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

[Above] Photo of Peter Boyle by Jenni Mitchell, 1999.


I At the centre of our lives I Paralysis I Justine I I want to see the world beginning I
Marriage I In The Small Hours I


At the centre of our lives

Sometimes all the photographs in a room
turn suddenly empty.
Only the houses remain, a few trees,
the desks where people sat
or maybe an umbrella is there
still shading the meal everyone has left.
So tonight there is so much absence in love
when even your laughter is the poetry of pain
as you straighten the collar of the man who was once your husband
as a small boy tries to bearhug the doomed shoulders of a father.
Tonight we walk so carefully around each other's absences
and we each carry not just a ghost
but enough space for a family of ghosts,
enough loneliness, enough death.

Tonight once more you are tucking your two children into bed.
Leaning your face against your daughter's,
your kisses flutter down across her forehead.
Trawling gently beneath your son's wayward smiles
your eyes read
the pain contours shimmering there,
his own private lost continent.
As night slowly extends across the garden
and the moon brightens,
that great white stone above the hills
becoming our one common lantern,
your face softens in the glow of other stars,
your shadow an open silent tree that gathers the horizon
in which your children sleep.

For me here
so many hundred miles away from your quiet breathing
old photos ring me like a chain of loyalties.
I wear my many loves like difficult jewels
that gash and bruise my cheek while I sleep
in a room where I am always
alone before this small shrine to what is lost.

How learn an honest tenderness to kiss goodbye?

You stand there in the hallway watching your children sleep,
your face taut and ravaged from carrying so much emptiness
from room to room,
smoothing down blankets, folding clothes.
And for me who always imagined myself holding you,
loving you,
it's as if your simplest presence is saying
"Which of us ever knows the first thing about love,
the first thing about letting go?"

And today we are putting on smiles
as if we don't all walk around
with great unnamed holes through the centre of ourselves,
busily painting the sun on others' ceilings
to warm the beginnings of their lives.

Published in Island Magazine (Australia).

Paralysis

(1955)

Laid out flat
in the back of the station wagon my father borrowed
I look up:
the leaves are immense,
green and golden with clear summer light
breaking through -
though I turn only my neck
I can see all of them
along this avenue that has no limits.

What does it matter
that I am only eyes
if I am to be carried
so lightly
under the trees of the world?
From beyond the numbness of my strange body
the wealth of the leaves
falls forever
into my small still watching.

Justine

Learning to whisper in borrowed voice, Hold me,
the slightly retarded patient out on leave
is guided up the brothel stairs again.
An older woman wised up beyond bourbon,
she fingers with her eyes
the cracked stubble round a shrunken cock.
In this waiting room where a giant phallus mocks TV chatter,
women weave pain into desperate smoke.
Upstairs in the discard bin
the sticky rubber gleams back
a life's anguished tenderness.
In stark white garments in the blue room
she licks the tears from his eyes,
she brushes against the wasted frame of bones.
In this room ravaged by neon
achingly she soothes down
his longing for life.

Now in the white ward over that grey hair
there wander the stooped vague eyes of unpicking.
She wakes one morning.
"Nurse", she says," I can't walk anymore"
and the long earth of paralysis moves up her side.
In that other room years before
coming and letting come
for the sixth, the tenth client of the night
giving herself, giving all of herself,
the bruised eye, the soft hand.
He cries into her side
lying together
as lovers bathed in fake blue light
while the white ghost of neon on the wall outside
pulses its commentary.
She unzippers and strokes his lonely anguish.
On a fine chain at her neck
hangs an obelisk out of Egypt
given one night by a truck driver,
dead drunk and garrulous,
blinded by old angers
yet sensing this need of a token.

"Do you want me?" she says
reaching out to steady me -
for who else would be writing this? -
and the stairs creak again a first time
under us.
It is the first giving.
I note the charm at her neck,
her borrowed name,
the white peaks of her breasts healing me.
A lifetime of giving
deserves heaven, if there is heaven -
if not some prayer to shape such
longing for the light.

Published in The Blue Cloud of Crying (Hale and Iremonger, 1997).

I want to see the world beginning

(for Louis, aged four)

In the earthly world the first day is opening.
Turtledoves, tortoises, shy bright-coloured birds,
thin trees that stammer in wind shaking their topmost leaves,
faces half glimpsed in the passionfruit vine's entrails
and countless other animals still without names:
here on the path that bends
below branches heavy with summer.

Grey-green the lake shines towards us
opening the leaves of each season.
The sun of origins spins in a sky always free from the
judgments of men.
Clouds converse among themselves and pay no heed
to the wandering band of their would-be interpreters.
The roundness of day and night, of apples, horizon, homecoming
is all one circle,
one ever-expanding room
where the walls let our hands glide safely through.

Up ahead
the path leads out beyond forests and paths.
At this point words have made very little headway.
Here no one hoards the grains of the future.
In the heart's pockets a few simple goals:
to be tall the way mountains are,
to leave our fingerprints on the sky.

Where the road curves out of sight
the end of the earth is waiting.
I rush towards it,
my empty arms swinging free.

Published in Island Magazine (Australia).

Marriage

The fish around us are wide and lonely.
They do not have your eyes.
A single trail of bubbles
lifts your thoughts
towards the bright rim of survival.
Up there a mouth as beautiful as yours
smears my lips with seaweed.
In the tangled meshing of sleepiness
I could extend my arm
to push us both towards
whatever normality broken surfaces bring.
I'm not sure
if your breath can carry mine
and though I hold you
I always dream of letting go.
I tell myself the light in your window
is not the light of heaven
but the fish have swum into the room
and in this circle of the cosmos
shining voices resonate
in old tins as they drift
downward to the ocean's private dosshouse.

Too late to be anywhere else.
My hand and yours are almost the same size.

Published in The Blue Cloud of Crying (Hale and Iremonger, 1997).

In the small hours

It's three a.m. in the morning
of a day you won't enter for so many hours.
Where you are
yesterday's sunlight still bathes your feet as you walk
and tonight hearing your voice
I worried that one day
I'll lose my images of all those I love.
Outside the city's still restless:
taxis alert and shiny as golden birds
waiting for the crumbs of dawn.
At fifty five I know so little how to live.
In cafes across this city
lovers still hold hands
and cups balance on the edges of tables.
Darkness falls around me like soft snow.
Beside the narrow bed
my night light is staring right into me.
I will hold your voice inside me as long as I can.
When I sleep you'll go on walking
through a steady explosion of white flowers.

Published in What the painter saw in our faces (Five Island Press, 2001).

About the Poet Peter Boyle

Peter Boyle was born in Melbourne in 1951. His family moved to Sydney in 1961. After High School he studied Arts at the University of Sydney. He has worked as a teacher of English, History and Communications in high schools and in TAFE. His first book of poetry, Coming home from the world (Five Islands Press 1994) won the NSW Premiers Award and the National Book Council Banjo Award. The Blue Cloud of Crying (1997) also won the Banjo Award and the Adelaide Festival Poetry Prize. His poetry has been included in Landbridge (Fremantle Arts Centre Press) and Calyx (Paper Bark Press). He has translated extensively from French and Spanish poets, notably Lorca, Vallejo, Eugenio Montejo and Pierre Reverdy. His translations have appeared in American Poetry Review, Boxkite, Heat, Southerly and Varuna New Poetry.
   [Above] Photo of Peter Boyle by Jenni Mitchell, 1999.

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

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