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Thylazine: The Australian Journal of Arts, Ethics & Literature                                                                                                                                    #2/thyla2k-al
AUSTRALIAN POETS SERIES 2
The Poetry of Anthony Lawrence
Selected by Coral Hull

[Above] Photo of Anthony Lawrence by Jenni Mitchell, 2000.


I Rat Shit and Ash I The Hay Plain I Kookaburra Distribution I The Sea Road
I When We Laugh Crimson Rosellas I A Riding Boot On The Pacific Highway I


Rat Shit and Ash

for Alex Skovron

Stories continue to flourish about these disappearances:
they were eaten by razorbacks; they fell down
and were sewn shut into the bluestone cradle of a gorge
by fog and ground covers;
                                                they became mountain devils -
twig-faced, fragile creatures
languishing on the shelves of cottage industries.

Stories keep these children alive,
though somewhat weary in their roles as changelings -
sad people passed around fires as poems and stories -
the romantic balladry of Australian death.
Where is the romance in a scream from the fog,
in blood become sap on a sheet of paperbark?

A ringer, working the fenceline over Moonan Flat,
swears he sensed a presence
behind boarded up windows
in the half-way shack drovers use when it rains.
Riding past, this is what he saw: a pine cone
dropping to rattle briefly on the shack's roof;
A crow caught by a wing,
Twisting blackly in the fork of a bloodgum;
twin blooms of breath
jetting from the nostrils of a thistle-rooting pig.

Others tell of muted weeping on the hills.
I've climbed them. It's only wind
ruffling the blackboys, and sometimes
sulphur-crested cockatoos
rummaging for seed over dark, harrowed soil,
their wings like churned-up water,
crests the fins of small yellowfin tuna
thrashing their way inland.

What would the children have said, if found
before their tired calling
emptied into a maze of pig tracks?
That blood glazed the fern and pine-dark valleys
of Barrington Tops? That bones
pushed through the earth around them
like rain-cleaned ribcages in a mass grave
for domestic animals?

I walked all day in the mountains to reach the shack.
The roof was gone, the verandah posts down.
In the fireplace
I found a tobacco tin filled with .22 bullets,
and a Zippo lighter
that leapt windily into flame
when I rolled my thumb across the wheel.
I sensed no presence.
And apart from drovers' bootprints,
with ratshit and ash between the treadmarks,
there was nothing to say
that anyone had been in the shack
for at least two winters.
Walking away, this is what I saw:
a brown teal using its wings as air-brakes
before planing over the surface of the dam;
a fox, pausing mid-stride to taste the wind;
and like the weather-torn frame of a small kite,
the skeleton of a bird, possibly a crow,
revolving slowly on a wing-joint
in a lofty fork of imagination's deadwood.

Published in Cold Wires of Rain (Penguin, 1994).

The Hay Plain

In the channel country,
         where tiger snakes
                        polishes their scales

On saffron thistles
         and the jaw-bones of sheep;
                        where the goshawk

understands and engages
         with the animated
                        language of the grass;

your voice enters
         the seed-finding
                        meditations of galahs

and apostle birds,
         whose wings light
                        the turned earth

of paddocks, where
         shorn wethers tremble
                        under the wet red

flowers of their lacerations.
         when I raise twin cones
                        of polished glass

to my eyes, the trees
         come close, and a green
                        parrot fires into

the middle distance.
         Where the Hay Plain ends,
                        I look for you

in channel water,
         horizon smoke.
                        I find you

in the fork of a river
         gum, a galah
                        doing somersaults

on the end of your tongue,
         a crow picking
                        insects from your hair.

Kookaburra Distribution

Kookaburra distribution
is a dark area
like cloud cover
on a satellite
photograph of Australia
it does not include
the north-west coast
where flying fish
imitate the glide
of rain-soaked corellas
approaching riverwood
where windmill birds
pipe blue heat
from their lyrical heads
But if a kookaburra
were to appear
in the sky over Broome
having been blown
off-course from the gut
of a touring thunderhead
or freed from
the boot of a Falcon
with Victorian plates,
with time its call
would come to include
the northwind's offshore
refrain at the start
of the cyclone season
also the ripe sound
of a dugite being
softened on a Cable
Beach stone instead
of the far-reaching
call of the inland fisher:
smalltown main-street
laughter and the water-
blue drop of wings
to a lizard's eye

Published in The Viewfinder (UQP, 1996).

The Searoad

for John Kinsella

Where are they going? Where waterspouts lower their silver
taproots into the vanishing point of a Tasman searoad,
read the ocean's internal workings by what happens
on the surface, in ulcerous light, in the wake of a longliner:

Wandering albatross reeled in like trolled marionettes
with hooks in their beaks; Southern Bluefin tuna,
hauled from a wave to be brain-spiked and opened
by men in yellow raingear, who work like coroners

in the hold of a warship hospital, lowering fleshbarrels
into liquid nitrogen. Walk the aisles of markets,
where swordfish are dumped like deflating, blue rubber
mattresses in a glitter of ice and flies. And when the keel

of an ocean-going racing yacht opens a whale's back
the way some over-ripe fruit will split to the stone
when the tip of a paring knife is drawn over the skin,
the whale rolls, and the crew curse another drifting log

until the boat's wake clouds with blood like a red
spinnaker blooming underwater. They do not say,
with grief like a sea-noise behind their words:
"Charismatic megafauna are great entertainers!"

Where are they going? Into stories and documents
written on coastal parchment and leaked as slime
to currentlines dark with profit; into driftnets
and gillnets; into reef structure levelled by years

of trawling operations. Entering a pulse of light
in the brain-stem of a cadinal marker, a dugong
blows an orange sand trumpet and rolls away, trailing
seagrass like spooled magnetic tape, and further back,

a small white cylinder wired for satellite tracking.
Where are they going? Watch closely. The world's
largest seabird is entering a high pressure system
inside The Roaring Forties. It will glide for days

until booby-trapped squid divide the sea and turn
the glide into a drag. Behind a baitschool
large as an oval, Bluefin tuna are working like surface-
feeding stockdogs as the baitfish change to razor wire

inside their speeding mouths. A dugong tries
to outswim its own shadow, and is overtaken.
They are going beyond the range of echo-sounders
and spotter planes to surface somewhere

inside our heads, vaguely luminous, like memory loss;
like those gold circles that appear for a moment when,
absentmindedly, we press the corners of our eyes
and remember.

When We Laugh Crimson Rosellas

When we laugh crimson rosellas
fly to our mouths. They flutter
at our lips, sipping nectar
and offering us the scent
of lemon gums, the oil-blue air
of mountains.

                         At times
we entertain so many birds
our mouths are flecked with blood,
their beaks having opened like fruit
the sealed skin of our lips,
the veined and flowering skin
beneath our tongues.

When our anger rises, the rosellas
fire themselves into the trees,
where they groom each other
waiting for our mouths
to summon them with laughter.
In their absence, bowerbirds come
to dance in the rain.
They bring us tokens
of our sadness - a small blue comb,
a glass marble filled with sky.
They imitate our voices,
shaking the rain from their wings.

Laughing or crying
there are birds that attend us:
rosellas, flying from mouth
to mouth, feed their young
with laughter;
bowerbirds come from darkness,
surrounding themselves
with colourful things.

Once we found a clutch of eggs
in the folds of our clothes.
We kept them warm until they opened -
a gift of birds.
                         They still come
and go, bringing the wealth
of mountains and gardens
to our mouths and eyes: honey
and eucalyptus oil for the happiness,
a sky-blue marble for the pain.

Published in The Darkwood Aquarium (Penguin, 1993).

A Riding Boot On The Pacific Highway

Had its blunt shadow fallen on the Sturt, Newell or Hume,
where riders have been known to lose their footing,
it would have been retrieved or mistaken
for a glare-struck animal, then flattened
by ute or four-wheel driving hoons, who love
the muted, undercarriage sound of a roadkill's blood.
Yet here, where the shadows of racked boards
cruise in dusklight and at speed, like the spectres
of bronze whalers come to haunt the wave-bragging
talk of surfers, a riding boot is enough
to inspire conjecture: some forensics-baiting,
roadside-hiding joker's idea of theatre, or a clue
to the final days of the coast-retiring, absent-
minded drover? Whatever the story, the loser
must be down to the bone and limping
dunewards in one Redwing, R.M. Williams or Blundstone.

Published in Meanjin (Australia).

About the Poet Anthony Lawrence

Anthony Lawrence was born in Tamworth, New South Wales in 1957. He has published poems in many magazines and journals both in Australia around the world, and his work has won many major awards, including the New South Wales Premier's Award, The Judith Wright Calanthe Award and the Newcastle Poetry Prize. Some of Anthony's publications include, Dreaming In Stone, (Angus & Robertson, 1989), Three Days Out Of Tidal Town, (Hale & Iremonger, 1992), The Darkwood Aquarium, (Penguin, 1993), Cold Wires Of Rain, (Penguin, 1994), The Viewfinder, (University of Queensland Press, 1996), Skinned By Light: New & Selected Poems, (University of Queensland Press, 1998), In The Half Light, (Picador, 2000). He currently lives in Hobart, Tasmania.
   [Above] Photo of Anthony Lawrence by Jenni Mitchell, 2000.

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Thylazine No.2 (September, 2000)

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