I Home I About I Contact I Guidelines I Directory I World I Peace I Charity I Education I Quotes I Solutions I Photo Gallery I Archives I Links I

Thylazine: The Australian Journal of Arts, Ethics & Literature                                                                                                                                    #5/thyla5k-aa
AUSTRALIAN POETS SERIES 5
The Poetry of Adam Aitken
Selected by Coral Hull

[Above] Photo of Adam Aitken by Jenni Mitchell, 2000.


I Sweeping the Stairs I The buffalo's curse I The Fire Watchers: A Biography I To a Cyborg I


Sweeping the Stairs

i.m. K.B. killed East Timor

Seven years, hill top terminus of your grief:
these mists, these veils. Let's say,
               refuge,
and the pure five tone vowels in his name.
Let's say
               Negri Sembilan - the seven Malay nations.
You sweep the stairs, so at ease,
an exiled Sumatran temple dancer.
When the sun goes down behind the mountain
this bungalow's your chaise longue, stretched
               into a cloud.
Imagine sunset were a healing balm,
dream of dhows on the Indian Ocean.

Brother Kamal, nostalgic in his letters
to you, big sister. In the end
what's an education overseas?
"Betterment"?
Down south in the land of the long white cloud
he modified his vowels
and whispered "Aotearoa" down the phone.
He became his school's star wing back
then to Sydney and a course in politics
and Randwick girls voted Yes,
they would love that boy forever.

~

He buttonholed the foreign Minister once
on some ASEAN junket. Kamal the anarchist and NGO
demanded Why and Why Not.
In a Timor village, snapshot of him and the village chief
arm in arm, their newest saint, and he got fame,
long haired kid who hitched to Maliana
the boys in green (who'd done the cemetery the day before)
would execute
then dump in burning lalang grass.

Oh no, he was never any trouble, the teachers said.
We cannot blame "foreign influences".

~

Now he's back where he can speak.
His name you carved on a stone in the rockery below the stairs.
The rickety stairs go under the house.
Beyond is breathtaking verdancy
a yellow bulldozer parked
on a future golf course lawn
in summation of our times.
A parliament of forest birds (last of the moralists) singing,
fly home from the coast
to roost on a pile of logged Maranti.

~

This is the last landing before the gorge,
montane, dense orchards, prime fruit.
Fruit picking teaches you to love snakes.
Having swept all the stairs we pick rambutans, pass them down
hand to hand, picking in the local drizzle the geographers call
"orographic rain".
Shed petals on a lily pond, frogs with breathing skins.
Higher branched fruit just drops into your hands.
Then evening we eat, waste nothing.
Having eaten the flesh we leave behind the spiralling peel
as if it offered justice - the red velcro skins of rambutans
left in a small blue bowl.

The buffalo's curse

Her job's to plough, the waters of the lake
flow in through grooves
the water and the fields
are its home and our
libation
the beginning of greenery
after the ploughing,
the muscular suffering
the farmer's honour and goodwill

this is then the territory
to call your own:
the fire's radius of mates
one loyal buffalo
three bottles of liquid bliss
Christ on the cross
grandad's musket
or a sacred Ikat
his wife and daughter's woven
in their own blood's
crimson thread

karabou, bubalis bubalis
icon, transport and slow cloven hoofed
earth mover
connecting its pool of mud
its wallow and its rumination
to the "developing world"
the wake of a furrow
the wake of a ferry
bringing goodness in
moving the goods
taking badness away:

to a buffalo
all floods are welcome
the word is liquidity
pathways to and from its flow
her daylong work
farming the farmer's stony ground
tilling in the chill
before the dawn
his head space
half stripped
by the appetites of dealers

so what I get to keep
is the instrument
of his tilling
his animal my Kodachrome
pinned to a wall in a dry
and distant city

where he waves, as if
I knew his wish
to join in a drink,
and be forever present
in a poem
of souvenirs or tapestries
he's waving a machete
just honing it on the air
that surrounds his own
standards of nobility
when there's no more imagery
to cut down
or waving goodbye or
come no further
or maybe leading
the buffalo to water
the buffalo bent down
moist black nose
over the furrow
the cracked soil
one hot afternoon
flicking off the flies
with the whip of his tail
looking thoughtful - always
about to break into speech

such is the extent of it
the Yamaha sales agent drops in
a shiny red automated
plough that rips the ground, gives
orders and
replaces the buffalo

only the buffalo's cursed:
useful to the end of her days
as infant milk, child hobby horse or
man's engine,
its master waving in a heat haze
of debt or saintly aura
when the morning revives
like the chill dawn breath
of a buffalo
like the blue haze of kerosene
that other plough
coughing into existence
a long way from
the source

we were dammed by some vast
concrete abstraction
sluicing towards the cities
as if that
were the "true" wealth
not this water
this buffalo churns in its wake
this water and this wake

where a journey begins

Published in Romeo and Juliet in Subtitles (Brandl and Schlesinger, 2000).

The Fire Watchers: A Biography

Too blind to be a fireman, too flat footed
my brother sought out fires, big ones, coming home
late from school - and became a heavy smoker.
But me who biked the Harbour Bridge
and saw that shoddy playground burn,
Luna Park, its joyful fretwork temple, the ghost train
razed, parents and children, fairy floss and chewing gum
gone to ash and blackout.
Mum said, I hope you didn't look ...
Dad slowed down for accidents, and I asked
a lot of questions then, a kid stuck on 'Why'?
and never found the answer.
At puberty I answered myself, with an air of science
the number injured, type of vehicle, angles
of incidence. Years before crumple
zones or digital instruments.
My brother, shaman of the drive, mimicked
sirens and I noted with skilled
Conservatorium training
how they differed - in pitch and rhythm -
from foreign ones on TV.
His every gesture, mum's nerve wracked silence,
Dad's use of the lighter, the way he steered
knees on the wheel as he lit up -
the habit we attribute to ancestry, if nothing else.
Reaching forty now I ask: Where are the albums,
the biscuit tins stacked with smiles?
On the day Mum burned Dad's books
a pyramid of pages fluttered open, glowed orange
then each book curled - biographies, murder mysteries -
histories made permanent
smouldering one golden Sydney autumn.
What couldn't be a popular classic
Mum didn't want or understand.
What was left the smoke wiped out.

To a Cyborg

Lie and tell me you are human.
Grace me perfectly.
Offspring of Nietzsche's tears
what sport fast enough
suits your pulse? Doubtless
you are mean & beatific, machine of paradox.
You look homely as a tank,
oiled god in intricate shoes
guzzling a viscous tonic.
I buy the magazine, and you are there -
burnished titanium, whippy carbon-fibre,
geared for an evolution of improvements.
Deep breather, with your rat-heart pump
your circuitry your poem
isometric kestrel gliding for mice.
Let me grow you like a business,
culture in a vacuum flask
heat-moulded from ancestral scrap
shaped on the wind's lathe, oh legislate
and open sesame you are there.
My laser blunts on you
body jigsawed from a slab.
The rest shall wait, and I fear
your needle, that swoon I thought
immortal.
If I have peaked too early,
sweat and say my lines, will you
lie with me fake tiger?
Are you mine
my superb replacement?

About the Poet Adam Aitken

Adam Aitken was born in London in 1960. After graduating from Sydney University in 1982, he co-edited the garage literary journal P76, then returned to Thailand with the intention of immersing himself in the culture and language of his relatives. Adam has written Letter to Marco Polo, (Island Press, 1985), In One House, (Angus and Robertson, 1996), Crossing Lake Toba, (Salt Publishing, 1999) and Romeo and Juliet in Subtitles, (Brandl and Schlesigner, 2000). In One House, was mentioned three times as a Best Book of 1996 in the review pages of The Australian and the Sydney Morning Herald. The latest, Romeo & Juliet in Subtitles was shortlisted for the South Australian Arts Festival Awards and the Age Book of the Year. Letter to Marco Polo, was described in the Sydney Morning Herald as "ambitious and cleverly written, various and fascinating". Adam has received two grants from the Literature Fund of the Australia Council. He has been a poetry editor, a reviewer, and teaches English as a Second Language. He is completing a Doctorate in Creative Arts at the University of Technology, Sydney.
   [Above] Photo of Adam Aitken by Jenni Mitchell, 2000.

I Next I Back I Exit I
Thylazine No.5 (March, 2002)

I Home I About I Contact I Guidelines I Directory I World I Peace I Charity I Education I Quotes I Solutions I Photo Gallery I Archives I Links I