linguistic process of addressing what has been unaddressable – ‘to discover, astonished,/that the world is not made of amber/then to haul myself bodily/from the viscid exudate/of my father’s lies’ (p. 69) – is to find the possibilities of making one’s own self, of moving into a life which might exist  ‘beyond amber’ and its frozen denials.

The poems included in ‘The change: some notes from the field’ are, by comparison with the emotional suffering and labour alluded to in the Elephant poems, celebratory. In these poems, which detail the inexorable rising of the hot flush, the loss of predictable patterns of ‘’bodily knowledge’ and being largely bodily and emotionally adrift where ‘conditions are choppy out on the water/storms blow up from nowhere’ (p. 93), there is nevertheless an acceptance of the literal integration of self and biology. In the playful concrete poem ‘Perimenopause, in which everything is a fan’ (p. 96) a life of love, creativity, family, connections, art and the physical body are brought together, seemingly no longer at war. Indeed, as ‘Perimenopause as uncertainty and invitation’ would suggest, this ‘change’ in the life of a woman is as much opportunity as loss, a space and time enabled by the biochemical in which to grasp a challenge for directness and courage and excitement:

a frankness
you never dared

a mission
should you choose to accept it

to take no shit
for the rest of your life

Not only is it refreshing to read about hormonal changes in a woman’s life as part of the vital stuff of poetry, but these final poems do also suggest something of a triumphant gathering together of the troubling elements of experience, of being one’s self in the world.

Autobiochemistry is about the relationship between parts and whole, between the elements which shape us and the selves who emerge from that process of influence; these poems traverse that tension and impel us to enquire into the extent of the agency which might be possible in the emergence of self. As Dearborn writes so movingly in the poem ‘Your life as a jigsaw,’ we can only work with what we’ve got –  analysing the pieces, trying to find what’s missing, trying to interpret and reincorporate fragments of colour and shape into an overall pattern that is meaningful, to take a path forward:

enough pieces matched
by painstaking experiment, by guesswork, by luck

until there is enough tree, or sky, or land or water
for you to see
which way is up
(p. 76)

ROSE LUCAS is a Melbourne poet and Senior Lecturer at Victoria University. Her first collection, Even in the Dark (WAP, 2013) won the Mary Gilmore Award; her second collection, Unexpected Clearing was also published by UWAP in 2016. She is currently completing her third collection, This Shuttered Eye.

AXIS Book I: ‘Areal’

by a.j. carruthers

Vagabond Press

ISBN: 978-1-922181-32-9

Reviewed by TERRI ANN QUAN SING

Ambitious beyond itself; larger than the sum of a single collection; AXIS is a ‘lifelong long poem’; it is the first book-length installment spanning axes one through thirty-one. Since the publication of AXIS Book I: ‘Areal’ an additional eighteen or so axes have been published in various journals in print and online; and Vagabond Press have just announced that AXIS Book II will be coming out later this year. So in anticipation of the impending release of Book II, let’s start at the beginning with AXIS Book I: ‘Areal’ by a.j. carruthers.

An ‘axis’ is a straight line around which a body⸺figurative or physical⸺rotates. Throughout most of the collection the page is split down the centre; to columns of text form ‘hemispheres’ (untitled, 14) in parallel to one another across the gap; the AXIS; and this interval is crossed and subverted in the course of the collection. The recurrence of a gap bifurcating the poems suggests a focus on relationality. Relation across the gap; possibilities of frisson, dissonance, subversion, rapprochement, and wreckage emerge. ‘I wanted / to sometimes tell two different stories at once, and / sometimes tell one story twice. Well-worn form: the / split page’ (untitled, 13). ‘Areal’ makes reference to space; an areal is a geographical field, or field of thought; the gap making visible the interstices between fields produces dynamism throughout the collection.

Sometimes subverting its own convention, twin pillars of text flow down the page, but cross over and interleave in a DNA formation (Axis 5. ‘Aria’); or, words tilt and tumble down the page a dry, falling leaf swaying from side to side (Axis 11. ‘Assemblage’ -below); crossing the AXIS, musical notation with latinate letters floating side to side movement gives a sing-song feel, a slow gravity pulling softly down on the page out of word-processor enforced alignment (Axis 4. ‘Act’); producing a sometimes nauseous aesthetic. This collection yawns open to the edges of the visual and sonic possibilities of language; words, sounds and symbols play out on the page; notation, typography, and found-arrangements of speech.

Indeed, ‘play’ might be a guiding principle for approaching AXIS as a body of work. In the Derridean sense of the possibilities for movement and difference within any given order. These poems serves as ‘An improvocation’ (untitled, 13); they are playing with given language and meaning. ‘These poems are systems’ (untitled, 12); improvisations provoking new questions and new entries into old ones. The collection begins with an untitled ‘entrance’; an ‘overture’ functioning as a sort of glossary; an ars poetica; an opening orientation to the work, the reader, the world. ‘These gaps gap registers. Vectors’ (untitled, 22).

In his constant play with, across, and between the axis, carruthers offers a discordant discourse to the idea of ‘hybridity.’ AXIS could be read as a ‘hybrid’ text; mixing musical notation, concrete, and sound poetry, the poetic, the political, the philosophical; but this idea of ‘hybrid’ or ‘mixing’ is itself problematic, since these divisions are artificial in the first place. The reader that I am has in common with carruthers a mixed Chinese and European heritage. Giving us both (from the perspective of certain historical ways of taxonomising ‘race’) an uneasy relation to genre. From this vantage, one rejoices in reading this work as, in part, a response to being bifurcated by hegemonic orders; a resistance to the irritation of having to answer to the axis⸺borders made to appear natural and inevitable. In this context of racialised-reading the words ‘blazon me’ from Axis 7. ‘Arise’ come to mind⸺

‘blazon me’, repeated, becomes an imperative verb; ‘blazon me’⸺something to be done to the speaker. To blazon; to make a catalogue of the subject; a description of appearances. Historically, (white) women have been the typical subject of the blazon, made popular by fourteenth century italian poet-scholar Petrarch. Turning the conceit inside out, carruthers’ evokes and inverts the courtly love poetic tradition of lovingly dissecting a sweetheart.  The love affair between reader and poet is at stake; to paraphrase: read/write me. Blazon me⸺as what? To be taxonofied, to be pinned like a butterfly under glass, to name is to ossify and carruthers’ work resists this capture. In Axis 13. ‘Antiphonal’ he again references this impulse to quantify, again in imperative grammar⸺‘reach for the dictionary. / Reach for the dictionary’. Blazon me; name me and record that naming for all time in the aspirational immortality of poetry. Then again, perhaps by naming our shared racial heritage here I am pinning us both under glass. Performing the wrong move of keeping score being fixed by the sense of dichotomy (Axis 7. ‘Arise’ -see above). ‘Q. Should I ask? Is my / question wrong? /      Is my question wrong?’ (Axis 13. ‘Antiphonal’). In Axis 8. ‘And’, small supporting words (articles, prepositions, conjunctions, auxiliary verbs) turn up in the gap; left to fend for themselves, expressing a refusal of fixity; playing on the limits of genre:  ‘receptive | to | infinities / suspicious | of | limits / language language / language’. Resisting the reification of binary thinking, carruthers often plays with portmanteau⸺‘madeupword in tinted aureolin sunglimmer sung’ (Axis 30. ‘Androgyne’).

In Axis 22. ‘Annals,’ the reader reading for the autobiographical ‘I’ is disrupted. carruthers gives form to de- or rearrangements of the world; a resistance to ossification in the constant play of sight and sound⸺ ‘I, i, an you’ is bolded in the axis space in the centre of the page, the speaker/s continue: ‘Suspicious / of hybridity / we choose / not convergence / but specificity // Something new / is happening, you sing // (All, the commons)’.

In fact, throughout the collection the ‘I’ is never alone⸺but instead we read/hear a ‘choralyric’ (Axis 15. ‘Abut’); a poetic-political ‘capacious form’ (89)⸺this collection speaks to an ethics of relationality so important in a world that is increasingly split along certain axes. This work is ‘A chorale. Choral poetry as an improvocation / of the epilyric ‘we’ […] written under the influence of choral & cosmic / harmonies. […] Speaking / in registers I hardly know’ (untitled, 15, 16). AXIS is polyvocal; with many different voices speaking in concert; sometimes to each other, sometimes over one another. The formal split down the centre of the page draws a constant attentiveness to relationality. carruthers writes⸺‘As instrumentalists / must learn to play with two hands, and intone up to / 4 to 5 voices simultaneously […] so / I have tried to learn as a poet how to play on several registers at once’ (untitled, 12).

Formal musical language and symbols are used throughout⸺‘A notational poetics. The origins of / this project, Axis, are obscure’ (untitled, 12). Obscured to myself as someone who is not so literate in musical notation; and there is also linguistic notation. In Axis 31. ‘Apostrophe’ the reader/performer is invited to read the adapted linguistic notation of Chinese linguist Yuen Ren Chow⸺not literally, but according to what the symbols on the page suggest to them.  (For an example of carruthers’ sound work please see carruthers’ recent work ‘Consonata’which includes letter-notation and an audio recording.)  So readers like myself needn’t fret when they approach a space of their own illiteracy⸺with references to, or lines in Latin, Cantonese, French, Italian, Greek, musical and linguistic notation.

The letter is a symbol and sound. It is caught in the eye and throat; in the play of light and vibration. Of course poetry is always linked to the living breathing body (of the reader, of the poet, & of others) carruthers makes this relation inescapably physical; stage directions, indicate that this is live, living, action, happening in multiple times and spaces not strictly confined to the page; imperative instructions meant to be embodied; that go beyond the page; recalling the work of Langston Hughes and Yoko Ono, among others. Stage directions in parenthesis; or ‘pianissimo’ ‘allegro’; indicates the volume and pace in space and time; ‘four trombones’ or ‘three voices counted as two’ ‘[laughter.’  ‘ (hum of / a bass clarinet /     following / the tin / tones of  / a honky-tonk)’ (Axis 12. ‘Addenda’). A call and response across the axis. ‘The law of the people is unwritten, choral intersector enters the universe’ (Axis 3. ‘Axiom’).

AXIS Book I : ‘Areal’ conjures and calls readers into ‘a literary commons’ (untitled, 15). Voice, score, notation, image, typography, sound, performance; AXIS sounds out the poethical in a polyvocal world; it is a virus that disrupts normative habits of reading; an expansive poetics reaching toward our collective future/s and the future/s of this lifelong, long poem.

TERRI ANN QUAN SING is a poet and writer living in Naarm. You can find her on twitter here.

The Book of Thistles

by Noëlle Janaczewska

Review by VIVIENNE GLANCE

ISBN: 978 174 258 8049

UWA Publishing

“Plants that stand for us
that stand for themselves
as we stand for ourselves.” P. 164

These lines appear around half-way through Noëlle Janaczewska’s The Book of Thistles. They are an apt summary of this ‘part accidental memoir, part environmental history and part exploration of the performative voice on the page’, as she describes it in the Introduction (p.9).

To fully appreciate this unique book, a close reading of the introduction places you into the mindset of the author. It is a work of ‘unaccompanied language, of ‘collage’, of ‘jump-cut across genres’. It is a contemplation of the author’s perspective on history and humanity’s interaction with the environment; and it explores this through the lens of Botany, in particular, the family of plants know as Asteraceae, the thistles.

The Book of Thistles is structured into five sections with rather mundane titles: Names, Law, War, Food and Outliers. But Janaczewska’s approach is to defamiliarize us with each of these and to stretch them beyond a mere application to the humble thistle, and take us into a deeper and less-defined understanding of place and history – both human and natural.

This book is not an easy read by any means; it is unsettling and has minimal narrative drive to pull the reader along. However, it is a fascinating and unusual treatment of what could be described as a philosophical exploration of the nature of ‘thistle’.

Names are important to not only botanists describing individual species, but to people and communities. To be named by your community defines your relationship with it and bestows you with connections and relevance to place. And place is an important aspect of the first section, Name, where Janaczewska talks of her English heritage and her move to Australia, where she has made her name as a playwright. Alongside and weaving into this are the names of various migrant thistles who have made this country their home. Because at its heart this book is about coming to terms with migration, and a reconciliation with both the effect of that, and with how one cannot fully detach from one’s native origin.  

The author’s fascination with thistles began when she came across the yellow melancholy thistle whilst browsing a field guide to wildflowers in Britain and the United Kingdom ‘recharged my interest in the plant realm and our human interactions with it’ (p. 27). This takes her on to a contemplation not only of botany, but of colour, on melancholy as an emotion, and on memory.

The book continues in this way, jumping across genres, hoarding interesting gems like a bowerbird, laying out her research on a wide table for the reader to glance over and pause on whatever catches her eye. It is underpinned with some scientific notes, but is by no means a work of science, being more a flirtation with the botanist’s view of plants. In fact, the front matter recommends the book is classified under ‘Culture’, ‘Home’, ‘Emigration and Immigration’.

Other sections, such as Law, reflect Janaczewska’s flirtation with legal studies; and the following one, War, highlights how we not only fight each other, but are in a continuous battle with Nature, in order to control and to dominate. Both are unapologetic and stark reminders of our colonial heritage. This is concisely summarised by a single sentence ‘Weeds challenge our sense of entitlement’ (p. 152). It is also ironic to note that most of the attempts to eradicate thistles by weeding or by herbicides were carried out on the very same plants introduced either intentional unintentionally by Europeans.

There are few references to native Australian plants, but she does she highlight the Afghan thistle (Solonum holopetalum) which despite its name, is originally from Western Australia, and although prickly, is not a true thistle of the Asteraceae family. Originally thought to have arrived with the Afghan cameleers whose particular skills with camels were essential in colonising and exploring the desert country, Janaczewska uses the story of this plant to reveal the bigotry, racism and exploitation of these particular migrants during the colonial push into Australia’s desert interior in the 1800s.

The Food section is the most tenuous with its links to the main theme of the book. Janaczewska explores so- called ‘wild foods’ – uncultivated foods that are found growing in the bush or as ‘weeds’ in gardens. Janaczewska describes four native Australian thistles that she says are ‘out-and-out thistles’ (p. 203): the sow thistle (Sonchus hydrophilus), the Austral cornflower (Rhaponticum australe), the dune or beach thistle (Actites megalocarpus), and what she calls the ‘ghost thistle’ (Hemistepta lyrata). She is also unable to confirm if their indigneous names refer to a particular species or to thistles more generally (p. 204). However, Janaczewska has found some accounts of how local Aboriginal people ate these native thistles, although they are seen from the persepctive of the coloniser unaware of the value of the plant. For example, she references how a South Australian settler, Edward Stephens, “recalled how an Aboriginal party asked permission to harvest a large plot of sow thistles on the land he occupied. Take the lot, he told them. And ‘ten minutes later the ground was bare of thistles, and the tribe passed on gratefully devouring the juicy weed.’” (p. 233)

The thistle most commonly eaten in Australia, the globe artichoke, is an introduced species and is widely cultivated. The second most commonly eaten thistle, the cardoon, did not attract the Australian palette despite its popularity in Europe and elsewhere. Nonetheless, our fascination with food and eating (a primal need if ever there was one!) makes this section a fascinating read. This is enhanced by the way Janaczewska engages us with her poetic and playful use of language, blended in with newspaper reports and personal reflections. It creates a kaleidoscope of musings on our relationship with some of the more unusual plants we eat as food.

The final section, Outliers, seems to be a repository for all those other interesting and eccentric plants that could not be included elsewhere. It is here that Janaczewska is her most free with language and presentation, verging from anthropomorphism, poetry, lists, notes, scant impressions and inner monologues. This is the style of the journal, the ephemera of ideas that come together to show us more about the writer than the subject.

As a playwright, Janaczewska works in an artform that deals with immediacy: the words spoken on stage must convey meaning as they are heard. They can inform us about the characters on stage, or about the plot, or at times the philosophical obsessions of the playwright. Her approach to this book has a performative resonance throughout, particularly in her use of imagery and juxtaposing perspectives, and at times I felt the language demanded to be spoke aloud. Indeed, some parts are written in the format of a play text or film script.

It is not an easy read, but it is a refreshing and innovative exploration of thistles in all their variety. Janaczewska does not hold the reader’s hand and lead her along a carefully constructed path as if this were a documentary account. But like the wildflowers that have so fascinated her for most of her life, she allows the seeds of her contemplations to float on the breeze and lodge themselves into the fertile soil of our imaginations so we can cultivate our own impressions of this prickly topic.

VIVIENNE GLANCE is the Drama Studio London and has a PhD in Creative Writing from the University of Western Australia (UWA). Her interests are the intersection of science and culture, particularly aspects of science in performance; and diversity and multiculturalism in the Arts. Vivienne is currently an Honorary Research Fellow at UWA.

Rain Birds

By Harriet McKnight

ISBN 9781863959827

Black Inc

Reviewed by MATTHEW da SILVA

Harriet McKnight’s brilliant, moving novel reminded me of a book I had read a long time before, in 2006. That was Kate Legge’s The Unexpected Elements of Love, a novel that explores some of the same themes that McKnight incorporates into her 2017 novel: namely, dementia and climate change. Another that McKnight works into her book is the theme of domestic violence, and she also touches on racism especially (but not exclusively) as it relates to Aboriginal and Torres Strait Islander populations.

The narrative in this novel is exclusively and alternatively focalised through two characters. One is Pina Marinelli, a woman in late middle age whose husband Alan aged 60, has developed dementia. Alan is not from an Italian background and so has a different surname, although it is not disclosed. The other woman used to focalise the narrative is Arianna Brandt, a biologist with a Canberra university who is in charge of a program to release mating pairs of glossy black cockatoos into the countryside in East Gippsland where the action takes place. Boney Point is a small community that becomes acrimoniously divided when Sol Petroleum, the petroleum company that is funding Arianna’s work, starts exploration and well development nearby.

The narrative relies for some of the time on a stream-of-consciousness produced by either one or other of these women, although there is plenty of dialogue, for example passages that show the interactions that take place between Arianna and her colleague Tim, or between Pina and Alan. All of this enables the writer to develop the plot, which is deceptively slow to emerge at first. Forward movement has moderate strength but it is persistent. There is consequently plenty of scope for lateral movement, which gives the author opportunities to obey her instincts and examine byways and small branches stemming off the novel’s mainstream as she develops the major themes she has chosen.

The thoroughness of the preparation makes the denouement, when it arrives, especially powerful. The stories of both Arianna and of Pina are tied up cleverly within a few pages of an event that lends considerable drama to the book’s final section. So even though you are asked to be patient at first, the quality of the conclusion is far better than it might otherwise have been, simply due to the preparation the author has made sure to undertake.

The main vehicle for the theme of domestic violence is Arianna, whose personality is a little rebarbative, making it hard for her to socialise with other people and making it even difficult for her to maintain normal working relationships. The reader can understand what is going on, but people around her can feel excluded. Arianna is also slightly too dogged in the pursuit of her goals. It is as if, having been denied a normal childhood, she is unable to regulate her own desires or even, at times, think rationally. Like someone who is deeply committed to a narrow ideology, she can sometimes seem to be unyielding in the face of reverses, the kinds of barriers that people normally come across in the course of their regular lives and that can force them to reassess their goals. In one situation described in the novel, Arianna just ploughs on regardless, and struggles with circumstances that, for someone who had not suffered as she had as a child, would otherwise be unremarkable.

Arianna and Tim have released their birds in the forest and have prepared nesting boxes for them to use, but the creatures unaccountably abscond and the two scientists go looking for them using a radiofrequency tracking rig that picks up signals from devices that had earlier been strapped to some of the birds’ bodies.

Pina is meanwhile confronting the problem of single-handedly looking after her husband in their little cottage out in the bush at the very end of a lonely road. Every day, it seems, there are new challenges confronting Pina as she goes about the job of looking after Alan. She has to get him out of bed in the morning, put him on the toilet, bathe him and dress him, give him food and make sure he eats it, then make sure he doesn’t escape from the garden. She also has to do the shopping and most of the housework although she does have help sometimes from Tracey, a local woman who is also a volunteer with the Country Fire Authority. Pina keeps down a job at a local nursery run by an Aboriginal woman named Lil who is looking after a young man named Harley. Harley comes to mow Pina’s lawn from time to time and he also gets involved in a demonstration that is set up to protest the drilling out in the bush away from town.

McKnight often uses seemingly random sentences, that are set in italics, to help move the drama along. These instances serve to orient the narrative around recurring themes, such as Arianna’s childhood and her experience of a father who hit his wife. They can also serve to redirect the path the story is taking, and to bring to the forefront the interior life of the character in question, like a chorus can do in a song, by giving you access to elements of the character that are not currently being exposed by the immediate circumstances of the narrative. These short sentences become leitmotivs that help to develop character and thus to progress the plot.

One instance can serve to illustrate how this works in practice. When Arianna first encounters Alan, who is labile (he experiences steep mood swings) and who tends to vocalise negative emotions in a way that can be surprising for onlookers who don’t understand their biological causes, she experiences a flashback to her childhood that triggers physical symptoms. The narrative is suddenly broken by one of these italicised sentences that functions as an echo of something heard earlier in her life. The way that this kind of interaction is handled demonstrates the strength of the artistry involved in this work.

What strikes the reader about Arianna is how she tends to see the world through a distorting lens that has been moulded according to the dictates of her early life experiences, and the experiences she has had in the subsequent years, years she has been busy forging a career while at the same time dealing with the aftereffects of trauma. As the author shows, however, nature is a powerful force and so however much you might wish for a certain outcome you have to work with the limitations placed on you by the people, animals, and places that surround you.

Arianna is an interesting character that performs several key functions in the narrative. Beyond this kind of imaginative creativity, there is also a gentle wisdom is threaded through this wonderful book. Just as you might wish to chide Arianna, you are tempted at certain moments to want to scold Pina for clumsy attempts to control her husband’s personality. Nature is a hard taskmaster and people are well-advised to obey its dictates as far as they can be rationally accommodated, because the alternatives can be terrifying.

I was brought to tears at the end, where the narrative arc terminates proceedings with decisive force. It is not too strong an endorsement to say that the book embodies a deep humanity. The author’s recent passing at a tragically young age is to be double regretted inasmuch as it deprives the broader community of potentially great books. It is also notable that this book, like so many good recent works of fiction by talented female Australian authors, is set in a small country town. Who said we ignore that part of the world?

MATTHEW da SILVA is a journalist and writer who lives in Sydney.

Journey to Horseshoe Bend

by T.G.H. Strehlow

ISBN : 978-1-922146-77-9

Giramondo

Reviewed by JAMES PAULL

If not for the Christian gravesite, the book-cover image of Central Australia might appear an all too familiar trope. Industries as much cultural as primary have engaged in modes of wealth extraction from this landscape. In mid-century modernist mythography, for example, the desert spoke of a nation’s spiritual void. By contrast, the grave’s fragile occupancy in this hostile sun-blasted world alludes to a specific historical biography. The telling of its story is no less indicative of land’s meaning, however, no less imbued with mythography.

The biography in question is Carl Strehlow. The Lutheran pastor of Hermannsburg Mission from 1894, Strehlow succumbed to severe illness in 1922. In October that year a party set out to save his life, journeying along the dry bed of the Finke River with the immobilised Strehlow mounted on a chair on the back of a horse-drawn cart. The story of Carl’s agonised last days and death at Horseshoe Bend and a young man’s coming-of-age became in the hands of his son, linguist and anthropologist TGH (Ted) Strehlow, a literary masterwork.

Journey to Horseshoe Bend was first published in 1969. Apart from a 1978 paperback edition, it has been out of print. This Giramondo edition features a new cover photograph, as well as a specially commissioned essay by Dr Philip Jones, curator of Australian Aboriginal Culture at South Australian Museum. It reproduces the original text including the carefully prepared regional map that formed the endpapers of the first edition.

To revisit the book’s epic scope is to be reminded of its blending of closely observed factual detail with the artful. A simple diary-like entry – ‘It was Tuesday, the tenth day of October, 1922’ – sets the stage for the rising eastern sky to reveal calls of birdlife and Aranda (Arrernte) place-names. Meanwhile, the Mission’s Aboriginal congregation awaits with trepidation their ‘ingkata’ (‘chief’). We learn of Carl Strehlow’s long struggle to build a ‘Christian home’ for the Arrernte at Hermannsburg, as well as his now severely weakened condition due to the combination of pleurisy and dropsy. Carl’s questioning of his faith is introduced, as is the gnawing conviction the Church has abandoned him. His bloated pain-wracked body is revealed to all as he emerges with his wife and fourteen-year old son Theo, before being strapped atop a horse-drawn cart to journey south accompanied by his family and Arrernte horseback drivers. So begins his personal Calvary – the poignancy heightened when the Aboriginal congregation offers an impromptu rendition of a Lutheran chorale translated into Arrernte.  

TGH Strehlow began writing the book during an illness resulting in hospitalisation. It was also a period of midlife crisis, when he would abandon his wife and children for a much younger woman. Both episodes undoubtedly shadow the book’s central theme, which concerns the reciprocal nature of death and regeneration.

Successive revisions of the first draft saw the manuscript evolve from autobiography to a form in which Indigenous and settler narratives are interwoven. Strehlow was alert to a mid-century poetics that turned to the outback to frame questions of Australian national identity. Voss remains the most celebrated, but others, including the Jindyworobaks with their focus on Aboriginal culture and natural environment, are equally important. The generation of Arrernte artists commonly associated with Albert Namatjira identifies a third stream.

A passing reference to Namatjira in the book’s opening section invokes something of this awareness; more significantly, it demonstrates the memoir’s doubled philosophical design. Journey is testimony to the convergence of differing stories, peoples and cultures and how they are bounded by conditions of circumstance and region. The lives of the Arrernte peoples and the Strehlows converge at Hermannsburg (Ntarea). The most important form of doubling is that of Carl’s death journey with his son’s coming-of-age. This is because Journey, while a work of synthesis, is, first and foremost, a literary Bildung. Crucially, Theo’s development cannot be separated from his father’s decline.

There is another photo of Carl Strehlow’s grave, this one taken in 1936 and featuring the son, now a young man commencing fieldwork in Central Australia. The recently married TGH revisits the site of his father’s death at Horseshoe Bend. The portrait seems to foreshadow the memoir’s design and thematic preoccupations. TGH’s respectful yet solitary stance embodies something of the burden the author carries in this book. His story remembers in detail the harrowing circumstances of Carl’s death. Journey is a work of mourning, but it is also a nuanced psychic account of the son’s displacement of his father.

Strehlow perhaps is not unlike Hamlet, haunted by the Father’s imposing legacy as missionary and pioneering Arrernte scholar. Although not always acknowledged, Carl’s lifework provided his son the main prototype for much of his ethnography. Aranda Traditions (1947), Strehlow’s groundbreaking study of Arrernte male initiation rites, includes remarkably detailed accounts of Dionysian rituals that see ‘excited young men’ frenziedly dance to exhaustion, thereby shattering the symbolic power of their elders. Journey is comparatively muted, yet no less pointed: its narrative simply avoids recording any direct exchange between Theo and his father. Like the tombstone driven into scorched earth, the inscription of the Oedipal complex runs deep in the author’s personality.

*

The landscape of Central Australia is inseparable from regional mythology. In Journey landscape is a patterned composite of stories whose design can be considered omnipresent and omnidirectional. It is also non-entropic. Carl’s death-journey is recorded across the party’s 12-day trek to Horseshoe Bend. On the 13th day, Theo stands alone at his father’s grave on the bank of the Finke River, conscious of death yet alert to the beginning of his new life. The reciprocal relationship of opposites, father and son, entropy and renewal, disappearance and emergence, structure the journey, but it is storytelling and translation that interweave human as well as nonhuman experience.

The year before his death, Carl completed the monumental eight-volume study of the Arrernte and Luritja peoples he had commenced in 1907 (Die Aranda- und Loritja-Stämme in Zentral-Australien). Born at Hermannsburg Mission, Theo’s first languages were German and Arrernte. Conceived at Ntarea, his clan totem marked the place of Twins Dreaming. By the period of his memoir, TGH had long established himself as the foremost living expert of Arrernte linguistics, song-verse and traditions, most notably in Aranda Traditions and Songs of Central Australia (1971). Strehlow’s ability to juxtapose Indigenous myth with the biography of father and son’s biblical exile encodes his intergenerational drama with a richly arcane cross-cultural knowledge.

Carl’s fate unfolds across a hostile environment marked by heat, drought and fire. For example, three Finke River stations in Central Australia (Henbury, Idracowra and Horseshoe Bend) mark where the travellers rest. For the white bushfolk, Henbury offers a rare permanent waterhole, but for the Arrernte the waterhole of Tunga is the last resting place of Tjonba: ‘giant goanna ancestor’, who in seeking to escape an ancestral hunter burrowed deep into the ground. Idracowra is a corruption of Itirkawara, Arrernte name for Chambers Pillar. The sandstone pillar-like formation locates the final resting place of the mythical gecko ancestor, whose territorial conflicts and ‘abhorred incestuous’ acts were punished by edict from his own ‘gecko kinsfolk’. Synonymous with brutal heatwaves, Horseshoe Bend is Par’ Itirka – its surrounds disclose a series of ‘heat-creating totemic’ centres, the most potent of which is Mbalka, ‘home of a malicious crow ancestor’ responsible for lighting bushfires ‘whenever he flew down from the sky’.

The story of Irbmangkara waterhole, with its network of totemic centres linking bloodthirsty myths of warring clans, overlap with living testimony as to the deeds of police trooper W.H. Willshire, whose murders of the Arrernte led to his arrest in 1891. Willshire’s frontier atrocities loom large in Strehlow’s account representing what might be taken as a literal dialect of colonisation. In describing one of his attacks, Journey records how Willshire spoke of his ‘Martini-Henry carbines… talking English’. Heir to the Lutheran tradition in which language contains the spirit of a people, this comment shrewdly exposes the inherently suspect nature underpinning the settler community’s legal and more broadly cultural claims to country.

Landscape is a palimpsest: multilayered stories from the past seep into the stratigraphy of present-day routes. Frontier atrocities map one surface. Another is the rural community of ‘bushfolk’ described with affection by Strehlow. This in part stems from their respect for Carl, as shown both in their willingness to help him make his way down the Finke and the burial service, where the pastor’s bloated dead body is awkwardly stuffed into a makeshift coffin made of discarded whisky cases (its unopened bottles have been distributed among the bushfolk as a farewell gift from Carl). Grimly touching, the episode offers an ingenious ethno-poetic record of frontier exchange systems.

*

The archetype of the rural folk sharply contrasts with the remoteness of the Lutheran establishment, which Strehlow believed had abandoned his father. Strehlow’s treatment of his father’s anguish draws directly on Christ’s experience of abandonment in the garden of Gethsemane. If the depiction of the bushfolk has dated, Carl’s torments remain harrowing and help explain the lonely, dogged personality of the author, witness to tragic events over which he has no control.

TGH emerges in his own pages as the most complex of outsiders. Whether privy to settler tributes made to his deceased father, or recipient of Arrernte statements that his ancestral home now belongs at Ntarea, Strehlow finds himself alone, saddled with twin heritages. In life, he lived and worked between two worlds: a German migrant in Anglo-Celtic Australia, Arrernte-born but Lutheran-educated, a foremost authority of Central Australian ritual, sacred belief and song, whose work was deeply interwoven with his father’s less accessible, yet equally imposing, legacy. Cast in the third person, ‘Theo’ is just as doubled: a young man transitioning to adulthood but perceived through the eyes of ‘Ted’, his much older self.

The author of Journey was also a man increasingly burdened by responsibilities brought with years of fieldwork. The collecting of custodial objects, stories and song, while not directly evident in his memoir, can be felt. When Journey was published, Songs of Central Australia still awaited publication, despite being completed over a decade earlier. The reasons for delay of his magnum opus are complex – in part related to the costly venture of the book’s design, in part related to sensitivities making sacred knowledge public. In Songs Strehlow describes himself as the ‘last of the Aranda’, expressing what he believed was his custodial kinship with the Arrernte, as well as his lonely standing as the sole surviving custodian of sacred clan knowledge. The sentiment also pervades the memoir of his journey from childhood to manhood, an era he described as ‘passed on as though it had never been’.

If nostalgia is important to the book’s design, it also helps identify the ideological constraints that mark its account of the Arrernte. Described as ‘dark folk’, their presence is finally a cultural backdrop to the main drama. While sparingly used, the phrase reveals a consistent assimilationist purpose, whereby the ‘primitive’ is incorporated into the narrative of Western progressivism.

Strehlow’s assimilationist beliefs would become more pronounced in the years that followed the publication of Journey. In an emergent era of Indigenous land rights and repatriation of sacred objects, he upheld in increasingly strident terms the view of a dying culture to claim sole ownership over the ritual objects entrusted to him by Indigenous elders during his long years of fieldwork. He died in 1978, mired in controversies his convictions had helped generate.

*

TGH Strehlow remains the most ambivalent of Australian literary figures, a pioneering writer-translator of Arrernte verse and performance committed to practices of white ownership and accumulation. Perhaps he is best approached as an outsider of the Arrernte, but a uniquely privileged one. He was conceived at Ntarea, the place of Twins Dreaming, and so was instinctively alert to the coexistence of opposites. His account of the journey reflects this knowledge, unfolding through the eternal interplay of doubles – reverie in the coolness of night, unending torment in the searing heat of day. This imaginative process contributes to the transitional yet transformative poetics of Journey. To speak of death as finality makes no sense in such a world. Just as Carl’s final resting place gives way to Theo’s grasp of the ‘certainty of life’, stasis signifies a circulatory force whose constitutive nature binds all things.

Such a poetics remains significant in today’s politics, but its authority is far more contradictory, flawed and diminished than its author likely intended. Strehlow’s quasi-Wagnerian conviction that myth is a contemporary mode of thinking deepened white understanding of traditional Indigenous culture, while simultaneously repressing its living modern reality. In place of contemporary Arrernte elders, he dramatised his own becoming and positioned this drama within what he believed a greater national culture. In doing so his epic narrative reveals something more than generational bias; it shows settler writing as inseparable from Western colonialism’s historical violence and claims to cultural superiority.

Dr JAMES PAULL is a curator, teacher, librarian, freelance writer and researcher.

The Measure of Skin

by Ramon Loyola

Vagabond Press

ISBN 978-1-925735-14-7

Reviewed by FELICITY PLUNKETT

Poets have recurrent signatures – words, images, modes and motifs – imprints unique as a fingerprint’s whorl. For Philippines-born poet, editor, lawyer and writer of short fiction, Ramon Loyola, one of these is just this: images of skin, literal and figurative, and an exploration of the ways skin communicates and mediates unique histories.

Throughout his work – three poetry collections, an experimental prose-poetry memoir The Heaving Pavement and a series of comic zines Barney Barnes and Friends – embodiment, skin and porousness recur as images conveying ideas of vulnerability, injury and tenderness.  

The Measure of Skin is one of ten titles in Vagabond Press’ vivid deciBels 3 suite, meticulously edited by Michelle Cahill, co-edited with Dimitra Harvey. It sits alongside work by, among others, Pakistan-born Misbah, a visionary weaver of lyric prose-poetry slivers, versions of which were previously short-listed for the Arts Queensland Thomas Shapcott Poetry Prize; Anna Jacobson, winner of that same prize in 2018, whose debut collection Amnesia Findings (forthcoming, UQP) charts the loss and repair of memory through exquisite poems exploring trauma and resilience, Jewish diaspora, injury and healing; and Jessie Tu, one of whose poems was short-listed in Australian Book Review’s 2017 Peter Porter Poetry Prize. deciBels series 3 is gloriously expansive, highlighting a divergent array of poetics.

The poems in Loyola’s The Measure of Skin return to the skin of the speaker’s own body, and that of his lovers, who, bound in the skin of their own stories, have ‘revelled in my skin’. There is skin ‘bound to be touched’, scented with ‘jasmine hint’; the crease of articulate scars, patterned with hair and bruises or more figuratively – ‘parched skin quenched/ Of the thirst for clear answers’ by the wash of seawater. Loyola’s poetry includes all the senses. There are almost palpable textures of ‘glistened skin’, ‘rough… stamens in the rain’ and skin lit and warmed by rays of sunshine. And there is the hue of skin, a question crucial to this collection’s consideration of identity, loss, displacement and connection.

Skin – the soft tissue that covers us – is a layered, hard-working organ that holds us together and provides insulation and protection from pathogens. Its pores do the work of letting in and letting out. It may be a site of injury or healing, associated with bonding, lovemaking and bliss as well as with violence and wounding.

Language is a skin, writes Roland Barthes in A Lover’s Discourse. Words are the surface of layered lexical histories. To peel back layers of the word skin we find the Old Norse skinn – animal hide – itself traceable back to the Proto-Germanic skinth from which come words in various languages meaning to peel back, flay, cut; the scales of a fish or a tree’s bark. There are Latin seeds and Sanskrit ones.

The original syllable, then, moves through languages, layered and displaced. It has left its home to become important in another place. It leaves its flakes in languages across the world.

Just as a word does, so do human beings. In ‘For the Sleepwalkers’, Edward Hirsch imagines sleepwalkers – a metaphor for any of us wandering through this world – as exemplars of what it is to trust and risk, moving through ‘the skin of another life’ in their sleep:  

We have to learn to trust our hearts like that.
We have to learn the desperate faith of sleep-
walkers who rise out of their calm beds

and walk through the skin of another life.
We have to drink the stupefying cup of darkness
and wake up to ourselves, nourished and surprised.

When Barthes writes that language is a skin, his context is the citational poetics of A Lover’s Discourse, a book he prefaces with a description of offering the reader: ‘a discursive site: the site of someone speaking within himself, amorously, confronting the other (the loved object), who does not speak.’

The terrain of Loyola’s poems of skin and skinlessness is similar. In an interview with Tony Messenger, he writes about an instigating self-scrutiny as the basis for exploring layers of self and other – ‘to know myself down to the bone in order to confront the many possibilities – delicious and sordid – inherent in the realms outside my own skin.’

Often, these poems contain a ‘you’ towards whom their open, often amorous words are directed. There are quiet poems of pillow-talk, intimate words the reader is positioned to overhear. The book’s first line ‘your hands feel familiar’ reaches towards a sense of the familiar; the affinity that causes the speaker to wonder – and wander – through a dance of possibilities, expressed as neat rhyming paths in the final stanza: ‘go away’, ‘want to say’ and going ‘astray’ are poised as the lover’s options.

Rhyme measures the options, as Loyola’s poems place skin and metrics side-by-side. This weighing-up that shapes the first poem, ‘Familiar’, sets the tone. Putting skin together with measure is a poetic experiment – a kind of scientific and emotional assay – as the poems assess losses and gain, connection and loss, and the ways the body holds memories of trauma and joy. So when a lover’s hands here feel ‘familiar’, the speaker’s plan – (‘i only meant to say hello/ to wish you well on your way but) – tips into indecision, the ‘What is to be done?’ that prefaces Barthes’ book – ‘I bind myself in calculations’.

Among these calculations, Loyola’s poems measure alternatives. In ‘Monkey Suit’, he imagines his lover’s body in the frank unabashed images these poems revel in: ‘His sex is big. His sex is the bomb.’ Part of this is its whiteness: ‘There is never anything whiter… than the shape of his shiny white buttocks’. On the other hand, the speaker’s -assessment is at best self-ironising, at other times directly abject and self-flagellating. This is often a refreshing riposte to a culture commodifying beauty, and at times an unabashed lament. It also suggests a weighing-up of negative and even racist assessments of his own body. He imagines his own sex as ‘coarse’, ‘crooked’ and ‘foul’, yet this is weighed against the pleasure and consolation of connection. The poem’s last stanza ends with a kind of volta, a ‘but’, and a reparative image of afterglow: ‘the same sweetness of souls’, which suggests a rejection of superficial, cruel assessments.

Loyola mediates the measuring of beauty and bodies, balancing perfection and imperfections through discourses of skin binding mind and body. As metaphor does its traversing of bridges, so do Loyola’s speakers and lovers, over empathy’s crossings. This is suggested in the poems’ mode of invocation, invitation: ardent reachings-out, or dialogic inner reflections. Love might be, as Loyola writes in ‘In All the Broken Places’ ‘[u]nbridled, perilous or kind’, but whatever its composition, it ‘steeps the heart and mind’. ‘Touch me’, he writes in ‘Touch Me Where It Hurts’, where ‘my heart sits quietly’; in the place of a wound that ‘does not hurt’.

Loyola’s poems meld a lawyer’s weighing-up with a poetics of skin and vulnerability, where the poems’ speakers wander as outsiders, looking in, or looking into themselves. The poem are shaped along these axes, with balance and symmetry at the levels of structure and the patterning of images, and an imagistic wildness and tonal intimacy in their expression of homoeroticism.

I last saw Loyola at a poetry reading in May. The alignment of our interests had nurtured a gentle online friendship, and we clasped hands with a sense of the weight of that bridge. This was the way of Loyola’s presence in the poetry community. He was a passionate reader of others’ work, a modest promoter of his own, and his interactions had a steady radiance and kindness to them.

In September, Ramon Loyola died suddenly following after suffering a brain aneurysm. The shock and pain of this for his family and loved ones is inestimable, and the loss to the community of poets he nurtured and contributed to with such exemplary generosity is deep.

Writing about Loyola’s poetry of intimate address and mapping this onto the similarly ruminative slivers that make up Barthes’ A Lover’s Discourse, I think of the loneliness each writer evokes, as part of our experience of love. In ‘No Answer’ Barthes writes:

Like a bad concert hall, affective space contains dead spots where the sound fails to circulate. – The perfect interlocutor, the friend, is he not the one who constructs around you the greatest possible resonance? Cannot friendship be defined as a space with total sonority?

In reading The Measure of Skin — first when it was published, now in Loyola’s absence, his poems have a consolatory continuance. Reading his work continues to make us interlocutors in the vibrant spaces his poetry creates.

Notes

1. Roland Barthes, A Lover’s Discourse: Fragments, trans. Richard Howard (London: Penguin, 1977), p. 3.
2. Barthes, p. 63.
3. Interview, Tony Messenger interviews Ramon Loyola, Messenger’s Booker (and more): https://messybooker.wordpress.com/2018/06/18/the-measure-of-kin-ramon-loyola-plus-bonus-poet-interview/, np.

FELICITY PLUNKETT’S Vanishing Point (UQP, 2009) won the Arts Queensland Thomas Shapcott Prize and was short-listed for several other awards. Seastrands (2011) was published in Vagabond Press’ Rare Objects series. She edited Thirty Australian Poets (UQP, 2011). A Kinder Sea is forthcoming early in 2020.

Falling out of Love with Ivan Southall

By Gabrielle Carey

Australian Scholarly Publishing

ISBN 9781925801538

Reviewed by JACK CAMERON STANTON

The Discomfort of Self-Recognition

For many years, books have documented the literary rivalries of writers—Ernest Hemingway and F Scott Fitzgerald, Gabriel García Márquez and Mario Vargas Llosa, A. S. Byatt and her sister Margaret Drabble—but Gabrielle Carey’s novella length book Falling Out of Love with Ivan Southall (2018) is the first I’ve read to examine what happens to somebody when they lose faith in the writer who convinced them to become one in the first place. Many of its most interesting elements exist in its story architecture, a part-memoir of Carey’s writing life, part-biography of Ivan Southall that critiques his novels and career. To call his career a legacy, however, may perplex contemporary generations of readers and writers, for whom the name rings no bells. For modern readers, his reputation and writing has truly faded into obscurity. By his death in November 2008, Southall was essentially forgotten: “although mostly unread and unknown to young people of the present generation, in the 1960s and 1970s Ivan Southall was a literary superstar.”(Carey; p6) During his prime he produced over thirty books for children and was the only Australian to be awarded the Carnegie Medal. How, then, does Australia continue to suffer from this cultural amnesia?

Ever since Puberty Blues (1979), Gabrielle Carey’s work has been confessional, exploring with her candour the realities of personal and familial loss, often seeking sanctuary and counsel in reading and writing. This eagerness to discern real life meaning and purpose from text is central to her book Moving Among Strangers (2013), in which she traces her family and her mother’s connection to the enigmatic West Australian, Randolph Stow. At a time when Joan was dying from a brain tumour, and Stow is living in exile, Carey sends him a personal letter. Letter writing was integral to the literary life of Ivan Southall, too, a similarity that made her immediately align with, and become wary of, her ex-idol. In many ways, Carey’s latest is a dismayed retrospective on what it means to devote oneself to a life of writing. “Maybe the reason I no longer love Ivan the writer is because I no longer love the writer in myself,” (p64) Carey writes. These tensions, between childhood literary obsession and disenchantment later in her career, confront what Carey dubs “self-delusion” and consequently produce a book that evades definition. A sense of dread occupies each page, and as this negativity teeters on self-loathing we realise that Carey’s “late-life crisis” is being fuelled by a common anxiety: the belief that literature is an echo-chamber, pointless, masturbatory, meaningful only in of itself: “My growing sense of the writing vocation as useless and unproductive in comparison to nursing or even landscape gardening is integral to my late-life crisis. It is hard to maintain one’s sense of self-value if your product, so to speak, is not in any way necessary for society to function.” (p39) To call this book literary criticism, however, seems a misnomer, and likewise the memoir and biographical aspects precipitate in the understanding of the texts themselves. Thus, Carey has found herself in a bind: to explain why literature may no longer be able to provide meaning and purpose in her life, she uses that very thing.

Throughout the mid to late 20th century, Ivan Southall was for many young Australian readers a kind of literary hero, best known for his survivalist novels Hills End (1962), Ash Road (1965), To the Wild Sky (1967), and Josh (1971), his Carnegie Medal winning novel. Nine-year-old Carey was so enamoured with To the Wild Sky that she decided to pursue the “deliberately difficult” writer life. While researching this book, she confirmed her suspicion that she wasn’t the only young reader to be touched by the Southall phenomenon. Her research took her to Canberra’s national archives, where she uncovered the immense letter correspondence Southall received from young fans, discovering that “at the top of each letter in Southall’s handwriting is the word ‘reply’ and a date. No correspondence, as far as I can see, fails to receive a response.”(p11) Carey’s re-reading of To the Wild Sky, the book that spurred her to pursue writing, proved disillusioning. Rather than rekindling her predilections, it awoke a “palpable dislike” (p35) for Southall, who she not only considers a mediocre craftsmen but also a cruelly dismissive workaholic who neglected his own children. “While busily writing to and for his thousands of child fans,’ Carey writes, “Southall’s own children were locked out of his study and, largely, out of his life.” (p42) This disenchantment culminates in her own existential unease, “I have also found myself, at times, more devoted to my writing than to my children.” (p56) In other words, perhaps Carey wrote this book because she was afraid of becoming like Southall, a writer who tried to turn the real world into a big fat metaphor in order to escape from it. “Is this why Southall makes me feel uncomfortable?” Carey ponders. “Because, as a confessional writer, there is something that Ivan Southall and I have in common? Perhaps my discomfort is really the discomfort of self-recognition.” (p64)

Nevertheless, at times Carey can’t withhold a degree of professional admiration for Southall’s devotion to the craft—the very same austere discipline that produced his selfish workaholic nature. “Southall was that very rare of writers, a genuine professional, scraping by from one royalty cheque to the next.” (p23) This admiration manifests especially in his letter-writing to fans (Carey herself being terribly fond of the art). Like Carey, many young readers were inspired to become writers after reading Southall’s books. One young boy by the name of Peter pens the following letter, reproduced in Carey’s book:

Dear Mr Southall,

I’m writing a story called “The Visitors from Outer Space.” It will be a good story if I can find it and finish it. It’s lost around the house somewhere. How do you keep your mind on your work? Once I start working on something I hardly ever finish it. (p11)

While the digital age has made our idols seem infinitely nearer, seldom do emails seem to reach beyond a secretary, automated reply, or the dreaded oblivion of silence. Southall’s reply to Peter’s letter is also copied in the book:

Dear Peter,

What you must do is use a notebook or exercise book for your stories and put a bright red cover on it. The only way to finish anything, Peter, is to keep on going until you get to the end. There is simply no other way. (p11)

Southall’s directness resonates with Carey’s sensibilities. As a teacher of creative writing for over twenty years, she would never dare offer “this most obvious advice . . . [Students] have paid good money for this secret, which is why so many feel disappointed when they realise there there is no secret except keep going.”(p12) I’m still learning, Michelangelo was fond of saying; no doubt Carey and Southall believe the same to be true of writing. “I can’t believe I have spent so much of my life hunched over a desk and yet still do not know how to write,” (p97) Carey writes.

At this book’s core is an examination of the reach and extent of idealisation. Once Carey finally re-read To the Wild Sky, she was loath to discover it was not particularly well-written, “the dialogue is clunky, the gender roles stereotyped, the grown-ups mostly mean-spirited and unlikeable and there is an uncomfortable obsession with class.” (p34) What can be taken away, then, from a book that explores a peculiar experience of the literary doppelgänger is that seeing yourself in somebody else not only causes the fear of unoriginality but, more tragically, the suggestion that you have lost part of yourself along the way. Maybe the value of falling out of love with a literary idol is the recognition that is was never really about them in the first place, and that, in Carey’s words, “the real nature of the reader-writing relationship [is] one of a long-distance, non-physical love affair. And if so, maybe it represents the ultimate, ethereal, transcendent love, independent of the material world. A love that is purely spiritual, that both children and adults can experience. The only love, perhaps, that is truly perfect.” (p90)

JACK CAMERON STANTON is a writer and critic living in Newtown, Sydney. His work has appeared in The Australian, Southerly, The Sydney Review of Books, Neighbourhood Paper, Seizure, and Voiceworks, among other places. His fiction has been twice shortlisted for the UTS Writers’ Anthology prize. He is a doctoral candidate at UTS.

Hijabi in Jeans

by Isil Cosar

Guillotine Press

ISBN 978-0-6481693-3-8

Reviewed by ZOYA PATEL

From the very first poem, it is clear that Hijabi In Jeans by H.I. Cosar is a deeply personal, and deeply political collection, entwining the two themes to carry through every piece. Cosar, a Turkish-Australian teacher and writer has spoken of her bilingual, bicultural upbringing and the complexities that entailed (ABC, May 2018), and these experiences are clear influences that flow throughout the collection. There is the sense that Cosar is grappling with her fractured identity on the page, wrestling with cultural demons and trying to find a way through the murkiness that is the migrant experience.

This murkiness is defined in the opening poem, ‘Untitled’, as a sort of ‘in between-ness’ – the space between cultures that exists for immigrants who are forever trapped in an identity that is too foreign for home, and too foreign for their adopted countries at the same time. She writes of ‘a language/between two tongues’, the image encapsulating the silencing impact of immigration, where the subject exists in the no-woman’s land between two absolute cultures. Later in the collection, Cosar describes this space as ‘purgatory,’ further cementing this image of exclusion from both sides of her identity.

It is this intelligent and lyrical exploration of identity that immediately connects me with this collection. Like Cosar, I am also an immigrant, and the struggles she explores on the page mirror my own in many ways. Crucially, the title of the collection provides a clear indicator that we are of the same ilk – a ‘hijabi in jeans’ is a modern, Australian woman, a Muslim proud of her culture and religion, and equally proud of her feminism and independence. The title nods to the collision of two cultures, and the determination on Cosar’s part to inhabit both, despite the barriers she experiences from either culture.

This balance between a strong cultural identity and the feminist principles that underpin this, but simultaneously create triggers for opposition from both of her homes is a strong theme throughout the collection. There is a tension on the page that suggests that Cosar is no closer to finding a balance between these influences, and this tension is what drives the collection forward.

This is especially apparent in ‘Apology’, which is the rallying cry of the book, a bold and fearless statement against the suggestion that Cosar is anything less than a whole, strong person, regardless of what society expects from Muslim Australian women. She references her ‘two hearts, two tongues, two brains’, a dualism that continues to draw a line between her Turkish and Australia cultures, posing them as two separate influences, each commanding exactly half of her being.

The poem deftly demonstrates the frustration of being judged by other Muslims for her supposed lack of modesty, while being assumed to be a victim by mainstream Australians who have a blinkered definition of Muslim women.

As a reader, it feels as though the opposition between the two cultures is what makes Cosar’s subject position so untenable – for her, it isn’t about accepting her complex identity so much as making each part of her accept the other.

In ‘Nothing to Declare’, Cosar writes in sharp sentences the words she has to repeat again and again to strangers throughout her life, deflecting prejudice and benevolent racism at each turn. She writes:

Yes, this is my passport

No, my name’s not simple

Yes, I am hard to define

In this last line, Cosar appears to be addressing herself – acknowledging what the rest of the collection is grappling with, that her identity will forever be in flux, unable to be captured in a single term.

The anger of these poems is strongly evident, the tone almost creating a beat for their reading. There is an urgency in Cosar’s writing that suggest the immediacy of the poems’ meanings to her reality, and that the emotional bruises that underlie her words are still sore to touch.

In the poem ‘My Land-guage‘, the reader is taken on a journey to Cosar’s imagined conversations with the grandmother she never met. The imagery in these lines is potent, the descriptions of life in Turkey bringing alive the smells and sounds that Cosar conjures up. There is an overwhelming sense of sadness and loss, of the relationship that couldn’t exist due to distance.

The focus on identity in Hijabi in Jeans, however, does not detract from Cosar’s belief in community – the second overwhelming theme of the collection is the shared experience of immigrants, and of Turkish Australians, and the impact that cultural heritage has on our constructions of self. Several poems are reimagining’s of Turkey in the past, or moving reflections on her memories of the country These poems bring the collection together to create a firm foundation for Cosar’s self-examining pieces that, on their own, have less impact than they do when bolstered by the reminder of the universal experiences of immigrants.

Cosar’s use of language is stunning. Her ability to take the reader through her journey of self-examination, as it critiques the society we live in, is impressive, and is largely achieved through emotive and poignant imagery that transports the reader into the experiences she describes.

While the collection as a whole is lyrical and highly emotive, there are some poems, particularly several that examine Australia’s commemoration of the ANZACs that stick out as lacking the empathic resonance as the rest of the book, or appear defensive as if Cosar has readied herself for backlash.

Structurally, the first half of Hijabi in Jeans has a deeper sense of anger and both internal and external conflict than the latter half, which is more reflective and imaginative. Where Cosar soars is when the two come together to beautifully explore the fraught experience of immigration, such as in Nothing. The poem is a stark and arresting vignette of allowing her body to surrender to the ocean, nature for a moment overtaking the intricacies of her thoughts and internal conflict.

Cosar shows how migrants are so often defined by what we aren’t – not white, not speaking English, not of an acceptable religion, not enough – than what we are. It is a concept which is so beautifully encapsulated in the poem, and that simply unveils the crux of the issue at the heart of this collection – that the agency to define our experiences as migrants is held ransom by the country that is constantly withholding belonging and inclusion from us.

This is a collection that is wild in its anger and determination, yet soft in its acknowledgement of the vulnerability we have as humans to the whims of others – how we allow ourselves to be defined and deconstructed by the cultures and systems we have created, which demand labels even when there are none that will fit.

Cosar shows immense talent, and as her writing continues to sharpen, her voice will only become even more necessary for defining the Australia that is inclusive of its multitudes.  

ZOYA PATEL is the author of No Country Woman, a memoir of race, religion and feminism, published by Hachette Australia. She founded feminist journal Feminartsy in 2014, following four years as Editor-In-Chief of Lip Magazine.  Zoya was Highly Commended in the Scribe Publishing Non-Fiction Prize 2015, was the 2014 recipient of the Anne Edgeworth Young Writers’ Fellowship, and was named the 2015 ACT Young Woman of the Year. She is a member of the Feminist Writers Festival board, and has been published widely. 

The World Was Whole

By Fiona Wright

Giramondo

ISBN: 978-1-925336-97-9

Reviewed by GABRIELLA MUNOZ

With four published books, poet, essayist and critic Fiona Wright has become an important voice in the Australian literary scene. Born in 1983 in New South Wales, Wright published her first collection of poems, Knuckled, in 2011. In it, she explores issues such as belonging, identity and sense of place, three themes that constantly re-emerge in her writing. Knuckled was followed by the book of essays Small Acts of Disappearance: Essays on Hunger (Giramondo, 2015), where she writes candidly about her anorexia. This condition, which developed as a consequence of a rare stomach problem, has marked her adult years by triggering questions of what it means to live in a changing and often foreign body. For this book she won the 2016 Nita B. Kibble Award and the Queensland Literary Award for non-fiction. The book was followed by the collection of poems Domestic Interior (Giramondo, 2017), in which, as Magdalena Ball explained, Wright is skilful in conflating ‘the domestic or familiar with the moment of transformation’.

Her fourth book, the collection of essays The World Was Whole (Giramondo, 2018), is the follow-up to Small Acts of Disappearance and a powerful reflection about the frailty of our bodies and the journey to find and build a home. The 13 essays, some of which had been previously published and were edited for this collection, are a mix of sociological observation, generational manifesto and historical account of Sydney’s utopian suburbia and newly gentrified inner-city suburbs. The title is borrowed from Louise Gluck’s poem ‘Aubade’. Wright references this poem in the eighth essay of the collection ‘The World Was Whole, Always’, in which she chronicles her move to a new shared accommodation in one of Sydney’s inner west suburbs, where most of the essays in this collection take place.

The starting point, however, is suburbia and Wright’s initial bouts with illness. In ‘To Run Away From Home’, she revisits her childhood suburb, Menai, in the outskirts of Sydney to give the reader a picture of life in the suburbs. Wright is no stranger to writing about the suburbs. Her PhD dissertation, Staging The Suburb Imagination, Transformation and Suburbia in Australian Poetry, which gave way to the poem collection Domestic Interior, explores the Australian suburbs and how they have changed, and in ‘To Run Away From Home’ she gives us a panorama of suburbia from its invention at the turn of the 20th century to the present, introducing the reader to her experience and readings of the suburbs and how they have changed particularly over the past two decades, when as Wright notes, renovation became a trope of suburbia:

‘Renovation, in the last 20 years, has become as much a trope of suburbia as lawnmowers, Hills hoists and Sunday car-washing were for the generations that preceded mine: it’s no longer just about keeping house but remaking it, physically marking our dominion over our domain’ (11).

In her reflection about the suburbs the poet connects the house and the body and quotes from French philosopher, Gaston Bachelard’s The Poetics of Space, to analyse her relation with the places she has lived in, particularly her first home, and her body. Bachelard argues that the places we inhabit become inscribed in our body and that our body shapes our home (we scratch walls, leave hair and skin cells on surfaces). That is to say, we carry our homes within our bodies. For Wright, however, this connection was fractured when she was diagnosed with anorexia. As she writes, ‘Illness is a state we do not think of as everyday, but it affects those of us it impresses itself upon every single day. Those baseline expectations I had to reset, and it’s hard, sometimes, not to long or grieve for my younger, healthy self, whose world was unruptured, who was still able to forget.’ (5)

Almost at the end of ‘To Run Away from Home’, Wright explains that what she likes about Bachelard’s notion of ‘the house we were born in physically inscribed in us all’ is that it gives hope because the idea of homeliness is always in us; a thought that seems particularly relevant for those whose bodies feel sometimes foreign, or those who are chronically ill, and for those who can’t afford to buy a house and can be evicted any time. Bachelard suggests that ‘a house constitutes a body of images that give mankind proofs or illusions of stability. We are constantly re-imagining its reality.’ In this collection’s essays Wright seems to be doing this, re-imagining her reality to find a sense of place, of homeliness.

In ‘To Run Away From Home’, Wright also draws a parallel between her body and the social and cultural transformation of her hometown. It also gives way to the essay, ‘Back to Cronulla’, where the author talks about the Cronulla Riots, a series of racially-targeted violent acts which took place between 11th-13th December, 2005. These events marred the country and revealed longstanding, but often ignored, racial tensions that are alive and well today. The poet and critic delves into what existing  in such a place meant to her and her sense of self at the time:

My friends and I were outsiders in Cronulla — and would have been too, in the earlier Cronulla of Debbie and Sue — but we wore this proudly … The difference wasn’t only territorial, I suppose — my friends and I prided ourselves on dressing differently, with the coloured hair and mismatched clothes of the tail end of grunge. Maybe it was gendered, because we were all women; it may also have been racialised — my school drew students from the length and breadth of southern Sydney, so we were a diverse crew, and this became all the more obvious against the prevailing whiteness of the beach — although I don’t think I understood this at the time. (45)

When years later, Wright goes to an Italian restaurant in Cronulla to celebrate her parents’ 40th anniversary, she uses the experience as a pretext to talk about the way the suburb has changed and how Sydney’s inner west, where she lives now, is changing too. The connection brings up, again, questions of place and home and the way in which urban and suburban spaces are being modified: ‘But it also seems to me that this very urban space is suburbanising — more chain shops, more baby shops, more renovations — while at the same time Cronulla, and so many suburbs like it, has been urbanising. The inner-west is also the only area in Sydney that has grown less culturally diverse each time the Bureau of Statistic takes its measures.’ (53)

Wright’s attempts to find a home are not dissimilar from those of a generation who can’t save for a mortgage and don’t have traditional 9-to-5 jobs but are part of the gig economy. After receiving another eviction notice, Wright is forced to find new accommodation and this becomes the subject of ‘Perhaps This One Will Be My Last Share House’. In her journey, the author touches upon the housing crisis in Sydney and reflects (and makes the reader ponder) on what the concepts of family, friendship and home mean for people in Australia who need to rent and share accommodation. ‘And it’s only this that I want: shelter, and security, a stable base from which to build myself and life without constant inconsistency, without the everyday threat that it could all, that day, be once again taken away.’ (105) She also describes sharply the process that getting a new lease means — phone calls, open houses, applications, the news your applications came second, bad timing, the uncertainty of not knowing if you’ll have a place to move to when your lease expiries.

The essay ‘Relaxed, Even Resigned’ is perhaps the most moving of the collection. Here, the author delves into the concepts of body, home, food and ritual, four elements ever so present in this book and in some of her previous work. Here she narrates how after her condition worsens and her anxiety escalates she is admitted to a hospital as in-patient to receive treatment. Removed from her rituals and her home, Wright doesn’t spare in the descriptions of the hospital and her feelings. The conclusion, however, offers the reader hope and also finds the author in a place of self-acceptance:

I’d missed my home, the habits I have and are shaped by it, the small delights it gives me across the day. I felt collected, grounded. And I thought, I must remember this, in the coming months, as my habits and routines become once more invisible because of their ordinariness, their everyday repetition. I must remember how they help me, hold me. I walked along King Street, just to feel it on my skin. (86)

Key to this book is empathy. The author feels empathy, even guilt, towards those who are vulnerable, but also towards herself. The World Was Whole is not only a personal analysis of our convoluted times but also a glimpse into a journey of transformation and acceptance, and a search for beauty in the ordinary. These essays are a poetic approach to place and the importance of paying attention to the minutiae of daily life.    



Notes

Bachelard, Gaston. La Poétique de l’Espace  (Paris, Presses Universitaires de France, 1958) translated by Maria Jolas The Poetics of Space (Boston: Beacon Press, 1964) p.4

Ball, Magdalena. ‘A review of Domestic Interior by Fiona Wright’ in The Compulsive Reader http://www.compulsivereader.com/2018/04/12/a-review-of-domestic-interior-by-fiona-wright/

GABRIELLA MUNOZ is a Melbourne-based writer and translator. Her non-fiction has been published in The Sydney Morning Herald, Eureka Street and The Victorian Writer, among others. Her fiction has been published in Mexico and Australia. She’s the inaugural digital writer in residence at Writers Victoria and is currently working on her first collection of short stories.

No Friend But The Mountains

by  Behrouz Boochani

translated by Omid Tofighian

Picador

ISBN: 9781760555382

Reviewed by HOA PHAM

Behrouz Boochani is a Kurdish-Iranian journalist, playwright and activist whose book, No Friend But the Mountain was written by text message over a couple of years on Manus Prison. The resulting work is a powerful, readable memoir with poetry that is a searing indictment of the offshore detention regime. His other works of documentation include writing for The Guardian, a play ‘Manus‘, and a film ‘Chauka, please Tell us the Time‘.

Behrouz’s Boochani’s choice of words describing Manus Island as a prison is deliberate as is the positioning of his book by his translator, Omid Tofighan, as more than just refugee literature. Tofighan sees the work as part of a tradition of prison literature, which includes Man’s Search for Meaning by Victor Frankl, a memoir from Auschwitz. As well, he considers it to be transnational literature in nature. 

Like Frankl, Behrouz has chosen to resist the oppressive system of the prison thus retaining his humanity in the face of inhumane acts. For instance he withdraws from the community of the prison and craves solitude. He chooses activism and to maintain an intellectual life with artistic pursuits regardless of his surroundings. He is a keen observer of what is around him and much of the book consists of his detailed descriptions of his fellow inmates.

Behrouz terms the socio-political order of Manus Prison the Kyriarchal System in which prisoners are set up to hate each other and the power of Australia’s industrial colonial complex which is made apparent through the hierarchy of the Australian guards, officials, and the local Papu (Papua New Guinean) guards.

Behrouz Boochani describes what happens to prisoners individually, a piece of meat with a mind, where daily routine is meaningless. Memories of childhood emerge and the mind turns in on itself, he reflects. This happens to Behrouz when he in a moment of respite, climbs onto the roof of the prison and remembers his war torn childhood. He does not know who he is anymore nor does he know what he will become.

The Kyriarchal system drives one to collapse and demise. Boochani  reveals the state of his mind and his suffering through poetry which punctuates the written text. The poetry brings a sense of immediacy to the work and intimacy with Behrouz’s experiences. However, one wonders what has been lost in translation especially after reading Tofighan the translator’s notes which refer to the Kurdish literary traditions Behrouz draws from, which are unfamiliar to most Australians.  His prose in English is simple and direct; the descriptions evoke details that horrify in a matter of fact way.

Creativity, Boochani feels, is one of the only ways to resist the Kyriarchal system. He chooses art and literature, feeling it is the best way to depict the horror of Manus Prison.

Behrouz Boochani tells a tale of two islands. One is Australia where the settlers are imprisoned. The other is Manus Prison where the incarcerated refugees’ minds are creative and free. Behrouz comments in the notes that all Manus prisoners have evolved into creative beings, a transformation that is remarkable. Boochani writes of one of the prisoners, Maysam the Whore, who sings and dances every night in the prison:

“Someone who is so brave and so creative; he flexes these attributes through his muscles, muscles he uses to challenge The Kyriarchal System of the prison. He employs a beautiful form of rebellion that has enormous appeal for the prisoners. A man with boyish features who uses them to peddle poetry and to satirise all the serious aspects of the forlorn prison. The spirit of Maysam The Whore contrasts with the desert of solitude and horror of the prison. This is like a reward for the prisoners; a gift in the form of a collective response, a collaborative effort among men who have been banished.” (Kindle Locations 2244-2248).

Tofighan describes the work as horrific surrealism with psychoanalytical tendencies. The characters described by Behrouz are amalgams of real refugees. They tap into archetypes such as Our Golshiftel (the Mother,) Maysam the Whore (trickster and entertainer,)  the Smiling Youth, and the Gentle Giant. Only the latter two are given names, at their times of death in the narrative, Hamid and Reza respectively.

The beauty of the prose and poetry of this work uplifts what is terrible subject material. Somehow it manages to impart the best of humanity through Behrouz’s eyes, and the communal ability to survive horrific circumstances. The acts of kindness and brotherhood exhibited by the prisoners to each other are preciously detailed. He says of a prisoner, Reza, who offers mangoes to others despite the Kyriarchal System:

“The Gentle Giant challenges this way of thinking with his childlike generosity. He confronts them with a different way of being, he offers them new horizons, access to a better reality.” (Kindle Locations 3628-3629).

Tofighan questions whether empathy can ever truly be achieved through literature. I believe that Behrouz’s words do create empathy and illustrates the truth of offshore detention.

In No Friend But the Mountain, Behrouz Boochani wishes to hold a mirror to the system, dismantle it and produce a historical record of it. Boochani has certainly depicted the inhumanity of Manus Prison. By documenting and publishing he has produced a historical record. The transfer of men for medical reasons from Manus by the Morrison government has been delayed till at least February so it is yet to become history; it is still very much part of the present suffering for the men left behind. This document pays testimony to their plight and experiences and one hopes it will become history sooner rather than later.

Citations

Boochani, Behrouz. ‘A Kyriarchal System: New Colonial Experiments / New Colonial Resistance‘

Boochani, Behrouz. No Friend But the Mountains: Writing from Manus Prison, Pan Macmillan Australia, 2018. Kindle Edition.

HOA PHAM is an award-winning Vietnamese Australian author who lives in Melbourne. Her latest book is Our Lady of the Realm.

All My Goodbyes

by Mariana Dimópulos

translated by Alice Whitmore

ISBN : 9781925336412

Giramondo

Reviewed by Jeffrey Errington

In 1907 after living and writing in Europe since he was a young man, Henry James, aged a pinch below 60, sat down at his desk in New York and decided that that writing a novel was like looking through a self-made aperture of a “million-windowed” mansion. Inside was society’s dirty secrets and the position of the viewer glaring at these peccadillos was to frame its revelation. For Argentinian novelist and translator Mariana Dimópulos the house of fiction has become a rotting abode in a decrepit suburb. Not a stately Victorian home but a grotto; one flipped inside out to reveal yellowed bones grafted on as exoskeletons. Europe is stagnating. In All My Goodbyes, the main character’s (who remains unnamed for the entire novel) is listening to her boyfriend give:   

“..extremely valid reasons (valid because they were his) why I should continue living in that den of European traditionalism, with its 500-year-old houses and its balconies dripping with flowers. He mentioned books, the peace and quiet, the university. If you found it hard to think, you could just head to the forest or to Italy, which served as something of a last resort for all melancholy Germans. The age of travelling the world and marvelling at other people’s poverty was over. And yet he still felt the weight of an entire continent on his shoulder” (p. 87).

She has no such weight and so moves like a leaf down a windswept strabe. She is the Antipodean answer to the centre, unweighted by its shifting traditions. Her character arrives in a Europe to find, disappointingly, that that culture has long been exhausted. She looks through the window, winces and chooses to voice no response, and moves right along.

All My Goodbyes is a short novel where the nameless main character wishes to escape Argentina to Europe. In the Continent she enters into a peripatetic existence, almost as if she were trapped in sleepwalking and returns to Argentina and then to the far south of Patagonia where she becomes embroiled in a brutal axe murder. Dimópulos’s touch-stone writer seems to be Thomas Bernhard and she has mastered and extended the Bernhardian mode: the controlled raving is accented and solidified by a non-linear ordering of the chronology, giving the structure a Cubist presentation. Her mastery is apparent as the reader is never confused as to where in the chronology the action is occurring. This structure relieves the characters of the burden of time as the Cubist narrative does not progress towards the final act (the killing of her lover and her lover’s mother) but the scenes are broken up and then grouped thematically. The structure of Dimópulos’ language supports the complexity of her protagonist’s crossing of European borders. A recognisable refrain in the syntax of the novel is heard when the final clause of a sentence or paragraph cancels out the truth that was asserted by its opening subject. The following examples illustrate this self-contradicting parataxis:

“They asked me for help and I told them there was no way I was going into the sea to rescue their horrible ball. That last bit is a lie. Nobody ever asked me anything” (p. 19).

“I could cross over to one side and say one thing and then cross over to the other side and believe the exact opposite.” (p. 31)

“It’s not true that we leave a place when the future is adorned with beautiful visions of faraway travels. We leave one morning, the morning after any given evening or the afternoon after any given midday, just when we’d decided to stay forever.” (p. 84).

“He removed his scarf, tied it around my next. We hugged and I promised him so many things: that I’d come back, that I loved him, all of them lies.” (p. 114).

One of the main character’s various jobs is at IKEA. Here she finds Europe in its purest form: sterile, easy to digest, useful and entirely supported by the labour of non-Europeans – a place where people go for the “narcotic” effects of a state of “pleasantness” (p. 42). It’s ironic that she is working here because IKEA represents the very thing that she wants to avoid – usefulness: “Being useful is of no use to me” (p. 14.) To deepen the irony, in a country where the language is not her own, she simply exists and language no longer serves a purpose. When she works in a German bakery she is frequently agitated as her German vocabulary is riddled with gaps, leading to misunderstanding between her and the boss, and the customers. This leads to her not knowing the German word for “jar” and her trying to break one in frustration but the jar rolls along the floor and still doesn’t break. So that “[a]t that moment, more than ever, I despise the Germans’ world-famous quality-assurance standards” (p. 91). Her constant movement is to avoid the pressure to perform a pejorative and menial task, which has been forced upon her both because of her Argentinian heritage and her gender. Without this language ability she comes across to all Germans as someone with no inner life. She pushes back as, “my tongue, as we all know, was still asleep in its Spanish dream” (pp. 62-63).

What she seems to be searching for is a community that is based on recognition. A place where the people recognise and accept her. Europe does not recognise her according to this logic. And she can not find it at home in Argentina either. In the wilds of Patagonia her identity exists in a state of perpetual flux as she is not even sure if she herself was not the one who used the axe to hack apart her lover Marco and Marco’s mother, Lady Dupin. Perhaps she is guilty, perhaps not. She certainly, like Ivan Karamazov, feels an ideological guilt for the crime that occured. Saying goodbye is her ideology, even if it means accommodating the death of her lover to render this scene impossible for her to re-enter, either in time or space. She accepts no responsibility for any one and she asks for none in return. She will never have the community that she longs for as she accepts that she has nothing in common with anyone else. She barely has anything in common with herself. She only accepts that her lover has become truly unknown when he can only become expressed in the past-tense:

“I never saw any of them again. I never spoke to any of them again, never replied to any of   their messages. I put an end to them all, I didn’t leave a trace, didn’t feel a trace of remorse. There are all my crimes: all my goodbyes” (p. 140).

All My Goodbyes is an astonishing novel. It situates itself to the novel and to Europe with a level of sophistication that is, sometimes, lacking in Australian fiction. The translation of this novel by Giramondo contributes to the Australian literary ecosphere, and is to be celebrated. Particular mention must go to the translator, Alice Whitmore. Whitmore has successfully shepherded this novel from its Spanish language mode into an English language mode while maintaining the prose’s Spanish language strangeness. She does this by maintaining a near pitch-perfect tone throughout.

Mosaics from the Map

by Robyn Rowland

ISBN: 978-1-907682-62-9

Doire Press

Reviewed by GEOFF PAGE

In 2015, Robyn Rowland published two books which seemed to be career-defining moments for her. They were the bilingual This Intimate War: Gallipoli/Chanakkale 1915 (originally with Five Island Press in Melbourne and now republished by Spinifex) and Line of Drift (with Doire Press in Galway). Between them they illustrated Rowland’s long and developing involvement with Ireland and Turkey as well as with her native Australia. Her new book, Mosaics from the Map, again from Doire Press in Galway, continues these themes and operates at the same high level of achievement.

It also reminds us of Rowland’s considerable and growing dexterity with the demands of the long poem and of poetic sequences. Both of the two 2015 books had several such poems and sequences and this one has even more. By “long” I mean poems of two or three pages plus, as opposed to half-page or one-page lyrics — or sonnets, for that matter. The risks of long poems, of course, are that they lose compression, one of poetry’s key ingredients, and can tend towards prose (even if written in strict metre). In Mosaics from the Map, Rowland has avoided these problems rather well.

There are several strategies by which she manages this, of which the most important are probably the depth of her research and her passionate identification with the subject matter. Her poems here are long because there is so much that the poet’s readers need to be aware of in order to have a sufficient comprehension of the issue.

Mosaics from the Map is divided into four sections: an introductory miscellany with several poems set in Turkey; a second biographical one focussed on the aviators Alcock and Brown; a third mainly set in Bosnia during the 1990s wars and a fourth with Australian and family references.

It may be instructive to look at one long poem from each section. The first we encounter is “Titanic — A Very Modern Story”. It’s made up of nine long-line stanzas re-telling the now well-known story of the famous 1912 shipwreck. It begins with an epigraph from a survivor, Jack B. Thayer, who surmised that “the world of today awoke April 15th, 1912.”

Rowland cleverly begins every stanza with a short word or phrase to illustrate this modernity — and to emphasise all the elements of the story which have kept it relevant. “It has heroics,” she begins and goes on to talk of the radio operator, Jack Phillips, “in the Marconi wireless room /without windows” who “kept sending signals in perfect Morse”.

“It’s ‘local’,” Rowland continues in stanza two and talks about the Irish element in the story, particularly a survivor’s marriage “smothered in a deathly hush”, a husband now “shamed for his survival, /yet he’d seen so many off safe and who wouldn’t jump for a boat?”

Rowland continues in this way in subsequent stanzas covering the international dimension to the story, the role of coincidence, the role of greed in the taking of excessive risks, the sheer incompetence (“no binoculars in the crows’ nest so only fifty seconds between spotting the berg and hitting it”), the weather of the night itself (“sky jammed tight with an excess of stars”), the immediate aftermath (the rescue ship, the “Carpathian”, “a ship of widows”) and the longer-term, rather trivialising aftermath (the heroic band-leaders’ violin selling in 2013 for “one million pounds”).

Rowland’s metre, an important part of the poem, is somewhere between iambic or trochaic hexameter and free verse, an intriguing decision which risks clumsiness but in fact maintains a kind of continuity while keeping the reader’s ear guessing.

The whole poem is clearly “documentary” in intent, e.g. the facts in the Carpathia’s “loading 710 left alive from the 2200 who boarded”, and yet it’s also shot through with lyrically descriptive, if disturbing, passages such as: “The dead clustered in their / white lifebelts like flapping seagull wings in the lapping waves”. The Titanic story has been often told, usually in prose and at much greater length, but Rowland has made the event even more poignant, while at the same time somehow foreshadowing the wastage that was to occur in the conflict about to begin just over two years later.

Mosaic’s second section, “Sky Gladiatorials” is a sequence of six poems about the careers of the aviators Captain John Alcock and Lieutenant Arthur Whitten Brown who made their reputation in World War I and then became the first to fly across the Atlantic non-stop in 1919.

The sequence starts, characteristically for Rowland who is always keen to look beyond the “received” imperial account of events, with her poem, “The Other Side of Things”. It begins from Alcock’s point of view in 1917 as he flies over Constantinople, “A city lovely in both poetry and Churchill’s dreams …” The rest is from the viewpoint of the nine-year old Turkish boy, Irfan Orga, who looks up to see “three planes appear. / He never saw such a thing, wings and whirring. He wishes / he could fly.” Then we are shown the “cartloads of lolling heads, limbs akimbo, disconnected flailing stumps and the surprised wounded …” The poem ends with a resonant couplet: “This was the first bomb. They meant to hit the war office but the bombs went wide, a man said. No-one believed him.”

The next poem in the sequence, “High, Higher: Alcock” begins again from Alcock’s point of view above the “mat of minarets / and domes” and goes on to describe the rest of his and Brown’s war experience, “knowing we made a difference, new gladiators of the sky. /We’ll win. This war will end all wars. Never again.” The irony is more than a little touching.

The third poem, “Dead Reckoning: Brown” is from Brown’s point of view above the Atlantic in 1919 and looks back over the terrors and hardships of the war, including “Fourteen months in a German camp in Claustal”. Lines like this may not sound poetic in themselves but in context they work perfectly well. It is one of Rowland’s persistent achievements that she can manage such combinations of the flat and the lyrical.

The last two poems in the sequence are concerned with Brown’s continuing PTSD (though the poet doesn’t call it that), especially during World War II in which his son, Lieutenant “Buster” Whitten-Brown was shot down on June 5/6, 1944.

Part three of Mosaics from the Map consists entirely of “War. What is it Good For?”, a nine-poem sequence set in mainly in Sarajevo in the wars of the 1990s. It emphasises the pointlessness of the conflict, the internal opposition in Belgrade to the war and its unrelenting savagery. The sequence is varied and hard to summarise but its tone and texture can be sampled perhaps with a few lines from the viewpoint of a woman in Sarajevo after the widely-reported bread queue massacre on May 27, 1992. “The knee is smooth, lovely in its meniscus-shaped curve, / thigh pale from lack of sunshine close to the torso, / and the foot, its cardboard tag, five toes pointing towards / the sun, surprised almost, caught off guard.”

It is this kind of evocative detail which takes Rowland’s apparently “political” poetry well beyond the limitations of partisanship. Although her long lines often have a rhetorical feel they are far removed from the self-interested rhetoric of the third-rate politicians who bring such damage about.

The final section of Mosaics from the Map is dominated by the sequence, “Touchstones”, in which Rowland re-creates the lives of some of her Irish ancestors, particularly her great great-grandmother, Annie Harding Lambert (1880- 1957), and the successive ravages inflicted on them by scarlet fever or scarlatina, as it was sometimes called. It’s an extended familial tribute that quite a few Australian poets (including this reviewer) have felt compelled to make over the years. And it’s always interesting to see where the emphasis is put, which maternal or paternal line is traced back and which ignored or deferred.

The “Touchstones” sequence begins with “Family Catalogue August 1880” which delineates the social and political context in Ireland when Annie was born. Several of the subsequent poems are written in the voice of Annie. The eighth poem is in the voice of her son, John, and remembers that his mother “preferred being close to a harbour, a beach, / or a river. Said her soul always rested near moving water. // On her papers they call her settler. But she never was.”

Rowland’s admiration for her great great-grandmother — and the resilience she embodied — is clear and the poet’s sustained portrait of her times more than convincing.

Significantly, in the sequence’s ninth poem, “Postscript”, Rowland makes her divided feelings for Ireland and Australia quite explicit: “I am everywhere and nowhere, longing pulses / inside the green whispering in my blood. Belonging, exile — the seesaw. / That word home — it draws itself out like a skewer.”
 
 
GEOFF PAGE is an award-winning poet and critic. His most recent collection is Hard Horizons, 2017. He edited The Best Australian Poems (2014 and 2015)

Dark Matters

by Susan Hawthorne

Spinifex

ISBN: 9781925581089

Reviewed by MEL O’CONNOR

In counterpoint to how these histories have been silenced and extinguished, Susan Hawthorne, in Dark Matters, testifies to the horrifying reality of abduction and torture of lesbians—especially outspoken activist lesbians, such as Kate, the central character of the text.

This is not a quiet novel, of implications and subtlety: it is designed to upset, as human rights have been historically upset by happenings such as these. Kate is stolen from her home by men who brutalise her, in particular by attempting to ‘convert’ her to heterosexuality. Only after Kate’s death are her fragmented writings and journals from the time of her incarceration discovered by her niece, Desi, who attempts to organise and interpret them for a university research project. Dark Matters as a work lies somewhere between the research project Desi creates, and a charter of Desi’s reflections on Kate’s experiences.

Of the many notable features of Dark Matters, Hawthorne’s style is perhaps the most immediate: from her lack of descriptors on dialogue to the visceral empathy she evokes in her practised prose-poetic voice, her expertise is ever-present.  In some ways, the text wars between genres—prose poetry, horror, and speculative fiction all have elements present—but it is poetry that the work most resounds with. Hawthorne employs recurrent symbols, and recalls found artefact poems, such as poetry in lines running back and forth (p5), stream-of-consciousness rhapsodising (p13), and free associative Latin, where the language runs as rampant as the wolf Kate envisions herself as. In step with prose poetry, the use of space is deliberately selective; Dark Matters swims, framing fragments as verse. When Kate’s poetry—or Desi’s found artefacts—occupy the work, they dance down the page (p29):

dance dance dance
             dance the trata in your
             red white and black garb
             dive down dive down
             dive underground

           dance dance dance
                    dance the trata
                    for bread and pomegranate

                         dance as we have
                            for millennia
                            as is carved
                            on the tomb
                         ` of the dancing women

                           dance a zigzag
                                   dance the weave of a basket
                                   dance the stars and spirals
                                                      inwards
                                                      outwards

The writing is alive and evocative—a distinctly lesbian call to motion in the style of prose poetry.

Further supporting a prose poetic angle, Hawthorne’s leitmotifs are hypnotising, not least of them the character of Mercedes. Kate’s lover before she was abducted, Mercedes’s perspective bookends the work, and indeed, she is a beacon throughout the text—“I will fill my mind with Mercedes” (p18), writes Kate, her “Querida Mercedes” (p37)—an icon of desire and desperation from page to page. This memory-Mercedes secures Kate to her identity, even throughout her torture, because Mercedes is concrete proof of Kate’s identity as a lesbian—something her abductors are desperate to erase and destroy.

Another leitmotif is the figure of the eagle. Tellingly, it is from Mercedes’s point of view that this creature is first seen—“My eagle swoops into view” (p1)—but it is Kate who recalls this eagle in her trauma, imagining her “arms growing wings. Wings of heavy metal … Too frail to fly” (p17). Throughout her incarceration, Kate grapples for symbols such as this, coding them into her being. This is her means to survive amidst the nightmare of her life (p50):

Aaaagh. I vomit. I shake./I shake and I sprout feathers. I take off and soar: a wedge-tailed eagle. I leave this horror behind.

There is a visceral empathy embedded deep in this, as there is through all of the work. Usually, it stems from Desi’s ignorance as a narrator. When Desi writes “This page fell out and I can’t figure out where it goes” (p114), or “I wish Kate had been a Virgo because then I’d have some chance of following her schema” (p20), it is heartbreaking—Kate is literally silenced by Desi’s lack of knowledge or understanding, symbolic of how lesbians throughout history have been silenced by a lack of knowledge or understanding on a much larger scale. But here in particular, the empathy for Kate is born out of a sense of injustice to her situation, and a sympathy to her desperate wish for escapism.

The eagle resounds both forward and behind in the text, tethered to Kate’s “Codex psapphistra” (p148): Desi writes, “She describes a range of animals from a lesbian-centric point of view. She is creating a universe in which lesbian symbols lie at the centre” (p148). Kate—by her Greek name, Ekaterina—moors herself to her Greek history. Because of this, Dark Matters bleeds with heavy Greek interplay. Kate’s obsession with the Muses and with Psappha may unmoor a reader not well-versed in this history. However, as Kate is herself unmoored, this decision is deliberate; the impact is viscerally sympathetic, rather than alienating.

Similarly, Kate, her physical and emotional boundaries under assault, wars between ‘micro’ and ‘macro’ attitudes to her situation—the micro, an intrinsic desperation for herself alone, and the macro, a selfless agony for the thousands of lesbians like her. On a personal level, she writes: “There I am, still strapped in, covered by their hate. I cry and cry” (p51)—on a societal level, she writes: “I cry. I cry for all. For all the women. For all the lesbians” (p52). For Kate, this is another means of survival—she reminds herself of the bigger picture in order to stay strong and silent, refusing to give information to her abductors, knowing how much is at stake. She is painfully aware of how much her incarceration represents (pp109-112):

The boundaries between my flesh and theirs. They have violated those boundaries. They have violated me. And through me, as they know, they are symbolically violating every other lesbian on this planet … Lines of self. Lines of the other. They rip through the lines.

Inevitably, little by little, her resolve crumbles, her psyche under attack by these invasions. Lines relating to her torture, for example, that her captors “Took [her] hands and strapped [her] to the … I cannot call it a bed” (p47, author’s ellipses), are later matched by lines recalling her time in Greece before she was incarcerated, such as “for this narrow space could not be called a bed” (p59). This second line is provided as Kate settles down with a foreign paramour. The striking similarities in expression and language between these quotes evidence how the horrors of Kate’s incarceration have contaminated her memory. The reader sees her trauma, achingly, begin to corrupt her experience of significant lesbian encounters through life, buckling her sense of lesbian identity.

To match how the boundaries of Kate’s identity are compromised and attacked, her sense of self unmoored, Hawthorne provides a ‘shredded’ story. Desi struggles to piece together the narrative—“What we have left are fragments” (p3); “It’s a giant jigsaw” (p35)—just as Kate struggles to piece together a psychic defence—“I forget who I was, who I might have been” (p169); “I have died and died and died” (p173). This wounded sense of self and community is what makes the work so unforgettable.

In a rare moment of awareness from Desi, she writes: “Dark matter is almost imperceptible. Invisible and yet it takes up space. Like a lesbian in a room full of people” (p160). Hawthorne depicts a lesbian under siege, her personhood, psychic, and personal boundaries all compromised by systems which cannot accept her. Personally, she is attacked by abduction and assault. Societally, she is diminished through prejudice and inequality. The resulting text is something profoundly important. Dark Matters is a war-cry. It is a declaration of personhood and reclamation of identity from the traumas induced by these dark histories.

MEL O’CONNOR is a Professional and Creative Writing graduate from Deakin University. Her experience is in communications and administration. She is working on her novella, a literary fiction about the animal rights scene.

Renga: 100 Poems

by John Kinsella and Paul Kane

GloriaSMH

Reviewed by SIOBHAN HODGE

Renga: 100 Poems is a collection over ten years in the making. Paul Kane and John Kinsella, writing in exchange via the Japanese renga form, have compiled a long-running poetic dialogue – unlike traditional renga, each poem is individually written and a response then followed by the other poet. In his foreword, Kane states:

We each had a long history with the other’s country and we both wrote out of a sense of being firmly placed in our respective locales. Moreover, many of our interests coincided, particularly in aesthetic and environmental concerns. Why not continue an hour’s conversation over an extended period – and in verse? (iv)

Despite this light-hearted opening, consistently at the forefront of these exchanges is a deep concern for the environment, documenting anxieties and innate senses of responsibility to the world. For example, one pair features a biting criticism of mining in Pennsylvania and Western Australia:        

Atop one ridge in
central Pennsylvania
        geologic waves
roll steeply, starkly away.
Coal country, that first black gold.

        Miners digging graves.
Here, not meth but methane kills,
        as an oil rig.
Hard country, anthracite black,
with pastel clouds, slate blue sky… (Kane, “Renga 27”)

Kinsella’s reply situates similar concerns in Western Australia:

There’s a fair chance
that one of our neighbours
is furtively mining away
the valley wall: the scraping
and hammering, back and forth
of a front-end loader. His trucks
that weigh heavy on axles,
frequent departures.

…When the valley wall gives
way, the shockwaves will spread
for acres. We’ll all hear The Fall.
But hearing is selective still:
what we hear to the point of pain
others cancel out with paeans
of praise. Who’d refuse God
in God’s own country? (Kinsella, “Renga 28”)

For both poets, the collection is a means of consolidating frustrations regarding destruction of the natural world, but the text is not exclusively eco-critical. Rather, this is an organic discussion – political and philosophical – in a revised form of epistolary poetics. This is also a collection preoccupied (in the most playful sense of the word) with the many meanings of “home”. The poetic dialogue, labelled a contribution to the pastoral eclogue genre by Chris Wallace-Crabbe in his blurb for the book, Kane and Kinsella engage in a rhythmic dialogue that doesn’t stray far from the importance of situatedness in the natural and human-impacted world. In “Renga 3”, Kane introduces some of these ruminations:

So the poet asks
“Where do we find ourselves?” as
        if seeking a place
of knowing could conjugate
“to be.” I am is future
        tense when now recedes.
Yet think of the paperbarks
        along the Murray
wetlands, how they need an ebb
in spring floods to grow young trees:
        alternation rules.
That’s why now is moment by
        moment, and why I
find myself in your country
each year, like a second home.

By the time the collection reaches “Renga 78”, notions of home have become saturated, as shown in Kinsella’s response:

Homecoming homebound homebody homebred.
Homeland homemaker homeomorphic homeless.
Homebuilt homeowner homesteader homeostatic.
Homeschooled homework homer homeland.
Homespun homemade homebrewed homeopathic.
        Whatever the case, the changing light.
        Whatever the case, homewardbound.

Each poem is a means of traversing geographic and philosophical distance, but connection is also multi-faceted, growing and evolving, and linked with the speakers’ abilities to traverse these spaces. Experiences of others, including Aboriginal people, are highlighted but not co-opted. Renga is an accumulation of acknowledgements of outrages – against people and the environment – accompanied by ruminations on the personal experiences of both poets, but the focus is primarily on the voices and experiences of the poets themselves. Within these layers of observation neither thought nor experience are being colonised. This is a deeply critical collection, concerned with the impacts of pollution, environmental destruction and decay.

Why select the renga form for a collection of this nature? There is no detailed discussion of why this traditional collaborative Japanese poetic form has been selected, beyond Kane’s definition: “a single entity built by accretion, like limestone, and a virtual fossil record of the multiple procedures used to construct it” (a more comprehensive and generous assessment of the form than his earlier description of it as “the little brute”!) (vi).  Renga are constructed by several poets working together. Kane adheres more firmly to the form than Kinsella, who splices in a lyrical approach. Stanzas are traditionally written by alternating poets, inspired by the one preceding, but Kane and Kinsella opt instead to present individual, entire renga. A discussion of motivations for this style of adaptation, as well as poems that reflected on the impact of the renga on their dialogue and the environments they discuss, would have been welcome, particularly in this collection’s depictions of emblems of colonialism and environmental exploitation. The decision to select a traditional Japanese poetic form is situated firmly in the opportunities offered by the form, regrettably missed is the opportunity to open discussion of the historical and cultural significances of the form itself, as well as the opportunity to reflect on the implications of this act of cross-cultural world literature, a contribution which would have well suited the thematic focus of the collection. Timothy Clark observes that:

In Japan, a renga was a collective poem written according to a great number of apparently arbitrary rules, which each participant adopted from his predecessor… Renga is not primarily a poem or a theory of poetry, neither is it quite criticism; it is a situation, an experiment with the nature of poetry and language (32).

Clark surmises that the poetic form is an incorporation of Buddhist conceptions of the dissolution of the ego, reflected in “the subversion that Renga brings to any thought of property in relation to a poet’s voice” (33). However, in Renga: 100 Poems, the author of each piece is acknowledged via initials in each piece’s title. There is no subsuming of authorial agency or identity, despite what the traditional form would typically entail.

For a collection preoccupied with communicating over distance, acknowledging room for empathy without complete mirroring of experience, the renga is an ideal means of conveyance, but the form gives room to both what can and cannot be shared. In “Renga 61-67” Kane and Kinsella highlight on-going issues of Aboriginal disenfranchisement in Australia, both poets employing a series of black-white binaries deeply critical of colonialism’s “…roll call / of slavery and land claims” (Renga 66, Kinsella). However, there are no directly Aboriginal voices in this collection; Kane and Kinsella acknowledge but cannot speak for these experiences. Rather, this is a vital discussion saved for another 2018 publication, False Claims of Colonial Thieves, a superb poetic treatise and dialogue between Charmaine Papertalk-Green and John Kinsella. In Renga, Kane and Kinsella echo an earlier non-Japanese interpretation of the renga as a form that constructs layers of tension and selves, demonstrated in the 1971 collection Renga: A Chain of Poems,  a multi-lingual exercise by Octazio Paz, Edoardo Sanguineti, Charles Tomlinson and Jacques Roubaud. In this renga collection, Paz, Sanguineti, Tomlinson and Rombaud presented “multiple voices, multiple selves”, embodying Paz’s notion of “the transient, unstable, relativistic self” (Starrs, 280). Despite adhering to the conventions of the collective, communal form, both texts do not render authors’ voices anonymous. Unlike the 1971 Renga however, Kane and Kinsella’s Renga moves to thematically bridge gaps, rather than emphasise them, while also strictly avoiding any appropriation of voice.

Kane and Kinsella’s poetic responses conversationally engage with the preceding piece before taking the introduced theme in a new direction. Among the shared concerns are mortality, environmental destruction, war, shifting between and intricately connecting the personal, political and philosophical. One recurring image is fire, as in Paul Kane’s “Renga 49”:

For two days we lived
        in a stinging haze of smoke
as the Gippsland fires
        far away burned beyond reach.
        Smoke puts everyone on edge.

The plan: fight or flight? –
        that atavistic question.
The Ararat fires
        ended on our mountain,
        the one house given to flames.

Our Warwick neighbor,
        Burning off the adjacent
field one autumn, lost
        control of the blaze in wind:
        we were blackened fighting it.

In Victoria,
        it’s different: fire is fiercer,
and we’d likely flee.
        A house I can rebuild, but
        a life? I want my own death.

And yet, we’ve ceded
        so much to indifferency,
slowly poisoning
        our world – no, the world – ourselves,
        blackening the days ahead.

Wounded in his den,
        the baited badger will kill
a dog. The snarling,
        the cries, are all we’ll hear when
        we, in turn, are run to ground.

Kinsella’s “Renga 50” compounds anecdotes, voices and shared experiences, coupled with grim warning. For both poets, the role of preserving place is a constant and communal threat:

The restart of the fire season:
        a mushroom cloud on the first
horizon – the penultimate –
        an edge not far enough for
        comfort. From his fire-tower

my great-grandfather scanned
        the sea of trees for that wisp:
that leader, sign you can never
        over-read. I went there
        as a child and did the same.

I barely remember. Maybe
        he was already dead. I’ve been
talking fire all day long: poets
         writing it, neighbours discussing
        the risks, all our preparedness.

The firebreaks are done.
        Scraped and scraped again,
looking for that second layer,
        that second safer layer.
        It never reveals itself.

Mostly, it’s the smell: weird
        Signs of noses cocked to the air,
like some unwholesome fetish.
        It’s so dry that ‘dust to dust’
        would seem our mantra.

But it’s not. ‘Fire to fire’,
        ‘fire to fire’ is all we utter
when the water-tanks are low
        and flood (should we be smitten)
        could only fill the valley

enough to lap at the foot
        of our place.

Urgency and threat to human life, paired with suspicion of both method and motivation, permeates both works. The two poems are emblematic of the complex relationship Kane and Kinsella have adopted with the renga form; this is a collaborative poetics in politics, embracing the traditional symbolic theory of no distinct hierarchy of voice, communal assumption of responsibility by the two speakers, rather than perfect mirroring of traditional syllabic structure. But this is also a form that intrinsically excludes voices and control; the lead poet sets the tone and theme, and the later poets must follow. Absent voices  – the colonised people of the countries flagged in the collection, lands, animals – are excluded from this hierarchy by nature of the form, but not with intent to oppress. However, moves are taken ensure that these experiences are not excluded, as in Kinsella’s “Renga 64”:

… Today, the sky is wheatbelt blue.
The still leafless trees shimmer a silver-green

Of what’s to come. Premonitions.
Though it’s all black and white.

I grew up with black and white television.
We don’t watch television now

Which is said to be in colour. As is Nature.
I’ve contributed to this knowledge. This rumour.

A sense of personal culpability is incorporated into this reflection of marginalised binaries, though no direct voice is given to those oppressed groups. Throughout the collection there is pressure to revise oppressive angles, recognising destruction and destructive tendencies wherever they may appear.   

In “Echolocations: An Afterword”, Kinsella addresses the thematic concerns of place, mutual concern, co-writing, and the ethics of belonging. This is a collection of “commonality amidst the difference” as “Words crosstalk, lines subscript, and yet each line is ‘intact’, a moment in a place sent across a vast distance” but not without anxieties (115). Selection of the renga style for this long-running dialogue across continents brings to the forefront the importance of shared experience rather than subsumed voice, and the need to make meaningful connection.
 
 
References

Timothy Clark, “”Renga”: Multi-Lingual Poetry and Questions of Place”, SubStance
Vol. 21, No. 2, Issue 68 (1992), pp. 32-45.
Roy Starrs, “Renga: A European Poem and its Japanese Model”, Comparative Literature Studies, Vol. 54, No. 2 (2017), pp. 275-304.
 
 
SIOBHAN HODGE has a Ph.D. in English literature, her thesis focused on feminist traditions in translating Sappho’s poetry. She had critical and creative works published in a range of places, including The Fremantle Press Anthology of Western Australian Poetry, Westerly, Southerly, Cordite, Plumwood Mountain, and Peril. She has won several poetry awards, including the Kalang Eco-Poetry Award in 2017, 2015 Patricia Hackett Award for poetry. Her new chapbook, Justice for Romeo, is available through Cordite Books.