Saturday, November 19, 2011

ADMONITIONS BEFORE DINNER PARTY - Bobbi Lurie




We must render them such
Must not dent the fender when we leave
Must wear our best turquoise dress
Must paint our beauty with great cause
Must pause at the landing
Drape the fabric of the skirt around the sleeve
Must have the door opened as we enter
Must leave an impression
Must not promise anything
Must keep our hands to ourselves
Must make our possessions possess us
Must salt our tears to gain attention
Must feign heroism
Must seek redemption from an audience
Must relieve ourselves in easy chairs
Must hide our spears unless pushed to the edge
Must find a hedge to stand against
Must erase ourselves with prayers of consolation
Must blame our mistakes on bad influences
Must sigh openly
Must take each tragedy in hand
Must squeeze it tight
Must seek consolation
Must drag it out of them

*

Bobbi Lurie's "23rd Psaltery" was in the October edition of "Truck"~ she has also had work in Hamilton Stone Review. She is the author of three poetry collections: Letter from the Lawn, The Book I Never Read, and Grief Suite, all published by CW Books. http://www.readcwbooks.com/lurie-grief.html 

Bobbi lives in Albuquerque, New Mexico, USA

Friday, November 18, 2011

This charming archaeologist with her spade…


ANOTHER VISIT TO THE RUINS


And still they come, yes, dressed
in hard hats these days. Sporting
an iPad rather than a clipboard.

Eager for the site, both tramp
the ravines, check and cross-check
the coordinates, plotting aright.

You know, he says, the story
behind the fall of the king?
He began to unpack the tools.

She shook her head although
she had read the annals well.
There was work now to be done.

We’ll open the first trench here,
he said, forefinger marking
a firm trace across a mound

of grass. The usual grid? she asked,
preparing flagging tape while
he laid out their trenching tools.

What hope, he murmured, do you
think we have to chance upon
some fragments of bucchero here?

Hmm, she said tartly feeling
he teased her like a girl and
noting for the first time thinning

of the cranial hair as he knelt
as his task. That and a lot
more, I hope. But really thought

he must be getting past it, tapping
on her iPad’s keyboard, Dig One,
October 16, trial trench A.

She settled it between her knees
as he took up his spade. Years
past as a keen young ‘post doc’

her heart had raced to attend
his class, to be the one chosen
by him to explore the next site

and kneel beside him to take
the treasures out. Back then
the brush of a sleeve, the touch

of a steadying hand was cherished
and happily recalled alone
in expedition tent at night.

But it seemed that was all. And her
name always second to his
on their papers the Society

brought out. Her mind now came back
to the present dig. Time to
photograph with the turf laid back.

She pinned down the grid of tapes
to make the quads and placed flat
the chequered photographic scale.

While she snapped away, he leaned
on his spade and watched her work.
She felt his eye assess each move

and yet, rest upon forearm,
or flank or the fall of her hair.
She’d seen him with other girls,

noticed his little ways when
they strove to please him,
even those who lacked the skills.

Some of them found favour with
him in other ways, away on
digs for months. She ground her teeth.

Now that the years had taken
the venusty of her youth
and he showed no sign that he

might offer her the ultimate
in colleagual rights, she put
such thoughts firmly from her mind.

He had a wife, homely no doubt,
though down the years she had hoped
that the great love she could offer

would compensate for comfort,
cultivation of habit
and the cold Sunday lunch. No,

she had erred and wasted those
years she could have found someone,
a soul mate, partner in research.

The scrape of his trowel disturbed
her thoughts. Look at this, he cried
as he levered at a stone.

Two stones in fact, too heavy
for hands or small tools. She craned
to see. Get me the crowbar,

he called and peered through a crack
between the slabs as he stooped
on all fours. She brought it quickly

and stood astride the twitching,
now prostrate form, with his arm
forced down into the dark depths.

Here! Here! He called. Lever those
two slabs apart. I think it’s
a burial chamber. Can see

shards, sarcophagus maybe.
His brusque tone rasped on her heart
but she reached forward the steel

just as he had commanded.
More, more! he grunted, thrusting
his arm deeper yet. She swung

the lever to one side with
all her strength and put an arm
to steady herself in the small

of his back. But he was not
there! In an explosion of dust
and rush of stones disappeared.

The crowbar jangled away
on broken rocks to one side
and she was gripped in guilt.

Had she pushed him? There was no
cry from her leader, just thud
of a body deep in darkness.

She waited and listened quiet
for some further sound, movement
from that second grave. Called out

but no answer. They had no torch
to use that day. Satellite
phone the only way to get aid.

But she sat down on a stone,
perhaps in shock, perhaps
contemplating life’s new turn.

Was this release? Or was it
Fate’s compliant master stroke?
Or was she digging blind?


Glen Phillips
© November, 2011.


 *

Prof. Glen Phillips is a retired life-long teacher - from country school to university Professor. He has been a considerable force, both administratively and creatively, in the literary scene of Western Australia. With decades of research and local reading and writing under his belt, he has become a frequent lecturer in China where he shares his love and knowledge of Australian history and literature as, Honorary Visiting Professor at the Univesrity of Shanghai from 2004 to 2010. From the first turn of the shod to his his retirement in recent years, Glen Phillips began and ran the Creative Writing stream at the Edith Cowan University, Mount Lawley, Western Australia.

Glen Phillips has published ten collections of poetry, among many other books he has contributed to and edited. He is represented in over 20 Australian and international poetry anthologies. Since his so-called retirement, he has written a number of short stories in tandem with poems, based mainly on the Australian and Chinese landscapes. He continues his acadmic contribution as Director of The International Centre for Landscape and Lanuguage at Edith Cowan University where he has also set up a small publishing arm.










Wednesday, November 16, 2011

Patrick McManus, Poet Laureate of Raynes Park




POEM

his poem
came to him
in a dream
via a sweet
lovely topless
garlanded muse
in Grecian robes
and inscribed on
an amphora
he gratefully
memorised it
and hastily
upon waking
still entranced
put it to paper
but later sadly
they told him
that it was written
in Linear A Minoan
undeciphered Eteocretan
which no one
has been able
to read for three
thousand years
but to wait
they were
working on it


pmcmanus



GEOGRAPHY

he loved
her north
her south
her east
her west
her latitudes
her longitudes
but most of all
her loved her
rampant hot moist
fecund tropical 
equatorial zones


pmcmanus


POETRY GROUP


at his local
poetry group
open crit session
he was minded
of his old
school playground
the bullies in action
putting the boot in
or perhaps of
the TV
nature program
about hyenas
tearing apart
their prey
some fighting
for the liver
others for the
juicy heart
leaving only
gnawed bones
and a lot
of blood

pmcmanus

*
Patrick McManus: His biography seems to have been turned over in the allotment. If I dig it up, I'll post it. Otherwise be assured Patrick is a prolific poet, a legend in Raynes Park for his lively readings, a kind grandfather who only occasionally tortures the grandkids with his verse, and a very active contributor to poetryetc, an eccentric poetry site online. 

Monday, November 14, 2011

BEAR AND ME


 The brown soulful eyes
             of much-loved Bear
             rows the little boat
                                                 over water Moon and stars

 In night-time mysteries
                softly breathed
    down long underground mazes
                of caves and canyons
                                     to the secret meeting place
                                                 of  World’s Four Great Winds.

                                     Event-horizons of Black Holes.
                                     Mighty Light-destroyers.

                                     Paddle safely me back home again.
 Row the campfires over.


FEET


As I lay me down to sleep
I pray for darkness long and deep
for miles and miles of unused feet
from which they never wake.
Gone all sorrows fears griefs
leaving only resting feet.
They have carried a heavy load.
They have walked a long hard road.
They have gone thru great duress
to allow me to progress
thru a life of extreme stress.
They have earned a decent rest.
Life is thinking on your feet
so your mind’s only as true
as whatever your feet can do.
Pray you’re born with feet not flat.
Amen.
Shantih.
All of that.


*


At 61 Ken Hudson has recently returned to writing poetry after a 30-year hiatus and deep forays into other fields. In his younger days, Ken's poems were published in a wide range of journals and anthologies. Now he is concentrating on poetry until, as he puts it, 'the last breath I take'.

Friday, November 11, 2011

a collaborative sequence


Shikibu Shuffle

Andrew Burke / Phil Hall


Murasaki Shikibu (973—1014)
Ornette Coleman (double quartet experiments, 1960)


Editor: One of those happy turns of fate brought Phil Hall, Canadian poet, and myself together in a Perth backyard about three years ago. He also hails from Perth - but his one's in Canada. We struck up a conversation, swapped poetry anecdotes and a couple of books, and kept in touch by email. Then I had a heart attack and was queued up for life-saving surgery. I just had to wait, unable to do much at all, kept alive by sprays and medical potions. To distract myself and to learn something of Phil's absolutely different poetics, we agreed to collaborate on a text. I wrote, he wrote, then we shuffled lines together to make a final text - actually, although I wrote 50% of this, Phil did most of the shuffling because he was so good at it! 



1.

Whistling without charts

I praise all swoops and calls

old red-throat has come back
the gentle violin-maker to the countryside

a left-footer’s choir
all language metaphor

I air my tongue
and dream of placid jaws

bawdy songs once belted

grace


2.

Don’t play what’s there
play what’s not there

a Chinese dragon of smoke
wearing my dead friend’s clothes
above the marina

I stall on the floating bridge

and turn Schubert or Mingus
down low     upright in

the long paddock

gathers rain



3.

I watch my chest
rise and fall in the mirror

nature in the raw

nothing I see or think
means anything to me

then I plan to tell you about it

and into each dull thunk
like lemon on fish

comes flugelhorn

a faint zing




4.

About

playing harmonica

means nothing
down the laneways

is tuba backwards
sorrow of the jarrahs

and an open spit-valve
lining the suburbs

windrush through reeds

to rain 


5.

The local gun range
swears black rapid-fire

but our sugar maples insist
circus     the only place

and yellow-jackets concur
(in mosques of spit)    

3 into 1     goes fine

our brains inter
connected     in their 

dome     sweet dome



6.

Delighted by
homage to

the trap
of the outhouse
door open

twinkling lights in a grey sky

here to there
a wing and a prayer

a section of flight

the Flight Bros




7.

Praise each new word

any word will do

on the child's lips
in the windrows

sacred proximity
moon moon

be our replacement
in the daylight sky

pale cuticle

hope



8.

Thinking wetlands
I say swamp

I say lake
as a trophy big-mouth

startled out of what I was    
leaps and smacks         

(Thoreau says pond)

ibis peck
the unlettered eye

in dry reeds




9.

Silver wakes
biting into an apple

hanging off a tree
in weather     Newton
read it right

fence dotted
like manuscript
with white snails

written juices on skin

small autumn regatta



10.

As boustrophedon
vines whisper     Ashbery

to my Basho

I’m light on
the distortion pedal

before pulling out all the stops
and switching to rock’n’roll organ

telling it
like it     TI is



11.

Talking to the air

I break cobwebs
on the line

cello     kite     fishing

making lurid
the net result

while hammock hook shines

sun holds     motes float



12.

Company gone I’m talked out

our opened lake-door takes wing

kingbirds nesting above the light
fat chicks     gaping     pleading

the oriole Jesus in drag in Tasmania
our woods-door opened leaps in chorus

peepers     gaping     pleading
an evasive poppy-seed furnace answer

come back silence I’ll try to listen

once more a single organism


13.

Body rags
slouch toward

the poem
about the door

dark
piano rolls at play

the o in poem
in memory’s chapel

not a knob
or halo




14.

Worldly opinion
runs in the backdoor

God must be a Boogie Man

and out the front door

then walks in
through the wall
and sits on the floor

scant help to me
playing in my sandpit

looking for myself




15.

To braid
plumbago blooms

with tuppenny turn-ups

to weave submerged antlers
breathing blue at their tips

with centaurs
in wheelchairs

our hymn
to abundance

and sense


 *


Read more about Phil Hall at http://en.wikipedia.org/wiki/Phil_Hall_(poet)


Wednesday, November 9, 2011

Collaborations Continue ...

EDITOR: I'm happy to announce I have friends with adventurous souls - in this instance Sheila Murphy from USA and Doug Barbour from Canada (How strangely history has carved the world up!). These two are exceptional poets and prolific in their individual careers - yet have found time since 2000 to collaborate, a project appropriately named Continuations. We are privileged to read some of the continuing work below, plus a word or two about the process after-words.


Continuations XCIX:

find a way through mapped
   or unmapped trajectories  a passage
            way beyond all sales
   or under glass promotions   just walk
            beneath refracted sun or rain
wind or whether blown out of doors

in a fugue state  walking
            to another face
                        a wreath around darkness
                        through doorways
map-less                       toward
            mere weather    as a way

through   reflection   sur
            face off ice or glass
   family romance as culture
            convenience   stored
               too long in sub
            stance  frozen there

cyclical venting of
            one or another rose
                        sketched in the rough
    a lass familiar with
            chiseled surface
                strikes a zen pose

penned  those petals etch
   each parse of page
            a kind of black
announcement   means
   not ends will flower
            on each blank(et)ed page

age does not repeat
            a moment
                        parsing from petal
   to point          toward another
            evening page upon
                        pacing without end

less pulp  more purple
   (p)rose of taxing
            tales turned   or des pointes
a dance of intellectualized
            machinery  a fake or
               deke  un(der)written there

people drink a big gulp
            beverage          including slurpy
                        or rose-tinted slush
   lax tasteless test (less mind
            ful than on point
                        of flow(e(r)ring)

a pointed rejoinder  a fleur de
            lies  less loose lips
   than looped flips   flops
            fall into the red
   slip(per)s   sunk
            in thick piles (pilloried

slippage lops off
            variations on a them(e)
                        devotion:          read to me
    pooled cinch of an idea         whose time treads
                        upon (what) lies (ahead)
       of willowy surfaces

bread and circumstances  w(h)ine
   read & consumed   pledge
            seen and returned be
   neath a brow  beat and
            battered  per
               cussed as idea logged

sumatra flavored morning
            rows of succulents subsumed
    under milder weather            legible
                        dissent here versus
       the antithesis of mesh afar contagious
              and not quite   about ideas

read or ready to materialize
            as through a mesh starkly
   mirrored thought less reflection
            wind ruffled   trees bent
               over the smallest white
                        caps  tugged   begging
flecks of matter bend
            as treason chastens conscience
                        while over         a stark surface
    wind roars as if         to scrub
                        free the thought of
bigger spheres of influence

affluence argues in fluent
   tongues of fire(d)
            burnt out and turned down
a kind of fear as pain(ed)
            expression(ism
               harsh song (or soup) lines

a painting of fear collects
            no lines             tongues merely spoken
                        run parallel to the story
    in flames upon the screen
            removal differs from art
                        with nothing left before it’s there

northern borders  from nada can
            nothing arrive   a nod
   ding head as empty of thought
            as awareness   an old
   rhetoric redoubled   still
            empty  minded (the s(t)ore

bowl offered
            hereby configuring
                        pure no
     thingness      arriving
           without wares
  thus believing unawares

as empty does   fills with
   nots  too tied to
            ever unravel
   plots   to ride new
narrative twists    turn
            coated lead(ers) to fools

id est                lots of wind
            replenishing
   lots of wind                as if
            a scarce commodity      too
            constant a story
constantly told

a mouth too wide   deep
            in a big muddy
   argument  unsalvaged
            the cut cost cast
               aside  a wide
            and winding read

dumb luck plummets
            cults of net        yield(ing)
                        on-side benefaction
    to entrap       the needy in false
                        arguments read
 under a mud surface

such a falling off but
   ton from what push
            pull of power rep
resented as ever  (since
            sense says solo
   flight alone will do will to

speckle a fleet of ushers
in their pent-up phases
   of severance using pin
                        light lo and be
hold a number               well done
            the wow factor hovering

a new ear all legislated   hear all
            never listening   listing
   to starboard   stars bored
            st(r)ay thought  full
               load of in (or ex)
            cremental logic systems

thought through stories
            boarded up       to keep
                        light                  in and out
     stars            reach pores
            fill outer surface
                        with      like       slate

date(d) narrative slush   a
   slippery scope   out(ed)
            and a way too far
   to tell    sell   fell
            or full fury of
               oil(y) fired  sincerity

although            and yes
            a way to           through
                        sails      or
  species in                    or outer
            fields                lush      with
              selves

~

Comments on Collaboration:

 With collaboration, there is an even broader sense of subject, that is, less of tightly controlled ‘about-ness.’ ‘Concepts, referents, even possible sites of imagery,’ are alive, balancing the roles of receiver and sender in a two-way process. When one writes collaboratively, there's a comfort and a simultaneous ‘ready for anything’ sensation, as the spectrum of surprise and expectation is touched in various places. On seeing or hearing the collaboration partner's response, one is often stimulated by the passage just received and read, then drawn into the work by wanting to respond. The curious thing that can happen in collaboration is the blurring of lines between writers. In one view, the better the collaboration, the less evident the two (or more) writing styles. Not a lowest-common-denominator approach to writing. Rather, it would seem that at its most artistic, collaboration brings into being a new writer, different in many ways from either of the individual writers. Such a presence cannot be forced into existence. It comes with committed working together over time.

 
In Continuations, we agreed on a more or less fixed format of six lines, and have bounced the ongoing process of poem-construction back and forth over the years, since November 2000. It seems that in that time a ‘third individual’ has emerged, who writes differently from the way that either writer would be creating independently. Emmy Lou Harris, speaking of her collaboration with  Mark Knopfler, makes a point that allusively applies to this poetic version: "When you combine two unique voices it creates a third, phantom voice."

- Doug Barbour & Sheila Murphy