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

[Above] Photo of Paul Cliff by Skye Blomfield, year unknown.


I Roo: Interrogatory (Bald Rock National Park) I
Twofold Bay Blues Davidson Whaling Station (Kiah Inlet, Ben Boyd National Park)
I Essay: destruction of the Zairean elephant calf [from a tv documentary] I
Gulls I Wobbygong song I


Roo: Interrogatory
(Bald Rock National Park)

The roo hauls to -
detaching from wet scleropyhll:
doe-face and pigeon-chest;
thalidomided arms.

Then rears -
ups periscope:
snout foraging stained air,
like fingers fumbling a high shelf.
Calibrates this weight:
great Unwashed-Us.

This sussed,
               leans forward -
                                    reaching clean inside itself
                                                  and then - gently erupts:

               mine-hops
its wayward way
(momentum of a forward-falling prayer,
perpetually sustaining its pitched itself)

through hillside rock-
&-scrub.
Elopes to greener fields.

Its keel tail
of strong, sprung-steel,
rudely benedicting us.

Published in The Impatient World (Five Islands Press, 2002).

Twofold Bay Blues
Davidson Whaling Station
(Kiah Inlet, Ben Boyd National Park)

Here they towed the whales in -
sideswiped -
                             chaise-longued with bloat;
                             trailing surrendered flukes.
Winched their bulk ashore
with chains and hooks -
              huge, fleshy parachutes -
through thigh-high maddened waters,
to this crude breaking-yard.
Put the boat-spade in their peat-like flesh -
                                                                         and junked ...

Today the National Park
conserves the timber-propped,
tin-rooved sweatshop
in which the Davidsons performed this work.
Reduced these beasts
to quivering,
brick-sized tofu blocks
                fed into the try-pots' maw.
                Emptied them of whalesong -
                              distilling this pure crude.

Hot, filthy work:
the reek of cooking-down, they say,
carried 15 miles,

as whales smelt their giddy way
past foundering Boydtown -

across the amethystine bay -
to stink out Eden.


Published in The Impatient World (Five Islands Press, 2002).

Essay: destruction of the Zairean elephant calf [from a tv documentary]

After tracking it five hours the pygmies stop it just before the
river, stack its rear right leg with arrows, so it dances a
paralysis of panic: kneels like a business in depression.
Creeping forward they foreclose, cut its hams like the strings of
a baby grand.

The end comes by degrees:
               its trunk sawn off high up, it slips obliquely into death,
               rides blood's slow escalators to heart's basement.
They climb its felled side and pose: as with a State tank captured
by guerrillas.

The harvest is labour-intensive.
Then, disassembling like a football crowd, flesh parcels
swinging trussed on poles, they carry it off in pieces.
A last man lugging the trunk in a fireman's lift: jerking spastic,
an arm lopped at the shoulder,
               its slim end kissing the heels of his bare feet.

Thus brought down like the Hindenburg, just touching home, the
beast at the last moment might imagine it's a butterfly:
               herding the floundering stampede of its blood into the knot
* of clotted trees across the river.

[Postscript] French kiss with elephant

The lead-hunter kneels at its altar head like a man taking drink
from a river,
               hacks a window in its skull, levels his creased eyes
               Ñ leans, conjoins his head with its.
And sucks:

               of all this vast, dark smorgasbord of flesh, the raw meat of
the animal's headbone is watermelon-pink, and prized as
being sweetest.

Published in The wolf problem in Australia (Five Islands Press, 1994).

Gulls

Gulls limp, scavenging the battlefield sands, grey-coated
Confederates; sea's hooligans and renegades.
A straggling, calliper-legged brethren, facing seawards like
waifs.

Provoked among themselves they fight, feet planted in their
feast, hiss jack-necked, red blade-eyes - heads the
uncloaked knives of assassins.
Scowling, snatch up their movable feast, run on - slinking off
sideways like one-armed men.

Meandering before your feet, heads down, they calculate your
trip-wire shadow.
You hop-step-&-jump and they explode:
               scatter through you everywhere, wheeling overhead, wings
squeaking like bare feet on sand.

Published in The wolf problem in Australia (Five Islands Press, 1994).

Wobbygong song

So long, wobbygong -
               frogmarched from the sea on the speargun's head,
               keelhauled under the juggernaut of air and sun.
Stripped like a car on blocks, abandoned,
               grinning gummy-mouthed where the cretins thieved your
trophy jaws and looted on.

Poor man's mako - harmless, gormless.
               Woebegone.

Though you, too, have known love:
               egg sacs like little round planets, tomatoes of sun -
               ornamental glass paperweights,
               each contiguous, compelling, self-contained.

I count a butchered baker's-dozen:
               slit from your tame belly to the sand -
               murdered beyond your sea-brained, snouting reach,
               your glazed, come-eyed capacity to understand.

Published in The wolf problem in Australia (Five Islands Press, 1994).

About the Poet Paul Cliff

Paul Cliff has published three collections and has been included on the CD Australian Poetry: Live at Chats (Geoff Page, 1999) and in anthologies (Mattara, Poet's Choice, Footprints on Paper) and has also published book reviews. For the past 20 years he has worked as a book editor (McGraw-Hill, Harcourt Brace Jovanovich) and magazine editor (Simply Living and Geo). He currently works in the National Library of Australia's publishing division, where his compilation The Endless Playground (on Australian childhood, based on the Library's Oral History, Pictorial and Manuscript Collections) received honorable mention in the Centre for Australian Cultural Studies Awards 2000. He's also compiling from the Library's Manuscript Collection a small poetry anthology reflecting Australian childhood experience. Paul's experimental piece Deadline: A Manual for Hostage-Taking won the Canberra Playwright's Competition for 2000, and was produced by Canberra Rep Fringe. Paul is completing a text on Les Murray (a Masters thesis focused on the creative process in Murray's use of 'Bunyah' landscape, iconography, and sub-themes.
   [Above] Photo of Paul Cliff by Skye Blomfield, year unknown.

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

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