Carielyn Tunion-Lam

June 13, 2024 / mascara / 0 Comments

Carielyn Tunion-Lam (she/they) is a writer, videopoet, educator, and cultural worker. She has worked in the arts & cultural sector, the community services sector, and has experience using creative strategies in grassroots community organising.

Carielyn is interested in exploring themes of radical softness and nostalgia, and the tropical Gothic from an anti-colonial, diasporic perspective. She is a participating artist in Curious360 by CuriousWorks, and her work has been published by kindling & sage, Mascara Literary Review, Emerging Writers Festival, SBS Filipino and KAP Magazine. She is currently studying a Master’s in Literature & Creative Writing at WSU. Carielyn’s ancestral roots are in the archipelago of the so-called Philippines, and Kowloon, Hong Kong. She currently lives, studies, works and treads respectfully on unceded Burramattagal on Dharug country. 

I am a deep-sea fisherwoman, but I do not catch fish

“…the diasporic woman’s identity is always already fractured and for her[,] autobiographical writing and the process of subject formation lies in celebrating the fracture rather than attempting to cure it.” – Bidisha Banerjee, 2022.

I went handline fishing once and was useless at it. I ended up seasick, huddled and damp in the stern the whole ride back to shore. Years later I would rent a cheaply converted garage in Umina, my answer to a yearning to be near the sea. I would swear up and down Ocean Beach Drive that I’d learn how to fish, hellbent on the idea that if I eat it, I should be able to hunt it or harvest it. But to this day, I’ve never caught a single fish.

Dr Leny Strobel says that Filipinos are consigned to fishing – not just because our skin is home to the salt of our islands – but because we’re fated to gather stories turned adrift. To those of us for whom fragmentation is genesis and legacy, fishing for stories is a way of coming full circle. A way of mapping the fractures and fissures that make up the ever-shifting landscape of our histories, our selves.

So okay, I may be shit at fishing but perhaps I am a fisherwoman after all.

*

Separation

I float a wave back to the Parañaque house. A bougie two-storey townhouse with stucco walls packed tight with dreams. Bordered by coastland in one of Metro Manila’s earliest gated villages, the estate was bankrolled by the Banco Filipino empire before its forced closure under the first Marcos dictatorship. Papa’s modest self-made fortune had just reached its peak when he bought the plot, and it would be another decade or so before finances would start to dip. He grew up struggling, and mama’s family still were, so maybe this house was their way of buying into a vision of security and success. I remember it being huge in the way everything is when you’re a kid. Crossing the Pacific again some twenty years later, I’d come back to an anachronism. How much smaller it would seem.

My parents built the house in the early-1990s, drunk on the siren song of domestic bliss. My father used sand and bare hands. My mother opted for perennial plants. I imagine them playing house in some high-stakes game of pretend: man, not-wife, and the new baby. In a few years, they could enrol the child to an international school nearby. The woman could start a small business selling locally-made Narra-wood furniture to rich households. The man might even leave his wife. They’d be a real family. When you wish upon brick and mortar against the Amihan tides.

Over the years, the waters would rise. Trade winds would blow their relentless cycles but the house would stay the same. An empty, yearning nest. It would miss out on first words and first steps, stay oblivious to fists and fights, the paranoia and bald-faced lies. Its walls would never feel the touch of warm hands and its windows would never open for sunlight darting through its rooms. Termites and mice would lay claim to the bones. A salty damp would set into the floorboards. Its foundations would crack and loosen underfoot, an ocean between us, always.

The neighbours would set their sights on it. They’d pick its locks and enter by stealth. Maybe they sought to lick the gilt off the cornices, scrape the good intentions off the walls. Maybe they took the door off its hinges to see if anything worthy lay on the other side of the frame. Ethically, I don’t oppose the break ins. Why should a house stand empty in a city where sleeping bodies line the streets?

Twenty years would pass and I’d scrap for a plane ticket back. I’d smash the padlock off the gate, jarring in its errant coat of red applied by some interloping budding decorator.

I’d stand in the wreck of it and let the smell of forgetting fill my pores. I’ve scrubbed my body many times since, but I carry it with me still, to this day.

*

I hesitate to identify as Filipino. The word derives from the Spanish coloniser king Philip who, through Magellan’s colonial activities, staked false claim over the archipelago’s diverse peoples, lands, skies and waterways. To frame myself as a little Philipp-ite is reprehensible to me yet I use this label as a way of speaking the language of the dominant tongue, to use its tools of categorisation as a way of carving out space. It is a way of having voice, misconstrued though it may be – a way of insisting, I am here! My people have dived for pearls with friends here, well before your white sails bruised these shores.

The poet Eunice Andrada has been known to identify as an Ilonggo poet, resisting the homogenous ‘Filipino’ label which reeks of Tagalog hegemony in the archipelago. The issue of identification and identity is further complicated for me by lost family and ancestral histories. It was only on my 33rd birthday last year I learned my maternal grandmother was from Pangasinan, land of a thousand islands. I have no stories, no photographs of her as a child to go by, but this is how I like to picture her. A girl growing up by the sea.

*

“Non-fatal drowning describes a drowning incident where the individual survives. In some cases, an individual may not suffer any serious health complications following a non-fatal drowning. However, in other cases, non-fatal drowning can significantly impact an individual’s long-term health outcomes and quality of life.” – Royal Life Saving Australia

The first time I remember drowning:

Ma and I had just moved into a rental in Dee Why, which kids at my new school called ‘the ghetto’ of the Northern Beaches. I remember thinking, if this is ghetto, you’d die to see where my family live. I’d soon realise they called it ‘the ghetto’ because it was the only ‘ethnic enclave’ on the insular Peninsula(r). The only suburb in the area with an Asian grocer and an African beauty supply store, where the Pinoy and Pasifika families lived, where the Chinese restaurants were legit. I’d never lived in the suburbs before. All I’d known was city smog and chaotic traffic, so I fell quick and hard for the nearby beach.

I went walking on the shore in my school dress one day, brogues and socks on my hands, toes questing in the sand. Suddenly, the sky rumbled grey and the tide began to surge. Water climbed my legs fast and snatched me up into the churn. My mouth filled with saltwater. I started to swallow. I remember thinking, goodbye, mama – strangely calm about it all. That’s when I felt a warm hand close firmly over mine, guiding me out of the crush. My head burst above water, kaleidoscopes of seafoam and upside-down pine trees in my eyes. I lay on the wet sand, strewn under a glassy sky. Soaked to the bone and completely alone.

I don’t remember much else, everything is a vague before and after that moment. My memory has always been hazy. Twenty years later, I’d remember that drowning and wonder, was it a memory, a vision, a dream? I still can’t decide. Whatever happened, I know it was my lola who saved me.

*

When I tell my mother this, she gasps.

Da, the same thing happened to me!

A monsoon season sometime in the 60s drowned the Pasig River leaving it bloated and swollen. She went swimming in the floodwater, seeking pearls amidst candy wrappers and bits of corrugated iron, floating wreckages of plastic debris. Maybe the current got stronger, maybe her little arms got tired and she started to sink. But Naynay reached into the river and pulled her out in a strong, calloused grip.

How funny, ha, Da. She saved me but she was so angry with me.

That night I dreamt of mama as a girl, eating clams with her mother. They fished them out of the water, scooping them up in their hands by the riverside, heads bowed like grateful penitents.

*

Transition

People tell me I look Japanese. They say, but you don’t look Filipino, which is funny because the archipelago comprises nearly 200 ethnolinguistic groups with distinct cultures, stories, Peoples, and rituals. Not to mention the myriad cross-cultural ancestries from beyond the oceans before the intrusion of colonisers and conquistadors. People rarely clock me as Hong Kongese, except my Filipino family who laugh themselves stupid over jokes about my eyes looking ‘inchik’. Truth is, I don’t know if I should identify as Chinese either. My father calls himself a Chinese man but identifies more as a Hong Kong man.

Can I just identify as an island gal? An island baby they-by lady?

*

I started the process of forgiving my father around ten years ago. We drove around Kowloon listening to ‘Don’t cry, Joni’ and ‘La Vie en Rose’ on repeat while he dredged up memories of Japan’s occupation of Hong Kong in WWII like pulling dead fish from the sea. He told me of bodies piled high on streets now stacked with concrete pylons and apartment towers, the same streets beneath our feet. During martial law, people hid in their homes as often as they could. But my father, only seven at the time, tired of fear and the hunger in his belly, would sneak out to shine imperial soldiers’ boots in exchange for biscuits which he’d save to eat with his siblings.

My lola would have endured the Japanese occupation of the Philippines but when I ask my mother about this, she tells me she has no idea what I’m talking about.

My island homes sink and swim with the weight of remembering and forgetting.

*

I met Papa as an old man this year. To be fair, with sixty years between us, he’s been old my whole life. Mortality on our minds, he took me to visit his parents’ graves for the very first time. I balked at the interminable staircases at St Raphael’s cemetery where his father, my 爺爺 rests. Irene was there, his girlfriend of 30 years who’s also 30 years his junior (I met her, too, for this first time this year). She held him as he gripped the flaking green rail, one step after the other. I was scared he’d fall or faint, but he refused a single word of complaint, out of reverence or stubbornness, I’m not sure. Oliver and I sentried in front and behind. A black butterfly trailed us. Hobbling back down, we made the shape of some lopsided creature of grief.

His mother, my 嫲嫲, lay in Wo Hop Shek some 40 minutes away, in a Buddhist graveyard on the hills overlooking Fanling. I was inept at bai-san but I lit the incense, bowed my head thrice and burned the bag of paper prayers adorned with Kwun Yum riding the sea, lotus flowers at her feet. I held Papa’s hand as ash and smoke unfurled in the blue silk sky.

The next day, he confessed with tears in his eyes that his sons don’t visit his parents’ graves. We were in the backseat, ‘La Vie en Rose’ playing again. His unspoken fear that they will not visit him either sat between us.

*

When Lam Him died, he left behind five adult children as his legacy. One was my father, Lam Shuk Chiu, who, devasted by his father’s death, tried to give his heartache purpose by honouring his Honourable Father’s death, honourably. He threw himself into funerary arrangements, buying the finest oranges, chickens, and pigs heads for offerings; and bargaining (respectfully) with a nun to guarantee his father’s dying wish for a Catholic burial after a lifetime as a sometimes-practicing Buddhist – a testament to the care he received at the Catholic hospice where he’d stayed.

After an evening meal, the grieving family sat together on mats on the floor to share memories of their devoted patriarch. As they did, the lanterns began to flicker and the dogs out on the terrace barked feverishly into the night. My father felt the room go cool. A light pressure touched his forehead, and he lost consciousness. When he came to, a sense of peace washed over him.

That’s when I knew, he tells me.

There is no such thing as ghosts. Only spirits.

 
Incorporation

Is there another me in a same-but-different version of Hong Kong? I imagine her also 33, speaking Cantonese since she was a baby. She visits her ancestors’ graves often, knows the right joss sticks to buy, doesn’t get anxious about her choice in flowers for offerings.

Is there a version of me in the so-called Philippines? She probably doesn’t bother with inane questions like this.

*

My mother has a lot of stories she doesn’t know how to tell. She buried them in forgotten soil and lost the words to unearth them again.

She’ll rewrite herself again.

My father’s stories always lied just behind his tongue. Now he’s opening up, telling me ghostsongs and lovestories around his old fishing town.

Me? I am a deep-sea fisherwoman, but I do not catch fish.

Videopoem (still): ‘lullaby for a fisherwoman’, 2023

 

Cited

Banerjee, B. “Alphabets of Flesh”: Writing the Body and Diasporic Women’s Autobiography in Meena Alexander’s Fault Lines, English Studies, Vol. 103:8, 1210-1227, 2022. DOI: 10.1080/0013838X.2022.2105025

Del Rey, L. ‘Grandfather please stand on the shoulders of my father while he’s deep-sea fishing’, Did you know that there’s a tunnel under Ocean Boulevard, Polydor, Interscope Records, 2023.

Strobel, L. Coming Full Circle: The Process of Decolonization Among Post-1965 Filipino Americans, 2nd ed. The Centre for Babaylan Studies, 2015

Tan, C. ‘Interview #125 – Eunice Andrada’. Liminal Mag, 2020. https://www.liminalmag.com/interviews/eunice-andrada

Grace Hall

June 9, 2024 / mascara / 0 Comments

Grace Hall is a queer, crip writer and editor based in Naarm (Melbourne). Her writing explores the joys and pitfalls of growing up queer in rural Victoria. She is fueled (almost) entirely by potato and existential dread and currently reads a lot of non-fiction. Grace’s work has been published by Bramble Journal, Archer magazine, Enby Journal, Writers Victoria and elsewhere. Grace was a participant in Toolkits Lite: Non-Fiction program in 2022 and is 2024 Writeability fellow.

Red brick linoleum palace

The first house is Red Brick

It’s 2005. I’m freckled, tall for my age and perpetually worried. My primary school’s oval has been transformed into a fete; there are craft stalls scattered across the quadrangle where squeal pitched conversations between mothers conjugate. The teachers are volunteers – behind stands, barbeques, holding skipping ropes and flipping sausages onto their bellies. It’s weird to see them casually dressed, all in the one place.

I’m on the playground. I can’t skip two bars on the monkey bars, but I watch some girls in my class do it. Their checked dresses flutter. I squat, pick up tanbark and let it fall through my fingers. When Jordy, a new friend, steals me away from the tanbark to play soccer, I’m relieved. I adjust the elastic around my navy-blue shorts so that they’re long like the boy’s shorts and become so immersed in the kicking, receiving – the sweet smell of unearthed turf that my need to pee, urgently, comes as a surprise. Behind the paint-stripped goal posts are two portable toilets. Jordy’s mum notices me with my legs in a tangle, and points in the direction of them. I shake my head and she cocks hers slightly, the way a dog does when you ask it a question. 

I might fall in, I tell her. 

Mum drifts over in her floral short-sleeved dress, and she looks like an angel. They’re on the boundary line but I can hear Jordy’s mum. She’s sharing my response with mum, who giggles mildly and calls me over to her. I tell her that I need to go home. Gentle, and practiced, in loving me she doesn’t ask why. 

I run under the red brick alcove of our house and nod to the fly screen held to the wall by a door stopper (last week it shaved white layers off my right heel). My fibres relax as I stare at the newspaper article of my parents saving beached whales. It’s blue-tacced to the back of the toilet door. 

I flush. The relief I feel is intoxicating and it’s enough to propel me towards my sister who’s stripped off in the loungeroom, dancing across the glossy floorboards. I don’t usually like dancing, but I toss my hands to my shoulders and shuck my hips the way the purple wiggle does. Crisp, orange light streams through the windows, filtered through a flowering gum. We retire at track four on her ABC kids CD because that song is scratched and slip into our cotton pjs. Before bed, we push our two single bed frames together so that we’re close enough to hear each other dream. 

Brown house with carpeted stairs 

Mum is sick of the suburbs. Other mums always drop-in with gossip on their tongues and tell her stories about the houses on our street with cheating husbands. The news spreads like wildfire. One lady whispers to my mum, who’s nursing a milky tea, ‘it could happen to any of us’. 

My parents decide it’s time for a sea change. They want bodies of water – to be bodies of movement. 

You guys can run amok:   mow grass    plant natives    sit around bonfires.  

I don’t know what a sea change is. 

‘Everyone’s doing it’, Dad says from behind the steering wheel, and I wonder who everyone is. We move into a rental with vomit coloured carpet stairs and a-frame ceilings. I decide it’s not a suburb because there are more wineries than houses. My sister gawks cheerily at the spiders in ceiling, but I’m all out of whack. On the first night in the brown house with carpeted stairs, I wake up Dad because I can’t find the light-switch for my room even though it glows in the dark, the white rectangle next to my door frame. I count the deep swirls on the pine board ceiling which makes me feel light and itchy. I creep across the cold checked tiles and inhale the stale cinnamon air that reminds me of op shops. 

I skate from ‘I won’t be happy here’ to: ‘I’m sorry for waking you up, Dad’. 

The next day, having sensed my disoriented state, Mum reminds that a house is just a house. She tells me, it’s the people inside that make it a home. I repeat this to myself while brushing my teeth, wondering where the elderly couple that lived here before us are now, and if they miss their old house like I miss mine.

This log cabin could be an air bnb

The next house is a log cabin on acres full of Cyprus pine. This one we own, a lie I don’t yet know much about. I call it ugly because it’s a word I’ve started to hear at school and because all my friends live in white walled houses. There’s a few gum trees but the Cyprus pines are taller. They’ve beaten the gums to the sun. At night you can hear the koalas roar. Dad tells me this is their mating sound which makes my tummy twist. 

Before Mum and Dad buy the log cabin, they go for the house next door. At the auction, my brother is in tow of my father, clinging onto his baby blue sleeve. The numbers start and the real estate agent’s voice booms. He’s loud, so I don’t understand why he needs a megaphone. My brother senses that we’re losing. 

He tries to whisper, ‘Daddy, do something’, but everyone can hear him. Dad looks at the gravel. I watch him intently because for the first time I really don’t know what he will do next. 

We don’t get that house, but we get the one next to it a few months later. Mum says it’s meant to be because it is. I understand it as: a new house is a new experience; a new house is a new mortgage and under it is a family.  

The pine walls last six months. Their disappearance is gradual. Mum and Grandpa lather each beam antique white. At night, I set up an elaborate game with barbie dolls. Between them are affairs, marriages, children growing up and moving away. Some of them buy mansions with laundry chutes and pearl shaped pools. My favourite doll is a blonde teenage boy who wears denim shorts and a basketball top. When he turns eighteen, he leaves his family – even though they own the mansion – to live with his girlfriend. She has hazelnut eyes and a floral mini skirt, so I understand why he left. 

Linoleum palace 

I’m twenty-one and the share house I live in is a linoleum palace. My housemates are vastly different from one another, but all come from a cluster of free dress schools in the Northern suburbs. One of them takes me under their wing because I am a country girl in a big city. I don’t realise it at the time, but I am only the country girl by comparison. When the clean and orderly housemate is away for the weekend my other house mate, who is messy – like me, try on multiple outfits in the living room. We take photos in the full-length mirror; the mission brown background makes us look older than we are. She cuts my hair and tells me stories of couch surfing in her early teens. When she finishes shaping my bob, holding my curls and then releasing them, she tells me I look like a queer dream. I don’t know what she means exactly, but I believe her because I can’t stop thinking about my housemate’s girlfriend, and the volume in her smirk when she greets me.

In this linoleum palace, one of my bedroom walls isn’t a wall, it’s just sliding doors, but it doesn’t matter because I’m a deep sleeper. The vinyl floors are peeling, we’re constantly chasing dust and newspaper, but it doesn’t matter because I have found my people. For some reason, though, I have to leave once a fortnight, home to the log cabin. 

I’m like a yoyo, tightening and loosening. 

One day, as I’m walking down Melville Road on the phone to my mum, she tells me that they’re renovating the tiny bathroom with no windows. She describes it: they’ll peel the logs off the side of the house and put a window in there, fix the water pressure, and populate it with the fake-plants from Kmart so she can’t kill them.  That sounds nice I tell her. The shower in that bathroom was good to me – there was just enough room to sit at the bottom of it in the foetal position and let the tea-coloured tank water rain onto you. 

‘Do you remember when you were so scared of drop toilets?’ She asks me. You’ve come so far, she laughs. 

I do, I say. Of course I do. 

Two of my housemates have a falling out. The third housemate is falling in love. The foundations of my chosen family unravel, and no one wants to use the kitchen anymore. Small decorative items that we each planted around the place begin to disappear: a vintage orange lamp, an Elvis clock and pastel-coloured clay vulvas. We try to blame it on each other – discretely – some of us cite the good times we had here. The brick BBQ crumbles. The door handles squeal. We burn sage but it doesn’t work. We all move out a month later, and I go back to the log cabin before I go anywhere else. 

Stain glass means you’ve made it       

I move into a colonial style farmhouse, deep in West Footscray. It’s the nicest house I’ve lived in. There’s a spa bath and his and hers basins and a room for my house mate’s keyboard to have its own room. There’s a chocolate-coloured fireplace in my bedroom that’s prohibited from use and the front door has stain glassed windows, apple tinted squares that frame a hearth. 

I walk a lot. Down aisles, down Barkly Street, past dumpling houses and Ethiopian restaurants and commit to the idea of going there. I imagine sitting there with the woman I’m sort-of-dating, pouring her green tea, while my eyes dance across the road to colours of the market. But she’s in America visiting Stonewall, wearing the suit I leant her, unearthing the shades of her queerness. 

When I pull up outside the colonial farmhouse (not the driveway because it’s always occupied), I sit and rehearse the anecdotes I’ll tell my housemates, because I haven’t yet worked out how to talk to them. I pat the car seat and phone people; I phone a voice, one of my favourite voices, but he’s distraught. 

He has to move out of his rental because last week his girlfriend said, ‘I’m leaving’, without saying goodbye and without paying rent and without packing up their clothes. 

‘I can’t sit in this house any longer’, he says to me, and I realise that a house can make you sick. 

The house with cracks                                                                 

The house that my girlfriend and I move into needs work. I convince her though, that it’s the house for us because real estate agents don’t like disabled people. I envision the faulty house as a god send, as though me and it have something shared in our dysfunction.

 It needs painting, cracks need filling, garden needs weeding. The labour is looped, the cracks come back and the gaps under the doors welcome dust back in quicker than it leaves.  The rooms need light and laughter, and consoling, but I don’t do the work because pain is trying to swallow me and sometimes I let it. 

I watch my tired, beautiful girlfriend swish sugar soap onto the walls and work putty into cracks and ask myself: are we playing house or is this house playing us?

‘We don’t own this place, remember’, I say to her because after a few months I find that labouring is hard to watch. 

I leave the house for the first time in months which teaches me that it’s warmer outside where the winter sun waves from behind cloud. A new friend lends me a book, The Shape of Sound by Fiona Murphy. In the prelude, Murphy writes that the meaning of atrium, in ancient roman times, is the heart of the house. It’s the first time I’ve read the body as close to a building and I feel unexpectedly consoled. We must find the heart of the house, becomes my new mantra when I unlock the front door.

It’s my girlfriend’s birthday and we’re out for the first time in months. We’re filling up on beer before a gig. The pub aesthetic is retro house; there are green velvet couches, orange cushions are stationed casually across armchairs. Otis Redding is playing. A beer is slid in front of me; and a smile from my girlfriend’s best-friend. I down it, feel it fizzing as it meets my medication. I am light and sleepy, but I promise myself I’ll make it to the next venue. I push the pain down. When I see the fifteen-flight staircase at the gig venue, I wish I had drunk another beer. I google their website with a shaky thumb. Under frequently asked questions is there’s an accessible toilet downstairs. 

The math is quick but confusing. The music is upstairs. I wonder if other disabled patrons visiting this place have drunk less so that they pee less. I decide that that’s what I’ll do. There’s a chair-lift that runs along the flight of stairs it’s new and expensive, but I don’t want to use it. I can’t stand out like that. I want to call it inaccessibility, but I feel like I’m not allowed to. I use my walking stick to ascend the stairs. I’m visibly avoiding access. 

Upstairs, the red curtains bellow behind the man on the stage who is shirtless and sweaty. The audience is following him, pulsing in and out, and his gruffy drunk voice is loving it. I need a chair, and there’s plenty of chairs. My girlfriend pulls one out for me. She looks at me which is her way of asking, are you okay? I nod. I’m on the outskirts of the mosh, until someone pulls up a chair next to me and speaks a sentence I don’t remember because really, it’s so nice to have someone on my level. 

I can’t hold my pee any longer, so we book an uber that we can’t afford. The rain glinted road shines as we journy down Sydney Road. I’m thinking of bricks because like bricks, the weight of inaccessible buildings accumulates until it becomes a feeling: your heart dropping to the pit of your stomach. The uber pulls up in front our house, and I realise she’s been holding my hand the whole way home. 

*

I don’t know when the house with cracks became a home. Maybe it happened in the mornings, accumulative, when the percolator bubbled over for the 100th time, and croaky good mornings grew into a kiss; or, when the cat chose a sunspot under the square window in the furthest room from the street. As soon as the dust settled, and the spinach in the garden was ready to harvest, the owner texted to say

Thank you for your work 

But

My sons want to move in 

Dad tells me we’re better off buying something. Pick mortgage over rent. Play rock, paper, scissors. The winner is rent. 

He’s seen the ques on channel nine, how the desperation stretches all the way down the street.

Under scorching summer sun, I join the ques and try to drag my mind away from the heat in my legs, they’re molten in broad daylight. By staring at my calendar of house inspections I hang onto hope. We have a family dinner to celebrate the fact that we found a place to rent, against the odds, in the wake of eight weeks. 

‘I feel sorry for your generation,’ my uncle says while he shovels pork crackle that snaps like a wishbone, into his mouth. ‘You’ll never own a house’. He pauses, sympathetically, or so that I can let the sentiment sink in, the reality of doom, but really, I’m upset because he just took the last piece of crackle. 

Justine Vlachoulis

February 9, 2024 / mascara / 0 Comments

Raised in Whyalla and now residing in Adelaide, Justine Vlachoulis studies literature and film at The University of South Australia. She endeavors to explore the stigmas and stereotypes surrounding the contemporary sex industry, while also sifting through the past to discover and retell the comical and thrilling stories of her Greek migrant family. When not rambling to anyone who will listen as to why Anton Chekov and Thomas Hardy are her literary heroes, she enjoys baking, photography, and short walks.
 
 
 
 

I Found You in the Supermarket

I’m in a supermarket trying to find you. This was one of the last places I saw you. I drift past pyramids of orange and avocado and stare across at shiny packets of red meat. My legs carry me to a loaf of Wonder White bread. All the voices start singing in my head. All the voices wishing you weren’t dead…   

‘Agapia Mou, my love,’ she whispered.    

In the village, Agía Eiríni, Saint Irene, in a crumbling house, alone in the dark, a mother held her baby and prayed. 

The baby still wrapped in it’s amniotic sac, a caul of hunger and want, was doomed by the poverty WWII brought as German and Italian soldiers filled their bellies while waiting for war. 

The next morning the mother filled threaded bags with olives from the family grove. Beneath the shade of a nearby tree, baby George lay asleep.

Mother Adrian wasn’t lean and tall like the women from Athens or Thessaloniki. Rather she had wide hips and a beaming mouth that stretched across her square jaw. Under the beating sun two rows of perfect white teeth flashed bright, as sweat seeped its way into her short black hair. It never aged white or grey. 

After George, she gave birth to another boy, but before them, there were seven more. The first son Andrew died, and when three girls followed, Olga, Ketie, and Reubina, Mother Adrian and Father Gerasimos despaired. Who was going to work? But five babies came along, and they were christened Danny, Andrew, Thomas, George and Sammi. All the children were blessed with mesmerizing hazel eyes, but from their heads grew unruly tangles of dark brown frizz. George’s hair grew to be closer to black then it was brown. The day after each birth, Mother Adrian laboured in the groves wearing her thin floral dress and brown leather sandals. 

There was a year when all the Vlachoulis children went to school at the same time. They’d leave in the morning and return in the afternoon and they’d each wait their turn to use the household pencil to do their homework. 

In the mornings, the three youngest, Thomas, George, and Sammi would sprint through blades of grass to suckle on hard rough udders and in the evenings steal fruit and scamper home to offer their treasures. 

The Vlachoulis house was small, so the boys shared a bed, and so did the girls. They lived in an area of Agía Eiríni called Vlahoulata, and Vlahoulata was small, so the village rooster’s song carried far enough for all to hear. Thomas, George and Sammi called the village rooster ‘rooster clock’.   

One morning, when the sun hadn’t yet stretched its rays, and the world was still painted in pastel hues of purple and blue, tiny pairs of feet crept through Agía Eiríni’s empty streets. Three small figures darted from one house to the next, bare little tummies holding their breaths. The boys were all the village had seen since their Father Gerasimos had stumbled around drunk a few hours earlier. 

Asleep inside the shade of a wooden hut, was their rooster clock. His scraggy feathers and clawed feet were whisked away by a child’s sturdy hands. With heads held high Thomas, George, and Sammi walked in a line, and George held rooster clock clamped to his chest. 

They went to a clearing, and the sun rose higher, casting olive tones on their skin.    

George gave the orders. 

‘Thomas hold the neck.’

Thomas secured the neck. 

‘Sammi, feet.’

Sammi secured the feet.

Then George swung an axe he’d stolen from Father Gerasimos over his head and brought it down through the bird’s stomach. The boys watched with gleaming teeth as rooster clock’s insides showed. They stroked tentative fingers over dripping red feathers and then dug determined thumbs into slimy pale guts, each of them searching for the round prize with ticking hands. 

The minutes dragged on, but eventually, each boy had to stand back. 

Sammi frowned, and pointed a gunky finger at the bird, ‘Where is it?’   

Thomas shook his head, ‘I don’t know.’

They both looked up to George, who stood with the axe over his shoulder, but he looked back at them, just as confused. 

With a shrug, he said, ‘I don’t know where the clock is. Maybe the head?’

Maybe it was there or maybe it was lodged in the rooster’s heart, but the boys would never know. Hearing the stomps of Mother Adrian’s feet sent them scurrying away like the street rats they were. When her screams replaced rooster clock’s song all the villagers gathered to watch as George tugged his brothers back to publicly face the burn of their mother’s left shoe.

At night, when she thought all her children were asleep and her husband Gerasimos had passed out from too much to drink, Mother Adrian prayed. She fell to her knees and the flame from the kantili, oil candle lamp, flickered like a body that hangs from a noose, throwing the deep shadow of a cross over the warm red walls. Her prayers raised a storm of desperation up to the heavens, and God held back tears as he observed the long-suffering woman.   

That evening George had given his share of fruit to Sammi and now his rumbly tummy made him crawl over his brothers’ limbs in search of his mama. George found her descending and stood still as he watched her large back curl over in defeat, a black aching mountain standing alone under a red burning sky. Then her lips murmured a prayer that peeled childhood clean off George’s bones. 

‘Please Panagía, most blessed. Virgin Mary, pray to your son. Intercede and ask him to kill someone in the village so one of mine can take their place and receive prósfora, the communion bread.’

On Sunday George emerged from church with a tiny square of bread and a cup of koliva, a wheat dish made to honour the dead. He couldn’t concentrate seriously to the priest’s sermon, for rather that image of his mother down on her knees praying, submitting herself completely, memories of his father coming home and giving her a beating, taking all the money they had to fill his glass flagon, those were things young George took seriously… 

The wonder white bag is cool beneath my fingertips. Reminds me of the chilled dead forehead that once frightened my lips. Long black skirts and buttoned-up shirts cast shadows longer than the Eucalyptus trees over burning Whyalla red dirt. Can you miss someone you’ve never known? Is memory the lingering of a still loved soul? My giagiá, grandmother, my theíes, aunties, my theíoi, uncles, my father, painted the white walls of my childhood home with their memory’s song. 

I veer from the bread rack and venture to a tower of tomatoes. I reach out my hand to the plump, firm fruit…   

As George finished primary school, the island of Kefalonia was shaken by an earthquake measuring 7.2 on the surface wave magnitude scale. The 1953 Ionian Earthquake left the Vlachoulis household without bread for six months. 

George had to leave. He ventured to Kefalonia’s main town, Argostoli and earnt enough money to send home by rebuilding the earthquake rubble into homes. A couple of years on, with the houses complete, he opened a café, and it was there he heard about a ship that’d be coming to the main port. 

At 17 years old, with his hair freshly trimmed, George shut up shop and rode his bike up the dirt path that ran parallel to the shining Ionian Sea. As he expected a ship was at the main port, and a long line of men waiting to board. At the start of the line, George could just make out a freakishly tall and flailing figure.

A man in white pressed pants and brown polished shoes stood on top of a crate and flung his arms around, like a red-faced demon, sweating, and agitated by the heat and something else that George discovered as heard him bellowing, ‘I need a volunteer! Errands must be run, or this ship isn’t leaving!’ 

As round hazel eyes doubled in size, George pedalled vigorously, the muscles in his stomach clenching tight as he yelled, ‘I can do it!’  

The red-faced man snapped his neck down to see swift spinning wheels cruise past a line of unmoving men. He darted his eyes between George and them and then he barked, ‘Get over here!’

For the next two days George’s deep-set eyes beamed with their natural smile while he rode hungrily through the Argostoli streets. He picked up food, dropped off clothes, and collected supplies for the man he discovered was the ship’s medical officer. The medical officer had grown fond of George, and the evening before the ship was to leave, he asked, ‘When we arrive where will you go?’

The medical officer thought George was waiting to board with the rest of the men. He thought George to be well over 18, with his completed military service and the papers signed and stamped to prove it. 

Calmy, George responded with, ‘Sir, I don’t know.’

‘What do you mean you don’t know? Are you unsure?’ 

George shook his head, ‘Sir I’m 17. I can be 18. I can be anything you want.’

No signed papers, and not even a boat ticket! George had no chance… but in a crisis of conscience the medical officer said, ‘You’ll need signatures from your village leader and your parents showing that they support you coming to Australia.’     

‘How long have I got to get these to you?’ 

‘You have the night.’

So, bound for Agía Eiríni on his rickety old bike George peddled, grabbing hold of the back of the bus heading for Poro Port and then the mainland to help him along the way. The mayor and his parents signed the papers, but before George left Mother Adrian passed him a brown suitcase that held a small icon of Ágios Gerásimos, Kefalonia’s patron saint, inside. He smiled at her with two rows of perfect white teeth, and when he left, her own didn’t shine under the sun for what might have been weeks. 

When he got off the ship George found himself in southeast Australia at the Bonegilla migration camp. From there he was shipped to Whyalla and put to work as an indentured labourer in the shipyards. He worked for a few years, but he barely made enough money to buy new clothes, let alone enough money to send back home.  

So, he took a risk. He went into business with a man called Elias Stamoulis, and on the corner of Essington Lewis Avenue, they opened a shop called Pan Continentals. Their supermarket was small, but George would drive to Adelaide to purchase special salamis, sauerkrauts, and gherkins and all the immigrants would flock inside, as the standard supermarkets, like Woolworths, neglected the gourmet needs of the immigrant population. They also sold golden crumbed fish and hot salted chips to the cinema patrons, who would come during the 15-minute intermissions from the open-air cinema from across the road.

The day George married, straight off the train from Melbourne, he brought his wife to Pan Continentals and with a sorry smile put her to work in her nice new wedding clothes. She stuffed white bags with boiling hot potatoes and burnt the skin of her small tender palms.  

Angelique came from Yianakata which was the neighbouring area to Vlahoutlata in Agía Eiríni. In the schoolyard, George would find her and bounce the curls that dangled around her head. Both children had to leave Greece, George to Whyalla and Angelique to Melbourne. Then in June 1959, the man whose photograph Angelique secretly kept tucked beneath the elastic strap of her bra knocked at her front door. 

They had a son, and he was christened Gerasimos.  

It was now 1965, and 18 people were living in one house on Gowrie Avenue. George and Elias had made enough to buy a home and sponsor some of their family members from Greece to come over to Australia.  

One of these family members was the eldest Vlachoulis brother, Danny. Danny didn’t know a lot, but what he knew, he knew well, and he knew how to tend a garden; so, on the right side of the yard, he made a garden bed. His skin was as brown as burnt butter from spending weekends out in the yard and from the kitchen window, all the wives would see Danny hunched over, his spine sticking out from beneath a cream linen shirt. Hanging above him were bright red plump tomatoes, teasing to be plucked, washed, and cut fresh for a salad. Danny gardened so diligently he was soon able to sell some of his produce to the locals.  

At the time, Elias Stamoulis had a younger brother who was also living at the house and one morning when the kitchen was empty, he snuck into the garden, stole Danny’s tomatoes, and then sold them for himself. 

When Danny came home from work and saw the vines stripped back and no fresh salad in the fridge, he whispered to George that there might be a thief in the area. George told Danny to have a shower, it had been a long day and then he went and asked Elias for a private word. 

The two men walked outside and stood at the foot of the garden bed, with their hands resting deep in their pockets. Their bodies lightly swayed. 

George repeated what Danny had said, and Elias came back with, ‘Well this is my garden he’s planting those tomatoes on. So, we should get half of what he makes.’

The Whyalla air, thick and sticky, poured around the men’s figures like cement as big black flies buzzed around their slow-beating chests.

A minute passed and then George said, ‘You want to live in halves now Stamoulis?’ 

In comparison to George, Elias was taller, darker, and more rounded in the middle and he slid his hands out his pockets and placed them firmly on his hips. 

The two men faced each other, but after a minute of silence, George dropped his head down to the garden bed. Big black flies darted around his thick lashes, but it wasn’t their irritating buzz that made him snap his face back.  

He declared to Elias, ‘This will be our half of the garden,’ and Elias frowned as George bent down and drew a line with his finger in the dirt between their shoes.

George stood back up and smiling with his perfect rows of teeth, said, ‘And that’s your half,’ and then with a firm point behind Stamoulis’s back, he shouted, ‘And this!’ and lunging over, gripping the thick green vines into his tanned hands, yelled, ‘Is YOUR bloody tomato BUSH!’

George yanked the plant from out the Earth and the two men watched the dangling ugly roots dance in the air before crashing down onto Stamoulis’s side of the garden. 

Years later Mother Adrian would arrive in Australia. 

George was now living in his own house on Hincks Avenue, where in the backyard, he had planted an orange grove. It was in that yard that Mother Adrian showed her grandchildren, Gerry, and Helen, how to chop off a chicken’s head. Not a rooster’s head, but a chicken’s. 

She raised an axe over her head, and as two round pairs of hazel eyes stared at the chicken, Gerry’s alarmed, Helen’s calm, Mother Adrian remembered Thomas, George, and Sammi trying to find the clock in Vlahoulata’s rooster. She remembered the sight of George tugging on his brothers’ arms, as he forced them back to face her fury, and she remembered that he was one the to step forward first to face her…

I stare down at the tomato I’ve cupped in my palms, and whisper, ‘Pappous, Grandfather, George.’

After the tomato incident, you walked out on Stamoulis and marched over to the bank asking for a loan. It was risky because you didn’t have any money, but your determination would lead you to build your own supermarket, which you called 5%. It would go on to become South Australia’s first smart scanning supermarket, which ran live in 1983. 

As I’m getting older, I’m having to shop at the supermarkets more and more by myself. With a small shopping list written for one, I go in to buy the week’s loaf of bread and select myself glossy tomatoes that I can toss into a Greek salad. My dad Gerasimos is no longer the one holding the list and my Giagiá Angelique isn’t dragging me to the confectionary aisle and yelling at me until I’ve picked myself a treat. 

Your wife, your sons, your daughters, your grandchildren, all the people you left behind would tell me that, ‘You were, you were, you were,’ and as they did your life would sit on the tip of my tongue and say, ‘You are, you are, you are.’  

Ledya Khamou

February 9, 2024 / mascara / 0 Comments

Ledya Khamou is currently an undergraduate at the University of Melbourne where she is studying English and Creative Writing.

 
 
Houses and Homes

I

I grew up in a house I do not remember.

In Iraq I recall an indoor balcony, overlooking what I now perceive as a courtyard. I recall an instance (or maybe a dream, though something grounded in reality) of waking up, a nervous child, and, smiling coyly, following my aunt with her washing, up the stairs. Finding my uncle with my sister and brother throwing mattresses from the balcony onto the main hall.

Outside: cracked asphalt, dusty roads, fields yellow and dry. In photographs there is always somebody’s son in a white shirt, squinting against the sun, arms spread against silver-glinted gates.

When I remember the house, I feel an urge to relate it to Iraq as a whole, perhaps my entire upbringing, or rather how childhood felt. An ornate, dusty structure, beautiful architecture worn and shaved by inheritance and time. Family everywhere, huddled into rooms with no dining table, no chairs, eating from pots on the floor, fingers greasy with dolma and shorba. There was an inflatable swimming pool, and a gate opening. Stairs all the time. And within that gorgeous, great emptiness, a sense of the closeness of relation—of my cousins in the cornershop, of arms soaked with bubblegum faux-tattoos, and aunties pinching cheeks with their tobacco-stained fingers. 

Then, when family left, and we were left without direct relation, it must have been Syria, or Jordan, or somewhere in-between: 

The one bedroom we all slept in, tucked between my brother and sister on thin mattresses on the floor, tiptoeing to the bathroom, waking dad to open the tall door. A single green bulb on the ceiling. Mum above us, her hands clasped together, and us clumsily repeating her assured words to a night-time prayer we did not understand, and didn’t need to, really.

God was a crinkled, velvet-cornered photograph; Jesus a suffering accessory on my grandpa’s rosary, brushing his thumb as he counted the wooden beads; and Mary a weeping canvas print before blue backgrounds. I often wonder whether there was ever a part of me that genuinely believed in their existence, but that doesn’t seem like a fair question to ask of my past self. God and Jesus and Mary were as real as distant relatives, the nameless, indistinguishable faces of aunties and uncles who proclaimed with lipsticked mouths or bearded beer-breath, “I remember when you were this little!” Mum and dad pointed them out in photo albums (“you know, she used to change your nappy”) and I nodded obediently, distantly awed.

 The green-lit room in Syria (or somewhere in between) is the only part of the house I tangentially remember, and in my memory it is both sparse and overcrowded. Mine and my sister’s Barbie-themed runners scuffed in the corner next to our school backpacks. Thick blankets kicked to the foot of the mattress, spilling over and slipping under our feet in the morning, scurrying out of the house, always late, always meaning to leave.

Later, in stuffy high school classrooms smelling of sharpened pencils, squinting at the crusty print of a Gatsby passage about the green light, I’d think initially of Syria’s single green bulb, of that desperate, uncomfortable room—then, immediately, without particularly meaning to, I would dismiss the memory. It became a habit: leaping toward Australia, methodically replacing the Assyrian with the English until ABCs became natural, became the first tongue. English was a means of practical survival, then a means of distance, until eventually, it became mine.

It’s hard to describe losing Assyrian without making it sound like some sort of escape. Struggling against the hot, rough-voweled breath of Assyrian on my neck, shedding its dampened hold, and splashing into the cold green-chlorine of English, with its tall-cut letters, its sardonic, suit-and-tied consonants. It reminds me, distantly, of thirty-degree school days, panting red-cheeked from a game of tag back into an AC-ed classroom after lunch. The smell of the teacher’s staff room lasagne and glossy picture book pages and a bruised, warm apple snatched out of somebody’s backpack. Something close to hope, like the breathless, cruel beauty of a glinting city skyscraper—though something I can never really reach.

II

Still in Syria, though hardly at home: we attended some sort of educational institute for to-be migrants. We spent every day there, as if we were cramming Western-isms before the official test of immigration.

My parents sat in a lecture room learning elementary English phrases. Us, the children—either shoved on a table in the corner, or in an entirely different kids’ room—drew crayoned monsters on every white surface available. Fluorescent lights, early morning toothpaste mouth, awkward air. On the projector screen, there was a slide of example sentences located on the beach, or maybe about beach etiquette (“Hello, is this your towel?”), and I remember the ripple of low laughter in the room, occupied mostly by middle-aged, conservative Assyrians. Chaste women who covered their hair in church, and respectable, God-fearing men who lined the front church pews, bowed their heads before a mightier patriarch. No, we would not be wearing bikinis and shorts on the beach. Though, in retrospect, their chuckles could have been an excited, incredulous sort of laughter—an “imagine us, out of our stuffy one-bedroom apartments, laying on the beach.”

Everything in me hesitates to admit any excitement in relation to arriving in Australia. Writing this as the person I am now, after being fed on white media about people gratefully ‘escaping’ third-world countries for a so-called ‘better’ future in Western countries, I desperately want to divert any trope tinged with white supremacy. My memories are so transparent, so flimsy and fragile, that I can easily twist them into a transgressive story debunking popular myths about refugees.

Though, truthfully, I think I recall the exact moment that we received our visas. I remember distinctly that it was a moment caught off-guard, across the street from the education institute, or maybe the post-office—across somewhere from where everybody else was, lining up. A white envelope, an ineligible, thick document, my dad’s quietly gleeful grin. My dad must have called out to his classmates across the street, and there must have been a celebratory cheer from them, all lining up, waiting for the exact same letter. Walking home, there was an explanation from mum about what a visa was, and what it meant for us, and a sense of the ground shifting, a breathless air opening before us.

III

My dad is the youngest of his two brothers, but older than his sisters. He is a shabby young man posing in a bomber jacket in one photo, then my mustached, serious father in the next. I know that he went to university, or pursued a higher education than my mum, because there is a photo of jean-clad young adults wearing familiar faces in front of a large, smart building. But other than that…

Once, on a video call with my aunt, he reminisced about a camping trip wherein his brothers shot stray dogs for sport, and teased him when he, scared and hesitant, refused. Or maybe I misheard (or my brain mistranslated the words when I was eavesdropping, or I’ve forgotten the exact turn of phrase he used) and my dad meant that he missed the shot, rather than refused. Still, in my imagination: coarse, dried grass, brown jackets and muddied boots, a brutal green-blue sun, sweaty palms on a rifle (not the more practical shotgun, my mind decides, for some reason) foam-mouthed dogs jumping in the dimmed distance. I’d like to think that my dad refused, instead of attempted, and missed.

My mum was a farm girl. She dropped out of high school as soon as she could, professing to enjoy home life more than education. In childhood, she was protected by a throng of older brothers and a gentle, gravel-voiced father, his dark face wrinkled like a date. At least that’s how I see my grandfather now, in his old age: his voice a sweet, weathered cloud of cigarette smoke, his skin tough leather. My mum fondly reminisces about her family’s backyard full of chickens, who peck-kissed her when she fed them. Now, watching the pigeons and crows eat the rice she made for lunch outside our front door, her eyes grow watery and distant—when I crack a joke, she glances up blankly, as if she didn’t expect me there, this Australian stranger who will never know her childhood.

In one photo she is unsmiling and doe-eyed, ringlets in her hair, in an 80s shoulder-padded suit. In another, she is my mother, rounded and red-cheeked. There is an Arabic turn of phrase, a compliment for a kind person, that roughly translates to “(their) blood is sweet”, “sweet” pronounced in the pitched, sickly warmth of “sugar”. Though I do not know how to say the phrase, its shadow passes my mind in every photo I see of my mother. We share a birthplace—Iraq lives in my mum, a nestled, golden nostalgia sugaring her veins. But it eludes me.

IV

So: Australia. A ‘better’ future. In Australia, there are calendar dates, and places I can point to in Google Maps, and names on my phone that I can text.

Our first Australian house was our cousins’ house. A brief holiday, a dreamy lapse into the before-days, close relation again. Play-Station days and barbecue picnic days and ice-cream days and TV marathon days. Big couches, too intimidating to sit on, glass-surface coffee tables, and high, plush mattresses against headboards decorated with baby pictures. In the backyard, unruly grass overlapped concrete (always planning on adding more concrete, my uncle with his hands behind his back, sucking a toothpick, discussing construction with my dad), and half-deflated soccer balls shot cruelly to paunchy, well-fed stomachs. The garage door gaped open and faulty water-guns were fished out of the cluttered cardboard boxes, teams arranged for a battle of boys vs girls—screaming bloody murder until we were ordered back indoors.

Our second and third and fourth homes—houses—were rented. Here, memories scurry from me yet again. In the second house: an unusually wide hall as soon as you walked in, empty like Iraq, except for a computer on a desk in the corner. In the third house, there is nothing. The fourth house was directly across the street from our high school—the school bell blaring, the rapid, chattering silhouettes of after-school kids filtering in through the windows. Summer was inescapable walls and a living room with one couch and suitcases still unpacked, sparse cutlery in the drawers. Looking back, the fourth house could have been a brief stint before:

The fifth house—home—was bought. This home is still lived in. I find that it’s hard to write about places that I have not yet left.

The belly of my life, the spine of who I am, was formed in Australia. Dusty libraries and humming computers and blistering summers. Now, I resist the urge to contrast Melbourne to Mosul.

Instead of the closeness within the wideness in Iraq, Melbourne is a compact, familiar closeness that is cooled with an innate distance. A detachment which gnaws, and haunts, and, in its clinginess, forces a friendship. I form myself from Melbourne’s indifference. Empty, carpeted school corridors make me teary. I befriend buses and trams and train routes, and form a mix-and-match friend group composed of strays from previous friend groups. I can joke about my past selves, because I created them—in photos I can laugh at my bulging under-eye circles in primary school (when I had nothing to be tired about) and my disgruntled, angsty disposition in high school (when I had invented a lot of things to be mad about).

Occasionally, I think: this is me, living in the ‘better’ future.

My dad tells me about racist encounters he faces as a casual UberEats driver. I have learned about race and xenophobia and class and sexuality and gender. I know how to write research essays about genocide and white supremacy and classism. I know how to trace everyday exhibitions of prejudice to their root, historical cause. If academically necessary (say, for a creative writing assignment) I could throw my ‘immigrant experience’ under a microscope, dissect the points of injury, all the ruptured cells, and bleed them into a narrative, into cause and effect. But when my dad says, “That Woolies employee would not have spoken to me like that if I were Aussie,” I cannot think of a succinct response. Unspoken, it simmers inside me.

Here I am in my ‘better’ future: adequately educated and entirely helpless.

V

In my bedroom, above my mattress: blu-tacked poems printed out from the local library. They are not my poems, but they are something of me. Books tabbed and annotated and highlighted and underlined, a desperate library of anything that makes me feel. Desk of knick-knack stationery, cheap pastel plastic, acrylic crochet tid-bits. Burnt matchsticks. Half-filled notebooks. Sludgy coffee grounds in cooled mugs. Hollow energy drink cans. A solitary dinner after work with the yellow lamp for company, awake and alone in the exhausted creaks of a begrudgingly loved home.

Mum hangs a wooden-beaded rosary off my headboard, though it barely clings on. In the mornings, scrambling out of bed, I accidentally knock Jesus to the floor and curse at him for being in the way. Coming back home, he is a pitiful, betrayed father on my bedroom floor, and I am a bad daughter, a faithless Christian, hanging him back on a headboard that does not want to hold him.

Cousins now behind phone glass, pixelated social media presences. I wonder if her parents know that she’s dating a white boy or dating at all. I would never ask her.

Now, I spend my days walking up and down stairs and elevators, and arriving nowhere. I am the same age as my mother was when she married my father, and in the same age bracket as my parents when they left their beloved homelands for foreign territory. I cannot imagine marrying anybody; and I lack any maternal ambitions or instincts; and though I profess that I hate Melbourne, I cannot imagine living anywhere else. I have lived in Australia for longer than I was in Iraq, or Syria, or the general Middle East. What does this mean? Overseas, my home, my emergency touchdown, would be the Australian embassy. Here, I would never call myself an Aussie.

Now, at a birthday party, somebody shines a lighter over a green Sprite bottle, and I am back in Syria, repeating my mother’s prayers. Then I am mute in the backseat of an Uber heading home, tired of myself and my friends, wanting my bed with its annoying rosary, with its dead poets.

Or not my bed but a mattress, flung off a balcony, bouncing off the concrete, or shoulder-to-shoulder on the floor, locked in. Wanting a home I can only remember in inflatable swimming pools, in out-stretched, tongued runners, stomping up the stairs all petty with childish arguments, to that room with its flickering green light. 

Suyanti Winoto-Lewin

February 8, 2024 / mascara / 0 Comments

Suyanti Winoto-Lewin lives by the Derwent in lutruwita/Tasmania. She is an ecologist working in consulting and land management. Her creative work has been published in Overland Journal, and her research has been published in the Australian Journal of Botany.
 
 
 
 
 

On my friend’s ankle

Tipping Points

On my friend’s ankle, painstakingly inked with individual pricks of a four-pointed needle, is a symbol that ecologists may recognise as a sign of our times.

A sine wave steadily swells and falls across their skin, holding two seeds in its valleys. One rests sleepily at the base of a valley. Another, one wave to the right, is climbing steadily up the rollercoaster. Bit by bit it climbs, defying gravity. Once it reaches the peak it is in danger of rolling unimpeded into the next dip.

This symbol represents the concept of alternative stable states and tipping points. Each valley represents a state in which a system can be. Even when the system is perturbed (that is, internal or external pressures cause a system to become off-balance), negative feedback loops draw it back to its stable norm. However, large changes, either sudden or occurring in persistent increments, can push a system to a tipping point, where the seed rolls down to the next valley, a new state of being which is reinforced by a new set of feedback responses.

We feel our present to be a precipice. We stand at the edge of all manner of tipping points. One push, and we could roll in any direction away from all the patterns and truths of the system we know. The picture is of chaos and off-balance, any new stable regime on the other side of the hill far away and unknown.

I imagine the seeds on my friend’s ankle racing over the hummocks, careering off the end of the line and rolling down his foot, over his toes, into the dirt beneath his feet.

Circles

When I was young, I would crouch in the soil of my mum’s garden in naarm/Melbourne, watching the buds of poppies intently. Surely, if I looked for long enough, I would catch the moment when the first petal peeped out from the green. I never did.

The continent known as Australia travels north at a steady pace of 7 centimetres per year, yet rarely do we feel the ground shift beneath our feet. It has been resolutely ploughing away from the south pole since it started to pull itself free of Antarctica, a divorce which begun about 30 million years ago. I am intrigued by the idea of a moment in which the final tear occurred between the two land masses and water rushed into the scar. That gap allowed an oceanic current to form a tight, ceaseless ring, circling round and round the south pole, unimpeded by land. The Antarctic Circumpolar Current (AAC) is the only oceanic current to circumnavigate the world. The formation of this current barred Antarctica from warmth delivered south from the equator by the East Australian Current and the Leeuwin Current, which could not pass the ceaseless whirl of the ACC. Though Antarctica sat over the south pole long before the formation of the ACC, only when this current gained momentum did it lose its forests to a permanent blanket of ice. This change, like so many of the catastrophes of geological history, happened unimaginably slowly. Even so, the glaciation of Antarctica formed part of the mass extinction event which marked the end of the Eocene epoch.

In that forested southern world over 30 million years ago, as Tasmania drifted north and ocean started to gather its furious momentum around Antarctica, I imagine the tree ferns and myrtle beeches unfurling fertile growth and sending their spores and seeds off into the wind. Some of those seeds may have caught a northward breeze, or hitched a ride on a dinosaur feather to land on fertile soil of the new island of lutruwita/Tasmania. As I walk amongst myrtle beaches and tree ferns in the Gondwanan forests of lutruwita, I imagine that I am shaded by the descendants of some of these refugees. As I breathe in the perfume of a leatherwood, I imagine its ancestors summoning Antarctic insects with their scent.

Antarctica has been trapped within a whirling ring of cold water for about 30 million years—time enough for some of the hardiest and most specialised marine life forms on our planet to evolve. A complex community of tiny animals, fungi, bacteria, protists and stranger things creep across the dark underside of the icepack or thrive within the network of briny channels etched within sea ice. Like most beings, their energy comes from the sun, alchemised from within the ice by algae.

In this frozen world, each fraction of a degree of warming makes some difference; more briny channels; less light as snow heaps up on top of the sea ice; changing growth rates of organisms. Trophic webs flail, recalibrate, adjust. But it is when the temperature crosses melting point that we humans stand to attention. Glaciers calve in loud surrender and the comfort of predictability is lost. Creatures which rely on sea ice die, while other waiting spores bloom. We watch the seed topple from a rise to a deep crevasse.

The Antarctic Circumpolar Current is changing. Driven by the roar of increasing westerlies, eddies which fling warm water south through the ACC are becoming stronger. This warm water travels under the sea ice pack and melts it from below, allowing glaciers to speed up behind it. The ACC long ago condemned Antarctica to apocalypse, but now protects the unique systems which have evolved there. Recent research warns that we have reached a critical threshold of warming, a tipping point, which determines even if we stop emitting fossil fuels today, the icepack of the West Antarctic Peninsula will continue to melt at increasing speed for the next one hundred years.

Spirals (contacting)

At the time of writing, there are 686 species of plant, animal, algae and insect recognised to be at risk of extinction in my home state of Tasmania. Climatic tipping points endanger many more. Some of these species have existed since Antarctica was lost to the cold; they may call that white continent their ancestral home.

Though I don’t feel that I am ready to grieve, the work I do as an ecological consultant resembles a form of mourning. I spend my working days documenting the decline of species. The small losses; a trigger plant smaller than a fingernail growing in drainage depressions of the site of a new factory; a skink distinguished by the arrangement of scales on its head losing habitat to a road. My job is to survey areas proposed to be covered in concrete or dug up for minerals, searching for signs of these 686. What I find, I carefully identify, count, photograph and map. I may make 500 mapping points in a day marking threatened plants, hollow bearing trees and vegetation communities. My colleagues produce a map and upload the information onto Tasmania’s online database called the ‘Natural Values Atlas’. We write a report describing all the life in that area that we can. The proponent then applies for a permit to ‘take’ any threatened species we have identified within their project area. Unwilling to stand in the way of development, government generally grants these permits. Concrete is poured. With a disturbing symmetry, living beings are lost in the physical world just as they become represented in the virtual. The state database collects points on a map as if this could substitute for plants in the soil, as if to codify what we have lost is to justify losing it. The Natural Values Atlas is becoming a virtual graveyard where we may visit and grieve. Our report becomes a callous obituary.

Sometimes, the design of a project will be altered somewhat to avoid harming some critters considered significant. Often, conditions of the permit require an environmental offset – take from here, but protect over there. Offsets only make sense if a norm of destruction is assumed, so that even decreasing the possibility of destruction can be considered a positive action. Further, offsets deny individuality, functioning on the premise that individuals lumped under the same name by taxonomists, or vegetation communities considered similar by ecologists, are interchangeable. Recent legislation provides for a ‘Nature Repair Market.’ Though this offers some promise of promoting good restoration work, it is based on similar principles of interchangeability. Our ‘natural values’ have become currency; the rarer the more valuable.

The independent review of our current federal environment laws found that ‘surveillance, compliance and enforcement under the EPBC Act is ineffective.’ The legislation relies on developers self-assessing whether the impact they will have on natural values is ‘significant’ or not – only if a developer decides their impact is significant will they present it to the federal regulator for assessment. This means that the regulator does not see most of the projects which chip away at our continent’s ecosystems. When a project is referred, the odds are on the side of approval, with only 13 projects out of over 7000 refused approval between 1999 and 2022. Often a permit has conditions, but there is little to no oversight on whether these conditions are followed. In the decade from 2010-2020 the federal regulator issued $230,000 in fines for compliance breaches. By comparison, Hobart City Council expects to issue 8.3 million in parking fines in 2023-24.

I recently met with a representative of Department of Climate Change, Energy, Environment and Water (DCEEW) about offsets for a road project. She calmly informed us that ‘in perpetuity’ means ‘20 years.’ I was stunned, as she only looked about 30 herself. A standard logging cycle for eucalypts is about 80 years. It takes at least one hundred years for a eucalypt to form hollows suitable for birds or gliders to raise their young in. 20 years is less than a human generation, a mining lease, a life sentence in jail. In 20 years’ time, that offset will have done its job. It can either be destroyed or it can be used to justify another round of destruction. So we spiral inward, towards extinctions.

While the separation of Antarctica and Australia occurred (and is occurring) at a speed beyond the comprehension of human senses, and human induced climate change can be perceived within my own 26 years, many of the factors causing extinctions occur at the pace of a bulldozer or a supertrawler. Whales which depend on the sea ice-reliant Antarctic krill were almost driven to extinction long before the effects of global warming were recognised. Today, regional overfishing of Antarctic krill is adversely affecting colonies of krill-dependent species such as penguins and seabirds. Scientists worry that catch limits for krill do not take into account the effects of climate change on krill populations. Australia has lost 38 mammal species in the 250 of European colonialism which has brought feral predators, habitat loss and hunting. These are threatening processes which have barely relented their breakneck pace for the past 200 years. They continue in the form of some of the projects I work on. Each extinction, each loss of a population of a species or a of community of beings, reduces our resilience to global warming and adaptive capacity in the face of change.

The seed

As a young person peering over the precipice of the present while grieving the past, I cling to uncertainty as a tired polar bear clings to drift ice. Planetary systems are so complex we can never fully emulate them within our computer models, which seem to spit out the future like a curse. We don’t know how the ground will shift beneath us, only that it will shift. We don’t know which way the seed will roll, nor in which valley it will get trapped. For me, uncertainty provokes hope and curiosity.

Ecologists use the word resilience to describe the ability of a system to remain stable in the face of environmental perturbations. This could mean raising those hills higher, so that the seed has a little further to climb before it falls to other side. It could also mean forming that seed into a tough little bugger with a thick skin – a system with high adaptive capacity. One of the key ways of building adaptive capacity and maintaining resilience of a system is by nurturing diversity. This includes diversity in genetics as well as in human communities, and importantly, in relationships. This is the work of our generation—a turn back to nurture and stewardship. A building and rebuilding of relationships in creative ways. We also need fertile ground, places for seeds to land as continents shift, such as healthy soil, hollow bearing trees for breeding critters and unpolluted waterbodies.

So, whilst we do all we can to slow the climate crisis, we must take loss of biodiversity on home soil seriously. Even ‘single-mindedly,’ the term Tasmania’s liberal government recently used to dismiss advice against a windfarm offered by experts on migratory birds. Themselves employed by the government, these experts cited the harm it may do to critically endangered orange-bellied parrots. We are not supported by the good nature laws we need, but our government is rewriting them, and there will be opportunities for community to be involved in this process. Rather than turning the protection and rehabilitation of particular ecosystems into a commodity that becomes more valuable as each one becomes more rare, stewardship of nature needs to become standard practice, written into law rather than governed by economy. Offsetting needs to be tightly regulated, and permit conditions policed. In a political and social environment in which protecting planetary resilience is as ordinary as maintaining public infrastructure we can find a more creative form of development. We can strengthen the seed and nurture the soil.

*

As the individual pricks of a tattoo artist’s needle create an image on skin, ecologists’ mapping points paint lines and blots across the landscape. Often these draw out patterns of destruction that follow mineral riches, ever expanding roads and fertile soils. But there are also patches of growth such as where plans have changed to avoid harm to critters, where rehabilitation has occurred, or where seeds have been collected to spread to new places.

Our current system shows that we can take notice of diversity, and record it with the precision of an artist. If we add an artist’s intentionality to this, and take note of the bigger picture we are drawing, we can create a constellation of hope at the scale of our continent. With our actions and our noticing of the beings around us we can create an image that, beyond the uncertainty of tipping points, holds fertile ground where resilient seeds can grow.
 
 
 

Olivia De Zilva

January 8, 2024 / mascara / 0 Comments

Olivia De Zilva is a writer based in Meanjin. She was awarded the Deakin University Non-Fiction Prize by Express Media in 2019, shortlisted for the University of Queensland Press Mentorship Award and The Deborah Cass Prize in 2022. In 2023, she was shortlisted for the Richell Prize for Emerging Writers and 20/40 prize by Finlay Lloyd. Her work has been published in The Guardian, Westerly, Liminal, SBS, Cordite Poetry Review and Australian Poetry Journal among others. She is currently working on a full-length creative non-fiction manuscript.

Az Cosgrove

November 25, 2023 / mascara / 0 Comments

I am a 26 year old trans masculine and disabled person based near Newcastle, NSW. I am currently completing a Masters of Writing and Literature, and am also one of the ABC’s 2023 Regional Storyteller Scholars. I write both fiction and non-fiction, and am also enthusiastic about anything to do with being a dog dad, photography, fitness, and making cis people uncomfortable.
 
 
 
 
 

The Mirror World

The dim interior of the barbershop takes a long moment to precipitate as my eyes struggle to adjust to the abrupt change in light. I hear where I am before I see it: the raucous buzz of clippers, the occasional rumble of baritone voices.

“Name?” asks a voice. My vision begins to piece itself back together, pixels of light and colour resolving into finer detail like an image sluggishly loading. The centre loads first, and I see the wet flash of teeth, the curve of a polite smile—then there is a pause and a strange scratching sound. Gradually, the rest of the image sharpens, like the focus ring of a camera being slowly twisted. I see now that the man who’d spoken is messily scrawling my name on a chalkboard.

“You’re after Ryan,” he says, stepping back to the stony-faced man currently enthroned in front of the vanity. I nod and position my wheelchair into a vacant spot against the waiting room wall. I open Instagram and, not wanting to break the silence with the robotic voice of my screen reader, attempt to decode the images without the contextualising information of the captions, occasionally casting an overt glance in the direction of the barber and the man in the vanity chair, whom I assume to be Ryan. When I see the telltale flash of silver that indicates that the barber has retrieved a hand mirror to show him the back, I know he must almost be done. But just as the barber begins to unfasten the gown from around his neck, he raises a finger and asks, as if he’d forgotten, for a beard trim. I swallow a groan and glance at my support worker, who is perched delicately on the chair nearest the door.  I imagine I can hear the distant jingle of coins streaming past with every minute, like grains of sand disappearing down the funnel of an hourglass. For approximately the seventh time that hour, I silently give thanks that I don’t have to dig in my own pockets to pay her exorbitant fees, but the pulse of gratitude is quickly followed by one of guilt. I scour my brain for some useful tasks I could get her to help me with while we wait, but I don’t want to leave the radius of the barber and risk losing my precious place on the chalkboard.   

Nearly half an hour later, it’s finally my turn. The barber pulls one of the padded chairs out of the way and I wheel into the vacated spot.

“So, what’re we doing?” He asks, tucking a piece of paper towel into my collar. I snap on my brakes and take my glasses off. Instantly, my unaided vision causes the scene to blur and split in two, like a wet ink blot folded against a piece of paper.

“Uhh, pretty short on the back and sides—” I start to say, but my voice dies in my throat. Hidden by the black satin gown fastened around my neck, my wheelchair has vanished, and my face has been reduced to a handful of expressive brushstrokes. With a shiver of de ja vu, I recognise this man. He’d inhabited my imaginings during adolescence—he’d hovered like static just above my skin. I’d only ever known him by his silhouette. The details of his face had never been clear—alternatively resembling Cole Sprouse, Ryan Reynolds, or Chris Hemsworth—and his body was a confusing collage of the muscle-bound men that appeared, again and again, on the glossy covers of magazines, and shirtless on cinema screens, but every glimpse dissolved and I could never be sure that I’d really seen anything at all. As my body became ravaged by an oestrogen-fuelled puberty, he had begun to fade. It had been his face that had disappeared first: his headless torso remaining for just a split second longer, like the decapitated body of a snake writhing for a moment before falling still. And after my diagnosis and surgery, when I’d found my reflection radically amended to include the bulky silhouette of a wheelchair, he’d vanished entirely. Only, here he was, a handsome Frankenstein, miraculously imbued with the semblance of life by some arcane quality, some ancient magic crackling in the air of the barbershop. 

The moment flickers, light ricocheting in rainbow lines between two versions of reality—one shedding a slightly translucent twin, a ghostly double. I feel myself become disoriented, as if someone has spun me around and around by my shoulders: I could be here, in this twenty-six-year-old body, the clippers vibrating against my skull, or I could be thirteen again, miraculously transported to the other side of the glass window through which I’d gazed so longingly, the window belonging to the barbershop on the main street of the town I’d grown up in. Like this one, one wall of the shop had been made a window, exhibiting the scene within like a precious jewel in a display case. I remember workbenches studded with a glittering array of razors and scissors and combs; upturned faces daubed with a thick, creamy foam evocative of liquid marshmallows, and, when the sky was overcast, thick slabs of golden light spilling from the windows and stretching across the footpath. I imagined that the golden air inside the shop would be clean and sweet, like that on a mountain-top, a rarefied pocket of atmosphere superior to the slurry of the street outside. But at the same time, I knew that it could never survive the brutish intrusion of my touch—it could exist only behind the glass, like the tiny, perfect diorama inside a snow globe.

Almost two decades later, the barbershop is still there—but the parallelograms of honeyed light have vanished, and in the window, I see only the hard glare of sunlight and the topmost quarter of my waist-high reflection. I also see what has, of course, always been there, but that I had before failed to notice: two thick concrete steps at the entrance, their unforgiving silhouette casting a hard shadow like a hole punched in the earth. Of course, the part I did get right is the candy cane pole. It’s slightly faded, the red now more pink, but it’s still there—twirling cheerfully above the door.

The stripes of the barber’s pole are thought to be emblematic of the practice of bloodletting commonly performed by “barber-surgeons” prior to the 18th century. Barbers also pulled teeth and performed minor surgeries. 

More euphemistically, one may consider the stripes as signifying metamorphosis: a constantly turning engine taking in, from one direction, bodies calloused and imperfect, and spitting them out, from the other, polished and cleaned. It was the job of the barber to distinguish between what was to be preserved and what was to be trimmed away. It was, and remains, his job to define the average man, what Adolphe Quetlet termed l’homme moyen, and if he did his job well, he might uncover the exquisite core, the David waiting to be unearthed from within his tomb of marble. Only, what fell around his feet was not ribbons of stone, but loose hair, congealed blood, rotten teeth.

My legs are beginning to ache, and for once I welcome the pain. It pulls me back into the present, into this body that I now recognise as my own. The past that had never been begins to fade, like a polaroid developing in reverse. It does not disappear, but I know it is not real. It is the false twin, the hollow duplicate, the shimmering mirage that will remain forever fixed on the horizon.

We lapse into silence as the barber begins to work. When I hear him take a breath in preparation to speak, I grit my teeth, expecting the usual demand that I explain the scars clearly visible through my shortly buzzed hair, my wheelchair and my slurred voice, but he only says: “Try and hold your head still.” 

“Sorry.” I mumble, blushing furiously.

I’m impressed by his restraint, but still know that I will not return. I’d sworn off barbershops after the emergence of a disturbing pattern of experiences, exemplified by one barber trying to physically lift me out of my chair despite my repeated protests (such incidents seemed to occur much less frequently in mixed-gender salons). I had only made an exception because my regular place had been blocked off by recent flooding, and I’d already made a booking with my support worker.

As the barber works, parts of his body creep into my square of clear vision, like photographs taken at maximum zoom. I realise that he is much younger than I’d initially thought—an assumption no doubt caused by the long, bushy beard reaching halfway down his chest, a wiry mass strongly evocative of frayed rope. The beard is a sure sign of a pair of testicles generously ejaculating testosterone into his blood. Despite his skinny jeans and the shoes that my parents would call trendy, the guy looks like a bushranger who has travelled through time. I wonder if, when he’s getting ready in the morning—maybe brushing his beard, maybe coating it with a tiny blob of obscenely expensive wax called Adventure or some shit—if he is aware that his beard will leave behind a gory trail, like a bristly paintbrush dipped in crimson. 

Within six months of starting testosterone, hairs began to sprout above my lip: a soft, blonde down that my wavering vision had no chance of bringing into focus. I knew they were there only by touch: when I first ran my finger against the skin and felt the slight cushioning of fuzz my breath caught in my chest, as if I’d spotted a butterfly perched an inch from my hand and knew that to breathe would doubtlessly scare it away. Soon came the sheer sensory pleasure of shaving: sweeping gentle waveforms of creamy foam across my cheeks, pulling it away again in neat stripes, each pass of the razor like that of a sculptor’s chisel. Then the unbelievable ecstasy of a hand rubbed over a stubbled jaw: more a vibration than a sound, like a cat purring. 

But almost four years later, my facial hair had plateaued at a wispy little moustache above my upper lip, and I had become thoroughly accustomed to these phenomenological pleasures. When I looked at myself in the mirror, I saw not the vague smudge above my upper lip, not the sparse peppering of darker hairs across my cheeks and chin, but the great swathes of pink skin, the obscene nudity of my jaw, the lewdly exposed plumpness of my lips. I saw the diminutive warrior I had been allotted for my champion:  a soft-featured boy who looked barely to have scraped puberty.  

For a couple of months, I tried to bolster my epithelial productivity by smearing my face each night with a foul-smelling liquid marketed to treat male-pattern baldness. The active ingredient was minoxidil, and it came in a bottle with a little dropper. The instructions directed you to apply it to the scalp, but an alternative use was to smack it onto your cheeks and chin like aftershave.

 “I better not grow a beard!” My partner had cried once, when I’d kissed her after forgetting that I’d applied minoxidil a few hours previously. 

 Judging from my own experiences, the likelihood of that eventuality was low. The alleged benefits of minoxidil in stimulating facial hair growth have mostly been established by anecdotal evidence. The most notable exception came in 2016, when a study out of Thailand showed that 3% minoxidil significantly enhanced beard growth in 48 men when compared to a placebo.

The authors of this study, which was written as a letter to the editor of The Journal of Dermatology, were unambiguous when justifying their research: ‘beard enhancement’ they wrote, ‘improves masculine and attractive appearance, signalling dominance, strength and self-confidence’. I am ashamed to admit that my own motivations for pursuing the treatment were not much different—while I felt nothing but overjoyed by the sensations unlocked to me in the first-person, under the scalding gaze of others, I wished for more facial hair. No one would question Ned Kelly or insist to Abraham Lincoln that he was making a mistake. I could do with all the dominance, strength, and self-confidence I could get. But much to my disappointment, no miraculous proliferation of the follicles on my jawline could be discerned, and after a few months, it seemed pointless to continue the expensive and unpleasant regime. 

For my birthday that year, my partner gifted me a sleek black electric razor that didn’t require me to stand over the sink to rinse the blade after each stroke. I began to shave from my wheelchair, the mirror reflecting the empty space above my head. I shaved better by feel, anyway: with my eyes closed, tracing my fingers over the Braille of a holy text I’d almost forgotten. 

When I came out as trans to my family, my father responded by collecting dozens of scientific papers about transgender biology. He quietly deposited these as PDFs saved in a shared computer folder labelled Papers. I am certain that this campaign was fundamentally well-intentioned—in those dense columns of text, my father was attempting to express his acceptance, or at least his openness to acceptance. He was trying to tell me, to show me, that the transgender experience, at least of the rigidly binary variety, had biological veracity. I remember one such study, which claimed that functional MRI (fMRI) data revealed similar brain activity in transgender individuals and cisgender members of their “aspired gender”. When I read it, each sentence seemed to trail off in an ominous ellipsis. The “objective” delineation of how a transgender brain could work silently brought into existence it’s negative. Between each declaration of data was the shadow of its absence, the obscenity of its inversion. I instantly wondered if such patterns would be evident in my brain: if the enigmatic secrets within my skull would reflect what I felt as the truth?  

The opportunity to see inside my own skull came when I was twenty-one. Only, I did not see the painterly brushstrokes of the fMRI study, but the glowing silhouette of a tumour. It was likely benign but had begun to press on my optic nerve, hence the double vision that had sent me to the emergency room. If it wasn’t removed as soon as possible, it would doubtlessly cause what the doctors called “significant issues” (translation: blindness and death). The good news was that surgery alone should be curative, and I was very low risk for any complications. The most likely scenario was just a few days of nausea and the inevitable discomfort of a surgical wound. I would only need to stay in the hospital for a couple of days before I was back to normal. 

As one glance at me will reveal, the most likely scenario failed to arrive. I shouldn’t have been surprised. I should have recognised the cloying incense of statistical premonition, the prayer-like chanting of averages and norms, and prepared myself for the worst. To move, to breathe, to reveal oneself as a living human being rather than a statue, was to fall, to tumble down the steep slope of the bell curve. 

Without the orientating pole of the normal, my entire prognosis became uncertain. Would I walk again? Would my vision correct itself? The doctors could only shrug. I was lost, a lonely data point adrift in the negative space beyond statistical expectation. 

“How’s that?” The barber asks, and I answer in an octave lower than my normal voice. 

“That’s great. Cheers, mate.” He unfastens the cape and I wheel to the register—the cheerful ding of my card against the machine sounding like something from a video game—and then I leave. 

Outside, it seems unbelievable that I have escaped. It seems absurd that I am alive, that this queer, trans, disabled body is permitted to exist in the same world where candy cane poles still decorate the street.

I think of the barbershop on the main street of my childhood town. The image I see is two-dimensional, flattened like a photograph. I imagine I see a version of me: a man who is handsome in an overwrought kind of way, with darkly stubbled cheeks and two thickly muscled legs sticking out from below his satin gown. His eyes did not follow mine, did not regard me with familiar tenderness or the bubbling heat of loathing or, in fact, anything at all. They are the painted-on eyes of a doll—hollow, lifeless. His form flickers, and through his skin, I can see the faded vinyl of the barbershop chair, the pale-yellow light. He begins to fade. I know that he will not disappear entirely, but I will become used to seeing him as he is: blurred, slightly translucent, and totally unimportant.

Eva Hale

November 21, 2023 / mascara / 0 Comments

Eva Hale is a young Australian writer and poet, currently based out of Hobart, Tasmania. She has several publications under her belt, including several features in Pure Slush, The Platform Project Magazine, and Togatus. She has been a state finalist in the Australian National Poetry Slam in 2021, winner of the Platform Project in 2021 and a winner of ASA Tasmanian Writers and Illustrators Mentorship Program in 2022, wherein she has been studying under mentor Mark Macleod in 2023. She completed her Bachelor of Arts majoring in English and Writing at the University of Tasmania in 2023 and is currently the Editor-in-Chief at the UTAS student magazine, Togatus.

puppy/love/story

It accumulates over months. Small teasing gestures and outright teasing that simmers with a yearning that tugs at my chest. There are inside jokes about his flaccid bowl-cut and my unruly baby hairs that curl around my forehead in the humidity. I am still somewhat shiny and new to town after moving in with my father. He is desperate for any sort of spark after a damning childhood as the chubby kid. It is tragic and brutal, the way we twist together. It is the cruellest part of me that I can never undo. 

At the ancient theatre in town, I drag my best friend along on what I am worried is my first date with him. We arrive early, and in the disappearing light of dusk, I spot him with a group of friends. They are all popular and clique and known-each-other-since-kindergarten. I have always kept my chin tucked around them. He pretends not to notice me, so I duck away in a cavern of the wooden structure. The custard yellow paint is cracked with moisture and pulling away from the timber. The theatre is almost one hundred years old, apparently, and proudly advertises being held together by over two-hundred and fifty-thousand nails, which I find peculiar. When I first visited the establishment with my previous best friend (the turnaround is fast in these early days of high school), I whispered to her as we stood in front of the counter, “I wonder who was counting.”

My current best friend stares past my shoulder as she leans against a lamppost. “He’s staring at you,” she tells me. But when I turn, he is talking to the pretty girl on the swim team. 

I pay for our tickets, as she is both crabby and thrilled to be dragged along to watch the new Captain America. “We haven’t even seen the first one,” she whines as we drape in the canvas camper chairs and wait for the low-budget local advertisements to begin. 

“I’m sure we can pick it up.” I tell her, but I myself am deflated at the thought of watching a superhero movie separate from the boy who invited me. He is with his group up the front, and we are tucked up the back, terrified of addressing the elephant in the room. Several times, I hear the deep echo of his voice, laughing. 

After forty minutes, my friend and I have made a game of the film, cracking jokes every time an action scene occurs and picking apart the viability of the plot. We are insufferable and squawking with pubescent giggles when I notice him duck out of the row and skirt the perimeter of the seating area. I fall silent as my heart thumps in my chest, staring straight ahead at Chris Evans, who is flirting with Scarlet Johanson. Even when he falls into the seat beside me, I don’t look away from the screen. I don’t remember what we whisper about, but I remember that he nervously stares at my mouth and the side of my face as my body threatens to tear in two from the tension of it. When he retreats to his group of friends, I stare at his back, hunched over as he tries not to block the screen. 
 
 
On our actual first date, we return to the old theatre. The ceiling arches in a massive bell curve, framing his shape as he leans against the posters of what’s showing. We watch a romcom that I don’t really find funny or romantic, and our hands drift closer and closer together until, in the last few minutes, our pinkies overlap with an electric simplicity. 

Someone from the grade above us calls him Joshua and he doesn’t correct her. Neither do I. When his dad is waiting in the car to pick him up, I feel dejected and slightly put-off by it. Other kids relying on their parents has always felt embarrassing to me. I have taken to walking everywhere, even in the pouring rain. My father wakes up late and starts drinking early. At night, I walk through the haunted oval littered with needles and I scan the shadows with unblinking eyes. I pretend to yearn for nothing, as I am worried that asking for anything will make me seem weak. Or worse, it will land me back with my mother. 
 
After barely a month of us officially ‘going-out’, he tells me that he loves me at the sports carnival. I glare at him as my friends look away, wide-eyed and uneasy. How could he put me on the spot like this, in a crowd of people? 

Cold and annoyed, I say, “No, you don’t.”

He insists and insists as I push him away from me. He clings onto my knees, tenderly, like a lifeline as I scowl at him. I kick my sneakers into the red clay of the slope we sit on, adamant on ignoring him. He wilts and sulks into me, desperate for a crumb of affection. 
 
 
At school, everyone says that he is wrapped around my finger. His doting, although irritating and demanding of attention, fills me with a clean, crisp wholeness. When people ask his name, he tells them mine first. It is thrilling to have someone so devoted to me after a childhood of dejection and loneliness, of being warned that the foster home is a phone call away.

I have figured out how to kick the dog and keep it coming back for more.

I take his foggy-eyed puppy love and I grind it into a paste of bones and blood and sinew. When he watches me as though I am his entire world, I decide that this is both lovely and annoying. How stupid he is, I think. How blind to the gritty and violating truth of loving someone. At just fourteen years old, I am jaded, and he is not, and I decide that this is a crime worth punishing. 
 
 
One night, he tells me that his mother used to date some really scary men. He tells me that he would have to watch as they hit her, and he was too small to do anything. He felt so powerless, and he tells me that sometimes, he still feels that way. When I ask if the men ever did anything to hurt him, he says no. I don’t remember what I say in response, but I am sure it is bad. 
 
 
I am so deeply embarrassed by my attachment to him that I keep him a secret for as long as possible. When my older sister pesters me about my pubescent love life, I easily slip into a hard, marble version of myself. After almost six months, I finally give in. Regret fills me immediately, as this secret vulnerability spills over to her boyfriend, our other sisters, even our mother. I am mortified, disgusted, humiliated. 

Withdrawn and frigid, I hold myself out of reach. Still, he reaches and caresses and reassures me, like I am a scruffy alley cat suspicious of a dish of milk. 

After a trivia night fundraiser in the school gymnasium, I leave the bright lights and pressing discomfort of mixing teenagers with the general public. He walks me toward an eerily empty Kiss & Go Zone, a few steps behind. My body fills with heavy, viscous dread as I see the headlights of my sister’s car pull into the lot. Of course, I realise, my father would never have been in a state to drive so late. 

“You can go now,” I assure, trying to proverbially shake him off. As always, he insists and dotes, wanting to make sure I get to the car safe. It is gentlemanly and chivalrous and irritating like an itch that has been scratched to a wound but still has the audacity to itch. 

My sister shouts hello to him, and my body becomes rigid. He kisses me on the cheek and pulls away, but she objects. 

“Give her a real kiss!” She bellows from the driver’s seat, and I’m petrified that the crowd in the gymnasium might hear. He seems equal parts ecstatic and frightened at the prospect of sharing our first kiss here, now. His eyes are wide and longing, searching mine. I look past him, at the railings lining the cement footpath, the kind that leave an unavoidably sharp and bitter metallic scent when touched. The footpath around the school is covered by a tin roof to protect from the almost constant cover of rain. The assault of raindrops rattles in my ears, the perfume of it heavy in the wet air. I can even smell the tinny whisper of the railings if I focus hard enough. The shadows from the headlights stretch and claw at everything behind him, but when I close my eyes to block it out, I think he mistakes this for a permission.
 
 
Almost a year passes between us. At the old theatre, we see movies as an excuse to make out and whisper adorations to one another. I squeak and moan as he kisses my neck, making the entire audience squirm with discomfort. In the everchanging shadows of the theatre, we are mostly symbiotic. In the dark, I let myself fall into it the way I think I’m supposed to. 

It’s here that, after months of alluding and implying, I tell him that I love him. I have avoided it for so long, spurring on a narrative of being too afraid to say the exact words. I don’t know when I decide that I can’t draw it out any longer. In a way, it feels like a mercy, despite being the cruellest lie I could spin. Outside of the movie theatre, I am robotic and cold with him. I drive him to desperate frustration and then dare him to break up with me (a sort of pleading). He never does. I am so far removed from him, yet am drawn to sinking my roots even deeper, clinging on to a half-dead thing. I am skin over bones with a gnawingly sweet disposition. I have run out of superficial ways to keep him enamoured with me. 

And so, in the dank concave cavern of the decrepit movie theatre, I finally say the words, so ridiculously long after he first gave his heart to me. I do this because, after so long, I am certain that it should be true. I am also almost certain that it is not. 
 
 
“Do you want to break up?” His voice shakes, quiet in the forest. 

I have been trying to say it for half an hour, opening and closing my mouth like a jittery fish as I avoid his eyes. I couldn’t even do this without his undercurrent of support. I stare at the roots gnarled, twisting out of and back into the dirt. I toy with a stick, some grass, anything to keep my hands busy. I’ve been wanting this for a long time, frightened of the tired familiarity of our relationship. I am repulsed by any hint of my soft underbelly. He met my mother recently, and that hot brand of shame that pressed into me made me sure that we had reached our end. 

I nod, unable to form words. We stay silent for a long time, and I can feel him concave but say nothing. He walks me home, and when we go to part ways, I awkwardly jut out my hand for him to shake. He stares at it for a moment, then smiles affectionately, the skin around his eyes crinkling in a way only meant for me. His eyes are so sleepily sad, like he’s waiting to wake up from a horrible dream. I cannot tell if I’m the horrible dream or me leaving him is the horrible dream. 

The grief knots itself into my body until I am a fabric of it. It does not feel the way I want it to feel, the way I expected it to feel. Something gluey and saccharine emerges from the cracks, something that instils me with fear. Early the next morning, I call him, feeling hysteric. I don’t understand why I’m doing this. It’s not fair to him. I do it anyway.

He picks up on the second ring. 

“Hey,” he says, soft. 

“Hey.” I reply, struggling to find the words. After a long time, I ask, “How are you?”

 He laughs, once. “Um,” 

“Sorry, I mean,” I inhale, shake my head. “Are you going to school today?”

“Yeah,” he says, still soft, “Are you?”

“Yeah.”

I sit on this for a moment. I truly had expected him to skip after yesterday. A small part of me bristles at this; have I not broken him completely? Do I not have the power to do even that? I try to push this thought away.

When I tell him that I think we should just go on a break, he is relieved. I tell him that I need space. That I need to work on myself to be better for him. That I haven’t been good, and I want to be better. It’s usually quite easy to convince him, so that’s not too impressive. The impressive part is that I manage to convince myself. 
 
 
I have always been frigid and avoidant of intimacy, and sexual intimacy is no exception to that. I’ve been clear about this with him, and he’s never pushed me, but there is a quiet yearnful tug from him. It grates on me. Once, he asks if he can move my bra strap while kissing my shoulder and I become detached and cold, pulling away from him completely. The thought of sex is a daunting and ever-present fear I try desperately to avoid. 

At this point, I aware that there is something wrong with me, but I cannot comprehend what it is. I find the world’s obsession with sex grotesque and distorted. I cannot look directly into the face of it, I am constantly averting my eyes. At this point, I have been assaulted many times, but will not remember for several years to come. I am terrified of my own ever-changing body. Thus, I am repulsed by him trying to love it. 

When he asks why I wanted to break up with him, I tell him that I wanted to kill myself, but didn’t want him to feel guilty about it. This is both true and untrue. He tries to hold me, panicked at the possibility of losing me, grappling at the second chance, but it doesn’t reach me. I have felt so alien for so long, so far removed from everyone else. I am worried about this, so I lean into him, trying to be more upset than I feel. It’s like I am calcified, cut off from the whole world, lost in a tomb of myself. 
 
 
I do not understand how he can love me like I do not understand how my father ever loved my mother. My poor mother. Her screaming furies and cold indifference. Her cheekbones. Her pestering phone calls and threatening affection. To me, he is something of a gross experiment and I am dismayed by the outcome. If he can still want me after all I’ve done to him, I can still want my mother. 
 
 
I break up with him again, over text, one month before I turn sixteen. I am terrified that once I am the age of consent, he will expect me to have sex with him. It is callous and cruel and easy because I know that if I wait to do it in person, I will be too much of a coward. Again. 

The new school year is bitter. It is clear he still loves me and is furious about it. He glares at me, and I glare at him. We spit acid at one another, with me petrified that he will make me look weak or vulnerable, and him inconsolably heartbroken. We are the picture of a young love gone sour, the two people who are not put in a room together. In classes, he is sullen and resentful. He flirts with my friends to get my attention and I look at him like he is an ugly wound that won’t close. We are not fair to each other. 

In these years after, he breaks his leg and drops out of school midway through our final year. I starve myself and attempt suicide half a dozen times. My body is stubborn and refuses to let go. On his last day, the class asks me to write the farewell card because I have nice handwriting. I wonder if he notices.

In the narrowing months wherein we still inhabit the same small-town-planet, there is a moment of indignation in which I harshly admit to a girl in my class that I never loved him (I did have love for him, I’m sure. I hated so much of him but loved the feeling of being so blindly adored. I had cared for him deeply, I think; a regretful and pitying fondness). At a party I’m not invited to, she gets drunk and this secret spills over into the textile of the student body, drenching him in renewed despair and humiliation. It is only now that I begin to feel sorry for him, for what I’ve done. After I have delivered this final, gut-wrenching blow to a boy who made the mistake of falling for me, I see myself for the snarling animal I’ve always been. So frightened of losing control that I will create the illusion of it wherever possible. When I see an old photograph of us together, I realise that I’ve grown to look a lot like my mother. 

Monique Nair

November 2, 2023 / mascara / 0 Comments

Monique Nair is a Melbourne/Naarm based writer of Indian-Italian-Polish heritage. She is a screenwriter for My Melbourne, an upcoming anthology film produced by Mind Blowing Films and supported by VicScreen and Screen Australia. She is the co-editor of Mascara Literary Review’s debut anthology, Resilience (2022), published with Ultimo Press. She is an alumni of the West Writers program with Footscray Community Arts and her writing has been published in Kill Your Darlings, Voiceworks, Peril and The Indian Weekly. She has performed or presented at Emerging Writers’ Festival and National Young Writers’ Festival.

Photograph: Gianna Rizzo
 
 
To the Languages

To the languages that died crossing the sea and I never inherited: Malayalam, Hindi, a northern Italian dialect and Polish. I miss you. I long for you.  I mourn your loss – as if languages can get lost and die in the gap between parent and child. But in reality, you were never really mine.

Were you? It’s not like I ever fluently held you on my tongue or you were intentionally passed down like a family heirloom or a birthright. But you always felt so near – a familiarity unparalleled to other foreign languages.

So then perhaps you didn’t really die crossing the sea; you survived the journey, the aftermath, but not the endurance to the next generation. As if the seas made you sterile – unable to breed yourself into existence for the next generations to come.

I was born into a colonial English-speaking country, on unceded land holding so many languages itself, some faded, some on the edges of survival, some revitalizing, some thriving. Born to an English-speaking mother, who sometimes speaks English in a kind of Italian rhythm but carries the death of Italian and Polish forever at the tip of her tongue from migrant parents who spoke to each other in their languages but only English to their children. And to my father whose tongue twists in multiple Indian languages but speaks a polished brand of colonial English – a result of his English medium Mumbai schooling: a remnant of colonial days and the illusion of Western supremacy.

So, it was only English he passed on. Unrealised mother tongues faded to ‘unnecessary’ and too hard to teach and maintain amongst pervasive English and without community.

But, I love English too – it’s the only language I truly inhabit and express through, yet it doesn’t always feel like enough.

When we are born, we have all the languages in the world. Our ears have the capacity to distinguish every sound in every human language, but depending on our surroundings our range reduces and we are conditioned not to notice the subtle differences between consonants that don’t exist in English but are integral in Hindi. In that way, not feeding children a language takes away from their born ability.

But I can’t resent my parents, my grandparents – there are forces beyond them, validity to their choices, and I always have my own agency to learn a language myself.

I was still offered languages – washed over by Hindi in a childhood dancing and singing to Bollywood songs, learned to say ‘hot water’ and ‘cold water’, count and muster greetings in Hindi and recite Sanskrit prayers. My tongue’s muscle memory will always find the Gayatri mantra, although I could never tell you what each word means unless I pull up a definition I found on a WhatsApp forward image.

As a teenager I cultivated an affinity for Italian to roll off my tongue in songs when I found Jazz and my grandfather’s Dean Martin records and CDs and tried to learn all the words to ‘Volare’ and ‘That’s Amore’. Jazz ebbs and flows in syncopated currents, sprawling and shifting between languages – English and Italian – and I was teeming with pride that many of the 1950s/60s jazz greats were Italian and I had one quarter belonging to that diaspora.

Or, perhaps no claim at all with only one to ten in Italian and a handful of greetings and nouns. My teenage bedroom singing: a hollow illusion in tumbling tongue rolls and wavy vowels.

(And, I’m not even sure I would recognise Polish if I heard it)

Yet still, there are Hindi songs I can recall – the instrumentals start and the forthcoming words emerge in the corners of my mind, intangible to my tongue, in inarticulate knowing. Sometimes my tongue can stumble through them, embodied memory, but unknown meaning. And at times I hear conversation and I understand words I forgot I knew but would be forever terrified to say aloud and mispronounce. It’s all disparate fragments that can never amount to the full existence of language – never fully carried on these rhythms, just transiently suspended in fleeting waves of sound.

To the languages that crossed the sea – perhaps you did survive, and you’re still here with me. Except, it’s a subdued existence on the peripheries.