I wrote this poem from my imagination, looking up images and descriptions of what it might feel like to have a life growing inside me.
after André Breton
Girl with the eyes of blown glass
With the limbs of a curled tadpole
With the thoughts of a startling gesture
With the breathing of a baroque organ.
Girl with the fingerprints of tiny forecasts
With teeth of tight buds and a harvest of rice
With the quickening of fists
With the heart of a fusible link
With the heart of a bicycle pump.
Maybe-boy with the eyelashes of ellipses
With the ears of fine bone drums
With the eyelids of swift translucent fish
With the fingers of quotation marks.
With the hair of hiccupping
And the ends of guitar strings
And of a shelter of bracken
With the bones of clay
With the weight of the world.
From Wit of the Staircase, 2009
There are images here which I love – the “eyelashes of ellipses” and “eyelids of swift translucent fish”, for example. But the last two lines feel awful to me and I wonder what feelings I had back then about having children. “Bones of clay” is vulnerable and soft in a terrifying way and “the weight of the world” feels devastatingly unfair.
Here’s a recent poem, this time based entirely on experience. She is a marvel and she is strong – I’ve seen and heard the four chambers of her heart beating and feel her movements deliberate and determined.
We saw you on the fourth day of spring.
Still part of me and in ghostly black and white
but there you were, like a photo of the moon.
The sonographer chatted the whole way through
recommending nappy brands and hypnobirthing.
We could see your bones, your organs and eyeballs.
You are beautiful and perfect and even if you weren’t
you still would be. When we stepped outside
jasmine was everywhere, new blossom
on the otherwise bare twigs of winter. The next time we see you
you’ll be entering the world, exiting the world you’ve made inside me
and joining this marvellous place of birdsong and magnolia.
Each day the temperature rises gently, our body swells
ripples of your quickening strengthen your underwater dance
beating heart, undeniable presence of being.
‘Tis the season for highlights and reflections! In a busy year of school camps, public speaking competitions, parent interviews, marking, reporting writing and teaching, I managed to squeeze a few literary moments into my calendar. Here are some that stood out, including events, books and my own small endeavours.
I enjoyed many events at MWF and finding them in strange and unfamiliar corners of the city was fun too. I heard Neko Case first as part of a panel on the texts that influenced panel members’ feminism, then saw her again solo at ACMI. I’ve been a fan of her music for a long time and always love hearing artists talk about their craft. Neko’s latest album is Hell-On.
3. First Chapters Series at Brunswick Bound
I feel so lucky to have this amazing bookstore just around the corner (and down the road a bit) from my house. In this series, the store celebrates the work of local authors on the first Friday of each month, by inviting them to read a chapter from their work and engage in a Q&A afterwards. Highly recommended, and more information here.
4. Launch of Close to Home by Alice Pung
Another wonderful event from Brunswick Bound. Alice’s new collection of essays was launched by amazing Helen Garner and is such an insightful and engaging collection. I enjoyed chatting to Alice afterwards and she assured me her young adult novel, Laurinda is NOT based on the school I teach at, despite the suspiciously similar names. If you don’t know Alice’s work, definitely check it out!
5. Melbourne Writers’ Group Anthology Launch
The Melbourne Writers’ Group know how to throw a party! I was so proud of my friends who worked so hard to launch this book as writers and editors, readers, speakers and book sellers. This is their third anthology and they keep getting better. Find out more about the Melbourne Writers’ Group and come along to the weekly social nights and writing times here!
I’ve read so many good books this year, but this one stands out as it stuck with me: the quirky conversations and lack of resolution. Ali Smith might not be for everyone, but I think she’s a master of dialogue, voice, structure. I trust her completely and enjoy being taken for the ride. Here she is talking about the power of the novel.
4. Solar Bones, Mike McCormack
This was a startling book. Written in one gasping breath without a single full-stop, I suspect I read it with my mouth open. The style might seem gimmicky, but it’s completely in fitting with the theme and plot and works surprisingly well. Stream of consciousness is not technically correct for this book … anyway, it won Mike McCormack the International Dublin Literary Award.
5. Take Three Girls, Cath Crowley, Fiona Wood, Simmone Howell
A shout out to the many young adult novels I read this year. This one stood out as it had three strong and distinct female characters who work together to fight the system. Very cleverly and convincingly created by three awesome Australian writers.
Top 5 Writer Moments
1. Photos of the Sky launch week
Obviously launching my third poetry book and spending a week reading it to small crowds of people was the highlight of my own writerly year. I was thrilled that Tim Jones was able to launch the book, and greatly enjoyed reading at Unity Books with Nicola Easthope and again at Volume in Nelson. There’s even a lovely review of Photos of the sky by Sarah Lin Wilson here.
2. Girls on Key Open Mic
When Nicola Easthope and I knew we were going to be reading together in Wellington, we made sure to meet in Melbourne first! Luckily, Nicola was on her way to the Tasmanian Poetry Festival, so we had the chance to catch up, meet with the lovely Jennifer Compton and read poetry together at an open mic night. Girls on Key is a monthly event hosted by Open Studio.
3. Bonsai: Best Small Stories from Aotearoa New Zealand
4. BBC Culture: The 100 stories that shaped the world
There’s something pleasing about adding my top 5 into my top 5 and something even more satisfying about being quoted in the BBC. I admit there are many names on this list, but being asked to contribute was a nice writerly moment for me.
5. Teaching and Writing balance
I still haven’t nailed it 100%, but this has been an excellent year for me in terms of balancing my teaching and writing life. I am so lucky to work at a school that supports me with a day off each week, constant queries about how the writing’s going (!), acknowledgement of my achievements and actual promo from the marketing team. Watch this space for more news from my school, but in the meantime here’s a small fun, thoughtful, creative corner of the school I’ve enjoyed helping create.
I really love and value the process of launching a book into the world – reading it into life and physically passing the poems into the hands of readers. When I sign a book for someone and hand it back to them, I really do feel that the work belongs to them now.
I’ve been trying to figure out how to write about the week I spent in New Zealand, catching up with friends, family, writers, publishers, booksellers and people I hadn’t seen in years. I enjoyed all of it, and grew more proud of and confident about this collection, which was mostly written in secrecy, bar the few poems blogged here to my loyal audience. I think I’ve said before that it’s a deeply personal collection, something that became particularly apparent as I stood in front of my final crowd in Nelson (my home town) and felt teary farewelling some pretty hard feelings that existed as I wrote this book.
My friend and fellow poet Tim Jones, was kind enough to launch Photos of the Sky at the event at Thistle Inn, Wellington. His endorsement was another lovely and valuable aspect of sending this book into the world.
Tim used the words “confident” and “charismatic” to describe the new collection, and I’m incredibly grateful for his generous comments. Before reading from the book, Tim said:
There’s so much to identify with in this collection, how could I not love it? Cricket bats, Game of Thrones, Bowie. Slugs sneaking inside to feast on cat food. Love, lust, rueful confessions. Taika Waititi – he gets a whole poem! Midland Park. Melbourne. Preston! The mention of that magical suburb makes me think of Courtney Barnett – and this collection is musical poetry from a musician who writes so well about music and many other things as well.
Photos of the Sky is yours now. I hope you like it!
We’ve been studying Sylvia Plath in Year 11 Literature, reading too much into her work, perhaps and trying to avoid linking every poem to the one tragic thing everyone knows about her. The truth is, Sylvia was smart, worked hard, she crafted her poetry carefully, attended creative writing classes. She cared about what was happening in the world around her, she was a mother, she questioned society’s expectations. She wrote poems on good days and she wrote poems on bad days. Her poetry represents all of these things.
I’ll be launching my third collection of poetry in Wellington on Monday. It represents good days and bad days too; tough decisions, optimism and disappointment. It ends just before everything in my life fell astoundingly into place. All my poetry is personal, but in this collection, I feel like I’ve achieved a kind of honesty I’ve avoided all my life.
So, I’ve been nervously wondering if readers will notice.
One of the poems that looks least personal is ‘Building consent’, in the section Shift. I genuinely wrote it because I always had a dream of buying an old house and doing it up, but saw a renovation in progress and decided it looked exhausting, loud and messy. I like the poem. It says what I wanted it to, but as I read through it in the context of this book I realised I’d missed my own metaphor.
The poem represents a shift in my dreams: what once excited me just looked like hard work at that point. I was in the middle of trying to make an unfixable relationship work, a relationship I’d travelled miles to be in. Making it work was my dream, but sometimes you just have to know when to quit.
On one level, the poem’s not a metaphor at all. I looked at the physical labour going into the renovation and had no capacity to embark on such a task myself. I was tired and anxious from my situation. Doing up a house was far from my mind.
On another level, it’s creeping into metaphor – homes represent a kind of stability, a decision couples might make together, a project to establish partnership. My relationship was nowhere near that point of joint purchase and effort.
On yet another level, it’s all metaphor. The house is the relationship. Pure and simple. It was time to give away my desire to fix things that are so obviously a broken mess…
Or am I giving myself too much credit here?
The romantic notion of buying a rundown clapboard villa
pouring heart and soul into doing it up by hand
spending all of your time loving it
back to life – gutting out the back half, sourcing
sustainable surfaces for breakfast bars and just the right shade –
is quickly debunked as I walk past a weathered
rusted bungalow, boards rotted through
shirtless men shouting across the trampled front garden
propped with piles of Bunnings purchases
and a ‘dunnys R us’ in pride of place
sounds of dropped steel and hammered edges
everything shifting slightly in the relentless
heat of yet another day on this damned project
too many chiefs, too many cooks and not one chef in the kitchen
that currently looks like a workshop
sawdust lining surfaces and can’t even make a cuppa
with all this mess
all these people coming and going
traipsing through our idealised disaster.
A hummingbird the size of a large bumble bee hovers through bougainvillea. We watch from the pool’s edge. In the same day, my legs turn brown and my new cat-shaped two-piece leaves cat-shaped tan lines on my chest.
We’re trying out all the recommended eating spots: tofu curries, too much tempeh, supplemented with bags of chips and unfamiliar biscuits from convenience stores dotted down the main road. Our villa feels far from that traffic as we spend hours in the hammock or on day beds, under the mosquito net or by the pool, reading, snoozing, swimming with a view of improbable jungle.
The river lulls us further into laziness with its white noise rapids, or ferries squealing tourists in red rafts through the valley. It’s 30 degrees until it’s not. A complete downpour in straight lines brightens already lush greenery, highlights crimson bougainvillea, red birds of paradise, frangipani in yellow and pink clustered on leafless branches.
The river rises then, villas across the valley obscured in mist. Fat drops fall until the clouds are empty, drip musically from the edges of the thatched roof. Fallen logs of bamboo gather at the river’s sharpest bend and the sun’s revealed again just in time to set pink behind palm tops and gold.
Song of Myself (Walt Whitman) and, indeed, Leaves of Grass as a collection, reads like a Humanist manifesto that celebrates a love of land, freedom, self and the connections between these. Whitman embodies a universal and omnipotent “I” into which readers can place themselves and have done over generations. It’s very much an epic poem, but plays with structure and language, the long lines moving with the breath, and surprising, explicit imagery. The shift away from traditional spiritual reflection – rumination on the connections between nature, God and the human mind – marks an important change in how we view the body and physical world. The many references to Song of Myself in pop and high culture over the years are testament to its potency, endurance and relevance. (number 87!)
Howl (Allen Ginsberg)marked a cultural shift, not just in literature (although this is hugely significant), but also in the way people view literature and art as something powerful and dangerous. The poem spoke to a group of marginalised writers and musicians and challenged the expectations of language and ‘high art’. Post-WWII when people were feeling either a strong desire to settle into familiar comforts and gender stereotypes, or anger at the establishment, Howl opened a gate for freedom of expression and allowed discussion, anger, excitement and all kinds of love out into mainstream society, subverting and questioning the norms. The Howl Obscenity Trial (1957) sent a message to the world about just how powerful language can be and the idea that a poem could incite legal action is thrilling. (number 53!)
To Kill a Mockingbird (Harper Lee) has been read and studied year after year in high schools and today, nearly 60 years after its publication, it’s still a deeply loved book by people of all ages. The links to American history and race relations are both specific to the Deep South in the 1930s and hugely relevant to today’s society. The themes of prejudice and empathy are quoted and referred to time and again to highlight aspects of our own society that need examining. To Kill a Mockingbird documents important historical ideologies that must never be forgotten as well as asking us to examine the way we treat all members of our communities. (number 27!)
Romeo and Juliet (William Shakespeare) is considered a deeply romantic play, but there is less to learn about love here than there is to learn about the petty differences that keep factions of communities separated. The tragedy is in the secrecy of the love between Romeo and Juliet and it’s a constant reminder to always questions our prejudices, whether they be newly formed or ancient grudges. This play has also been studied and read in classrooms for generations, influencing the way people view human behaviour and highlighting those aspects which are centuries old; deeply engrained notions of love at first sight and the lengths some will go to. Of course, Shakespeare has also influenced literature and pop culture in more ways than we can count. (number 13!)
The Handmaid’s Tale (Margaret Atwood), a powerful cautionary tale, has never felt more relevant. Ideas around the treatment of women and the dystopian society created are perhaps extreme, but feel like a plausible future for societies where women are continually being marginalised and their bodies legislated. The novel is a harsh indictment of gender stereotyping and patriarchal societies, reminding us how important it is to empower women to be agents of their own destinies and not allow their voices to be silenced. People have turned to Atwood’s horrifying view of the future time and again when reflecting on the current status of women in society. (number 16!)