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Yvette Holt

Yvette Holt heralds from the Bidjara Nation of Queensland, born and raised in Brisbane, Yvette is a multi-award winning poet, academic and feminist. She has lectured on Aboriginal Women Studies and Australian History in an Indigenous Context at the University of Queensland and the Australian Catholic University respectively. Her research has been in Indigenous Australian literature with a particular focus on Aboriginal womens’ poetry, Yvette is also a passionate advocate for Aboriginal and Torres Strait Islander women and their leadership on a state and national level.

Her prizes include the Scanlon Prize, the Victorian Premier’s Literary Award for Indigenous Writing for her collection, Anonymous Premonition, and the 2010 Kate Challis Award.

 

 

Always My Lover

  
my lover the colour of candescent brandy seducing an Indian summer/
my lover the reason I leave diamond kisses scattered across an auburn, morning waist/
my lover, skin sweeter then Belgian chocolate dusted with perfumed spices/
my lover amethyst fingers endlessly melting every breath behind my sigh/
my lover the reason I read poetry to our unsuspecting goldfish/
always my love, forever my lover/

Motherhood

(Dedicated to Cheyenne Holt)
I love my suburban backyard and sharing it with you
lying on the trampoline just mother and daughter
and making funny animal shapes out of the soft marshmallow clouds
 
then when night falls we begin to count the twinkling stars on our hands and feet laughing at the passing
red kangaroos flying high above our mango tree
I love watching you transplant a leaf from our garden as you impatiently wait for it to grow
 
sometimes I squint while trying on new clothes in front of her though because no matter what I buy or choose to wear I always seem to
end up looking like a six foot-tall full-figured Barbie doll or maybe even a Ken
 
I like playing big sissy with you and rolling around on my bed, begging you to stop tickling me until I fall hard
onto the floor then I get all too serious and fed up but you just laugh hysterically and say ‘C’mon mummy that was
fun let’s do it again’
 
I look forward to dancing with you every Sunday morning and singing ‘I am woman hear me roar’ karaoke style
with my tired and worn-out hair brush
I love calling you from interstate and telling you I’ll be home tomorrow
 
there are so many things I love about motherhood but we keep it real and have our fair share of difficult moments
too like homework time, always radioactive in our neck of the woods, or asking her to clean out her bedroom for
the umpteenth time because I’m unable to see the carpet
 
and yes I know I totally freaked out when you told your school friends that Mr. Bean was really your father
because at the next P & C meeting I felt like the black adder
 
but through it all if motherhood were a mountain then you’ve taken me to the highest peak and if daughters were
flowers growing in the garden
you would always be me one and only sweet                     

Trippin’Over Your Tongue


The littering of literature fills my living space
I break and enter like a thief in the night
Selling my words on the black market page
Pawning my thoughts for a night on the town
Then peeling the label from a bus shelter wall
Trading my soul for a leather bound classic
Collecting collectibles
Like a crazed butterfly
Embracing your tongue
Before you have spoken
Recycling your dreams
Triggering my pen
Before I commence
Exchanging your whisper
For a reloaded quill
Sifting through texture on
The black poet’s corner
Moulding your ideas
Into something more or less
Bringing to boil
A melting pot of languages
Simmering over time
Sprinkling through the ages
To be or not to be
Obesity of our words
Gathering up the pounds
Charring the midnight ink
“Motherhood” and “Tirppin’ Over Your Tongue” first appeared in Anonymous Premonition, (University of Queensland Press, 2008)

 

Gabriela Mistral: translation by Stuart Cooke

Gabriela Mistral (1889-1957) was born in the small northern-Chilean town of Vicuña. She rose from near-poverty to acheive a significant international reputation not only as a poet, but also as an educator, a diplomat and a journalist. In 1945 she became the first Latin American to win the Nobel Prize for Literature.

 

La Bailarina

La bailarina ahora está danzando
la danza del perder cuanto tenía.
Deja caer todo lo que ella había,
padres y hermanos, huertos y campiñas,
el rumor de su río, los caminos,
el cuento de su hogar, su propio rostro
y su nombre, y los juegos de su infancia
como quien deja todo lo que tuvo
caer de cuello, de seno y de alma.

En el filo del día y el solsticio
baila riendo su cabal despojo.
Lo que avientan sus brazos es el mundo
que ama y detesta, que sonríe y mata,
la tierra puesta a vendimia de sangre
la noche de los hartos que no duermen
y la dentera del que no ha posada.

Sin nombre, raza ni credo, desnuda
de todo y de sí misma, da su entrega,
hermosa y pura, de pies voladores.
Sacudida como árbol y en el centro
de la tornada, vuelta testimonio.

No está danzando el vuelo de albatroses
salpicados de sal y juegos de olas;
tampoco el alzamiento y la derrota
de los cañaverales fustigados.
Tampoco el viento agitador de velas,
ni la sonrisa de las altas hierbas.

El nombre no le den de su bautismo.
Se soltò de su casta y de su carne
sumiò la canturía de su sangre
y la balada de su adolescencia.

Sin saberlo le echamos nuestras vidas
como una roja veste envenenada
y baila así mordida de serpientes
que alácritas y libres la repechan,
y la dejan caer en estandarte
vencido o en guirnalda hecha pedazos.

Sonámbula, mudada en lo que odia,
sigue danzando sin saberse ajena
sus muecas aventando y recogiendo
jadeadora de nuestro jadeo,
cortando el aire que no la refresca
única y torbellino, vil y pura.

Somos nosotros su jadeado pecho,
su palidez exangüe, el loco grito
tirado hacia el poniente y el levante
la roja calentura de sus venas,
el olvido del Dios de sus infancias.

The Dancer

Now the dancer is dancing
the dance of losing what she was.
Now the dancer lets it all fall away,
parents, siblings, orchards and idylls,
her river’s murmur, the pathways,
the story of her home, her own face
and her name, and her childhood dreams,
as if letting everything that she was
fall from her neck, her breast, her being.

On the edge of the day the solstice curls
around what remains dancing in a delirious swirl.
Her pale arms are winnowing away the world
that loves and detests, that kills and jests,
the earth crushed into a bloody wine,
the night of the multitudes who don’t sleep,
the pain of those without homes in which to rest.

Without name, race or creed, without relation
to anything nor to her herself, she shows her devotion,
beautiful and pure, with flying feet.
Shaken like a young tree in the tornado’s eye,
the proof emerges and cannot lie.

She isn’t dancing the albatrosses’ flight,
birds covered with playful waves’ salty bites,
nor the uprising and the defeat
of reeds pummelled by the wind,
nor the candles that the wind perturbs,
nor the smiles of the tallest herbs.

They didn’t baptise her with this name.
She broke free of her caste and her flesh;
she buried the soft song of her blood
and the ballad of her adolescence.

Without knowing it we throw our lives
over her like a poisoned red bodice
and she dances like this, snake-bitten,
the vipers swarming over her freely,
leaving her to fall as a forgotten
symbol, or as a garland smashed to pieces.

Sleepwalker, becoming what she despises,
she keeps dancing without thought of the changes,
her expressions and myriad contortions,
exhausted by our own exhaustion,
blocking off the breeze because it doesn’t cool her,
unique and electric, vile and pure.

We ourselves are her panting chest,
her bloodless pallor, the crazy scream
thrown to the east and the west,
the red fever of her arteries,
she has forgotten the God of her infancies.

 

Stuart Cooke’s translations have also appeared in HEAT, Southerly and Overland. His translation of Juan Garrido-Salgado’s Once Poemas, Septiembre 1973 was published by Picaro Press in 2007. A chapbook of his own poetry, Corrosions, is forthcoming from Vagabond Press.