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Author: mascara

Billy Sing: A failed Transnational Hero by Beibei Chen

Written by mascara on May 25, 2018. Posted in Reviews/Essays.

Billy Sing

by Ouyang Yu

Transit Lounge

ISBN: 978-0-9953594-4-4

Reviewed by BEIBEI CHEN
 
 
Born in 1886 to an English mother and Chinese father, William ‘Billy’ Sing and his two sisters were brought up in Clermont and Proserpine, in a rural part of Queensland. Sing’s father was a drover and his grandfather was a Shanghai gold digger. Sing was a sniper of renown during Gallipoli war, his life has been remembered in both literary works, social media and an ABC TV mini-series, The Legend of Billy Sing. However, Billy’s Chinese ancestry, failed marriage and haunted war memories had not been fictionalized until Ouyang Yu published his novel, Billy Sing, in 2016.

It is probably the diverse racial perspectives and rich cross-cultural experience that drive Ouyang to write on this well-known but complicated historical figure and produce a new version. The story of Billy Sing in Ouyang’s eye is penetrating and darker, unsettling a renowned Chinese Australian sniper’s legendary but troubled life. In a sense, as a gifted writer, Ouyang flips the other side of Billy’s coin and finds the undiscovered part of him as a tragic heroic figure. Billy Sing is arguably Ouyang’s most successful literary novel. It is noteworthy for its prose-like narration, the bold imagination of Billy Sing’s private life and the way it illuminates themes of transnational identity and memory.

In Billy Sing, Ouyang utilises the Chinese cultural perception of “being a hero.” In Chinese culture, a hero has two faces: being honoured and worshipped in front of the public and being miserable and troubled in the private life. Billy Sing has the two faces and since many of the records have caught the first face, Ouyang smartly chooses to focus on the second.

The novel begins with a conflicting and unpleasant conversation indicating the troubled identity of Billy Sing: his friend Trevor mocked him by reciting “Oh, you cheap Chinaman, Chow, Pong, Ching-Chong, Choo-Choo, Cha-Cha, Wah-Wah, half-caste, mixed blood…” (13). Though historians may argue that there is no record of Billy Sing in history being bullied by white Australians the incident makes for a provocative fictional beginning for the novel. From the very first page, Billy’s identity is constantly at stake throughout the whole book.

Ouyang portrays Billy as a boy living in two conflicting cultures even as he grows up in Australia. As a teenager, Billy is deeply influenced by his father, a Chinese man who is always aware of the cultural dilemma of Chinese Australians, especially the second-generation migrants: “You were born of two truly incompatible cultures and languages, as incompatible as fire and water.” (19) Carrying life on with a doubled identity, Billy grows up to be a sensitive and confused self: “I constantly heard a voice saying to me: ‘You are no good mate. You are neither here nor there. You should have been born elsewhere. You were wrongly born. You were born wrong’ ” . (31)

Regarding himself as a “wrong” person does make young Billy feel hyper-sensitive and easily provoked. Tired of dealing with the angry moods triggered by drinking or gambling, he decides to enlist as a soldier, to fight for his adopted country. However, though regarding himself as an Australian, some of his fellow people despise him for his mixed blood. A Chinese saying goes like this: “Wars produce heroes”. Billy surely deserves the title of “hero” for his service in Gallipoli for Australia, his “father country”. But Ouyang digs further and darker: what war brings to Billy is endless trauma and haunted memories; memories which eventually bury Billy together with other soldiers in the grave of loneliness. After the war, Billy has to admit that “to save myself and my comrades, I had to kill and kill well.” (79) According to Sing’s inner monologue, it is obvious that his attitude towards war is quite negative: “We are all from elsewhere, originally at least, and are here killing total strangers who did nothing wrong”. (80) In the novel, his brave deeds of shooting enemies do not bring him pride. Instead, he thinks he is murdering innocent people — a killer rather than a hero. While history remembers Billy Sing as a war hero, this book challenges the notion of nationalism and portrays Billy as a person who detests war and death. He mocks himself: “my life had always been full of death, and success. Death and Success. Death Success. Deathuccess.”(99). Medals do not symbolize national pride, rather, they remind Billy of all the trauma haunting his subconscious.

The nightmare-like memories of killing, fighting and burying constantly challenge Billy’s after-war life and his perception of Australia is also transformed. Being a Chinese Australian, discriminated at by his peers, Billy cannot form a permanent sense of belonging, but during the war, his attitude is transformed: “If I could, I’d shoot the lot, end the war and pack up for home.” (82) He also has nostalgia towards the “kangaroo country” and the ideal life would be “shooting the roos and eating them, enjoying the waters when they rose each summer”. ( 91) Ouyang naturally merges Australian vernacular into the story of a marginalised Australian soldier. Numerous complex sentences are used to describe Australian bush scenes; killing kangaroos becomes a warm-hearted dream job, adding this novel more Australian flavour compared to Ouyang Yu’s other novels such as The English Class or The Eastern Slope Chronicle.

But when it comes to Billy going back with his wife Fenella, the plot is twisted by another difficult knot: Fenella is from ‘‘a family of non-blue-blooded Scots’’ and is reluctant to move to “the convicts’ country” even it is also a white world peopled with Anglo-Celtics. Ouyang’s thematic argument is that no country is free of discrimination simply because humans like to create divisions that exclude some people from belonging. At each occasion when Billy may find a “closure” to the ambivalence of his “shaky identity”, he is challenged again by his wife’s unwillingness to live in Australia. For a revenant like Billy, there is never an easy “going back”, because while battling with the uneasiness of being surrounded by ‘‘battle-worn and battle-maimed soldiers’’, he has another battle of living with a wife not keen on Australia.

On the subject of “home”, Billy has a fierce argument with Fenella: he regards Australia as a place where he has “peace and quiet” but to Fenella, Scotland is her home and “Nothing Australian is comparable”. (119) Billy feels shocked by Fenella’s denial of living in Australia and he also realises that to assimilate Fenella into an “Aussie” identity is nearly impossible. Billy is torn between the choice of returning to Europe where old memories haunt and harass him or to let Fenella go and he carries on with his life in “homeland”. Eventually, Billy Sing realises that his identity as a war hero cannot earn the respect of his wife; that for Fenella, the received stereotype of a degraded Australia cannot be easily shaken.

By unsettling the transnational marriage between a war hero and a Scottish girl with excessive national pride, Ouyang Yu transposes the issues of “national identity” to a world context and makes readers think about how seemingly straightforward questions. Though it is a slim novel of only one hundred and thirty five pages, Billy Sing certainly rediscovers a remote history and offers dynamic energy and tragic beauty. As a Chinese Australian male writer Yu’s voice helps to retrieve from the archives a delicate and lonely soul. Billy Sing, considered as a “heroic figure” is doomed to be a lonely man “persisting in his solitude”.

By indications in this book, Ouyang drives readers to predict that Billy Sing, a “killer”, “a murderer” and a “hero” has to live in the endless trauma and solitude, which leads to the ending of his tragic death in his beloved “country” and “home”. The reasons are obviously complicated: individual identity crisis, unhappy marriage, and racial discrimination. But fortunately, in this book, we sense humanity, and we sense the power of writing: to change history into a touching “his ‘story’”.

 
 
BEIBEI CHEN is currently working at Eastern China Normal University in Shanghai. She obtained her Ph.D degree from UNSW, Australia in 2015. She is a poet, literary critic and translator.

Jennifer Mackenzie reviews Bella Li’s Argosy and Lost Lake

Written by mascara on May 25, 2018. Posted in Reviews/Essays.

Argosy and Lost Lake

by Bella Li

ISBN 978-1-922181-96-1
ISBN 978-1-925735-18-5

Vagabond Press

Reviewed by JENNIFER MACKENZIE

A publishing highlight of 2017 was the appearance of Bella Li’s Argosy, and this has been followed by the recent release of Lost Lake. By introducing an intriguing blend of collage, photography and sparely-written text, the poet has provoked, as well as enthralling us with her original poetics, a fresh way of looking back on some poetic traditions, particularly that of Surrealism. Although a number of responses present themselves for discussion, I shall focus on what is a dominant focus in both collections, that of the journey. With the theme of voyages or journeys reverberating through Argosy and Lost Lake, they reveal themselves as an imminence, in which all images and words surrender into an inevitable beauty.

It is apt indeed that the principle poem in Argosy, Perouse, ou, Une semaine de disparitions, connect the maritime expeditions of La Perouse to the collage novels of Max Ernst, these being Une semaine de bonte: A Surrealist Novel in Collage, and The Hundred Headless Women. The voyages of such explorers as La Perouse and Bougainville were a major inspiration for several French writers in the nineteenth and twentieth centuries. In prose, Balzac, Flaubert and Proust come to mind, and in poetry the influence appears considerable when we think particularly of Gautier, Segalen, Baudelaire and Rimbaud. Rimbaud, with his notorious and basically unrecorded escapade to the then Netherlands East Indies provided in A Season in Hell, a picture of the endgame in colonial domination : ‘ the white men are coming. Now we must submit to baptism, wearing clothes, and work’(1)

Apollinaire, one of Li’s sources in Argosy, coined the term ‘Surrealism’ in regard to the ballet Parade, created for the Ballets Russes in 1917 by Massine, Cocteau, Picasso and Satie, a ballet in which disruption of surfaces and sound, with noise-making instruments and cardboard costumes, confounded aesthetic expectations. As Surrealism developed in both literature and art, Max Ernst led the way with his collages, so integral to the method in Argosy. The artist described the technique as ‘the systematic exploitation of the accidentally or artificially provoked encounter of two or more foreign realities…[to bring about]…a hallucinatory succession of contradicting images’.(2)

What Li has achieved in Argosy is quite remarkable. In La Perouse, the voyage is depicted as hallucinatory, a collage of surrealist dreamscapes, of oceanic encounters which liberate the ekphrastic from its often reproductive impetus. With language taken out of its temporality,  an archaic texture creates its own spatial idea and its own measure. At this point, I would like to refer to Ernst’s technique of frottage, where as the artist stated ‘the boundaries between the so-called inner world and the outer world became increasingly blurred’. There is a sense in the restraint in the use of language in Argosy, in the deft rise and fall of the poetic line, in the masterly control of phrase and silence, that the measure itself delineates erasure, delineates trace.

It is fascinating to see in Argosy how collage and text situate each other, not as complimentary or elucidatory, but as transforming the actual experience of reading and of viewing into the poetic intention. The collages, with their gargantuanism, their contrast between the splendour of the discovered and the sometimes small scale of the discovering, the extensive use the avian directly inspired by Ernst, play on the monstrosity of the quotidian. To quote from the text seems something of a travesty, considering how well the sections knit together, but in  jeudi: Les reves we are immersed in the experience of the speaker, the measured voice containing a flourish of an image, Our man at the helm, broad-shouldered and in love, suggestive of other worlds that remain unspoken, or only hinted at:

This day we sail, dividing the waters from the heavens. I am
my own guide, the steerage, the hull. This day by sea, by the
sea we lie. Sharp peaks divided, three by two by three. Our
man at the helm, broad-shouldered and in love, saying: This
but not this. This, but not this.

You ford the stream. You move. (52)

And in the final text section, samedi: Les incendies, there is a sense of fatality and an acceptance at the end of a journey which always portended the abyss:

In the perilous passage, prepare for death.
Though tempests rage, take shelter in fate.
At every harbour, seek solitude and rest.
Through sickness and sorrow, find solace in faith.
On days of fine weather, breathe and drift.
When evening comes, set fire to the ships.

Everything lies. Everything lies to live.(84)

Before that, in what is one of the most telling passages in this section, we find La Perouse, with his companion M. Lavaux, looking down into what seems the very essence, or being, of the world:

Morning on the dim shore, hours coming and going. We step
down, M. Lavaux and I, to the water’s edge. Mirror of the
world as it dips and slides from view, wave beginning its slow
path to infinity. There we discover the first of the objects, of
which I will relate only. The barest details, ashen. Though the
day will begin and begin again. Though we meet, he and I, with
no sign of land. Circling, in the upward draughts, a curious
sight: Buteo buteo. Buzzards, so far south.(79)

This seems to be a good point at which to turn to Lost Lake, which displays a further development in the integration of image, text and theme. Sourced texts resonate through the poetry, which raises some interesting questions about how we read, about how images resonate or reside within the imagination. Recently I attended a talk given by the artist John Wolseley, during an exhibition of his work at the Australian Galleries in Melbourne. At one point, he was discussing the importance to his own work of Max Ernst and his technique of frottage, of how the technique enables both erasure and emergence, that an image may ultimately reveal itself as if from the beginning of time. In Lost Lake the language does something comparable, as it is deliberately set out of context or any quotidian reference, having a tone placed somewhere between the Bible and Calvino. In relation to the way photography and text play into this field, especially in terms of natural imagery and this veering to the origin, a comparison could be made with the cinema of Terrence Malick, where the voice, spoken into the creative space rather than being merely perceived as dialogue, forms an imminent connection with it.

At the same time, however, this seemingly shared method stresses the isolation, the ‘out-thereness’ of everything. Such a sense can be found in the sequence Confessions. Eighth is a stellar example of this intent:

That the entire forest was plunged as though under a sea. As
at the beginning of the world, as if there were only the two. So
was I speaking when – with a more premeditated return, with
more precision, as though upon a crystal glass- I asked my
soul why she was so. Over the forest did my heart then range.
I shut the book. And I cannot say from which country, which
time, I cannot say from which it came. (44)

Also in Confessions, in Sixth, there is a hint of Zen:

There are sounds I do not hear. Sometimes, at the edge of
water and surrounded by trees.(43)

and in Second, there is an apprehension of home, but also not-home, that dwelling is but an absence, a shadow:

That what I have seen I have seen from houses. That in my
father’s house was a strange unhappiness. That I had searched
for it, in my life, in the hollows of doors, that I had found it,
that it had found in my home. And in my home I had neither
rest nor counsel. The days, the soul of man riveted upon
sorrows; now and then the shadow of a woman, in the far
corners of the house.(41)

Grand Central, in a stunning series of images, presents another form of the journey, this time by rail. The poem brilliantly situates composer Steve Reich’s composition, Different Trains, where his wartime experience as a child of regularly shunting across the United States, splices with the European temporality of Hitler’s death trains. Lost Lake concludes with the luminous sequence The Star Diaries. The journey/s and its/their destinations are varied and unsettled. Home is unattainable, but the journey continues in dystopian fashion. One thinks of the sourced Cormac McCarthy’s The Road, but also the work of that one-time Surrealist, Rene Char. Presences appear and vanish like a shadow as in The Eighth Voyage:

… I must have been ill because I can’t recall. But I remember him
standing there in the shadows of the firelit room, barefoot.
Calling me by my name. In the following weeks the radiation
decreased, a slow bleeding away. Then the quiet zero weather
broke. And we continued – me one way and him another.(134)

Further on this sequence in the vision becomes apocalyptic:

                                  …Drifting over former
libraries and museums, all sunk beneath the jelly-green water.
The old scow navigated, under a white moonlight, past ghostly
deltas, luminous beaches; each in their turn submerged and
sinking. Overhead, dusk was vivid and marbled. Clouds of
steam filling the intervals between buildings, motionless and
immense; silt tides accumulating in dense banks beyond th
concrete reef. Darkness fell. In the surrounding suburbs the
streets were filled with fire until four o’clock.(135)

The textual sequence ends with a statement of record in The Twenty-fifth Voyage:

I am obliged to give an account of what I saw: a moving
walkway, slowly unreeling. On the ocean surface, something
moving. Something looked like a garden; I recognised an
apiary. Sometimes seemed to be standing upright, sometimes
lying on its side. There occurred a magnetic storm and the
radio links were cut.(151)

 The Twenty-eighth Voyage presents a vision of a conservatory.

Both Argosy and Lost Lake are beautifully presented and designed. They are a pleasure to look at and to hold, and both collections raise as many questions as you may care to ask.

 

NOTES

1. Translation by Jamie James in his Rimbaud in Java, Editions Didier Miller, Singapore 2011, 69
2. Quotations from Max Ernst in www.modernamuseet-se>max-ernst

 

JENNIFER MACKENZIE is a poet and reviewer, focusing on writing from and about the Asian region. Her most recent work is Borobudur and Other Poems (Lontar, Jakarta 2012).

Jee Leong Koh

Written by mascara on May 25, 2018. Posted in Poetry.

Jee Leong Koh is the author of Steep Tea (Carcanet), named a Best Book of the Year by the UK’s Financial Times, and a Finalist in the 28th Lambda Literary Awards in the USA. He has also published three other books of poems and a book of zuihitsu. Originally from Singapore, he lives in New York City, where heads the literary non-profit Singapore Unbound.

 

Strongman from Qinshi Huangdi’s Tomb

The head would have given the final expression
like a peacock’s tail feathers, had we not lost it,
and yet the body is too strongly modeled for us
to require a face. Rounded like high cheekbones,

the shoulders weigh two brawny arms, snakes
lashing within, holding what would have been
a great bendy pole, with a colleague, on which
an acrobat would swing and somersault and land.

Driven to the ground but rising from his feet,
the enormous torso, of earth once trampled on
by trumpeting beasts, is not smooth like a smile
but frowns with clear cracks, in large fragments,

about the roof of the barbarous belly, the lines,
opening and closing, emanating from our mouth.

 

California

Arnie has no more
devoted follower
than Olympus Chan
from Guangzhou.
For at least a year,
between fifteen and
sixteen, he went so
far as to put on
the Austrian accent.
Trained and won
Mr. Universe at age
20, same age as Arnie.
Moved to Hollywood
to be in the movies.
Had his big break
not as Conan, but
Young Confucius,
breaking his opponents’
jaws when they did
not heed what he said.
Grew rich selling
herbal supplements,
grew famous too.
Then the ultimate
test, the gubernatorial
contest, he loved
saying “gubernatorial”
with a Cantonese
twang, which he won
handily against the
El Salvadoran, on the
back of a huge Asian
turnout, and not a few
El Salvadorans, at last
striking gold as Asian
American and universal.

Timothy Yu

Written by mascara on May 25, 2018. Posted in Poetry.

Timothy Yu is the author of the poetry collection 100 Chinese Silences, an editor’s selection in the NOS Book Contest from Les Figues Press. He is also the author of three chapbooks: 15 Chinese Silences, Journey to the West, and, with Kristy Odelius, Kiss the Stranger. His writing has appeared in Poetry, The New York Times Magazine, TYPO, and The New Republic. His scholarly work includes Race and the Avant-Garde: Experimental and Asian American Poetry since 1965 (Stanford) and an edited collection, Nests and Strangers: On Asian American Women Poets (Kelsey Street). He is professor of English and Asian American studies at the University of Wisconsin-Madison, USA.

 

Chinese Dream 25

Timothy dredged, half-heartedly, for stories
of the past Timothy, his mute inglorious
present, and his worries,
all the bright heels he stamped— —Paranoia,
Mr. Chan, paranoia.  You imagine all!
—Hands off my cabal,

designer fashion.  All dressed for the ball
slender & bound Timothy.  Mark him please.
Tender him breathless,
and burn at high rate his surplus resentments:
nourish his need.  Remake him as our sentiments.
—My Chan, you no speak.

—I cannot forget.  I am wasting away.
There is nothing in my dreams.  I’m not the girl
who fought and sang.
Everyone loves a liar, a picture unhung,
lashed to the post at bedtime.  Nothing stays.
I owe you everything.

 

Chinese Dream 31

 A Calcutta banker instructed me a little in Yoga.  I achieved the free lotos position at the 1st try.
—Berryman

Timo Timoson, from Wisconsin,
did a white man play,
in his tweed jacket and a choking necktie
cuttin his teeth on Buddha, soft man-breasts,
and gave his body one yoga twist;
admiring himself he withdrew from his true

‘murican nature an Oriental smile
& posed a lotus.
Timothy & Henry, each other’s impostors,
in the word-kitchen cook a blankface play
for the lacerated stage; the curtain rose
on the foolish chink and his white-chalk knees

Timo Timoson, from Wisconsin,
did a playing white man play
who even more obviously than the still fantastical Asian American
cannot be himself.  Others don’t exist,
human beings in general do not exist,
outside his stare.

Little Red Book by May Ngo

Written by mascara on May 21, 2018. Posted in Fiction.

May Ngo is a researcher in the social sciences, focusing on development in Cambodia. Her other interests include theology, migration, diaspora and literature. She is also developing her father’s memoirs of his time with the Vietnamese communist army as a novel. She has a blog at The Violent Bear it Away (https://theviolentbearitaway1.wordpress.com/) and tweets at @mayngo2

 
 
 
Little Red Book

In the Chinese school Chen attended, in a medium-sized port town in South- Eastern Cambodia, their reading books had bright red covers, yellow stars and a picture of Mao’s shiny, round amiable face smiling up at them. In order to reach his school Chen had to take a ferry everyday across the murky brown Mekong, and in class he learnt lines from Mao’s wisdom, crystallised into songs he and his classmates would sing, their voices harmonising and occasionally breaking out of harmony. The songs they sang hailed being on the side of the poor, called to make the world equal:

The east is red, the sun is rising.
From China comes Mao Zedong.
He strives for the people’s happiness,
Hurrah, he is the people’s great saviour!

Chairman Mao loves the people,
He is our guide
to building a new China
Hurrah, lead us forward!

Chen would sing in a loud, pure voice, memorising whole passages from songs printed in their little red books.  In class, they would listen to the crackly radio broadcasting all the way from Beijing’s central radio station, calling for the uprising of proletariats all over the world, calling for workers to unite to create a happy paradise where there was no difference between the rich and the poor.

His teacher, Mr Xi, wore a badge with Mao’s face in silver profile, and as a daily classroom ritual read a passage from one of Mao’s works. He would stride with his long legs up and down the length of the room and in a raised voice read a selected excerpt for that day, only pausing at particular moments when he wished to highlight a passage to his students, peering at them intensely through his glasses. Chen idolised Mr Xi. And on the wall at the front of the classroom, prominently hung the obligatory portrait of the King of Cambodia, Sihanouk; his broad, round face, serious eyes and the hint of a smile looking down at them.

Once, they had a visit from someone Mr Xi introduced as Mr Bao Li. Chen did not understand who this man was or what he did exactly, except that Mr Xi said that he was important. The man looked like he was in his twenties, dressed in neat, ironed clothes and a straight cut fringe that ended just above his eyes. He gave a presentation to the class, a rather long and winding talk that included communist revolutionary theory and patriotism and ideals. Although some students started to fidget and move their legs, pushing their pens and paper around on their desk, Chen listened attentively. In that small classroom, dusty and filled with the standard wooden desks and chairs, his world widened to include all the poor of the world, the down-trodden and spat upon. He could imagine, more than imagine, feel what it must be like to be one of them. And also what it would be like when liberation finally came.

“Not to have a correct political point of view is like having no soul”. Chen took to heart this line in Mao’s little red book, and in his final year of school when Chen was chosen as leader of his class he organised a political study group that focused on the book Quotations from Chairman Mao Tse-tung. He selected the chapter on ‘Political Work’ to start with as he found it particularly inspiring with its call for everyone, intellectuals, students and soldiers alike, to be involved in political work. His best friend, Kiet, was also in the study group. Kiet was a gangly young man, who, although tall for his age—as he had always been, since childhood—had a desperately youthful looking face with stringy black hair that always fell into his eyes no matter how many times he swiped it away. Kiet’s father owned a successful catering business for weddings and special events, and their families had known each other since both were little. One of their favourite past times together was playing table tennis. Both were agile and quick on their feet and the ball zipped between them like lightening.

Chen and Kiet debated with their classmates on a number of political events and current affairs, they particularly argued against those in the study group who were ambivalent about Western imperialism and its effects. Chen could not understand how one could be a communist and not be against it unequivocally, particularly against what he saw as the biggest beast of all, the United States. He and Kiet wrote articles in this vein and hoped to get them published in the local newspaper, to this end they asked Mr Xi to help them order books that the school did not have, hungry for more writings by the Chairman. Chen ignored subjects in his class that did not relate to politics, ignored those subjects that did not talk about a future that was yet to be created, that he would help to create. The small concrete building by the edge of the river, his school, became like the blinking beacon of a lighthouse in the night, shining upon hazardous rocks and marking dangerous coastlines to avoid; illuminating the way forward. In the classroom, in the study group, writing political tracts with Kiet, he soaked in the luminescent promise-filled atmosphere at school, but at home it was a different matter.

Chen and his seven brothers and sisters lived in a large two-storey brick house with maids and helpers who occupied themselves with the household chores and cooking. He felt a loathing for the fact that they had a TV, servants and, by far, the biggest house in the neighbourhood, while groups of beggars on the street congregated around their household bins salvaging for food scraps. Even worse than these obvious signs of wealth, Chen was ashamed that his father was a “boss”. Chen’s father owned a fish sauce factory employing ten workers, half of whom were an assortment of uncles, cousins and in-laws, was also the owner of a fruit farm filled with luscious mango, pineapple, longan and jackfruit trees, as well as a whole apartment building in Phnom Penh that he rented out to tenants.

“In class society, everyone lives as a member of a particular class, and every kind of thinking, without exception, is stamped with the brand of a class”. This line from Mao’s little red book burned him. He did not want to be stamped by the class of his family and at the same time he could not shake off the feeling that he was a hypocrite, so Chen retaliated in the only way he knew how. He gave up watching TV. He did not ask for new shoes even when they were starting to wear thin. He refused to eat anything more than what he assumed a farm labourer in his town would eat, ignoring his mother’s pleadings to eat more, pushing yet another plate of food toward him. He wanted to take off his bourgeois milieu like old clothes that scratched at him, that were too tight in places because they no longer fit him.

During Chinese New Year all of his brothers and sisters wore new clothes, the girls with ribbons in their hair and the boys with faces scrubbed clean. Chen refused to wear the bright, shining new clothes his mother had bought for him; the new shirt and pair of pants lay forlornly on his bed.  Instead, Chen wore an old shirt that had frayed, hanging threads and some blue pants that he often wore to the factory; one of his brothers told him he looked even worse than the rubbish sweeper who had at least made an effort with a new shirt bought from the central market. When relatives came to the house to visit for the celebrations, he greeted them all in his old clothes, hair uncombed. His grandparents, aunts, uncles and cousins politely ignored his appearance, even as he accepted their red envelopes looking like a vagrant. All except Uncle Kong, his father’s younger brother, who was known for not mincing words and who could be counted on to make awkward moments even more awkward. On entering the house and seeing Chen, he exclaimed “Hey, why are you looking so scruffy today?” He grabbed Chen by the elbow. “It’s Chinese New Year for goodness sake!”

Everyone looked at Chen and there was a silence before his mother, who was passing around sesame cookies on a plate, gave a nervous laugh, saying “Oh it’s nothing. Just something he’s going through. He doesn’t want to wear new clothes”.

His father’s face clouded, a dark grey mist passing over his visage, but he did not say a word. His father was a tall, well-built man who carried himself in a way that denoted power and strength, a firmness to his hands. Most of the time he spent at the factory, but when at home he spoke few words. For this reason, most of his children were more than a little afraid of him.  

Chen also did not reply and instead moved his arm away from his uncle. He did not expect him to understand; his fat, corpulent uncle working as a manager at his father’s fish sauce factory, ordering the workers about while he sat looking on. In private, after everyone had gone, Chen heard his mother crying in the kitchen, telling their cook Piseth that she did not understand where this came from or why. Chen hurriedly retreated back to his room.  

“It is the duty of the cadres and the Party to serve the people. Without the people’s interests constantly at heart, their work is useless.” One day, on his way home from school, Chen bought some fried bananas and roasted peanuts from a street vendor. Once he got home he provocatively notified his mother, who was in the kitchen with Piseth, that he was going to give them away to the poor children who lived in their neighbourhood. Upon hearing this, his mother exploded as if a spring had been released inside her, her hands upsetting the plate of mangoes that was to be an offering to their ancestors in the household shrine.

“What! You care so much about the children out there but what about your own family? Why are you ignoring your own family?” She banged her hand on the kitchen counter twice. “You don’t even care about your own brothers and sisters!” Thin black strands of hair fell in front of her face, thin blue veins showed on her hand that laid on the counter.

“Why should I care about them?” Chen retorted. “They’re selfish. You’re all selfish!”

Chen’s mother’s face seemed to stretch outwards, distorting her features. “You ungrateful little bastard, how dare you speak to me like that!” she screamed at him.

Chen felt the rage rising in him, becoming a heavy fog in his mind. His lower lip quivered. He said slowly and carefully, trying to keep his voice even “I dare because you know nothing and only care about yourself.”

Chen’s mother slapped him. She reached and pulled out a butcher’s knife from the sideboard, its edge gleaming, and waved the knife towards him. “How dare you! How dare you!” she yelled in a high, unrecognisable voice, her hands shaking. Her hair had partially come out of its bun, her arm angled to hold the knife up high. Chen felt in that moment as if she were a demonic spirit, capable of anything.

Chen turned around and ran out of the kitchen, a blur going past Piseth the cook, Serey the maid and his siblings who had come to see what all the shouting was about. He ran out of the house and all the way to the fish sauce factory, breathlessly going straight to the section where the big vats of salted, aging fish were stored, waiting to be strained for its liquid. Huynh, the manager of the section was there, stirring some of the vats with a wooden paddle. “Hello, Chen” he said, wiping sweat from his forehead. Chen smiled at him, grateful for a refuge from what had just occurred, and helped Huynh put out a stack of baskets for straining the fish sauce.

To annoy his parents, Chen often went to the factory just to talk to the workers and eat his lunch with them, oblivious to their awkward and embarrassed looks. Sometimes he would offer to share his lunch with them, but they always declined, politely. They would in turn offer a taste of their lunch to him, but he dreaded it because of the inevitable prahok that would be littered through it. The salty, fermented fish paste was abhorrent to him, it smelt of old encrusted socks, but the workers like most Khmers seemed to put it in all of their food. Nevertheless, when they offered it to him he would always eat it, swallowing with a mouthful of white rice to dilute the taste. He refused his fathers’ insistence to, like his uncle, communicate with clients, or look after the accounting, or negotiate with the fish suppliers, preferring instead to handle the fish stock with the labourers, knowing that it infuriated his father.

Chen’s parents had expectations of him as the eldest son to eventually take over the business. But he had no intention of doing so and took his father’s red-faced silence as a badge of pride, as a sign that he was doing the right thing. Chen’s father’s face became perpetually lined in a grimace, as if the milk he drank everyday had soured. And after the argument they had, Chen’s mother was mute and withdrawn, no longer pushing plates of food towards him at the dinner table.

***

The Mekong river ran through Chen’s town, making it a busy port city with ships flitting in and out like migrating birds, transporting passengers and goods onwards to the capital Phnom Penh. It was a hub for many Chinese businesses, many of whom Chen’s father knew, and many, like Chen’s family on his father’s side, had been there for several generations. They opened up shops that lined the main street, selling everything from groceries to clothing to electrical goods. They also opened up factories like Chen’s father; abattoirs, piggeries, packaging of imported goods. The town was lively with activity during the day but also, especially, at night. The covered central market would turn its lights on, and delectable smells would waft from it as stall owners grilled skewers of meat and deftly fried noodles. They also arranged their sweets for display, sweets like agar jelly and sticky rice and fried banana that would attract both customers and flies. Fat babies would be carted out alongside family members, their faces syrupy with coconut cream. Young men would come out smartly dressed in jeans and pressed coloured shirts, while the young women clutched at handbags and carefully done hair. Chen’s father however did not let his children out during the evening. The people crowding the markets at night, laughing, eating, bargaining over prices, did not hide for Chen’s father the town’s inherent dangers. He often said to his children, “If I catch you going out at night…” leaving the rest of the sentence a silent menace. He would often look at Chen while saying this.

The town had been used to seeing for a few good years now the erratic presence of bodies floating in the river like bits of log wood. Bodies of men that bobbed face up in the downstream would appear like ghostly apparitions, their hair and clothes plastered to their bodies like life-sized painted dolls. This always happened after every bombing near Chen’s town. The grey sleek body of the planes, like a mutation of a giant bird with its sliver belly visible from the ground, terrified everyone when they came flying in, which if low enough, could be seen the words ‘U.S. ARMY’ painted on their tails. They stooped low to release their eggs of a hundred iron bombs, flattening out the land and the people who lived on it for hundreds of metres. The sound of these occasional bombings could be heard from the town even though the targets were the thick jungles bordering Vietnam and Cambodia.

Parts of the jungle became burnt out shells, on both sides. Chen’s father knew that Vietnamese guerilla communists would often run across the border over into the Cambodian side and into Chen’s town after their encampments were attacked, hiding amongst the bustle of the markets and the everyday life that was lived there. Chen’s father also knew that goods arrived at the port not only to be transported onwards to Phnom Penh, but also the other way around. Back towards the jungle and destined for the base camps of the Viet Cong, food and military supplies got transported by the Chinese government. Chen’s father, his friends and business associates did not talk about it, even though Chen’s father knew that some of them were involved in helping the goods to pass through, bribing the local authorities, or lending the use of their trucks.

Chen’s father turned away from it, did not want to be involved but did not want to denounce it either. His mind was occupied with how to make his business grow and make more of a profit then it currently was. He had taken on two new workers with the expectation that more orders were coming from one of his main clients. But the order had not come through, with the usual excuses made by the client, “You know how these things work”. Chen’s father now did not return from the factory until late at night. He would come home to eat his dinner and then go to bed, before leaving again early at dawn the next morning.

One day, Chen’s father unexpectedly came home earlier than usual. He had heard about some unrest in the streets and had let the workers go home early.

The King had been deposed.

This was what Chen’s father found out when he turned on the news on their TV, one of only a handful of TVs in town. The government-sanctioned news kept repeating the same thing on a loop; that a vote had taken place in the National Assembly which had removed King Sihanouk from power. In his place, the General Lon Nol had assumed the role of Head of State on an emergency basis. The news reports did not elaborate on why this had happened, nor how long it was going to continue.

Chen’s mother went next door to ask their neighbour what was going on. “Haven’t you heard?” said Bong, an old woman with hair that had gone completely silvery-white and deep bronzed skin that looked like polished mahogany. She sat cross-legged on her wooden bed. Everyone called her aunty, even though she lived alone and didn’t seem to be anyone’s aunty. “Lon Nol has gone and declared himself President while the King was in Russia”. She clucked a noise of disapproval, her lined eyes squinting, “Ooh, he’s dismantled the Kingdom like a broken-down clock!”.

She continued to chew on some betel nut leaf, fanning herself with a piece of cardboard. “It’s effectively a coup, that’s what everyone is saying.” Bong leaned in closer, showing her stained red teeth, “People are saying the CIA are behind this”, she whispered, “You know who they are, right?”

Although the TV did not give much further news, the radio proved to be more accommodating. Chen’s father found a radio station that was transmitting from Beijing, where King Sihanouk had found exile. He denounced the coup, blasting his message angrily in a broadcast intended for the Cambodians who were able to tune in and hear him. This is only a temporary situation, he said, voice muffled by the inevitably bad connection on the radio. I am setting up a government-in-exile here in China to fight against Lon Nol.” He continued, “I know I have denounced the Cambodian communists before, but this time they will help us.” The radio crackled. “We must all get behind Pol Pot and his party! We must support the Viet Cong and fight the American imperialists!”

Chen’s father temporarily shut down the factory. His mother fervently prayed in front of their small golden statue of the Buddha and offered incense sticks to their ancestors for protection. Chen’s father sat at his desk at home turning the pages of the factory’s accounts book back and forth, the numbers a blur in front of him, lines creasing his forehead.

For Chen, however, it was the call to action he needed. Like a bird who knew instinctively when to migrate, he knew that this was his moment. As Mao wrote, “While no one likes war, we must remain ready to wage just wars against imperialist agitations.” It was not a moment of his own making, any more than finding oneself in the eye of a hurricane is a moment of one’s own making, but nevertheless, he recognised it as a precipitate time where he could decide to act.

Like young birds who wanted to fly too early from their nest, their soft, fledgling wings flapping awkwardly but resolutely, Chen and his friends from the political study group resolved to leave for the jungle to join one of the Viet Cong’s base camps. At this time, many Chinese young people in his town had started to go missing, in twos and threes. When it started occurring, not a word was said about it within the Chinese community but everyone knew- these young people had left home to go into the jungle to join the neighbouring Vietnamese Communists. Chen and his friends wanted to follow in their footsteps, and together they made a plan.

On the assigned day, Chen carefully tied a bundle of clothes into a bag and strapped it across his chest.  He considered taking a kitchen knife, and even folded one into his bundle of clothes, but then decided against it. The army would give him any necessary weapons, he thought. He waited for his father to leave for the factory at dawn, which he had started opening again, before quietly slipping out of the house to the sound of pigs squealing. The ones to be sold at the market that day had just been slaughtered.   

His family would not find out until it was time for breakfast, when Serey or his mother, calling him to the table, would find his bed empty. However, as he was waiting for Kiet at the market at their rendezvous point, an unfortunate incident occurred. His Uncle Kong saw him from across the street through the gaps between the rush of traffic of motorbikes and cycle rickshaws. He saw Chen with his bundle of clothes and knew immediately. Although Chen was now eighteen, he was no match for his uncle who was tall and big, filling out his frame like a younger version of Chen’s father. Kong crossed the street and grabbing him by the arm, dragged Chen all the way back to his house, red-faced but not saying a word. Chen was too frightened to disobey or to argue. On their arrival, Chen’s mother looked at them and did not even have to ask. She cried hysterically for Serey to run to the factory to inform his father, a fear striking at the frame of her body. When Chen’s father came home, Chen did not say anything but stared at him coldly. Chen’s father did not say anything either, instead he grabbed his walking stick from the umbrella stand and struck Chen with broad, powerful strokes all over his body, yelling at the top of his voice, his face darkening, “So you want to go eh?!” thud, thud, thud. “I’ll show you how to go” thud, thud, only pausing when his wife pulled at his hands, cried at him to stop. Then he commenced again.

Afterwards, Chen laid in his bed rubbing the red splotches on his legs and cursing his father; for hitting him but most of all for not letting him go. He smarted at how unfair it was, to be on the cusp of being part of something so important and extraordinary, where he could finally affect the world in some way, only to be stopped by a father who only knew how to do one thing: make money. His images of fighting and of glory were crushed as he lay prone in his bed and this hurt him more than the growing welts that were forming on his body. He ignored his mother when she entered his room with rice porridge, entreating him to eat something.

But even in his anger, Chen felt confident. He rubbed the large bruise on his arm that had darkened into a deep black- blue. He had just thought of another plan to reach the jungle.

“People of the world, unite and defeat the U.S. aggressors and all their running dogs! People of the world, be courageous, and dare to fight, defy difficulties and advance wave upon wave. Then the whole world will belong to the people. Monsters of all kinds shall be destroyed.”*

 

*Mao Tse-tung, “Statement Supporting the People of the Congo (L.) Against U.S. Aggression” (November 28, 1964), People of the World, Unite and Defeat the U.S. Aggressors and All Their Lackeys, 2nd ed., p. 14

 

 

 

 

Silent Country by Lynda Ng

Written by mascara on May 16, 2018. Posted in Fiction.

Lynda Ng was born in Wollongong.  She is a graduate of the NIDA Playwrights Studio and the editor of Indigenous Transnationalism: Essays on Carpentaria (Giramondo Press, 2018).  Having lived in Hong Kong, Oxford and Berlin, she currently teaches literature at the University of Sydney.

 

 

Silent Country

When she was a little girl, Melanie’s secret power was being Chinese. She had been gifted with a straight black bob, dimpled smile and big, wide eyes that made her look like a doll. Other children couldn’t help themselves. They would cross the playground just to pick her up and cuddle her. People would stop on the street to exclaim to her mother, “She’s so cute!” and reach down to pat her on the head. The weekly shop was a social activity. Shopkeepers would hand her things – a frankfurter from the butcher, a lolly from the corner shop, a pencil from the newsagent – and laden with gifts, she would return home infused with a sense of contentment and wellness. When she was a little girl, the world was a place that promised benevolence, admiration and love.

As a teenager, Melanie started to look less like a doll and more like a woman, but she learned how to compensate for these changes. She grew her hair long and augmented her brown eyes with dramatic winged tips. Some of her Asian friends complained when people asked, “Where are you from?”, but Melanie always seized the opportunity to embellish. She spun tales for them about her past: she was descended from a ferocious line of Qing dynasty bannermen, or a warlord’s beautiful princess, or a tragic concubine who spent her years in lonely opulence. She gave herself more exotic blood: Mongolian, Hakka, Tibetan, Hui. In this manner, her Chineseness could still be effective. People would exclaim, “How interesting!”, “What an incredible story”, “You’re very beautiful.” This took her all the way through school and university, and still the world promised to be everything she might wish for.

It was only when she ceased being a student and became instead a young woman looking for a husband, or employment, that Melanie realized being Chinese could be a problem. There was the patronising way strangers sometimes spoke to her, in tones that presupposed she would never dare speak back. There were interviews where people commented on how good her English was. And then she went up for promotion and was passed over because ‘she wasn’t assertive enough’. The position went instead to an outsider, a young man who didn’t know her clients as well as she did but who could certainly throw his weight and voice around. As an adult, she discovered that those fairy tales about being an exotic Asian princess were not her dreams alone, but a common fantasy for many of the men who wanted to buy her drinks and work their way into her bed. Their willingness to ignore reality was frustrating, to say the least, and depressing in the event.

But this was not the fault of her Chineseness alone. It was also the general situation of many of her friends, working women who discovered that times had changed but things were not really that different. Men now wanted a partner who was educated and witty, who would bring home a salary to match theirs. But they also wanted this same woman to cook well, keep the house clean, to look after the babies and be able to iron their shirts in the morning. Melanie and her girlfriends commiserated with each other in laneway bars and hipster cafés over the high rents, the double-standards, and the general unwillingness of their dates to commit to someone who might earn more than them. Melanie and her friends had trained to be bankers, lawyers, government policy-makers. They found themselves now, five years down the track, in jobs that required them to work until midnight putting together Powerpoint presentations or assembling documents that few people would actually see. As the years started to add up they mentally adjusted their future families from three children, to two, down to one, and tried their best to keep an encroaching sense of anxiety at bay.

Some of her friends gave up, and moved to New York. In many ways, the dating scene was the same, but there was more work available, more opportunities in banking, and the rents were cheaper. Melanie toyed with the idea. She’d heard that Aussie girls got lots of attention in New York. By crossing the Pacific you became a different sort of exotic creature. In other ways, though, the idea of leaving terrified her. Her mother had always insisted, “We are from here. Your people go way back, back in time in this land.” Buried somewhere amongst the background noise of news and trivia, there were half-remembered anecdotes of Chinese maps showing that they had discovered and charted Australian shores long before the Europeans. Piecemeal memories of a time when China had been curious about the rest of the world, before the Middle Kingdom closed itself off and settled back comfortably into a self-indulgent, self-satisfied stupor.

She told herself she was too Chinese; she wanted to be close to her parents. She lived in a share-flat just a couple of suburbs down the train line from the family home, and returned for family dinner every Sunday without fail. She told herself she was too Australian. She had visited New York a couple of times and liked it, but she couldn’t imagine suffering through the cold there year after year. She couldn’t imagine life without the dry, hot summers, the beach, the gumtrees and the giant ibis rooting through garbage bins at lunchtime.

She listened to friends, and relationship columnists, and tried to be more open-minded as to who she went out with. She installed a dating app on her phone and met men from different parts of Sydney, men from different backgrounds. Two more years went by, and she was passed over for promotion once again, this time because she ‘wasn’t enough of a visionary’. The young man who had taken the Directorship last time was moved across to the bank’s Singapore office. Another young man took his place. This one not as loud as the first, but with the same overbearing confidence and tendency to ask Melanie to fix the lunch order when they had their weekly team meeting. She broke up with her latest boyfriend, who she had been enjoying very much, when he made it clear that he would never consider taking time off work to be a stay-at-home dad. He was an administrator who earned half of what she did and he told her all this while they dined at a fancy restaurant, where she was expected to pick up the bill. She tried to point out that the future, as he envisioned it, was impractical. He disagreed. There was not much left to say after that. New York began to look more promising.

One weekend, feeling fed up and despondent, she raised the possibility with her parents. There was a pause, a staccato beat that threatened to become a legato, finally broken by a gentle cough from Melanie’s father. Silence was a common means of communication in their house. In the spaces between words, no commitments were made but all judgements held. The cough allowed them to progress naturally to safer topics, such as the tenderness of the char siu pork, and who thought the Swans were going to win next weekend. She might almost have doubted that she’d spoken out loud – perhaps she had only uttered those words in her mind, a clear demonstration of the ‘lack of assertiveness’ that was holding her back – except for the mournful look that her father gave her when dinner was over.

He had come to Australia on scholarship, a skinny, nervous-looking nineteen-year-old whose long fringe kept flopping into his eyes. One of nine siblings, it had been a series of firsts for him. First time on a plane. First time in an English-speaking country. First time attending university classes. First time completely on his own.

Melanie’s mother had spied him wandering around the Quad at Sydney Uni, looking lost. When she stopped to ask if she could help, he looked at her with startled eyes and blushed. Her mother knew in that moment that she was going to fall in love with this sweet, gentle soul. To this day, her father maintains that he was simply looking for his classroom when a tiny Chinese girl dwarfed by her backpack emerged from the crowd and said something to him, “in that bloody incomprehensible Aussie accent.” He denies blushing. But he does admit he was rendered speechless.

Not being a man predisposed to retrospection, he hadn’t told Melanie much about those early years. He had a good life in Sydney, and he was quick to point that out. But at night, as he huddled over the phone, she would hear snatches of Cantonese and laughter that belied his homesickness. With three brothers and five sisters, these phone calls came frequently, especially now that they cost next to nothing. And after every conversation, without fail, he would pace the house restlessly.

Unlike others they knew, no one from her father’s family had followed him out to the West. They had come for visits and duly expressed their appreciation for the size of his house, the lawn, the double garage (“so much space, so much space!”), and yet it was clear that none of them really envied him.

He had made a life for himself, that is true, and found himself a beautiful wife. But his wife’s Chinese was heavily accented, nearly incomprehensible. His daughter’s even worse. The houses in Sydney were roomy but the streets were empty. It was a city that sprawled out to nowhere. A nice place to visit on holiday, not necessarily a place where any of them wanted to stay. Back in Hong Kong, in the vertical city of lights and fortune, was where they felt alive. Why would they want to give that up to come here, to simply wait their time out amongst foreigners? And besides, back in Hong Kong they all had each other. Life without family, what sort of life was that?

So he remained, an immigrant amongst other immigrants, a stranger feeling out his way alongside other strangers. He never lost the sing-song of his Chinese accent but over time it came to be overlaid with the broad, growling stretches of an Australian one, a combination that Melanie found at once acutely embarrassing and comforting in its familiarity. As he mangled the English language into new permutations, he tried to come to terms with the fact that he would likely die in this country, far away from where he was born. That he loved his wife and daughter went without saying, but a part of him couldn’t help but feel melancholic at the fact that they would never know him in his native tongue and therefore never know who he really was inside. He was increasingly resigned to being the quiet and dependable man they knew. The witty and animated version of himself had kept up its frantic chatter at the beginning but, with practice, he had learned to quieten it. To send it gently to sleep so that, on most days, it was simply a memory of someone he had once known but could now barely recognise.

As he walked her to the door he said, “It is difficult to start a new home elsewhere. Why leave unless you have to?”

The other indication that her words had been observed, if not remarked upon, came a week later when her mother asked if she would meet her at the Art Gallery. For her mother, who had worked as a dental secretary her whole adult life, one of the greatest possible joys was to sit with a single-serve pot of English Breakfast tea and a scone on the terrace, gazing out towards the water. When Melanie was a child, they had made the journey once a month. Even then, Melanie was able to connect her mother’s tea drinking with her own forms of play-acting. She wasn’t sure if her mother imagined herself as a colonial stateswoman, a lady of leisure, or simply a patron of the arts. But she swirled those dreams around in her teacup, doused them liberally with sugar and milk, and drew comfort from the warmth in her throat as she swallowed them.

Today there was no mention of tea, however. Her mother gripped her arm and steered her expertly through the gallery, past the whimsical watercolours and the bold impasto paintings, towards one of the more sombre rooms at the back. This one contained photographs mounted on vanilla cardboard. The black and white reminders of a colonial settler history.

They did a lap of the room in silence, her mother’s arm wrapped in a companionable way around hers. Melanie was surprised to see that the display hadn’t changed much over the years. There was one photograph in particular, titled ‘Aboriginal Mia Mia’ that she remembered from her childhood. Four Aboriginal figures, three women and a man, positioned next to a small hut made of bark and leaves. Two figures stood, two sat in repose on the grass. They were all dressed in formal Victorian garb: the man with a waistcoat, the women with corseted waists. One woman held a long stick that towered high above her head. Melanie wasn’t sure if it was a spear or another sort of tool, but she liked the way it made the woman seem warrior-like. She was an anomaly amongst photographs of white men with funny Victorian beards and Aboriginal men with painted bodies and elaborate masks. There was a postcard entitled ‘Australian wildflower’ that depicted a bare-breasted Aboriginal woman smiling expectantly from behind a carefully-positioned waratah bush.

“Do you know why I like this room?” her mother asked.

“Because it’s peaceful.”

They circled back to the photograph of four Aboriginal figures. Melanie’s eye returned to the woman who guarded the entrance to the hut with her tall stick, high collared shirt and defiant stare. Melanie knew that, in reality, the photographer must have positioned her there. He would have told all four people where to stand or sit, to hold their poses, and then to wait for at least thirty seconds while the sun imprinted the likeness of their bodies onto his film. He probably made them hold their poses for at least a minute, maybe more, just to be certain that he’d got the shot he wanted. But perhaps once their time was up, once he’d given them permission to move again and was gathering his equipment, that Aboriginal woman had expertly sent the stick sailing through the air, carving an arc that passed just by his cheek and landed over his shoulder. She wouldn’t have struck him, but her point would have been made. The woman’s angry defiance was there in her eyes, still burning over a century later.

Melanie’s mother wasn’t interested in the women, however. She pointed towards the man who stood amongst them, his gaze perpetually fixed on something just beyond the frame.

“I come here because that is your great-grandfather. My grandfather.”

In the silence that followed, even Melanie couldn’t be sure of quite what was being conveyed. She wanted to ask her mother to repeat herself, but that wasn’t their way. She had heard correctly. Her mother smiled, understanding of her confusion.

“It’s a secret. My own mother only told me after I had had you, when I had become a mother myself.”

“But how is it possible? I mean, wouldn’t we know?”

Melanie glanced down at her hands, unconsciously gesturing towards herself.

“Through what? Through skin? Through eyes? From the nose?” her mother was nearly laughing at her.

Melanie stared into her mother’s face. The brown eyes rimmed by severe black glasses, the hair that had long ago turned white but was carefully maintained in Natural Black (Clairol #122), the tan skin that had become freckled over time. Peering into that face, the panic suddenly welled up in her and she wondered if she would ever stand here with a child of her own or if she was destined always to gaze at an older version of herself.

“I was going to wait until you too had become a mother, but as you’re talking about leaving Sydney, I thought it was time. If something happens to me, you might never know. I wanted to stand with you in this spot and show you. We are from here. Your people go way back, back in time in this land. No matter what other people tell you, you will always belong here. Here.”

Together, arms enfolded, they stared at the photograph on the wall. There were many questions but all would be answered in time. There was a genealogy to be reconstructed, a story of how an Aboriginal man found a Chinese wife. Another story of how a Chinese woman with a mixed-race baby found her way back into Chinese society. A history of the Chinese in Australia, whose roots run deeper than anyone knows.

Melanie couldn’t be sure that this story was the right one. Her mother, after all, was a woman who prayed to various Daoist gods as well as in the Methodist church every week. Her mother was the one who insisted that, if you ate the delicate flesh out of a fish’s cheeks then you also had to pick the tougher bits off the bony tail, to ensure that your luck would ‘come back to you’.

There was something irresistible about this story, though. The crisp image of this man before her, the face of an ancestor. Unlike all the warlords or magistrates or sorcerers she had conjured up during her childhood, this was a man of flesh and blood. Someone who had dreamed, loved, walked on the very same ground she did.

She couldn’t be sure that this story was the right one, but when her mother clasped her hands and bowed her head three times to pay her respects, it seemed right to join her. 

 

Debbie Lim translates an interview with Luo Lingyuan

Written by mascara on May 15, 2018. Posted in Translations.

Luo Lingyuan was born in 1963 and is a German-Chinese writer. After studying Journalism and Computer Science in Shanghai, she has lived in Berlin since 1990 and published works in German and Chinese including four novels, two short story collections and numerous pieces in literary journals. In 2007 her short story collection, Du Fliegst für Meinen Sohn aus dem Fünften Stock [You Fly for My Son from the Fifth Floor,] received an Adelbert-von-Chamisso  Advancement Award, a prize awarded to works written in German, dealing with ‘cultural change‘. In 2017 she was Writer in Residence in Erfurt.

The following interview was carried out in 2016 by Bai Shaojie as part of her Masters degree in German Studies at the Shanghai International Studies University (SISU). The interview was originally conducted in German and the English translation is by Debbie Lim. Thank you to Bai Shaojie , Luo Lingyuan and SISU for permission to publish the interview in Mascara.
 
 
 
Bai: Why did you move to Germany? What led to your decision?

Luo: I have to say it was actually only by coincidence. During my studies at Fudan University I met a German man who was doing a degree in Chinese studies. That changed my life. We were in love and decided to get married after my studies. And so I learnt German, for the sake of love. Actually I was more interested in French literature and had even studied French for half a year. But then then we moved to Germany. When I arrived in Berlin, I could speak only very little German. My husband spoke fluent Chinese and in China we’d only spoken Chinese with each other. After we got married, I wanted to find to work in Berlin but it was very difficult because I hardly spoke German. I worked as a room maid in a hotel and a saleswoman in a department store. At the same time I learnt German. After some time, it became good enough to be able to work as a travel guide.

Bai: When did you begin writing?

Luo: I began writing regularly in German in 2002. The Literarische Kolloquium Berlin became aware of me and supported my work. Before that, I’d published a few articles in China. At first I only wrote short articles and pieces of prose but soon after stories and novels as well. I took a lot of detours and tried out various things until I found my dream job. My first book was published in 2005. But living as an independent writer isn’t easy. I know many German authors who live from hand to mouth and struggle in vain for grants and publishing contracts. Only a rare few can live from writing alone. I have to do all kinds of bread-and-butter jobs too in order to be able to keep writing.

Bai: Why did you choose this career?

Luo: I‘ve enjoyed reading since I was little. I‘ve always admired the famous works of Chinese literature and secretly always wanted to write myself. Even though I studied Computer Sciences at Jiaotong University, I never had much interest in it. I continued because it was ‘sensible‘. After I graduated, I was given a position as lecturer in Computing, which I did for two years. Then I decided to study journalism because I was looking for a bread-and-butter job that could combine with literary writing. I already knew back then that as a writer you always lived on the border of poverty. But it was during this degree that I met my first husband, which completely changed my plans. I learnt a new language and only after 11 years I became a journalist and was able to write articles in German as well as in Chinese.

Bai: Many migrant writers write in Chinese. Why do you write in German?

Luo: Well, Gao Xingjian writes in French, and Ha Jin and many other Chinese authors write in English. Whoever writes in the language of their host country can communicate an image of their home land much more directly. I’ve also read a lot of books in Germany about China. But each time I‘ve felt that the way things were depicted was somehow odd. The China that I knew was different from the China in these books. So I came upon the idea to tell the German people about my country, in their language. I hope that Germans can get to know China and its people better this way.

Bai: How did you choose the subjects for your books?

Luo: That’s difficult to say. I write what I enjoy writing. When I find myself  thinking about something repeatedly, when my thoughts keep returning to some person, some story or even some city then I feel that maybe I should write about it. But my subjects often come from my surroundings. People ask me questions about the people in China and I try to give an answer through my books.

Bai: I’ve noticed that you’ve written a lot about China, but not Germany. Why?

Luo: When I came here [to Germany] I was already 26. I spent my childhood and youth in China, and the Chinese culture and my family have  influenced me deeply. For a story, you need people – they’re the starting point of every narrative. And for me, it’s easier to understand and create a Chinese person. But it’s only a question of time. Maybe soon I’ll write more about Germany.

Bai: How do you manage the relationship between reality and imagination during the writing process?

Luo: The starting point is always reality and often even a concrete incident. But I look at reality quite critically. I attempt to figure out the core of the characters, based on what they think, say and do. It’s only during this phase that the imaginative power sets in. I ask myself questions: Why did this person do this? What would he or she do in other circumstances?

Bai: You’ve referred to the city of Ningbo in many works. Do you have a particular connection to the city?

Luo: No, Ningbo is a symbol for the rapid economic development in China. The city is much more interested than other cities in colloborating and exchange with foreign countries, but it’s not as well-known overseas as, say, Shanghai. I myself led at least two delegations from Ningbo on tour through Europe and met people from the city. Most Germans know of Shanghai in particular. The city has become almost a cliché and many Germans think that, apart from a few skyscrapers in Pudong, China doesn’t have much to offer. I lived for seven years in Shanghai and was very happy there but I’d like to show my readers that there are other cities in China too. If I ever write about Shanghai, it will be something special.

Bai: You’ve lived in Germany for 26 years. What are your views now towards China and Germany?

Luo: I’m still Chinese inside. That will probably never change. The richness of the Chinese culture with its vibrant traditions and deep thought, its music and reknown literary role models, still has a major influence on me. It’s such a powerful influence and can’t just be cast off. I don’t want to separate myself from it either. On the other hand, I’ve also adopted a lot from the German people, for example, conscientiousness. When I began writing, my husband once asked me how I could have made the same mistake three times. It unsettled me and I realised I hadn’t been very thorough or placed much value on precision. After that it was clear to me that I had to be more meticulous. The Germans are are very conscientious and strive for perfection in everything that they do.

Bai: Which experiences after all these years have remained particularly in your memory? What would be your suggestions for fellow countrymen who plan to come to Germany?

Luo: Above all, I’d recommend learning German. If you don’t speak it, it’s very difficult to interact with the people. The cultural contrast between the two countries is so great. Even finding a common topic isn’t simple because the majority of Germans have never been to China and know little about it. On the other hand, I notice that there’s great interest in China. Anyone who has ever seen China is fascinated.

Bai: When a Chinese person lives in Germany, they normally have problems with the language. But why haven’t the language difficulties of your characters been a topic that you address?

Bai: That never really interested me so much. The characters should have their own personalities. I’d like to depict their inner world rather than show every stammer. When the situation presents itself, I have in fact alluded to the language issues. For example, the misunderstandings that arise between Robert and the bathroom attendant in Guangzhou in the novel ‘Wie Eine Chinesin Schwanger Wird‘ [How a Chinese Woman Becomes Pregnant].

Bai: For me, your works can be considered women‘s literature as well as migrant literature. Women play an important part in your works. What’s your opinion?

Luo: It’s true. That has to do with myself. I’m a woman and can understand women better. I feel more confident depicting a woman. What’s more, I find women magnificent. Even where a man seems to be take centre stage, such as in ‘Die Sterne von Shenzhen‘ [Stars from Shenzen], it’s the very different women around him who determine what happens.

Bai: I’ve noticed that many of the love stories between German men and Chinese women in your works end tragically. Is that true?

Luo: It’s not easy for Chinese women being with  German men. They are expected to be both „exotic“ and „normal“ at the same time, wonderful lovers and perfect mothers, intelligent parters, pretty companions, thrifty housewives etc. There is   a lot demanded of them. But mostly they cope well and there’s a happy ending after all.

Bai: Many stories are open-ended. Was it your intention to say that one should accept fate and there’s nothing you can do about it?

Luo: Each book has its own style. But it’s true that I prefer an open ending. Life goes on, even after a novel ends, and as long as life continues, there’s also hope. It’s exactly the same as in reality. Perhaps it‘s possible to find a ‘dream man‘. But when we don’t find him, there are other possibilities. You have to fight for a better life.

 

 

 

Chinese Science Fiction Beyond Politics — An Interview with Hao Jingfang, Author of Folding Beijing Translated by Emily Yu Zong

Written by mascara on May 12, 2018. Posted in Interviews.

Hao JingfangHao Jingfang (born 1984) is a Chinese science fiction (SF) writer, essayist and economist residing in Beijing. An economics researcher by day, she is a talented and prolific author who writes in the early morning. Her fiction has appeared in English in SF magazines Lightspeed, Clarkesworld, and Uncanny. In 2016, her novelette, “Folding Beijing”, won the Hugo Award, the second translated Chinese SF work to have won that honour; the first being Liu Cixin’s The Three-Body Problem. “Folding Beijing” was a finalist for the most prestigious Chinese SF award, Chinese Xingyun (Nebula). The story will be adapted into a movie, directed by Korean American screenwriter Josh Kim. Jingfang is the author of two full-length novels, Born in 1984 (2016) and Stray Sky (2016), a book of cultural essays, Europe in Time (2012); and several short story collections, AI: Mirror of Man (2017), To Go the Distance (2016), The Depth of Loneliness (2016), and Star Travellers (2011). She is also the founder of WePlan, a public education project aimed at preparing China’s younger generation for the era of artificial intelligence. This interview focuses on Folding Beijing while shedding insights on the diversified terrain of Chinese SF in general.

 

Emily Zong (EZ): Some readers’ online comments maintain that “Folding Beijing” is not “SF” enough. They claim that the story’s strong allusion to contemporary Chinese political and economic reality deviates from a more classical understanding of speculative fiction as a genre of scientific hypotheses and futuristic technologies. What is your response to such comments?

Hao Jingfang (HJF): There have always been characterisations of hard SF that focus more on science and technology, and social or soft SF that primarily imagines life and social scenarios in the future. Take the American SF writer and the translator of “Folding Beijing”, Ken Liu, for example, he has written a number of acclaimed works on family life and office life. So of course, social SF has its significance in inspiring people’s vision of future life and social relations. Any type of SF writing, as long as it is able to impart fantasy and open up future possibilities, is valuable. Also, different readers have different tastes. It is impossible to meet everyone’s needs. Some people find hard SF intriguing, while others find it challenging to turn a second page. This is a matter of readers’ tastes. If some part of the audience enjoy my fiction and feel touched by it, I will be very pleased.

EZ: Chinese SF is a burgeoning field within the contemporary Chinese literary scene. With you and Liu Cixin winning the Hugo Award, Chinese SF has also attracted a great deal of international attention. Now one of the provocative questions under discussion is what makes Chinese SF unique. What do you think makes Chinese SF Chinese?

HJF: For me it mainly depends on the setting and the protagonist. If a story takes place in China, it is already a very Chinese story. I think that for a lot of people, upon hearing that this is a SF story that is set in China, they would immediately feel a sense of discordance. It is easy to associate SF with Western countries, Marvel Heroes, and white characters, but how could a SF story occur in China? If a story allows us to overcome this sense of disbelief and discordance, it would count as an excellent piece of Chinese SF. As long as the fictional events happen naturally within a Chinese setting and among Chinese characters, it would immerse readers in aspects of Chinese culture, even without the writer’s intentional assertion of Chinese elements.

EZ: When SF was introduced to China from the West in the early 20th Century, it was equated with “modified modernity” and used as a vehicle for scientific enlightenment. This ideological and pragmatic tradition lasted until the 1990s when, with the emergence of a new generation of SF writers such as Liu Cixin, Han Song, Wang Jinkang, and yourself, Chinese SF started to manifest a more diversified vigour. Nevertheless, Han Song comments that Chinese SF is “a sponge soaked in politics” and “a diagram of Chinese mainstream culture.” “Folding Beijing” bears on a range of imminent social concerns in China from class inequality to abandoning female babies. Is this political and nationalist approach a distinct feature of contemporary Chinese SF?

HJF: I think a distinct feature of contemporary Chinese SF is diversity, which resists politicisation. Chinese SF writers tend to engage with a broader range of thematic concerns than national and political themes. If Chinese SF has a colour, it is usually grey or black, rather than Chinese red. Chinese SF is a heterogeneous field where writers have variegated styles. With an exception of Wang Jinkang whose fiction is more political, writers such as Han Song, He Xi, Bao Shu, Chen Qiufan, Jiang Bo and so on, place more emphasis on individual writing practices and artistic expression than social trends. A fair number of Chinese SF writers provide readers with glimpses of the present Chinese society, especially young people’s daily anxieties and the social issues that penetrate people’s quotidian lives. But this does not mean that these works are necessarily political.

“Folding Beijing” is not representative of Chinese SF. Actually, it is quite an exception in how it places an emphasis on Chinese social reality compared to most Chinese SF.

EZ: What do you think of the international acclaim of “Folding Beijing”?

HJF: Many people read and evaluate “Folding Beijing” in political terms, which is not what I intend it to be. It is my hope to have conversations with readers who approach the story as a piece of literary writing and readers who are intrigued by the scientific hypotheses embedded in my stories.

EZ: Is “Folding Beijing” representative of your work?

HJF: I would say, no. “Folding Beijing”, and my novel, Stray Sky, are exceptions among my own works that explore social issues. “Folding Beijing” does not represent my style. Most of my fiction centers upon the existence of human beings, including boundaries between reality and fiction, the ways that individuals perceive their existence and psyche, as well as the ways that human beings relate to the universe. My next novel, for instance, is going to interrogate how people relate to each other and the connection and conflicts among civilizations. I am more inclined to create fictional settings that diverge from the real world we live in and delve into the philosophical propositions underneath people’s outlook and beliefs.

EZ: That is interesting. Considering that “Folding Beijing” won the Hugo Award, some readers and critics may learn about you and your work from this novelette alone. Also, when reading cross-culturally, audiences in the Western market may focus on distinguishing identifiable Chinese embodiments and “authentic” experiences as more significant than the existential or universal concerns in these works. It is not fair to give Chinese SF the “political” label.

HJF: Reading politically is too narrow a perspective. For example, in my work readers should compare at least ten or twenty stories before arriving at an understanding of the overall style. Chinese SF is more heterogeneous and there are not many stories like “Folding Beijing” that reflects on Chinese social structures. Han Song engages with social issues in his novels, but his angle is more specific, such as probing into the institution of a hospital. Other Chinese SF presents a constellation of thematic and stylistic practices. Bao Shu, for instance, writes seven novels on the topic of time and time travel. Another writer, He Xi, has written a novel called Liu Dao Zhong Sheng, or Six Plane Rebirth, in which his characters travel across six parallel dimensions in order to save the world. The well-known Chinese SF novel, The Three-Body Problem by Liu Cixin, portrays shared challenges faced by the future of humanity. These novels address universal concerns for a common humanity that transcends politics and nations; such as the future of mankind, human-universe relationship, and human civilisations. We cannot pigeonhole Chinese SF into a political category. Moreover, the current era of China is full of diversity, fierce competition and unprecedented opportunities, which is conducive to the development of miscellaneous literary engagements. In such a context, Chinese SF is filled with multiplicity and potential.

EZ: The ending of “Folding Beijing” is heart-wrenchingly peaceful and ironic. As Lao Dao returns to his position as a waste worker in the Third Space, his border crossing does not offer a cathartic sense of social reorganization. As the novel describes, “If he could see some things clearly but was still powerless to change them, what good did that do?” The revelation seems to rest upon keeping “the Change” itself. I wonder why did you not write some imaginative solution to change the enforced class stratification or the individual’s subordination to the collective?

HJF: I tend not to write simplified solutions in novels. Can a single hero overthrowing the world solve a deep-seated social problem? It is way too naïve and downplays the hardships and pains we undergo in real life. Sometimes SF has dystopian endings. The literariness of a story does not depend upon its resemblance of reality, such that we have to pursue justice and dismantle injustice. Some types of fictional writing give people a sense of relief and elation, while other types make people see the cruelty of reality from a sharper angle. My works belong to the latter.

The theory behind “Folding Beijing” is the quantum physics system Hamiltonian, or the collective energy of a system. If we take the megacity of Beijing as a system, the three Spaces in “Folding Beijing” can be used to write the Hamilton equation. However, when the system energy reaches its maximum or a stabilised state, the energy distribution across the three Spaces is extremely unequal. That is to say, the ultimate expansion of a megacity will eventually bring upon polarisation of population and class division, which is represented in “Folding Beijing.” This is the natural development of the system, on top of which human beings can make changes. Human intervention may reinforce class stratification by exploiting the poor, or mitigate the status quo by attending to the poor, but there will never be complete equality. What we can concentrate on is increasing fair opportunities for all.

EZ: Speaking of fair opportunities, the affective choices of characters in “Folding Beijing” are confined by their allocated social enclaves. Lao Dao’s mission is to deliver a love letter from Qin Tian in the Second Space to Yi Yan in the First Space. However, after discovering that Yi Yan is already married and considering his own economic situation, Lao Dao accepts more money from Yi Yan without exposing her lies. Yi Yan’s distorted martial values disclose the demand of marrying someone of an equal status. Within such a highly relegated social system, where do we place elements that cannot be rationalised, such as people’s affectivity and morality? For me, Lao Dao’s savior, Lao Ge, embodies the mobility and empathy that defies imposed class distinctions.

HJF: For each character in the story, when it comes to making choices, they make a compromise between a righteous choice and a utilitarian one. If someone is under economic constraints, then he/she would probably make a similar decision to Lao Dao’s. Lao Dao’s choice does not concern justice or morality, because it is complicated to make a judgment about the love relationship between Yi Yan and Qin Tian. As a bystander, Lao Dao does not want to intervene. It is hard to tell right or wrong when it comes to love. Indeed, individuals’ affective choices are subject to various external influences. Everyone has a selfish side, but also a compassionate side. It is human nature to extend help and empathy to those in need. Qin Tian or Yi Yan would also assist others when the situation permits it. The problem is that, most of the time, when their own interests are threatened, the vast majority of people would choose self-protection. There is always hope and kindness in society but kindness alone is never enough. In many cases, our societal rules undermine people’s willingness or courage to exercise empathy so much so that benevolent behaviors do not guarantee good results. If reaching out to Lao Dao threatens his own job, Lao Ge would probably restrain from sympathising with him in the story.

EZ: You have plans to expand “Folding Beijing” into a full-length novel. Will Lao Dao unite other waste workers and revolt against their subjugation?

HJF: I am going to write a novel with “Folding Beijing” being the preface. The writing is scheduled from August 2018 to April 2019. When the majority of the population supports the current social structure, they feel that it is actually fair to give in a little in order to enjoy the benefits that society provides. As such the sustainability of social structures premises upon some people thriving from the sacrifice of others, so it is unlikely for any revolt or rebellion to happen. No. I will not finish the novel with any simple resolution such as a protest. It has to be much more poignant than that.

EZ: Let’s talk about time and space. The 2017 Shanghai book fair is themed “Map and Territory: The World of SF.” The use of “map” and “territory” here is a deliberate gesture to rethink SF beyond a linear model of futuristic literature, and in terms of the imaginative exploration of possible space and transformations that time can provoke. Given that there is so much emphasis on temporal elements in SF, such as technological progress and utopian/dystopian futures, how do you usually approach the time-space dynamic in your writing?

HJF: My understanding of time-space relationship is concurrent with the mainstream view within the science community, namely, time and space is limited but interrelated, and the laws of the universe determine our temporal-spatial thinking. Both time and space is very important to my writing. SF is not to mystify science. In my fiction, scientific or technological progress is not the essence, but the vehicle through which we explore borders of knowledge and possibilities of the future and the unknown. Sometimes our imagination of the future also prompts us to look to the present and reflect upon or rewrite the past. That said, a basic requirement of SF is its scientific accuracy. I can hypothesise on the basis of current scientific discoveries and inventions, but I will not wrap a story with fantasies or hypotheses that are discredited by science. For example, a number of novels in the Chinese book market theme around “chuan yue,” or time travel, in ways that are not backed up with any scientific logic. SF of this kind is not my thing.

EZ: “Folding Beijing” engages with dystopian topics. What attracts you to write dystopian SF?

HJF: I am not a dystopian writer and do not want to be defined as one.

EZ: In “Folding Beijing,” there are many arresting details and a good command of literary and conversational language, which makes it an excellent story that combines SF and traditional literature. In what ways can SF benefit from traditional literary writing?

HJF: I have never drawn a line between SF and traditional literature. Compared to traditional literature, SF creation has more freedom in terms of settings and plots, but SF needs to respect the narrative styles of traditional literature. SF can learn from traditional literature in terms of the excavation of human nature, the setting up of conflicts and suspense in the story, in-depth portrayal of human psychology and conversations, the artistic and aesthetic modifications of mainstream literature, etc. As for stylistic tactics, it depends upon the preferences of individual authors. The criteria against which we judge a classical novel also apply to SF, including the vividness of characters, the completeness of a story, and the strength of thematic expressions, and so on. By these criteria, I do not mean specific rhetorical strategies, such as how to depict a moon, which constitutes only the surface of a novel. I mean the in-depth aesthetic properties that are embodied in a novel’s theme, structure, and characterisation. These properties are what a SF writer needs to learn from traditional literary writing.

EZ: From your experience, what challenges does Chinese science fiction face?

HJF: My understanding is that there is still a lack of classical, groundbreaking works in Chinese SF. The main distribution platform for Chinese SF is magazines, and even though there are now some online columns and WeChat public accounts that start to publish SF, these channels are suitable for publishing short-length stories. There is an insufficient number of full-length novels such as Liu Cixin’s The Three-Body Problem. On top of this is the declining readership that does not respond favorably to some SF novels, even those full-length novels written by Han Song and Jiang Bo. The market for genre fiction is thus quite specific and narrow. It then becomes very challenging for new writers to get published or assert a place. Other ways of motivating the market can help, such as successful film adaptations. Personally, I think it would be helpful if publishers and the media could promote more SF works and present more SF writers to the public audience. The development of SF in China is certainly a slow and gradual process.

EZ: A pertinent issue “Folding Beijing” engages with is the relationship between humans and machines. How is this addressed in your new short story collection, AI: The Mirror of Man?

HJF: The six short stories in my new book all touch on human nature. The era of artificial intelligence enables us to gain a better understanding of human nature. In the process of configuring the differences between human beings and artificial intelligence, and the different methods of thinking between humans and machines, we can acquire a deeper knowledge of ourselves. This process allows us to detect and cherish those precious qualities within humanity that have been neglected, such as compassion and empathy for others, self-awareness, free will, interpersonal communications, and so on and so forth. We often see these qualities in children’s curious eyes and their sincerity.

EZ: Thank you Jingfang, for your valuable insights into “Folding Beijing” and Chinese SF.

 

Emily Yu Zong has a PhD in English Literature from the University of Queensland, where she remains an honorary research fellow. Her doctoral thesis on Asian Australian and Asian American women writers was awarded the 2016 UQ Dean’s Award for Outstanding Higher Degree by Research Theses. Her research interests include ethnic Asian literature, gender and sexuality, and literature and the environment. She has published academic articles, interviews, and book reviews in Journal of Intercultural Studies, JASAL, New Scholar, Mascara Literary Review, and Australian Women’s Book Review.

Janet Jiahui Wu

Written by mascara on May 12, 2018. Posted in Poetry.

Janet Jiahui Wu is a visual artist and writer of fiction and poetry. She has published in Voiceworks Literary Magazine, Cordite Poetry Review and Rabbit Poetry Journal. She currently resides in Adelaide, South Australia.

 
 
 
 
 
 

Boat A Three-Part Sonata(dedicated to Ania Walwicz)

1 Agitato

boat turning tapping tap foot step few thing way that in a row going
but going relax rope tow hauling freakish noises the body against
the movement the anx ant barks anything land small space little
room small space rainbow sheets supreme holiday caravan react against
tow boar engine going river little space little small evacuate vacuum
space mars how to deliver from here alexander dera dura free react
mars landscape barren fields brown turn parch pelt flattened boats going don’t
want to boat a prison pristine trees pristine hanging blanket on the bed
supreme kiss past the window harbor label willow wire air passing venting
the pristine mooring the dock marina the trees lovely low hanging semaphore
tingle sore little rooms share one and many divide little waves going by
birds past the noises what can you see the supreme holiday on a dream
the stream full of sandbars the room full of waste little light movements
above a certain waist the supreme seven hours a day and i am blanket on
the bed the pristine waste mooring one stop after another the transform
from supreme to supreme big silver line the wave camel hump the leisure
dock forking into river the big divide the little space on a boat the
river of my polish rings my red loving ancestors the musical crowd the
pivotal island shot with birding fireworks the shorebirds the nesting season
the pristine they once wrote of taught the destroyer of destroyed the troy
of sadist joys the heroic phallustine pleasure the predestined royal treats
the beach the couplets lining up with ducklets and blanket on the bed riddled
with the unwanted and going going the boat rowing by itself the captain in
red riddled with ferry knots time by distance and end of bed to pleasure
of the treasure hunt the segment the segregate the sold off bargain returning
with instructions the boat rotate fast and stop the hit and the cordial
talks the disapprove the approbate the singular town and the church no
one goes to the tied up dot with the jewish malemeds the hello goodbye
hello again daisy ditty song for the boat the sung the won the unwanted
alone on the bed dreading the particular singular solace solicitude the
planetary plenitudes the higher and higher the sitting by edge the down
low and unwanted on a bed staked in a fork brushed by the waves the silver
tails of the fish the walkers the admirable the dreading on shore the dreading
on boat the similitude the placidity the shake of salt and pepper on ice
the game of luck won over by the unlucky the green water the velvet waves
the old woman needing the stick an arm a warm offer the shore the old woman
i becoming i am sloping up and down the river trees big and no one loves

2 Calando

swallow nest and pigeon hero rainbow in the bee-eater beak a little bee
the falcon the cliff face the valentine on a columbine tail the limestone
cloud the steady pace the rolling by the setting tide the avalanching myth
my paradise you are yet to convince a little react a little federate a rabbit
scurrying into bush the flying cormorant the xx the sewage pipe the big
tower my pyramids the react the cliff broken edge the mass structure factory
industry pyramid wrecked the tree lice ants the square tail kites the buoy whistling
the steps the ladders the grass the eye on the edge falling over the path of the dark
brown roots the plastic white the powder blue shadows the talks of society
the charged blank-faced snakes the runover the runaway the cast into the
water for bait the bleached white bough the witchcraft agony the tree
needs no one but water and sun so solitary tall crooked mistletoe-ridden the
watery eyes staring out of holes tearing harmony the sun on the sheet the light reading
various ways the water entertains the grey dead branches rotting roots the yellow
green
haste the once was hay country the dry plains burnt with dust the scarlet
fever for the slow swimmer the fast warning for the marital bug jingling jangle
chanting the seven sister stars the harbor reeds the floating rubber ducks
these were life for them a pair and another pair trapped in a celestial
light a room forever brightened with joy boils the resting things in a singing
paradise so soon passed the light blue in the afternoon the honeying girl
with no one to talk to the set up sacrilege spilling into over spilling and
with her pallid cheeks and tangled hair the tapping at window the passing
of a great rocking rings and rings and life in the water is in the deep
and thick and waste is in the thaw all revealed late in the season the sinking
boat goes cruising up and down the river the night cooling the hours wasting
seven hours a day in a car and forty hours on the moving monster on the way up
where to where to devastate the flag of carnage waving rows of carnivals the one after
after the sick and tired look inside the aquarium a certain look and hesitate
boat beckons no one and all birds stay away the high and low casual clothes games
niceties staked upon niceties games night after night and just as wellthe right lesson
at the right time the little space live with own decision the little checkas though in delay another hindrance to the vehicle a life unsurpassed pass
away unnoticed all power vested on the point of a gun aiming at the night
insects and run and run and one mistake is gone by the trail of smoke
thrown into the other side the nice and dainty hare of my dreams
upside down hopping running the afternoon sun the golden glaze the
mellow tanning auction of the barren soul and where have you been the owing
original the feudal kenturky the feud of father cloud and mother cloud the soup
of souls cooking cannot love cannot know cannot wake another day to work cannot
put on face to march row after row and away sway sway roll and unroll wave
and unwave another casual charade for the unthinking ones

3 Appassionato

going on land where do you smile going on land after a while
going on land searching afar going on land to watch the stars

going on land fair is my love going on land smooth as a dove
mooring with the circling kites

mooring by the reeds for the night

A.J. Carruthers

Written by mascara on May 12, 2018. Posted in Poetry.

A.J. Carruthers is an Australian-born experimental poet, literary critic and lecturer in the Australian Studies Centre at SUIBE in Shanghai. He is author of Stave Sightings: Notational Experiments in North American Long Poems, 1961-2011 (Palgrave 2017), a book of literary criticism that examines five North American long poems and their relation to musical structures and musical scores. The first volume of his epic poem, AXIS Book 1: Areal, was published in 2014 (Vagabond). Opus 16 on Tehching Hsieh is a downloadable eBook from Gauss PDF. The EvFL stanzas are intuitive works inspired by the prosodic dissonances of Elsa von Freytag-Loringhoven.
 
 
EvFL

von

| vain, jadeworsted, giantesque-bedizzened Sophisticated sponge 1
– assembles Distortion serenely ugliness
– noise realises quiet
– quailing bluster in accord ― pillory’ Prints
– unrelated parade parapluice at Bernice
– in shrill quiverbolt, in inapt
– sagacity, sweat shàpe sweeter, snéer suu ― suu ― shooo ― shooo ―
– hártlesse śhearlets go bough, bushì, enskied the skeńeid
– engineer tradition inside crudity, vulgarian flippancy,
– dollarheap possessing sillilý-educated fatigue throughóut unvanquished
| victim TOADKING ! HISSING ――
– untrained Ulysses,’
– logically unhampered selection from únreasoning,
– goal-God’s passionate-jellymass-development, fídgety, in
– aristocratic sunfishing, boisterous, of imitation,
– rinjehöhrts ― As damnation, tender-tissues-enticing ―
–
–
–
–
| void call pallor
– of hídden swish, folgendes
– ihn
– demands
–
–
–
–
–
–
| vulgarian engines. Polopony brilliancy bluff ― scíence ― stagegiant
– ihn houses
– consciencelessness-centenarygarlanding-repugnance-arena-Poem (!) naughty circus
– twindles effective díctionary
– rest, Harry,
– on śtrength ―
– laughter, heartbreaking, emotional-Śubconscious Germans
– aloft in cloth
–
–
| ornate águe 2
– begán Unflèxed for me
– sabelfir up pálace Through ―
– contained approach Round fámishing; to púlse
– expectant grounds Array! shy wings aflow
– noon-demon-things directed Bĺooddrop śense
– ever grimace sćarlet banning sex
–
–
–
| on clamour:
– denseness caution ― eckshishtenschen ―
– escape amúck! receives
–
–
–
–
–
–
–
| off
– aquiver never
– keeping Rackingly
–
–
–
–
–
–
–
| orgasmlitré lifeworks ― Transition LifeLethe: fliest: balloon, balloon-afternoon
– poolstrung pinning thrálls at durst, mockbat’s spectral bright
– a plenipotent smile
– lone grey Gay Finessen scheel, weckWhat ― that? ― expectation ― preservation ―
– tücke
– inexuberant incessancy Fucks Jehovah; disappears unplumped Beurgrunst thine Thereupon
– suck-grave-smugness, as ẃell did ẃar attire
– sanitation thunder! society! toilet
– uTmost gŕandeur-meddles-magnitude, ćostly-chiseled Dinning,
– electric-ego language
| neurasthenic Moon, fastidious ẃorld 3
– immured
– late By dúll October’s-sober-dynamic Radiance. Matter
– effects Combústion There, but Gaunt-casts-Chárs ― désolate ― Uptorn ―
– scull loom Betwixt ―
– hatepale Cortège is treshed with Tilt, Blacknoozzled in Azure
– ojé Onto ojé, Orkm O Ojombe space!
– rests redéemer Flux-immense ―
– essence dim ― maintenance obsćure ― loamfragrantly down grey ―
–
| nightbrimmed earthcrucibles, earthtesticle immortal that:
– on Elsius Poke-Pőntius mortale
– noise, Culture:
– exiled ultramundanity,― Dreadnaught durlurvm pornèojaculore ás deed
– no far echo śpangled fŕom that juggler
– effigy-distinguished flea! off tiný-Exit-farce ― snookums’romping
– shade beflitt-spume-studded-filigree, ― finstruck-sensed ― unmánnerly ――
– strays thee: Music.
–
–
| necessity our Glossgreen Praise: Dappled Śulphur Face.
– ja
– revel
– illustrator ― by haloflavour ― mellow soothing Velvetune
– snotty-ripe
– tinwipe rubberwhistlebreak! For seen’s-Saint-strung-Bologna, Ghingha ―
– rainbow Jarman biding blue
– elevatet “Gottriese” ― hailes Hight and ćannot pike
–
–
| navel śense as Strasse,
– novembertag Mefí
– jánuaŕy nædness dámhc paẃer
– assumptiv Ĺghting ― ony tánl cĺamers hunes ――
– recreatet scapel ― rýthmic fĺippanccy aharth ―
– recreatet wizzardry ― lauŕeld Ceaśar
– recreatet violńt Héartrythm ― VERMILION “Wetterleuchte”
– elevátet, exaltet, am íss Befĺatterd ― mhyrrstuffed ― SEATALEHostilLacheule ―
–
–

These arose from free inspiration of rhythms out of EvFL ‘The Baroness’ Elsa von Freytag-Loringhoven the German dadaist & are dedicated to her memory

Katie Hansord reviews New and Selected Poems of Anna Wickham

Written by mascara on May 6, 2018. Posted in Reviews/Essays.

New and Selected Poems of Anna Wickham

Edited and Introduced by Nathanael O’Reilly

UWA Publishing, 2017

ISBN 978-1-7425892-0-6

Reviewed by KATIE HANSORD

The significance, value, and breadth of Anna Wickham’s poetry extends beyond categories of nation and resists the limitations of such categories. The category of woman, however, is central to her poetics, as both a culturally ‘inferior’ and structurally imposed designation, and as a proud personally and politically conceptualised identity, and marks Wickham’s important and consistent feminist contribution to poetry. ‘As a woman I have no country. As a woman I want no country. As a woman my country is the whole world’ (Three Guineas 197) are the words Virginia Woolf once chose to express this sense of solidarity with other women beyond national borders. Born Edith Alice Mary Harper in 1883, in London, Wickham lived in Australia from the ages of six to twenty, later living again in England, in Bloomsbury and Hampstead, as well as living in France, on Paris’ Left Bank. Wickham is noted to have taken her pen name from the Street in Brisbane on which she first promised her father to become a poet, and the early encouragement of her creativity was to be a seed which would grow and continue to bloom despite cultural bias and personal circumstance, including the opposition of her husband to her writing, and institutionalisation. She was connected with key modernist and lesbian modernist figures including Katherine Mansfield, and Natalie Clifford Barney, whose Salon she attended, becoming a member of Barney’s Académie des Femmes, and with whom she is noted to have ‘corresponded…for years, expressing passionate love and debating the role and problems of the woman artist’ (Feminist Companion 1162).

Wickham’s poetry represents a significant achievement within early twentieth century poetry and can be described as deeply concerned with an activist approach to issues of gender, class, sexuality, motherhood, and marriage. These are all issues that address inequalities still largely unresolved, although in many ways different and understood quite differently, today. These poems may be playful, experimental, self-conscious, and passionate poems that are varied but always conscious of their position and their place in terms of both political and poetic traditions and departures from them towards an imagined better world. In the previously unpublished poem ‘Hope and Sappho in the New Year,’ Wickham boldly suggests both lesbian and poetic desire and a class-conscious refusal of bourgeois devaluation as she asserts:

Let Justice be our mutual gift
Whose every prospect pleases
And do not mock my only shift
When you have three chemises

Then I will let your chains atone
For faults of comprehension-
Knowing you lived too long alone
In worlds of small dimension.

A refusal to accept such ‘worlds of small dimension’ reiterates the inclusion of emotional, psychological and structural disparities, as have frequently been noted in her previously published poem ‘Nervous Prostration’, in which she describes her husband as ‘a man of the Croydon class’ (New and Selected 19) and in which she plainly and honestly addresses the structural and emotional complexities of her heterosexual bourgeois marriage.

In poem ‘XX The Free Woman’ Wickham outlines a moral and intellectual approach to marriage for the woman who is free, writing:

What was not done on earth by incapacity
Of old, was promised for the life to be.
But I will build a heaven which shall prove
A lovelier paradise
To your brave mortal eyes
Than the eternal tranquil promise of the Good.
For freedom I will give perfected love,
For which you shall not pay in shelter or in food
For the work of my head and hands I will be
paid,
But I take no fee to be wedded, or to remain a
Maid.

Wickham’s poetry is notable for its balanced concision and depth as much as for the expansive, inclusive, intersectional approach it takes. I am using the term intersectional to refer here to an approach which is understanding of the interconnected nature of oppression in terms of gender, class, and sexuality, although it should be acknowledged that the poems do not tend to address issues of racism specifically.

New and Selected Poems of Anna Wickham, edited and introduced by Nathanael O’Reilly, brings together for the first time in print a wide inclusion of previously unpublished poems, gathered from extensive research into Wickham’s archive at the British Library. Significantly, O’Reilly’s thoughtful and careful editorship of this collection restores Wickham’s original versions of the published poems included, as well as presenting the unpublished poems in their original style and punctuation, giving the reader a clearer sense of the poet’s intention and expression. One such example is the sparing use of full stops in the poems, suggesting again Wickham’s expansive, inclusive, and flowing mode that defies the limitations of ‘worlds of small dimension’. Until this publication, readers have not been able to access these poems in print, and the majority of Wickham’s poems, over one thousand, have not been in print. Sadly, some of her writing, including manuscripts and correspondence, was destroyed in a fire in 1943. This new collection includes one hundred previously published poems as well as one hundred and fifty previously unpublished poems, making it a substantial and impressive feat. Wickham’s published collections, now out of print, included Songs of John Oland (1911), The Contemplative Quarry (1915), The Man with the Hammer (1916) and The Little Old House (1921) and she had a wide reputation in the 1930s. This expanded collection of her poetry then, is to be warmly welcomed and applauded as a timely extension of the available poems of Anna Wickham, following on from the earlier publication in 1984 of The Writings of Anna Wickham Free Woman and Poet, edited and introduced by R.D. Smith, from Virago Press, and before that her Selected Poems, published in 1971 by Chatto & Windus, reflecting the renewed interest in Wickham during the women’s movement of the 1970s.

These previously unpublished poems give further insight into Wickham’s experimentation, variation of form and style, and poetic achievement. Jennifer Vaughn Jones’ A Poets Daring Life (2003) and Ann Vickery’s valuable work on Anna Wickham in Stressing the Modern (2007) as well as that of other Wickham scholars, may more easily be expanded upon by others with the publication of this new extensive collection of Wickham’s poetry. Although Wickham’s works are now much more critically recognised than has been the case in the past, it is to be hoped that the publication this new collection will go some way to further redressing what has tended to be seen as a baffling lack of critical attention for such an important poet. Equally importantly though, the publication of this collection opens out an expanded world of Wickham’s writings to all readers and lovers of poetry wanting to engage with a poetic voice that so eloquently and purposefully brings to the fore the issues of justice, equality, gender, and both the societal and personal freedoms that remain so crucial and relevant to readers today.

NOTES

Blain, Virginia, Patricia Clements and Isobel Grundy (Eds). The Feminist Companion to Literature in English, Batsford: London, 1990.
Vickery, Ann. Stressing the Modern, Salt, 2007
Wickham, Anna. The Writings of Anna Wickham Free Woman and Poet, Edited and introduced by R.D. Smith, Virago Press, 1984.
Wickham, Anna. New and Selected Poems of Anna Wickham, Edited and Introduced by Nathanael O’Reilly, UWAP, Crawley 2017.
Woolf, Virginia. Three Guineas. London: Hogarth Press, 1938.

KATIE HANSORD is a writer and researcher living in Melbourne. Her PhD thesis examines nineteenth century Australian women’s poetry and politics. Her work has been published in ALS, Hecate, and JASAL, as well as LOR Journal and Long Paddock (Southerly Journal).

Martin Kovan reviews Hidden Words, Hidden Worlds: Contemporary Short Stories from Myanmar

Written by mascara on May 3, 2018. Posted in Reviews/Essays.

Hidden Words Hidden Worlds: Contemporary Short Stories from Myanmar

Edited by Lucas Stewart and Alfred Birnbaum

British Council

ISBN 978-0-86355-877-1

Reviewed by MARTIN KOVAN

I.

Hidden Words Hidden Worlds, an anthology of short fiction from contemporary Myanmar (Burma), is unusual in many senses. It assembles the work of seven established Burmese-language writers, and the same number of newly-discovered voices from a range of ethnic groups, translated by up to thirty literary volunteers into English. Singular not merely in its collaborative breadth, it is unprecedented: it is the first time in a half-century that such an ambitious and eclectic literary undertaking has been able to occur at all.

As well as Burmese, other ethnic groups represented include the Mon, Karen, Kayah, Shan, Kachin, Chin and Rakhine, their writers ranging from “WW2 veterans and rubber tappers to poets and journalists”: aptly eclectic for a document that looks beyond its purely literary status. Yet, Burmese remains the lingua franca of the whole, mediating the translation of the ‘ethnic’ pieces into English, as much as the speech of fictional protagonists (‘He spoke in Burmese, so all would understand him” in “The Right Answer”). Inasmuch as Burmese national hegemony is a frequent theme, it is also built into the production of the text itself.

The textual surface of the stories is thus a literal melting-pot of voices in which something of local lore and linguistic flavour has doubtless been lost from the specifically located original. On the other hand, much of the thematic territory and familiar tropes of ‘the literary’ (love-letters, metaphorical and real moonlight, journeys and partings, fêtes and rendezvous) are in full evidence, a time-warped tropical evocation of something like a 19th-century Russian sensibility. Family visitors meet, try new foods, talk, brood, sightsee, arrange foiled meetings and would-be trysts, and it is often politics that gets in their narrative way.

Stock figures of a Chekhov or Turgenev recur: bachelor uncles, adolescent yearning that discovers disillusion too soon, unmarried young women—not yet spinsters but not always hewing to the traditional social fabric of religious or social rituals of marriage, the fulfilments of family, of Buddhist renunciation, and happy old age. In a Chin variation on the theme (“Takeaway Bride”) young lovers risk separation by her potential marriage, for the dowry’s sake, to an expatriate suitor overseas. A contrasting, less anodyne, tale (“The Poisoned Future”) has an unmarried mother-to-be cast out to live among the socially derelict. Even the great Buddhist boon of being “given a chance to be born a human” proves ironic when, as a drunken grave-digger soliloquizes, “‘Like the saying goes, ‘where walks an ill-fated woman, rain follows.’”

A thematic comparison could also be made with earlier English-language Indian fiction of the feuding family genre (despite the absence in the Burmese context of the great social cartographer of souls in the Hindu caste-system). A prominent theme through-out, unsurprisingly in such an anthology, is ethnicity as such: its richness and divisions. At the heart of these (and another sign of something they share despite difference) are social celebrations that often broach geographic and linguistic frontiers: the famous Thingyan water festival (with its regional variations), local fêtes for unique traditions of music, dance and theatre, spirit rituals, monastic and political ceremonies. Lives from many social strata come together in these as unifying and discriminating at once: ethnic differences potentially erased are also re-defined in their purview (“The Moon…”).

“Reading the Heart” frames the same point in terms of a betrayal of tradition when a growing boy derides, from his own inexperience, efforts to present his local traditions to a national public (his seaside Hsalon village newly crammed with city ‘VIPs’, a term he doesn’t understand) in such a way that the authentic is made fake. But like other figures in these stories of innocence (lost) he only half realises the fact, or only until it is too late to reverse it. Other signalled differences are starkly racial: a darker skin colour signifies (as it tends to generally in South Asia) a lower class which is not just a marker of education or savvy, but also of aesthetic values.

Read in their benign literary contexts, these norms are easy to pass over as an effect of the naïf that runs through the collection in multiple senses: in its simply-limned characters, a plain-spoken style, a fatalism in the face of injustice. But read with the background of recent Burmese history, the fictional surface of disquiet, in this case, is also something which dare not speak its name. Myanmar is a religious-ethnic congeries, but it is curious that no Hindu or Muslim cultural elements feature among these stories. Perhaps another generation has to wait before we can read stories of or from the recently expelled Rohingya Muslim population, whose real sufferings tragically reiterate those so frequently described here as the merciless deus ex machina of the military state: a faceless and unforgiving force that crushes first loves, marriages, literary ambitions and careers, dreams and hopes, underfoot.

For these writers (half of whom are Burmese) racism is not an overt cost of ethnocentrism, so much as a normal condition of tradition that would never think to justify it. Some of the fictions here downplay that condition in the same way a seeming majority of contemporary Burmese (Buddhist) public life does, and the elision of the two would seem to belie the open, national literature to which the anthology as a whole aspires.

II.

Along with a prominence of the carnival, one could suppose that the popular Burmese ‘anything-goes’ vaudeville of performed comic satire (nyeint) might be an irreverent background (of a kind that often sent its practitioners, also, to prison) for the narrative foreground of these contemporary fictions. If any non-Western lifeworld could reproduce the social conditions for the political-satirical flights of a Bulgakov or Kundera, it would have to be modern Myanmar. But here literariness translates often into earnest understatement, as if the fear of the people has for too long dominated their very norms of speech, and writing, as well:

When discussions of religion and community […] strayed into talk of the government, the Abbot would warn everyone: “Stop, stop! The walls have ears.” Then no one dared utter another word. (“The Right Answer”)

The government-cum-military (with its insidiously anonymous intelligence network, or MI) figures as its own personage through-out: all-powerful, deceitful, unfairly extortionate, yet rarely if ever assigned any other symbolic status despite its ubiquitous will to destroy so much of the value the protagonists represent to themselves and the reader of local and national versions of the good and the beautiful.

Even a much-loved local tom-cat is a victim of unknown malefactors (“Silenced Night”), and in Letyar Tun’s self-translated “The Court Martial” it is a disobedient soldier, reflecting on a history of grievous violence for which, in moral if not military terms, he appears on the eve of his retirement likely to pay the highest cost. This story is also rare in giving an individual face, and conscience, to the faceless machine of power, ultimately prey to it, also, for no other reason than power’s indefinite perpetuation:

In black zones, soldiers went “code red”—cruel as sun and fire—though they needed to distance themselves from their targets in order to harden to inhuman purpose.

Plain first-person statement frequently drives narrative with a pervasively plangent tone, born of misgiving or surrender: not yet moral drama, or the classical values of a tragedy waged for a metaphysical truth won. Without overt ideological argument, many of the stories enter into an abstraction of defeat and resignation such that Lay Ko Tin can write (in “The Moon…”), past nostalgia, of his stolen and imprisoned youth that:

Our future was vague, neither black nor white. […] The saying ‘time is the best medicine’ was not true for us […] Maybe the heaviest burden of all was to stay true to our belief that the new regime was false.

The reader sympathises with repeated scenes of incarceration and injustice, without always knowing what stakes drive an absent conflict. It is not so much understood, as enacted, that even a meaningful resistance can sometimes seem to lose even that. Ko Tin’s concluding confession “Yet even now that I’m out, I’ve lost the moon that shone within me” (appearing to belie how literary success has won him subsequent esteem) could stand as a summary metaphor for many of the stories’ protagonists, no matter their ethnic background.

If anything it is literature itself, or even only its idea, that, in being so scarce and valued, is a frequent sole redemption of the worst of deprivations, in both its clandestine consumption and practice. San Lin Tun’s “An Overheated Heart” puts writerliness at self-conscious centre-stage. Where the romanticism of the ethnic stories remains conservative and traditional, this Burmese counterpoint is infected by an urbanity romanticising not literary redemption, but a very modern and ironic appreciation of its capacity to foreclose other fulfilments. One of its pedagogic protagonist’s students reflects on her teacher’s dilemma:

When you write, maybe you compare yourself to other writers, but you can’t […] measure love. Maybe you draw strength from your books, but […] Literature and love are not the same.

Many of the narratives have in stylistic common this mode of realist but understated homiletic, pitched between fiction and memoir, recitative or spoken tale. What often results is a social reportage in which historical events are frequently the pivot around which a minimal fiction turns: little seems invented, as if fiction dare not risk the imagined or possible. When truth-telling is such a prized and dangerous commodity, anything more than verisimilitude might seem profane. A thematic comparison could then finally be made with the European modernist and post-war preoccupation with the police state and paranoia, with Fate and Unreason, the submission and resistance to an impersonal, seemingly baseless power.

In 20th-century Burma, too, if less so since, meaning has been in short supply when speech is curtailed, its expressive powers denied any context in which literature, and life, builds an authentic identity beyond that of ethnicity alone. A malignity in these narratives is pressed by an unspecific Other for seemingly no reason than to make innocents or idealists, or their political exemplars (such as Communists in “The Court Martial”), suffer. Despite reference to Buddhist principles, such as their gothic gloss given by the callow protagonists of “Thus Come, Thus Gone”, religious truism seems unequal to the eeriness of events. “A Flight Path…” negotiates more mundane encounters with a deft obliqueness of address, in which wickedness (figured with regard to the Lord of Death) respects no sacred or profane status quo: “‘When you are the anvil, you must endure the hammer. Am I right?’”

III.

Hidden Word Hidden Worlds marks a hundred-year milestone since the widely-assumed first modern short story was published in 1917 in Yangon (Rangoon) in what was then still British Burma. Its editors stress that while the form existed in the interim through changing literary influences and political fortunes, both modified from the early 1960s by the vagaries of censorial military regimes, it is really only since the fragile transition to democracy in 2012 that a half-century of pre-publication censorship has been formally abolished.

What has resulted in this collection, under the auspices of the British Council, working with surviving local literary and cultural associations through-out the country, traverses formal and rhetorical modes of address, pregnant with a sense of life lived too intensely, or sometimes painfully, to be easily subsumed under one or other literary template. Many of the fourteen stories register intense experience in comparatively traditional modes of nostalgic memoir, stymied youthful romance (with some happy exceptions), or moral confession, in which any resulting incongruity between the telling and the tale perhaps accidentally endows an unadorned form with a force it might otherwise lack.

A number of stories offer graceful homage to oral storytelling (such as “The Love of Ka Nya Maw” and “Kaw Tha Wah the Hunter” to Kayah and Karen traditions, respectively). Yet it is hard to sense, given the thousand year-old generic oral traditions (of soldier-poetry, court dramas, religious tales) how far such old style is transported into a modern English in a way that rehearses, or subverts, their old formulae, much as their sometimes wry irreverence does the political repression that for so long kept idiosyncrasy and experiment from an open literary culture.

The tension between an implicit experimental could-be and the (in the Burmese case, quite literal) safety of the formally familiar is an unspoken feature of the whole. Only an occasional piece (such as “Silenced Night”) is editorially signalled as exemplifying a formal and, in its terms, cultural subversion. Otherwise, a story such as “A Bridge Made from Cord” analogises lost love and the ravages of jade-mine exploitation in an explicit register:

This is what it means to be Kachin and dream of a different tomorrow: a jade bridge crossing over from poverty to a life free from it. I too became a […] prospector of unwashed stones. We all found lots of stones, but almost none of them were jade.

Many of the stories similarly mark a threefold division reflective of the social ones that have seen decades of civil insurgency in the north, north-east and east of the country, between the ethnic Bamar (Burmese-language) majority who still dominate the cultural and political elites, the ‘ethnic’ non-Bamar cultures and languages, and the national (read, Burmese) army which, especially during the long periods of dictatorship (1960s to 1990s) sought to actively diminish both.

“A Pledge of Love…” effectively traverses the geography, and broken loyalties, of all three, figured in the confluence of northern rivers forming the Ayeyarwaddy River, itself dividing the country as the non-aligned narrator is from her lost rebel lover. Only rarely (as in “The Court Martial”) does the fictional frame seek a more objective view of the whole, unless the transfiguring properties of fable (in which heroes overcome, tradition holds firm, and the real is attenuated) perform that function of imagination.

The prospect of a cultural project such as this one was impossible during the many (ongoing) periods of civil war, and during ceasefire too precarious to sustain. The anthology is to be welcome for the fact that seven of these hitherto repressed ethnic identities can now freely be read not only in their own, in some cases formerly outlawed (the Kayah) or otherwise regenerated languages and scripts (the Chin, over a century old; the Mon, one-thousand five hundred years old), and also Burmese, but finally into a 21st-century English, as well.

Times in Myanmar, at least in nascent literary terms, have remarkably changed. Where the eloquence of silence or dissimulation has of course played a powerful role in post-War European resistance to oppression, in Myanmar it has for decades been a literal imperative, and we can’t yet speak fully, even in the expressive terms of national literature(s), of a ‘Burmese thaw’. Hidden Word Hidden Worlds is however a brave and notable first step towards its real possibility.
 
 
 
MARTIN KOVAN is an Australian writer of fiction, non-fiction and poetry. He has lived in Europe and South Asia for long periods, and also pursues academic research in Buddhist ethics, philosophy and religion, including political conditions in Tibet and Burma-Myanmar. In Australia his writing has appeared in Cordite Poetry Review, Island Magazine, Australian Poetry Journal, Westerly, Southerly Journal, Peril Magazine, Mascara Literary Review, and Overland Literary Journal, and in publications in the U.S., France, India, Hong Kong, Thailand, Czech Republic and the U.K.

Brianna Bullen

Written by mascara on March 31, 2018. Posted in Flash Fiction.

Brianna Bullen is a Deakin University PhD student writing a creative thesis on memory in science fiction. She has had work published in journals including LiNQ, Aurealis, Verandah, Voiceworks, and Buzzcuts. She won the 2017 Apollo Bay short story competition and placed second in the 2017 Newcastle Short Story competition.

 

The Last Giant Panda

Every morning, the worker put on her panda suit to work with the cubs. They did not want human intervention, and yet they asked this of her. The cubs needed to be taught how to be pandas. Every night, she would clock off work at six and shed herself, before getting into a different suit. Her panda body would be a corpse on the floor, before it was strung up on a coat hanger and put away for the next day. Her large head would sit on the upper shelves, staring down at her with large felt eyes, which obscured how small the eye holes and field of vision actually were.

She had the job for two years when talks began for automation; a robot panda would not bare the scent of humans, and would not make them reliant on human contact. She argued a robot would deprive them of spontaneity, the ability to respond to their personalities and play, and would not give them the genuine love and experience that came with touching another living biological organism. There was connection there a machine could not emulate, as much as they would be able to model the appropriate moves and be . The zoo found her list ‘ridiculous, and frankly anthropomorphizing.’

The only problem they foresaw was cost: it was a large immediate investment for long-term gain. Her wages were much less in the short-term. They made a metal bear, and tried it out. It had patches of fur crudely glued on. The cubs ran away as the noise of moving gears was too loud for them. Her co-worker joked they some people ran from cars and construction machines when they were first introduced. It would take time.

The engineers worked to decrease the sound and artificial movements of the machine. They observed footage of pandas moving, coding their rolling lumber into circuitry. Advanced artificial intelligence was programmed in, enabling them to respond to the environment and actions of the cubs to an individual degree. They claimed by the end, none of them could tell the difference between beast and machine. Some even spoke of ending the breeding program all together; it was a waste of time and resources. Pandas could be replaced by machines, and the public would not know the difference.

She told them they were not watching the pandas closely enough.

They decommissioned the program shortly after the zoo’s management overheard these plans. The head engineer was later found hanging in her apartment. These events may or may not have been related.

She got her job back, and her suit.

She saw the bi-color babies through her limited lens. Inside this body, they were her own. She let them crawl on her chest, their heavy fat and muscle compressing down, but she did not complain. They chewed on her fake face. Bat with claws. She’d push them over when they got too rough, and sometimes just for fun, and watch them roll over like giant pom-poms. They were as serene as little Buddha, with tragic black eyes. In their simulated natural environment, bamboo shot up in stratified straight lines. Plush green glass took up all the color of her city, the panda’s black and white making her feel peppermint-flavored peace. She had raised six before the automaton, watched them grow up into sulkier teens, their eye markings taking on the brand of teenage Gothic rebellion. Then she’d get reassigned when they no longer needed her. Her latest two were already starting to grow, nearly matching her sixty kilograms. She was grateful for their remaining time. With any luck, they would not be the last pandas. Her supervisors, however, thought there was something changed about them. Something wrong. They were more curious and adventurous than they should have been. In the wild, this would have been a problem. Thankfully, they were safe inside their glass, little living biology specimens.

The last panda in the wild died on a Saturday. She continued with her work until the Thursday, but something integral and unnamable had been lost. She resigned the following Monday, citing irreconcilable differences with the world.

Three days later, her first cub was introduced to the breeding program. Given a diet of bamboo shoots and panda porn, the zoo was hopeful for success.  

 

2018 Mascara Avant-garde Awards

Written by mascara on March 22, 2018. Posted in Avant-garde Awards.

Poetry 

Winner: Constitution by Amelia Dale (Inken Publisch) 

Dense, witty, distressing, radical, this non-fiction poetry exposes the redundancy of media discourse, theory and legal frameworks that underpin patriarchal agency, white settler space, and authorship. The layering of poetic structure into constitutional elements highlights the way discourse can be manipulated to postpone reform and to partner coalitions between poetry, politics and nation. The design and satirical appropriation of paratexts as frames is timely and highly original.

Shortlisted:

Argosy by Bella Li  (Vagabond)
The Honeymoon Stage by Oscar Schwartz, (Giramondo)
In Some Ways Dingo Melody Paloma, (Rabbit Poetry)


Fiction

Winner: Blindness and Rage: A Phantasmagoria by Brian Castro (Giramondo)

With its dark ironies and playful liberties of form there is mastery and joy in this verse novel. Castro’s musicality, anagrams and puns interpolate the banal with the absurd in 34 cantos that riff on The Divine Comedy as they tell the story of the last days of cancer fugitive and Adelaide architect, Lucian Gracq. This superb novel is innovative, thoughtful, comforting and profound.

Shortlisted:

Rubik by Elizabeth Tan, (Brio)
The Last Days of Jeanne D’Arc by Ali Alizadeh (Giramondo)
My Life and Other Fictions by Michael Giacometti (Spineless Wonders)


Non-fiction

Winner: Mirror Sydney by Vanessa Berry (Giramondo)

Described as an off-piste urban field manual, this book walks us through a psycho geography where alternative narratives find space between the icons, infrastructure, wharves and freeways. Historical layering, speculative flourishes and the rhetoric of maps  shape the city’s ethical and hybrid possibilities. An extended meditation on time, space, history and urban subjectivity.

Shortlisted:

Scoundrel Days by Brentley Frazer (UQP)
A Writing Life: Helen Garner and Her Work by Bernadette Brennan (TEXT) 

The Book of Thistles by Noëlle Janaczewska (UWA Publishing)

 

Best Anthology 

Winner: Shaping the Fractured Self  Ed. Heather Taylor-Johnson (UWA Publishing)

This anthology permits poetry and life-writing to speak to one another in a profound act of healing. Encompassing contributions by poets suffering from physical and mental, chronic and inherited illness, it is beautifully presented, meticulously edited and remedies what Virginia Woolf described as the ‘poverty of the language of illness.’

Shortlisted:

Too Deadly, (UsMobWriting)
The Best Australian Poems 2017 Ed Sarah Holland-Batt (Black Inc)
The Australian Face, essays from the Sydney Review of Books, Ed Catriona Menzies Pike and James Ley (Giramondo)

 

Adam Raffel reviews The Lost Culavamsa by Ernest MacIntyre

Written by mascara on March 22, 2018. Posted in Reviews/Essays.

The Lost Culavamsa: or the Unimportance of Being Earnest
about Aryan & Dravidian

a play, by Ernest Macintyre

Vigitha Yapa Publications (Colombo, Sri Lanka), 2018

ISBN 978-955-665-319-9

Reviewed by ADAM RAFFEL


 
 
In February 2016, in the best traditions of suburban amateur theatre, a group of Sydneysiders of Sri Lankan background performed a play called
The Lost Culavamsa (pronounced choo-la-vam-sa) written and directed by fellow thespian and playwright Ernest Macintyre at the Lighthouse Theatre in the grounds of Macquarie University.  I had the privilege of co-directing this play as Ernest Macintyre himself was in poor health at the time. I have known the playwright for over 40 years and I was happy to oblige.  It was a delightful rewriting of Oscar Wilde’s witty comedy of manners, The Importance of Being Earnest, about late Victorian English snobbery transplanted to an equally snobbish colonial setting in British Ceylon (Sri Lanka) in the 1930s. Ernest Macintyre had created an enjoyable piece of comic theatre about mistaken identity while engaging the audience with deeper questions of ‘race’ and ‘ethnicity’.  Macintyre has re-imagined and re-worked Wilde’s play into a satire about the absurdity of racism and communal division. A play for our times and the universality of its theme won’t be lost on audiences who have never heard of Ceylon or Sri Lanka.

However Macintyre is showing a mirror to Sri Lankans in particular.  Many of the intricacies and details of the dialogue of The Lost Culavamsa will resonate especially to Sri Lankan audiences just emerging from a 30 year civil war that concluded in 2009.  It was nothing short of a national trauma for that island and its inhabitants. At the core of the war was what it is to be a Sri Lankan.  The island’s 2500 year written history was deployed by nationalists to justify and push political agendas. The Culavamsa is an ancient Sinhalese chronicle somewhat like the Anglo Saxon Chronicle or Beowulf written in the about the same time in the 7th or 8th century AD, which was the later version of a more ancient Sinhalese chronicle called the Mahavamsa that chronicled the ancient history of the island from the 5th century BC.  These were written in poetic form like Homer’s Iliad and Odyssey, part history part mythology, and were “weaponised” by nationalists where ancient battles were used as dramatic props in a very 20th and 21st century civil war.  Viewed in this context The Lost Culavamsa can be seen as much needed comic relief for a war weary country with a core message of tolerance.  Macintyre has deployed the best comic traditions of English theatre to communicate this message to audiences in general and to Sri Lankan audiences in particular.  Ironically Macintyre uses the English language in this context not as a symbol of colonial oppression, which it was at one point in Sri Lanka’s history, but as a language of unity and of liberation from the tyranny of ethnic hatred and division.  Macintyre shows that English can be a used as a link language between the communities in Sri Lanka, uniting them so they can share their stories. In other words English can be appropriated as a Sri Lankan language. So Macintyre sets his play in the late afternoon of the British Empire as a means to communicate to Sri Lankans how they once were and not to feel ashamed or nostalgic but to learn and accept that colonialism changed the country forever and in Lady Panabokka’s words (the character based on Lady Bracknell) “that humans go forward, not backwards and whether the British Empire lasts or not, it is a stage in the forward motion of civilization”.

These lines uttered by Lady Panabokka underline Macintyre’s view that history cannot be undone.  Whether Sri Lankans like it or not colonialism was a historical reality and now forms an integral part of its history. Any attempt to wipe it out is not only futile but dangerous. It is a progressive view of independent Ceylon that drew upon the playwright’s own extensive experience in Sri Lankan theatre and the arts in the 1950s and 1960s.  This was a period in the island’s history where artists, writers, dramatists, musicians, historians and architects of the English speaking elite (of which Macintyre and my parents were a part) were engaging with local Sinhalese and Tamil speaking artists in an attempt to construct a national “Sri Lankan” identity and vernacular culture that drew upon the best of European, Indian, other Asian and local Sri Lankan traditions.  The milieu, in which Macintyre acted, directed and wrote in his youth and early adulthood still has a profound influence on his world view that a nation state consists of multiple nationalities, faiths and communities and should have a national artistic culture that draws upon its local multiple traditions while being nourished by international artistic influences including that of the country’s former colonial rulers. The fact that one can place Macintyre in the English / Australian theatrical tradition as well as in the Sri Lankan one is something that he is very comfortable with.  An example of this is the first play he wrote in Australia in the 1970s called Let’s Give Them Curry a comedy about an immigrant Sri Lankan family in suburban Australia. Both Australia and Sri Lanka view that play as a part of their own theatrical repertoires.  Unfortunately Let’s Give Them Curry was his first and only play that dealt with Australia.  For in 1983 his world was turned upside down. The community he belonged to in Sri Lanka; the Tamils suffered a series of state sponsored pogroms where they and their property were systematically attacked by chauvinistic Sinhalese Buddhist mobs.  Thousands were killed and the trajectory of the country changed forever. This affected Ernest Macintyre personally as he saw many close friends and family lose their lives and livelihoods. He used his vantage point in Australia to comment on the idiocy and futility of the endless cycle of violence in the land of his birth with a series of plays he wrote starting in 1984 and continuing to the present day.  Macintyre drew upon his favourites of the Western theatrical canon – Sophocles, Shakespeare, Brecht, Beckett, Arthur Miller, Edward Albee, Shaw and Oscar Wilde to write satires, tragedies and comedies dealing with the subject of communal violence in Sri Lanka in order to have a wider conversation about identity.  The Lost Culavamsa is the latest in that series.

The Ceylonese (Sri Lankan) characters in The Lost Culavamsa are a carbon copy of Wilde’s English characters in The Importance of Being Earnest.  These Ceylonese characters also speak an English redolent of the Edwardian England of Wilde himself.  They illustrate the extent of British influence amongst the local Ceylonese elite in the 1930s. These elites were loyal to the British Empire where the sun was about to set very rapidly.  The Ceylonese upper bourgeoisie, however, thought that their world of tea, whiskey, cricket, bridge and tennis would last forever. Many of them thought that they were brown Englishmen and women consuming Shakespeare, Milton and Dickens treating these icons of English high art as their own and dismissing with contempt any attempt by local Sinhalese or Tamil speakers to re-write and translate works from the European literary canon.  To them Ceylon was a little England where the general population was, at best, an endless supply of domestic servants and workers to toil in their estates and at worst something inconvenient to put up with. This exchange between Lady Muriel Panabokka and James Keethaponcalan (mimicking the famous ‘interrogation’ scene in the Importance of Being Earnest where Lady Bracknell interrogates Jack Worthing as to his suitability to marry her niece Gwendolyn Fairfax) illustrates the point:

Lady Panabokka: A formal proposal of marriage shall be conducted properly in the presence of the parents of both parties, Sir Desmond and I and your two parents.  However, that is not on the cards, at all, till my preliminary investigations are satisfactorily completed.

(Lady Panabokka sits)
Ernest, please be seated. Let me begin.
James: I prefer to stand.
(He stands facing Lady Panabokka. She takes out a notebook and a pencil from her bag)
Lady Panabokka: Some questions I have had prepared for some time. In fact this set of questions has evolved, at our social level, as a standard format of precaution, for our daughters and our social level. First, are you in any way involved in this so called peaceful movement for eventual independence from the British?
James: It doesn’t bother me, Lady Panabokka, I’m happy with the status quo, the British Empire……
Lady Panabokka: Excellent.
James: But I have been made to think about it, sometimes…
Lady Panabokka: What is there to think about it?
James: That we have to lead….. double lives…..
Lady Panabokka: What is that?
James: Like, my name is Ernest, but also Keethaponcalan
Lady Panabokka: So?
James: Ernest is from the British Empire, Keethaponcalan from the native Tamil culture, something like a …a double life…..
Lady Panabokka: Where do you get such confused ideas from?
James: From a scholar I know well……I was told that sometime or other the British Empire will be no more and we will all have to think of our own historical origins….
Lady Panabokka: How far back do we have to go? To when we were apes? Before we were Sinhalese or Tamil we were all apes, hanging on the same tree and chattering the same sounds! Tell your scholar, obsessed with the past, that humans go forward, not backwards and whether the British Empire lasts or not, it is a stage in the forward motion of civilization….
James: Never thought of it like that….
Lady Panabokka: So many things you “never thought of it like that”. And there is the practical problem of the Indians. My husband Sir Desmond thinks our only real protection from the Indians is to be in the firm embrace of the British Empire.  And the Indian idea that we are of the same stock was put to the test when Sir Desmond had to visit India recently for a Bridge tournament and found that the supposedly bridging language between them and us, English, was subjected to such outlandish accents, that the game took sudden wayward turns, the way the Indian accents misled the Ceylonese.
James: Yes, I have heard that they don’t speak English like us.
Lady Panabokka: Now, what may be, a related question. Do you speak Sinhalese?
James: I’m well educated in Tamil and speak it fluently
Lady Panabokka: That is an unnecessary distraction, I asked you about Sin Halese
James: Sin Halese……well, sort of, yes, to deal with the general population and…..
Lady Panabokka: That’s why I asked, because (with a sigh) the general population will always be with us. There is no harm, though, in knowing some Sin Halese oneself, for its own sake, but one must not carry it too far.
James: Too far?
Lady Panabokka: Yes, I don’t think you have heard of this man called Sara Chch Andra, a strange name even for a Sin Halese….
James: No, I have not heard….
Lady Panabokka: I’m glad. He should remain unheard of
James: Why?
Lady Panabokka: You know, Oscar Wilde’s “The Importance of Being Earnest”?
James: I love it, I played Lady Bracknell in school!
Lady Panabokka: It is one of our beloved plays, and this man, Sara Chch Andra has debased it by re- writing it, in Sin Halese, as “Hangi Hora” [Hidden Thief], whatever that means!
James: Really?
Lady Panabokka: Yes, I got it from Professor Lyn Ludowyk. Lyn was at Sir Herbert Stanley’s garden party at Queens House yesterday, and he actually spoke about it approvingly. Sometimes I really can’t understand Lyn….why can’t these people write their own plays and not rewrite ours!

The comic irony of the line “why can’t these people write their own plays and not rewrite ours” won’t be lost on a Sri Lankan audience.  Lady Panabokka who is an English speaking Sinhalese sees no problem with The Importance of Being Earnest as “her play” and by “these people” she means the Sinhalese speaking writers who should be writing “their own plays”.  She sees herself as quintessentially English who would have graciously accepted the fact that she would not be allowed into the Colombo Club which was an exclusively whites-only club for English civil servants and administrators.  Lady Panabokka, like Lady Bracknell, sees the world as a hierarchy where everyone has their allocated place, which they should accept with grace and dignity. As Macintyre says in his introduction to his play:

So Lady Panabokka establishes early in the play, that … like Lady Bracknell, … her belief that what matters in life is social status and class. Even race maybe ignored where class prevails as it happens with many Colombo “upper class” young people, Sinhalese and Tamils …

Lady Panabokka who “supervises” this whole improbable comedy is the most identifiable of Oscar Wilde’s characters, the famous Lady Bracknell. She is transplanted. The whole plot, except for the meaning of ethnicity in Lanka which makes it a different play, is transplanted Oscar Wilde, with the colours, hues and texture of the plant growing naturally from the soil of British Ceylon.

In the final Third Act of The Importance of Being Earnest the relatively minor character of Miss Prism exposes the real identities of Algernon Moncrieff and Jack Worthing to their respective love interests Cecily Cardew and Gwendolyn Fairfax.  In Wilde’s play Miss Prism locates the lost handbag in which she left the baby Jack Worthing twenty years earlier. In The Lost Culavamsa the point of departure from Wilde lies in how Pamela Mendivitharna unveils the identities of Danton Walgampaya and James Keethaponcalan to their respective love interests Sridevi Kadirgamanathan and Gwendolyn Panabokka.

Macintyre has transformed Miss Prism’s character Pamela Mendivitharna to a major role on a par with Lady Panabokka (the Lady Bracknell character).  Pamela is a scholar who lost the baby James in Colombo in a malla (a shopping bag made of treated palm leaves) together with a copy of the Culavamsa. She was a governess to this baby James whose biological mother was Lady Muriel Panabokka’s sister and also Danton Walgampaya’s mother who was Sinhalese (Aryan).  Pamela lived with baby James’s parents while pursuing her research into the ancient history of the Aryans and Dravidians in Sri Lanka, which was also a popular pastime of British civil servants and orientalists in Ceylon during that period.  Baby James was found by a Jaffna Tamil couple Sir Kandiah and Lady Keethaponcalan and adopted him as their own in a Tamil (Dravidian) environment. Pamela eventually traced baby James to Jaffna and found employment with the Keethaponcalans as James’s nanny.  As Macintyre says in his introduction:

Why in this story is there a copy of the Culavamsa … also inside the malla with the baby?  The Culavamsa’s part in the play is to link up this story with, arguably, character as big and important to the story … Pamela Mendivitharna, the lady who was responsible for the baby in her paid care …

While this baby [James] born into a Sinhalese family grows up as a Tamil, Pamela Mendivitharna … begins to doubt the well-held belief of the time [1930s] … that the ethnicities of Ceylon [Sri Lanka] resulted from North Indian Aryans settling in the island and South Indian Dravidians coming to the island as a different “race”.

The final denouement of the play ends just as Wilde’s.  The only difference being Pamela’s explanation to the audience that the two blood brothers were brought up in different environments and each displaying the characteristics of the environment in which they were brought up.  Her study of the Culavamsa was crucial in her realisation that “our ethnicities reveal social attributes, not biological differences.” This is where Macintyre uses Wilde’s structure to expose the fallacy of ‘race’ as an exclusively biological characteristic.  The ancient chroniclers and poets of the Culavamsa mention different groups or tribes or nationalities but they could not have had any idea of the very modern and European scientific and biological concept of ‘race’.  Macintyre’s play is set in the 1930s, a time when Eugenics and the pseudo-science of Social Darwinism were prevalent in Europe and United States in order to legitimise the odious narrative of white European supremacy.  This sort of thinking also influenced some South Asian nationalists during that time as they appropriated these European pseudo-sciences to construct their equally odious narratives of their own national origins. Later on this would have deadly consequences in the rise of fascism and communal violence in Europe and Asia.

Macintyre, however, never loses focus that this play is essentially a romantic comedy. His close following of Wilde’s structure and characters in The Importance of Being Earnest makes viewing and reading Ernest Macintyre’s The Lost Culavamsa an enjoyable experience.  Macintyre has transplanted all of Wilde’s minor characters including Reverend Chasuble who is re-created as Reverend Abraham Pachamuttu, the servant Lane as Seyadu Suleiman and the butler Merriman as Albert.  As with all great comedies whether it be the films of Charlie Chaplin or Luis Bunuel or the plays of Oscar Wilde or George Bernard Shaw there is always an undercurrent of seriousness and even tragedy. The Lost Culavamsa is, in my mind, no different.

 

ADAM RAFFEL is a Sydney poet and writer.

Ben Hession reviews These Wild Houses by Omar Sakr

Written by mascara on March 1, 2018. Posted in Reviews/Essays.

These Wild Houses

by Omar Sakr

Cordite Press

ISBN: 9780975249277

Reviewed by BEN HESSION

In a departure from most poetry books, the series issued by Cordite Publishing features a preface by the poet, as well as an introduction by an established writer, who in Omar Sakr’s case is his mentor and tutor, Judith Beveridge. Unlike the prefaces of the other poets in the Cordite catalogue, Sakr does not delve into overarching literary or philosophical theory about the ensuing text. Rather, Sakr speaks of life experience, observation ‘It is a statement – an exploration of me and what I’ve seen.’ (xi) Indeed, compared to the other writers, it would be easy to judge Sakr as something of a naïf. But this would be to deny his real ability as a poet, which, in These Wild Houses, sees a disarming honesty matched by an acuity of poise, nuance and craftsmanship.

Sakr’s collection opens with a quote from the prominent literary critic, James Wood, who in an interview with literary website electricliterature.com, speculated that in a society without religion and a belief in immortality, that not even houses would remain, since through the death of their occupants they would remain unattended. Houses, in the collection, have many structures, some physical others figurative, but each able to induce a real response. Aptly, the first poem in the collection is ‘Door Open’ which both suggests a threshold and a chance to view the interior. Towards this end, Sakr use of enjambment breaks open sentences to reveal something very human and even sensual:

Wild houses we
live in licked brick & sun
warmed stones, in grass blood mortar
and flesh. Listen up the halls, be careful (3)

later he invites the reader to “Come inside, let me/ warm you with all I am. Mind your head/ here on the ridges of my teeth.” (3)

‘All My Names’ demonstrates that “these houses” can be the nicknames one acquires, but are less than comfortable to live inside, which become the reciprocating metaphors for McMansions and housing commission homes which people must also live within, leaving scars.

An almost prosaic rhythm pervades much of the poetry in These Wild Houses, lend a sense of the unaffected or the low-rise ease of suburban living. Suburbia, despite this apparent sensibility is also a contested space, and Sakr’s choice of rhythm serves to make pellucid the innate tensions that arise. In ‘Here is the Poem You Demand’, for example, Sakr provides a list of identity markers one might expect from a ‘queer Muslim Arab Australian from Western Sydney’ that is both a strident affirmation of lived experience, as we see in

Here is the uncouth domestic abuse & plasma televisions,
the marbled fruit of my skin. (4)

and we also see in

Here is the mosque you despise, minarets pinked
by sky. Never forget it in the foreground (4)

and an ironic statement on alterity as a source of stereotyping or tokenistic spectacle, being on demand by the reader, who might not empathise with the sense of pain or struggle that comes with that experience and its articulation

Here is the noose I hang myself with
every day. Here is the blade I trust will sever it. (4)

The couplets in this poem show Sakr’s ability to distil of his world and journeys within it into economical lyric poetry. In ‘Dear Mama’ the longer lines ensconce the prosaic feeling, as they navigate the casual extremes of the poet’s upbringing. The second stanza notes:

Your god is capricious, strikes no reason, some days (the hours
you had full gear, I later found) you’d grin and order us a pizza
in and we’d lounge about our smoky temple as your silver screen
apostles entertained us, shot & bled & fucked & spat & died
for us. Those days were the best. Others were nails-on-chalkboard (6)

Sakr then details the abuse he received from his mother, and it is here that the restraint inherent to his lyricism perhaps becomes the most salient. In stanza three, motivation is stated succinctly:

You saw my treacherous father in the closet of my skin, my face
his imprinted sin.  (6)

The line break serves as emphasis, taking over from words themselves. Economy heightens the severity of the abuse and the strength of the poet’s own resilience later in the stanza:

I remember when the locksmith came, his confusion, dawning
pity when he asked, ‘You want the lock outside his door?’ Your cash
and a small gold chain sealed my cage. How could you think walls
would hold me? If you knew how I made that cell a world, hard
but free, you might refashion yours: a hundred books, each one key. (7)

The enjambment and the use of the isolated line in ‘Harmony of Dirt’ allows a treatment of death that is not overwhelmed by the distraction of emotion, allowing rather to reader again to share in loss and its unspoken profundity:

All around him a circle of bearded men stood confronted
with finality, a father with son,

a cousin, with cousin, life with echoes.
His funeral made a Friday morning (54)

This poem marks the deep bonds Sakr has with family despite the abuse depicted in ‘Dear Mama’. Identity, as defined through relatives or community is fraught with various tensions throughout These Wild Houses. Identity for Sakr is Lebanese Australian, a hybrid of two distinct cultures that is constantly renegotiating itself. In These Wild Houses, Sakr is mapping its landscape. ‘Landing’ notes the children growing into forgetting the Arabic of their parents and grant parents; ‘ghosting the ghetto’, meanwhile, sees a sort of ersatz hajj taken to Warwick Farm in the Australian made vehicle, the Holden Commodore.

‘Call Off Duty’, examines the anxieties anticipating the poet’s coming out to a brother, who appears to be consumed by the virtual machismo of video game warfare. By implication, this might reinforce an incumbent, culturally conservative and exclusively heteronormative view of masculinity. However, the acceptance by his brother of his sexuality  – besides offering relief – also displays apparently changing attitudes within the Lebanese Australian community.

‘Botany Bay’, takes suburbia as contested space to another level – but not without humour -where Muslim Arab Australians picnic adjacent to a museum for Captain Cook, the bringer of British colonization over Aboriginal land. The poem challenges the resulting marginalization, particularly towards his, own, Muslim Arabic community, with the narrator musing over a clash between the older Anglo hegemonic orthodoxy and the newer assertion of a multicultural cosmos, with its “hijabbed sky”. (17)

‘The H Word’, which was included in Puncher and Wattman’s ‘Contemporary Australian Poetry’ anthology, again demonstrates the power of restraint shown in Sakr’s other poems. As the “H” of the title is an initial to undercut expectations as it is to help trigger signifiers. “Home” for instance, is scarier than horror or homicide; whilst “a little H” is the italicised cry for help rather than the escape offered by what might have been inferred, heroin. The main “H” word, “hood”, and its variants, is a pun on the hip-hop abbreviation of neighbourhood, with one being emblematic or stereotypical of the other. As clothing it serves as a sanctuary from the straits of the narrator’s environment. Importantly, whilst Sakr is often explicit about his background and his feelings are clear, he indulges neither self-pity nor street-wise bravado. We see, instead, the strength of silence through the spaces between the couplets, which, in turn, endow both measure and powerful nuance to the poem, particularly in its concluding lines, expressing what he would see in death:

I expect to look down and discover in my chest
A hooded heart, lying heavy and still.  (11)

While many of the poems in These Wild Houses are definitely gritty, the aim is not for a prescriptive aesthetic for Sakr. Rather, it serves to establish the profound authenticity of the poet, something which we see he takes to the United States in ‘America, You Sexy Fuck’ and ‘A Familiar Song’. In the latter poem, his situation creates empathy for the beggars around him. The nature of what Sakr has explores in the collection is probably best summed up in its closing piece, ‘A Biographer’s Note’ where he rhetorically asks the reader:

what is tragedy and how might it play
to see a life where we now recoil
from the stink of desperation? (58)

These Wild Houses has shown that Sakr has tamed the more formal aspects of poetry, rendering the extremes of his past and their attendant, potentially distracting, emotions is no easy feat. As a debut collection, it holds great promise for a relatively young poet. The recognition of his talent is evidenced by being a runner-up in the Judith Wright Poetry Prize and his appointment as the Poetry Editor of The Lifted Brow. Judith Beveridge, in her introduction, describes Sakr’s debut as” impressive” and says that it “announces a new and important voice to Australian poetry.” (xiv) He has invited us into his houses, most certainly, but now he has made us, his reader-guests, hungry.

 

References:

Paulson, Steve. ‘The Art of Persuasion, an Interview with Critic James Wood’, electricliterature.com, 1 July 2015.

 

BEN HESSION is a Wollongong-based writer. His poetry has been published in Eureka Street, International Chinese Language Forum, Cordite, and Can I Tell You A Secret?, the Don Bank Live Poets anthology. Ben’s poem, ‘A Song of Numbers’, was shortlisted for the 2013 Australian Poetry Science Poetry …

 

Eunice Andrada

Written by mascara on February 28, 2018. Posted in Poetry.

Eunice Andrada is a Filipina poet, journalist, lyricist and teaching artist based in Sydney. Featured in the Guardian, CNN International, ABC News and other media, she has performed her poetry in diverse international stages, from the Sydney Opera House and the deserts of Alice Springs to the United Nations Climate Negotiations in Paris. During a residency in Canada’s prestigious Banff Centre, she collaborated with award-winning jazz musician and Cirque du Soleil vocalist Malika Tirolien. She has also shared her verses with celebrated composer Andrée Greenwell for the choral project Listen to Me. Eunice co-produced and curated Harana, a series of poetry tours led by Filipina-Australians in response to the Passion and Procession exhibition in the Art Gallery of NSW. Her poems have appeared in Peril, Verity La, Voiceworks, and Deep Water Literary Review, amongst other publications. She was awarded the John Marsden & Hachette Australia Poetry Prize in 2014. In 2018, the Amundsen-Scott Station in the South Pole of Antarctica will feature her poetry in a special exhibition on climate change. Flood Damages (Giramondo, 2018) is her first book of poetry.

 

autopsy

Ma loads her gun with aratelis berries
shoots at Noy till the wildfruit explode
against his hair, then keeps shooting.
Syrup and rind spray against
their too-small shirts,
curl into the webs of their toes.

It is just after siesta and their backs
have been clapped with talcum powder.
The air is overripe
everything bruised and liable
to burst at the slightest touch.

Point of sale.

When dark begins to pour
around their laughter,
they abandon the wreaths of mosquitoes
that call them holy.
Splotches of juice blacken the soil,
punctuating the walk
to the dinner table.
In that festering summer, Ma learns
the futility of sweetness.

Ma is at work in another continent
when a dictator is buried in the Heroes Cemetery.
State-sanctioned killings begin
in her hometown. Twenty-six shots
to the head, chest, thighs
of two men.

I complain about the weather here,
how the cold leaves my knuckles parched.
Ma points to the fruit she bought over
the weekend, tells me I must eat.

 

 

Elif Sezen

Written by mascara on February 28, 2018. Posted in Poetry.

Elif Sezen, born in Melbourne in 1981, grew up both here and in Izmir, Western Turkey. She settled in Melbourne in 2007. Also an interdisciplinary visual artist, she writes original poetry in English and in Turkish. In 2014 she published her Turkish translation of Ilya Kaminsky’s acclaimed book Dancing in Odessa; her own first collection of experimental short stories in Turkish, Gece Düşüşü (‘Fall.Night.’), was published in 2012. Elif’s collection of poems Universal Mother was recently published by Gloria SMH Press, and she also published a chapbook The Dervish with Wings early 2017. She holds a PhD in Fine Arts from Monash University. www.elifsezen.com

 

Chronic Fatigue Syndrome

1 Awareness

Now that I am tired
I must open up inwardly like a lotus blossom
yes, I must open my paper-like lids
towards the benign feature of absence
for I will encounter her, in the very bottom:
that archetypal mystic, resembling my mother
by her glance perforating the silvered smoke
my small self will pass away
because I am tired
because fatigue is a lovely trap made to
save my body from its old cage

I learn to become still, yet
teleport simultaneously everywhere

I get rid of the worldly clock
losing beguiling sleep

I become a voluntary mute
so I can speak for them

They
surrender their souls
wrapped with flesh and blood and breath
back to where they came from

On the lands reigned by power issues
and tasteless hierarchy, they choose
the most desert-like spot
because a desert is a home for
repentance

The anima mundi is saved here
in discovering elements of
water, fire, air, earth and ether
through the heart’s eye,
once again

A lament is sung here,
one which only their forefathers can
hear. So each grief can be freed
like a crumbling piece of bread
for the animal-smile hanging
on the corner of the wall
is my primitive self whom I once
ignored
this is a new way of loving one’s self

For I am fatigued
and my fatigue will explode
like fireworks
upon you

2 Swans

Swans were drifting away on the lake
like forgotten desires, and we were
preparing ourselves for an
ordinary day

3 Metaphysics

Who said angels don’t exist?
O angels!
They are hidden in the elixir
of infinity that clears the conscience
of the unspoken
they light the soul-flame in its essence
they secretly orchestrate the flight of
glowworms, electrifying
and dying away towards the East
and towards the West

Whatever East and West means,
this is no secret:
direction does not exist the way we know it
direction is dimensional, not linear

This is no secret:
dying holds you back
not the way you know it
this time keep your angel by your side
and set off on your journey once again

4 The one without an answer

His papyraceous solitude
flows from the tower of innocence
to the lower planes of the cosmos

tickets tucked in the hands of
the one without an answer

5 The phenomenology of chronic pain

This Aria has no beginning, no end
whereas in the beginning there was the sound
the sound of Love dividing into bits
in between the matter and soul

Over time, the sound trans-mutated into
moans, arising from hidden wars
and declared wars

Yet today, right here, it
vibrates through the nerve-ends
of a young body

                La Minor                         impatience
        Do                                              black humor
                CRESCENDO                              the pain is so glorious here

First, talk to the pain
Dear pain, what do you want from me?
caress that pain, love it
surrender it to the whole
recycle it
and never forget,
suffering and not becoming monstrous
is a privilege

6 Hope

Close. Close your eyelids
to this landscape
forasmuch as this landscape
— preventing you from being you
once kept you alive
now it rather destroys

You were saying that this is
the memory of the future
you were rambling about a re-birth
in this future
for you were exceedingly dead
nothingness was tinkling after every death

O Rose-faced child,
the eagle
         passing by the Pacific tangentially,
                              pure iron,
         O well of meanings!

You must be empty while you hope,
for what already belongs to you is ready
                   to come back to you

“For to its possessor is all possession well concealed,
and of all treasure– pits one’s own is last excavated
— so causeth the spirit of gravity”

7 Flying

Forgiveness is what’s necessary to fly
also purification.
Even purifying from the desire of flying

yet a pair of wings is enough for most,
to fly.

8 Homecoming

Istanbul Airport is the doorway of my
time tunnel. No talking!
Act like nothing happened
hereby I discovered the reason
for the lack of bird-chirp
that others dismiss
because I am a bird too
I too forget the necessity
of flight
in all directions of the
forbidden atmosphere of mystery,
simultaneously
‘We must declare our indestructible
innocence’, grumbles my mum
her eyes staring towards the
beyond-horizons
The birds pollute the new President’s sky.
A deaf child disappears from sight
in the alley, after listening to the song
which only he can hear
I call him from behind, with no luck
and find myself in
Melbourne again, inevitably
I chop and add mangos into
my meals again
I forget the malevolence of a
suppressed father image again
I forget my most favorite scent,
jasmine
how holy this forgetting is, I know
for it will pull me back to that doorway
for I’ll want to go back home again,
home without geography
without footsteps
how sweet is my abyss.

No memory of fatigue.
I’ll again make merry.

9 One more century

In every cross-section of the secondary mornings
there lies a magic

the winking sun, resembling archaic
portraits of women
make each body solve one more mystery

so that one more century passes.
  
 
REFERENCES
The final three lines of the section ‘Hope’ are from Friedrich Nietzsche. Thus Spake Zarathustra, trans. Thomas Common, Wordsworth Editions, 1997, p.188

Roisin Kelly

Written by mascara on February 12, 2018. Posted in Poetry.

Roisin Kelly is an Irish writer who was born in Belfast and raised in Leitrim. After a year as a handweaver on a remote island in Mayo and a Masters in Writing at National University of Ireland, Galway, she now calls Cork City home. Her chapbook Rapture (Southword Editions in 2016) was reviewed by The Irish Times as ‘fresh, sensuous and direct,’ while Poetry Ireland Review described her as ‘unafraid of sentiment…a master of endings.’ Publications in which her poetry has appeared include POETRY, The Stinging Fly, Lighthouse, and Winter Papers Volume 3 (ed. Kevin Barry and Olivia Goldsmith). In 2017 she won the Fish Poetry Prize. www.roisinkelly.com

Mar-a-Lago

The water is rising again
though it hasn’t rained here for months.

The bayou is coming to the door
of her house, her white colonial house

where she rocks on the porch.
She welcomes the bayou.

The bayou remembers
in the way all swamps remember:

preserving past centuries
like a jam of clotted green memories.

The woman’s dress is ruffled lemon cloth,
a pale froth at her black throat.

The sight of her would put
a thirst on you, old man, as you work

on the sugar plantation. But you
will not drink: she has a sweet tooth

having known until now only bitter.
The sun climbs higher

and higher, a golden elevator
to heaven, as she rocks

on the distant porch. In her lap,
a cat sleeping like a gun

on which she rests a ringed hand.
Silver gleam on fur. Later,

when the sun burns down to amber,
she walks to the water’s edge

and climbs onto an alligator.
Gliding down the swamp’s slow river,

she has nowhere in particular to go.
The dark braid hanging on her back

reminds you suddenly
of that sycamore with its noosey rope

through which you once saw the low
sun like a ruby, as if the earth

was begging you to marry it.
If only you had accepted then,

promising to love its children
as your own. Now you are the one

who has been made to kneel
and look, your hands are bleeding.

Ophelia

We came to meet you, Ophelia.
They said we were reckless, driving down from the city
to that little house in the west.

But we were five women who had nothing
if not each other, and have faced far worse things
than your unrest.

On the way we passed sandbags already slung
by the road, long pumps trailing from streams
while the radio said status red,

status red, and on our phones
all of Ireland a rainbow grid. And us burrowing
straight for the dark violet heart

of things, the sky turning green as a bottle.
A strange light over the sea. The air like a balm.
Water folding itself over, settling to glass.

And in the morning we woke to you everywhere.
In the attic, the water tank still gurgled
the house’s quiet song

as if a circle of livid trees did not surround us,
as if that low growl rising from the earth
held no fear for us.

Lighting the fire, lighting a joint.
The slither of flames and gentle scrape
of the grinder, turning like a wheel.

The lights in the house all dimming and
coming back. And coming back, and coming back.
As fishing boats drawn up on shingle

would be returned from land, as blue lamps
would re-illuminate the virgin’s shrine.
We watched leaves swirl

on the patio, until there were no leaves.
We watched the trees bend and almost break
until the windows were crusted with salt.

Make the world new for us again, Ophelia,
who refuse to light cigarettes from a candle
for the sake of a sailor’s soul—

despite what we have borne
at the hands of sailors. Oh tropical storm.
This is no country of palm trees and flower-

filled ditches, but it is the only land we know.
Women who dream of the impossible,
our roots grow deep.

In-Between by Heather Taylor-Johnson

Written by mascara on January 24, 2018. Posted in Creative Non-fiction.

 Heather Taylor Johnson’s recent publications are Meanwhile, the Oak (poetry, Five Islands Press) and Jean Harley was Here (novel, UQP). Heather is the poetry editor for Transnational Literature and is edited Shaping The Fractured Self: Poetry of Chronic Illness and Pain. 

 

 

 
 
In-between

1.

How do I talk about home? How do I communicate the distance between Adelaide and Sydney? It’s easy to calculate kilometres and round off to the half-hour how long it might take to drive the distance, but how do I measure the pull from one place to the other? I believe there was a beginning and there is a now (there can never be an end) and it’s the in-between we rip apart, trying to get at the bones of big things, like love and loss and home. How many minor poems begin and end like this:

Adelaide, I’ve seen the square of your heart pulsing in the heat,
your brown-veined river tapped-out and rank, your black fingers
touching the sea and pricked on the lovely vine – I have tasted
your blood and it tastes like wine. Once I considered getting lost
(an impossible fate) then decided to go home but the train
was late. I hear drums in the park and follow their beat,
discover giant fig trees at my feet. When I say your name Adelaide
my tongue is a snake sliding over your hills, all scales, no feet.
I pick late-night falafel from my teeth.

I’m in Sydney, on my way to the Blue Mountains, a writers’ residency, a yellow house. It once belonged to the writer Eleanor Dark and her husband, Eric, and they called it ‘Varuna’. There are stories of Eleanor’s ghost, how you can feel her beside you when walking down the stairs, how noisy she is when she climbs the ladder (it would seem she is always moving, a restless ghost). I’m going to Varuna to write about illness and art and live with ghosts for ten days: Eleanor’s, Vincent Van Gogh’s, the ghost of my healthy body. I have a beginning and I have a now, and in-between the beginning and now illness birthed a ghost that breathes in experience and exhales memory and I need to write the stories. I’m going to inhabit that ghost, make sense of its loves and losses, make sense of its homes.

*

There are five of us and a dog in Adelaide. I cannot write about myself without writing about ‘us’. To write about illness is to write about the body – the whole body – and they are each a part of mine. The boys are my limbs; without them I couldn’t jump or high-five. The girl is my core, giving me she-woman strength. When you roar, it comes from the core. Also when you sob. Also when you laugh. My husband is my heart and it’s his blood that fuels me. His blood which is mixed with the blood of so many others from the time he died, twice, then came back to life. He thinks he survived so that we could meet and my body make our babies. And let us not forget the dog. The dog is my bowel; I need him daily in a very basic and simple way. Like I need shitting, and I don’t mean it to sound cruel or crass – I always mean to sound like a poet. Without my family, my body breaks down, and I know from experience that the essential ‘I’ of me will follow. This then means: without my family, I cannot write.

And yet, and yet, it is near-impossible to write with them around me, touching me, demanding of me, taking from me. And yet, and yet, I find I want to write about them constantly when I’m away.

To write about my body, I must write about ‘us’. I must write about home.

Here is a short definition of home:

My agent, Jo, brought me to her home for the night, where her child slept in her bed and I slept in his. His stories hung on his walls and littered his floor; one was paused in the middle of the telling, lying patiently on his desk. Their dog snuffled about then left me to sleep, toddled into their room.  

How nice it is to feel welcomed, to hear a person say, This is my home, all of this is me, and you are welcome. I think Jo likes my writing because I write about family.

In the morning she drove me to the ferry at Manly. ‘It’s much nicer than going through the traffic,’ she said, and what I didn’t say was ‘Travel by water makes me sick.’ But then so does traffic. Coming to the Blue Mountains will not only be good for my writing but for my illness, too. There are many complexities in trying to determine why this is but I think it has a lot to do with not driving. My peripheral vision is in overload whenever and wherever I drive and it tires me out. School pick-ups and drop-offs, the neverendingness of groceries, the children’s sports, their music – I’m looking forward to the speed of walking over the next two weeks, the heaviness of ghosts in the yellow house.

 

2.

I’m sitting on the lower deck because any higher my stomach might fall overboard, scaring fish and scattering cigarette butts. What is it with smokers who don’t think their butts in the sea are as bad as an empty bottle? There is a man smoking on the upper deck and I wonder if it’s allowed. Where, these days, is smoking allowed? (Vincent with his pipe is my favourite self-portrait.)

Everyone has their phones out so they can take photos of the Opera House and the Harbour Bridge, but when we come to the blue gap between the land that is Manly and the land that is known as The Rocks – the place in the centre, where water expands unfathomably, where there is a certainty of far-away – I take a photo. It is nothing but an empty horizon. I call it longing.  

How many waves between the country where I live and the country where I was born? How many breaths? Australia and America: both are my countries yet neither are, home being a multi-layered thing and liminal at the same time; inaccessible by travel alone; too many steps, or laps, or blind grasps. That water, between the gaps of raised rock and the thin outer soil, forms a line, a plane, a motionless expanse that I know to be false because life is moving, always. Life is shifting and sinking and flowing, as in the shallow water of this harbour and the deep water beyond, as in Van Gogh’s peasant fields and the paintings of them that won’t sit still, in the rumble of dirt beneath Adelaide’s streets, and in the sands that gather and pile and amalgamate with tiny bodyless spiders’ legs in the cracks of Adelaide’s sidewalks, where debris makes homes for Adelaide’s ants. What intricate scapes tunnel below our feet.

*

I grew up in a mobile family, my father accepting promotions and my mother organising moving vans. She was a nurse and my brother and I children, so the three of us slotted right into wherever we had to live (there is always need for a nurse; suburbs crave children). By the time I was twenty-two I had lived in eight different cities in seven different states, on both sides of the Mississippi, north and south of the Mason Dixon line, too. No landmark or smell connected me to home. What is home when the silverware drawer and the cupboard for cups elude me? Naturally I filled out an application to become an international student after I’d lost my first love and of course I was gone two months later: over-the-ocean, across-the-dateline, of-a-different-hemisphere gone. Home had always been a moveable feast and I was twenty-five, hungrier than ever. That was almost two decades ago. Since then: almost twenty years of the same city, the same local beach, the same land. Almost long enough to call Australia home.

Van Gogh shifted homes when he needed to run towards, traversing the Netherlands and Belgium for a connection to the people and the land and his family and God, London for work, Paris and Arels and Auvers for art. What was home to him but a string of failures that we see as steps to his martyrdom? How conspicuous he must’ve felt with his thick Dutch accent and strange surname. He hated how the French pronounced it ‘Van Gog’ so signed his paintings with ‘Vincent’ to avoid further frustration.  

To talk about home we need to talk about language and accents, culture and history, family and, yes, the body. I’ll call Australia my eyes and America my mouth. Perhaps home is the space between the two and to the left: my ear, faulty and to blame for my disease. Is it coincidence I became sick with an imbalance disorder when I moved from one country to the next?

I come from six lane highways and bridges over creeks,
the kudzu vine, the ubiquitous pine, from toll roads
and squashed toads. I come from the North Star, Stone
Mountain, the crash of Big Sur’s waves. I am cactus poison
and acid rain; obesity and the tobacco leaf. I’m from humidity
and plastic Santas loud atop the silent snow, from lightning
bugs and those camp songs my children laugh at when I sing,
songs I sing to make them laugh.

 

3.

When we dock in that iconic part of Sydney, when I step off the ferry and step onto land, I am nauseous, the waves too much for my travelling ambition. I am glad for the hour reprieve before I catch a train to the mountains. I am glad for my notebook, pen, these thoughts, this writing, though when I look up from all of this gratitude, I am even more unsteady. In need of a nap to set me straight. A Coca-Cola will do. Always does. Embarrassing to wear your country of birth not around your neck or on your sleeve but stuck to your mouth which sucks in the bubbles that settle your stomach because you suffer from nausea. Though I believe sometimes you have to give yourself a break. One needn’t be political about small vices when there are so many other things wrong in the world.

Right now, in America, there is Donald Trump raised higher than Trump Tower and having no fear of any aeroplane crashing into him and taking him down, no fear of a missile aimed at his gut. Does he comprehend an American implosion, an inside job where citizens fire away with all of those automatic guns? I’m rubbing my face now. Whenever I think about Trump or America’s gun problem, I obsessively rub my face.

I’m supposed to return home to see my parents and brother and his family soon. I won’t go home. But I will return to America.

It is possible, I suppose, to miss home terribly, not know what home really is anymore, and refuse to go home, all at once:

James Woods has described this other chronic condition as ‘homelooseness’[1], going on to say, ‘Such a tangle of feelings might then be a definition of luxurious freedom’. Because I’m not a forced exile. Because I’m not a refugee. I left the only home I’d ever known to make a new one. Because I wanted to. Because I could. And yes, I miss the rivers and lakes, miss the mountains of America, miss the roads that lead to anywhere and everywhere, miss my parents and brother, so yes I miss America. I’m tethered and the strings are taut. But is it home to me when I cannot fathom how a nation could support a man such as Donald Trump? Is it home now that my vowels, the lilt of my words and the jargon I use sound foreign even to my own ear let alone to those who ask me where I’m from? Can it be home if I no longer live there, know bus routes, have a favourite restaurant, favourite radio station? In the spirit of homelooseness, I will return to America only by refusing to return ‘home’. The two names have become such luxurious contradictions that it’s impossible to consider them one and the same.   

Van Gogh went back to his family in the Netherlands again and again when he was sick, but it never worked. Feelings of failure. Angry words. His paintings of that homeland are dull in colour, so different from the yellows and teals of Arles, his haven-home, the one he chose, where he lived in his own yellow house and the people all thought him a madman. (How to communicate the lonely distance between his two homes? How to define his terms of condition and stamp it on a landscape?)

I can and will go back to America again and again because I know Adelaide, my own haven-home, will always be waiting for my return. It is why I will come to terms with the American population for voting in Trump, who is making the skin fall off of my face. It is why I can do this now: leave my husband and my children and my dog back home so that I can write about illness. So that I can write about them.

Just. Need. To get. To. The yellow. House.

And all around me at Central Station people are moving. I swear I can see the energy of the molecules between their busy bodies. It’s almost pixelated. A dance. Wrappers are moving on the concourse from the wind on the platform. Even the idling engines inside the trains are moving, their pollution sifting upward and mixing with that same wind. Everything is connected. The wind is my head. (It is always my head.) The fluid in my ear is moving in time with the lift and fall of bile in its intricate tunnel of intestines and sacs. What if the ferry ride has lasting effects and I’m sick for days or weeks? I’m on my way to the Blue Mountains without my family – who make up my body – to write about the body and illness, and I might be too sick to write. Who will I complain to? Who will I squeeze security from? I might find ‘home’ a difficult word to define but I know it’s partly a place where you are comfortable being sick. Anywhere else can be called ‘unfortunate’.

4.

I’m anxious about the impending train ride, when the world will screech past my window – a stone wall blurred, stampeding trees. Even the sun will slam down its rays like a procession of gates trying to capture the forward-moving time. The tyres on the thing will roll as if trying to tame New South Wales, though it – the land – is unruly, uncompromising, will have its way through swells and swerves, through juggling ruptures. I know this already because I love to travel, just hate the travelling.

A long day, a wild journey for someone with the luxury of freedom, but it will be small in comparison to flying across the world to get back home. (See how I use the term fluidly? As if I was an underwater lava bridge connecting two lands.) My acupuncturist thinks a body isn’t meant to move from one magnetic pole to the other in a matter of hours and that a malfunctioning body will rebel. Why whenever I go to America she sticks on strips of tape holding tiny needles that quietly treat me for days. Why I see her within the first few days of my return to Adelaide for maintenance because travelling will always shake up my illness

But she thinks this is a good idea. Not the travelling but the travel, the space and the time on my own. A holiday away from home.

*

The house on Herbert Street, call it a rectangle. It’s got rooms on either side of the hallway. Most are bedrooms but one is the living room (the couch room, the fire room, the television room, the room of constant gathering), and that is the second most important room in the rectangle, the first being the kitchen. I could’ve said the most important room was the bathroom or the toilet but I’ll remind you: I am always trying to be a poet. And after all, the kitchen’s where the hallway leads, which is like the dot at the end of the exclamation point. A directive. A designation. A destination. The room revolves around food and, more than anything, bodies need food. So we are mostly there chopping and slicing in our bodies, perusing pantries and refrigerators in our bodies; eating, singing, hugging, screaming, dancing and talking in our bodies in the kitchen; the room is rarely bare of us. Outside is a backyard full of one-day-I’m-gonnas and scattered stinging nettle seeds. There’s a trampoline and a wooden cubby house with a rustic ladder that’s unattached to any tree, but because it sits among climbing vines we’ve always called it a treehouse. Green is good for the imagination just as it’s good for the lungs. And that’s really what I think about our backyard: it’s a place to breathe.

I board the train bound for Katoomba and sit near the front on the bottom level, where the least amount of perpetual motion occurs. I’ve been on this train before and sat on the upper level, threw up into my water bottle until it was full then asked someone close to me for their empty coffee cup. Two and a bit more hours of travel and I’ll put down my bags in my room at Varuna. I’ll lie on the bed and rest before the welcoming drinks, where I’ll try to appear happy-to-be-here when really I’ll be just-plain-tired. At night, I’ll lie down in bed, thinking about Van Gogh’s yellow house, how he wanted it to be an atelier for a host of painters in southern France and when it didn’t work out, he was devastated, hacked at his ear, got so sick he never really recovered. I’ll fall asleep, dizzy but exhausted, and if the ghost of Eleanor Dark wakes me, I’ll tell her thank you for welcoming me into her yellow house. Such a lovely home.

*

When the train starts to roll I’m looking out the window. Sydney spreading then thinning then suddenly gone. Then pockets of other ways of living: outer suburbs and mountain towns. In America, I trialled them all. I made a home in a desert city where front lawns traded boulders for grass and one in a suburb of contemporary houses, all angled and wooden and upper-middle class. One had a front porch overlooking a proud town preserving its Civil War façade. Women in bonnets swept the sidewalks on Saturdays. All of these, stepping stones to the rectangle which I call home, though naming it as such suggests that home is an object, when what I really want to say is that home is everything within and surrounding the rectangle, everything fragile about my upbringing, everything sacred about my connection or disconnection to America and to Australia. More than the beginning and the now, it’s the in-between.

 

[1] Woods, James. ‘On Not Going Home’. London Review of Books, vol. 36,  no. 4, 20 February 2014, pp. 3-8, http://www.lrb.co.uk/v36/n04/james-wood/on-not-going-home

 

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