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Thylazine: The Australian Journal of Arts, Ethics & Literature                                                                                                                                         #2/thyla2c
THE POETRY OF ALAN GOULD
Selected by Coral Hull

[Above] Portrait of Alan Gould by Jenni Mitchell (oil on canvas 1989 30" x 36")

"They've arrived.
That's all I am allowed to know"


I A Change Of Season I Bangkok Crocodile Farm I Two Sea Eagles I King Parrots I The Dolphins I
A Limb Of God: 1938 I Albratosses: September 1939 I Tightrope Walker I Trapeze Artists I Fire Eater I
The Freedom Of The Seas I Letter To Jenna Mead I February 23rd 1987 I Proem From The Great Circle I
Four Emotions/1.Snake Forest I Mermaid I Under Privet I The White Handed Gibbon At Western Plains Zoo I Anne's Cats I Crowspeak Beside Brisbane Grammar School Oval I


A Change Of Season

(After a newsreel of a Himalayan Spring ritual)

As sleepless I catch the ancient footage
there are sirens ullulant somewhere,
  there's a tyre-squeal of joyriders.
and the long grass in my small orchard
is twittery with reptile movement.

With her following that now includes me
the virgin arrives to place the sweetmeats.
She's a child, and more intensely focal
   than she could ever want
as promptly from the rock there issue
eleven yards of liquid obsidian
a head puffed and big as the moon.
Last year, we're told, her sister died here
who trembled short of the required magic,
her neck encompassed by these jaws,
   trachea pierced, stifling
a terror you might have heard in Tibet
or this room.
                   Now they sway,
and each is the other's hypnotist.
a minute, a lifetime, she fixes
on the gimlet-eye of death
till she swims with the cobra's body,
and, solemn as a bride, inclines
to kiss and kiss and kiss that prim mouth.

Fifty years cannot untwist
the trance her nerve has conjured here.
Were the harvests good that year?
Has she lived to have grandchildren?
I take her people's deadly logic
deep into my own dream magic
and wake amazed by the slow daybreak
that reddens in my small orchard,
and slants across the luminous harvests,
in all those lands beyond my sleep
so calm with belief or unbelief.

Published in Icelandic Solitaries (University of Queensland Press, 1978).

Bangkok Crocodile Farm

You might believe they do without verbs,
immobile, a sculptor's reject-bin,
they have the warted concrete sameness
of the basins they lie in. In dreams we might
walk on them nimbly, as if upon
the bony granite of a headland.
Their languor, their amber eyes
invite just this.
                           But look how they sleep
with eyes open, jaws agape
just there beneath these slender walkways.
Look how the inside of each mouth
is a flower's cream-yellow heart,
how the gums and teeth are stained
tobacco brown so like a grin
glimpsed once in a bar.
                                     O yes,
evolution's debris, we say,
our athletes and ballerinas in mind,
a botch-up job so long ago
the planets had scarcely found their spin.
Yet flick-knives, shrapnel, the reptile flicker
within the prima donna's eye
    also point toward
the chain of being, the common basin.

Their stillness, their inert digestion
     absorb us more and more.
These walkways seem to hang on air.
     Our coins rebound off stone,
     and we would be more daring,
     a prod perhaps, or more!
             a pas-de-deux
                        across those scaly breathing necks.

Published in Icelandic Solitaries (University of Queensland Press, 1978).

Two Sea Eagles
(Northwest Island, Capricornia Group)

I

You take this stare-eyed monarch on her tree;
below her whimbrells strut on gawky legs
and damsels poise like lightning in lagoons.
You know how nothing's dark beneath this moon
of tissue except her round imperial eye,

nor will the sea's mutations modify
her gimlet-claws, the sharp Tzarina's brow,
this frown that's cocked against the scrabbling panic.
The male is smaller and more sudden, glides,
a scimitar dividing gravity

at scarce pisonia height, the head downthrust,
flexing left and right above the sea's
lean populations. Self-possession has
its archetype in this, the finger feathers
playing the currents like a pianist,

requiring no extension of themselves
to monitor each tremor on these hundred
turquoise islands. Throughout each minute, each
millennium the same imperatives hatch,
the threats wear no disguise. The hunger resolves.

You've read in Pliny how in the end they starve,
the mandible that curls and locks the beak
forever, plumage whitening, their bones
bleach with the viscera on the eyrie-stone
(imperial irony that ought to move

the super-powers).  Their map is round, they're thrust
by thermals high above the chains of food,
the island's swivelling apex, black and white,
whose wingspans fall as shadow from that height,
a thunderhead across the Queensland coast.

II

And you've been in their power, like the skink
remarking a mote of ash the instant that
its world turns upside down and darkness bursts
in seas upon its tiny house - eyefirst
pushed into a nestling's mouth and sunk

through black intestine, muscle, bone and back
to that perfect hovering balance. Appetites?
Who will distinguish them? Metaphors
are air, are volatile. The bird soars
into emblem, perches on a stick,

to become one of history's dark exhilarations.
Blink an eye and Poland reels, the Slavs
go under. Blink - the sullen Pictish tribes
melt before Agricola. Time grabs
this effigy that hangs above the nations,

that brings grief's sulphur, streaming black and gold,
a totem launched across the Rhine, the Tiber,
embattled on the Beresina's ice,
toppled at Buchenwald. Mere energies,
mere emblems? Neither will stand reconciled

against the placid, fluctuating galaxies.
Bone, meteor, memory, they all become
the bio-mass, continually disarrange.
that which the mind will turn into the strange.
How many voices gone without trace

down the tunnel of that obscure need?
Bronze-age traumata distil to popular myth
as Neanderthal blurs into frost-giant
on the Jutland Plain, while on the Fertile Crescent
farmers swear to marvels - from mirage, a stampede

of men with four hooves, bringing mutilations.
The hawk-crowned eagle on Yggdrasil,
the bird on Jupiter's shoulder overlook
these hypotheses that tremble like music
at the edge of imagining. This pair remains,

astride the blood-red trail of the millennia,
claw and snow-white garter clutching silence,
while a tropic storm manoeuvres between
the industries of Gladstone and Rockhampton,
and the tide is turning on a flawless sea.

Published in Astral Sea (Angus & Robertson, 1981).

King Parrots

They've arrived.
That's all I am allowed to know.
Four, no, six, they have materialised

trembling on the Mexican Hawthorn
as though the tree had just devised them,
six startling orchids,

or six jocund rascals, outrageous
in their green or crimson balaclavas
and crimson pantaloons,

tucking away their conifer wings,
eating with greedy disdain
like babies, or comic strip bandidos.

My lawn is rubbished with half-eaten crimson berries.
Vandals. Solferino angels;
how can my eye stray while they remain

in creaturely candelabra
on a sky of nursery blue.
It's like a siege.

One cocks its head as though to say,
"Don't worry. We are too brilliant to be real,"
then goes on eating from my tree.

They're gone. The branch skitters into stillness.
And I could spend a year behind this glass
longing for their return.

Published in The Pausing of the Hours (Angus & Robertson, 1984).

The Dolphins

West of Grenada were azure sailing days,
our daylight moon a lean sailmaker's needle,
our labours living in the trance of play.

And dawn on dawn I heard the watchman sing,
They're back, the snubnose gang, a score at least,
which brought the fellows crowing from their cots.

They were the dolphins with their secret smiles,
each flaring satin torso trailing gowns
of silver foil beneath our whisker boom.

Why does their frolic take us from ourselves?
The gaping blowhole on each forehead shocks.
I've heard they butcher hundreds off Nagoya,

and days ago that boy, and those who urged him,
his crude harpoon to jab these gamesome creatures,
the blood, the cheers, they put me in a fury.

Ribaldry's become the whole of manners.
I snapped his little stick across his shoulders
and had him clean latrines for seven mornings;

he's grown more shy. Not so the niggard spirit
hungry for results. It eats at wonder,
spawns bitterness where justice was at ease,

it kills off manhood. Corrosive rancour, this.
I'll watch instead these skilful clowning mammals
that shipped a Roman schoolboy to his lessons

and brought a man ashore off Matapan
who'd sung in his distress a shrilling hymn.
They're lured by music and create their own,

snoring at night, their blowholes just awash,
they cobblestone the seas of Trinidad;
when beached or hurt their shrill is human.

They are the ocean's par for Plato's friendship,
are known to die from grief, as once at Iasos,
where Hermias the dolphin's friend was drowned.

And two that I remember, tidepool stranded,
flicking water on each other's bodies
till fishermen returned them to the sea.

They'll drown in nets. If breathless, they become
an instant, rocket fifty fathoms, leap
a crossjack. I have talked to men who've seen it.

Some say they were hyenas, mittened forepaws,
their hindlegs now two nubs of bone. Perhaps.
I equally believe the Maori tale

about a man sewn up in dolphin skin
for some impiety, condemned forever
to greet the ships that ply Hauraki Gulf.

(Some ribald gentlemen I'd serve less kindly.)
No, they are not human. They might have been -
their sucklings never lack for foster milk.

And no, we are not dolphins, though we wandered
once on an ampler earth. We have no leeway;
sequence is our grievous playmate, thieving
among all matter, this my ancient craft.

Published in The Pausing of the Hours (Angus & Robertson, 1984).

A Limb Of God: 1938

Yes, were I God, I'd butcher sharks regardless,
mako- thresher- sand- or hammerhead,
my thought a stupor tracking purity.

In what lies their good character? In this;
let blue be blue, let all the rest be eaten
because the stomach's bigger than the oceans.

Slipstream profile mouth and eye have marred,
they butt the single instant of self-doubt
and gnaw a human pelvis down to hash.

Yes anywhere they'll home from anywhere.
Toss a matchbox from the rail, it's seized,
its tremor calling them from twenty miles.

Cast a shark-hook tipped with pork, it's seized,
or nuzzled first by pilot fish, then seized,
and boys are hauling at the thrashing line

of frenzy that a million centuries
have left unchanged. Yes yes, the innocence,
say cat-sharks when they mate - the male a bracelet

round the female's middle, dizzy-eyed,
enraptured. Yes, they will conceive like humans.
Richer study sawing through their bellies -

once the head and forelegs of a dog,
the lead was still around its neck. Mere beasts?
They're more. They are a limb of God that we

can sever or become; they nag the rip
we've opened in decorum. I watch the fellows
tossing the scraps of all they cannot use

from this morning's shark. It's seized by sharks
snapping in the muddied sea ten feet below us.
We are that close. Stomachs that will house

the indigestible already house
our futures. I watch, and trust what I am told
that they can never sleep and will outlast us.

Published in The Pausing of the Hours (Angus & Robertson, 1984).

Albatrosses; September 1939

A steamer throws umbilicals of smoke
into the ashen vastness east of Hobart -
and there, an albatross at its employment.

Japanese eyebrow and Antarctic breast
soaring in that upward bath of air
one hundred feet or more, its wings cloud-still,

now tipping like a drowsy gymnast over,
slipping seaward, is the merest nib
writing on a skyline. This was ours.

And this, where, gooning off Tristan da Cunha
hovering for galley scraps at close
to stalling speed - ah flump - and down on deck

she's crarking, retching stomach oils, as boys
dance round her shouting Bugger off, fool-bird,
before your lousy aeronautics turn

you into supper. Snapping that machete beak,
she nearly suppered on my hand before
we tossed her leeward, happily. And now?

Albatross, Toroa, Bakadori,
daily among the idle, in books not mine,
I read your every shift is years at sea,

that you will ring the globe on sixty south
with scarce a wingbeat, augur fogs or gales,
become a shipmate drowned for fifteen years.

Your flights are latitudes of work, your time,
not time like ours now is, endurance, waste;
it is a trance of watchful moments where

the cuttlefish, the scraps confetti-blown,
are mere seizures in your spare economy
of motions. Now? The library is hushed

and rain is dulling what the newsboys shout.
Gamesome bird, you're indexed in nostalgia
for the masts are everywhere unstepped

and our next employment will be bitter.

Published in The Pausing of the Hours (Angus & Robertson, 1984).

Tightrope Walker

He climbs the vertical on all four hands,
discards the third dimension, dances off

as though he were a stick-man drawn on paper.
His mystery? It's simple. Dream a floor,

then walk or climb on it, for space is strung
with rafters of theory. Hah, what might he prove

for physics, this hare-brained fellow with his pole,
this baggy-trousered monocycling spirit.

Perhaps one night he'll amble to the moon
along his wire, umbrella on his shoulder,

or stretch a line between the now and then
to cycle there and back, his silver girl

astride his narrow shoulders. His family
includes all sparrows perched on telegraph wires,

all pirouettists, and the earth that walks
on its invisible rail around the sun.

But now, perhaps because the plains of mind
cause him to yawn, he lies on his one-strand bed

and goes to sleep with one foot dangling in space,
space-shuttler, hung above the slow continents,

the sapphire oceans rolling under his rest,
while from below come cheers which, ah, he should,

with one limp hand-wave, presently acknowledge.

Published in The Twofold Place (Angus & Robertson, 1986).

Trapeze Artists

He twists the rope around his leg then drops
so she can slow-slip down him, knotting her feet
around his waist. He's now her moonlit branch:

she pythons him, untwines him to entwine him
in restive silver loops. She is all verb,
is here, is now; she cannot be more so.

Then what does she make of us, our mouths open
like seashells, our craning heads, our staring eyes
like stars reflected in some secret lake

toward which she now droops and grows and hovers,
perhaps to drink beneath the many moons?
Simply by thinking they've slipped behind our
     physics.

What's gravity? A word that means free-play.
For now she takes his hand; they're lovers, blissed
in space like moon and planet. What next? What
     next?

They've turned themselves into a chandelier,
into a tortile pendant on a throat.
We melt with adoration. Yes, we cry,

Bravo! Dance anywhere. Who needs a floor?
It is the world that's upside down. Besides
what is the world but dance that's breaking out

from matter into metaphor? Free-play.
And there are acrobats that fly like comets
across the tents of memory - but this

is not here or now. Our two unknot themselves,
slip to the floor and stand before our cheers,
their arms outstretched, stiffly, like candlesticks.

Published in The Twofold Place (Angus & Robertson, 1986).

Fire Eater

My breath the tiger, my breath the anaconda,
is first and last my love. I give it freely.
The stage I lounge on is as vast as dawn.

I am your glitzy starlet who might behave.
But beware my tantrums. As should this doting boy.
He adores me from his chair. I eye him. What,

dear heart, were I to tilt my curls and gulp
an orange seed? It is an instant pine tree
has scorched your lap. It is a flock of parrots

that scatter into blueness round your ears.
This does not help his conversation. I smile.
Darling, I say, I'm dangerous to know.

I leave my lovers eyebrowless and bald.
My mother was a notorious gypsy-comet:
she shawled me in her orange tail, then vanished.

My daddy, I am told, was a big volcano.
He gave me his orange mane, his wicked temper.
I woke to find a sparkling heirloom placed

against my tongue. So, while I've tongue and time,
I'll play with fire and those who play with fire.
My metaphors will burn the paint from manners,

my breath discover all the shapes of language.
Meanwhile this boy fatigues me with his gaze.
I'll eat my orange word, then breathe a love

to send him yelping from his chair. And then?
Perhaps I'll flirt with you and you and you,
tickling your ears with my sudden torrid speeches.

Published in The Twofold Place (Angus & Robertson, 1986).

The Freedom Of The Seas

I watch for strangeness as I watch the self
and voyage further down my lineage.
The scales and herringbone of ancestors
are there, and neighbourhoods of blue-lit pressures.
I move through worlds that hang from mercury,
I trail the planet's oceans like my hair,
and knot old sea-routes round the hemispheres.

So instantly I vanish down my thought,
beyond my knowing know that I was there
stalking a blur that walked upon my sky
of glass-green shift, am now elsewhere, say south
or deep or anywhere horizons move
impelling idyll, rest in unrest, here
watching strangeness as I watch myself.

Published in The Twofold Place (Angus & Robertson, 1986).

Letter To Jenna Mead

Like it or not, in neighbourhood with cats
most of us live. Their world makes free with ours
as form makes free with space. Though Jenna, you,

who once were feeding more cats than you owned,
would grant we can never treat their lives of scowl
and languor with the same hauteur they show

to ours. What recognition do they excite?
Clearly more to do with the cat in us
than fellow-feeling with any human in them.

Think how a cat adopts a human knee.
Well-suppered, it will leap into its lien,
ensconce itself between your thigh and book

as on an outcrop sovereign since the Sphinx,
there to nap as the world shimmers in prospect.
How unlike the cows, whose sloven jaws

chew on a wish to be left in peace forever;
how unlike the dog which, glad of the favour,
dozes at our feet, or zealously lopes

beside our lives panting, I am faithful.
Admit me please into your inner space.
Even the moggiest of cats can strike

the tiger's profile, that svelte self-possession.
Though would you warm, I wonder, to Agapanthus,
our slug. Marsupial-shaped and black as a hearse,

rescued from a Social Security cat trap,
taught personal hygiene by a dog, this beast
can occupy a double-bed such that

no human sleep is possible. Sad,
not fierce, is the whinge with which it guards its dinner
from poaching neighbours. These are chiefly two,

a grey so sleek it can hide behind sunlight
and a fiery black with hidalgo head
and back so supple it flows like a mountain creek.

How easy in imagination to pass
through the varied sultanates of cats
like Marco Polo passing through Eurasia,

noting here, a burly, fist-faced machismo
oblivious of borders, or here, a realm
shrunk to a patch around a dinner-plate.

And when on nights the suburb's cats are wailing
like police cars, consider, Jen, the pickings
for sociology, a saga-world

of border feuds conducted like games of chess
where personal threats and war-cries are allowed.
Think also of their prehistory, the day

someone kneeling in Egyptian dust
fed Felis Lybica the first scraps from human hand;
or earlier, its larger cousins trekking across

the Panama landbridge, jaguar, ocelot,
with their anaconda markings, yellowing
the greens of Amazon. Be it Tabby,

or the cats we cage in television,
it seems their forty million years have changed them
very little. Unlikely as they are

to evolve a correspondence with their friends,
they seem from the first and unlike us, to have landed
on their feet. In this their felicity.

Published in The Twofold Place (Angus & Robertson, 1986).

February 23rd 1987

    Today, each day, and in the everyday
the furthest epochs infiltrate my life, as when
a dragonfly arrives like a nerve-impulse
    from the palaeozoic to sun itself
    in a spring-loaded immobility
for some minutes on the lichened stone at my feet.

    Around me willows glisten like wet oil paint,
the rocks absorb the heat like umber loaves, the river
uncreases like silver parachute silk settling.
    Beneath its surface tiny gambusia fish
    dart-poise in their Jurassic landscape
of algae-furred weed and the tumbled scummed floodwrack.

    My dragonfly is thin as a hairclip; I note
across its black thorax the tattoos of sulphur yellow,
and yellow hyphens that highlight its abdomen. I muse
    how infinitely fine that stylus must have been
    which first black-penned their wings' scribble
of nervures, nervules, those doodles in a page's margin,

    started idly, then grown suddenly
fascinating and schematic, how steady the hand
that set in place the thousand facets of their eye.
    I remark too, how easily my thought
    once more pre-empts a pre-Darwinian God,
as though I were myself that watchful village cleric,

    a pinned specimen mirrored in my lunettes,
taking fastidious notes in the creamy-parlour light
of a 1780's vicarage, each minute detail
    building toward the deity's rational face.
    So the eras curl down in the mind
and shift their highlights; so I live in transcendence.

    But here! the rock warm through my shirt;
some hills away a farm-dog barks persistently,
my scent having carried upriver through scrub for miles.
    The dragonfly tenses, launches; back and forth
    it shifts across the lagoon like the nib
of a seismograph, spanking the surface here and here,

    creating tiny roundels of disturbance,
which I do not understand until, far faster
than my eye can follow, it scoops some wriggling thing
    and vanishes downstream devouring its prey
    on the wing. Yes, here! I cannot be more so!
Tomorrow I'll research the species odonata,

    learn how they fly hundreds of miles in search
of habitats, how horses shy from their flight paths.
I'll read, and later still observe, how they pair
    veering inseparably down the summer zephyrs,
    in copulatory semi-breves, the male
climping the female's head in tiny pincers, and she

    doubled over to take his sperm smear,
their wings in furious shimmer, erotic usages
from carboniferous times that won't be lost on me.
    But now my dragonfly returns, vanishes,
    returns, as though flying in and out
of a landscape painting, in and out of this, my life's time.

Published in Years Found In Likeness (Angus and Roberston, 1988).

Proem From The Great Circle
Words for Graham Hair's Bicentennial Choral Symphony

And daily we unearth the earth in consciousness
       and in memory
Pangaia, Laurasia, Gondwanaland, those early
       continents are dispersing like cloud
while fossil, bone, and flint utensil, like schools of
       fish, assemble in their eras.

For the years are the roof of a vast and slow
       factory.
The oceanic plates rend and renew themselves
       from the       sutures of the earth
as magma foams and tries, shoves up vermilion
      gloves, cools       along the sutures of the earth;
it is such soft, such discreet violence, this
       pressure outward and outward,
this crumbling and incinerating of silicates at the
       roots of continents, this millennial regeneration.

So the Americas slip westward, uncurl like ferns,
       touch across their isthmus.
And India flows into Asia; the Himalayas soar
       softly like an immense cumulo-nimbus.
New Zealand swims north toward the hook of
       Maui; it hoards and modifies its freight of
       species.
Australia swims north through its climates toward
      the latitude of your first landfall.

Such soft, such discreet violence, as the durable
       tools machine our horizons,
wind that prises granule from granule, frost that
       injects and cracks the fissures, tricklewater
       dissolving the salts.
And the soils arrange and disarrange their maps
       across the plains, in the culverts and eddies of
       terrain.
Such movement of creatures, such flow of habitats
       where the pasture leads, through mountain
       passes, through ice-free corridors south,
such movement of families, watchful above the
       bison and caribou valleys, by the glade where
       kangaroo, where moa feed.

All this we bring to mind now, this wide, this deep
       unearthing of our earth,
because we cannot help it, because it is our
       distance from creation and our distance within it;
because it is our human difference, so prior, so
       early, this consciousness and memory,
consciousness in time and across time, impelling
       from this earth our world.

Published in Years Found In Likeness (Angus and Roberston, 1988).

Four Emotions
1. Snake Forest

Snake forest. Your uncanny arrival. Beware sleek
glittering ribbons of water. Beware also bark
that inclines toward you, flowertongues, twigs are not
to be trusted. What hatches within this log what
yawn of jaws? The puffed head, coil on coil
tightening its intent on your vulnerable neck
and the grass so long! Beautiful as hair. The wet soil
so lithe, so elusive underfoot! Will nothing expel
these images? (now her eyes have abandoned you,
have become mineral that were wise and costly). Mud river
warm river, the reeds receive you, surround you
with lunging fangs, ingot eyes. Wake! Your terror
requires you conscious; - now
                                                    a dead snake on the track
black and gold. Furled like a flower. Like a question mark.

Published in Icelandic Solitaries (University of Queesland Press, 1978).

Mermaid

Keren dived. I dived,
    trailing her orange flippers
       down the reef sill as the sea's
          turquoise deepened to curacoa,
             and the facets of sunlight
                shoaled - ah lovely -
                   across her black and orange
                      wetsuit. Our talk had become
                          all interior. Hey Pete!
                             her thought was saying, these
                               are the Xanadu streets. Check
                                 your very own Ordovician
                                    cousins, lover boy, paradigms
                                       of the streetwise. For I
                                     was space-walking where
                                  the parrot fish iridesced like
                                oil on pools; where the manta rays
                             towed their quadrahedral shadows
                           through my person, making
                        seaward in echelon; I saw
                     a million damsel fish flake off me,
                  each unsheathing its stilletto glitter,
               I saw a single trumpet fish pause
             centre-screen on my goggles, so
            immobile I reached as though
         to take it from its jeweller's shelf,
      vanished. I saw creatures, and
    the throng of stained glass saints
       browsing within critical distance,
          each in its cutout of miraculous
             light. And I answered Keren,
                saying, Honey, I am at home
                   here, where movement tricks
                      on movement  everywhere - do
                         they call that love? Libido
                             she smiled, swimming out
                                of reach. But I was spellbound,
                                    and saw, as lovers do, my own
                                       self's flickering cinema, alcoves
                                        of Byzantine politics rising tier
                                      on tier. I fingered the staghorn's
                                  sea-gauntlets, its sea-antlers, locked
                                in the fabulous creature-wars.
                              From some exaltation in my
                           person I was weep-laughing,
                        Hey, Machiavelli, here are your
                     princelings, these poisoned claws
                  hinged inside their artistic cones,
                here, brother, is the bubble-rush
              of realpolitick. And I was also shouting
               Look Plato! We feast on the actual
                 here, amidst such lace-flutter of gills,
                   the sea-moss like emerald
                     maidenhair, the velveteen rims
                       of giant clams closing on dew-wet
                             Verona gardens, such luminous
                              sex. And I called out to all
                                  the dangerous loves of the
                                 world that I would free my era
                               from its nursery, as I rose
                             with my outraged lungs, glimpsing
                           in the instant I broke the surface
                         Keren with her camera far below,
                       unharmed amid the great sharks
                          the orange flash on her wetsuit
                              moving to the same slow
                                  ballet of the creatures.

Published in Mermaid (Heinemann, 1996).

Under Privet

Slinks now a black
     slender mother-cat
        that flow-eddies
           in its fur-slack
               duet of bodies,
             the inner cat
          silhouettishly
             seeping between
                silvery slat
                   and ivy green
                      followed coyly
                    slowly, coolly,
                 by outer cat,
                    impelled back
                        into inner cat
                           as a pressed sac
                              of jet black gel
                                  recoils to fill
                                      a natural whole.

Published in Mermaid (Heinemann, 1996).

The White Handed Gibbon at Western Plains Zoo

Has power shoulders, swingingly is
a ms at her workout. Gung-ho she knows
her one rope's slope, this cable-twist
of biceps. Her leaps are stressed
in brisk, non-risk, iambic arcs,
her jaunt all flaunt, all blissful reflex,
About her body's interface
with surfaces, she's serious,
Lawrentian, vitalist, so post-modernist,
in her russet tracksuit's satin sheen,
our high-achiever belle cousine,
and has been since the Eocene,
working the air's universal joints
arm over arm in taut s-bends,
airy double clefs and ampersands.

With her talcum face and small white hands
one looks for the handbag flying behind
this aerobic ms, now in her snappy brown blouse
as she vaults the shoppers to catch her bus,
with scarcely a glance for shuffling us,
and arrives, as though for her seminar,
to sit composed on the edge of a chair,
hands on knees and elbows in,
body-work over, biros poised to begin.
This life of the mind, eh girls. Ho hum,
shall I kick off? Cogito ergo sum.

Published in Mermaid (Heinmann, 1996).

Anne's Cats

My darling keeps three slender cats,
a brother, a sister and a daughter cat.

Brother-cat has a ripple of coat
which sleeks like the sheen of grey sea-ice.
"I think it worked for the secret police,"
observes my honey, eyeing its temper.
"Beautiful creature, ugly nature,"
observes my truelove, eyeing its features,
its baleful, grudge-filled, yellow eyes,
and the tuft where the ghost of its balls might nip
each time it eases through the cat-flap.

Sister-cat is mobile, black
as the blackness under the river rocks.
It's away with the ham from the cutting board
before a person can shout "Hoy, Lilith!"
"Wicked, but beautiful," says my tousled girl,
and strokes its fur till it sleeps like oil
in the crook of her other arm.

But daughter-cat is the pampered cat
with its cappucino colours and its little face.
It licks its paw to wash behind its ears
and it lies all night where my ambition lies,
staring at the morning with startled blue eyes
like a favourite courtier caught
in some opulent bed-of-sin
as the secret police barge in.

Published in Dalliance and Scorn (Indigo, 1999).

Crowspeak Beside Brisbane Grammar Oval

Drone talk, crone talk, this mawk will underscore
all the dreary lessons with its gaga furore
of hidden clause and cause for cutting budgets to
    the core.
It's a poor whore's lamentation that the times are
     chaste and raw.

Dark talk, dork talk, vowels from the craw,
torque-wrench talk, or angle-grind, or tyros
     squawking war,
the crows have tensioned our attention with their
     tired scorn,
their stopwork growls of Up yours, sport! their
     seminars of garn!

As fellows tumble round a field with oi! oi! eeyah!
and coaches blast the slowcoaches with 'Avyagotitinya?'
the crows discourse and comment all according to
     their tempers
with argh! and bah! and farkh! as they ruffle their
     black jumpers.

So why do crows not gossip, not chortle, but must chaw,
must augur all their sterile news from dustbin dawn
    till four,
then flap away ungainly, black plastic on the air,
disconsolate, yes, but too self-righteous for
despair?

About the Poet Alan Gould

Alan Gould was born in London in 1949 of English-Icelandic parents, and lived on armed forces camps in England, Northern Ireland, Germany and Singapore before coming to Australia in 1966. He has an arts degree from The Australian National University, a Diploma Of Education From The Canberra College Of Advanced Education. Since 1973 he has written poetry and fiction as full-time as resources have allowed, augmenting his income with literary journalism and relief teaching. In 1981 he won the NSW Premiers Prize for Poetry, 1981, for Astral Sea. Other Awards include; Foundation of Australian Literary Studies Medal for the Best Book of the Year, 1985, for The Man Who Stayed Below, National Book Council 'Banjo' Award for Fiction 1992 for To The Burning City, The Phillip Hodgins Memorial Medal For Literature, 1999 and The Royal Blind Society Audio Book Of The Year (for The Tazyrik Year,) 1999. He has held several fellowships from The Australia Council. A Fold in the Light is due out with Indigo.
   [Above] Photo of Poet by Photographer, Year.

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Thylazine No.2 (September, 2000)

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