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Poems

Waiting.
Starched hospital gown.
Frozen present tense.
Why am I smelling
tigers?

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for Bryan Ennis

‘To in the destructive element immerse’

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The kitchen vessels that sustained
Your printed books, my poems, our life,
Are fallen away. The words remain –
Not all – but those of style and worth.

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Imagine the moment of hesitation:

the catch in his voice,

                                   knowing

he could not turn back: after years

up and down the river, a request

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What works you did will be yourself when you
Have left the present, just as everything
The past passed to the present must become
A terrible unstoppable one blend
Of being there (the world) and not to be
(The Self). Grow old along with me, the best
Is bet to be – the worst (of course) lack(s) all
Conviction, as the poet mistranscribed,
Storming a grave to satisfy his pride.
They love me, all my words, despite how often
I made fools of them, betrayed them, begged
Forgiveness of them. They are like the million grubs
Which swarm around their Queen. I file them in
Wide boxes where they wait their Master’s Voice,
Accusing and defending. A letter plans
To burst in sullen flame, its heat conserved
By what was written once – but chiefly silence
Triumphs under missing banners – death
Will be the one unmentionable
Impossibility. What happened lives
Parenthetically and privately.

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It’s before I got the wandering eye.
I daydream I’ve already left:
without her each morning I’d be able to wake,
stretch in bed-warmth, blink used to light, not lie
feigning sleep in case she cradles my back,
her lap flexing for my elbow to lift
to take her arm onto my chest. I keep still
until she shadow-dresses upon the wall.

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(Italian, c.17th; Kunsthistorisches Museum, Vienna)

Life breathes in this painting like a child
pretending not to be awake,

or a skink metamorphosed to a stone
but for the flutter in its flank.

You have to lean and listen for the heart
behind the shining paint,

the lips half-open, and the glittering eye.

Velvet of the night. A ba ...

I stare from my study window into trees.
Considering all things, I watch the first snow spill
White seeds across the rubble where the barn
Towered over us with its cracked spire
For almost half a century until
Some feckless pot-head changed
The whole thing into fire.

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Philip Salom’s tenth collection of poems offers readers an experience akin to falling over the edge of a well into a frightening subterranean world. The Well Mouth is dark, allusive, ironic, brutal, perplexing and confronting, and so it can be alternately rewarding and irritating. Readers should not miss the explanatory paragraph before the prologue; otherwise they risk being as disoriented as the central narrative consciousness, a woman murdered by corrupt police and dumped down a well. She makes the collection cohere as a kind of ghostly medium, channelling the voices of the newly dead, some of whom are described as ‘whistleblower, brothel madam, long-distance driver, woman lost in the bush, old solider’.

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canola’s chemical yellow rises above the fence line
Black Poles laze around a dam, ibis and egrets gliding overhead
wattle, casuarina, eucalypt, cypress, radiata

where the bitumen gives way to gravel
taking you deeper into shadows, ditches
tinder undergrowth of a bush block

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