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Ellen van Neerven

11899131_10207023462362410_1211054653_oEllen van Neerven is a young Yugambeh woman from South-East Queensland. She is the author of Heat and Light (2014), winner of the David Unaipon Award, the Dobbie Literary Award and Sydney Morning Herald’s Best Young Novelists Prize. 

Photo credit:
Inga Simpson
 
 
 
from Pearl

At 3 p.m. I looked out of the window to see the three men standing with bags by their boots.  They were dressed in camouflage and looked slightly ridiculous considering the weather. Their waterproof pants made their legs look like parachutes. They looked at Pearl’s bright dress.‘Why you wearing that? ’ She shrugged.

‘You dumb bitch, we’ll see how you go.’

I followed them down the streets. I had the advantage of knowing the town and the paths very well. Pearl was in front. Goh coughed on occasion and Bandit smirked. I saw them look at each other and communicate a shared want they could not say out loud.

When they went into the bushland with their gear, the decoys they carried began to weigh them down and they walked slowly – all three were unfit or weak. Pearl carried nothing and walked easy. I noticed she had slipped off the clogs she wore at work and was barefoot.

When the lake was in sight I stopped to find a vantage point. I found the old wooden lookout that had been there since I was a kid and surveyed the surroundings below. The men stepped out  and surveyed  the area and where they would set up the blind. Pearl half-turned; her eyes found me and she nodded in recognition. The little flecks of light flicking up from the lake caught their expressions and I felt I could see them perfectly. The men crouched to set their plastic painted decoys down in the mud. From where I was, the decoys looked quite lifelike. Pearl had found her spot a little bit further down, closer to where I was. She also knelt and opened her hands, and I saw she had made a grass duck, out of reeds. It was beautiful.

Bandit looked – his mouth gaped for a moment and then he laughed at her creation. I couldn’t help but share his sentiment,  as  remarkable as  it was,  there was  only one.

They stepped back thirty metres or so into the vegeta- tion and started to get their gear out of the bags. George handed Pearl a shotgun. ‘Don’t miss,’ he said. And they put on their gloves and face masks, and held their calls and their guns. Pearl stood straight and stripped her dress off, spread out her arms and slipped off her undergarments.

‘Shit,’ George said and they exchanged a placating look between the three of them that made them carry on as if nothing had happened.

With her  feet,  Pearl covered  the  red  garment  with leaves. Bandit gave a nod to indicate the start of their hunt and they widened their stance.

Pearl put the call in her mouth.  The wind picked up and melded with her hail call, a long, low note. The wind began to pull at the tassels of the lake, and I held my hair in place. The wind shuddered the ten or so decoys the men had laid out, and they fell down in a row.

The men swore loudly but Pearl kept calling. She went to a new call – a rapid round of short, sharp notes. This is what the men in their conversations at the shop had called a feed call, when a hen has found food. I heard the ducks above, and I looked up to see their formation swooping down. The mallards slowed their wings and came towards the outstretched Pearl like a train to a station. There were at least two dozen. Pearl raised the gun and fired. But nothing was shot. The mallards landed unaffected around her. She looked down, confused, at the gun.

That’s when the camouflaged men made their move. With their masks they looked like executioners and that’s what they were. They grabbed Pearl by the shoulders. Goh on the left, George on the right and Bandit at the front.

I got to my feet but there was nothing I could do. Though the wind, as always, was  on her side.  The gale swept back – it was a wind that bit – and George let go. He flailed his arms out and toppled backwards into the lake.

In the confusion Pearl got away and then she was running and Bandit and Goh were chasing hard and I could not see everything exactly. The heat from the day had carved a dull headache in my mind.

~

On the way home I find a lover, in a hotel in a one-street country town. She smells like apricots and is too pure for me. I started surfing when I realised I needed something to quell my undiagnosed sex addiction. When I go out to the beach it’s usually to clear my head from anyone muddled up in there.  Mystery does not always equal desire,  and for every woman I’ve been with there has been one who turned me down. Like that Fleetwood Mac song, women, they will come and they will go.

This woman doesn’t turn me down. We giggle as we pay the clerk for a room upstairs. As she unlocks the door I search her hands for a ring or tattoo or some sort of sign that will remind me that she is not mine. She is the kind of girl I would have thought about being with when I was younger and hadn’t yet fucked up a million times. She gardens and she volunteers at the school near Hune Hill where lots of my mob went. She says she will take me to see the farm where she lives and show me her orange trees.  They are the biggest oranges, the size of basketballs and they taste like love.

‘Will you cut them up for me? ’ I ask.

‘Yes,’ she says, slipping off her singlet top.

‘And take the skin off ? ’

‘Of course.’

We take the covers off the bed and she gently puts her hand on my chest and drives me back onto the mattress. She lowers herself and her legs come around my waist – I squeeze her ankles and we kiss like we’ve kissed each other before. How can it be that I don’t feel the weight of her. That there is no taste on her tongue. No drug, no cigarette, alcohol or coffee. I thought she’d taste like apricots or oranges. I’m getting sick, it might be the flu I’ve resisted all winter. Because I can’t continue. My breath is ragged and the shapes and colours of her are blurring.

This extract appears in Heat and Light, page 15-19 first published in 2014 by University of Queensland Press, and reprinted here with permission.

Aquiles Nazoa translated by Ariel Riveros Pavez

nazoaAquiles Nazoa (born in Caracas 17 May 1920 – 26 April 1976) was a Venezuelan writer, journalist, poet and satirist. His work expressed the values of popular Venezuelan culture though in 1940 he was arrested for defamation and criticism of the municipal government. In 1948, Nazoa obtained the Premio Nacional de Periodismo (National Journalism Prize) in the humour and customs section. He was also awarded the Premio Municipal de Literatura del Distrito Federal (Municipal Prize for Literature of the Federal District) in 1967. He wrote for the Colombian magazine, Sábado and lived in CubaHe was expelled by the Jiménez regime in 1956 for two years. His poems have been reproduced as lyrics by musical artists throughout Latin America from the 1970s to this day.

 

Rezo el Credo o Credo de Aquiles Nazóa


Creo en Pablo Picasso,Todopoderoso, Creador del Cielo y de la Tierra;
creo en Charlie Chaplin, hijo de las violetas y de los ratones,
que fué crucificado, muerto y sepultado por el tiempo
pero que cada día resucita en el corazón de los hombres,
creo en el amor y en el arte como vías hacia el disfrute de la vida perdurable,
creo en el amolador que vive de fabricar estrellas de oro con su rueda maravillosa,
creo en la cualidad aérea del ser humano,
configurada en el recuerdo de Isadora Duncan abatíendose
como una purísima paloma herida bajo el cielo del mediterráneo;
creo en las monedas de chocolate que atesoro secretamente
debajo de la almohada de mi niñez;
creo en la fábula de Orfeo, creo en el sortilegio de la música,
yo que en las horas de mi angustia ví al conjuro de la Pavana de Fauré,
salir liberada y radiante de la dulce Eurídice del infierno de mi alma,
creo en Rainer María Rilken héroe de la lucha del hombre por la belleza,
que sacrificó su vida por el acto de cortar una rosa para una mujer,
creo en las flores que brotaron del cadaver adolescente de Ofelia,
creo en el llanto silencioso de Aquiles frente al mar;
creo en un barco esbelto y distantísimo
que salió hace un siglo al encuentro de la aurora;
su capitán Lord Byron, al cinto la espada de los arcángeles,
junto a sus cienes un resplandor de estrellas,
creo en el perro de Ulises,
en el gato risueño de Alicia en el país de las maravillas,
en el loro de Robinson Crusoe,
creo en los ratoncitos que tiraron del coche de la Cenicienta,
el beralfiro el caballo de Rolando,
y en las abejas que laboran en su colmena dentro del corazón de Martín Tinajero,
creo en la amistad como el invento más bello del hombre,
creo en los poderes creadores del pueblo,
creo en la poesía y en fín,
creo en mí mismo, puesto que sé que alguien me ama...




El Mayordomo y El Gato

Recientemente falleció en Montana
una viejecita norteamericana
que, en calidad de único heredero
le dejó a un mayordomo su dinero.

Mas la anciana del caso que relato
dejó también un gato
que ha venido a plantearle al mayordomo
un problema, lector, de tomo y lomo,
ya que en el testamento hay un mandato
que le impide aunque llegue a la indigencia,
disponer ni una puya de la herencia
hasta que no se muera dicho gato.

Me diréis: - ¿Y por qué ese mayordomo
no se arma de una estaca o de un zapato
y acaba de una vez con ese gato
que debe de caerle como un plomo?

Ah, porque la viejecita, en previsión
de que ocurrir pudiera cosa tal
aclaró al imponer su condición
que del gato en cuestión la defunción
debe ser natural,
y si no muere así, tampoco hay real.

Lo que le queda, pues, al mayordomo
ante este caso, es conservar su aplomo,
con paciencia llevar su dura cruz
y esperar que se muera el micifuz.
y como el gato tiene siete vidas,
¡esas puyas, lector, están perdidas!

The Credo according to Aquiles Nazoa


I believe in Pablo Picasso, Almighty, Creator of Skies and Earth;
I believe in Charlie Chaplin, son of rats and violets,
who was crucified, dead and buried by the time
but who is resurrected daily in the hearts of men,
I believe in love and in art as the path to enjoy everlasting life
I believe in the miller who lives off making golden stars on his marvelous millstone
I believe in the aerial qualities of human beings
set in the memory of a swooping Isadora Duncan
like the purest dove wounded under Mediterranean skies
I believe in the chocolate gold coins I secretly stowed
under childhood pillows;
I believe in the myth of Orpheus and the magic of music
When, in the hours of my anguish I saw Faure’s Pavane evoked
walk free radiantly from sweet Eurydice in the hell of my soul
I believe in Rainier Maria Rilke, hero of our struggle for beauty,
who sacrificed his life by plucking a rose for a woman,
I believed in the blossoming flowers of Ophelia’s adolescent corpse,
I believe in the silent lament of Achilles facing the sea,
I believe in a sleek and distant ship
that embarked a century ago in search of the aurora;
whose captain, Lord Byron, by the scabbard of archangels,
a blaze of stars on his brow,
I believe in Ulysses’ dog,
I believe in Alice’s Cheshire Cat in Wonderland,
in Robinson Crusoe’s parrot,
I believe in Cinderella's ratty coachmen,
Veillantif, Roland’s steed,
and in the worker bees in their hive within the heart of Martin Tinajero,
I believe in friendship - mankind's most beautiful invention,
I believe in the creative power of the people,
I believe in poetry and to end,
I believe in myself, since I know someone loves me…








The Butler and The Cat

An old American lady
passed away recently
in Montana
and made the butler
her sole inheritor

Furthermore, the old woman
in this case also left a cat
that caused contention
my learned friend, of books and spines,
because there was a clause in the will
that put pause to any pay
even on pains of penury
‘til said cat died

And may well you ask:
why wouldn’t the butler
take hold of a stake or shoe
and finish off said cat
which must be gnawing at him by now?

Oh, it’s because the grand old dame foresaw
that such a thing could happen
and clearly imposed this condition
that the cat in question
should die of natural cause
and if this did not occur,
there would be no recourse

So what’s left in this case
is that the butler should
keep calm and composed
bare his heavy cross
and wait for the furball to croak
but as a cat has nine lives
my learned friend, to all those bucks
you might as well say goodbye.

 
 
ARP

Ariel Riveros Pavez is a Sydney-based creative writer, publisher and poetry translator. He also writes on experience-dependant Neuroplasticity. Ariel was convener of The Blue Space! Poetry Jam and is founding editor of Australian Latino Press. His work has appeared in various publications including Arena Magazine, Journal of Postcolonial Text, Southerly and Verity La.