Šime Knežević was born in 1985 and lives in Sydney. His debut poetry chapbook, The Hostage, was published by Subbed In. His poetry has appeared in Ambit (UK), Australian Poetry Journal, Cordite Poetry Review, Going Down Swinging, Magma (UK), SAND (Germany), Signal House Edition, The Stockholm Review of Literature, and elsewhere.
Šime was a recipient of the Subbed In Chapbook Prize, an Australia Council grant, and shortlisted for the Philip Parsons Playwright Award. He studied playwriting at the NIDA Playwrights Studio, completed a Master of Arts in creative writing at the University of Technology Sydney, and in 2019 attended the Seamus Heaney Centre for Poetry Summer School in Belfast.
I hear a helicopter. I hear the motor, the rotating hum, of a helicopter, a helicopter motoring across the sky. I am alone on a white rug and I hear a helicopter. I am alone on a white rug in the quiet room. The helicopter is outside, motoring across the sky. I am alone on a white rug, orienting myself toward a blue sky I say, inside orienting myself toward a blue sky, a blue sky I say. Outside a helicopter motors yet I hear it from inside the quiet room. I am alone on a white rug in the quiet room orienting myself toward the phrase blue sky. I try to orient myself toward the phrase blue sky. I say blue sky. I say blue sky to try to orient myself toward the phrase as I say it. I am orienting myself toward the phrase blue sky with the high-hope it being said out-loud will somehow provoke something soothing inside me. In the quite room on the white rug I hear a helicopter in the distance, flying away. I hear how feint the helicopter’s motor has grown. No, I hear how feint the helicopter’s motor has diminished. No, wait. I orient myself toward the phrase blue sky with the high hope it will provoke a soothing reaction, even provoke a memory of a sky the colour blue. I am alone. I am alone on a white rug in the quiet room. The door is closed. I face the white-wall of the quiet room. On the white rug. The helicopter has since flown. I no longer hear the helicopter. I say ‘helicopter’. I say ‘helicopter’. No, I no longer hear the helicopter. Of a sky the colour blue, I say the phrase ‘blue-sky’, I orient myself toward the phrase. I want to connect to this phrase. I am alone on a white rug in the quiet room. Say blue sky. I say blue sky on the white rug in the quiet room. The phrase calms me, it must. Say blue sky. I say it twice. I say it to make it a hymn. Blue sky. Blue sky. On the white rug, I am alone in the quiet room. The door is closed and I face the white-wall. There must be breathing. Why am I not breathing? I breathe. I breathe and orient myself toward the blue sky I say on a white rug to the white-wall. I make it a hymn. Lean toward the phrase. Say it. To my surprise, it’s impossible to visualise a blue skyin my mind. Even though I say those words clearly, as clear as a whole blue sky, I can’t seem to visualise a blue sky. Is there something wrong with me? What exactly did a blue sky look like on its own? In my mind, I could see clouds of different shapes. Suddenly a moon. Some unidentifiable flying birds. I hear piano music, as if played from a Casio keyboard. None of these drew me closer to visualise a blue sky in my mind. There it is. A background element. Is there something wrong with me? It seemed, to my mind, to visualise a blue sky without clouds or moon or birds or piano music, proved impossible. Yes, inaccessible. Just like the whole blue sky itself, it eluded me, I feel unclear. I can’t seem to visualise one thing without another thing. I can’t seem to visualise a blue sky without piano music. One thing must be paired to another thing. Birds must fly in the foreground and the blue sky must be somewhere in the background. On the white rug I face the white-wall, I inhale and exhale. To re-orient myself to the present moment. Yes, to re-orient myself. This is why I’m here. Why am I here in the quiet room? To orient myself, to re-orient myself. I am alone in the quiet room. Why am I here alone in the quiet room? I inhale and exhale, unable to visualise a simple blue sky, orienting, re-orienting myself on the white rug in the quiet room. I got myself to the quiet room to breathe, to understand breathing. To visualise a blue sky and I struggled to do so. I got myself, to gather myself. And its sudden burst into splinters, I gathered myself and I got myself to the quiet room. This is why I’m here.
JZ Ting is an Asian-Australian geek, lawyer, and writer. She has lived on four continents but stays for Sydney’s beaches where she pretends to be a mermaid. Her fiction has appeared in Pencilled In literary magazine and been performed at Subbed In events, and she tweets online @ting_jz.
Grandma dies in the best way possible: peacefully, in her garden chair, under sunny Sydney skies. She fell asleep, the nurses say, first to my father who arrives from work, then my mother, then me. She fell asleep and didn’t wake up. The best way to go.
They don’t tell us that she was alone, but we know anyway. She was alone each time we visited, a tiny, white-haired Malaysian-Chinese lady with broken English surrounded by white-haired, white Australians who drink English with their breakfast teas. The landscapes are English too, all roses and neatly trimmed hedges politely perplexed by the papaya my father planted, a poor substitute for the majestic rambutans Grandma left behind. The retirement village website trumpeted gardening as a resident perk. It didn’t mention multicultural staff.
She died in her sleep, my parents say, reaching across oceans to aunts and uncles, cousins and classmates, Grandma’s friends from church. They spin the message into Mandarin and Foochow like silver into gold I cannot touch, though my parents spill enough of it in fights. The coins I scavenged were never enough to spend with Grandma, so instead I bartered: smiles, school marks, my stomach for the fruits and soups she prepared just for me. A few hours every month to pay off my guilt. The funeral will be in Sydney. We hope you can make it, but understand if it’s too far.
Planes converge while Grandma waits in a local morgue. To me her loss is soft and nebulous, an abstraction I try to map out in Sydney streets. They send me home where arguments are silenced, bankrupted by my father’s grief, while my mother rations out affection in rice and steaming bak kuh teh. She tells me how when her grandfather died, the entire family ate fresh durians beside his open coffin which took pride of place in the living room for the village to pay respects. That night, I dream of Grandma’s ghost lost alone in the dark.
Thank you for coming, we say to people filing past. It’s sad but not unexpected, and she was cared for to the end.
Grandma lies beneath a bouquet of banksias and winter skies. The small congregation sings in English and Mandarin as photos flash, and only now do I begin to know her: family portraits, a bride to the grandfather I never met, a church group sweating in the tropic heat. There’s a photo of her posing with my father, startlingly young, in a tiny Malaysian airport, and another holding infant me. One black-and-white picture of a tall young woman in a floral qipao, her smile proud and bright, hands full of furry rambutans plucked from her trees.
Did she know? When she gave her son a one-way ticket and suitcase of books, did she realise what she was sacrificing? Would it have been kinder for my father to leave her in her village, alone but at home, with family reunions once a year? What is it like to migrate when you’re so old, and die in a foreign land?
I don’t know. I couldn’t afford to ask.
Grandma dies and we say farewell. I hold my father’s shaking hand telling myself that Sydney’s earth is as dark as Malaysia’s earth, that the one sun shines on both, and rain falls all the same. Yet the wind that blows between us is cold, scented with eucalypts fresh as a wound, and sour like regret.
Xiaoshuai Gou was born and raised in China. He has been working as a teacher of English and Mandarin as a second language and is currently pursuing a Bachelor of Arts at the University of South Australia.
The cup itself wouldn’t amount to much significance to any stranger: crude ceramic, plain design, with a kid happily pursuing dragonflies under the summer sun. It was randomly picked up at a reject shop by the pregnant mother. The joy flowing on the kid’s face perhaps had something to do with it.
A skinny boy was born at the end of March. It was the first time the pregnant mother became a real mother, and many things had to be learned from the start and properly handled. The difficulty caused by the absence of a father was aggravated by the fact that the new mother soon turned out to be milkless. All manner of baby formulas were then brought to her, from various countries, and via the hands of all kinds of people. The cup was useful for the first time, and the mother diligently washed it after each time the formula was fed to her baby.
Two months later, the content of the cup began to change. At first, formulas were still the staple of it, with occasional pills crushed into them to add extra nutrients for the proper growth of the newborn. Then things changed to almost the complete opposite. Pill powders of all brands and colors started to take hold of the cup, while non-stop coughs of the baby boy rendered the formula feeding increasingly pointless. With the same diligence, and with growing amounts of quiet tears, the mother continued to wash the cup. But a stubborn dark stain was still irreversibly engraved into its interior wall of once milky smoothness.
Then came the summer. The coughing finally subjected the infant boy to the 24/7 protection of the hospital ICU and the vigilance of its nurses. Pills stopped being crushed. Full tins of formula were stashed away without the prospect of ever being opened again in the future. Suddenly all things ceased to be of any meaning. The mother’s distress grew more and more visible every time she watched her baby son through the ICU windows, until eventually she was declared as suffering from severe postnatal depression, and was subsequently hospitalised in the same hospital as that of her infant son. The cup washing was abandoned.
The next summer differed from those preceding it with its excessive rainfall. This posed a serious problem for the old grandma who had a flower garden at her back yard. For the bulk of the summer, she had to juggle constantly between visiting the hospital where her depressed daughter was showing clear signs of recovery, and salvaging the small garden frequently in danger of being washed away by the heavy rain. Luckily her efforts paid off in the end. Both her daughter and the garden survived the rainfall spell at the end of summer. And as did her late grandson’s tiny grave at the north corner of the garden, with a solitary ceramic cup placed in front and mounted with dirt and rain water.
Wanling Liu (born 1989, China) completed her MA in Translation and Transcultural Communication at the University of Adelaide. She is a literary translator and teaches translating and interpreting in Adelaide. She has developed a passion for performance poetry and storytelling events and has won spoken word prizes with her poetry published in local anthologies.
It was nine o’clock at night. I was five and feeling bored at home, scribbling away with colourful pencils in my colouring book. There were never enough colours to choose from. I yelled out to Mum that I wanted to go to Mrs. Han’s to play with Huahua.
Mum glanced at the clock on the wall, “It’s already nine, and you still want to go out? And I don’t know the way to Mrs. Han’s.”
“I know the way! I know how to get there. I know how to get to Mrs. Han’s! You can come with me!” I persisted.
Mum sighed, “Fine, if you must go, let’s go.”
We took the No. 9 bus and after a few stops, I could see that we were almost on Zhongshan Road. “There, there, next stop is Triangle Garden!” I started yelling, “Triangle Garden is where Mrs. Han lives!”
Mum and I got off the bus and walked through the garden paths and a few dim-lit alleys until we reached Unit Block 3. “I remember she’s on Level 3, 303.” I said. Mum and I walked up the stairwell in darkness as the light was not working. When we reached level 3, I couldn’t wait to knock on the door.
The light from the gap between the door and the floor flickered. Someone was coming to get the door. The inner wooden door opened, glaring white light leaking out from inside. Mrs. Han appeared, with only her silhouette visible against the dazzling light. I dashed forward and banged on the door, “Mrs. Han, I am here to visit! Is Huahua home?”
Mrs. Han opened the door fully, and unlocked the screen door from inside. She smiled at me and didn’t seem very surprised. She called out, “Huahua, Dandan is here to visit you.” Mum nodded and smiled apologetically. Mrs. Han, still smiling, said “Hello.”
We walked into the living room. I sat right next to Huahua. On TV a group of kids were singing my favourite tune, “Not as sweet as flowers, not as tall as trees, I’m just a little blade of grass that no one ever sees….” We sat in front of the TV and watched attentively. Mum sat down, and Mrs. Han was busy making tea for us.
Half an hour had passed; I started to feel tired and bored. The songs started to grate on my ears. Mum and Mrs. Han were chatting away. My eyes started to wander: The fluorescent light was still dazzling, but everything in front of me seemed a bit dull.
Huahua offered to show me her picture collection, but realized there were a few pages missing. We started searching in drawers and chests. As we were looking for the missing ones, I noticed a yellow wooden door beside me with a silver door knob on it.
The doorknob lured me. The temptation was simply too great. I put my hand on the door knob and it turned effortlessly. Realizing I could open the door, I walked in. I could see a giant bed, with its edge high up and with a white sheet and a white quilt spread over it. Someone was lying under the quilt.
“Who is that?” I turned to Huahua, whispering, with my eyes still fixated on the person. Suddenly the black hair looked somewhat familiar. I hollered, “Daddy! What is Daddy doing here?” Huahua was silent. Mrs. Han did not utter a sound. My mum did not utter a sound.
After a few seconds, the head turned toward me, looking a bit purplish red, and with squinting eyes on it. The person mumbled, “I’ve drunk a little, I need rest.” Something felt wrong to me. I closed the door, went back to the living room, sat back on the lounge, and did not dare to speak.
Huahua, Mrs. Han, Mum and I just sat in the living room and watched TV for another half an hour. What was on TV did not make sense to me anymore. I felt like I had done something wrong, but I couldn’t figure out what.
Dad came out with his coat later and said, “Let’s go home.” I could not understand how the night got spoiled like this, and I was not ready to put up with this. I quietly whimpered, “I want to play with Huahua a bit longer”. Mum answered, “Then you stay and play with Huahua. I am going home. Your father can take you.”
Dad said, “It’s late, let’s go home.” On the way back, I felt sleepy and upset. No one spoke a word on the way back. Their faces showed no expression.
I thought Mum would be furious. I thought Mum would teach Dad a lesson. I waited in silence in my bedroom, with my ear to the wall.
After a long while, all that could be heard was the faintest, almost inaudible sound of weeping.
HC Hsu is author of the short story collection Love Is Sweeter (Lethe) and essay collection Middle of the Night (Deerbrook), which has been nominated for the Housatonic Award, CALA Award and Asian/Pacific American Award for Literature. Memoir competition winner and The Best American Essays nominee, he has written for Pif, Big Bridge, Iodine, nthposition, 100 Word Story, China Daily News, Epoch Times, Words Without Borders, and many others. He has served as interpreter for the US Congressional-Executive Commission on China, and his translation of 2010 Nobel Peace Prize laureate Liu Xiaobo’s biography Steel Gate to Freedom was published by Rowman & Littlefield in 2015.
When she arrived, he was already sitting at the table.
‘Sorry,’ she said. ‘I got held up at work.’
‘That’s all right,’ he said, and smiled. It was their usual table, and on it her favorite wine had already been poured, the candle lit, and everything was so familiar and wonderful.
He handed her his napkin, smiling.
She noticed her hair dripping water onto the table, making small wet spots on the white tablecloth.
She took the napkin and patted her hair with it. The waitress already arrived with another napkin.
‘That’s all right.’
He looked gently and lovingly into her eyes. He was always so considerate and forgiving.
She excused herself to go to the restroom. The waitress cast her a glance.
She checked herself in front of the mirror.
Did he know? All of a sudden she became scared.
How could he not know? The constant lateness, the flimsy excuses, the hair still wet from a shower…everything was just as she had planned.
She thought about coming clean, but she had done that already before. He said he appreciated her even more for her honesty, and that he should work to try to rekindle the romance between them, and so they began having weekly dates. How could she leave someone so considerate and forgiving?
She walked back to the table. Her wine was still sitting there, the candle still soft-lit, and he, still smiling.
She took a sip of the wine; for some reason the astringency made her wince this time, as if she were enduring some kind of punishment.
‘I took the liberty of ordering for you this time,’ he said, his smile overflowing exuberantly from his eyes. ‘I hope you don’t mind.’
She began to suspect his motive.
Brianna Bullen is a Deakin University PhD student writing a creative thesis on memory in science fiction. She has had work published in journals including LiNQ, Aurealis, Verandah, Voiceworks, and Buzzcuts. She won the 2017 Apollo Bay short story competition and placed second in the 2017 Newcastle Short Story competition.
The Last Giant Panda
Every morning, the worker put on her panda suit to work with the cubs. They did not want human intervention, and yet they asked this of her. The cubs needed to be taught how to be pandas. Every night, she would clock off work at six and shed herself, before getting into a different suit. Her panda body would be a corpse on the floor, before it was strung up on a coat hanger and put away for the next day. Her large head would sit on the upper shelves, staring down at her with large felt eyes, which obscured how small the eye holes and field of vision actually were.
She had the job for two years when talks began for automation; a robot panda would not bare the scent of humans, and would not make them reliant on human contact. She argued a robot would deprive them of spontaneity, the ability to respond to their personalities and play, and would not give them the genuine love and experience that came with touching another living biological organism. There was connection there a machine could not emulate, as much as they would be able to model the appropriate moves and be . The zoo found her list ‘ridiculous, and frankly anthropomorphizing.’
The only problem they foresaw was cost: it was a large immediate investment for long-term gain. Her wages were much less in the short-term. They made a metal bear, and tried it out. It had patches of fur crudely glued on. The cubs ran away as the noise of moving gears was too loud for them. Her co-worker joked they some people ran from cars and construction machines when they were first introduced. It would take time.
The engineers worked to decrease the sound and artificial movements of the machine. They observed footage of pandas moving, coding their rolling lumber into circuitry. Advanced artificial intelligence was programmed in, enabling them to respond to the environment and actions of the cubs to an individual degree. They claimed by the end, none of them could tell the difference between beast and machine. Some even spoke of ending the breeding program all together; it was a waste of time and resources. Pandas could be replaced by machines, and the public would not know the difference.
She told them they were not watching the pandas closely enough.
They decommissioned the program shortly after the zoo’s management overheard these plans. The head engineer was later found hanging in her apartment. These events may or may not have been related.
She got her job back, and her suit.
She saw the bi-color babies through her limited lens. Inside this body, they were her own. She let them crawl on her chest, their heavy fat and muscle compressing down, but she did not complain. They chewed on her fake face. Bat with claws. She’d push them over when they got too rough, and sometimes just for fun, and watch them roll over like giant pom-poms. They were as serene as little Buddha, with tragic black eyes. In their simulated natural environment, bamboo shot up in stratified straight lines. Plush green glass took up all the color of her city, the panda’s black and white making her feel peppermint-flavored peace. She had raised six before the automaton, watched them grow up into sulkier teens, their eye markings taking on the brand of teenage Gothic rebellion. Then she’d get reassigned when they no longer needed her. Her latest two were already starting to grow, nearly matching her sixty kilograms. She was grateful for their remaining time. With any luck, they would not be the last pandas. Her supervisors, however, thought there was something changed about them. Something wrong. They were more curious and adventurous than they should have been. In the wild, this would have been a problem. Thankfully, they were safe inside their glass, little living biology specimens.
The last panda in the wild died on a Saturday. She continued with her work until the Thursday, but something integral and unnamable had been lost. She resigned the following Monday, citing irreconcilable differences with the world.
Three days later, her first cub was introduced to the breeding program. Given a diet of bamboo shoots and panda porn, the zoo was hopeful for success.
Michael Adams is a writer and academic living near Wollongong. His work has been published in Meanjin, The Guardian, and Australian Book Review, as well as numerous academic journals and book chapters. His essay on freediving, loss and mortality, ‘Salt Blood’ won the 2017 Calibre Essay Prize.
He has driven down in tears in the car from the conversations with the psychologist, and the way they run the retreat lays bare his emotions even more (a woman he doesn’t know next to him on the mats is also sobbing). By Sunday first thing he is a mess, and after the early morning meditation session feels shaky and vulnerable. He cannot bear to be with other people, so walks across fields to the river. It has been raining for days, everything is sodden, green, muddy.
But the river is a vision: huge, swollen, patterned, powerfully moving, the great sweep of current surging down. It has swelled over the banks, completely fills the low valley. The sky is unbroken white, rain is hammering down, a percussion of sound – water on leaves, on wood, on mud, on water. The river itself makes no sound, the enormous powerful surge of current totally silent. It is a great block of muted colour with a mobile, patterned, articulated surface.
A bird flies heavily away from low branches, dark in the clouded morning. There is no one here. He strips on the flooded ledge, piles his clothes in the wet fork of a tree, steps naked into the water. The air is warm and humid, the rain cold on his shoulders, his feet grip the sliding mud. He takes another step and dives, swims hard into the middle of the river, strokes strong and precise. The river is cold but he feels encased in his warm body, the cold just flowing over his skin, not reaching his core. When he pauses to orient, the far bank looks like the Amazon, a dense wall of wet green forest coming down to the water’s edge.
In the middle of the swollen current he feels good, his body reliable. The joy and wild beauty of the swim have recalibrated him. The current is pushing fast and he turns upstream to gain some distance. Eyes open, the light glows through brown silty water, eyes closed he is back inside his warm body. Swimming hard and gracefully, there is a sudden massive shock – a split second of realisation, the broken tree trunk swirls past, blood in his eyes, blood in the brown water. He feels his slackening body roll in the dark flood.
Cecily Niumeitolu is a PhD candidate researching Beckett’s archives at present. She has had three excursions in Philament, her writing has appeared in Voiceworks, Eclectica, Australian Reader, and she received the Henry Lawson Prize for Prose.
The Red Bucket
Hatching, in a red bucket, all the silence.
At the front of a California bungalow the bucket sat. The bucket was plastic and red. Accounting for the lawn, the lawn is concrete, beaten from within, its decay is visible in the cracks, symptomatic of its weakening aggregates. Beaten from without, fifty years fade white to grey. This could only be aggravated by the position of the house at the bottom of a slope. There is scant irrigation, due to the concrete, due to the brick, so debris has nowhere to go but stain.
The old man built the concrete lawn when his hands were young and tough with muscle. Steel reinforcement, gravel, cement, water. What beauty in the process, a form invisible until the mixing, stirring, pouring, folding the cream, letting it set, slapping his kids over the head when they tried to jump into it, meddle about with their curious paws. He paved a paradise. In the afternoon he would sit with his wife on the front porch and they would watch their children play in his paradise, his concrete paradise. The woman, the wife, approved. She was also Greek. They became an item, the man requested this item sending letters, many letters, to relatives back in Athens, she was a distant cousin, she came by boat and he collected her at the wharf. They went to church for union.
Then the babies came, four, including the loss. The man had his back to the pram getting the boys out of the station wagon. Gravity rode the pram down the slope of road. The car had nowhere to go but forward. The woman, the wife, lost her drive. When he touched her she saw her daughter’s hands.
His boys rarely visited. He didn’t hold it against them. He had constant arthritic trouble in the back, upper, middle, lower. Pain was full-time, scant time between finding ways to position one’s behind and opening cans of dolmades to think of such lapses.
Should have had another daughter. Sons would leave you. So would a wife. It was his own cross. He woke up, and his wife had turned stone. He prodded hard, prodded her right in the middle of the back. Said her name. He loved to watch her pendulous breasts when she had her way with a broom. She made dinner every night at six so they could sit and stare into space in quiet abandon.
The mattress keeps her body’s inlay, a white cave sleeping beside him. Now it was as if he had constantly forgotten something — he would return to a room only to leave again knowing. At times he was too reckless with her. He knew that. Her heart had grown stone of him and then in time, it weakened, then out of habit a kind of garden. Perhaps, now, a paradise in his absence.
The lawn’s entrance swells with succulents, some jutting, some hanging, some snapping atop two white necks of cement cast Corinthian columns. Medusas guarding their yard of stone. The woman tended the succulents as a way to travel to Athens. Now, ten years on there are skeleton weeds that revel in the cracked lawn. The old man cannot bend to tend the concrete. He can give a hand job to her medusas. Their heads at pelvic level. He often forgets, scares him, this. As if she were a different life, husband.
Six months, and the man does not know how the red bucket got there. It was there one day, had been there. It sat on his lawn, plastic and red.
He thinks of the red bucket.
It can take the man five minutes to walk ten metres but with a third leg, a cane donned Constantin, mobility is less vulgar. He tries to think where he went wrong. They are Greek kids, he should live with them, they should visit, that is how it should be. Then his spine delivers a hit to his parietal lobe, and he is back again, back in the present. It was as if it was another life, father.
When it is still dark and the birds crook in song, so the walk begins to morning prayer three blocks south. And then he walks homeward, slow and hooked with the Greek newspaper in one hand, Constantin in the other. In the afternoon he will unfold his homeland, flipping in the Morris chair that forever sentinels the porch, overlooking the concrete lawn. The bucket sat, plastic and red.
There is less certainty, he feels.
It was a member of the Greek congregation that notified the eldest son, telling him the silence was warning. The son found his old man in a room packed as if someone was moving house, wearing a stiff grin that said no and meant yes on the far end of a lumpy double bed. He had starved himself over a period of two or so weeks, the doc said to the son it was will power to cast one’s life that way.
The bedroom remained a high pitch dart of screams, it was, to the son’s great annoyance, mozzies suckling to make room for their young. Nobody understood why the bucket was beside the bed, and the sons could not say what the significance of the red bucket was. It just sat beside the bed, plastic and red.
Maris Depers is a Psychologist from Wollongong, NSW. His poetry and short stories have appeared in Kindling III and One Page Literary Magazine.
“Look at that crack!” my wife says with surprise, pointing at a jagged line where the wall once met the cornice.
“Yeah, I know,” I mutter and then, in an exasperated tone I hope she doesn’t pick up, add that it’s been there for months.
I just couldn’t help myself.
At the moment I’m trying. I’m trying in the way my father always told me I can be, so I’m trying to keep my mouth shut at times like this. I’m also trying to understand how she hasn’t noticed the yawning cracks that are appearing everywhere of late. But mostly I’m just trying to keep things together.
Anyone who has dealt with subsidence knows that once those cracks appear the uncertainty and sleepless nights start. And once the process starts its progress is difficult to stop.
I look up at the crack resembling a tear through the crisp white paint we chose five years ago wondering if it was always under there and we just overlooked it when we rubbed the walls back, excited to be in our own home. Whether it had been hiding deep in the walls all along, waiting with the patience of cancer.
“I just don’t come in here that often,” she says, a new found concern painted across her expression.
“It’s because it’s been so dry,” I attempt to explain “Everything’s shifting and moving. It might close up again if it rains”
But who knows when that might be? It’s getting harder and harder to predict the weather these days. Some fragile balance seems to be tipping and nothing seems the same as it was before. Summers are longer, winters drier and the bad storms are more frequent and damaging than ever.
“Is our house falling down?” she asks slowly, her tone moving from concern to fear, causing me to look up from the washing pile.
“I don’t know,” I answer genuinely, “I don’t know”.
Roland Leach has three collections of poetry, the latest My Father’s Pigs published by Picaro Press. He is the proprietor of Sunline Press, which has published nineteen collections of poetry by Australian poets. His latest venture is Cuttlefish, a new magazine that includes art, poetry, flash fiction and short fiction.
On the Roof
The three sons are on the roof mending the ridge-caps, mortaring the cracks, cleaning the gutters. It is a mother’s day gift. They would like to say it is an act of love long overdue, but they want her to sell.
I have never really noticed the garden till I am on the roof. My mother has a bird bath, a little bird-house for them to rest. It hangs from a hook in the tree like a square uterus, its dark whale eye staring around the yard. She tells me the doves live in the sheoak, she comes out at dawn and feeds them. There are magpies that walk up the backsteps, crows whose whoosh of wings she hears from the kitchen, the occasional kookaburra and lorikeet, where would she go if she couldn’t feed the birds?
On the roof I stare into the jacaranda and see her life of busying herself: years cooking pots of soup or roast dinners, even the shank broths made for her dogs, are no longer needed. It must be lonely at night, till she hears the birds crazy with morning.
We all agree she is getting worse with age, She is half-mad and stubborn. She had been good with small children and animals, things that were helpless and loyal, but now all the grandchildren have grown up, her dogs died years ago and are buried side by side in the backyard. There is nothing left but these stupid birds.
From the roof I look across the hibiscus, the morning glory engulfing the fence, I hear the birds in the old jarrah tree, the doves are speckled along the ground, my mother must have just fed them.
Perhaps the roof will hold, I tell my brothers, as I fill in the cracks, rip out the loose concrete and tuck the mortar, using my fingers for the first time, at last ready to dirty my hands.