Brenda Saunders reviews Yimbama by Ken Canning


by Ken Canning

Vagabond Press

ISBN 978-1-922181-43-5


The poetry in this collection covers the full range of social and cultural conditions facing Aboriginal people today. Burraga Gutya writes of imprisonment, mental illness, domestic violence, dislocation and the injustice due to racism or ignorance. On the back cover notes to this collection, the poet explains that “some of the poems reflect my feelings of political treachery, oppression and the mental state this leaves.”… “It is important to note that while I am writing my own experiences, I am [also] writing about the First Nations People’s survival against some horrific experiences”.

These “experiences” were also the driving force behind the work of well-known Aboriginal poets from the past such as Jack Davis, Kevin Gilbert and Oodgeroo Noonuccal. From time to time racism still rears its head in Australian sport, politics and public debate. This is the theme of many poems in this collection such as ‘Name Game’ the first poem. Here the poet sees racism and discrimination all around him.

You call me racist names
You call me not quite right
You call me law breaker
You call me a social disturbance
You call me a low form of life
… (9)

Repetition of word and line is used for emphasis and dramatic effect. As a political activist Canning employs the chanting style reminiscent of a street march. And again in ‘Visibility Zero’, the cry is for equality and recognition.

George street
Any big street
any big town.’

I am invisible
the visible invisible
I am black
… (10)

In these poems, anger and defiance lie close to the surface. The voice is powerful and defiant, the style punchy and direct, with the immediacy of a ‘rap’ performance, a style now popular with Indigenous writers. Throughout this collection the line breaks are uneven, the lines short.

Gutya employs rhyme and half rhyme to great effect in many of these poems, for example in ‘Black Diggers’ he demands recognition and ‘visibility’ for Aboriginal ex-servicemen.

the strong Black Diggers
stood tall and proud
and gave honour
to all Peoples
of this land

some came home
to be shunned
once more
The country
you fought for,
turned its back
cowardly back
on you
the brave Black Digger.
… (56)

‘Mother Tongue’ is a lament for the loss of his native Kunja language, which for him has the power to expresses deep spiritual connections to Country and the inner emotions of his people. The short line construction slows down each word and thought. We have time to pause and reflect.

The english language
cannot capture
my inner being,

I yearn to tell
to teach
the oppressor
the richness
of my world
my sacred country

I try forgiveness
of mindless acts,
but every time I speak
you pierce my heart
as the words you left
are without meaning,

The poems related in Aboriginal ‘lingo’ are some of the best in this collection. They display a humorous insight and a first person immediacy often lacking in many of the other more political poems. In ‘Old Clever Woman’, a woman recounts her journey by bus and her encounter with white people, perhaps tourists, taking photos. Here the story is told in a singular, consistent voice revealing the gulf, the ignorance and misunderstanding that sometimes exists between the two cultures.

click ― click alla same.
This lot take picture
put ‘em in big book.
Tell em world they good,
they just love blackfella.
click ―click― same one,
gun― camera no matter.
… (30)

And later we hear a cry for country, see the differing attitudes in ‘Tree Talk’, as the Old People confront the Conservationists and have the last word.

Old one Tree been talkin’
long time speak.
Them ones deaf for Tree talk
they hear only creak.
Old one Tree been screamin’
Silly buggers talk wrong way

Old one Tree been talkin’
long before greenie time.
Old one Tree knows,
this one watch long time.

Gutya calls for understanding from the big developers and miners and speaks of the need to conserve his ‘sacred country’. Its value and importance to Aboriginal communities is stressed in ‘The Mother of Love’

why do they not live
in your reflection,
witness your perfection.
Why they can only see
everything you are
all that’s sacred
only in a dollar way.
… (72)

Individual survival and resilience too is encouraged. In ‘Paths’ he calls to his fellow Aborigines to have confidence, to learn from the wisdom of the Dreaming stories.

Be aware
for you are born,
with your own special ways
Explore your own purpose
do not fear the unknown,
listen to those born
before time.
… (68)

In a series of poems, the poet confronts his own inner demons. These have titles such as “Relapse”, “Isolation”, “Psychotic Serenade” and” Rapid Demise”. They speak to Gutya’s battle with mental illness, his fear and sense of deprivation whilst in prison.

The short line breaks and the repetition of sound and word maintain an effective jagged rhythm. In ‘Rapid Demise’, alliteration and half rhymes add to the distress and urgency.

Renewed visions
reviewed perceptions
beating, beating, beating,
Irrational reason
chases its prey
closing down of patterns
Remember, think, respond
the sheltered shock
… (15)

Reliving these episodes, he relates his struggles with intense clarity. The poem ‘Psychotic Serenade’ (20) speaks of the “bleakness in rhapsody/ misery in D minor/ singing the madness — ”. He tries to understand the disturbing visions he encounters: looks for reason in confusion. Relief only comes as ‘the soothers sooth/ comfort. / the seers see revelations, / Corrections of reflection (‘Relapse’ 36).

As the poet explains in the back cover notes, he was “fortunate” to “write some of these poems while he was ill” but “a gentleness survives and overcomes the bitterness”. There is a cry for understanding and acceptance and a more playful word pattern in ‘We Said’

You said, I said, you said
that I should, you should — I
You did, I did, you did,
we both didn’t
To what
You said. I said, you said.
We both said instead,

Neither of us did,
understand —
… (92)

and in ‘Reflect’ there is a gentler voice welcoming the reader to join as one in accepting Aboriginal culture.

You must first learn
to walk the path
of those tracks
commenced at the dawning.
Planned by spirit ones
in the Dreaming.

maybe just maybe
you will find answers
To live in a way
of harmony, to survive
the mistakes of the past.
… (93)

“Sharing” is the last poem in this collection and in these lines the poet offers the hand of reconciliation. He invites us to go with him on a “journey of soul /carried by wind spirit” for “tranquility — /to exist in my place”.

This collection reflects the writer’s convictions and his awareness that the political struggle goes on. Many of the poems speak of the anger and frustration felt by many Aboriginal people deprived of a voice. In the final poems the poet offers the hand of reconciliation, asking the reader to listen and learn the great lessons of Aboriginal culture.

BRENDA SAUNDERS is a Sydney writer and artist of Wiradjuri and British descent. She has published three collections of poetry her work has been published on the web and in literary journals here and overseas and she has read her poetry on Awaye and Poetica ABCRN. Brenda was short-listed for the David Unaipon Prize in the Queensland Premier’s Literary Awards 2011 and she was awarded the Varuna Dorothy Hewitt Poetry Fellowship for 2012. Her most poetry collection The Sound of Red was published by Hybrid in 2013. She recently returned from a Resident Fellowship at CAMAC Arts Centre in France where she worked translating her poetry into French.

Tessa Lunney reviews The Boy from Aleppo who Painted the War by Sumia Sukkar

Boy_From_Aleppo_5_new_APPROVED_largeThe Boy from Aleppo who Painted the War

by Sumia Sukkar

Eyewear Publishing

ISBN: 9781908998460

Reviewed by TESSA LUNNEY

The main character’s name looks grey, which mean I won’t like him. Gustave Aschenbach is a very dark name; he must be bad. I don’t want to finish the book in case it upsets me. Thinking about it forms hexagons in my mind with bees roaming around the shape, stinging. He is certainly a bad character then. Just the thought of reading on scares me. (p13)

These were my feelings on reading this book. Not because I was scared, but because I was moved. The naïve voice of the main character Adam, his sensual rendering of pain in colour, the misery of the war in Syria – perhaps I have read too many war novels, perhaps I have read too much news, perhaps it was the end of a cold, dark, and difficult winter, but sometimes I wanted it to stop. Adam’s clear voice is too direct, his emotional use of colour, his literal reaction to cruelty and its effects, involved me in a way that my PhD years reading trauma theory could never do.

Adam has Asperger’s Syndrome, a fact made clear by the cover blurbs and the essay that ends the book. What we see is a teenage boy who is sensitive, intelligent, easily overwhelmed, and literal-minded. Written in first person, we travel with Adam through the beginning of the current war in Syria. As the war breaks out around him and every routine is broken, as people disappear and others appears in their place, as they die and break down, Adam’s coping mechanisms are tested as much as those around him.

‘Why do you always paint war?’

‘Because it’s filled with endless painting possibilities, and the range of colours is so wide.’ (p17)

His main coping strategy, and the one that is most moving in the book, is that he gives his emotions colour. His favourite family member, his sister Yasmine, is a ruby red colour when she smiles, but changes colour as she becomes angry, defeated, scared and sad. As people smile or shout colour pours from their mouths, they shimmer and glow and ooze. Adam’s language is simple but his use of colour is sophisticated, making a scene that might have been cliché or repetitive vibrant and visceral. He paints his life, then he paints the war, when he has no food left he eats his paints to become the good colours, when he needs to paint again he paints in blood that he collects from the corpses at his doorstep.

He told me that blood is the substitute of paint. How can blood replace paint? But now with the blood in front of me, I have a part of me that is pushing me to take some blood and paint. So I do. (p152)

Each sentence is simple and direct, without irony or sarcasm. He eats his paints because he must eat. He paints in blood because he must paint. His childlike thought patterns combine with common impulses of desire or fear to devastating effect.

The progress of the plot is not what ‘happens’ in the book. These events are awful and the family suffers and suffers. But if you have read the news in the last three years, you can piece together what they do – their story must be one of thousands. What makes this book worth reading is how Adam understands the war, how he copes with its chaos, how he relates his understanding to us through his sensitivity to smell, taste, touch, sound, and of course, colour. He can say the obvious without it appearing out of place – This war is unfair, there are no uniforms or clues (p89). His reactions are physical, he wants to vomit or shake, he is fascinated and repelled by the smell of blood. His naïve intelligence comes straight to the point.

In some ways, his autism protects him. Life was already overwhelming, so he has an arsenal of coping strategies; he understands all things literally, so he does not drown in emotional subtext; he has no need or impulse to fight, as his brothers do. In other ways, of course, he falls apart just as his family does, rocking and spitting and finding himself unable to breathe. His frame of reference is constantly shifting – what frightened him in the beginning of the book is nothing by the end. His reaction to the absurdity of wartime life is particularly vivid. After a bomb blast, he finds an ear on the ground and pockets it.

It’s an ear! It’s an ear! Oh my God! Does it belong to the man with his brain on the ground? I want to walk back to check if he has his ear but I am scared of feeling sick again. I clench my heart and grab the ear again. It feels just as disgusting as the first time but I hold my breath and wipe the blood on my trousers. It looks beautiful. I didn’t know an ear could be this beautiful. I put it in my pocket and walk on. (p267)

He says what we might think but never say – the odd beauty of a disembodied ear, or not wanting to view a corpse simply because it’s frightening. Then he does what we might imagine but never do – he begins to talk to the ear, when he is lonely, whenever his family is too sick, injured, or preoccupied to talk to him. Who doesn’t want to bend an ear in times of trouble? But for Adam, his ear is literal. This literality also shows the reactions of those around him to be absurd. His father and cousin refuse what is happening and retreat into fantasy, they believe the dead are still alive and call for them. Adam’s confusion means the madness of their actions remains startling.

The only wrong note, I found, was when the voice switched to his sister Yasmine. Adam’s voice had a lightness that could be funny and sweet even while the events around him were horrific. Yasmine has none of this interest, and the plot of her chapter is unrelentingly dark. Her part of the story is important, but it is Adam who can carry us through these events. Yasmine’s resilience is rendered heroic through his eyes, but her own voice does not have his sensual playfulness.

But Yasmine has only two chapters. The rest is Adam’s rollicking voice as his family tries to hide, then desperately flees Aleppo for Damascus. Sukkar is British writer of Syrian and Algerian ancestry and her own family’s story informed the action. Read this book but be warned – you’ll need your comforters beside you.

…I lie down opposite Ali and take the ear out. It is now clean, I think the blood rubbed off in my pocket. There is still dry blood where the ear was cut off but it isn’t a lot. I pull it up to my mouth and start whispering about what I dream of doing in Damascus. (p270)

TESSA LUNNEY has a Doctorate of Creative Arts on silence in Australian war fiction. In 2014 she was the recipient of an Australia Council ArtStart grant. She has had her poetry, short fiction, and reviews published in Southerly, Cordite, Mascara, and Contrapasso, among others, as well as Best Australian Poems 2014. She lives in Sydney.

Emily Yu Zong interviews Merlinda Bobis

‘I Have to Recuperate Love, and Grow it Back’—An Interview with Merlinda Bobis

Merlinda and EmilyMerlinda Bobis is an award-winning author and performer of four novels, five poetry books, a short story collection, seven performance works, and a monograph on creative research. She was born in the Philippines and now teaches creative writing at University of Wollongong. She writes across multiple languages and cultures and her works are notable for their transnational expansiveness. Her first novel Banana Heart Summer (2005) was short-listed for the Australian Literature Society Gold Medal, and her novel Fish-Hair Woman (2012) won a 2014 Philippine National Book Award. She is also the winner of the Australian Writers’ Guild Award, the Steele Rudd Award for the Best Published Collection of Australian Short Stories, and the Philippine Balagtas Award (a lifetime award) for her poetry and fiction. This interview focuses on her fourth novel Locust Girl. A Love Song (Spinifex) launched in July 2015, with occasional reference to her third novel Fish-Hair Woman.

Emily Yu Zong (EZ): Locust Girl really challenges my expectations, especially if we consider your previous works. I mean, usually we get the impression of a combination of your Filipino sensibility with a focus on the Australian readership. Most of your works are set in the Philippines, including the first novel Banana Heart Summer (2005) and the second novel The Solemn Lantern Maker (2008) Fish-Hair Woman (2012) and White Turtle (1999) are set across the Philippines and Australia. But this one stands out distinctly and appeals to a wider audience in the world. Can you share with us the inspirations for this book? And what motivated you to jump out of that trapping/productive dialectic of Filipino/Australian to write this novel?

Merlinda Bobis (MB): When I write, and I think when anyone writes, it is towards a story in search of a form and a location, while responding to one’s own location in the world. I write about what worries me. Australian playwright Katherine Thomson says that we write about what we worry about. I started writing Locust Girl in 2004, when George Bush declared his global ‘War on Terror,’ and I worried no end. How do you respond to this worry? Back then the question was, ‘Are you with us or against us?’ The border was so clear-cut. I felt the air we were breathing was full of fear, hate, and the judgment of the other—anyone who is not like us, those who are outside of our border. I am talking here about anyone’s positioning from whatever side of a border, whatever politics. We have created very entrenched borders because of this fear of the other. This judgment of the other is made by all sides of the border about their own other in terms of race, culture, or gender. So to respond to this worry, as a writer, I could not just remain in my Filipino-Australian imaginary. I had to break out of it and dream globally. When you think about territory globally, you often think in terms of borders: physical borders, cultural borders, and political borders, etc. In this case, we are all thinking about (or worrying about) geopolitics externally. But my main worry in 2004, and what I was more afraid of, was the border within that cuts the heart. At the height of Bush’s global war on terror, we were worrying about that external explosion—but what about the internal corrosion or even implosion? We were so engrossed in looking out at the other that we forgot the internal impact of the fear, hatred, and the judgment of the other that we nurtured within. I thought that we had developed an ‘inner dry,’ which then became the main landscape of Locust Girl: the desert. This became the terrain of the human heart: dry, without water. And this is what should truly terrify us. In Fish-Hair Woman, there are these lines that evoke something similar: ‘In a while, dryness will slip into malice, where it will feel at home, because there is never any moisture in malice. Malice is always deprived.’ This dryness in the human heart is the state of lovelessness, an inner death, no vegetation—we become as dry as kindling, thus the possible implosion and self-destruction. But how do you respond to this worry, or one might say, this existential terror? Well, as a writer I have to recuperate love, and grow it back, and make it the major premise of this book. I have to write the outer and inner borders, and to interrogate both. But at the same time, I don’t want this framework to point to a specific culture, because this is what we’ve already done to the planet—we have made its geography, its resources, its worries/problems/blames so culturally/racially specific, when, in fact, all of these are shared, and must be shared for our survival as a species. So the novel is open to all cultures and differences, while also illuminating/interrogating our fixation on differences. This means I cannot be culturally specific. I have to set the novel in an allegorical place; I have to create a mythical space. So the story can be owned by anybody, even the names. I invented the names, from A to Z. There is no specific clue to the setting. The whole point is that this story is about all of us. I have to write outside of my culture/s, I have to imagine something that accommodates all: the heroes, the villains, the victims, the perpetrators. But everything (love-and-the plague) is shared. Everyone is us.

EZ: Does this mean you would rather be known as a writer, instead of a ‘Filipino-Australian’ or ‘Asian-Australian’ writer?

MB: Well, even if I write this ‘global vision,’ the imaginary that drives it still originates from the Philippines, because I came to Australia when I was 31 and my sensibility was fully formed then. I write my memories (both stories and modes of storytelling), and wherever I go, I carry them. When I write, it feels like I’m going home. Writing is a literary homecoming. When I was writing Fish-Hair Woman, I’d close my eyes and would be back instantly in my grandmother’s house—which incidentally became the ancestral house of the novel’s protagonist. I think that even if I write about other things or places, this is the base, my Filipino sensibility: my ‘ancestral house.’ Even in Locust Girl, even in this mythical space, its ‘once upon a time’ mode of storytelling is, I believe, evocative of how my grandparents used to tell stories. Until now, I still introduce myself as a Filipino-Australian writer, because of that pull of the ancestral home. It’s like gravity, it pulls you back—but I will not be trapped by it. I can do other things; dream up other spaces. The world is bigger than one’s culture!

EZ: This gives rise to cognitive transformations in the readers too. When we interpret Asian-Australian literature, we are forced to go beyond this dialectic: Asia/Australia.

MB: Exactly. I don’t want you to think of the work or of me in binary terms. Of course, I could be as guilty of this dialectic, but I can also break out of it and hopefully be as multiple as anyone else. I don’t want to be trapped in the framework ‘Asia/Australia’ or ‘Filipino/Australia.’ Sometimes I find I am also trapping myself in binaries—because if you’re producing that binary all the time, you have a problem. I think Locust Girl attempts to address this problem. But the premise of Locust Girl is already embedded in Fish-Hair Woman, a transnational novel that escapes the trap by crossing cultures and professing a reciprocal love between cultures. Locust Girl goes further, though. In fact, here, I am questioning that reciprocal act (or expectation) of love: must love be reciprocal, for it to be love? In all my books, even in my poetry, there is a continuum of thinking and questioning of myself as well. The following book could be an argument against the previous book. For instance, in Fish-Hair Woman, I set up the idea of accommodating both self and other: ‘… how much can the heart accommodate? Only four chambers, but with infinite space like memory, where there is room even for those whom we do not love.’ This is echoed in Locust Girl, which adds reciprocity to the accommodation, but in the end, I argue against the expectation of reciprocity. You won’t give me water, even if I’m dying of thirst, because I can’t pay for it—but I have no resources to pay for it! Or you won’t give me water because you believe I haven’t cared for it according to your idea of caring—but isn’t that the same water that you siphoned from our wells a long time ago? Reciprocity is more complex than simple give and take. These are some of the questions and arguments in Locust Girl. So this is what I mean by continuum: you could build upon an idea/theme/vision in a previous book, or you could argue against it, or you could do both—because you keep learning new ways of knowing, thinking through, and articulating the world, as you ‘grow up’ as a storyteller.

EZ: Considering the book’s allegorical frame, would you call Locust Girl a dystopian, post-apocalyptic novel about the global challenges of our age?

MB: It is definitely a post-apocalyptic novel set in this futuristic nightmare, but not without hope. However, it is also very much about the present times. It is about the colonisation and control of resources, sometimes in the pretext of preserving them—but who are you preserving them for? Who are you conserving the earth for—only for your people? These realities of colonisation (and globalisation) have been happening through the ages. In the novel you have ‘the familiar’ Minister of Mouth and Minister of Legs—what are they doing here? They are controlling resources and the movements of peoples, and preventing them from crossing the border to the last green haven on earth. Then you have the Minister of Arms, the defence force. You have these Ministers controlling the seeds, the oil, and the water. They’re making sure that the earth’s last resources are preserved only for the elite, ‘the Kingdom builders.’ It’s happening now. Yes, Locust Girl is post-apocalyptic, but what I am saying is that we are already experiencing the post-apocalyptic. The post-apocalyptic is already in us. It is part of our reality now.

EZ: By depicting another take on our society, our culture, and the world, do you think fiction can influence people in ways that politics and newspaper headlines cannot do in our times?

MB: I am not the ‘art for art’s sake’ type, or someone that privileges text above all things. What I really believe in, paraphrasing novelist Alexis Wright, is the seeing-and-acting. You cannot divorce the two. In fact, for me, apprehending and acting form an organic whole. I believe in feeling-thinking-doing. You can’t just feel and think and do nothing. Writing is a doing process. When I read, I like books that make me actively do something. I remember being in a panel at the Sydney Writers Festival, and we were talking about war and trauma in literature, and there was this question from the audience (I’m paraphrasing this from memory): We’ve been talking and telling stories about these for a long time, but humanity never learns. We keep repeating history, so do these literature still matter? My answer was: When you read a book that affects you, if the next day you are a little kinder to your wife or your husband, or your neighbour, that is something. It is action, even if it’s small. Something happened within the reader, so something concrete happens from and outside the reader—because of that story. And I wish that this happens for all ages. These days, when I write I really want to write something that an adult and a child can ‘get,’ in their respective ways. I want a twelve-year-old and a fifty-year-old to be able to read Locust Girl, albeit in different ways. I want a twelve-year-old to be able to read Locust Girl as a fairytale about friendship between two girls lost in this strange desert, and somehow learn about love and the other. And I want the fifty- or the ninety-year old to be able to go beyond the fairytale and appreciate the novel as political allegory. I like writing layered texts. The style and aesthetics of Fish-Hair Woman are complex, it’s densely layered and a difficult read—but with Locust Girl, while also layered, I wanted even a child to ‘hear’ the simple storytelling, the singing. I’d like you to hear it when you read, and to listen to the musicality of this lovesong, because the novel is indeed my lovesong to the reader. I am not a composer, but the songs of Locust Girl just came as I wrote. I even sing them now.

EZ: The novel reminds me of George Orwell’s 1984 and Animal Farm, particularly on the parts of authoritarian rules. In the Orwellian authoritarian rule, there is ‘thoughtcrime,’ but here you carry that further to ‘singingcrime.’ Were these Orwellian texts paratextual points of reference for Locust Girl?

MB: I haven’t read 1984, a shameful confession, but I read Animal Farm a long time ago. After finishing Locust Girl, I thought people would read it as Orwellian. If there is anything I borrowed from Orwell, it’s the idea of the ‘political fairytale’ or ‘political fable.’ In fact, I also describe Locust Girl as a political fairytale/fable in its use of allegory and the fantastical in narrating the political exigencies of our times. But I do not want to describe my novel as Orwellian, because this is such a masculine brand. I think Locust Girl does something else. It’s mythical and proudly wears the ‘once upon a time’ tone, and its protagonists are two girls. Initially I was a bit worried that the novel won’t be taken seriously by Australian critics, as it’s too strange compared to what’s being published here. Then my publisher Susan Hawthorne assured me that Locust Girl reminds her of a number of South American and European (with links to Spanish, Portuguese, and Italian tradition) novels written by women. She mentioned some names: Cristina Peri Rossi, Luisa Valenzuela, Marta Traba, Claribel Alegria. I’m comforted that I’m not alone, and that I’m in a good company of women! I hope critics/readers do not just reference the masculine model, the Orwellian tradition, when they read Locust Girl.

EZ: Again our imagination is pushed to the fore here. In Fish-Hair Woman there is Estrella with her twelve-metre-long, ever-growing hair that functions as a tool for salvation. In Locust Girl, there is a locust buried in the brow of the protagonist Amedea. It is ‘a sensing compass’ that copies sounds, reveals interior landscapes, but also at times betrays her, mocks her, and argues with her. How to make of the locust? Does it allude to our human ego, or the ability to love that we don’t know about ourselves, in the sense that we all have a locust in our forehead, waiting to be released?

MB: We are afraid of the song of the locust, because the moment the farmers hear it, we know we’ll suffer the plague and then, possibly, hunger. But I am subverting this locust stereotype. The songs of the locust in Locust Girl are the compass helping us find water, find our journey out of devastation, find each other, find love, and find redemption. But it’s also a warning. We all have a locust (both plague and redemption) inside us, and it is trapped, snug and hidden. Amedea’s singing locust gets buried in her brow, after the bombing of her village, but the realisation comes in the end that, in fact, we all have it: small, snug, and hidden. I think of the locust as the doubleness of humanity. We have a capacity for the plague and destruction that we do to the environment and to each other, but we also have the capacity for love and the capacity to redeem ourselves and our environment. We are all a plague to each other, but we are also each other’s lovers and beloved. That’s why the locust sings to Amedea, gives her hope, but also mocks her. It’s an alter ego, yes, but then the real point, as the locust sings, is this:

What greater plague is there
Than what we do to each other
What greater love is there
Than what we do for each other (175)

It’s this doubleness that matters. Remember, as far as Amedea’s hungry village is concerned, the locust is no longer disgusting or a source of fear, but a source of protein when their food rations from the Kingdoms never arrive. This employment of a subverted/subversive image is similar to what I have done in Fish-Hair Woman: when people go through trauma, their hair grows grey overnight or they lose their hair, but I subverted this expectation. Instead of losing her hair, the opposite happens to the protagonist Estrella: her hair grows longer.

EZ: Furthering this point, when you start writing, how do you employ the aesthetic tools of magic realism and the uncanny?

MB: The word ‘magic realism’ was initially coined by the German art critic Franz Roh. In Latin America, they call it ‘lo real maravilloso,’ ‘the marvelous real’ conceptualised and developed by French-Russian Cuban writer Alejo Carpentier. It’s a literary genre that’s often related to the uncanny, which has also been theorised in literary studies. But in the Philippines, we’ve had the tradition of magic realism since pre-colonial times, long before it became a literary genre. We have beliefs in which the magical and the real are one, organically explaining daily life. And we have always known the uncanny and believed it. As a writer, I am informed by my Filipino traditions of magical realism and the uncanny, but I am living and writing in the West now, and I am also equipped with Western aesthetics to write for my Western audience. So I can play with magical realism and the uncanny as aesthetic tools familiar to the West, using both as a means to create metaphor and allegory that engender political critique and subversion, and, let’s not forget, the layered story that produces literary delight and magic. However, I think what drives the creative urge to put something on paper the moment I visualise and imagine it, is very much the magical and the uncanny from my first home. Everything originates from that tradition: the seamless connection among cultural beliefs, environment, and daily life.

EZ: Is the singing in Locust Girl also related to the Filipino tradition of singing, weeping, and telling stories?

MB: Where does the singing come from? Again, it comes from my own culture, because we sing stories. Even if I am writing about another place, the story grows out of the pull of gravity: the pull of the ancestral home, which I mentioned earlier. The orality of the telling is very much a Filipino tradition. My early works of poetry in Australia, particularly Cantata of the Warrior Woman Daragang Magayon, the epic poem that I did for my doctorate, is also performance. I’ve performed it in various countries as a one-woman show, as I’ve performed River, River, my one-woman play adaptation of Fish-Hair Woman. You see, even if I’m working with text for the page, I’m already singing it in my head, in my body. It is easy for me to chant it, to sing it, because it is inevitably returning to the tradition that my body and my sensibility know. The musicality of Locust Girl also returns to that storytelling-singing tradition. I remember that when my grandparents told stories, they took on an almost singsong tone, with a particular rhythm: ‘Kaidtong enot na panahon—Once upon a time . . . ’

EZ: Are the magical and the uncanny also part of the ‘survival mechanism’ of the people of a particular locality?

MB: In fact, that’s what I touched on in Fish-Hair Woman. When you are in the village of Iraya during a Total War, a village locked in with no resources, no food supply, and the river (the main source of water), is contaminated by corpses, what helps you survive? The beliefs in the magical, the uncanny, the salvation of the dead, and the redemption of the living. You believe you can have a ‘fish-hair woman’ to save you. Every culture, including Western cultures, have or used to have their own magical-survival beliefs. But we are becoming enslaved by rationalism. We have just shrugged off these survival beliefs and we have created a rational and distinct border between the magical and the real worlds. I remember being told by a publisher (to whom I was pitching Locust Girl initially) that they’re not interested in the novel because they publish literature about ‘the real world.’ What is the real world, and who defines/demarcates realness? Remember, there are many things that we still don’t understand about the earth, the planet/s, our brain, and our bodies. How are indigenous people’s beliefs explained through theory? Not possible; you just believe, and this very belief helps you survive natural catastrophes that no science, technology or the rational brain can hold back, even if they can explain most of these phenomena though not all of them, not completely or perfectly. The magical and the uncanny are sources of strength that we can draw from. And also, how boring would the world be if we’re reduced to this: I believe this is a table because there is a corporeal table before me, and I can see and touch it!

EZ: Let’s talk about the ending of the novel. I almost hoped there would be a revolt to overthrow the pseudo-democratic rule of the Kingdoms. But in the end, Locust Girl is consumed and burnt by the combustion of multiple voices inside her, the weight of multiplicity and history. She acts out that giving of love. How does that ending work, considering that redemption is a consistent theme in your fiction?

MB: Yes, the weight of multiplicity is such a burden. Amedea, the Locust Girl, literally implodes and is destroyed when she starts accommodating all the voices inside her, singing all of them. It is true that the accommodation of the other/s is difficult, even a burden, and entails self-sacrifice. Somehow the self cedes power as it accommodates the other/s. So, accommodating all, Locust Girl implodes. She has had a choice, and she could have denied that option of multiplicity, but instead she accommodates all voices. Because she wants to show everyone that regardless of borders, we are all in this together—in this love-and-plague or redemption-destruction of our world, or what we have reduced it to. But everyone around her in the Five Kingdoms is in search of a culprit, someone (an other) to blame, in order to save the self. And in a moment of doubleness (again), Locust Girl takes on the burden of both culprit and lover. She wants to save, an urge that is born of love. Hers is the greatest sacrifice: self-immolation. She accommodates everyone and she implodes. This time, the negative premise of implosion (because of the ‘inner dry’) at the beginning is turned on its head: it becomes the ultimate act of love. And from the ashes, she rises: both phoenix and female Christ. I think I have subconsciously employed the Christian ideal love called Agape. Agape is selfless and unconditional love, and is very much about the other. Agape is Christ’s love for humanity when he dies on the cross. It sounds ideal (or ‘magical’ for the doubting, hard-core realists?), but considering the fact that we manage to dream about it, the fact that we have an idea for it and have worded it—agape—then it is possible. In times of conflict, people do heroic things and they totally forget themselves to save, to extend compassion and to redeem the other. If we have the capacity to talk about Agape, we can possess part of it. In fact, we have it and we have to set it free. It should not remain small, snug, and hidden.

EZ: I am very interested in the character of Beenabe with whom I actually identify more than with Amedea. She achieves the awakening of love in the end, but she is also torn by hesitation and mixed allegiances. Can you talk about her as well?

MB: The protagonist Amedea is the transcendent one, but Beenabe is more like the rest of us, the ordinary. She is more real, and she is vain. There is her vanity, human frailty, jealousy, and the rejection of her friend Amedea’s monstrosity. But there are also moments when she rips off her own clothes to clothe Amedea. Beenabe is more like us. We have the burden of ambivalence and mixed loyalties. We get confused because we are always looking after Number One, and how we can remain Number One. Human beings are selfish and vain, but we also have the capacity to love, and love deeply. But ‘Love is clumsy, because it has so many hands’—Beenabe’s love is clumsy, because she has to deal with many exigencies for her own survival. Her love is not the Agape kind. She has become a trafficked sex worker in the Kingdoms, and she is there to service. But she says it’s love and that she is loved—she needs to trick herself into believing this in order to survive. She says she has crossed the border and has become a Kingdom builder, already accepted by the elite, but very clearly the Ministers declare that she is and will always be an outsider. But within this enslavement, she tries to muster some dignity, some humanity, and she does—but her love is clumsy. And can we fault her for this? Love is clumsy: such is our burden as human beings, whether or not we are in a difficult circumstance like Beenabe. Our love is clumsy, so we trick ourselves into believing that we are better than this, better than who we are, and sometimes, we do become better. Remember, we have a locust in our respective hearts or brows, this love-and-plague capacity—and while we plague each other and our earth, sometimes we surprise ourselves in moments of transcendence when we suddenly forget the self for the sake of the other. And we soar!

EZ: Thank you Merlinda, for sharing with us your creative ethics and the powerful songs of Locust Girl.
Emily Yu Zong is a PhD candidate at the School of Communication and Arts, the University of Queensland. She works on diasporic Asian women’s literatures and the transnational critique. She has published academic essays and book reviews on diasporic Asian identity, hybridity, female agency, and cosmopolitanism.

Ellen van Neerven

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

Photo credit:
Inga Simpson
from Pearl

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

‘And take the skin off ? ’

‘Of course.’

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

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

Elena Gomez

profileElena Gomez co-hosts the occasional apartment poetry series, CELL, and co-edits SUS press. She is the author of two chapbooks, CHILL FLAKES (SUS press) and PER, a collaborative work with Eddie Hopely (Make Now Books). Her work can also be found online, at The Claudius App and Cordite.


Sweeping leaves is a weekly chore

she liked [found pleasure in it]
       to click her tongue and displace

a wire & plastic retainer while
       staring into the faces of young

children who turned to seek out
       strangers on the south-west bus.

I prefer to describe myself
as plucky rather than as

allergic to scholarship
though it becomes easier

to feign allergy if one embodies
the disease-like components of

it such as limp limbs,
a dim eye

an untended ‘garden’
         [to chuckle now would be rude].

the very minute you admit weakness
of literal concepts a fresh spring air

takes hold and carries you forth
to the edge of the football field.

you swoon at the thought of dialectics
not a swoon from desire but from

an overwhelming sense of the walls that
close in you also must perfect the

blank stare, the short-tempered child-like
frustration that occasionally

very occasionally, involves hurling
a remote through a nearby doorway.

would have preferred to be visited
by the ghost of alma mahler.

the beauty of names is they can inspire
thoughts of pleasantness in a woman.

I used to be afraid of long lines, the way
they snaked across a page the way they

furiously eluded my grasp, which already
was a weak sick thing.

K A Nelson

IMG_0843K A Nelson studied at the University of New England, and once lived and worked in New Zealand, PNG, and Central Australia. She now lives in Canberra. Since 2010 she has won three poetry prizes, had poems published in The Canberra Times, Award Winning Australian Writing, Australian Poetry and anthologised (Canberra poets). She is working on her first collection.


This is a Woman Who Travels the Land

In the early hours of these bitter mornings
when the fog comes down and stays down;
when the only cars on Commonwealth Avenue
are taxis changing shifts or ministerial staff cars
taking the lackeys home; when flags hang slack
in the dark and stiffen in the cold on their steel poles;
my thoughts fly north to the desert – to a woman
who calls me daughter, who took me to Dinner Camp
told me a story, taught me a song, showed me a dance:

She is a woman who travels the land
Where stories are danced and country is sung
Where magic and myth is retold in the sand
Where kinship and totems are like lines on a hand

This is a woman who travels with women
Whose customs and life move in time with the moon
Whose birth on a songline means obligation
Whose night sky is peopled with ancestral kin

This is a woman who travels with crows
Who glides across country as hunter and healer
Who teaches clanswomen all that she knows
Who carries the lore wherever she goes

This is a woman who travels around
on everywhere roads criss-crossing the land
She knows bitumen highways lead to trouble in town
gridlock the cities; spoil old hunting grounds

Kapirnangku nyanyi, kapirnangku nyanyi, kapirnangku nyanyi *

In the early hours of these bitter mornings
when the fog comes down and stays down
my thoughts fly north to the desert – to a woman
I call mother, who took me to Dinner Camp
told me a story, taught me a song, showed me a dance.

She is a woman now elder and leader
She is a woman who travels the land
She is a woman who longs for old times –
God love her!
She is a woman, the last of her kind.

* kapirnangku nyanyi: Warpiri farewell: ‘I will see you’

Blue by Shannon Burns

shannon burnsShannon Burns is an Adelaide-based writer, reviewer/critic and sometimes-academic. He is a member of the J.M. Coetzee Centre for Creative Practice, and has written for Australian Book Review, Sydney Review of Books and Music & Literature. He won the 2009 Adelaide Review Prize for Short Fiction and the 2015 Salisbury Writers’ Festival Short Fiction Prize. He’s had fiction published in various magazines and journals, most recently in Overland and Verity La.



He was sleeping when I slipped away – I could bear it no longer – he seems to have gone blind – his eyes are grey – they were once like mine – it’s as though they’ve grown younger – perhaps he has too – his body turned inward – an overpowering desire – he will not speak of it – there’s nothing to be done – he sees nothing – he’s deaf as well – I was not quiet when I left – I thought to give him one last chance – if he’d called to me I’d still be there

there’s nothing about – all have gone quiet – I once heard mowers in the distance – every weekend they would hum – that was long ago – there are no weekends – the journey will be long – my only wish is for water – to see it at last will be the last thing – I once visited the sea – it whispered gently – my feet followed it out – when it came in I howled – it marked me out – it seemed to yearn for something – I chased it yelling – for hours we did this – they took me away – I refused drink for days – no thirst could quench my fear of it – it went out and returned, went out and returned – I still see it in my mind – it smiles whitely – it draws close and whispers – I tremble to listen  

the road is flat – I picture small inclinations – they spring to life – when I left it was grey – the gate was unlatched – the garden wild – branches torn by something – perhaps the wind – there is no wind – I recall days driven by weather – to go outside or stay in? – today it is grey – yesterday I was inside – perhaps it hasn’t changed – the days are alike – it may be night – the world has spun on its axis – we are at bottom – I am alone – he is too – we may meet again – it won’t be here – someone may walk me back – but they won’t know the way –

my voice is hoarse – perhaps it will vanish – I won’t argue – there’s nothing else for it – I have no say – the weather is fine – I’ll bear it easily – my feet are cold – they never freeze – they’re soft on the soles – when I walk they burn – the road is harsh – there’s no one to clear it – the vehicles are still – they are shells of vehicles – I’ll take cover when it rains – it will not rain – the sky is clear – but there is no blue – I haven’t seen blue for years – perhaps blue is gone– it may have risen further – beyond the grey – I  was never fond of it – the word is thick – my mouth won’t shape it – my lips blubber – it is their way – I don’t require them – there is no blue

I seek out the water – once it was green – it seems black in my dreams – it will devour me – I am for the most part water already – this I know – it’s getting worse – I overfill with it – there’s none there – our supply stopped – I left him dry – it felt like a verdict – the taps have deserted us – they do not approve – I cannot blame them – no simpler message – the water is gone – we are to follow – if that then this

the path is monotonous – why so flat? – do I walk on the spot? – how to tell the difference between here and there? – perhaps there is none – I’ve never considered it – my thoughts are clouded – there are no clouds – my thoughts are empty – but emptiness abounds – my thoughts are grey – but grey is the world

there’s something ahead – a large ragged dog – its hair thick and grey – I walk his way – he sniffs the air – I turn back – there’s nothing to be said for it – perhaps the dog is the sea, come to greet me from afar – nothing is friendly – hunger universal – nothing lost nothing gained – I go on bleating – I breathe – I walk – to what? – the devouring sea – opening its wide mouth – inviting – welcoming – it’s made a bed for me – that is where the others are – asleep on the sea-bed – I’ll nuzzle them soon – so long since I touched one

I follow the dog down the road – it lifts its leg on a signpost – nothing comes – an empty pizzle – we are as though one thing I hang back until he disappears – I cannot watch the performance – he’s dwindling to nothing – everything does – he’ll reach the beachhead before me – I’ll follow his pawprints to the water – lie down by his stinking corpse – smell the sea on his putrid fur – breathe the moisture – close my eyes – hold him


Goirick Brahmachari

Deb_nGoirick Brahmachari lives in New Delhi. He hails from Silchar, Assam. His poems and articles have appeared in various journals and magazines.



An old building near Adchini with a warning sign that reads, “Danger” in black
probably speaks my mind. As the world around counts time, I lick the garbage bin clean
and it rains.

Only sometimes, a lonesome training center for the deaf and dumb
can illuminate a smile through the strangers’ lips and fingers and tongue through the glass windows without a sound and eat magic for lunch.

I see the moving faces of government employees who have always gone back home together, in the same bus, year after year, for all of their lives; starting for office, at the same time, early morning,
with some fried potato and few rotis, packed in their steel lunch boxes, and their sullen faces, each framed within the square glass windows of a bus which overtakes yours.

I see the coaching centers and those spoken English institutes where students are still dreaming. I hear the laughter of young girls carrying document tubes; see a few urban potheads who smoke by the private film school which morphs into a Yoga training center by morning. I pass by the stupid, stupid academic council where, every day, at least a thousand school books are raped and slaughtered.

But when the evening comes, I spread my wings and jump into the well of darkness of my room, in liquid dead hunger, in search of the night.

Aquiles Nazoa translated by Ariel Riveros Pavez

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


Rezo el Credo o Credo de Aquiles Nazóa

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

El Mayordomo y El Gato

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

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

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

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

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

The Credo according to Aquiles Nazoa

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

The Butler and The Cat

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

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

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

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

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


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

Dimitra Harvey reviews Kin by Anne Elvey


by Anne Elvey

5Islands Press

ISBN 978-0-7340-4897-4


Val Plumwood wrote, “the ecological crisis requires from us a new kind of culture”. She was of course referring to the set of human/nature dualisms that underpin the contemporary West, and which “promote human distance from, control of and ruthlessness towards the sphere of nature as the Other”. Unprecedented anthropogenic climate change and ecological degradation threaten not only the survival of our species but myriad others: we must reevaluate our definitions of our humanity or “face extinction” (Environmental Culture 4-5).

Researcher and writer Anne Elvey’s first full-length collection of poetry, Kin, shortlisted for the 2015 Kenneth Slessor Prize, emerges out of this need for “a new kind of culture”, exploring human identity in relation to, in relationship with – what Elvey has described as – “ecological networks of kind, otherkind, country, air, sea and cosmos” (Plumwood Mountain). At her best, Elvey observes human embeddedness within complex, vibrant, non-human spheres with keen linguistic control and playfulness. It is a pleasure to return to the crisp imagery, and trim, silvery music of lines such as, “the cool acreage of canary light” (12); “All at once, bees fill the flowering gum. / Seed pods tick their dry rain / on the ground” (24); “he dips his finger into a font / to wet your tongue” (72). In “Romancing the creek” (39)

                                         a lizard slips
where the rock face
                                    shears from the earth
and stone stands
                                    stacked like crates
against the sky.
                                    Moss probes
a gap with serried
pick out a corner
                                    and an edge.
                                    …beside the track
a rusted bike,
                                    a guitar past
playing and
                                    a frail skin
to toss over a lamp…
…the rock wall
                                    pulls the creek
up to its chin.

The human presence – in the form of our detritus, as well as the more subtle presence of the speaker  – is decentralised within a sphere of other-than-human, interconnecting lives. Lizard, rock wall, moss, weeds all have their own agenda and agency. The poem bears witness to ecologist Barry Commoner’s observation that “everything is connected to everything else”: there is no “away” to which rubbish can be thrown (19-20).

Even within the highly-developed context of the highway in “Over Eastlink” (37) – where, as Judith Wright wrote in her poem “Sanctuary”, “only the road has meaning” (139):  the “wide-winged body” of a pelican “steps / down the air, hangs / at each turn as if at a landing”, and perches “high up on [a] tollway light!”. The poem captures the bird’s strength and agility, its “gravity”, as well as its utter disregard for human demarcations: the pelican is a palpable, powerful presence, “surveying the traffic” with a will, that disrupts the human-centrism of the urbanised landscape. Everything is in relationship: “the cup” of the bird’s “under- / beak / shapes [its] silhouette against / the sky”; the human speaker “drive[s] on” only because she is “neither fish nor water” to the bird.

Elvey’s acute attention to these “ecological networks” means Kin also bears witness to their degradation, to profound loss, including as a result of colonialism. We see this in poems such as “Ecos echoes” (42), which addresses Australia’s extinction crisis. The poem’s disjunctive line signals brokenness: how “(earth things)” are “(riven from) / (the well world)”. In the repeating, dirge-like refrain cataloguing the losses: “gone the eastern hare wallaby / gone the pig-footed bandicoot / gone the silver mulga”, we hear echoes of the last lines of Oodgeroo Noonuccal’s famous poem, “We Are Going” – “The scrubs are gone… /The eagle is gone, the emu and the kangaroo are gone from this place. / The bora ring is gone. / The corroboree is gone. / And we are going” (78) – which hint at the ties between cultural and ecological losses.

Explicitly and more subtly, Christian symbolism and ritual permeate the ecopoetic framework of Kin. From the description of Elvey’s mother in “The honour of things” who “told the beads” (19), to the “nails / hammered on a Friday” in the powerfully poignant “Nanoq” (48). Significantly, Elvey’s opening poem “Sheet Music”, begins with two line’s from Kevin Hart’s “Mud”: “We met there, Dark One, all those years ago / You smelled of mud” (11). “Mud” is one in a series of poems by Hart which address the “Dark One”, who, as Davidson points out in Christian Mysticism and Australian Poetry, “is undoubtedly God” (203). Given Western Christianity’s influence on contemporary Western secular thinking (White 1204-1205), and its culpability in the human/nature dualisms that not only underpin the ecological crisis but have authorised colonialism and its violence (Plumwood, Feminism and the Mastery of Nature 88-89; 41-68) – perhaps engaging with its tropes is part and parcel of the ecopoetic task.

In her essay “On (not) speaking about God ecologically”, Elvey writes that in addressing “patterns of domination and alienation” which “Christianity and the biblical images on which it draws have in part at least supported…[w]hat may be needed is to hold our Christian faith story loosely, not necessarily to turn away from it, but to be open to a mode of attentiveness to Earth and its atmosphere…as part of an ecological spirituality attuned to the community of more than human others with which we are intimately interconnected and interdependent”. In many ways, Kin shapes itself in these terms: not necessarily seeking to scrutinise these “patterns of domination and alienation”, but rather considering ways aspects of the Christian tradition might be re-imagined or reinterpreted to encompass an “ecological spirituality”. This proves both ingeniously dynamic – offering inclusive alternatives; and problematic.

In “Bayside Suburban”, Elvey deftly re-imagines the Eucharist as a ceremony in which everything – humans, gulls, possums, light, wind, sea – takes part. The poem, divided into five parts, is not presided over by the ceremony. Rather, the ceremony is gently inferred in the fabric of everyday goings-on of “Port Phillip” – in the “old / meals the gulls enjoy…the refuse of blood / and wine, the suburb’s flesh, the greasy joes”(61); in the “sand…thin / and brittle as a wafer. The skin…the tongue / to which it clings” (63). We see those who eat and drink are not only human. Everything is implicated in an ongoing sacrament of relationships, exchanges, communions: “A soft light traces the shore’s / length. The wind pushes southward along / the beach. A dog romps and a woman / dressed in rough wool casts a line. Banksias are sculpted against the sky” (62). The passing of time, the rhythms of natural systems and of human and non-human activity inform and open out the ceremony. The poem concludes: “Strewer of a communion march, the day / empties its apron of blossom… / …The sacrament is celebrated slow / with gulls like restive children… / …the tide arrives with the bounding-sea, the soul-fetching night” (63). This inclusive re-visioning of the Christian service of bread and wine engenders a sense of the “radical equality” of all “members of a larger earth community” that Plumwood called for (“Tasteless” 71); or of Mary Oliver’s “citizenry of all things within one world” (34). Here Elvey is indeed “hold[ing] [her] Christian faith story loosely”, allowing other-than-human presences and systems, and our relationships with these, to move through it and develop it.

This re-visioning stumbles in “Claimed by country 3”, the last of Kin’s “Claimed by country” set. The speaker of “Claimed by country 2”, observing how colonialism is an ongoing process as she “com[es] into, out of / country”, asks, “is this / the colonising moment / once again?”(65). In “Claimed by country 3” (66), one has the troubling sense that this is indeed the “colonising moment”, that the land and its inhabitants are being co-opted into a “Christian faith story”. The opening declaration, “This is the rose on the gum”, seems to deny, or seek to supersede, the agency of an already storied land. The rose’s religious connotations, its association with Christ’s five wounds as well as the blood of the Christian martyrs, are heightened in the context of the poem’s other religious imagery. Superimposed on the gum, it not only has the effect of “put[ting] the flag” (Munnganyi qtd. in Rose 24) – a kind of colonial staking of land, but it also converts the tree into a cross, sublimating the tree’s “own meaning”. Similarly, in the lines –

And here,
where rocks shift to wallaby

and edge toward the altar,
the congregation stirs as
by degrees, a full moon

climbs the far side
of the range. With vested
hills, the dancers and the priests

attempt a fugue of ways…

…Insects light upon my

hair and on my skin.
We stand. We sing.

We give a peace
that takes a breath.

– we see country converted into a church; it’s inhabitants into a “congregation” and “priests”. All the complexity of the land’s “own meanings”, the agendas and agencies, the interactions and relationships are reduced to, are described as being in the service of, a very particular kind of worship.

While the closing image of the speaker, who “by the iconographer’s / grace” is “a smudge of white / in the corner of the frame”, acknowledges the smallness of the human element in larger systems, it also literally and figuratively flattens out the dimensionality of country into a religious painting – an image intensified by the metaphor, presumably, of falling sunlight at the beginning of the poem: “the fragile leaf of gold’s / applied to the ground”. Ultimately, the poem lacks the suppleness and expansiveness of other poems such as “Bayside Suburban”.

Despite one-offs such as “Claimed by country 3”, Kin’s strength is its awareness of poetry’s potential to step outside of presiding cultural and social paradigms, to imagine more ethical and compassionate ways of being with each other and our other-than-human kin. As Elvey writes in her poem “Recycling the possible”: “tear into / pieces / the possible /…feel for a place / in the grain and start / writing” (74-75).

Though Kin emerges out of the trauma of ecological crisis, ultimately it gives voice to hope: that through attentiveness to our deep kinship, to our inextricable entanglement with the other-than-human, we are capable of embracing another mode of life on earth.



Commoner, Barry. The Closing Circle: Nature, Man and Technology. New York: Knof 1971. 19-20.
Elvey, Anne. Editorial. Plumwood Mountain. Volume 1 Number 1 (2014). Web. 26 Aug. 2015.  <>
—. “On (not) speaking about God ecologically: Ecofaith conference presentation 23-25 May 2014”. Leaf Litter – Anne Elvey’s research and poetry blog. Web. 26 Aug. 2015. <>
Davidson, Toby. Christian Mysticism and Australian Poetry. New York: Cambria Press 2013. 203.
Plumwood, Val. Feminism and the Mastery of Nature. London: Routledge 1993. 41-68; 88-89.
—. Environmental Culture: The ecological crisis of reason. London and New York:  Routledge 2002. 4-5.
—. “Tasteless: Towards a Food-based Approach to Death”. PAN: Philosophy, Activism, Nature. Number 5 (2008). 71.
Oliver, Mary. Long Life: Essays and Other Writings. Cambridge: Da Capo Press 2004. 34.
Oodgeroo Noonuccal. My People: A Kath Walker Collection. Milton, QLD: Jacaranda 1981. 78.
Rose, Deborah Bird. Nourishing Terrains. Canberra: Australian Heritage Commission 1996. 24.
White, Lynn. “The Historical Roots of our Ecological Crisis.” Science. Volume 155 Number 3767 (1967). 1204-1205.
Wright, Judith. Collected Poems. Pymble NSW: Angus and Robertson 1994. 139.


DIMITRA HARVEY has a Bachelor of Performance Studies from UWS and a Master of Letters in Creative Writing from the University of Sydney. Her poems have been published in Southerly, Meanjin, Mascara, the Jean Cecily Drake-Brockman Prize anthology Long Glances, and speculative poetry anthology The Stars Like Sand. In 2012, she won the ASA’s Ray Koppe Young Writer’s Residency.