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Thylazine: The Australian Journal of Arts, Ethics & Literature                                                                                                                                  #10/thyla10k-jf
AUSTRALIAN POETS SERIES 10
The Poetry of John Foulcher
Selected by Coral Hull

[Above] Photo of John Foulcher by photographer unknown, year unknown.


I The Tent I The Missing Person I Rainbow Lorikeets I The Art Teacher I
Raymond Wells and the Burning I The New Cathedral I On reading the Great Poet’s latest book


The Tent

Last night I set up camp

beside an ocean

I've never seen. Waves break here

without habit. Sometimes

there’s a rhythm that’s almost

human, a sense of dance.

Then it's the punch,

the muscle of currents. As I listen

to that thumping, my body

shakes, the tent shivers,

but the waves are all noise,

I’m not afraid. Sometimes, though,

everything stops, the sea

tucks into the sand like a neat

wooden joint. Then, I lie awake

and pray for the tides

to crank into action, but it’s

lathed out there. Once I left

the tent, pulled tight about me

the hessian air.

The moon was a sigh

on my hand. My father

said that silence was reason,

there was power in it. Once,

I think, he camped here.

Yesterday the forest growled,

a storm of vines and branches

broke about me,

I saw no living thing.

The darkness was meat

salted with grains of light.

A bird coughed up a cry

that was old. My father

said there was no way back,

that the soft world died

when you left it.

It will be dawn soon,

I must stop writing this.

I pray for a word

to keep me from drowning

when I take the first step

onto that bound sea.

The sun’s clear vowel

shocks the horizon.

This is the eighth day.

Published in Heat (Australia).

The Missing Person

A pamphlet droops from the letterbox

like a tongue. Not the usual tarot pack of cheap deals

but a plea about a missing person.

Letterboxes all down the street

are panting the pamphlets.

Missing since June 23. Please contact . . .

I crumple it up, cram it into my pocket

with receipts, bills and old shopping lists.

All day, the missing person is trapped there.

As night settles and it starts to get cold

she burns against my skin,

my pocket fills with ash . . .

I keep an eye on the news. There's

plenty of sport, but no word about the missing person.

My thigh grows blistered and sore.

Published in Eureka Street (Australia).

Rainbow Lorikeets

They’re like punks
or homeboys
with their lurid shirts,
green jackets and tight blue beanies.
Before they fly
they flick open their wings
like switchblades
and scrape their cries
across the air
as if dragging coins
along the duco of some expensive, imported car.
They hang about
upside down
in the flowering gum
and sift the blossoms as if they could do it
with their eyes shut
(they could).
If you get too close with your paltry seed
they’ll blare and scatter,
gather in a neighbour’s tree
and jeer
from a distance,
though in a less abundant season
they’ll greet you
like cousins, croon and chatter and win you over.
This afternoon
I watch them skating recklessly
in the alleys
of fitful wind.
Behind them, a storm coming in from the sea -
it hangs there, taut, like gauze.

Published in Convertible (Indigo, 1999)

The Art Teacher

Here in the basement,
at the low point of the school,
the only light I have
seeps from a single window.
If I could paint perfection
it would be like that pane
that’s nothing in itself,
that lets the world unravel.
Sometimes the sun’s bulb
takes root in it, and the glass
is an unexpected splash.
Rain is an excuse for sloppiness,
the thick appliance of shadow.
Sometimes a kid’s painting
will be glass and I’ll look
right through it. Mostly,
though, it’s just paint, fun.
They like it down here, grazing.
Up there, it’s chairs and desks
and consequences. Here
they have only the canvasses,
bare and impossible.
I like the moment most
when a kid who’s never painted
stands at the empty frame,
pausing with the brush,
squinting in the light.

Published in The Learning Curve (Brandl & Schlesinger, 2002)

Raymond Wells and the Burning

I snatched Raymond Wells
from the sea of new green blazers
on our first day in high school.
With his rolled rubber face and clumsy smile,
he would lumber to class
flanked by his bag and his shabby trombone.
Then his orthodontist clamped him
helplessly to caricature,
and I sensed that I was drifting

      to other, colder friends who’d swell with sniggers
      when he tumbled out of English,
      always afraid of being late,

or lost. I kept sight of him, though,
out on his horizon,
and sometimes I’d steal
through the wild, untended park
between our houses
to sit with him in his living room
where his aging mum
would fuss and be proper. Numb with manners,
we’d dawdle to his bedroom

      and he’d polish off a song in brass.
      Always when I left, a shiver coiled through me,
      as I paced the rooted darkness of the grass . . .

Around that time, someone
waited in the dusk
and pounced on a schoolgirl
ambling home through the park - he held her down,
basted her with kerosene, fired her
and ran. The papers said she rolled and flapped
for a while, until the flames
had lined her lungs
with a crust of crackling air. . .

      Soon after, I passed that char. It was wide and bare
      like a scream. It was as if the flames
      had gouged the earth apart.

I never went back there,
I chose to join the jeering - Raymond Wells
and his mad mother
in their pinched and dingy home,
his fixed metal grin
and his bloated adult belly.
But, sinking in the whirlpool
of normal friends, I‘d often think of him
passing that burnt place

      every day, lugging his tinder-dry tunes
      that would catch and sweep through his room
      and smoulder in his dreams.

Published in Convertible (Indigo, 1999).

The New Cathedral

The new cathedral

is a corridor

and a thousand tiny rooms.

Nothing is fixed

in the new cathedral,

the rooms shift and are scattered

as if the saints were shuffling cards.

The angels in cages

of lead-lined glass

are flapping about.

Icons are everywhere:

the ecstasy of weddings, the heavenly families.

In the new cathedral

to receive the host

is to open one's lips

on the most luscious kiss.

The priests

of the new cathedral

are weeping in the confessional.

Their whispered sins

have become our breath.

There is a gift shop

at the heart of the new cathedral

but no change is given.

Everything is cheaper by the dozen.

We buy our lives

and swap them.

We tell each other stories of salvation.

There is dust

in the pulpit,

dust on the lectern.

There are no funerals in the new cathedral.

The dead are otherwise.

A hymn is shuffling

in the shadows

of the new cathedral.

It is quietly singing to itself.

Prayers gather in the rafters

like swallows preening.

No services are held

in the new cathedral

for the priests cannot be distracted,

they are crafting their liturgies of elegance and splendour.

In the new cathedral

nothing happens,

we wait on the mercy of God.

Published in The Best Australian Poems 2004 (Australia).

On reading the Great Poet’s latest book

I say to my son, “This guy’s good. Really good.”
“Better than you?” “I’m not in his class.”
“But he’s weird. What’s it worth?
Would you rather be weird?” No.
It’s a gift, being average, and mostly more true.
Crushed with the public, you’re unheard
and blind, you brush strangers’ clothes
undetected, all your regrets will be private.

So guard the nominal quiet,
son, the braille of love and contempt
at the heart of the poems
that we whisper alone, in which only God
will find libraries. “No, I’d rather be ordinary,
yours. Though a bit of the weird wouldn’t break us.”

Published in Convertible (Indigo, 1999).

About the Poet John Foulcher

John Foulcher has been writing and publishing poetry for nearly thirty years. He has published seven books of poetry, the most recent being The Honeymoon Snaps (Harper/Collins, 1996), Convertible (Indigo, 1999) and The Learning Curve (Brandl & Schlesinger, 2002). He is Head of Drama at Bishop Druitt College in Coffs Harbour. John Foulcher's books include; Light Pressure (Angus & Robertson, 1983), Pictures from the War (A & R, 1987), Paperweight (A & R, 1991), New and Selected Poems (Harper/Collins, 1993), The Honeymoon Snaps (Harper/Collins, 1996), Convertible (Indigo, 2000), The Learning Curve (Brandl & Schlesinger, 2002).
   [Above] Photo of John Foulcher by photographer unknown, year unknown.

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Thylazine No.10 (September, 2004)

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