Cicadas and tortoises. And poetry?
October 21, 2011
I am currently waiting to receive my third book, a collection of poetry called The Cancellation of Clouds, which is being published by Ginninderra Press of South Australia. There’s nothing like the actual object in your hands. Some say the book is doomed, but I’m not so sure. Anyway, for me, there is simply no substitute.
Book has arrived, and very handsome it is too, IMHO. I’m carrying it around like Gollum with the Ring.
Hal Judge launched The Cancellation of Clouds at 6pm, Thursday 20th October at Smiths Alternative Bookstore, Alinga Street, Civic. Hal gave a very thoughtful speech, and I read a few poems, and drank too much wine. Senator Nick Xenophon, an independent Senator from South Australia, also read a poem, after he launched the bookstore’s new bar. Here’s a photo of a poet reading her own work:
And a Senator reading her work:
Senator Xenophon takes a gamble
(Thanks Lily Mulholland for this photo.)
If you would like to order the book, please go to this page, within the Ginninderra Press site. The first review of the book, by Professor Peter Pierce in The Canberra Times, describes it as ‘droll, intelligent and varied’, which was a very positive thing to read. And totally right, too, IMAO. Another reviewer, Michael Byrne, states that ‘It is…love for (and embracing of) the different that seems to define Cottier as a poet.’
Now I return you to the real piece that bears the title given above. I originally wrote what follows below back on January 22, 2009, and it still seems a good introduction to my blog, although I notice a recent trend to write a little more often here than I did originally. Blogging really is addictive, it seems. But its very accessibility and transience make it less lovely, to me, than that strange little thing made from dead trees.
Cicadas and tortoises. And poetry?
In my case, cicadas and tortoises seem apt metaphors for the process of writing. My first book, The Glass Violin, a poetry collection, has just been published by Ginninderra Press. Some of the works in the collection go back twenty years, so the easy option of comparing myself with a tortoise comes to mind. There’s nothing like a good old shell of cliché in which to hide an idea.
Yet I actually write quite quickly. I’ve just been a shocker about trying to have my work published. About a year ago I decided to put an emphasis on seeking publication, and I have been quite fortunate in finding places that liked my work.
Cicadas spend most of their life underground, only emerging after years and years to produce an ear-splitting cacophony. They only live a short while after emergence. As a practising poet, I feel a lot like one of these insects, pushing through editorial mud, but hopefully the process of publication has just begun. I wrote this poem about the vocabulary used for referring to poets as emerging, developing and established:
Emerging poets
White, shovel-shaped finger-nails,
rotten smell, the world’s worst bulbs.
Like durian fruit mushrooming,
zombie poets emerge, pushing
through editorial soil, groaning,
after a decade’s slushy stew.
Perhaps some emerge politely,
quaint chicks toothing oval eggs.
Others make neat papier mâché
cocoons from rejections, wait,
then one day, poof! Harlequin
wings, trembly antennae. Most
are born bogongs, banging on
bright lit windows. Any more sir?
(I like to think that my poetry is a little more melodic than the noise of a cicada, although this example is admittedly a little less than elegiac. Incidentally, all poems on this site are by me, unless otherwise indicated.)
This will be a very occasional blog, as this cicada prefers to work on her poetry. It’s always a temptation to bury yourself away, once the soil has been so very comfortable for so long…
I was very happy to read this review. And this one, too.
And since then, a second book, this time a short collection of short stories:
Both can be ordered from Ginninderra Press, under poetry and fiction respectively.
Tuesday poem: ‘Clancy of the Overflow’ by A.B. (Banjo) Paterson
January 23, 2012
I had written him a letter which I had, for want of better
Knowledge sent to where I met him down the Lachlan, years ago,
He was shearing when I knew him, so I sent the letter to him,
Just “on spec.,” addressed as follows, “Clancy, of ‘The Overflow.’ ”
And an answer came directed in a writing unexpected
(Which I think the same was written with a thumb-nail dipped in tar)
‘Twas his shearing-mate who wrote it, and verbatim I will quote it:
“Clancy’s gone to Queensland droving, and we don’t know where he are.”
*****
In my wild erratic fancy visions come to me of Clancy
Gone a-droving “down the Cooper” where the Western drovers go;
As the stock are slowly stringing, Clancy rides behind them singing,
For the drover’s life has pleasures that the townsfolk never know.
And the bush hath friends to meet him and their kindly voices greet him
In the murmur of the breezes and the river on its bars,
And he sees the vision splendid of the sunlit plains extended,
And at night the wond’rous glory of the everlasting stars.
*****
I am sitting in my dingy little office, where a stingy
Ray of sunlight struggles feebly down between the houses tall,
And the fœtid air and gritty of the dusty, dirty city
Through the open window floating, spreads its foulness over all.
And in place of lowing cattle, I can hear the fiendish rattle
Of the tramways and the ‘busses making hurry down the street,
And the language uninviting of the gutter children fighting,
Comes fitfully and faintly through the ceaseless tramp of feet.
And the hurrying people daunt me, and their pallid faces haunt me
As they shoulder one another in their rush and nervous haste,
With their eager eyes and greedy, and their stunted forms and weedy,
For townsfolk have no time to grow, they have no time to waste.
And I somehow rather fancy that I’d like to change with Clancy,
Like to take a turn at droving where the seasons come and go,
While he faced the round eternal of the cash-book and the journal—
But I doubt he’d suit the office, Clancy of “The Overflow”.
'...that is all/Ye know on earth, and all ye need to know.' (?) The sun seems to be located near Broome.
Yes, I’m going into fervent Australian mode as Thursday 26th January is Australia Day, or as some like to call it, Dags with Flags Day. Anyone who dabbles in this blog will now that criticism of aspects of Oz society is rampant to a positively un-Australian degree, so this classic 1889 verse from Banjo Paterson may raise me back to the golden realm of unadulterated, frolicking patriotism. (My shallow cynicism is in fact a cover for an embarrassingly gushy love for this country, but let’s pretend I’m not feeling that at all, shall we? Love is so much harder to write about than anything else, and I wouldn’t want to fall short.)
Actually, I love this poem too, particularly the ‘thumb-nail dipped in tar’. The longing for the pure realm of the bush that this poem exemplifies is something that still marks Australian poetry. Ask anyone where the best-known Australian poet lives today, and they’ll point to Bunyah and Les Murray, not to Sydney and…anyone in Sydney.
The suspicion of the urban environment, even in one of the most urbanised of economies, also lives on, I think. Real men are out there somewhere, with the kelpies and the sheep, in the ‘virginal’ bush, roaming as free as the public domain status of this poem. (Just don’t mention the previous ownership…I don’t mean the poem.)
A word about flags. The Australian flag is definitely seen much more than it was when I was a child. Not on public buildings so much; I remember having to recite something like ‘I love God and my country/ I will honour the flag/ and cheerfully obey my parents, teachers and the law’ at primary school. Boys actually saluted the flag during this, while girls preened and made scones. But today we do see more private display of the Australian flag. Is this:
(a) because we ape America in everything, even flag-waving, although it’s a different flag?;
(b) people have more money, because of our flogging huge amounts of iron ore and uranium (and other good stuff) overseas?; or
(c) flags are cheaper now, and we receive millions of plastic ones back from the countries we sell huge amounts of iron ore and uranium (and other good stuff) to, in an equitable and sensible exchange?
I really don’t know, but I find these public displays of private flags very strange indeed. I worry about how their display might be related to charming bumper stickers such as ‘I Grew Here You Flew Here’, and ruder variations thereof. Not that you see many of them in Canberra: you’re more likely to read ‘Refugees Welcome’ in the ACT. But as I hear constantly, Canberra is not Australia.
Enough. Screed is bordering on The Burning Slough of Rant.
If the cloying smell of cattle or the sticky feeling of the wool emanating from this piece is disturbing you (or perhaps the premature reek of a million sausages on a million barbies is getting up your nose?) please head over to the Tuesday Poem Site, where the vowels may be a little rounder and the patriotism seems slightly more occluded, at least from a distance. (Until the next rugby thing, anyway.)
Tuesday poem: Storming teacups
January 16, 2012
Storming Teacups
I sit with friends outside the café, cup in hand, and fix the world’s problems. I am the cappuccino kid, frothing with anger. I am the peppermint tea with honey, busybeeing everywhere.
I start to collect china as others gather books. My coffee cups speak volumes. I have a small expresso cup, decorated with Aboriginal designs. Is this how I visualise Aboriginal issues? A storm in a coffee cup, a far-off cyclone in Darwin? A Town Called Redfern, where blood has stained the concrete, as there isn’t much wattle around? I sip, and cradle the fragile, storming cup, enjoying my bitter short black. My frown replicates the lines on the cup, as does my smile.
I have a larger, more solid cup which boasts a kangaroo and emu rampant, and the words “Commonwealth Parliament”, proud as any bumper sticker. This capacious cup and saucer was Made in England. It says so on the base. This is a cup for Indian tea, a cup for colonial sipping. I wear a long white dress, a hat to shade my skin and I practise swooning. The cup, however well made, seems to be cracking around the sides, and a small cleft runs from the word Made past the emu. Surely my firm cup will not break, my crest shatter? I delicately place the cup back on the saucer, and the fault-line is hidden.
I have an old cup which says “Buy Nicaraguan Coffee”. Now that things have changed again south of the biggest border, which coffee should I buy? Perhaps the one that tastes the best. A favourite cup of mine is the one that states “Freedom for Women: Women for Freedom”. The tea-lady pours her liquid into this cup, but somehow she doesn’t look particularly free. Her tea makes me insatiable, and the phrase “dry as a witch’s tit” is conjured up from the steam, cloyingly.
But who would smash a cup? They are useful. They are decorative. I stroke my china pets, these devices for drawing boundaries between air, liquid and table. My extrovert cups hold in our conversation, delineate the possible from the flowing surge of ideas. We sit, cups in hand, painting new worlds like flowers on porcelain. I put out my little finger to hook the fishy thoughts which fly from the cup, through the air, challenging our demarcations.
*
This work (prose-poem? creative non-fiction?) was written way back in the Old Days of 1993, and published in Blast magazine. This brings back so many memories, not least of one of the friends mentioned in the first paragraph, Lindsay Croft, a young Aboriginal man killed in a car accident in the United States while visiting Native American reservations, about a year after I wrote this piece. This gives the work a far more bitter taste, for me, than it would otherwise have.
For excellent poetry fixes, go to the Tuesday poem site. They’re be everything from expresso to latte, I can assure you.
Tuesday Poem: Watching the tango
January 9, 2012
Watching the tango
Legs cut the air; fleshy scissors open and close
and notes fall like syncopated snow.
There is heat here, and a buttoned coolness too,
as the bandoneon squeezes breeze into noise.
Chests press, heart reading heart,
but the pulse beats down below.
Balanced on an unseen rope,
coiling and uncoiling silken loops
the couple moves time backwards,
suspending gross disbelief on
such questing, yet assured, feet.
P.S. Cottier
This poem won second prize in the inaugural Australian Tango Poetry Competition held in 2009, and was first published in Tango Australis. And no, I can’t dance, let alone tango. I thought it was an appropriate choice for an early Tuesday poem of 2012, as we’re now nearly a couple of weeks away from New Year’s Eve, when anything seemed momentarily possible, before the hang-over, when you woke up and could no longer speak English, let alone the other language you believed yourself to be fluent in last night. (You sometimes means me, you know.) Tango will always remain a foreign language to my two dumb feet, unable to translate themselves into anything so complex.
I recently heard that I won last year’s tango poetry competition, and I may post that poem here some time as well. Too much tango is barely enough.
For many more poems, go to the Tuesday Poem hub, and enjoy yourself immoderately. (It is on official hiatus, so there’ll be no new poem in the middle of the page, but many people are still posting. Check out the side-bar.)
This poem is included in The Cancellation of Clouds, order details in the first post above.
The poet’s diet
January 7, 2012
Warning: this post contains improper haiku.
mangoes and vodka
occasional longish walks
haiku in no time
This rare excursion into the dubious realm of ‘lifestyle’ is presented with apologies to all haijin (which is not a cocktail). I do know that counting syllables is the devil’s pastime, but sometimes it’s so much fun. Also with apologies to Japan, mangoes and vodka.
that's me sorted...
Poem from a hammock
January 2, 2012
It’s perfect weather, about 30 degrees. I’ve been swimming twice today, and saw dolphins, black cockatoos and Brazilian tourists; all very pretty. Tomorrow a new Test match starts. There’s always a new Test match at this time of year, and then there’s tennis, or should I say Tennis, in Melbourne. This poem relates to the Boxing Day Test at the MCG, and was written as India came out to bat. (I’m a quick poet, so I finished this before their innings was over…)
I know there’s still a world somewhere outside this huge brown hammock of a country, but in the middle of Summer, at the beach, that seems like an unlikely dream. Here’s a lazy sonnet from a currently rather lazy country:
Every Summer
The flat green bird, flecked with white,
squawks all Summer in the corner.
Clarke, Ponting, Hilfenhaus, Warner
versus Dhoni and Dravid (the one to dislike).
There’s a shadow plays just behind this match
for something odd occurred at Bellerive,
concerning Kiwis, still hard to believe.
So in case something else weird should hatch,
there’s a certain anxiety beneath our banter.
India’s chasing two hundred and ninety-two.
(Difficult, but not impossible to do.)
But I think we’ll win now, in a canter.
And when it’s over, and the song is sung,
silence pounds out its ghostly runs.
P.S. Cottier
Seams? I know not seams.
Best wishes to anyone active enough to be surfing the net. I’ll be back in full hardworking poetry-factory mode soon enough. When I extract myself from the comfortable myth of perfection. Happy new year to everyone.
(And after a lot of thought – for they still pop up in Australia in Summer – I can’t mention New Zealand in a light-hearted poem without at least acknowledging the new earthquakes that happened over the holiday period. I read the ugly words like ‘liquefaction’ and have no idea what that would really mean, except that it must be terrifying to be in Christchurch when these tremors/quakes occur.)
Update: I realise now, having visited some news sites, that as I was drafting this entry, another major tremor hit Christchurch. I hope that the damage was minimal.
