October 11, 2014 / mascara / 0 Comments
FJ Bridger was born and raised in Mackay on the Central Queensland coast. She studied arts and law at the University of Queensland, then practised as a lawyer in the private and public sectors, and as a government policy advisor. In 2007 she completed a Master of Arts degree from Griffith University. FJ Bridger writes novels, short stories and memoir. Her first novel manuscript won a place in the Queensland Writers Centre/Hachette Publishing manuscript development program in 2012. A short story was published in Idiom 23 in 2013. FJ Bridger lives in Brisbane with her husband and two sons.
Streetcombing
Not much of a haul today. People aren’t throwing away their perfectly good old stuff like they used to.
Still, I had a nice find the other day. Trick is, see, you’ve got to be the first there. Problem is, you don’t know who’s going to put out the good stuff when. But I’ve been studying it. Eight years now I’ve been doing the rounds. Perfecting the art. It’s not just random stumbling on terrific finds like some people think. You’ve got to be smart to make a good haul. ‘Streetcombing’, I call it.
Once a year or so, the council trucks pick up your old washing machines and furniture and mattresses, bulky sort of stuff. Meant to be things you can’t take to the dump in the average family car. But people are taking liberties with their cast offs, putting out everyday stuff, not just the bulkier things. Things like clothes and toasters and little plastic Christmas trees. Stuff the charities could do with. Gets ruined if it rains. A waste, really.
Annoys me a bit, thinking about the years I missed, before I got onto it. It was my wife Marjorie got me started. God, don’t think I’ve said her name in years! We were only together for about three years. It’s one of the few things I can thank her for. When I was at work at the museum one day she cleaned up the house and put out the old suitcase I stored all my school reports and treasures in. Lucky I got home in time. Found it out on the footpath before someone swiped it or the council truck came. I would have been ropeable if I’d lost it. It was precious. Still is. I gave her a piece of my mind over that, I tell you.
After that, I set her some rules. No throwing my stuff out, for a start. It’s not as if I had much gear in the first place. She was the one who’d inherited all the furniture, and a thousand and one little things that came with the house. All the silverware and paintings on the walls and jewellery and dining suites and wardrobes and lawn mowers. Not that you’d want to throw out good quality stuff like that. But she could have gone through her mother’s old papers and tablecloths and got rid of them. Poor old Brenda had no further use for them. Not like me and my suitcase.
That same night, I had to get out of the house, I was that angry with Marjorie. So, I went for a walk. While I was out I saw stuff on the footpath in front of other houses. The trucks were due to come round the next day, see? Anyway, that near-disaster and seeing those piles of gear got me thinking. I noticed the kinds of things people put out. It was an education, I tell you.
There was the usual old rubbish, like rusted pots and pans, and old garden tools and prams and sports gear. Then there was the big stuff like dryers and couches and cupboards. But when I got up close I came across things I liked the look of. Figurines and vases, and really old bottles. All there for the taking. A blue china bowl that caught my eye. I picked it up and put in under my jacket.
It dawned on me, I could collect this stuff. And it wouldn’t cost a cent. I’d show Marjorie I could have a worthwhile thing or two. I’d do my research and learn all about antiques and collectables. I could take books in to the museum and spend work time studying up on it. My supervisor, Bethany Flangel, she would never know. She’s hardly ever there, and doesn’t take much notice of what I do anyway. I’m the one who keeps the place going. So many museums are closing, or cutting back opening days and hours. Not mine, thank god. I don’t know what I’d do without my job. It’s my vocation, see?
So, that night got me started. I’ve collected a heck of a lot of stuff in those eight years. Not just any old junk – fabulous stuff. And I’ve done my homework, reading up, honing my expertise. But I’m not greedy. I don’t like the idea of venturing far from home. I keep myself to just a few suburbs near me. Luckily, they happen to be some of the better suburbs in town. So, good pickings. You wouldn’t believe what some people turf out.
A few years back, I was tempted to throw out all my rules, be a bit of a rebel. Go out to far-flung suburbs to pick through their throw outs. Or stick to just the best streets of Ascot and Hamilton where I was bound to score well, and where locals wouldn’t be seen dead going through their neighbours’ piles. You never know what you’ll come across. But my conscience wouldn’t have it. That would be too much like scrounging from a dump. Almost like going through rubbish bins. I can’t come at that.
After I’d been in the game a few years, I did expand my territory another suburb, an extra thirty streets. With a bigger area, I could do my streetcombing for more weeks of the year, see? A very nice neighbourhood the new one is. Upmarket. Gives a good yield. Last time I found an ornate bedside lamp, and a lovely pair of china dogs.
I have to be sure to get to the good finds before those scavengers who drive round other people’s neighbourhoods. The council drops the flyers round in letterboxes a week before the pick up day. I’ve got to be vigilant, keep an eye out for people putting their discards out early. Others put them out at the last moment. Then there’s everything in between. You can’t take your eye off the ball, see? The bloke might clean out first and put his throw outs on the footpath, then the wife might have a go. It’s just too bad if one of them wants something that shouldn’t have been put out. If it’s anything remotely desirable, it’s gone.
What I can’t stand is those flea market people and second hand dealers who swipe stuff for profit rather than their own use. Some people say it’s just another way of recycling, so it’s not a bad thing. But I’d rather it was salvaged by someone who needed it themselves, or the charities, or me.
Once, I thought about if I should take time off from my job during kerbside clean up week. My boss Bethany is always on at me to take leave, since I’ve accumulated a lot in 18 years. I can never think what to do on days off. Public holidays are bad enough, but a whole week is almost unbearable. At Christmas, I’m beside myself during the two and a half week closing. When my wife was around she organised holidays, little trips away to the beach or the mountains. Now I’m on my own, it’s more of a problem. She did have her uses.
I decided to take a couple of sickies. Bethany would never notice I was off at around the same time every year. She’s not a details person. God knows what she’s doing working in a museum. Luckily, she lives on the other side of town, so she’d never know when it’s my suburb’s turn for the clean up. I’m always careful not to mention it. It’s cold and flu season anyway, so phoning in saying I’ve got a bad cold, after complaining of a headache and sore throat the day before, is a reasonable ploy. It’s ridiculous that I have to report to Bethany. She doesn’t know half what I know about the exhibits, but I need her approval for everything I do. Perhaps she’ll drop off her perch one of these days.
Some of the neighbours look at me. They think they’re being discreet, but I can sense them, or see them twitching the curtains in their front rooms, when I’m picking through their cast offs. I suspect a couple of them are low enough to deliberately smear disgusting muck on a thing I might want, so I either have to leave it or clean the muck off. A bit of rotting food doesn’t put me off. I always wear gloves, of course.
I don’t mix with the neighbours. I’m not into having friendly drinks, or weekend barbecues, or their noisy brats running through my garden.
My parents are dead now. I’m an only child. Not that I feel like I’ve missed anything, mind, not having a brother or sister. Far as I can see, there’s nothing but fighting and jealousy between siblings. Arguments about one being favoured more than the other, rivalry over who’s smarter or better looking or makes more money. Punch ups even. Accusing each other of neglecting their aged parents, and ripping off their pensions, and contesting wills.
There were a couple of cousins I saw a bit of when I was young. Once Mum and Dad were gone, I told them to stop coming over. I didn’t need them snooping around. I could tell they were looking for handouts, or hoping I’d die, thinking they’d inherit the house and all my precious stuff.
If I didn’t love my job so much, I’d think about going into business as an antiques dealer. High end stuff only. I’d have to learn to part with my finds, of course. Become a lot more hard-nosed. But I’d have to get used to dealing with other people. I wouldn’t only be going local with my streetcombing then. The world would be my treasure house. It’d be business, after all.
That good find I was telling you about. 1920s Lalique vase. Gorgeous! Not a scratch or chip on it. Did I look over my shoulder when I saw that sitting there? They must have only just put it out and I was the first to come across it. I hurried straight back home after finding that beauty, though I’d only been out looking for a couple of hours.
I reckoned when I did a bit of research it was worth $4,000. My glassware expert says more like $6,000 in the right auction. Just think! Six grand’s worth, just thrown in the garbage! Didn’t know what they had, of course. Spoilt brats with too much money and no appreciation of works of art. If I hadn’t come along and plucked it out of the pile it could have been smashed, or thrown on the dump like a piece of worthless junk.
Anyway, back to my technique. Soon as the council delivers those flyers in letterboxes about a clean up coming up, I’m out there. But that’s when the punters find out and start putting gear out. I’m onto it much earlier.
Here’s how I do it. I go through the phone book and find the name of a man in a nice street in my patch. Women are no good. I’m not going to go around impersonating females on the phone, am I? A man has his limits. Anyway, I note down the name and address. I phone the council, masquerading as the resident, asking when the kerbside clean up is happening in ‘my’ street. They always tell me, no problem.
So, I plan my attack. Dates, best time of day or night, whether I’ll drive the removalist truck or just the ute, which route to take, which streets I think will have the best haul that I’ll comb at the start of my run, then sweep past again to check if any more treasures have been put out before I head home.
There’s the odd occupational hazard in streetcombing. Once a vicious mongrel dog attacked me. I swear it was part illegal pit bull terrier. Damn fool owner left the gate unlatched. But I was crafty, see? Phoned up the council to complain, using the name and address of one of the blokes I’d found earlier. Then I thought, I’ll make a series of complaints under these names I’ve got. Make it sound real convincing. The dog’s gone, so they must have had to get rid of it, or moved house. Good result.
Occasionally there’s been an argument with one of those flea market scavengers over a find. In my mind, there are unwritten rules, but some people don’t live by them. One of the rules is, don’t go hunting through a pile if someone’s right there going through it before you. You have to wait till they’ve finished. Then it’s your turn. And you don’t stand over them watching either. Common decency.
One time, one of these second hand dealer types pulls up in his truck just when I’d started on a promising spread outside a flash house. Comes right up and starts poking around with a stick. I got in between him and the pile, pushed his stick away. Ended up being a bit of a scuffle. Had to do some quick thinking. I fumbled in my bag and pulled out a black skull and shoved it right in his face, giving a great big roar. Never saw a bloke move so fast in my life! Ha! That taught him. Some mother must have cleaned out her teenage son’s room and tossed it out. Bet she never thought it’d be put to such good use so quick!
I’ve perfected my strategy over time. Refined it. It’s only in the last six years or so I started recording my haul in the back of one of Marjorie’s mother’s old journals. (There, I’ve said her name again!) I could’ve kicked myself that I hadn’t been doing it from day one. Working in the museum, cataloguing is a big part of it.
I’ve just realised, I started recording my finds just after Marjorie disappeared from my life. My mind functioned so much better once she was out of the way. And that made way for me to sort out her and her parents’ things, and make room for my collection.
I guess in a way, the whole house is the jewel in my crown. Those in-laws of mine had some lovely stuff. Moorcroft, Meissen, Fabergé. Mine now.
It’s just a pity after six years I still have to put up with getting letters addressed to Mrs M Walstrum or Marjorie Walstrum, or even occasionally Miss M Parminter, as she was. Lucky Marjorie’s parents died years ago, and she was an only child, like me. She had no job, hardly any friends, and the neighbours kept away, so no-one missed her. Strangely enough, I find myself missing her occasionally. But I’ve got my job at the museum, and my collecting.
Sometimes, at the end of a night of searching, I stand at the end of a street that’s served up a good few treasures over the years, and give the neighbourhood a silent blessing. It’s the middle of the night, see? After one o’clock. No-one’s about but me. I stretch my arms up and do a little chant. For that moment, I’m the High Priest of the Kerbside Clean Up, Sultan of the Streetcomb. I am fulfilled.
October 11, 2014 / mascara / 0 Comments
Rivers of Water Run Down.
years and months… weeks and days…
hours…and minutes… seconds are passing
from me…But my pain has
caused my heart to be broken.
Rivers of water run down from my eyes.
The thick layer of pain covers
my whole body.
My heart is crying so bad all the time
because that pain is heavier
that my dreams … my hopes…aims…
and my feelings to just have patience.
Give me some attention to my troubles…
I am coming from very deep water.
Why are you dishonest with me?
I cannot be dishonest with my feelings.
I am waiting and waiting
for some rest from all of this.
My eyes have also grown dim
because of sorrow.
I am unable to think of my future.
I cannot see the way.
Please show me the way
and my future.
(detained in Nauru RPC 2 years)
October 11, 2014 / mascara / 0 Comments
Bijan Najdi (1941-1997) was an Iranian poet and short-story writer, famous for his collection The Leopards Who Have Run With Me (1994), from which the selected short-story “The Burial” comes from. His style is characterized by the use of unfamiliar and poetical images offering a fresh perspective on the everyday world.
The Burial
Translated by Ali Alizadeh and Laetitia Nanquette
Taher stopped singing in the shower and listened to the sound of the water. He watched the water flow down the sagging skin of his thin arms. The smell of soap dripped from his hair. Steam encircled the old man’s head. When he threw the towel around his shoulders, he felt as if parts of his body’s old age stuck to the long red towel and the swollen veins of his legs stopped throbbing. He buried his head in the towel and lingered by the door of the bathroom until he started to feel cold. Then he dragged himself to the mirror of the main room and saw that he was indeed an old man now.
In the mirror, he could see the breakfast spread on the floor and Maliheh’s profile. The samovar was boiling, silently in the mirror and loudly in the room, and Taher and his image in the mirror warmed up to it.
Maliheh said: “Don’t open the window; you’ll catch a cold, ok?”
Friday was behind the window with its incredible resemblance to all the winter’s Fridays. An electric line was bulging under the blackness of birds. The curtain dividing the main room was motionless and the wood-burner was burning to the song of the sparrows. Taher sat down for breakfast, switched on the radio (…with minus 11, theirs was the coldest part of the country), and raised a glass of tea.
Maliheh, turning her face towards the window, said, “Listen, it sounds like there’s something going on outside.”
Their home had a balcony overlooking the only paved street of the village. Twice a week, the sound of the train arrived, passed the window, and ended up on the broken pieces of the plasterwork of the ceiling. On the days when Taher did not feel like reading the old newspapers, when the smell of the old paper made him feel sick and when Maliheh was too tired to sing the forgotten songs of Qamar through her dentures, they went to the balcony to listen to the sound of the train, without ever seeing it.
“I’m talking to you, Taher. Let’s see what’s going on outside.”
Taher put down his glass on the tablecloth and went with his wet hair to the balcony, his mouth full of bread and cheese. There were people running towards the end of the street.
“What’s happening?” asked Maliheh.
She was more or less sixty years old. Thin. Her lips had sagged. She did not pluck her facial hair anymore.
“I don’t know.”
“I hope it’s not a corpse again… They must have found a corpse again.”
Even if Maliheh had not said “a corpse again”, they would have continued to eat their breakfast remembering the hot and sticky summer day when they had argued about the choice of a name: the day when the sun had crossed the frontier of Khorasan, lingered a bit on the Gonbad-e Qabus tower and travelled from there to the village to spread a pale dawn on Maliheh’s clothesline.
Taher, in the bed saturated with Sunday’s sun, had woken up to the music that Maliheh’s feet made each day. Maliheh would soon open the wooden door, and then she did just that. Before putting the bread on the breakfast spread, Maliheh said:
“Get up, Taher, get up.”
“What’s happening?”
“At the bakery, people said they’d found a corpse under the bridge.”
“A what?”
“A dead body… Everyone’s going to have a look at it, get up.”
The two of them walked towards the bridge. There were people standing on it and looking down. For such a crowd, they were not making much noise. A warm wind was blowing towards the mulberry trees. A few young men were sitting on the edge of the bridge with their legs pointing down to the sound of the water. The police had formed a circle around a jeep. As soon as Maliheh and Taher arrived at the bridge, the police placed the corpse into the jeep and drove away.
Maliheh asked a young girl: “Who was it, my dear?
“I don’t know.”
“He was young?”
“I don’t know.”
“You didn’t see?”
The young girl moved away from Maliheh.
A man leaning on the railing of the bridge said: “I saw him. He was all blown up and dark. It was a kid, Mother, a little one.”
Taher took Maliheh’s arm. The bridge and the man and the river swirled around her. All that could be seen of the jeep was some dust moving towards the village.
“This man called me Mother, did you hear Taher? He called me…”
The sun had set. There was a little triangle of sweat on the back of Taher’s shirt.
Maliheh said: “Where are they taking this kid now? Was he dead? Maybe he was in the water playing and then…” The warm wind had failed to ripen any mulberries and had come back to ruffle Maliheh’s chador. “I didn’t find out how old he was! Take my hand, Taher.”
“Let’s sit down for a bit.”
Maliheh was thinking, if only there were children here instead of all these trees. “Ask someone where they’re taking him, will you?”
“Probably to the police station or to the clinic.”
Maliheh was thinking, if only I could see him.
Taher added: “What is there to see anyway, it’s just a kid.”
“That’s what I’ve been telling you.”
“You want to go and see Yavari?”
The doors of the clinic were open. There was a row of tall pine trees in the alley leading to the building’s landing, so dry that summer paled to insignificance next to them.
Doctor Yavari shook Taher’s hand and asked Maliheh: “Have you been taking your pills?”
“Yes.”
The doctor asked Taher: “Is she sleeping well at night?”
Maliheh interrupted: “Doctor, they’ve found a child. Do you know about this?”
“Yes.”
“Where is he now?”
“They’ve put him in the storeroom.”
“Storeroom? A kid? In the storeroom?”
“You know we don’t have a morgue here.”
“What will they do with him?”
“They’ll keep him ‘til tomorrow. If nobody comes to claim him, well, they’ll bury him.”
“If nobody comes, if nobody claims him, can we take him?”
“Can you… what?”
Taher said: “Take the child with us? What for, Maliheh?”
“We will bury him, we will bury him ourselves. Maybe then we can love him. Even now, it’s as if, as if… I love him…” Maliheh buried her head in her chador and the cry that she had kept from the bridge to the clinic broke out and her thin shoulders twisted under her chador and she blew her nose into her covered fist.
Taher poured a glass of water. The doctor had Maliheh lying down on a wooden bench. He stuck a thin needle under the skin of her hand. A bit of cotton with two drops of blood fell in the small bucket near the bench and until sunset that day, until the not-passing of the sound of the train, Maliheh did not open her eyes and did not say a single word.
It was Friday. The curtain of the main room was motionless and the wood-burner was burning to the song of the sparrows. The white winter, on that side of the window, wandered with its white coldness.
Maliheh said: “So many names, but nothing in the end.”
“We will eventually find one.”
“If we couldn’t find a name that day, then we can’t. Which day of the week was it, Taher?”
“The day when we went to the bridge?”
“No, the following day, when we went to the clinic…”
The day following that Sunday nobody came to claim the corpse. So on Monday, they sent the corpse from the clinic to the cemetery, carried on a crate, rolled up in a grey sheet. Outside of the clinic’s courtyard, Maliheh and Taher, who were not dressed in black, in a weather that was neither sunny nor rainy, started to walk at a slower pace than the man who carried the crate, who changed it from one hand to the other from time to time and sometimes rested it on the ground or against the trunk of a tree. They went around the small square of the village and entered its sole street. In front of the coffeehouse, the man rested the crate under a lamppost, which, although it did not look at all like a tree, was casting a shadow on the ground just like one. The coffeehouse keeper poured water from a jug and the man washed his hands and stayed at the same place to drink a glass of hot milk from the saucer. Maliheh turned her head and felt something leaking from between her breast to her shirt just as she walked past the crate. Taher slowed down his pace. Even though their house was nearby, Maliheh and Taher did not return home and stood still until the man was ready, for they did not wish the break the solemn silence of the funeral procession. They even stopped and looked at the balcony of their house where the window was still open to let the sound of the train enter, and they saw a young Maliheh bending to pour water in a flowerpot. When she lifted her head, an old Maliheh was gathering the empty flowerpots. Maliheh, with her firm flesh and her dark hair loosened, opened the curtain. Maliheh, with her small face and her hair tainted with henna, was walking in the rain. It rained just a few drops and then the man entered the cemetery. Taher and his wife had walked over the grass between the stones, a few steps away from the house where the corpses were washed. The burial ceremony—grey, dusty—lasted so long that they eventually had to sit down on the wet grass. When the gravediggers left, one could still hear the sound of the spade.
Taher said: “Get up, let’s go.”
“Help me then.”
They held on to one another. One could not say which one was supporting the other. As they struggled to stay on their feet, Maliheh said: “So he belongs to us now, no? Now we have a child who’s dead…”
All around them were stones, names and dates of birth…
Maliheh added: “We must tell them to carve a stone for him.”
“Ok.”
“We must find him a name.”
“…”
“…”
It was Friday; the wood-burner was burning to the song of the sparrows and from the balcony one could hear the hubbub of the people echoing from the other end of the street. They were making so much noise that Taher and Maliheh could not hear the sound of the train, approaching, passing, disappearing.
***
LAETITIA NANQUETTE is a French translator and academic, based at the University of New South Wales, Sydney, specializing on contemporary Iranian literature and World Literature. She frequently travels to Iran.
ALI ALIZADEH is a Melbourne-based writer and lecturer at Monash University, and is co-editor and co-translator, with John Kinsella, of Six Vowels and Twenty Three Consonants: An Anthology of Persian Poetry from Rudaki to Langroodi
October 11, 2014 / mascara / 0 Comments
YZ Chin’s first chapbook of poetry deter was published last year by Chicago’s dancing girl press. Her fiction has previously appeared in Malaysian anthology, Collateral Damage, Hong Kong’s Cha, failbetter.com, and other publications.
Strike
Hunger pinned her to the bunk. Starvation impaled her through the stomach, keeping her down on the thin mattress, resisting the momentum of her feebly raised head. Her neck strained to bring her vision to the requisite level such that she could observe the movement of sun against her prison walls. The sun was her way of telling the time, of estimating the next delivery of food.
Not that it mattered now. It was her third month in maximum security. She did feel secure, as if nothing would ever happen to her again, until death. The days lost their shape, shedding the definition of hours and minutes. Her body, too, lost its shape, pooling downward, lowering her center of gravity, rooting her toward dirt and dust.
They said she was staging a hunger strike. Isa, on her part, felt that the refusal of food was really to make life behind bars more interesting. The meals they brought to her cell were markers of time, and she had looked forward to the packets of rice and gravy as daily celebrations. But then she started feeling like a Pavlovian dog. The nods of the men who handed her sustenance became sinister, laced with degradation. She resented the regular reminders of her weakness and dependency.
After minutes of work, she managed to prop herself up on one elbow. A rolling wave of dizziness lurched her, listing, tipping. She smiled widely. In her teenage years, when she lived a sheltered life, she had tried many times, each attempt lasting days or weeks or months, to go on diet. It didn’t much matter what kind of diets they were, or how much science was behind them. The hope was what she needed, that blindness leading her around each awkward corner of her then-life. She wished, on the other side of each corner, to find a slim, beautiful her, standing still with folded hands, waiting.
And now, she was living the perfect set-up to obtain the thinnest body of her life. She dreamt, still smiling, of her wafer physique gliding effortlessly among obstacles thrown up by invisible enemies. Anything anybody erected against her, she slipped past with a slight sideway turn of her frame, her arms extended ramrod above her head, as if surrendering, but really, evading, winning.
She was disappointed to feel, on being next conscious, that she was again flat on her back, her previous progress negated. Shadows swum before her eyes. She opened them. Men. Men were leaning over her, explaining something, but not to her. To each other, or maybe to an unseen observer. She sighed. Rank air filled her nose. Rolling her eyes upward, she caught the glance of one man, who started talking faster.
Hands pressed down on her shoulders, pinning them. A hand touched her lips. Isa suddenly wondered what clothes she was wearing. Whether she wore any.
Another pair of hands caught hold of her ankles. Her mind, wandering, entertained the absurd vision of a single many-limbed being. It had paused its speech when it extended hands and fists to restrain her, but now it started up again. Isa thought it might be expecting a response from her, but she could not understand it. When she opened her mouth to tell it so, fingers slipped through and stretched her lips. She gagged, and mush rushed in, filling her.
Of course she tried to spit. Of course she thrashed. At first. Then the mush began to acquire flavor, become more than texture. It wasted first like somebody else’s vomit, and then like her own. And then it became her, and she was being force-fed herself.
She re-closed her eyes. A piece of advice from a lifetime ago floated up. It had been given by a man, who based his authority upon his being a loving father with a daughter of his own. He recommended that when losing out to a rapist, a woman should give in and acquiesce. In other words, have sex with him. Do not fight. For survival should be your only focus, and you ran the risk of incurring murderous wrath to no avail by fighting while you are down. Everything other than your continued breathing — be it jewelry, other possessions, body, honor — is expendable. Save your life. Do not fight.
Oatmeal. That was what was in her mouth.
October 11, 2014 / mascara / 0 Comments
Joanne Burns’ most recent book of poems is amphora. Giramondo Publishing 2011. A new poetry collection brush will be published by Giramondo later in 2014. She is currently assembling poems for a selected volume of her work, spanning over four decades.

October 11, 2014 / mascara / 0 Comments

John Carey is an ex-teacher of French and Latin and a former part-time actor. The latest of his four poetry collections is One Lip Smacking (Picaro Press 2013)
From the security cameras…
Some footage of the Mardi Gras and bummage and plumage: a corps de danse-sirs
in a ballet sequins; a security cordon of muscled jocks in frocks but non-threatening…
a mini sleeper-hold perhaps then let you down gently with a bedtime story; a dozen
Julie Bishops put the Medusa stare on each other on the back of a trailer; a Sophie
Mirabella look-alike sinks her teeth into a rubber snake. It’s all rather jolly really,
nothing for Jehovah to get his robes in a knot over.
Two men in a lifeboat perched on the top of the hill, link arms. The taller,
in a blue suit and tie, wiggles his wing-nut ears. The second, in a fur-collared
parka, with narrow eyes in a sinister riverbank face, croaks through thin lips:
“ Turn back the floats !”. “Turn back the floats !” shouts his comrade-in-arms.
In a joint press release, they affirm their belief in a pluralist society:
“ What else is an oligarchy? Can’t you count? It’s not the unnatural things they do,
it’s the propaganda!”
“ What do you mean?” says his partner, “ ‘unlikely bedfellows’? Are you from the ABC?”
October 9, 2014 / mascara / 0 Comments
According to Immigration Detention statistics Australia holds 647 children in closed detention, 500 on the mainland, 146 children on Christmas Island, of which 28 have disabilities, and at least 186 on Nauru. The children on Christmas Island have little access to recreational or educational opportunities; many are depressed and suffer from anxiety disorders. Concern has mounted from medical practitioners working within detention centers that medical treatment is sub-standard to the point that that they are unable to properly fulfill their professional and ethical obligations. The Medical Journal of Australia recently published results of a questionnaire conducted by researchers at the University of Sydney and Westmead Hospital indicating that 80% of Australian pediatricians consider mandatory detention of children to be akin to ‘child abuse’. Only 13.4% of respondents correctly identified that most applicants wait in UNHCR camps for an average of more than 10 years before resettlement to Australia.
Previous studies indicate that long-term detention causes significant risk of mental harm as well as developmental risks, whilst also damaging the bonds that young people develop with family caregivers. It is a Stolen generation scenario. It severely limits educational opportunities and worsens the effect of other traumas (APS, 2004; Thomas & Lau, 2002). There have been numerous reports and media coverage of self-harm and other kinds of psycho-sexual abuse occurring in off-shore detention centers. The Minister for Immigration and Citizenship is the legal guardian for unaccompanied minors.
Janet Galbraith has been running a Facebook group with online forums to teach poetry to detainees as a liberating practice. She facilitates the writing program from her home in Castlemaine, Victoria. She has also visited Christmas Island to work with refugees who write, and she curates poetry readings in public spaces such as the Immigration Museum and Federation Square in Melbourne. Writing Through Fences is a workshop for young refugees offshore and onshore, those in community detention as well as some in Indonesia and Israel. She says: ‘It is not an exaggeration to say that actively sharing writing, stories and creativity has become a life-line. Of course this is nothing new, this is what writing and art can do. To create in the circumstances these children live in is to write a self into being; to find a friend – something that cannot be taken away’.
In this short video produced by Jane Curtis for the ABC, Janet discusses her work. Poems by refugees are enacted and in the hope that language promises their names are half-spoken, their faces are masked. These poems speak of physical and emotional deprivation, but also the visible scars of institutional abuse and neglect.
Ref: Med J Aust 2014; 201 (7): 393-398 David Isaacs, Alanna Maycock, Hasantha Gunasekera,Elizabeth J M Corbett
***
Written by Michelle Cahill; Video credit Jane Curtis, ABC
October 9, 2014 / mascara / 0 Comments
We are all human
I am not Pashton, not Tajik; not Uzbek and Hazara,
none have tendency for hatred or fighting.
If you want to be my guest, come as if you come to Afghan house. We are all Afghan.
We are all human.
It would be nothing if I devote my life for this beautiful land.
May God Almighty keep safe and secure my beloved Afghanistan.
Logar, Faryab, Kunar, Takhar — every part of my country is my soul and my body.
It is like precious gold.
You are my brother,
you are the crown of my head.
Let us go, Farah and Jawzjan together.
Let us raise our hands and pray, friends —
you, the friends of bright and beautiful mornings of mine.
Let us bring full baskets of Damascus roses.
I will sprinkle them on you,
and you sprinkle them on me.
M. B (15 years of age: written from Kabul)
October 9, 2014 / mascara / 0 Comments
Janet Galbraith is a poet living in Jaara country. Her work has been published in academic, health and literary journals in Australia. Her poetry collection remembering was published by Walleah Press in 2013. Janet is founder and facilitator of Writing Through Fences: a writing group made up of people writing from within Australia’s immigration detention industry.
Writing and Complexity at the Borders of Humanity
I will not dance to your war drum
I will not lend my soul nor my bones to your war drum
I will not dance to that beat
I know that beat
It is life-less
I know intimately that skin you are hitting
It was alive once
I will not dance to your drummed up war
…… I will craft my own drum (1)
Writing Through Fences is a writing group made up of people who are, or have been, directly affected by the Australian immigration industry. The name refers to the ability of writers and artists to reach beyond the fences and walls that attempt to contain, define and silence them. Each time the writers of Writing Through Fences write they are crafting their own drum. Through the writings of this diverse group of people – linked in their experiences of immigration detention, displacement, imprisonment, and writing – language, experience, knowledge and identity, beyond reductive understandings of people as ‘detainee’, ‘asylum seeker’ ‘refugee’, are (re)affirmed and created.
’Til when will I be called ‘asylum seeker’, ‘refugee’’, asks one young woman writing from within immigration detention (2).
‘I am not only this’, says a boy incarcerated in Christmas Island. ‘I am a boy, a brother, a son, a football player, a Hazara, a friend, a student. I love my mother, I love my family, I love Janet, I love my friends, I love biryani’.(3)
As many readers will know, people incarcerated within immigration detention centres in Australia, on Nauru and Manus Island are referred to by a number given them upon arrival. This number is referred to as their ID or boat numbers. This use of numbers to replace names effects a denial of personal and cultural history. To lose one’s name is, for many people I have spoken with, to lose a sense of self. It removes the identity of the individual that exists prior to imprisonment in immigration detention. The primary experience of self then becomes that of prisoner and with that the confusion of being labelled ‘illegal’ and ‘criminal’.
from Surroundings of Sadness
what have i done to deserve this situation?
is seeking asylum a crime?
what i was looking for is peace and freedom
but now it is far from me
it is like the distance between earth and sky.
—– S. Ahmed (Christmas Island)
This use of numbers also add to the fracturing of familial relationsips. As one young girl of 17 explains in a post in our writing group: ’I am sick of being called [number withheld]. My mother gave me a beautiful name. It is all I have left. But now even this is gone because I am just a number.’ (4) In response to this post another young writer sends a poem:
One Strong Woman to Another
Let us look forward.
We will get our chance one day.
And we will be called by our beautiful names.
We didn’t come by illegal way.
We are not illegal.
We cry and cry.
No-one gives us a tissue.
We are refugees.
Flashbacks take us back
Where we cannot go.
Where can we go forward?
They will not let us settle.
Let us be strong.
Let us forget numbers
Let us call out
our beautiful names.
—– Asmine (Darwin)
One of the things that I find most powerful about this poem is that rather than being defined by those who would un-name and mis-name her, the writer enacts her own agency as she chooses to provide sustaining care for another young writer, encouraging the remembering and use of their beautiful names. Against the brutal background of detention, and the belittling notions of the ‘poor refugees’, these writers claim strength, tenderness and solidarity, asserting possession of their own histories, their own memories, thoughts, emotions, experiences and names.
To claim this is not to forget the harm being inflicted upon the bodies and psyches of people in detention.
from Rivers of Water Run Down
Years and months… weeks and days…
hours … and minutes… seconds are passing
from me … But my pain
has caused my heart to be broken
Rivers of water run down from my eyes
the thick layer of pain covers
my whole body.
—–R. (Nauru)
The experience of detention industry often produce a profound sense of isolation and dislocation:
Untitled
All the birds have flown up and gone,
a lonely cloud floats leisurely by.
We never tire of looking at each other
only the mountain and I.
—–K (Melbourne)
Alongside this, however, is the maintenance of relationship. As the following writer writes intimately of his love for his wife, the reader is invited in to witness a deep love that has withstood much loss and withstands ongoing suffering in immigration detention.
After Rain
After rain
there is your smell
on the footpath
of my place.
Still, still
after rain
when everything is gone
and everywhere is clean.
I do not yet know
what can clean your name
from the wall of my heart?
No rain.
Nothing.
—–A.A (Melbourne)
The natural world too is experienced in varying ways. For one writer incarcerated on Manus Island the natural world adds to the torture he is experiencing. ‘Here is green hell.’ (5) A young writer incarcerated on Christmas Island experiences the beauty of the natural world:
When the world slept
I was writing
when the rest of the world slept.
The birds were singing,
the weather was calm.
While the stars were twinkling
I sat outside
and looking at the sky
I suddenly thought:
How beautiful is Allah’s creation.
—– H. Aden (Christmas Island)
Whilst each person incarcerated within the detention fences will have stories of violence, trauma, loss and despair, they will also have stories of joy, attention, love, relationship and wonder. Witnessing this requires that we recognise these writers as complex people rather than abstractions of humanity.
Another writer, who has been incarcerated in immigration detention for more than 5 years overtly demands the reader examine him/herself, our ways of seeing and our expressions and understanding of humanity:
Is it a human being that you see what you look at me?
From the depths of your soul, I ask you to give me an honest answer.
—–G. (detained 5 years Melbourne)
As I read more and more work from people writing from within Australia’s immigration detention industry I become more aware that what is needed is that we ‘bring our own individuality more honestly to meet another’s.’ (6)
A writer, reflecting on an image published of people incarcerated in Nauru challenges us to look closely, to reach beyond the deadening and de-humanising effects of mass media.
Look at this image closely.
Take 30 seconds of your time and look closer.
Feel the pain in this image.
These people are refugee children, women and men in the camp of Nauru. You don’t have to know any of them. Just looks at their hands, faces and eyes.
The voice of the cries and shouts that burn inside people can be easily felt beyond these fences.
Look at the closed fists of these men and women. They have fled from the prison of politics, tribe discrimination, mono religiousness, religious fanaticism, insight orientation, Basij orientation, hypocrisy, dictatorship, mean fellow and motes, separation, gender discrimination, inflation and government subsidies and have been caught in the wicked sight of men with ties.
Zoom in on the tired faces of these children. They also love freedom, they have the dream of high educational degrees like other kids.
This picture is not for recording the memory of a family picnic. It is to show perfection of so called “human rights” in the farthest place in the world. This is a masterpiece of the history of barbarity and abuse of human values.
This is Nauru – as prison – where all the spiritual and psychological torture tools for children are decorated and systematic.
In this image shameless immorality and terror are clearly shown – metallic fences are the borders between morality and immorality.
Watch carefully. Don’t miss this scene!
—– A.N (written once released)
Each of these writers demands that we ‘look closely’ at the images we are fed of people incarcerated in immigration detention. They invite readers outside of the fences to see beyond and despite the reductive language that circles around them both in relation to supporters of Australia’s immigration detention industry and some of it’s detractors. We are invited to see the ‘hands, eyes and faces of these people’; to feel the ‘cries and shouts that burn inside people’; to remember their names, to recognise that people have fled their homelands for many different reasons; and that this picture tells us much about our own humanity: ‘In this image shameless immorality and terror are clearly shown’.
Fady Joudah, poet and doctor writes: ’Somehow, poetry can participate in restoring the humanity of others despite the language of the day.’ (7) It is perhaps in this way that the poetry and writing from those involved in Writing Through Fences is a larger gift than those of us outside of the fences have imagined. It opens a space for a re-writing of the borders of humanity in a climate where, as a writer incarcerated in Manus Island writes: ‘It is the loss of your own humanity we are seeing.’ (8)
-This piece was written by Janet Galbraith in collaboration with the writers of Writing Through Fences.
NOTES
1. What I Will’, spoken-word poem by Suheir Hammad http://www.ted.com/talks/suheir_hammad_poems_of_war_peace_women_power?language=en
2. A. Mohammed
3. name withheld
4. name withheld
5. M.H
6. http://www.warscapes.com/art/cycles-art-and-healing-among-syrian-refugees
7. http://www.aljadid.com/content/poetry-without-borders-translating-mahmoud-darwish-conversation-fady-joudah
8. Hossein Baabahmadi Squad of Death, thearrivalists.tumblr
October 9, 2014 / mascara / 0 Comments
Maps, Cargo
by Bella Li
Vagabond Press, 2013
The Tulip Beds
by A. J. Carruthers
Vagabond Press, 2013
Reviewed by TAMRYN BENNETT
As Rare Object #94 and #92 respectively, Bella Li’s Maps, Cargo and A. J Carruthers’ The Tulip Beds are set to become even more recherché as Vagabond rounds-out their long-running series at #100. Vagabond’s Rare Objects are revered, not only as one of the finest chapbook series of recent years, but for the Press’ cultivation of so many debut collections. This tradition of careful curation and experimentation continues to shape the transitory spaces of both Maps, Cargo and The Tulip Beds.
Li is a cartographer of a different kind. Her map-making is as aesthetic as it is topographic, plotting fragmented histories, horizons and the spectral lands of memory and dream. Coordinates ‘E 44 10 N 33 15’ mark the first poem and the prophet Mohammed’s journey ‘In the year of the Hegira 622, driven from he city and exiled’ (p.1). Rather than patch together gapped historio-graphic accounts Li allows the poem to remain open to multiple imaginings, an approach that resonates with Lyn Hejinian’s overthrowing of fixed meaning in her paper ‘The Rejection of Closure’ (1985). The openness, participation and uncertainty invited by Li’s deliberate spaces is emphasised in the line ‘Concerning the origins of the name “ ” (in the palace, there was a small )’ (p.1).
These gapped expeditions continue to traverse continents, drifting through centuries of knotted cargo and ‘drowned’ coastlines (p.8). Above each of the travellers a constant damp of clouds hovers, and after the precise ‘Accounting of knives, guns and hats’ (p.3) Li steers towards more subliminal waters with the poems ‘Two children are threatened by a , 1924 (Ernst)’, ‘Drowning dream’ and ‘Window’.
‘Drowning dream’, my favourite mirage and perhaps the most melancholy offering of the collection, adapts its first line from Anne Sexton’s ‘Imitations of drowning’ (1981):
That August I began to dream of drowning. It was the season
of water—strange storms troubled the air. All day I crept
along the edges of rooms, avoiding the precious windows—
half ajar, propped open with old newspapers where the
green sky pooled (p.11).
Here, the clouds that loom like lodestars above the travellers give way to storms and rising seas that swallow gardens and swell timbers of a seemingly abandoned house. The slow wreckage of exteriors is mirrored in the basement of the house ‘where a man—quiet and still as a mouse—floated face down in the dark’ (p.11). There are no numbers to navigate, no landmarks, only the hum of the house above and hope of a different nightmare. The final poem, ‘Window’, draws back curtains like ghost nets inside a blue room of sleep.
Something coming
through the window and you
can feel the hairs on your
neck do their little dance
and when you exit as
you must now that
you have entered
it is though
the win
do
w. (p.12)
Like the chipped histories stacked around it, the house and window offers nothing whole. Instead the poem calls us into the unmapped, where flotsam and forgotten songs wait to be rediscovered.
Cosmic hollows and harmonies also shape Carruthers’ The Tulip Beds – a toneme suite, a collection as intricate and interconnected as the sources that sparked its creation. In the opening TONE/ NOTE Carruthers explains the alchemy involved in assembling this work:
‘Multiple procedures converged in the making of this piece. Initially, I was struck by a photo image of the extinct filter-feeder Siphusauctum gregarum, which appeared to show a three-line “stave”, in a 2012 article by Lorna J. O’Brien and Jean-Bernard Caron. I then used this article, as well as English translation of Johannes Kepler’s Harmonices Mundi (1619), and Aristoxenus’ Elementra Harmonica, as source-texts. Many of the images were generated thanks to the extraordinary website www.seeingwithsound.com’ (p.1).
This omnium of sources problematises classification of The Tulip Beds in a similar vein as the fossilised tulip-shaped creatures that remained incertae sedis for such a long time . The incongruent categorisation of these soft-bodied creatures echoes in the first ‘bars’ of the suite as Carruthers recounts the mystery of flower-like filter feeder:
In which a fossilized
species deserving of
the name Problematica
is poeticized by a
scientist, who found in
the three lines of a
stave an image worthy
of the poetry of nature (p. 1)
With the puzzle of Siphusauctum gregarum finally solved by science, the suite curves into the mysteries of planetary motion. Carruthers splices lines from Kepler’s Harmonices Mundi with Wagner’s Tristan and Isolde and images generated by sound augmentations. The curve towards such chords also mirrored in the pixelated image squares that sit beneath each stanza. The tulip-like calyx that populate the first 14 stanzas morph into grainy planets and human hands as the suite scales tunings of Mercury, Venus, Jupiter, Saturn and the Earth.
tonoi
(The earth sings MI,
FA, MI so that you may
infer even from the
syllables that in this
our domicile MIsery
and FAmine obtain.)
SOMEHOW EXPRESS-
ED IN THE EXTREME* (p.12)
While this citational poetics of source matter, semitones and symbols riffs in original and unexpected ways, the collection succeeds most, for me, when Carruthers gives space to his own tones within this celestial cacophony. Perhaps the next instalment of Tonemes, a chapbook forthcoming from SUS Press, will score more of Carruthers’ original compositions.
NOTES
Hejinian, Lyn. ‘The Rejection of Closure’ (1985), in The Language of Inquiry, Berkley: University of California Press, 2000, pp. 40-58.
O’Brien, Lorna J.; Caron, Jean-Bernard. ‘A New Stalked Filter-Feeder from the Middle Cambrian Burgess Shale, British Columbia, Canada’. PLoS ONE, 1, 2012.
TAMRYN BENNETT is a poet and artist. Since 2004 she has created artist’s books and comics in collaboration, exhibiting works in Sydney, Melbourne, Switzerland and Mexico. Her poetry and essays have been published in The Drunken Boat, Cordite, Nth Degree, English in Australia and ImageText. She has a PhD in Literature from UNSW and is currently Education Manager for The Red Room Company.