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Showing posts with label Australia. Show all posts
Showing posts with label Australia. Show all posts

Saturday, February 26, 2022

FAMILY DEBATE OVER KIMCHI

by Helen Wilson




We sit in a Korean BBQ restaurant
snipping conversation with tongs,
searing meat with commentary
on the political affairs of the day.
 
“They took pinking shears to
divisive
unworthy
tattered then
abandoned by a wayward man-child.”
 
Tender beef cuts melt
in the mouth while
kimchi sours
like first world ethos
 
only sweeter. We agree,
“Lies leave a nasty taste.”
Bald-faced lies
poison any hope of error. While
 
errors are forgivable
contempt and chilli sauce are not,
staining white flags
indelibly without hope of redress.
 
“Pure heat, not head
nor heart.” I say of
rapid fire policy and 
unfiltered visceral campaigning.
 
“Democracy’s disintegrating,
honour’s unhanded and
self-interest trumps
public good.”
 
“Nothing’s changed,” say the young ones,
as their fingers 
skip across tiny screens
at the speed of light.
 
“Pollies have always snuffled
from the trough
of populism.” 
such is their experience.
 
Defeated,
we wield chopsticks
and pierce the offerings
that we can control.
 
Distracted by 
the crazy patchwork
of dishes and sticks
and tastes and flames as
 
tanks roll across the tundra
and the blanket of peace
under which we hide rolls back.
“So much for perestroika and glasnost.”
 
Who ever really knows?


Helen Wilson is an Australian poet and a professional communicator who has written for magazines, art shows and a pure love of the lyrical. Her passions include ekphrastic poetry, haiku, and dinner with her adult children. She dreams of a world where people will play nicely. 

Friday, February 11, 2022

KOALA 2022

by Stephen House



Koalas are now considered an endangered species in NSW [New South Wales], Queensland and the ACT [Australian Capital Territory], as numbers plummet due to climate change, land clearing and disease. The Australian icon had previously been rated "vulnerable" under the federal government's Environment Protection and Biodiversity Conservation Act 1999, but its status has now been upgraded. —ABC [Australia] News, February 11, 2022. Koalas have lost the equivalent of 10,000 cricket grounds of habitat in the last decade: In the decade since east coast koalas were first listed as vulnerable, the [Australian] federal government has approved the loss of more than 25,000 hectares of habitat, new analysis shows. Approvals were granted for 63 mostly mining projects in Queensland, NSW and the ACT, the Australian Conservation Foundation says. They allowed for the collective loss of habitat equivalent to 526,000 average-sized blocks of residential land, or about 10,400 Sydney Cricket Grounds. —SBS News, February 9, 2022.  See also “Morrison government spends $50 million saving koalas while taking away their homes” at The Conversation


imagine
your disappearing home
habitat never more
confused distressed
misplaced
 
reflect
on your unavailable food
territory search in vain
hungry anxious
distraught  
 
ponder
on your paths wiped away
ancient bush tracks missing
lost trapped
confined
 
grieve
your extended annihilated family
absent once were there
diseased slaughtered
vanished
 
watch
increasing ongoing destruction
shrink your nature daily
machinery clearing
building
 
Koala
on your sacred land
we must assist your plight
action demonstrate
save
 
you
Koala 2022
 
you Koala
you
 

Stephen House has won many awards and nominations as a poet, playwright and actor. He’s received international literature residencies from The Australia Council and Asialink. His chapbook real and unreal was published by ICOE Press. His next book is out soon. His poetry is published often, and he performs his acclaimed monologues widely.

Wednesday, October 27, 2021

ANTHROPOCENE ANXIETY

by Steven Croft


Illustration from The Guardian, October 23, 2021


As the beehive of news stories grew,
scientists reporting back from Greenland's
shrinking ice sheet, coral reefs in Australia, the Florida Keys,
the feedback loops of forests lost and wildfire,
a beehive building like the global sauna our
drowsy governments offer an impossible treaty to slake,
suddenly a question rose before me:
why are we losing our grip on our world's biggest problem?
Because it is too far gone to hold?
Because floodwater and crabgrass want our cities?
Miners complain about the earth's heat
as they dig lower for coal to send to the surface.
Metaphor become metamorphosis.

Today, I can't look at a dome of beautiful October sky
without my mind's eye seeing a blue-lit jail
for a fevered planet, without my mind's ear hearing
buffalo herds of wind speaking in tongues
of shrieks across this doomed green land.


Steven Croft lives on a barrier island off the coast of Georgia. He is the author of New World Poems (Alien Buddha Press, 2020).  His poems have appeared in Willawaw Journal, San Pedro River Review, The New Verse News, North of Oxford, Anti-Heroin Chic, and other places, and have been nominated for the Pushcart Prize and Best of the Net.

Thursday, September 16, 2021

TWISTED OLIVER

by Geoffrey Aitken

Give me some good news 

 

Give me some good news 

 

Give me some good news 

 

Give me some good news 

 

Give me some good news 

 

Give me some good news 

 

Give me some good news 

 

Give me some good news 

 

Give me some good news 

 

Give me some good news 

 

Give me some good news 

 

Give me some good news 


 

“Please sir, can I have some more?”



Cartoon by Alan Moir. Twitter: @moir_alan




Note: The Australian Tax Office has opted not to pursue $180m in jobkeeper paid to ineligible businesses due to “honest mistakes” by employers claiming the money. At a Senate inquiry hearing on Friday, independent senator Rex Patrick said the decision contrasts with the government’s approach to social security recipients, with thousands of individuals asked to pay back money they received during the Covid pandemic. —The Guardian, September 10, 2021



A minimalist industrial signature drives Geoffrey Aitken away from the scene of mental unwellness for the eyes and ears of those without voices. Widely published locally (AUS), and internationally (the UK, US, CAN, CN & FR), he chases ongoing congeniality.

Tuesday, July 06, 2021

FOSSIL FUGUE

by Dustin Michael


Researchers in Australia have confirmed the discovery of Australia's largest dinosaur species ever found. Australotitan cooperensis was about 80 to 100 feet long and 16 to 21 feet tall at its hip. It weighed somewhere between 25 and 81 tons. For comparison, the Tyrannosaurus rex was about 40 feet long and 12 feet tall. Photo: Scott Hocknull and Eromanga Natural History Museum Director Robyn Mackenzie hold a model of what the humerus of the dinosaur would have looked like next to the fossilized remains of the humerus. Credit: Eromanga Natural History Museum via NPR,June 8, 2021.


What is the price for a puppet show with 
fewer puppets but more stories? Always 
the same story endlessly staged, 
every age’s marionettes and the same 
tired tale, a shifting cast of shadows 
behind the age-old screen.

Study any desert, and behold 
that same sun blistering their backs,
baking their bodies and bones, the breadcrumbs 
of immigrants, their grim trail markers and that same
the docile plodding rhythm, a drumbeat of footsteps 
from the fossil record ringing through time. 

Here is another variation. 
They walked, shielding their young 
with their own bodies, their necks 
like cracked leather, craned high
toward new skies, the breath
of hunger, thirst, and danger fogging 
each footfall, their scaled feet disturbing 
the dust, scattering already ancient rocks, stale
wind whistling faint melody in the world’s eternal 
fugue.

The news reports these dinosaur bones came 
from creatures as big as basketball courts
whose Patagonian ancestors crossed connected 
continents and arrived in Australia. 
No boats to be turned back, no papers to be denied, 
no armed agents or bureaucratic barriers to halt them—
only land in stretches longer 
than even their tales and necks,
and vengeful heat, and hungry earth
whispering Not to worry, not to worry, 
even if they never find all of your bones
the story of your journey 
will always be retold. 


Faith-based groups are working to protect migrants and honor those who have died while attempting to cross the southern border from Mexico into the United States. Humane Borders is an organization that sets up water stations in the Arizona desert on routes used by migrants to cross the border. The group also works with Pima County chief medical examiner Dr. Gre Hess to document the discovery of bodies of those who died on the journey. According to the Associated Press, Hess's office received the remains of 79 border-crossers this year as of late May. In 2020, Humane Borders documented 227 deaths, the highest in a decade after a record hot and dry summer in Arizona. Activists fear this year will be even worse. —Newsweek, July 5, 2021. Photo: Unidentified bones found in the desert and suspected to be that of a migrant are assembled together for examination at the Pima County Medical Examiner's forensic labs in Tucson, Ariz. Credit: Ross D. Franklin/Associated Press via The Journal, July 5, 2021.


Dustin Michael lives in Georgia and teaches college writing and literature. His work has appeared in numerous literary journals and his favorite dinosaur is stegosaurus, not that anyone asked.

Friday, April 02, 2021

LINGUICIDE

by Akua Lezli Hope

 


No elder bids are there to sing
Regent honeyeaters’ male song
So young ones copy other things
their bird culture nearly gone
 
Regent honeyeaters’ male song
tells females if they are strong and fit
Their bird culture is nearly gone —
we play old recordings to fix it
 
Tells females if they are strong and fit
if they sing the right song
We play old recordings to fix it
fearful they won’t last long
 
If they sing the right song
extinction will be kept at bay
We’re fearful they won’t last long
as their habitat shrinks away
 
Extinction will be kept at bay
when females hear the strong songs
As their habitat shrinks away
we strive to correct our invasive wrongs


Akua Lezli Hope is a creator and wisdom seeker who uses sound, words, fiber, glass, metal, and wire to create poems, patterns, stories, music,  sculpture, and peace.  A third generation New Yorker, her honors include the NEA, two NYFAs, SFPA, Rhysling and Pushcart Prize nominations. 

Sunday, April 05, 2020

AUSSIE SLANG ISO POEM

by Ryan Stone


Australians are inventing a slew of slang terms relating to the coronavirus pandemic, with hand sanitiser set to become known as sanny, self-isolation as iso, supermarket hoarders as magpies or seagulls, coronavirus as Rona.


Stuck in iso, ducking for cover
from this case of Rona doing
the rounds. Worse than the time
in ’89 when Mad Dog Murphy
won the footy grand final
and half the cheer squad came
down with the clap. Stewing
over dwindling bog roll supplies,
pondering what business a bat
had in a fish market from the start.

I wanna knock back a cold one, but beer
sold out one day before crap paper. So
I chucked a sickie, coz I was feeling
rooted, and sick of going apeshit
when me bludger mates ducked out for smoko,
only to find that the doc enforces
a deuce as soon as you cough.
At least I’m one of the lucky lads—
me missus is bonza,
and keeps the ankle-biters
in line. I’m sure this will pass,
as all things pass. Before long
she’ll be apples, mate.


Ryan Stone is an Aussie who has been practicing social distancing for decades.

Thursday, February 20, 2020

FEBRUARY 2020

by Jennifer Franklin





Our long coats are all that separate us from the cold. Half-way around the world, the sky opens to put out wildfires over the carcasses of burned marsupials. We wait for the subway, for the train. My daughter waits for her short yellow bus that arrives each morning with one sobbing boy. He would be a perfect metaphor of Orwell’s belief that we’re all alone if he didn’t look so sad, his shirt buttoned askew. Politicians preen and posture; the air is damp with acquittal. We bend our heads but not in prayer. Our palms hold small backlit tablets that promise information and escape. Miles north, a student paints a swastika in my old dorm. Another student covers it with a star. Only the dog is calm, sleeping in a circle in her clean fleece bed. Orwell wrote, “There was truth and there was untruth, and if you clung to the truth even against the whole world, you were not mad.” I try to put my daughter to sleep on time in her new room. As I read the familiar incantations, flowers climb up the lamp to the ceiling. All the animals have escaped the zoo. I want the story to end there. All of them tucked into the corners of the zookeeper’s room—breathing their heavy eucalyptus breath across the night. Their fur shining in the moonlight through the blinds.


Jennifer Franklin (AB Brown University, MFA Columbia University School of the Arts) is the author of two full collections, most recently No Small Gift (Four Way Books, 2018). Her poetry has been published or is forthcoming in American Poetry Review, Blackbird, Boston Review, New England Review, Gettysburg Review, Guernica, JAMA, Love’s Executive Order, The Nation, Paris Review, Plume, “poem-a-day” on poets.org, and Prairie Schooner. She is currently teaching poetry in Manhattanville’s MFA program. She also teaches manuscript revision at the Hudson Valley Writers Center, where she runs the reading series and serves as Program Director. She lives in New York City. The poem appearing here is from Jennifer’s forthcoming collection Momento Mori: Antigone.

Tuesday, January 14, 2020

ECLIPSE

by Gail Goepfert


Thick plumes of smoke rise from bush fires on the coast of East Gippsland in Victoria, Australia, on Saturday. (Australian Maritime Safety Authority/Reuters via The Washington Post, January 5, 2020)


Fog out the window. Low-
slung and grayed,
eddying
near the ground.
Veiling what will come of this day.

Waken, light summons.

©

I read snippets—
weigh want and need
to know
against my belly’s grit.

Bulletins. Updates.

Winter. Closed in.
No sound of the wire-buzz,
outside—safety and beauty de-
flowered by a string of high-
voltage lines, transmits
news that’s breaking.

©

Nothing gray about cancer.

I shouldn’t be recycling
store receipts—paper
with Bisphenol A, a cancer-
causing chemical that contaminates
what China recycles
of “foreign trash”—
yang laji.

How to recycle the unrecyclable.

©

Australian bushfires
beyond beyond.
A smoke cloud
discernible by satellite vaster
than our continent.

The ache of witness—
beneath plumes and plumes
of orange haze, droves
of charred carcasses, kangaroo
and koala, slumped
on the roadsides.

People wobble
on their heels in the sand,
imprint the beaches
of retreat and escape—
lungs’ bronchi robbed
of oxygen.

Who cannot succumb
to the fire-slaughter?
The news of it?

Some still blind-eyed
though they see.

©

At home, in the land
of the free, I skim word
of the playground bravado
vis-à-vis the erasure of Iran’s
Soleimani as if erasure
will cure anything.

Tarzan-­ian inflated chests
playing Red Rover
with weapons
forgetting others left to spin
on the merry-go-round.

He should have been killed years ago.

Promises of hard revenge,
the boasts of bullies.

You started it. We will end it.

©

Will anyone be left to weep
where the gravediggers bury?

©

Forecast: ashen.


Gail Goepfert, an associate editor at RHINO Poetry, is a Midwest poet and photographer. She has two published books—A Mind on Pain in 2015 and Tapping Roots 2018. Get Up Said the World will appear in 2020 from Červená Barva Press. Recent publications include Kudzu House, Stone Boat, Postcard Poems and Prose Magazine, Bluestem, Open: Journal of Arts and Letters, SWWIM, and Beloit Poetry Journal.

Monday, January 13, 2020

AUSTRALIA'S BURNING

by Laura Rodley





This is for the kangas,
the koala bears,
the duck billed platypus,
the lizards in the soil,
this is for the tree trunks
left standing, for the people,
for the sky full of smoke
above them, I wish you
great clouds of rain,
nimbus clouds bottom heavy
to quench your thirst,
no more fire-induced thunderheads,
to avoid more lightning strikes.
I wish you moist cooling breezes
sent from far out in the ocean,
a place to rest.


Laura Rodley, Pushcart Prize winner is a quintuple Pushcart Prize nominee, and quintuple Best of Net nominee. Publisher Finishing Line Press nominated her Your Left Front Wheel Is Coming Loose for a PEN L.L.Winship Award and Mass Book Award. FLP also nominated her Rappelling Blue Light for a Mass Book Award. Former co-curator of the Collected Poets Series, Rodley teaches the As You Write It memoir class and has edited and published As You Write It, A Franklin County Anthology volumes I-VI, also nominated for a Mass Book Award. She was accepted at Martha’s Vineyard’s NOEPC and has been a participant in the 30 poems in November fundraiser for the Literacy Project for Center for New Americans. Latest books Turn Left at Normal by Big Table Publishing and Counter Point by Prolific Press.

Sunday, January 05, 2020

SOUNDINGS

by Ann E. Wallace





In Australia, the magpie 
pipers have sounded the alarm. 
Strange singing sirens lure 
us to belated attention,
whistling their learned panic 
cry as we lean in and stare.
How clever they are, these 
crows turned mocking jays,
turned canaries in the fires.

We pull out our phones, press
record and listen in awe 
at beaked imitation of man
made warning calls. Months, 
years after the flares and shouts 
of scientists, of firefighters,
went unseen, unheard, 
the birds learned too 
late to speak our language. 

As the heat swells, billows
to flame, and sucks each breath 
dry, hot angry licks sneer 
and force us to the water’s edge. 
And the rescue boats come 
too late, too few to heed 
the magpies’ urgent call. 


Ann E. Wallace has a new poetry collection, Counting by Sevens, available from Main Street Rag, featuring work about the realities and joys of life in contemporary America, motherhood, and illness. Recently published pieces in journals such as Mom Egg Review, WordgatheringSnapdragonRiggwelter, and Rogue Agent, can be found on her website. Twitter @annwlace409.

Friday, August 16, 2019

WATER MUSIC

by Judith Steele


“The Murray-Darling river system managed by NSW [New South Wales, Australia] . . . is ‘an ecosystem in crisis’ which is on a path to collapse and urgent reforms are needed to save it, a review has warned.” —The Guardian, July 23, 2019. Photo: Exposed water height markers on the Darling River reveal the depth of the crisis at Wilcannia. Credit: John Janson-Moore in The Conversation.


In my small flat
I hear daily rhythms
of neighbours’ water
as they hear mine.
Our toilets flush torrents,
our showers are waterfalls.
Washing machines gurgle
while kettles whistle.

Water washes things away
in the morning cleansings.
In swimming pools and seas
gives health and relaxation.

In floods and tsunamis
brings death and desolation.
Luckier countries
send neighbourly help.

But if there is no water?
If you live near a river that’s dried
because someone upstream
has diverted it to profit?
Even in a lucky country, it seems
nothing neighbourly remains
between up and down stream.

All over this nation
the pattern repeated
the up and the down,
their distance increasing.

Where are the neighbours?
What can be done
to wash this away?


Judith Steele lives in South Australia Her poetry or prose has most recently been published in the print journal Gobshite Quarterly (Portland OR); and on the website Nine Muses

Tuesday, May 29, 2018

MIKE PARR UNDER MACQUARIE STREET

by Martha Landman



The artist Mike Parr will be buried underneath a road for three days as part of a new performance work at this year’s Dark Mofo festival in Hobart. Parr will be buried below the bitumen in the central lane of Macquarie Street, which passes through the Hobart city centre, in a container measuring 4.5 metres by 1.7 metres by 2.2 metres, and the road will be resealed once the container is in place for traffic to continue as normal over the site. The work, entitled Underneath the Bitumen the Artist, is intended to be a comment on the violence of Australia’s colonial history. It will begin at 9pm on Thursday 14 June when the container is buried, and close at 9pm on Sunday 17 June, when Parr will make his exit. “When Mike Parr asks to be buried under the streets of Hobart, it’s hard to say no,” the Dark Mofo creative director, Leigh Carmichael, said in a statement.“Underneath the Bitumen the Artist acknowledges two deeply linked events in Tasmania’s history. The eventual transportation of 75,000 British and Irish convicts in the first half of the 19th century, and the subsequent, nearly total destruction of Tasmania’s Aboriginal population.” —The Guardian, May 25, 2018 Photo: Dotted white lines mark the spot where the hole for artist Mike Parr will be dug. —msn news, May 26, 2018


Let me be your experiment
I have nothing left to do
take me in your solemn arm
drown me in bloodshot eyes

Eat my fingers, my toes
I’m barefoot, supple as an apple
sip me through a bloody mary

thirty years’ fasting
unleashes a wishbone,
rainbows! Devour them!

Bury my madness in your rib cage
Paint me underground, taste the danger
                               beneath the surface

paint brushes, sketchpads, grinders explode —
a fire stoked in total silence
your walls breathe me


Mike Parr being painted in his own blood for his 2016 performance art piece Jackson Pollock the Female. Photograph: NGA via The Guardian, August 17, 2016.


Martha Landman lives in Adelaide, Australia.  Her work has appeared in various online journals and other anthologies.

Monday, November 27, 2017

THE CARTOGRAPHER

by Mark Tarren

“Manus detention centre cleared of all refugees and asylum seekers. Up to 60 men left without a place to stay, sources say, because new accommodation is either not ready or overfull.” —The Guardian, November 24, 2017

Above: Video of Manus prison camp November 24, 2017 tweeted by @BehrouzBoochani


In his father's gentle hands
among his world of maps
lay his son's uncharted heart.

It was given to him in the desert
without borders
presented to him without fear
without shame.

These were

The Sands of his Father's Heart
that held the young boy's body
that marked a place of returning
to bathe in the safe waters.

These things were stolen from the boy.

The winds of another country
trapped the boys heart
in barbed wire
in speechless tongues
in blood
in beatings.

These were now collected in

The New Papyrus

where the uncharted heart
must be destroyed and broken.

Where the ancient learning is undone
in these new maps there must be
metal against bone
waterless caverns
the hunger of absence for young men.

As a man he remembers
The Sands of his Father's Heart
that once held his small body
that once bathed in the safe waters
that once marked a place of returning
in his father's gentle hands.

These things were stolen from the boy

lost in the sands of Sahul

the arms of Australia.


"Peaceful protest continues in the new prison camps. Here is West Haus, the place that is not ready on Manus Island." Tweeted by @BehrouzBoochani, November 26, 2017.

“Australia built a hell for refugees on Manus. The shame will outlive us all.” —Richard Flanagan, The Guardian, November 24, 2017.


Mark Tarren is a poet and writer based in Queensland, Australia. His poems have appeared or are forthcoming in various literary journals including TheNewVerse.News, The Blue Nib, Poets Reading The News, Street Light Press and Spillwords Press.

Tuesday, May 17, 2016

THE MIGRANT

by Afzal Moolla





Seeking solace.
Seeking a home.

The migrant

finds
rotten prejudice
fungal anger.

The migrant

alone hoping for
a solitary chance
to belong.

The migrant

alone always
an outside entity
eternal outcast
viral threat
reeking odour.

The migrant

ever alone
and alone knowing
that no place exists
but that lost home.


Afzal Moolla was born in Delhi, India while his parents were in exile, working as political exiles against Apartheid in South Africa. He then traveled wherever his parent’s work took them, spending time in Egypt, Finland, and Iran. Afzal works and lives in Johannesburg, South Africa.

Saturday, February 06, 2016

AFTER MY FRIEND ROSEMERRY WRITES ABOUT FAILURE AND MERCY

by Phyllis Klein




Aboriginal Brass Band Offers Burst of Hope in a Bleak Community
—NY Times, Jan. 24, 2016


I write back to tell her
about the Brass Band revival
in Yarrabah, Australia. How Anglicans
made the mistake of dragging Aboriginals
over to their mission and forced
them to labor in the 1890s.
How their children got yanked off
into dormitories, stripped
of their culture and language
like saplings with the wrong kind of bark.

Again, this white failure to understand
how the harness of racism
traps us all in a world without mercy.
Again, this felling of trees
in a forest already depleted and suffering.
Rosemerry, I say, I couldn’t ever believe 
in a journey from revulsion to hope.
But look, I say, but look, 
right here in the New York Times,
even this story has one slice of sun 
in the chapel of despair—the Brass Band. 
Listen, can you hear it as background
for Christian hymns, its instruments
able to withstand humidity
and heat, the music shimmying up tree trunks
into bluesy sky, unable to be enslaved.

And here is the band coming
out of its silence of fifty years.
Here is Greg Fourmile on euphonium
and Paul Neal, tenor sax,
didn’t know how to clap to rhythm,
let alone make music. Here are
the school kids and the grandmothers of Yarrabah
doing the best they can
to take the beat of healing into their hearts and ours.

They play for us, for everyone
who wants pride to replace shame,
for the terrible things we have done
and had done to us, and the need to go on.
For the meanness of power
and the sirens of greed.
For the insistence on healing,
the reforestation of what has been cut
but not destroyed.


Author’s Note: This poem was written in response to a poem by Rosemerry Trommer published in Rattle, Poets Respond.

Phyllis Klein believes in poetry. Her work has appeared in the Pharos of Alpha Omega Medical Society Journal, Emerge, Qarrtsiluni, Silver Birch Press, and The Four Seasons Anthology (Hurricane Press, 2015). She is very interested in the conversation between poets and readers of poetry. She sees artistic dialogue as an intimate relationship-building process that fosters healing on many levels. She lives and works in the San Francisco Bay area as a psychotherapist and poetry therapist.

Tuesday, October 01, 2013

BOAT PEOPLE

by Martha Landman


Survivors from an asylum seeker boat that sank off Indonesia say the boat returned to land after it hit trouble in rough seas and sank only 50 metres from the shore. About 50 people are either missing or dead, 30 of them understood to be children . . . One survivor told ABC News he had lost his whole family because Australian rescuers did not come when they phoned a day before the sinking.--ABC News, September 29, 2013. Photo: A section of the boat's hull washed up on the south coast of west Java.


Crude boats navigate open waters
Their cathartic hope a controversy.
A curious myriad of destinations
crowd the dreams of young and old voyagers.
Why are we called boat people, mạ?

Wind and waves swirl higher than hopes
the angry South China Sea a perilous journey
hunger, thirst and disease unstoppable.
Stave off pirates searching for gold.
Why are we called boat people, mạ?

Children battle the wind against rusted rails
their pleasure-filled shrieks fly above the sea.
Torn sails whip at seabirds sweeping from high
not a morsel found on the sardine-packed deck.
Why are we called boat people, mạ?

No school, no chores who cares about poverty
brilliant beginnings await on foreign shores
human remnants won't refuse refuge.
Merry gale winds bluster at 47 knots to the future.
How exquisite to be boat people, mạ!

A luminous moon at the calm end of the storm
dog-tired, famished crew fall into listless sleep.
Bloodied hands and chapped lips a small price
for the merciful miracle of freedom in a new land.
For how much longer are we boat people, mạ?

A snapped mast appeases the heavens
to save the haggard wide-eyed stunted cargo
with unwashed faces and unbrushed teeth.
Cold, stiff bodies a weary tangle at disaster's edge.
We had enough of being boat people, mạ!



The rising sun confirms the arrival of land
timid excitement hovers in empty stomachs
new hope floats up from a broken hull in the
early morning breeze — to be the new kid.
Does anyone want boat people, mạ?


Martha Landman
writes in Tropical North Queensland, Australia. Her work has appeared in Every Day Poets, Eunoia Review, The Blue Hour Magazine, Poetry 24 and others.

Monday, September 16, 2013

AT THE SIGHT OF THE WATERS

by Cally Conan-Davies

Flooding in Boulder, Colorado on Wednesday evening, September 11, 2013. Photo posted by brandish on Instagram @photogjake

(An Australian in Colorado relives . . .)


Bring your pillow, what comfort you can carry,
when you evacuate. You wont be home
any time soon.

Keep clear.

Revise your estimate. You will be caught
in a matter of minutes.
Pontoons and yachts are breaking from their moorings,
mangled hulls are hurtling downstream,
battering at the bridges.

Although we sunk our sandbags in the heart
of city streets, and braced against the waters,
the city’s pride— its cafes, party-barges—
powers down the river to destroy us.

The river is collecting all our junk,
rushing away with bathtubs and backyards,
broom-handles, buckets, pots and picnic benches.
Things become missiles when they’re in the flow.

Never cry for what can’t cry for you.

Bury the thought of what waters might unearth;
forget what you’ll recall—
stench, stains, stuff you never thought
would have to be replaced; and despite all
the waters everywhere, we must preserve
our water from the waters.

Find high ground because you cannot know
what lurks inside the waters – snakes, car doors, bodies
wrapped in tarps and blue pool-linings.

Below, backwater bubbles up through drains;
disease will come this way. Sever everything
you thought you knew of water, except for this:

when all revising up and down is done,
and levels finally marked, and mess is cleared,
and rivers shrink from us, and we look back
to praise the volunteers, think of the dead,
and honor the man who held a woman’s son
when the line holding her in his other hand went slack,

we’ll only know how far this flood has spread
when boy and man (see his eyes! how wild the water!)
drown again in the dream where he had caught her.


Cally Conan-Davies taught and practiced bibliotherapy in Melbourne, Australia before moving to the United States in 2012. Her poems have appeared, and are forthcoming, in Poetry, The New Criterion, The Hudson Review, The Virginia Quarterly Review, The Raintown Review, The Sewanee Review and The Southwest Review, among others. She lives in both Colorado and Oregon.

Wednesday, March 06, 2013

PENITENTIAL SEASON OF LENT

by Martha Landman



"Police brutality alleged at Sydney Gay Mardi Gras: Outcry over video showing man being thrown to the ground during arrest." --The Guardian, March 6, 2013


                                "They just slammed his head. There's blood all over the ground."      


I had an epiphany the day before Ash Wednesday:
I drew my tourist card and earned $30m for the state

of New South Wales celebrating equal marriage rights
a thousand police officers proudly parading on my side

for this one day we’ll forfeit the right to see young revellers
manhandled and slammed to the ground, punched in the head

‘cause the cops told us so; during this time of penitence, and
for as long as you love me, we will not film the violence

the blood curdled cries: what have I done wrong?
For as long as we can breathe we’ll talk about

that sound of his head hitting the floor, Delta’s buzz
at the gay parade, the confessions still to be made.


Martha Landman is an Australian poet whose creativity feeds off the news.

Sunday, January 06, 2013

GHOST GUMS

by Martha Landman


Ghost Gum, Mount Sonder, MacDonnell Ranges 1953 by Aboriginal artist Albert Namatjira. Photograph: National Gallery of Australia, Canberra 2010.

“Australia's totemic 'ghost gum' trees burnt in suspected arson. Two trees made famous in Aboriginal artist Albert Namatjira's watercolours were due to be placed in national heritage register. “--The Guardian, 4 January 2013.


A didgeridoo weeps
pristine tears
in Albert Namatjira's grave

Evilly, a fire
belly laughs
Australian desert coloured in ash

twin ghost gums
topple in
smouldering mourn.


Martha Landman is a South African-born Australian poet residing in tropical North Queensland.  She has published on- and off-line.