The Ice Cream Girl by Maree Spratt

Maree Spratt is an educator by day, writer by night, and reader at all hours. In 2016 she was shortlisted for Seizure‘s Viva La Novella V, and has since expanded that piece into a novel. In 2018 she completed the Hardcopy Professional Development Program for Australian Writers. She writes to celebrate people.




The Ice Cream Girl

It’s Friday afternoon and I’m the last student left on the school grounds. All week it’s been 40 degrees, and the courtyard outside the staffroom feels like the inside of an oven. I’m sitting at an old desk Miss Waters has pushed up against the glass outer wall for me, just next to the locked door, so I’m easy to see but still not invading her exclusive, air-conditioned space. She looks pretty comfy sitting inside on the brown sofa, working her way through a stack of exam papers as she drinks cold water from a coffee mug.

Hardened balls of chewing gum cling to the wood beneath my desk like molluscs attached to the bottom of a ship. It’s gross, but sometimes I run my fingers over them, and in this heat they feel dewy. I can feel my butt sticking to my plastic seat, and I’m scared that when I finally stand up there will be a circle of sweat on my skirt. I can see it now: when I walk home later down Kelly Avenue, the grade 12 boys will already be sitting in their camper chairs on Jack Wood’s lawn, each of them onto their third or fourth tinny, and when they see me they’ll cat call and ask me why I’m wet.

Frustrated, I use my pencil to shade out the picture of a penis that someone has drawn on the desk, covering it in a shining layer of lead. From time to time I look up and stare longingly at the water cooler in the staffroom corner, watching the bubbles that float cheerfully to the surface whenever Miss gets up to pour herself another cup. They have a fridge in there, too. Back in grade eight, when I was a major try-hard, I used to collect ten rewards stamps a week and claim a free ice-block from the freezer every Friday. I’d usually go for a Cola flavoured Zooper Dooper, although one week I collected twenty stamps and Mr Moreton let me have a rainbow Billabong. The sight of that fridge makes my throat tighten.  In primary school, our teacher read us a super depressing story called ‘The Little Match Girl’ in the last week of school. Right now, as I stare longingly through the glass, I reckon they could write an Australian version of that story about me.

I do my best to keep adding lines to the piece of A4 paper Miss Waters thrust at me when I arrived outside the staffroom for this, my after school detention.  Miss hates me because she thinks I don’t respect her. She thinks I don’t respect her because I talk all through her lessons. What she doesn’t understand is that I talk because I can’t concentrate on what she’s got to say anyway. The staffroom has air-conditioning, sure, but this is Malooburah High: not some fancy school in the city. The majority of classrooms have this thing called an AirBreeze, and although it’s not great at cooling down the room, it’s excellent at creating what my Mum would call ‘an infernal racket.’ It’s a hungry, box-shaped monster affixed to the ceiling that noisily sucks hot air out of the room like it’s slurping a milkshake through a straw. I think everyone knows that it doesn’t really work, but at the start of every lesson we badger the teacher to use it, raising valid arguments about our human rights, until eventually – no doubt because the heat is driving them crazy too – they give up and turn it on. At that point the lesson may as well be over. I’m not going to sit and try to lip read in a noisy room that still reeks of BO, no matter how often Miss Waters wants to shriek my name and her catchphrase – show some respect! – over the asthmatic wheeze of the AirBreeze and the hum of twenty-seven other kids ignoring her too.

The detention is supposed to be about the fact I never bring my laptop to school, but she’s added a dig about me talking in class to the sentence that she wants me to copy out. She wrote it on the first line in blue ballpoint, with x100 circled in the top left hand corner of the page. This simply confirms that she hates me. I asked around at lunch to see who else has had an after-school with Waters, and pretty much everyone said that she only ever makes you write out sixty lines, max.

‘I must bring my laptop to class every lesson, and I must respectfully listen to my teacher when she is talking,’ I write for, if I’ve been counting correctly, the forty-third time.

What Miss Waters doesn’t realise is that in the last year, since the second round of lay-offs happened at Maloobarah Mine, things around my house have been going missing. My father was the first, and arguably the most notable, disappearance. He told us he’d gotten a new job as a FIFO – but instead of just flying out, he fucked off. Not long after that I noticed that Mum was no longer wearing her pearl earrings, and when I checked the bathroom they weren’t in her jewellery box either. The rug disappeared from the living room floor. The TV went missing, and the only explanation we got was that we should be doing our assignments instead of watching it anyway. But then my laptop vanished too, and I had nothing to do said assignments on. All that we’ve gained in the face of all this loss is a growing pile of empty wine bottles in the cardboard box underneath the sink. When I walk them to the recycling bin on a Friday night and lift the lid, I always grit my teeth before I drop them because I feel sure they will shatter. In actual fact they never do– but the thump they make when they hit the bottom always, to me, feels violent.

It would have been far too complicated to explain this set of circumstances to Miss Waters when she asked where my laptop was, so I settled with a safer excuse: I forgot to bring it. It’s still charging up at home on my desk. I used that same excuse for weeks, even after my desk had disappeared too. Eventually I swallowed my pride and put my name on the list at the library to borrow a school-issued device, though not before I’d earned this detention with Waters.  Every school laptop has a numeric code written in yellow permanent marker on the back of the screen, in big, bright numerals so they don’t get lost or stolen. Mine is number 8-2-3, but it may as well say P-O-V. It takes about twenty minutes to load at the start of every lesson. Another reason why I talk in class.

My punishment for neglecting to bring technology to school is to sit and write with what I could have used instead: a pencil. I wonder if this is an example of an ironic situation. I’d know for certain if I’d listened to that lesson on ‘comic devices,’ in which Miss went through 57 Power Point slides on what it means to be funny without cracking a smile once – not even when the class erupted in laughter at the moment she realised that Dallas was stuck. Incredibly, he’d managed to crawl all the way to the other side of the room without her noticing and squeeze the first half of his body through the window in a botched effort to escape. I really hope that he got more than sixty lines.

The pencil she’s given me to write my lines with this afternoon is covered in bite marks. The rubber is missing and someone has crushed the thin metal casing that used to hold it with their teeth. Kids can be real feral sometimes. I get hungry, sure, especially lately – but I’m never going to start gnawing on my stationary. When I cross the T on teacher for the 52nd time, the lead breaks. Typical. I stand up and press my face against the glass. Waters looks like the star of some furniture commercial, relaxing on the sofa with a plumped-up pillow beside her, her perfect hair framing the sides of her face as she calmly writes feedback on another exam paper. I tap on the glass –I guess a bit aggressively. She looks up at me, although I feel like she’s looking through me. She puts her marking aside and walks over to the sliding door, wrenching the handle down to unlock it. She puts her head out but keeps her feet in. it’s enough for me to catch a gust of the air-conditioning.

‘I need a better pencil,’ I tell her.

‘Now. Could you say that in a politer way?’ she asks. I hate the way she speaks. It doesn’t matter what she says, what I hear is always the same: you’re an idiot.


‘I can’t address this problem for you until you ask me to do so in a politer, more respectful way. So what are you going to say to me instead?’

I know exactly what she wants me to say, but for some reason I can’t bring myself to say it. If I bat my eyelids and chime ‘may I have another pencil please, Miss Waters?’ I reckon I might vomit in my mouth. Which would be saying something, because I haven’t eaten anything yet today. There’s a withered brown leaf at me feet. I grind it into the concrete with the tip of my shoe.

‘The pencil you gave me is fucked,’ I say. ‘Reckon you could fix me up with one that actually works?’

I’m definitely not the first student at Maloobarah High to talk to a teacher like this. It’s a style of communicating with authority that I’ve only adopted in the last year or so, though. I look into her eyes defiantly. She stares back. A thin film of tears starts to cloud my vision. For a moment, I think I can see the same intensity of emotion in her eyes, too. Then she turns her back on me, takes her pencil case off the coffee table and withdraws a better, sharpened pencil. I sit back down at my desk, my skirt practically squelching, and drag the feet of my chair against the concrete as I move forward in the hope that the sound makes her flinch.

She doesn’t react.

‘I’m going to choose to ignore the fact that you swore,’ she says, placing the pencil on my desk without looking at me. ‘This one is brand new. When I hear from you again, I want it to be because you’ve finished all your lines.’

She slides the door closed and returns to her place on the sofa. I’m glad that I didn’t cry. A slow rage simmers in my chest as I pick up the new pencil and write for the fifty-third time that I should bring my laptop to school and respect my teacher. I think I’ve actually managed to upset her. She’s picked up her exam papers again but her pen remains poised over the top one, and her eyes are staring into the page instead of darting over it. She’s also forgotten to relock the door.

I remember feeling overcome with anger when our primary teacher read us that story called ‘The Little Match Girl.’ She lies outside the window of some rich family in the freezing cold, staring in longingly at their Christmas turkey and their fireplace, until she suffers hypothermia and dies. A few sooks in the class cried when they realised she was dead, but more than anything, I felt anger.

“Why didn’t anyone help her?” I asked my teacher.

“I think that’s the question the author wants you to ask,” she replied, without actually answering it for me.

“Why didn’t she break into the house?” I asked.

I remember my teacher laughing at that. “I guess because she was a good girl.”

Back then I saw myself as a good girl too, but I still thought that if I were in her situation, I would have tossed a rock through the window. Right now I’m fairly sure that I’m not going to die of heat exhaustion, so my situation is not as desperate as hers, but I still feel almost as pathetic. I’m thirsty. I’m hungry. My head feels light. The lines seem to blur and shift as I write. I’m not going to throw a rock through the glass, but I decide that if the chance arises, I will do something to help myself. I’m not going to let Waters, of all people, make me feel this small.

I’m finishing off my eighty-sixth line when the opportunity presents itself. She puts her glasses down on the coffee table, stands up and smooths the edges of her dark grey pencil skirt. She turns on her heel without acknowledging me and walks down the short hallway, disappearing into the toilet for female teachers. I know I have to act right away. If I’m lucky she’s gone to do a shit, but Waters strikes me as the uptight sort of bitch who would only ever want to crap at home. She’s had so much to drink from the cooler that I reckon she definitely needs to piss, and although I should factor in time for her to wash her hands and primp her hair in the mirror, that still only gives me three or four minutes at the most. I stand, slide the door open properly, and walk in. The cold air envelopes me instantly. It feels as good as jumping into the town swimming pool on the first day of the holidays. I walk swiftly but softly across the carpet to the water cooler, collect a plastic cup and fill it up to the brim. I skull it. Much like the air-con, it feels glorious. I crush the cup with my hand and toss it in the wastepaper bin. Then I make my way to the fridge. The plan is to grab a Billabong and hide it in my backpack. Finish my lines quickly and then eat it on the way home, even if it is half-melted. My hand is on the freezer when I’m suddenly distracted. There is a photograph pinned to the bulletin board nearby that commands all of my attention.

It’s me.

There is a photograph of me on the wall.

I know that time is running out, but this is too weird to ignore. It’s sitting there beside four other school portraits, lined up in a row like a series of mug shots from an old-school Western movie. And based on the other photos, I am in the company of outlaws. There’s Ethan, who deals drugs in the toilets. Sarah, who threw a chair at Mr Oberton last year. Tia, who I haven’t actually seen at school since week one, but who I did see drinking with some older guy down by the creek on Saturday. Roger, who is suspended for smoking behind the industrial bins. And then, right next to Roger, there’s me. Of all people, me. I walk over and run my finger down the laminated edge of my photo. It’s the first time I’ve seen my school portrait this year – Mum hasn’t bought one since year two– and although I look kind of pale, and the small community of pimples that lives on my forehead is very visible, overall I reckon I don’t look half bad. The deep blue background they make you pose in front of actually brings out my eyes. There’s a heading above the mugshots: YEAR 10 STUDENTS AT RISK, it says. I don’t get it. This is supposed to be an English staffroom, but that is surely not a complete sentence.

At risk of what?

What do they think I’m at risk of?

Is it something they think I’m going to do, or something that will happen to me?

Is it so bad they can’t bring themselves to say it?

I hear the unmistakable gurgle of a toilet flushing, and I know I should hurry back outside, but it might already be too late now, and the anger is surging in my chest again. If you ask me my picture belongs to me, so I remove it from the bulletin board and stuff it in my pocket, the thumb tack still in place. The ice-creams I know I have no claim to, but I’m angry, and I want one. I can hear the tap running in the toilet as Ms Waters washes her hands. I throw the freezer door open and my eyes fall on a packet of Zooper Doopers, a few loose Billabongs, and – praise God – a box of Magnums. I grab the Magnums and make a run for it. I don’t even bother to close the freezer door. There also isn’t time to pack the box into my backpack, which is slouched against the leg of the desk. As I scoop it up off the floor and toss it over my shoulder her new pencil falls and lands on the concrete. I wouldn’t be surprised if the lead breaks.

When Miss exits the bathroom I’ve already blitzed half-way across the courtyard with the box of Magnums held tightly against my chest. She doesn’t bother to chase after me. Over the sound of my own laboured breathing I hear her shout something about phoning my parents. Well, I think, good luck to her. Mum doesn’t answer the phone when she’s drunk, and Dad – I’d actually love it if she managed to get in touch with Dad. He doesn’t pick up when I call.

Spitting out the Bones by Jane Downing

Jane Downing has had poetry and prose published around Australia and overseas, including in Griffith Review, The Big Issue, Southerly, Island, Overland, Westerly, Canberra Times, Cordite, and Best Australian Poems (2004 & 2015). A collection of her poetry, ‘When Figs Fly,’ was published by Close-Up Books in 2019. She can be found at


Spitting Out the Bones

The interior of the restaurant in the small town south of Bordeaux was warmly lit. Ainslee had not met Rees and Pru Hardwick outside of their son’s storytelling but she instantly recognised the couple being shown to a table inside. The progress of the two across the restaurant was framed by first one and then the next broad window. Ainslee paused on the cobbled street to watch them and Finbar turned to urge her to hurry.

She should have known there’d be problems when Finbar told her they’d have to dress for dinner.

‘Really? I was planning to go naked,’ she’d joked.

His face had told her all she needed to know about the seriousness of his meaning. She’d already been made to understand how incredibly generous his parents were being to include her in the invitation to celebrate their silver wedding anniversary. In the south of France. When her parents celebrated twenty-five years of marriage, they did it in the backyard surrounded by family, friends and barbeque fumes, not on the other side of the world. So Ainslee did count herself very lucky indeed to be in Europe. She and Finbar were tacking a few weeks of travel on the back of the trip, a smattering of capitals and fine art. She knew showing enthusiasm wasn’t cool so she’d kept it under wraps like a Christo coastline. She was pleased with herself about that comparison: her first taste of the effects of French sophistication.

Predictably, because when men dress for dinner the instructions are black and white, Finbar and his father were mirror images of each other in well-fitted suits and discreet black ties buttoning up starched shirts. The older Hardwick, seen through the restaurant window, was carrying his age well, with some help from a supporting cummerbund. Less predictably, Ainslee found her boyfriend’s mother a shock. Pru Hardwick was wearing the same shade of grey – called charcoal with poetic license on the label – as the dress Ainslee was wearing under her coat. The same fitted Mad Man style dress. Damn the advice of women’s fashion magazines.

‘It’s not the exact same,’ Finbar laughed. But there were enough similarities for him to have noticed when she handed in her coat at the vestiaire. ‘You’re going to fit right in,’ he added sarcastically.

She’d piled her hair up, equating this with adult elegance. Finbar moved towards the tables and Ainslee pulled out an elastic tie, two combs and five pins and played cheap Santa, depositing the hairdressing aids at the foot of a potted pine tree. She shook her hair free. It’d look like a bird’s nest, which had all the advantages of not being a bit like his mother’s style.

She also prepared a smile which was wilting by the time they too had gained the specially booked table in the far corner of the restaurant. The carpet was so thick she felt herself sinking with every step. The depth if the carpet pile muted all sounds. The ensemble on the back wall played pianissimo, the maître d’ glided ahead of them as if on wheels.

And then the rush was on them. The older Hardwicks were up and Finbar was embraced and bear-hugged and he turned to pull her into the circle and there was all the awkwardness of an introduction when all parties know they’ve been talked about, but do not know to what extent, and by which details.

Ainslee knew about the money, the generations of successive accumulation through business interests, whatever that meant; the advent of paid parking lots had been spoken of, as someone had to be on the side being paid. She knew about Rees Hardwick’s private school, the name of which she’d vaguely recognised, of the class he was in with a former Attorney General. She knew he paid a fortune for hair plugs and had a line of PAs who were invariably swipe-rights, and that he barracked for Richmond, or at least one of the clubs with an animal as its mascot. She knew Pru Hardwick was a keen gardener and had three employed at peak times on their block and had a Daphne of particular temperamentality which was the bane of her life.

As she offered her hand to shake, she wondered what the parents had heard about her. Mr Hardwick looked her directly in the eye, implying he knew things even Finbar didn’t know to divulge. Or maybe that was her projected fear. No one mentioned her spot-the-difference charcoal grey dress. Politeness maybe, or because by then Rees Hardwick was in full flood with his own concerns.

Champagne was opened by a waiter at her side in the traditional way, the air escaping around the released cork with the sigh of a contented woman.

‘Son, a good trip?’ the father asked after he’d detailed his own.

‘Did I tell you Ainslee is vegan?’ Finbar said as a reply.

All eyes turned on her. So that’s something you couldn’t have told them earlier? When discussing a big silver anniversary dinner in the south of France? Thank you very much. Ainslee reached for her champagne.

Pru Hardwick spoke for the first time, with some of Ainslee’s feeling of ire in her voice. ‘No Finbar, you didn’t tell us.’

‘They can rustle up something our dinner eats,’ Rees Hardwick said loudly, waving his hand in the direction of the discreet wait-staff.

Ainslee didn’t look at Finbar. She gulped down too much champagne in one go then realised she should have waited for a toast, then didn’t care and downed the rest of the glass.

‘Thank you for answering one question for me,’ his father congratulated Finbar once the dietary requirement was conveyed with exaggerated eye-rolling. ‘That old one about whether vegans fuck meat eaters. Sleeping with the enemy.’

Mrs Hardwick slapped her husband’s arm. ‘Behave,’ she hissed.

Ainslee realised this was not the first bottle of champagne for the night. She pretended not to notice the atmosphere and reminded herself of the dangers of first impressions. Finbar wouldn’t have got a look in, with that name for starters, and the plum accent. They were probably sweet gracious people when they weren’t celebrating. In the south of France. Her own mum was indiscretion’s first cousin when she had a few Moscato in, and hadn’t Ainslee and her friends made the same jokes about the products of other animals and blow jobs? Besides, the champagne flute was miraculously full again and they had a train to Barcelona booked for the next afternoon and they had food to concentrate on in the meantime.

‘I am sorry you’ll miss this unique experience,’ Pru assured her with great sincerity. Ainslee looked for traces of Finbar in her dragged and plucked and redrawn features. No, there was nothing off the distaff side. She wondered if the Botox was an anniversary present. The lips smiled. ‘Is this a health thing?’ the woman asked. ‘I’ve heard it is an excellent diet for keeping weight down.’

Ainslee eyed Pru across the rim of her glass, wondering where her cheekbones were under the layers of makeup. Ainslee could have been polite. ‘Yes, it is a health thing,’ she answered. But she wasn’t. Polite. ‘I don’t eat animals – for their health and wellbeing.’

‘Well at least this one has spirit,’ the older male Hardwick boomed.

Ainslee blushed. She felt a stab of complicity, because she agreed with him entirely. Finbar’s last girlfriend had been a mouse: posh like him, quiet like him. Then she registered the preface to his father’s observation. At least. She suddenly wondered, belatedly, was she Finbar’s bit of rough?

Finbar’s shoe touched hers under the table. Maybe she’d passed a test with this faint whiff of approval from his father. She slipped off her right shoe and rubbed her foot up his calf. He kept his eyes on his father and she gasped silently to herself: I really am in France, the land of Proust and Colette, of castles and cathedrals, of cafes and Existentialists. And cabbages and kings. All the things she’d fantasized about when she was bickering with her sister in the shared bedroom of the family’s ex-govie house, their mother’s sewing machine going like the clappers in the nook beside the kitchen. And now she was here.

She glazed away from the conversation as she took in more of her immediate surroundings. She figured Rees Hardwick was deliberately describing the killing of animals in detail for her benefit and she was pretty sure she didn’t owe him her ears. The restaurant was full, each table like the candle-lit interior of a Dutch painting. She noted how young she and Finbar were amongst this crowd.

Before she could take in details, she couldn’t help tuning back in on the word ‘illegal,’ which Finbar’s mother echoed for effect, clearly having had twenty-five years of practise being her husband’s cheer squad.

‘This is a very special night,’ Mr Hardwick murmured more softly than any of his previous announcements. He touched the side of his nose, an international gesture of collusion. ‘I’ve paid an arm and a leg.’

Which was a lot less than the birds were paying. Ainslee put the echoes of his lecture together: the little songbirds that were soon to be served were illegally caught in nets as they migrated to Africa. Ainslee was no longer surprised by the techniques of animal farming, but that was the easy bit to hear and she was listening now. There was a hush all around them, all stray sounds absorbed by the carpet and their intense concentration.

‘The ortolan feeds at night and it’s an easy matter to trick the birds into thinking they live in perpetual nighttime. They’re kept in dark boxes, nothing barbaric like the Romans who stabbed their eyes out. There they gorge 24/7. Right little porkers, gobbling down the grain until they’re obese.’

The word was an insult on his tongue.

Ainslee kept up a protective commentary inside her head. Oh the French, oh là là, she told herself. Don’t be shocked, she told herself. It’s another culture. She’d get a salad for sure, they’d try to sneak in a blue cheese dressing but she’d be gracious while not eating it. Instagram reassured her constantly, when in Rome – you could do whatever you wanted these days.

‘Ingenious these people,’ Rees Hardwick approved.

Her host was clearly enjoying himself. Ainslee imagined boyhood dinners with only-child Finbar hanging on every word. The poor little bugger. She rubbed her foot higher up his calf, contemplated resting it on his lap, but realised for all his father’s self-absorption, he had an eagle eye.

‘They’ve figured out the best way to kill our ortolan dinner. Drown the birds in Armagnac. Death and marinate in one go.’

Ainslee blanched just as the restaurant’s volume was turned up high. Clapping started near the door to the kitchens and rose in a wave across the tables. The smell and the sizzle arrived at once. A trolley for each table, manoeuvred by a chef in a double-breasted white jacket and a high white hat. Upon each the obese little birds rested on a bed of flames. No more than a mouthful of flesh and bones taking the central role in the performance art of flambé.

Blue flames lay as foundation for the mesmerizing shots of red and orange. Ainslee tore her eyes from the blubbery songbirds in the midst of the fire, from their staring eyes, and she watched the Hardwick family continue to watch them cook in brandies and oils. Was it greed in their eyes? Was she reading too much between the lines, pivoting on the hard word ‘illegal’ and the soft word ‘songbird’? Finbar was almost certainly hungry from jetlag and journeys. Hunger and greed are related, though not twins. She wanted to see only hunger.

But she wasn’t to see much more.

She had a friend who grew up in a cult. She still heard Wendy’s astonishment when she realised anew that the rituals she’d taken for granted as a child could make her new friends laugh.

Ainslee laughed as the group on the next table each placed a large white serviette over their heads. Then their chef condescended to explain how this operation served to contain the aromas and flavours of the ortolan and thus optimised the dining experience. He bowed before he pushed his empty trolley back to the kitchens.

Pru Hardwick was giggling rather than laughing. ‘They say the serviette protects you from God’s eyes,’ she added. Then she went under.

Her husband made a great display about placing and straightening his God proof fence.

Ainslee caught Finbar’s eye. The omnipotence of God was the great mystery here. If only she’d known a thin layer of starched linen could arrest His gaze. She said all this in lover’s morse code, a wide-eyed goggle followed quickly by three blinks.

Sighs and groans emanated from under the tent city of gourmands around them. Ainslee followed Finbar’s look downwards to the dead songbird on his plate. It was a bloated yellowy blimp with stunted wing nubs and blank eyes.

‘Beak and all?’ he whispered.

The crunching around them answered yes. They’d watched her neighbour’s cat eat a mouse together. Even it had left the head.

‘You’re not…’ Ainslee gasped.

But he was. He shrugged. ‘When in Rome do as the Romans do.’ His face disappeared and his disembodied hands passed the ortolan unto the maw that lay beneath.

There was no-one left for Ainslee to roll her eyes at. If they could only see themselves. Her dad would cack himself. She could hear him in the rough voice she’d become embarrassed by once she got to university. Bunch of cultured twats, he called people like this. Looking like dicks under starched serve-you-rights.

Finbar gurgled beside her. The bird was to be eaten in just one mouthful. She imagined his tongue reaching the skull of the bird. She knew the weight of it in her own mouth: heavy and firm. The bone would shatter under the weight, collapse into creamy brain. The ribs would splinter around the organs, the nutty heart bursting, the punctured lungs released gulps of Armagnac. One mouthful, to be eaten in one go. A crowd masticating alone, shielded from God’s eyes. Chewing and sucking. Not one of them would notice if she got up and left. She could take her pretentious mistake of a dress and her spurt of ‘spirit’ and her retreating footsteps would be muted by the carpet and eclipsed by the introspective sensual pleasures the patrons had paid a fortune for.

A tintinnabulation of bell-like noises sounded around the restaurant as she pushed her chair back. Tiny chimes as the larger indigestible bones landed on pure white plates.

She was simultaneously inside Finbar’s mouth being sucked and gnawed and outside on the cobbles again looking in on the velvet curtains and brass lamps and depth of history and saturation of high culture. She might condemn but she saw that she was the one who didn’t fit the world. For the length of a bird’s song she was a class traitor and longed for such an incontrovertible sense of belonging.

But birdsongs, she realised, don’t last long even when they’re not cut short by nets and torture.

Cunjevoi by Caitlin Doyle-Markwick

Caitlin Doyle-Markwick is an activist, writer and performer from Sydney, by way of Newcastle. Her writing has appeared in publications like Overland, Antipodes and Otoliths. Working with her theatre collective BigMuscles SadHeart, she wrote and produced her first play, JobReady, a surreal, black comedy about the welfare system, in 2017. In 2019 she was a resident playwright at the Old 505 Theatre, where her latest play, As She Lay, will premier in 2020. Caitlin is a member of Solidarity and the Refugee Action Coalition.



Tiny bubbles of oil swell and pop, and swell and pop, occasionally sending boiling droplets flying outwards like golden spittle. Little red-black dots speckle my forearms where it has got me before.

The blood smell has gone and has been replaced with the protein smell. The meat smell. I flip the patty and it hisses at me. Steam billows up and around my face.

I feel a hand on my waist. Not my waist, the bit halfway between back and bum, whatever that bit’s called. Jamie leans around me, but not so close that the steam gets him.

‘Mairana, would you mind jumping up to the counter for a while? We’re a bit short.’

‘Ah, yeah… sure’, I say, shifting to the left to let his hand drop off my body.

‘Geordie, can you…?’ he looks at Geordie and indicates, with a yellow-white latex-gloved hand, to the two hotplates. Geordie nods, moves in between the two plates. You get to be dextrous with those spatula and tongs after a while, like Geordie is.

I go out the back to swap my apron for a clean one and examine myself in the mirror. The sweat sits thick on my face. I wipe it off but it appears again straight away. My skin has broken out in pimples again. There’s a halo of frizz around my head, and my black curls spring out at all angles. I try to flatten it all with my palms, but then give up and pull it all back into a hairnet.

I step back to see myself from a distance. My shirt stretches too tightly across my boobs. I gained weight, will have to lose it so that button doesn’t pop. I pull the apron up and re-tie it.

I look through the round window into the kitchen. The door keeps out most of the sound and it’s like looking in on a silent film, one stuck on loop where the machines and the people keep doing the same movements. I cross my eyes slightly to blur my vision. Now it looks like a watercolour, where the paint hasn’t dried yet and is still sliding across the page. All smudgy silver, yellow, red. Sometimes I do this, just to soften things a bit.

Jamie’s face appears in the window, a blot of pink.

‘Coming,’ I say, refocusing my eyes. I swing the door open and walk up to the counter.

For the year I’ve worked here I’ve managed to stay mostly on cooking, where I don’t have to face the public and I can’t hear the train announcements flooding in through the front doors every other minute.

A customer waits while I navigate the ordering system. I pretend not to notice him. If I say sorry he’ll think I’ve done something wrong, so I don’t. I want to tell him, it’s this computer, the bastard-of-a-thing, but I don’t.

‘I need to jump on a train at 10:50,’ he says.

‘Just a minute.’ My uniform is sticking to the sweat on my back. ‘Okay. What can I get you?’

‘A large chicken nugget meal, please, with Fanta, not Coke.’

I notice the man’s collar is stained yellow where it meets his neck. Doesn’t he know not to wear white twice in a row?

‘Will that be all?’

‘Yes, thanks.’

‘Tap here, please.’

He pulls his card out of his breast pocket, which has a blue logo on it in a star shape, and a pen stain.

‘Thanks, Darl’’. He’s happier now his nuggets are coming.

‘Mairana, you’ll have to pick up the pace before peak hour.’ Jamie’s voice comes up from behind me. ‘We’ll be getting slammed soon.’


He walks back into his office out the back.

‘Little prick,’ Clara says, only loud enough for me to hear. She’s behind the computer next to me. Clara’s worked here for three years, Jamie for nine months.

‘Geordie reckons he’s getting promoted to regional manager soon,’ I say.

‘Scum always floats to the top,’ she replies.

‘Ha…Yeah.’ I wonder if scum would have bought us all Celebrations chocolates for Easter when he arrived, like Jamie did. Probably. A scummy ploy, maybe.

For the next two hours, the orders come non-stop. It’s just past two o’clock, the end of my shift, when they slow to a halt.

‘Where’d you say you moved to, Mairana?’ Clara asks in front of the lockers.

‘Arncliffe,’ I lie.

‘Ah yeah, that’s right. Same line as me. Leaves in five, we better be quick.’

‘I’m actually going to stay at a friend’s house nearby,’ I lie again.

‘Oh.’ She smiles and winks, ‘got it.’

Some clothes and a book fall out of my locker onto the ground.

‘You wanna squish a bit more in there?’ she says.

‘I keep meaning to clear it out but… you know.’

‘Yeah. G’night. See you tomorrow.’

‘Yep. See ya then.’ I wait for her to leave before I pull out the blanket.

I check my phone. I’ve missed the Lithgow train. Damn. The Newcastle train, second best, leaves in five minutes. I check that Clara has gone and then run across the station hall and through the gates.

I manage to go unnoticed by the noisy lads going back to the Coast, and find an almost empty carriage. The nylon seats are purple now. I like it better than the bureaucracy-green of the old seats. Purple feels softer, more like a colour someone might paint their bedroom.

I lie down on one of the three-seat chairs and pull my blanket around me as the train starts moving. A voice comes through the overhead speaker in a tired, indifferent drawl. Sometimes I feel like the surly tones of the drivers are reserved for me, as if they can see me through their cameras, curled up on seats that were made exclusively for bums, thighs and backs, not for torsos, heads, feet. Or like I’m a stranger they found lying on their porch in the morning.

‘Thank you… we hope… journey.’ I catch the driver’s last words.

I open my book to the dog-eared page. I found this book on the last train. Next door to Number Twelve-and-a-half was an empty shop. It had been empty for so long that Mumma often groaned and grunted her way through a hole in the paling fence and hung here washing in the backyard. When Roie and Dolour were little they had often peered through the black glass… But I’m too tired to keep reading. I drape a scarf over my eyes to block out the light as the train staggers out of the city.

A hand pats my shoulder gently.

‘Good morning, Mairana.’ Rohit is looking over me with his nice smile, holding his cleaning equipment, a bag in one hand and the long pincer tool in the other.

The train is still and the sky outside is turning pink.

‘Did you sleep well?’

‘Yeah,’ I say. ‘Pretty well.’ My body feels heavy and my eyes aren’t ready to open yet. ‘Deeply, anyway.’

‘No trouble?’ he says.

‘No, no trouble.’ I rub my eyes. ‘Thanks for waking me.’

‘You are welcome. You have a good day, take care.’

‘You too. See you soon.’

He pincers a soggy newspaper and puts it in the bag before going upstairs.

A coal ship sounds its horn as it is pulled into the harbour. A deep groan that rumbles under my feet and up through the city. Another fifteen ships sit waiting in a sullen line along the horizon.

By the time I arrive at the beach the sun is up, casting a greyish light over the flat ocean.

I pile my things close to the water where I can keep an eye on them, and change into my swimmers under my towel.

I walk slowly into the water until it reaches my waist and then dive in. The water’s still cold. It’s that time in December when the ocean is still catching up to the air.

Under the cover of the water I rub my underarms and my groin clean. The grease on my skin rises to the surface and swirls around me for a moment before it drifts off. I get some sand between my fingers and rub the skin on my face until it feels smooth.

I put on my goggles, take a breath and dive down as deep as I can. I push the air out of my lungs so that I can sit like a stone on the sand.

I used to do this as a kid, only then it was in those chlorine suburban swimming pools, where the sides are curved and painted that aqua colour so the pool looks like it goes on forever. It was part of a game I would play with my friends, called ‘Stone’. I’d stay down there as long as I could, until I thought I might pass out. I got to be very good at it.

I move my fingers side to side front of my face. They look like they’re glowing. Why does everything look whiter under water? Beads of air cling to the tiny hairs all over my body. I touch my belly and feel movement under the surface. Does the salt water make your organs float? My skin feels liquid to touch, like it might just dissolve in the water.

All I can hear now is the blood pumping out of my heart, up my neck and past my ear drums, so that it sounds like the whole ocean is pulsing around me. My lungs start to feel tight after a minute. I can’t hold it long these days.

I wish humans had evolved to have bigger lungs so I could stay down here longer, in this blue blue blue where there’s no clanking or announcements or complicated orders of chicken-burger-without-the-cheese or fat-sizzle noises. What if we rewound evolution and went back to the sea? Back past the point of fish and their shark terror to the calm of being a jellyfish, floating along with the current, not even needing lungs or breath, maybe glowing, if it’s deep enough. Or a Cunjevoi, squirting a bubble of air out every so often to keep things fresh. Or seaweed, or some other part of the seabed, thinking that the sky is that silvery layer that is the top of the water and never knowing what the real sky is, never needing to know.

The edges of my vision are going dark now. I push myself back up to the surface and my lungs inflate with air again.

The first morning swimmers are arriving. A late middle aged couple, retirees probably, who go to bed early and wake up at this hour by choice.

I adjust my swimmers as I get out of the water. They’ve gone saggy around the bum and the underarms.

‘Stunning morning, isn’t it?’ says the man.

‘Lovely,’ I say.

I rinse off in the shower and buy a coffee to drink while I wait for the bathrooms to open. Not sure why the coffee shop opens first. I unwrap the burger from last night in my handbag – I’ve learned to leave the tomato and mayonnaise off so it stays dry – and sit next to the rock pools while I eat.

The tide has only just gone out and the wet, blue-grey rock in between the pools looks like damp, pockmarked skin. Just below me is a manhole-sized pool. The dark seaweed that lines the walls moves slowly to and fro, as if the pool is its own tiny sea with a current of its own. Maybe the pools are all connected underneath by tiny tunnels that all lead back to the ocean. A few fish swim around the bottom, too big to swim through any possibly-existing tunnels, waiting for the tide to return and take them back out to sea.

Seagulls start to gather around me. I shoo them away with my foot. ‘Piss off’ – like they understand me. I wonder sometimes if they feel any shame, scavenging like this. I finish the burger and fill the rest of the space with coffee.

In the bathroom I get back into my uniform. Haven’t had time to wash other clothes yet. My uniform smells like chips, but nothing worse than that.

The woman next to me on the platform looks familiar. She’s got a travel bag on wheels and too many layers of clothes on for this weather.

I remember now. I’ve seen her once, maybe twice, on the Lithgow Line. She looks tired, but a resigned kind of tired, like she doesn’t expect to be not tired any time soon. We lock eyes for a moment and I think she recognises me. She looks away and walks along the platform to the opposite end of the train.

I find an empty carriage. I don’t bother to take out my book this time, the coffee did nothing. Caffeine when you’re this tired is like trying to paint over a crack in a wall when the wall has actually been split in two. I fall asleep before the train leaves the station.

‘Nah, I didn’t even see it happen—’ I open my eyes just as the boy sees me. He whispers something to his friends and they go back up the stairs. I fall back to sleep for ten minutes.

‘Morning ladies and gentlemen. Just need to check your Opal Cards’. I pull my blanket off and try to push it out of sight. The inspector holds her hand out for my card. ‘Thank you.’ She looks me up and down before walking off.

I don’t get back to sleep. The carriage fills up at Hornsby and there’s no way to lie down.

I buy the paper and sit on a bench where no one can see me from work. Around me are a few old people with their own newspapers in all different languages, sitting here pretending that they’re waiting for a train when really they’re just watching, waiting for nothing. Then there’s the intercity passengers, or customers, as we call them now, waiting with their luggage, half an hour early for the train just to be safe. Some of the older ones are well dressed, as if country trains are still a fancy thing. Pigeons walk around on their club feet picking up crumbs with their broken beaks. If only they knew how healthy the pigeons in the suburbs are, maybe they would go there. Then there are the lumps along the edges of the hall, like mushrooms growing in the cracks of the building, that are actually humans in sleeping bags.

There’s a commotion near the entry gates. I look over my newspaper with the other bench people.

‘There’s nothing we can do about it Ma’am,’ a station guard says. ‘There are some complications with the new timetable.’

‘How does a train just get cancelled? It’s just sitting there not moving.’

‘There will be another train leaving from Platform 19 in ten minutes.’

‘Why can’t you people just do your jobs properly and make the fucking trains go?’

‘I am doing my job, Ma’am.’

The backs of my eyeballs hurt. The screen leaves white rectangles in my vision when I look up at the woman in front of me.

‘Just a chicken burger please.’

The burgers fly across the screen at my fingertips. Chicken burger.

‘Anything else?’

‘No, thank you.’

‘That’s six ninety-five.’

She gives me cash. I open the till and slowly count out the coins for her change. It feels as though someone is pushing on my head from all angles. I picture myself lying down to sleep on the counter between the computers.

‘If you see unattended baggage… please do not touch it… notify staff immediately.’ An announcement moves across the hall from the platforms and through the front of the shop. I don’t know if I would have heard it if I didn’t know the words off-by-heart. It’s like when a friend calls from far away and you only hear them through the ruckus because you know their voice. Except this isn’t a friend. It’s more like when you hear a song you know from a distance, and suddenly you can hear the melody clearly, because you know it.

I count the coins again and put them into the woman’s hand.

‘Sorry, I need another dollar,’ she says.

‘Oh, sorry.’ I hand it over.


‘Next please.’

‘Just a large chips please.’

Large chips.

A little girl looks over the counter next to her father. I can tell he’s her father by their heavy eyebrows.

‘And a Coca Cola,’ she says. Father looks down at her, then back at me.

‘And some orange juice, please,’ he says.

Orange juice.

In the top right hand corner of the screen the fifty-nine turns to two zeroes and the thirteen before it turns to a fourteen.

I log out and walk out the back. Clara is gathering her things, moving quickly. Or maybe my mind is moving slowly. She looks up.

‘You look buggered. You alright?’

‘Yeah. Just tired. Didn’t sleep well.’

Jamie walks through the door behind me.

‘Hey guys,’ he says. He’s smiling. ‘Look, I’m really sorry about this, but we’re a bit understaffed today and I just need one of you to stay for another hour or so until Jason comes in.’

Neither of us speaks.

‘Just an hour. Really. Tops.’

‘I need to pick up my kid,’ Clara says. ‘I get charged more if I’m late.’

I rest my forehead against my locker and close my eyes. I think about lowering myself down into a deep rock pool. How I would take a deep breath and dive down to see if there were any tunnels leading out to the sea, and if I were to find one, would I swim through it? There would be every chance that the tunnel might go on for so long that I would run out of air, and not come up again. I would remain forever a part of an underwater system that maybe no one knows about, become part of the rocks, and the algae, and the sand, in all its million pieces. Or I might swim out into the open ocean. The blue blue blue ocean that goes on forever.

I lift my head up and look at Jamie.

‘I have a train to catch,’ I hear myself say. I open my locker and pull out my bag, and my blanket. ‘And she has to pick up her kid.’

Claire Albrecht

Claire Albrecht is writing her PhD in Poetry at the University of Newcastle. Her poems appear in Cordite Poetry Review, Overland Literary Journal, Plumwood Mountain, The Suburban Review, the Australian Poetry Anthology and elsewhere, and she is the 2019 Emerging Writers Fellow at the State Library Victoria. Her manuscript sediment was shortlisted for the 2018 Subbed In chapbook prize, and the poem ‘mindfulness’ won the Secret Spaces prize. Her debut chapbook pinky swear launched in 2018. Claire runs the monthly Cuplet Poetry Night in Newcastle.


The hard work is starting to pay off!

my husband and I follow the 49/51 percent rule and
enjoyed the view. I panicked, kept pushing the time
back, and now I am at work 1 hour and 15 minutes early.
I don’t have time to work

using the search words ‘women in science’, I completed
40 hours of work in 4 days (you make your client
mashed potato and leave the skin on. your client
throws a microwave at you)

my commute today – variety is the spice of life.
a rather narrow way of viewing how people make
a living. try saying you ‘get to go to work’.
it’s a damn miracle

you got one job, larry. one job. some people will never know
how much thought and care I put into (go to work, or stay
in the bath and keep topping up the aspirin?) this is in
the bathroom stalls.

unfortunately with both of us doing shift work
we haven’t been able to catch up for his
biggest challenge so far? getting the printer to work.
you gotta be shitting me.

*found poem from my social media feed

Caitlin Wilson reviews Sun Music by Judith Beveridge

Sun Music

by Judith Beveridge


ISBN 978-1-925336-88-7


“I often think about
The long process that loves
The sound we make.
It swings us until
We’ve got it by heart:
The music we are” 

“Girl Swinging”

Judith Beveridge tells us what she is. In the introduction to her collection Sun Music: New and Selected Poems, she describes herself as a lyrical poet, and discusses her belief that poetry must be a “showdown between the word and the poet” (xv). 

She begins her introduction with her ‘why’. A shy child, she found comfort and company in books and her own imagination, something she credits with drawing her into poetry: “I could manipulate words to sound more confident” (xiii), she says, and that her use of “masks and voices” (xiii) allows her to open up. For someone who doesn’t “particularly like” talking about her own poetry, this introduction illustrates an ability to zoom out, adopting a self-aware bird’s eye view of her own poetic idiosyncrasies and inspirations.

Echoes of this interest in shaping and moulding abound within the collection: in “Invitation”, the speaker does this with food; “I try to steer the flavour, arrange the colours on a plate” (38).

However, her most striking confession is how her childhood shyness inspired her love of nature, a fascination which proliferates in her work and in this collection. She explains that “the natural world didn’t make demands of me to speak to it”, something which is clear in her poignant and meticulous observations of nature (xiii). Her poems are earthed and earthy, giving the impression of a poet bewitched by the simple wonder of the world. Nature as a lively yet undemanding presence operates in Beveridge’s work as both a jewel to behold and describe, valued in its own right, and as a gateway into an examination of humanity, womanhood, personhood. In kitchens and gardens, nature is sniffed and poked, something to be moved by and something which, of its own accord, moves. Beveridge paints us a nature that is elegant, blunt, and vibrant, but never uncommunicative. 

The introduction prefigures a curation of some four decades of a much beloved and awarded work, as well as thirty-three new poems. Once delved into, this collection ebbs and flows, widens out and narrows in with pin-point focus on facets of a rich and richly observant creative life.  

Her earlier work, sampled here from The Domesticity of Giraffes (originally published in 1987) and Accidental Grace (1996), wafts from the page in familiar spirals. These poems are soft-edged, recognisable. They could be written about moments from a hundred Australian childhoods, or the subject of a thousand lunchtime daydreams. It says something about what we ask of poetry that I need to clarify I mean this as a compliment. The poems aren’t out to skewer a broken world: they speak to it and about it with gentle care and curiosity. This work is invested in the flux between indoor and outdoor, the grey space between inertness and liveliness. Symbols weighty with meaning are juxtaposed against the everyday – in For Rilke, ‘our hearts – they’re like utensils’ (7) and in The Fall of Angels are ‘faces cracked like china plates’ (33). This early work is also ripe with soundscape, fitting for a collection collated around its namesake. Yachts (86-87) asks the reader to hear the small symphony of seaside sounds – “the call of an oriole”, “the sharp strike notes of bellringers”, “a child count the stars in the water off a rickety pier”. The way her speaker conducts the soundscape changes – “if you can hear” becomes “you’ll know”, becomes “maybe you only hear”, and “perhaps you hear”. This vacillation between certainty and uncertainty, concrete and imaginary, leave the reader suspended in a moment at once real and magical. Dichotomies abound in Beveridge’s work. 

Through her title Sun Music, Beveridge rightly draws our attention to her preoccupation with poetry’s sonic and rhythmic potential, encouraging us to hear the poems she crafts. However, it is her use of another sense that charmed me most. Scents drift up from her poems – a “dark potato” and the leaves and lemon the speaker uses to try to cover its funk in “Flower of Flowers” (30) tickle something in the back of the reader’s mind, a curiously powerful invitation to enter a poem through the nose. Perfume plays a strong part through the decades, a seeming favourite motif of Beveridge’s. It makes sense: smell is hugely connected to memory, and perfume, in particular, is something man-made that gestures toward the natural. Hints of rose and sandalwood are concocted to remind us of the beauty of the earth, to allow us to wear it. Beveridge’s use of scent activates something almost primal in her reader, leaving them no choice but to live through the poem, to step into it like an herbaceous bubble. 

The works taken from her 2003 collection Wolf Notes are populated with more spectres of the human than the earlier selections. These characters are at once strong and vague, often more archetypal than wholly ‘real’. The mysterious ‘she’s of “The Lake” (102) and “Woman and Child” (105), the titular Fisherman’s Son (109), “The Artist who Speaks To His Model” (116). The animals remain, in Wolf Notes (112), and the birdsongs of “Woman and Child and Whisky Grass” (107), though their existence is often filtered through a character’s sensory experience of them. Visuals, too, are sumptuously laid out. In “The Dice-Player”, dice are “an affliction of black spots” (99). 

“Marco Polo’s Concubine Speaks Out” (61) and “The Courtesan” (119), written some seven years apart, illustrate Beveridge’s ability to return to characters and images and develop, deepen and darken them. The speaker of the first tells us the  “wind is blowing in the chrysanthemums”. In the second, the courtesan describes how “lightning flexed its muscled whip”. Whether this marks an overall turn to the darker, harder and more visceral in Beveridge’s oeuvre depends on how you receive the images she offers, part of the beauty of her work. 

The Storm and Honey selections, from 2009, shift pre-occupations from the earth to the sea. Beveridge conjures fishing metaphors and watery imagery with (perhaps verging on tiring) frequency, though her gemlike capturing of moods and moments is omnipresent. There is a sense of looking out, looking beyond in these works that feels like an exhale. 

The new poems, however, begin with a look back. “I rarely come here now, once or twice since you died” begins “Revisiting The Bay” (175), an achingly nostalgic memorial poem for Dorothy Porter. They are littered with memories, with preferences and perspectives earned by a life of creative observation. There is a sadness to these poems, though she warns us of this in her introduction: “I hope there’s enough overall sense of joy and wonder to override a creep into these darker tones” (xviii). These darker moments are, indeed, visited upon but never lingered in unduly, and she looks to the future here alongside remembrances. Her natural affinities remain but seem more charged with worry now. The poems show an enhanced sympathy and affinity with animals, beyond passive but loving description. They are impassioned, and loaded with a satisfying punch of righteousness. “To My Neighbour’s Hens” (178) is explicitly animal-rights (or at least chicken rights) oriented, with its plea that the sweet hens next door need never experience “slopped wire floors” and “battery cages”. “A Panegyric for Toads” (214) is a masterclass in balancing levity with the deep and dark. 

Beveridge’s poems are all about balance – conversational and musical, weighty yet light as a perfumed breeze. They give the reader the space to live with them, comfortable and churning, until a line strikes you like a sparkling melody, lingering long after the music stops. 

CAITLIN WILSON is a Melbourne-based student and writer of criticism and poetry. Her poem was recently short-listed for the University of Melbourne Creative Arts poetry prize, and her criticism can be read in Farrago and The Dialog, among others.

Sarah Attfield

Sarah Attfield is a poet from a working-class background. Her writing focuses on the lived experiences of working-class people (both in London, where she grew up and in Australia where she lives). She teaches creative writing in the School of Communication at UTS. She is the co-editor of the Journal of Working-Class Studies.



High Rise

Who owns the view?

You don’t want our community centres –
bingo playing old dears
eating Rich Tea or

sticky carpet pubs
where pints are sipped and darts still chucked

barber shops
with men outside on chairs
righting all the wrongs of the world

youth clubs teaching kids to
turn the grime into bpm

You don’t want our mosques
noisy churches

pound shops
pawn shops
knock-off handbags down the market

our graffiti
dogs with muscles
cars cruising with bass turned up

You used to hurry past
(or never set foot)
couldn’t imagine
living like that

all Harry Brown to you
hoods in underpasses
broken lifts
suicide towers

But now you want our views
high-rise living is suddenly a thing
with murals on street corners
cafés not caffs
boutique art in railway arches
artisan bread made by hand!
(that’s what we just call cooking)

And if there’s any of us left
don’t expect a welcome


Retail Therapy?

She rolls her eyes when he isn’t looking
nods politely when he is

he points out the bleeding obvious –
she’s in the middle of doing
exactly what he tells her to do

she knows how to keep the counter clean
greet customers
weigh measure fold
smile thank pack

ignore the comments about her
hair breasts skirt trousers face
lack of smile
no make-up

suppress the need to pee
sit down
stand up
get a drink

agree to stay back
start early
lift too much
work faster
not be cheeky

she is there to serve
the dickheads who ogle
the entitled who demand

and sometimes, the people just like her
who smile and roll their eyes on her behalf

she can laugh with workmates
avoid the boss
make up names for those customers

if she’s lucky she’ll get more hours

Beth Spencer

Beth Spencer’s books include Vagabondage (UWAP), How to Conceive of a Girl (Random House) and most recently, Never Too Late (PressPress). She writes fiction, poetry, essays and writing for radio and performance. She has won a number of awards, including the Carmel Bird Digital Literary Award in 2018 for her short fiction collection The Age of Fibs, now a Spineless Wonders ebook. She lives on the Central Coast NSW.


Eating the rich

The first time I went to a restaurant was
the local Chinese place for Dad’s birthday.
We ordered steak and eggs and chips,
except for my brother who shocked us all
by ordering these strange things
called dim sims. When they arrived
we watched, a little horrified,
as he poured a dark thin
sauce in his bowl and ate them.
I’m not sure what I expected might happen.

The second time I went to a restaurant
was the new Pizza Hut at Ringwood.
Once again it was Dad’s birthday.
This time it was my sister
who assured us that yes, that’s right
we all eat off the same plate!
She also showed us the proper way
to bite into the slice then pull it out away
so the mozzarella cheese
made a long gooey satisfying river.

The third time (Dad’s birthday again)
was a French Restaurant in Mitcham.
Chosen out of the phone book
and the only one open on a weeknight.
We had fun passing forks full of rich
sauce-coated dishes across the table – try this!
(whoops, a big glob plopped into an unused
wine glass — no worries, the waiter whipped it
away without a single word) and we laughed
and talked at the tops of our voices.

Then the bill came.
We grabbed a quick look
before Dad picked it up.
          The whole table went silent.
Dad’s eyebrows shot up, but he didn’t say a word.
Just pulled out his wallet and (lucky it was pay day)
placed way more money on the table
than at fifteen I could earn in a week.

The next year we went Bowling
and had fish and chips.

Erin Shiel

Erin Shiel has poems published in Meanjin, Cordite and Australian Love Poems. In 2018 she was shortlisted for the University of Canberra VC Poetry Prize. She is writing her first collection.



Grace Bros Miranda Fair Lighting Department

In my childhood home, three bedrooms
and the lounge room had chandeliers.
Not purchased in bulk from the coffers
of a French Noble, once lowered on feast
nights and lit by servants scurrying
before the guests arrived to drink claret,
eat suckling pig. Not made by Venetian artisans
blowing bulbs by mouth, twirling rods
in hot ovens until glass dripped like amber
sap. Our chandeliers were bought one by one
with five dollars saved from each pay week
for the best part of the year
I turned seven. Chandeliers need flock
wallpaper to accentuate their luxury
so my father spent weekends lining up
the patterns of one strip with the next.
Some of the houses of the brickies
he worked with were lined with Opera
House carpet, Regent Hotel tiles. Our
chandeliers were bought from Grace Bros
Miranda Fair lighting department.
On Thursday night or Saturday morning
we’d visit that hot cave glittering
not with seams of gold quartz crystal
or glow worms, but with chandeliers
(and their poorer, colonial style cousins
destined for country kitchens).

A thousand price tags dangled above our heads.

*After visual artist, Nicholas Folland, The Door is Open, 2007 at Museum of Contemporary Art, Sydney. See image online at


My mother, balancing

On the first day of my mother’s first job the boss
sent her out at lunchtime to order a toasted ice cream
sandwich. All the men in suits thought it was funny
when she came back with the sandwich dripping
through the paper bag onto her white gloves.
At her second job she got married and they held

a farewell party. But I don’t want to leave, she said.
They thought that was odd. My mother’s work was at a desk
with a large accounting machine with so many keys.
It had its own rhythm that I never understood. Cha Cha Cha.
She was always racking her brain for a missing invoice payment
of $36.20. At her third job she was allowed to work even though

she was married. When I was born they delivered the accounting
machine to her house so that she could find the numbers
that weren’t quite right while I slept to the Cha Cha Cha.
She had rubber thimbles on her thumbs so she could flick faster
through the papers looking for that number that wasn’t right.
She made friends at work. They shared recipes and diets

and stories about their children putting plasticine in their ears.
They paid each other’s children 50 cents on school holidays
so they could keep them quiet and bring them to the office
to file or organise rubber bands. In the lunch hour they rushed off
to the supermarket to shop for dinner or school lunches.
…. Mince…. Oranges…. Bread…. Milk….

My mother’s job was before work too. She would dust the house,
put a casserole in the crock pot and hang the washing on the line,
cracking in the wind. The cold singlets would flap in her face
as she said her prayers. She said it was the only time she had to pray.
The magpies and the cat hung around her feet until they were fed.
At her fourth job in the furniture factory, when she did overtime

she asked for cash but received diamonds and shares in uranium
mines instead. She sold them quickly to pay for my school
uniforms. When she lost weight she admired herself in the window
of her office causing trouble on the factory floor below as the workers
stopped making chairs to whistle. She walked over the sewerage pipe
at the Botany wetlands to save on bus fares. I remember lying in bed

watching her do her hair for work, still a bit sleepy and loving her
scent swishing by my bed. Twist, twist, twist it up into a beehive.
Tweed skirt, twin set. Perfect for the office that is air-conditioned
for men in suits. At her fifth job my mother paid doctors’ wages
and minded kids with disabilities so their mothers could have a break
and go to the hairdresser. She still managed to balance the books.

When she retired, the women she taught to balance books came
to visit her. There were funerals of the women who had taught her.
She found that missing $36.20 in the shower. In her mind she saw it,
in the wrong month. The credits and debits fell into place
and she felt easier. But that was just one part of the rhythm restored.
There was the mortgage too, the school fees, the meal planning,

the lunches for my father, the trolley shopping, the jibes from tuckshop
mothers about her latch key child. The day off when the child was sick.
The saving for the trip to see the in laws she had never met. The shiny
bloke in the office who made sleazy comments. The boss who kept
a second set of books. Her father’s angina tablet prescription, clutching
at her heart. Her mother who needed help choosing carpet… Cha Cha Cha…

Joseph Schwarzkopf

Joseph (known to some as Butch) is a Western Sydney based poet and visual media artist, born to Filipino immigrants. He enjoys doing laundry, long walks through Kmart, and late nights at Mr. Crackles in Darlinghurst. His practice explores the varied experiences of the Filipino diaspora in Australia. His works have been published in UNSWeetened Literary Journal, UTS Writers’ Anthology, and the Australian Poetry Anthology. Joseph’s favourite word is pie.


Naaalala Ko

I remember Ate Maria, waking me up for school, I’d get ready, go to the corner shop
             and get Dad the paper, pack my lunch and walk down to Torres.
I remember coming home, exhausted, but there was always a meal on the table,
             and Manang would bring over her kids and we’d study together.
I remember on Sundays, we’d all rush out of church to get home for the family breakfast
             every Lolo, Lola, Tito, Tita, Ate, Kuya, Pamangkin, Ninong, Ninang, Kapatid – we
             were all there.
I remember meeting up with my barkada, we were the street’s breakdance crew,Enzo
             would bring the linoleum and Jek would carry the boombox – we’d battle with
             groups from the other streets at the rotunda where there was a basketball court.
I remember when Jepoy first got a colour TV – the entire street would gather round his
             house, sit in his lounge room, peer through his windows.
I remember Aling Alice and the Sari Sari store she has at the front of her house – it
             was the street’s centre – the easiest place to meet and you could get nearly
             anything you ever needed there.
I remember Gagalangin, the safe side of the most dangerous, densely populated district
             of Manila – Tondo. Smokey Mountain was on the other side. My Kuya Bino was
             the gangsta of our area.
I remember Manila, crowded, busy, beautiful – cleaner that it is now.
I remember leaving the house I was born in, the last time I saw the stove where I’d greet
             Mom each day, the last time I touched the floor where I’d slept each night, the
             last time I closed the door.

Bronwyn Lovell

Bronwyn Lovell’s poetry has featured in Best Australian Poems, Meanjin, Southerly, Cordite, Antipodes, Rabbit, Verity La, and Strange Horizons. She has won the Arts Queensland Val Vallis Award and the Adrien Abbott Poetry Poetry Prize. She has been shortlisted for the Judith Wright, Fair Australia, Newcastle, Montreal, and Bridport Prizes.


Working Girl

You and I can both get jobs
and finally see what it means to be living

— “Fast Car”, Tracy Chapman


I trade time for dollars at the minimum
wage exchange. I wipe tables instead

of writing poems. I am well versed
in the cycle of reheating and eating

frozen meals in the windowless staff
room. I know my worth in hourly

increments. I have purchased property
with my body. I have a small patch

of grass the bank lets me mow. I live
within my fence, make my garden

pretty, iron my uniform to hang an
empty effigy to my hollow shape.

I am paying the bank off for a metal
box in which I cart myself across

suburbs pumping noxious gas exhaust
on my way to the shopping centre

where I serve the fried flesh of dead
animals to pigs who don’t think they

are animals. I scrape the waste from
their plates into the trash to be shipped

out to stink up some other place
where garbage piles like body bags.


I want to do the real work — I want
to write the world anew but that’s

not what companies pay me to do.
I am the overqualified unskilled.

I am the doctoral student you drive
-thru, that see-through counter chick.

Sometimes I wonder what lipstick,
wig, tit tassels and a spray tan might

do. How much could I make? What
would it strip from me and could I

break even, pay my way out? What’s
a small heart-sink for cash in hand?


I see how it happens — an overdue
power bill, medication for the cat,

funding cuts, no penalty rates, my
savings account stripped bare.

There isn’t a woman in my lineage
who hasn’t earned her keep.

Stripper me does not differ greatly
from strapped me. She’s just a girl

trying to make some money. She’s
simply more practical: writes off

fish-net stockings and pole-dancing
classes on her tax. It wouldn’t take

much — full body wax, theatre-thick
foundation, waterproof mascara

and a spine. The girls in International
House do it. Call them Asian beauties

or student slaves. Call me by my name
badge, ‘Love’, or something else entirely.