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		<title>From the Archive</title>
		<description><![CDATA[Australian Book Review (ABR) is Australia's leading arts and literary review. Created in 1961, and now based in Melbourne, ABR publishes reviews, essays, commentaries and creative writing.]]></description>
		<link>https://www.australianbookreview.com.au</link>
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			<title>Poem of the Week - Bill Manhire reads 'Indexing Emily'</title>
			<link>https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3574-poem-of-the-week-bill-manhire-reads-indexing-emily</link>
			<guid isPermaLink="true">https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3574-poem-of-the-week-bill-manhire-reads-indexing-emily</guid>
			<description><![CDATA[<div class="K2FeedIntroText"><p><span class="dropcap">I</span>n this episode of 'Poem of the Week' Bill Manhire reads 'Indexing Emily'. <em>ABR</em> Editor, Peter Rose, introduces Bill who then reads and discusses his poem.</p>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/282073323&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false" scrolling="no" width="100%" height="166"></iframe></p>
<p>&nbsp;</p>
<h3>Indexing Emily</h3>
<p>The dead gaze back across their special days:<br />cloud above clover, crisis above the crow ...<br />Such new horizons, yet they still approach.<br />They know how eclipse and ecstacy edge along together:<br />whisper and wink of wind, but no real weather.</p>
<p>Between practice and prayer there's always praise.<br />Mist and mistakes are in the text.<br />And now here's the night – nobody's next – and poetry<br />falls from the crucifixion like a crumb, and belief<br />needs bells, needs bereavement. Bothersome.</p>
<p>Now a feather falls towards March<br />somehow recalling the snake above the snow.<br />Everything slows. All those ships<br />anticipating shipwreck: frigate, little boat.<br />Brain almost touching the bride. Sweet anecdote.</p>
<p>Can the simple be simplified? Our riches<br />ride on a riddle: rapture and rainbow<br />and remaining time. And now all the columns<br />of Love appear. No word of reproof, no sign<br />of rage. Love is like Death: it needs to turn the page.</p>
<p style="text-align: right;"><strong>Bill Manhire</strong></p>
<hr />
<p>Bill Manhire was New Zealand's inaugural Poet Laureate. He founded the well-known creative writing programme at Victoria University of Wellington. His most recent books are a collection of short fiction, <em>The Stories of Bill Manhire</em> (VUP, 2015), and a Selected Poems. He has also been writing songs with the jazz musician Norman Meehan.</p></div>]]></description>
			<author>hidden@australianbookreview.com.au (Hidden Author)</author>
			<category>Poem of the Week</category>
			<pubDate>Fri, 09 Sep 2016 14:54:33 +1000</pubDate>
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			<title>Poem of the Week - David McCooey reads 'Fleeting: Sylvia Plath at 80'</title>
			<link>https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3564-poem-of-the-week-david-mccooey-reads-fleeting-sylvia-plath-at-80</link>
			<guid isPermaLink="true">https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3564-poem-of-the-week-david-mccooey-reads-fleeting-sylvia-plath-at-80</guid>
			<description><![CDATA[<div class="K2FeedIntroText"><p><span class="dropcap">I</span>n this episode of 'Poem of the Week' David McCooey reads 'Fleeting: Sylvia Plath at 80'.<em> ABR</em> Editor, Peter Rose, introduces David who then reads and discusses his poem.</p>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/279800610&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false" scrolling="no" width="100%" height="166"></iframe></p>
<p>&nbsp;</p>
<h2>Fleeting</h2>
<h3>Sylvia Plath at 80.</h3>
<p>I have outstayed the old millennium,<br />lost count of years, and jobs, and meals prepared.<br />My children have careers; the students of my students teach.<br />&nbsp;&nbsp;&nbsp;&nbsp; I have had some fame, though<br />&nbsp;&nbsp;&nbsp;&nbsp; a little is enough, I know.</p>
<p>In an earlier age, my youthful world conspired<br />to render me with fires of grief,<br />at which I bent, and murmured my beginner's German.<br />And then came, as if I'd called them up,<br />&nbsp;&nbsp;&nbsp;&nbsp; the mess of childbirth,<br />&nbsp;&nbsp;&nbsp;&nbsp; the bedlam of men and women.</p>
<p>I wrote those poems – the ones for which I'm known –<br />in the coldest winter for two hundred years.<br />The snow stretched telephone wires to the ground.</p>
<p>The children and I hid from the historic cold<br />as if hiding from a fairy-tale monster.<br />The monster froze the river, ground, and air,<br />while I outstared, through all those monochrome days,<br />&nbsp;&nbsp;&nbsp;&nbsp; the gaze of that greater madness<br />&nbsp;&nbsp;&nbsp;&nbsp; I'd called my calling.</p>
<p>Then my discovery: the deranging noise –<br />like bees or the airy sea – that filled my stony head<br />was merely fleeting, like snow, or flowers, or husbands' lies<br />&nbsp;&nbsp;&nbsp;&nbsp; on crackling telephone lines.<br />Or the brief duration of abysmal sleep.</p>
<p style="text-align: right;"><strong>David McCooey</strong></p>
<hr />
<p>David McCooey is a prize-winning poet, critic, and editor. His latest book of poems, <em>Star Struck</em>, will be published by UWA Publishing in October. His debut poetry collection,<em> Blister Pack</em> (2005) won the Mary Gilmore Award and was shortlisted for four other major national literary awards. His second full-length collection, <em>Outside</em> (2011), was shortlisted for the Queensland Literary Awards and was a finalist for the 2012 Melbourne Prize for Literature's 'Best Writing Award'. His work has appeared for nine out of the last ten years in Black Inc's annual anthology,<em> The Best Australian Poems</em>. McCooey is the deputy general editor of the prize-winning <em>Macquarie PEN Anthology of Australian Literature</em> (2009), published internationally as <em>The Literature of Australia</em> (2009), and he is the author of a critical study on Australian autobiography, <em>Artful Histories</em>, (1996/2009), which won a NSW Premier's Literary Award. His poems, essays and reviews have appeared in numerous books, journals, and newspapers. McCooey is also a musician and sound artist. His album of 'poetry soundtracks', <em>Outside Broadcast</em>, was released in 2013 as a digital download and is available for streaming on Spotify and elsewhere. He is a professor of writing and literature at Deakin University in Geelong, where he lives.</p></div>]]></description>
			<author>hidden@australianbookreview.com.au (Hidden Author)</author>
			<category>Poem of the Week</category>
			<pubDate>Thu, 25 Aug 2016 17:00:14 +1000</pubDate>
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			<title>Poem of the Week - Andrew Sant reads 'Tamarillos'</title>
			<link>https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3461-poem-of-the-week-andrew-sant-reads-tamarillos</link>
			<guid isPermaLink="true">https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3461-poem-of-the-week-andrew-sant-reads-tamarillos</guid>
			<description><![CDATA[<div class="K2FeedIntroText"><p><span class="dropcap">I</span>n this episode of 'Poem of the Week' Andrew Sant reads 'Tamarillos'.<em> ABR</em> Editor, Peter Rose, introduces Andrew who then reads and discusses his poem.</p>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/272521818&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false" scrolling="no" width="100%" height="166"></iframe></p>
<p>&nbsp;</p>
<h3><strong>Tamarillos</strong></h3>
<p>Vertigo is nowhere<br />where they are, and time,<br />too, seems suspended.<br />Ovoid, working on ripeness<br />dozens make no demands<br />on the branches, light,<br />they might be, as blown eggs,<br />easily out of reach among<br />the sunlit leaves. Tamarillos,<br />tree tomatoes, tomates de ârbol<br />or whatever name holds them aloft<br />in a nation's esteem, these<br />exotics, close to the window,<br />are merely mute absorbers<br />of birdcalls and banter,<br />no-one's gift to cuisine;<br />a slow over-the-summer<br />accumulation, providing<br />silence with a shape<br />like a form of percussion<br />never to be struck.<br />In their plenty, they are polished<br />and smooth experts<br />at deferment, unusually<br />snobbish. Elsewhere, in rows,<br />they're a crop. The<br />compelling force, it's<br />beneath them to address,<br />they hourly thwart; another lofty<br />thing that makes the fruit look<br />so perpetually good –<br />who'd wish to pick any? –<br />until the first one drops.</p>
<p style="text-align: right;"><strong>Andrew Sant</strong></p>
<hr />
<p style="text-align: right;">&nbsp;</p>
<p style="text-align: left;">Andrew Sant was born in London, and came to Australia with his parents in 1962. He has worked in a variety of occupations, including teaching and copywriting. After relocating to Hobart in the late 1970s, Sant founded the literary magazine <em>Island</em> with Michael Denholm in 1979, the pair remaining as co-editors until 1990. In 1989 he was made a member of the Literature Board of the Australia Council. More recently he has lived in Melbourne, but has also spent considerable time in writer-in-residence positions overseas: he was writer-in-residence at the University of Peking, in Beijing, China, in 2001; Writing Fellow at Leicester University in the UK between 2002 and 2005, and in 2007–2008, Writing Fellow at the University of Chichester, in West Sussex, UK.</p>
<p style="text-align: left;">His first collection of poems, <em>Lives</em>, was published by Angus and Robertson in 1980. His most recent collection is <em>The Bicycle Thief and Other Poems</em> (2013)".</p></div>]]></description>
			<author>hidden@australianbookreview.com.au (Hidden Author)</author>
			<category>Poem of the Week</category>
			<pubDate>Thu, 07 Jul 2016 10:59:48 +1000</pubDate>
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			<title>Poem of the Week - Campbell Thomson reads 'Lament for &quot;Cape&quot; Kennedy'</title>
			<link>https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3411-poem-of-the-week-campbell-thomson-reads-lament-for-cape-kennedy</link>
			<guid isPermaLink="true">https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3411-poem-of-the-week-campbell-thomson-reads-lament-for-cape-kennedy</guid>
			<description><![CDATA[<div class="K2FeedIntroText"><p><span class="dropcap">I</span>n this episode of 'Poem of the Week' Campbell Thomson reads 'Lament for "Cape" Kennedy'. <em>ABR </em>Editor, Peter Rose, introduces Campbell who then reads and discusses his poem.</p>
<iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/269338768&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false" scrolling="no" width="100%" height="166"></iframe>
<p>&nbsp;</p>
<hr />
<p>Campbell Thomson is a Melbourne writer and barrister, whose poems have been published in Overland, Cordite, and Rabbit. He practises criminal, native title, and environmental law. He is a judicial officer for the Australian Rugby Union and a rugby tragic. He was an officer in The Black Watch in Germany and Northern Ireland. He used to talk about films on ABC local radio, and produces and acts, most recently with <em>Othello</em> at 45downstairs.</p></div>]]></description>
			<author>hidden@australianbookreview.com.au (Hidden Author)</author>
			<category>Poem of the Week</category>
			<pubDate>Thu, 16 Jun 2016 08:57:17 +1000</pubDate>
		</item>
		<item>
			<title>Poem of the Week - Ali Alizadeh reads 'I ♥ (this) Life?'</title>
			<link>https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3322-poem-of-the-week-ali-alizadeh-reads-i-this-life</link>
			<guid isPermaLink="true">https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3322-poem-of-the-week-ali-alizadeh-reads-i-this-life</guid>
			<description><![CDATA[<div class="K2FeedIntroText"><p><span class="dropcap">I</span>n this episode of 'Poem of the Week' Ali Alizadeh reads 'I ♥ (this) Life?'. <em>ABR</em> Editor, Peter Rose, introduces Ali who then reads and discusses his poem.</p>
<p>&nbsp;</p>
<iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/262703650%3Fsecret_token%3Ds-CwNHM&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true" width="100%" height="450" scrolling="no"></iframe>
<p>&nbsp;</p>
<h2>I <span style="font-size: 24pt; line-height: 107%; font-family: 'Times New Roman','serif';">♥</span> this life (?)</h2>
<p>&nbsp;</p>
<p>For every&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; $10&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I produce (in, say, 30 minutes)</p>
<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; $6&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp; goes to the boss. Join</p>
<p>the club? And then</p>
<p>I pay&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; $4&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp; for some crap (say, lukewarm coffee, to keep me<br />awake)</p>
<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; that cost the boss</p>
<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; of s/he who made it</p>
<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; $1 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; =&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I'm worse off<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; by &nbsp; &nbsp; &nbsp; $10&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp; in 30 minutes. Such</p>
<p>is life? My boss's bosses<br />demand growth, so soon</p>
<p>the extracted<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; $6&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; must become, say<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp; $10 &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; =&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I'll have to produce<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; $14&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; in 30 minutes</p>
<p>to keep my job/salary<br />by working longer/harder. Then</p>
<p>of course, the owner of the cruddy coffee shop<br />also ogles profit, so</p>
<p>the watery beige rubbish in the cup<br />(to which I'll be sadly addicted) will cost</p>
<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp;&nbsp; $6.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp;&nbsp;&nbsp; Nota Bene: it will still cost the café captain<br />of industry&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; $1&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; to produce the commodity – the exchange-</p>
<p>value of my or the (undertrained) barista's labour power<br />hasn't grown<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; so that it won't impede<br />capital's expansion. I'll have</p>
<p>had&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; $19 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp;&nbsp; sucked out of me. Par</p>
<p>for the course? Well, I forgot</p>
<p>to mention: since the price of coffee<br />will go up &amp; my income&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; won't</p>
<p>I'll also be&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; broke. The question,<br /><br />then&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; =&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; for how long</p>
<p>I&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (and you, and she, and he, and you, and they, and we</p>
<p>and we) will go along<br />with this&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; kind of&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp;&nbsp; life?<br />The day after tomorrow</p>
<p>infinite growth&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; =&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp; I'll have to create at least<br /><br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp; $18&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp;&nbsp; &nbsp; in 30 minutes<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; to abide by boss's projections. My back<br />will be sore. I'll be needing<br />the ghastly<br />thing (made with expired milk) that passes for beverage<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; even more. It'll be<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; $8 (at least)<br />– I'll be&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; $4&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp;&nbsp; out of pocket. Nota Bene: since the hapless barista<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; will have been replaced by a (rusting) machine<br />the coffee will have cost the caffeine crook<br />only&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; $0.5<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; =<br />bosses will be<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; $20.5<br />richer<br />at my expense – I'll have accumulated<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; $4&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; in debt&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; in 30 minutes<br />despite being employed. Monkey</p>
<p>see, monkey do? Well, no. I hope not. I hope one day&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; we<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; (exhausted, aching, sick)</p>
<p>will find it<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; historically inevitable<br />to say:</p>
<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; No. Fuck off. No more.</p>
<p>&nbsp;</p>
<p style="text-align: right;"><strong>Ali Alizadeh</strong></p>
<p>&nbsp;</p>
<p>Ali Alizadeh's latest collection of poetry, <em>Ashes in the Air</em> (UQP, 2011) was shortlisted for the Prime Minister's Literary Award. His latest book is <em>Transactions </em>(UQP, 2013) and he lectures at Monash University.</p></div>]]></description>
			<author>hidden@australianbookreview.com.au (Hidden Author)</author>
			<category>Poem of the Week</category>
			<pubDate>Thu, 05 May 2016 09:15:37 +1000</pubDate>
		</item>
		<item>
			<title>Poem of the Week - Alicia Sometimes reads 'Universality'</title>
			<link>https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3404-poem-of-the-week-alicia-sometimes-reads-universality</link>
			<guid isPermaLink="true">https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3404-poem-of-the-week-alicia-sometimes-reads-universality</guid>
			<description><![CDATA[<div class="K2FeedIntroText"><p><span class="dropcap">I</span>n this episode of 'Poem of the Week' Alicia Sometimes reads 'Universality'. <em>ABR</em> Editor, Peter Rose, introduces Alicia who then reads and discusses her poem.&nbsp;</p>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/267220988&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false" scrolling="no" width="100%" height="166"></iframe></p>
<p>&nbsp;</p>
<hr />
<p>&nbsp;</p>
<h2>Universality</h2>
<p>i.</p>
<p>From this vantage, Mercury and Mars hang parenthetical<br />closed sentences while the rest of the galaxy is translucent.<br />The stars, floating caravels in a mesmerizing battalion.</p>
<p>This hill, with its cape of wind and ebb of solace<br />allow me to reach out and stroke Jupiter's moons.<br />Peering into the beginnings of things.</p>
<p>You stand beside me in that tan, torn coat<br />as stellar showers squint in the dark face of time.</p>
<p>ii.</p>
<p>How large our curiosity looms.<br />Your knot-thick hands clasp the creases of the hardwood.<br />Peering up from the malt-stream deciphering knowledge perpendicular.</p>
<p>These figures eminent, exclamation marks to history.<br />You said it's important to see more than we're told to.<br />Here, with your camera, fragmented moments peel down like bark.</p>
<p>No-one can sweep Styx Valley without getting burned themselves.</p>
<p>iii.</p>
<p>Now, the moon is almost hidden<br />Every note from Bob Dylan's lips<br />falls to the ground perfectly re-formed.<br />Each vowel running its fingers over my back<br />anticipation of answers and comfort.<br />Lyrics, bending chronology.</p>
<p>Orpheus himself weeping.<br />Museums of disembodied hope.<br />Now we're talking about absolutely everything.<br />Hoarding hyperbole.</p>
<p>iv.</p>
<p>Simone Weil said: 'Truth is on this side of death'.<br />The cat is both alive and dead and looking out the window.</p>
<p>v.</p>
<p>Astronomers rarely look up at the sky.<br />Instruments detect invisible signals.<br />Lists of graphs and diagrams and numbers<br />chart the unknown and unheard and unsung.</p>
<p>You come home and warm up by the fire.<br />You open your mouth to say something.<br />Words, untamed as a strand of string.<br />Possibilities open like a box.</p>
<p style="text-align: right;"><strong>Alicia Sometimes<br /></strong></p>
<hr />
<p>Alica Sometimes recently edited (with Nicole Hayes) <em>From the Outer: Footy like you've never heard</em> <em>it </em>(Black Inc.), an anthology of football stories, which was <a href="https://www.australianbookreview.com.au/abr-online/current-issue/183-june-july-2016-no-382/3389">reviewed by Patrick Allington</a> in the June-July issue of <em>ABR</em>.</p>
<p>Intro music by <a href="http://www.bensound.com">www.bensound.com</a><br />Music featured in 'Universality' is by Andrew Watson</p></div>]]></description>
			<author>hidden@australianbookreview.com.au (Hidden Author)</author>
			<category>Poem of the Week</category>
			<pubDate>Fri, 03 Jun 2016 14:12:56 +1000</pubDate>
		</item>
		<item>
			<title>Poem of the Week - Alexis Lateef reads 'Girl in Fremantle Bookshop'</title>
			<link>https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3243-poem-of-the-week-alexis-lateef-reads-girl-in-fremantle-bookshop</link>
			<guid isPermaLink="true">https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3243-poem-of-the-week-alexis-lateef-reads-girl-in-fremantle-bookshop</guid>
			<description><![CDATA[<div class="K2FeedIntroText"><p><span class="dropcap">I</span>n this episode of 'Poem of the Week' Alexis Lateef reads 'Girl in Fremantle Bookshop'. <em>ABR</em> Editor, Peter Rose, introduces Alexis who then reads and discusses her poem.</p>
<p>&nbsp;</p>
<iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/261290581&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true" scrolling="no" width="100%" height="450"></iframe>
<p>&nbsp;</p>
<h2>Girl in Fremantle Bookshop</h2>
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<![endif]-->You squirrel away musty editions of Virginia Woolf<br />but living in Fremantle, with its failing shops<br />and unstable rents, was going to hurt&nbsp;–<br />surviving on Vegemite is not sustainable.<br />You make do with South Beach on Sundays<br />and mental snapshots of the harbour at 6am.<br />You wheel book displays into the gaze<br />of coffee shops where others write.</p>
<p>You lie awake worrying about conversations<br />regarding the merit of the new Donna Tartt<br />with middle class housewives<br />who will find an excuse to buy something else.<br />Of course, it’s a job that attracts romantics,<br />who preach the only thing left to preach.<br />Believers and would-be lovers visit on Fridays,<br />bringing you chai lattes and books of their own,</p>
<p>&nbsp;so that every time you decide to unpack<br />your last box, and sell your last Mills and Boon,<br />you walk back into the only chapel you’ll ever preside over,<br />and bump into someone else who loves Woolf,<br />who reaches calmly across the counter<br />and unlocks the register of your heart.</p>
<p>&nbsp;</p>
<p style="text-align: right;"><strong>Alexis Lateef</strong></p>
<p style="text-align: right;">&nbsp;</p>
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<![endif]-->Alexis Lateef is a Perth based writer. She has a BA (English Literature) from the University of Western Australia and has worked as a tutor, bookseller and library officer. Her work has been published in <em>Westerly</em>, <em>Australian Poetry Journal</em>, <em>Southerly</em>, <em>Page Seventeen</em>, <em>Cordite</em>, and other journals. She has been a guest at the Perth Poetry Festival, Voicebox, Sturmfrei, Ships in the Night, and the Perth International Writers' Festival. Alexis is the editor of <em>Writ Poetry Review</em>, a Perth journal that began in 2014, and occasionally runs poetry nights at Paper Mountain.</p>
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			<author>hidden@australianbookreview.com.au (Hidden Author)</author>
			<category>Poem of the Week</category>
			<pubDate>Wed, 20 Apr 2016 16:34:05 +1000</pubDate>
		</item>
		<item>
			<title>Poem of the Week - Graham Akhurst reads 'The Kadaitcha Sung'</title>
			<link>https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3242-poem-of-the-week-graham-akhurst-reads-the-kadaitcha-sung</link>
			<guid isPermaLink="true">https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3242-poem-of-the-week-graham-akhurst-reads-the-kadaitcha-sung</guid>
			<description><![CDATA[<div class="K2FeedIntroText"><p><span class="dropcap">I</span>n this episode of 'Poem of the Week' Graham Akhurst reads 'The Kadaitcha Sung'. <em>ABR</em> Editor, Peter Rose, introduces Graham who then reads and discusses his poem.</p>
<p>&nbsp;<iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/259971699%3Fsecret_token%3Ds-SA167&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true" scrolling="no" width="100%" height="450"></iframe></p>
<p>&nbsp;</p>
<h2>The Kadaitcha Sung</h2>
<p>&nbsp;A black feather<br />whispered<br />nascent</p>
<p>swoons<br />buried<br />under moonlit gleamed<br />dark skin</p>
<p>clandestine<br />it waits<br />Kadaitcha</p>
<p>a reminder<br />in haunted space<br />of darkness under light</p>
<p>&nbsp;</p>
<p style="text-align: right;"><strong>Graham Akhurst</strong></p>
<p style="text-align: right;">&nbsp;</p>
<p><a href="https://www.australianbookreview.com.au/abr-online/archive/2015/author/4765-grahamakhurst"><strong>Graham Akhurst</strong></a> is an Aboriginal writer hailing from the Kokomini of Northern Queensland. He has been published in <em>Australian Book Review</em>, <em>Cordite</em>, <em>VerityLa</em>, and <em>Off The Coast</em> (Maine America) for poetry, and <em>Mascara Literary Review</em>, and <em>Connect the Dots</em> for fiction. He has also contributed to the Brisbane poetry map. He has read at the Queensland Poetry Festival and Clancestry. Graham received a Bachelor of Creative Arts with first class honours, and begins his Mphil in Creative Writing in July, his project being a memoir. Graham currently teaches Indigenous studies at the University of Queensland</p></div>]]></description>
			<author>hidden@australianbookreview.com.au (Hidden Author)</author>
			<category>Poem of the Week</category>
			<pubDate>Wed, 20 Apr 2016 16:17:28 +1000</pubDate>
		</item>
		<item>
			<title>Bonus Episode - Porter Prize Judges Lisa Gorton and Luke Davies in Conversation with Peter Rose</title>
			<link>https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3066-bonus-episode-porter-judges-lisa-gorton-and-luke-davies-in-conversation-with-peter-rose</link>
			<guid isPermaLink="true">https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/3066-bonus-episode-porter-judges-lisa-gorton-and-luke-davies-in-conversation-with-peter-rose</guid>
			<description><![CDATA[<div class="K2FeedIntroText"><p><span class="dropcap">I</span>n this bonus episode of Poem of the Week, <em>ABR</em> editor Peter Rose interviews two of the judges of the 2016 Peter Porter Poetry Prize – Lisa Gorton and Luke Davies – about the judging of the prize and honouring the legacy of Peter Porter.</p>
<p>&nbsp;</p>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/249937878&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true" scrolling="no" width="100%" height="450"></iframe></p>
<p><a href="https://www.australianbookreview.com.au/features/from-the-archive/tag/Luke%20Davies" target="_blank"><strong>Luke Davies</strong></a> is a poet, novelist, and screenplay writer. His first collection,&nbsp;<i>Four Plots for Magnets</i>, appeared in 1982, when he was twenty. His novel <em>Candy</em> (1997) was successfully filmed in 2006. He has won many awards, including the Grace Leven Prize for Poetry, the Philip Hodgins Memorial Medal, the Queensland Premier’s Literary Awards Judith Wright Prize, and the Age Book of the Year. His book<i>&nbsp;Interferon Psalms</i>&nbsp;won the inaugural Prime Minister’s Literary Award for poetry in 2012.</p>
<p><a href="https://www.australianbookreview.com.au/features/from-the-archive/tag/Lisa%20Gorton" target="_blank"><b>Lisa Gorton</b></a>, who lives in Melbourne, became <em>ABR</em>’s Poetry Editor in October 2013. She studied at the Universities of Melbourne and Oxford. A Rhodes Scholar, she completed a Masters in Renaissance Literature and a Doctorate on John Donne at Oxford University. Her first poetry collection, <em>Press Release</em> (2007), won the Victorian Premier’s Prize for Poetry. Her 2013 poetry collection <em>Hotel Hyperion</em> (also Giramondo) was shortlisted for the Queensland Literary Awards. She was editor of <em>The Best Australian Poems 2013</em> (Black Inc.). Her latest novel, <em>The Life of Houses</em>, was published in 2015.</p>
<p><strong>Click on the following links to:</strong> find out more about the <a href="https://www.australianbookreview.com.au/prizes-programs/peter-porter-poetry-prize" target="_blank">Peter Porter Poetry Prize</a>; read the<a href="https://www.australianbookreview.com.au/abr-online/current-issue/172-march-2016-no-379/2980" target="_blank"> shortlisted poems</a>; read about the third judge of the 2016 Porter Prize, <a href="https://www.australianbookreview.com.au/component/k2/47-competitionsandprograms/2663?Itemid=739" target="_blank">Kate Middleton</a>; or find out more about the <a href="https://www.australianbookreview.com.au/about/events" target="_blank">Porter Prize ceremony</a>, where the winner will be announced, on Wednesday 9 March at Boyd Community Hub, Southbank.</p></div>]]></description>
			<category>Poem of the Week</category>
			<pubDate>Wed, 02 Mar 2016 13:24:38 +1100</pubDate>
		</item>
		<item>
			<title>Poem of the Week - Jennifer Maiden reads ‘Clare and Nauru’</title>
			<link>https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/2938-poem-of-the-week-jennifer-maiden-reads-clare-and-nauru</link>
			<guid isPermaLink="true">https://www.australianbookreview.com.au/features/from-the-archive/162-poem-of-the-week/2938-poem-of-the-week-jennifer-maiden-reads-clare-and-nauru</guid>
			<description><![CDATA[<div class="K2FeedIntroText"><p><span class="dropcap">O</span>ur second 'Poem of the Week' for 2016 is&nbsp;‘Clare and Nauru’ by Jennifer Maiden. <em>ABR</em>'s Poetry Editor, Lisa Gorton, introduces Jennifer who then discusses and reads her poem.</p>
<hr /><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/244176798&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true" scrolling="no" width="100%" height="450"></iframe>
<p>&nbsp;</p>
<h2>Clare and Nauru</h2>
<p>Clare Collins woke up in the only other<br />hotel in Nauru that had some roof left<br />on a balcony holding a satellite phone<br />given her by George, who'd been given<br />it as a favour by a friend in the C.I.A.<br />he'd shared beer with in Langley. This<br />phone bypassed both the Nauru police<br />and Australian security, except<br />that it was on a Langley frequency.<br />George and Clare assumed the C.I.A.<br />weren't that concerned with Nauru,<br />anyway, and the little phone worked fine.<br />Now George was ringing Clare from Brisbane.<br />He hadn't been allowed on Nauru<br />because they didn't like journalists -<br />even though he objected he wasn't one,<br />just a Human Rights observer, and<br />his autobiography, The Haunted Brothel,<br />was a work of imagination - but the Government<br />of Nauru apparently considered his statement<br />that Nauru was 'a greedy little hellhole'<br />made him a writer of fact. Picking up<br />the phone, she told him, 'You just woke<br />me up, and a couple of Nauru Reed<br />Warblers. They're nesting in the top-edge<br />of the roof, and they seem to be the only<br />native species the locals don't eat.' As if to prove<br />her assumption, the straight-beeked birds began<br />loud warbling in a long fine treble.<br />She walked down with the phone to the harbour,<br />which was full of vast rusting machines<br />from before the rich phosphorus ran out.<br />She said, 'You'd love it here.<br />Apart from doing anything for money,<br />they're all super-ego Christians. Everyone<br />swims in their shorts.' He gave that quick<br />snort-laugh of his. She missed him. Shorted<br />swimmers glared at her deeply with the same<br />expression that she recognised from old<br />photos taken two centuries ago, when<br />such locals were posed in a sullen throng<br />with coat-clad missionaries. She thought<br />they'd be formidable in a fight. The rain<br />which was rare here but heavy fell<br />around her in hot salty drops of the sort<br />that is cried by children. She watched<br />her own wraithlike swimming shadow in<br />the water sway like a shark just<br />sensing the close proximity of fish. She<br />was here to see a Detention Centre victim.<br />She sat on a rock, let the rain soak<br />through her like human comfort. George recalled,<br />with his yen for anti-austerity:<br />'Their problem there is that they really fell<br />for the myth about good risk and weird<br />investment going around in the Eighties.<br />They had the guts to declare independence<br />when Australia wanted to resettle<br />them all after the phosphorus, but<br />they spent their money overseas<br />trying to make more money, not on<br />building or maintaining on their island.'<br />'And now they're broke', said Clare, the rain<br />proving the C.I.A. waterproof and she herself<br />mad to the bolting swimmers, 'Do you<br />know that one of their investments<br />was a musical that had Leonardo<br />da Vinci in an affair with the Mona Lisa?<br />It was a bomb,' she added, just to see<br />what effect that last word had on the phone.<br />It clicked a bit, but seemed to function<br />normally. George always loved such<br />vital trivia. He said, 'I know all<br />about that. I saw it in London. Dreadful.<br />It was called Leonardo the Musical : a Portrait<br />of Love. My daughter wanted to go. I think<br />she couldn't believe it existed, but it did.'<br />He could have said, 'Sheridan', not 'my daughter',<br />as she and Clare were old friends, but<br />he liked the unusual fact that he was a father.<br />The rain ceased and at once dried out.<br />She said, 'I'll ring you later, let you know<br />what happens with Xanaan. Love you.' His<br />own 'Love you' bounced back with a speed<br />and lack of echo only C.I.A. technology<br />could probably have provided. Back at<br />the hotel, she avoided Detention Centre<br />guards who had arrived for the poker<br />machine den at the back. She had hoped<br />this less expensive place wouldn't attract guards,<br />but there was gambling here and Chinese<br />take-away. The whole place stank of soy<br />sauce and the sweat of loss like something<br />out of Graham Greene, she thought, remembered<br />that George had said at the end of one<br />James Bond novel the villain drowned<br />in a sea of guano: birdlime phosphorus.<br />She herself had wondered: was it flammable?<br />The wide stripped-bare belly of the island<br />with its lorn coral peaks clawing up<br />where the pasty soil had been? One<br />could not plant crops here now. The lagoon<br />of freshwater near here shone toxic. There<br />generations ago young saltwater fish<br />had been trapped by the tribal families,<br />and adapted to freshwater, kept to grow<br />for food, like the family pigs. She had killed<br />her younger siblings as a child, was too<br />familiar with death-by-intimacy not<br />to dismiss it with dry disdain, however<br />well-organised a system. Xanaan<br />- a Somali girl in her teens with long<br />deep elegant bones, oval face alert<br />with the detachment of a fashion runway<br />or the bright runway of trauma - stood<br />in the tattered hotel carpark, waiting.<br />These days, the detainees were allowed<br />to walk about the island - something<br />the Nauru Government called the ending<br />of detention - so the bored guards ignored<br />her, as she walked to Clare too fast. Clare<br />knew names were the first thing with trauma, asked<br />'"Xanaan" is lovely. What does it mean?'<br />And Xanaan said,'"Compassion", maybe,<br />"Mercy" and yours is "Light" in French, yes,<br />could we walk to the lagoon, please?'<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Yes.<br />Buada Lagoon, when they reached it, spread<br />like an impure viscous emerald, palm<br />trees not suggesting wealth and pleasure<br />as elsewhere than here, thought Clare, but rather<br />things stunted or jittery, weathered<br />wan. The sun, so close to the equator,<br />seemed to throw shorter shadows, arid<br />things of man-height, finished, like thin<br />ghosts of the living people, who were<br />heavy, diabetic and opaque. Clare<br />smelled the saltless water. A row of tires<br />caged it at the road's end. They rested.<br />Xanaan said, "I was there when they burned<br />down the Detention Centre. Before that<br />the local people were more friendly, but<br />they thought they were going to inherit<br />the Centre when we left and when it was<br />destroyed, they thought the prisoners had taken<br />away their property. I suppose<br />they had felt so much taken already.<br />Also, I've seen the guards act badly,<br />and I think that may be why what was<br />done to me was done, although the men<br />who attacked me were local Nauruans. I<br />was walking the road round the island's edge<br />at the time and there were five of them.'<br />'Were you raped?', asked Clare, taking<br />the checklist for trauma from a mental pocket.<br />'Of course, but you can't claim that here. They<br />say you're parroting others and become<br />aggressively patriotic. A nurse<br />agreed with me, though it didn't go much farther.<br />But since then I've been bleeding and<br />I think it's getting worse.' So did Clare,<br />who saw a darkening stain on Xanaan's<br />mended skirt quickly turn to liquefaction.<br />Clare asked, 'Why did we walk here?',<br />but she knew: there is more than one manner<br />to sew the lips together. So she said,<br />'I know they have an ambulance. It was given<br />to them by someone called Count Oppenheimer.<br />I'm calling it on this,' and waved the phone.<br />'They won't come for us', said Xanaan, but<br />Clare had mastered a banshee shriek in some<br />impeccable North Shore accent, and they came.<br />Count Oppenheimer's ambulance was in better<br />shape than the Hospital, which was broken,<br />burnt and battered hingeless in decay.<br />The registrar, who saw Clare's reaction,<br />said, 'They are pulling it down next year.<br />Your Government is giving $26 million<br />to build something better because we can't<br />airlift people to Australia now, and so<br />no point in fixing this one, anyway.'<br />As night swelled down, they'd almost stopped<br />the bleeding. Clare had found out that Xanaan<br />was O Positive and since so was she, she<br />sat next to Xanaan attached to a tight tube.<br />There was no blood bank here: the families<br />gave blood amongst themselves. When Xanaan<br />was finally asleep and looked more sanguine,<br />Clare realised a fat Nauruan policeman<br />and someone from Australia had arrived. They<br />weren't concerned with Xanaan, except<br />to remove her from the Hospital as soon<br />as possible without a downright murder, but<br />the untappable phone had made them angry.<br />They didn't know how it was being used,<br />and thought she was a spy for Save the Children.<br />She phoned George, who spoke in fine patrician<br />Virginian, suggested they might like<br />to check the frequency and 'not the fuck interfere<br />with the business of the Company'. They seemed unsure,<br />but after a while left her. A Nauruan Nurse<br />in an heroically clean uniform sat down<br />beside her, took the tube of blood, and said:<br />'She should not go back to the Detention Centre.<br />It's full of mould and rust and bad infection.<br />It's even worse than here, but what<br />can be done to fly her to Australia?' 'I came<br />to write a report', said Clare, 'I'll write that.<br />And the rape thing might help for a petition.'<br />So late-night uselessness crept through<br />her veins like a transfusion, made her sleep.</p>
<p>Clare woke up in the only hospital left<br />on the dead island of Nauru, but thought<br />at once, 'There is another island', and<br />heard some Reed Warblers at the window, which<br />was wrecked enough to see them, if she tried.<br />Xanaan woke up, too, and said, 'The Emergency<br />Response team are going to kill me if I<br />go back to the Centre', in a way that<br />Clare, who'd seen the photos of those men<br />cheering Hanson in Queensland, thought<br />might well be accurate. She said, 'At<br />any rate, have more blood', and found the Nurse<br />from last night, who agreed to help<br />with another transfusion, but also lingered<br />until Clare suggested, 'She shouldn't<br />stay on Nauru, should she?' 'No,' the Nurse<br />agreed. 'So to whom can I donate<br />some aid', said Clare,'And for what?<br />I could rent a boat and a captain to go<br />to Banaba Island and then to Kiribati,<br />where there's an air service. That would be<br />a day and then another day at sea.'<br />'You're right', said woken George, 'They'll kill her. Take<br />her to Kiribati and I'll get documents.<br />We'll find her some family in London: but<br />anywhere in Europe would be better. I'll be<br />with you in Kiribati in two days.<br />The great thing about Banaba Island is that<br />the Council live on Rabi in Fiji.'</p>
<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; There were cluttered caves<br />near the long modern airstrip where they waited<br />until the boat was ready to the north<br />east of the island. Then they strolled there<br />in the innocent daylight as all could do<br />in this new improved freedom of Nauru.<br />The boat was in a shallow cove conceiled<br />by palms, crouching bushes. The crew comprised<br />the Nurse and her sister and their Aunty. Theirs<br />was a stalwart strong boat which could sail<br />comfortably a day to Banaba, and then<br />an even longer day to Kiribati. They<br />spoke of economics on the way, as<br />the old motor chugged, and sinewy Aunty<br />sat with them in the cabin, resting ready<br />for the night. She said, 'The island<br />had so much money for a little while.<br />They could have spent it on my boat,<br />and others. We could have built up soil,<br />planted vegetables and gardens, had<br />hot water all the time, real<br />hospitals, health centres, but those bastards<br />spent it all in other countries. They thought<br />the Australians were right and that you put<br />money into something that was meant<br />already to make money, then you got<br />money back in your own pocket. We<br />have 90% unemployment now, and<br />no one can pay tax so we scrounge it<br />all from other governments and blackmail.'<br />Clare, relaxing with the boat sway, holding<br />Xanaan's sleeping hand, said, 'Yes. I<br />couldn't believe how your government<br />established diplomatic ties with China<br />for $130 million and so broke off<br />relations with Taiwan, then re-established<br />ties with Taiwan and severed them with China.'<br />Aunty grinned: 'Yes, and kept the money. Then we<br />recognised Kosovo to get cash from the West,<br />and Abkhazia which got us, I think,<br />$50 million from Russia?' "I think<br />it was $50 million', agreed Clare, 'but<br />at least those two stayed recognised.' They<br />laughed and Aunty dozed off, too, as Clare<br />thought there could be no better night-pilot<br />than her. Clare was looking forward to the sea-<br />sky tonight and in fact it did not<br />disappoint when she woke up. This was<br />more stars than she had ever seen before,<br />and a moon with its head on your shoulder,<br />always on the verge of speaking, the hues<br />of the sky merging with black in any<br />indigo shade possible, the salt in the air<br />rippling with undercurrents, one's skin<br />no longer any kind of barrier, and Aunty<br />steering as if this boat did not<br />need more than stylised attention. The Nurse,<br />having left the wheel to sleep, told Clare,<br />'Almost half our population suffers<br />from Type 2 Diabetes. The French experts<br />blamed it on imported food.' 'But the French',<br />suggested Clare, "Blame everything on<br />food. Do you think some of it might be<br />hereditary?' She remembered those early pictures<br />that showed predisposition to plumpness as well<br />as to serious resentments.. The Nurse shrugged:<br />'Perhaps but more medical services would<br />certainly solve some problems.' Xanaan<br />was awake on deck looking more her age<br />than she had on the corrupt island. Clare<br />who hadn't previously enjoyed Gauguin<br />all that much, thought he might have merit<br />now in that he showed tough innocence<br />solidifying brightly in this landscape. She<br />discerned Banaba Island by the dawn,<br />then Aunty and her nieces brought back breakfast<br />from friends there but they returned promptly<br />to the open sea with the neat Nurse steering<br />and Aunty snoring softly in the cabin. Next<br />morning the dawn found them Kiribati, which<br />was longer and lower than the first islands, much<br />more clearly at the mercy of the sea, but<br />nonetheless a dulcet place. They had docked on<br />an uninhabited island, after she phoned George<br />and he was there to meet them. Aunty<br />and her nieces hugged them like their family,<br />would tell an invincible story of a visit<br />for two days with faithful friends on<br />small Banaba, accepted more money and more breakfast<br />from George and then put out back to sea. George<br />found himself quoting Housman unexpectedly:<br />'"And saved the sum of things for pay"'. 'Epitaph<br />for an Army of Mercenaries', explained Clare<br />to Xanaan, who said, 'They do not always<br />do the wrong thing. They were right not to be<br />resettled by Australia. And those three<br />women are my heroes, after you.' George<br />changed the subject, knowing how poor Clare<br />writhed privately at any praise. He said,<br />'Let's find you a Human Rights doctor.Then, however,<br />we can fly you somewhere safe.' Kiribati, Clare<br />thought, had sand as white as the moon, as<br />white as innocence, as bloodless white, as<br />magnetic white as power.</p>
<p><b>Jennifer Maiden</b> has published twenty-one books. Her 18th poetry collection, <i>Liquid Nitrogen</i>, won the overall 2014 Victorian Prize for Literature, and was shortlisted for the International Griffin Poetry Prize and the Australian Prime Minister's Awards. Her latest collection is <em>The Fox Petition</em>, published by Giramondo in 2015.</p></div>]]></description>
			<category>Poem of the Week</category>
			<pubDate>Thu, 28 Jan 2016 14:04:32 +1100</pubDate>
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