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Thylazine: The Australian Journal of Arts, Ethics & Literature                                                                                                                                   #6/thyla6k-ma
AUSTRALIAN POETS SERIES 6
The Poetry of Melissa Ashley
Selected by Coral Hull

[Above] Photo of Melissa Ashley by Stephen Booth, 2001.


I Ariel's Song I this is not a poem about a woman turning into a flower I
Anatomy of My Hysterical Womb I anzac koyu I Poststructuralist Interpretations of the Signs of Self-starvation or the Linguistic Rationalism of High Culture I prelude I


Ariel's Song

that tree has cancer suggests Ginsberg/
levering his eyebrow towards the mass
of buckles and knots/ stone-hard/ necrotic-
grey/ distending the neck of an oak

the poet is in Bath participating in an
interview for the Paris Review/ the great
oak is as close to the bones of Diana's
temple as igniting a cigarette

its taproots clench roman redware and
the broken lips of soapbowls/ and oil
decanters bloomed from glass iridescent
as paua-shell/ when two thousand years'
collected dust/ lifts

in Hanoi a banyan tree in the process of
being hand felled kills three men/ the
fragmentation-grenade enclosed in
concentric fists of wood-tissue/
dormant as rock

the project begun when sapling/ the laws
of genetics accommodating mock fossil/
knitting banyan fibres and cartilage over
the alien diamond/ internalisation is a
thirty summers' deep/ bad habit

Published in The Drunken Boat (USA).

this is not a poem about a woman turning into a flower

if the skin covering the breast were translucent you'd know
that the mammary ducts and lobules radiate from the
areolae or nipples like the inflorescent 'petals' of a sea
aster.

if you'd watched the documentary 'girl next door' you
would have heard of porn star stacey valentine (maybe you
know something about her anyway). I mention stacey
because she allowed the film crew to shoot her undergoing
cosmetic surgery. before leading the viewer into the
operating theatre however, we see ms valentine in front of
her mirror trying on different outfits and complaining that
since getting eee cup implants six months ago nothing fits
her anymore. so, she's decided to return them to the
manufacturer and try out a pair of dd's.

(the video also captures stacey submitting to liposuction
and collagen injections; rationalising the break up of a
significant relationship [her ex-boyfriend something of an
industry legend]; being nominated for and receiving the
equivalent of an oscar at cannes for best actress in the adult
entertainment business; and visiting a hypnotherapist who
puts her into a trance and repeats the subliminal messages:
I love exercise, I enjoy going to the gym.)

during a breast augmentation the nipple is removed to
create an opening like a kind of temporary orifice. if you
can imagine one of those esky ice packs with the squashy
chemical stuff inside and, prior to the package entering a
state of utter frozen hardness, taking it out of the freezer
and attempting to press it (think of a child doing a hands-on
IQ test trying to force the round peg into the square
hole) through a void the circumference of a fifty cent piece
- well - that's what the surgeon's fingers were doing with
the two bags of see-through silicone and stacey's breasts.

the documentary makers as well as any cinema patrons
who could stomach it were privileged with a brief glimpse
into the subcutaneous space of the female bosom.

following a 'boob job' sexual sensation is lost in the
nipple as is the ability to breastfeed, which doesn't appear
to bother ms valentine. to quote the reflections of a porn
cameraman just finished filming her (from the neck up)
faking an orgasm: I'll never believe another word a woman says.
what she really wants (on screen close-up of her facial
expression which is devoid of emotion except for an
irritated furrow around the eyebrows) is to be a makeup
artist.

in conclusion: stacey valentine charges a thousand dollars
(us) a day for a *dp and lives with three cats. she doesn't
do drugs.

she's loaded.

*double penetration

Published in Famous Reporter (Australia).

Anatomy of My Hysterical Womb

If you were to peel open one by one the balled fingers of
my fist (like removing a dangerous object from the clench
of an infant) a trickle of red down the wrist too/ and if the
palms of some poets hide knives/ torn hearts/ others still
the juiciest of figs/ if you could unlock my tight curled fist

you would find a near-perfect specimen of hysterical womb syndrome.*
Bald-animal loosed from its connections to pelvic bone/
nerves/ cervix/ blood branches and coiled itself in a knot,
travelling up the thorax, ejecting via the mouth as in a
disgorged pip or bean. Caught in the palms it's as hard
as stone/ flexible as rubber. And sticky inside my fingers like
ruptured figs or segments of heart.

My errant uterus shrinking after birth like oven-roasted
capsicum (another artist's representation of the organ,
which included a densely-packed wad of seed, flush right.)
While years ago in Borneo witchdoctors strapped foetus
-size stones to their waists and scrunched up their faces
mimicking birth pain

Executed sympathy dances for first-time mothers. And
further back in time Caesarean sections were performed
without anaesthetic and the suture poulticed with a
decoction of agrimony / betony / mallow / flowers of pomegranate /
dried roses / sedge and sweet-smelling bulrushes / steeped in sour
black wine

Tracing developmental rock-nubs of the foetal spine/ red
leaf veins of the circulatory system, which ravels and
spreads like time-lapse photography or plashing rain a priori
to lightning. And the woman shoeless, thrusting her
uterine-stone into clouds. Waiting for the strike

Waiting for the flash of quickening, the coagulation of the
light of life that attaches itself - clinging - to the walls of
her thunder-egg womb. Concealed in her outstretched fist
like a felt-soft jewellery pouch, jiggling ruby cells/ diamond
bone. Remembering that the shaman's organs became
quartz in the dark extremity of his dreaming

The container of her uterus as petri dish incubating the
life-producing agent - semen - as it congealed into the
child. States the Qur'an for example, human life is created
out of a small quantity of sperm that has been poured out. Which
can be read as half the world's oldest (Aristotle,
Upanishads) and most arrogant error.

Overlooking our ovaries honeycombed with eggs. Drawing
our wombs with horns. Telling us it was a small animal that
could be called back to its rightful place by balancing on
our navels a nutshell containing tincture of horehound / honey
/ Muscat / the cat's fat / the warmth of a lit candle

*a nineteenth century female complaint occasionally cured by creative
therapies such as the application of 'intravaginal insufflations
of tobacco smoke' and clitoridectomy. the uterus was thought to be a little
wombat-like animal that had the liberty of wandering throughout the
female body and causing neuralgic disturbances…

Published in The Drunken Boat (USA).

anzac koyu

1
the leather-thin carapace of a baby tortoise soothes us/
like prayer beads/keep it/ I tell you/ in your pocket beside
the stone tooth/
its mute yellows and charcoal browns/
the colours of a native bee

our fingers become shuttered lenses/ investigate the
shell's cellular program/ all crusted ridges/ hexagonal
fields/ its geometric order not unlike the mosaics/
mortared into the edges/ of the turkish war memorials
/we keep passing

2
two pm and we are still lost

I powder poppy seeds/ on the concrete gun-mount of a
disused bunker/ we peel peaches/ shred ekmet for
lunch/ tramp all-the-way-round some peninsula flanked
with cypress trees/

photograph thistles/ big as your brother/ hitch a ride
and through a side window spy the carcass of a horse/
not long dropped on the shoulder of the road/

its cigarette-smooth ribs burning holes in the sky

3
we wheeze up one more hill/ anzac cove memorial is
laid out like canberra/ all swept unchipped concrete and
your mother's mown grass/ pomegranate shrubs/ and
saffron marigolds decorate each prim grave

to the east/ a tour group disembarks from the air-con
capsule of a mini-bus/ sorry to ruin your fucking tour/
screams a man's voice minutes later/ bitterness
ricochets out across the dardanelles

four soldiers in heavy khakis/ sub-machineguns like
tote bags/ jutting from their hips/ drag a man away in
handcuffs/ an aussie without a working permit/ the painfully
crisped canadian backpacker fills us in

4
the grass/ clipped like nowhere else in turkey/ a salt
-informed breeze and at the base of the cliffs/ bunkers
wedged like fish-bones in a windpipe of sea

I begin to feel something for all this dedicated
maintenance/ but recall a signpost earlier detailing the
ten-to-one/ turk-australian body count

way/ way down the road we find some turned-up
trashcans/ in front of an abandoned melon and
pumpkin stall/ where's the dolmus?/ you wonder out loud /
spitting watermelon pips at potholes in the road

we don't visit the war museum opposite

all the way back to our pension/ the bowing sunflowers
remain/ the same strange military/ shade of fatigue

Poststructuralist Interpretations of the Signs of Self-starvation or
the Linguistic Rationalism of High Culture

Control. The body is established in the very marking of
its contours. Incarceration. Desire, dieting and the
dichotomous fracture of the female body. Hunger.
Need. Medieval female mystics' famished bodies' excrete holy
substances that heal the sick.
The human body: the most
intimate and certain of all boundaries. Meaning. Female
sexual pollution and the contradictions of late capitalism.
Unnatural. Demarcation. Foucault: the game of power
is played by participants not fully in control of their parts.
Suppressed anger. Emily Dickinson described the
jouissance of self-starvation as making her an 'inebriate of
air'. Abuse. Refugees in Western Australia sew lips together
during hunger strike.
Self-starvation: a struggle to free the
body of all its contexts? Nihilism. Emptiness. Body
dysmorphic disorder, Lacan and the development of the
narcissistic ego during the mirror stage. Excessive
rumination.
In modern Western societies 'normal' weight is often
perceived as lower than a person's genes dictate.
Demonic
rigour.
The sufferer draws down into her body the strife
of the greater culture. Secret. Chaotic. Moving energy
out. Society under attack. Body under attack. Irregular
periods. Appearance of downy hair on body.
Perfectionism. Cost of dental repair. Hair loss.
Depression. Electrolyte imbalance. Withdrawal. Grey
complexion. Irregular heartbeat. Collapse. (Death.)

Published in Short Fuse: An Anthology of Fusion Poetry (Ratapallax Press, 2002).

prelude

i met a space alien at the movies. i was ten or eleven.
young, but not so young that i didn't have my own
thoughts about how things hung together. i couldn't
really concentrate. after this man came and sat next to
me. i never found out how he was dressed, the colour
of his shoes. all i remember was the way he smelled.
and his voice. if you lined him up behind a glass with
other men, i'd have to take a guess at which one he
might be. it seemed like he had more than two arms,
two hands, ten fingers. i was watching the movie, and
this guy sits beside me. there was hardly anyone at the
cinema. starts whispering. in a funny voice, low, and
breathing like it was hard. what's my name, am i on
school holidays. and then he starts touching my leg. i
kept thinking were his fingernails clean. i wasn't raped
or anything like that. but a little splinter crack
happened inside my head, and i never understood
things the same way since. but not in my body. it just
closed shut like a pippi. it was as if my skin, and what
people could see on the outside, made up the letters
fear, and on the other side, where everything is nerves
and bones and hidden, lived the definition from the
dictionary. and this man, smelling of perfume and
tobacco, kept whispering questions to me as his
fingers fluttered over my legs like all these moths. after
i got away and came home i pretended nothing
happened. it wasn't anything really, i tell myself now,
except a change in direction, a starting point.

About the Poet Melissa Ashley

Melissa Ashley is a poet and fiction writer who lives in Brisbane, Australia. Her first collection of poetry and prose "the hospital for dolls", funded by an Arts Queensland Individual Writing Grant (2001), will be published in 2003 (PostPressed). She recently completed the first draft of a novel "the weird sisters", and is currently guest editing Stylus Poetry Journal. She is the former assistant director of the Subverse: Queensland Poetry Festival (1998-2001), and co-ordinator of The Arts Queensland Award for Unpublished Poetry. She has published her work in New Music, Short Fuse (New York), Subversions, Blue Dog, Imago, Hecate, Overland, Slope, New England Review, Famous Reporter, LinQ, Ulitarra, Divan, Sidewalk, JAAM, The Drunken Boat (USA) (+ others). She is currently finishing an honours thesis in contemporary Australian poetry at the University of Queensland.
   [Above] Photo of Melissa Ashley by Stephen Booth, 2001.

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Thylazine No.6 (September, 2002)

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