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Thylazine: The Australian Journal of Arts, Ethics & Literature                                                                                                                                    #3/thyla3k-jj
AUSTRALIAN POETS SERIES 3
The Poetry of Jill Jones
Selected by Coral Hull

[Above] Photo of Jill Jones by Annette Willis, 2000.


I beyond the silence of decaying fruit I Whispers and courses I The freedom of birds I The kitchen light I


beyond the silence of decaying fruit

there's another sadness in kitchens
when the dog next door drags his chain on the concrete
and in here benches wait for bread in slices, loaves or crumbs
the table offers itself for wine, poured or spilt
the lino continues to crack
a blue vegetation spreads in jars that jangle in the fridge door
tins of salmon multiply in cupboards
old yoghurt divides and separates
the washing up rotates slowly
as glasses film over with juices of animals and fruits
spillage, wastage, smeary abundance
of fat, colouring and flavouring more dangerous than knives
blunted finally by domestication
words are more dangerous, cutting into communion
conversations which ignore fruit and toasting bread
and the ceaseless collecting of used plates
conversations which multiply the tins and jars
and packets and mould
and while the dog next door has forgotten what he's crying for
the chairs sit askew and on the surface of the table
there are faint marks where coffee mugs
have stained the varnish

Published in The Mask and the Jagged Star (Hazard Press, 1992).

Whispers and courses

Air urges through my waking cells.
Day breathes thicker, houses exhale us.
We people the streets with our week time
dance, impatient with the tinnitus of hours.

But wind gives the day its wings, invisible
from this window. And makes space
for light more clear than freshest water,
more bright than silvered glass.

The course of leaves and sound becomes
a float, a feather-delicate scrape. Each tree
hands on whispers. They translate through
lane corridors into a constant hushing -

catch on squatting walls, arrow-headed fences.
Like our concepts tracking what we think
should be in or outside - domains
of rocky edges, worlds of grass.

All suburban geometry, all below the bed
of sky: pacific today, sometimes stormy.
However each day wakes, how it rides.
And how far we bend to catch its sound.

My horizon is a measure of this present.
Continues its hours while I seek others.
And crisp yellow light squares some time
on paving, dry as summer rain.

A jet's hard silver and withdrawing roar
says something nearly loud as absolute
of a further world, its borders, hungers, war.
And the trees reply by standing ground.

And what of a moon I leave stranded there
out with the sun, dreaming other dreams?
Of places perhaps without sleep, grounds
of fire without hope, or even an hour's rest.

Far-off blizzards, lava, a planet language
of ancient hollows, old sockets in stone.
Alive alongside deliriums of power,
and nights filled with missiles and eternity.

We've no big weather here, forget blood's
course can be wild as the crush of cyclones
on coasts. For weeks this hill may live
with indolent light; night storms can please us.

And even here hurts whisper over fences,
life lingers unnecessarily in a bed, mouths fight
and the smallest of deaths go to ground:
a bubble of yolk, the not-yet lived body.

When wind moves, ground receives,
breaks open life in scattered half-shells,
a dove's lost egg. I find with work's end
a colder, fuller moon, winter's promise.

While birds call the dark, the smell of rain
drifts across the greying fence. Sun leaves
the sky its brief evening pink to night
and the relief of our half-blind hours.

Published in Screens Jets Heaven: New & Selected Poems (Salt Publishing, 2002).

The freedom of birds

The coast is patterned
with red roofs
towers, bright cloth covers
the colours of sand.
Seagulls follow the wake of air.

Beautiful patterns of glass
blinking for absent landlords
at night reflecting
a flattened sea, wrapped
with shadows, the present
of a mysterious future.

These angles where once
were curves. Now cages, crossings
malls and bars
resorted to playing out time
ignoring careless nature.

Hard to imagine the lagoon
without its fetid beauty
of mangroves pulling at tides
without the swans.
Black necks hoop over ruffled water.
A hidden signal raises one wing span
then dozens. As though flight
is still a beautiful thing.

These years, these prisms
of distortion.
To live as if you're already dead,
follow steps in the old unwritten book
describing nests
of the slowly extinct.
Grasping a wheel connected to air.

Swans, ducks, coots have nothing to say
then one day gone
don't wonder someone
watches, drags boots through
sucking mud, kicking aside
tides of white refuse.

The kitchen light

If the past is correct, it was here she couldn't move.
They agreed on shadows, let dust slope across the light,
buried watches under the bricks where the damp rose.

Let it be sung! About gravities that pull you down, the sinister
curve of minutes tangling any recall of the point of an argument.
Even the spirits of place had gone, leaving their bottles.

The sounds of doves, more gentle than bruises,
pattered the iron, the rust. The path's slippery green
led from the light of the day past cold blue hydrangeas.

When it got beyond even the curiously patterned logic
of their life, all he could swear at was her name.
Though it was not all he hit her with, as she stood.

At this time she could not turn, either this shabby fortune
or the other key, for the new highway. There was no cure
for a pattern of knuckles and fear blooming through skin.

This was their city. It escaped the high beam of summer,
but found among winter's musty shawls, exacting formations
of the cold. She'd trace them in afternoon on grimy glass.

Between battles all her reasons lined up, ready to go.
Breathing a smell of waves, and a mother wrapping up the night
in a kitchen where the big light lived, her room of light.

Published in The Book of Possibilities (Hale & Iremonger, 1997).

About the Poet Jill Jones

Jill Jones is a poet and writer who lives in Sydney. Her work has been published in most of the leading literary periodicals in Australia as well as overseas. In 1993 she won the Mary Gilmore Award for The Mask and the Jagged Star. The Book of Possibilities was shortlisted for the National Book Council 'Banjo' Awards. She served as a judge for the 1995 NSW Premier's Literary Awards and was a member of the Sydney Writers' Festival committee. She was one of a number of poets featured at the first National Poetry Festival and at the first Australian Poetry Festival in Sydney in 1999. Jill Jones has worked in legal publishing, journalism, public policy and arts admin. She has also worked as a columnist and staff journalist for the Sydney Star Observer. She has been the recipient of two Australia Council grants. She has been a regular reviewer of books, theatre and music for a number of periodicals. She is currently a film reviewer for the Sydney Star Observer.
   [Above] Photo of Jill Jones by Annette Willis, 2000.

I Next I Back I Exit I
Thylazine No.3 (March, 2001)

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