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Thylazine: The Australian Journal of Arts, Ethics & Literature                                                                                                                                    #8/thyla8k-sh
AUSTRALIAN POETS SERIES 8
The Poetry of Susan Hawthorne
Selected by Coral Hull

[Above] Photo of Susan Hawthorne by NACED, 2003.


I Seize I Diesel Days I THE WELL I THE FLOOD I THE LANGUAGE IN MY TONGUE I


Seize

Seize the soul bird as she takes flight
ending her isolation, feather light clouds.
Illusion is the easy bit, she drops down dead
zeroing in on the mother of all seizures
emerging from that fractured landscape.

Betrayal isolates her, brittle words
electrify the silence, splitting the image
trembling in the midst of glitz.
Rock rumbles through the fug of drugs
as The Big One pulls her down
yelling through the marbled synapses
all the headlines of trauma, loss,
love and a dissolution of dreams.

Fractures become a way of life,
reliving the fall into silence.
Alone, on edge in a weeping landscape,
cracked, head split to the bone
too far from home. Quivering with shame
until arms cradle her, forgiving.
Rising again to consciousness, an
endless journey of the will,
she folds her wings and sighs.

Published in My Secret Life: Poems from the Melbourne Festival of Poetry (publisher unknown, 1999).

Diesel Days

The body sits needling flesh
the tiny piece of tree
embedded under skin.

Building blocks for a giant
red granite cast in layers like skin.
Water runs along this empty bed.

Sadness is an immovable block
granite-heavy moving between
belly and shoulders.

Creams block sun so that skin
does not peel back to raw flesh
a screen, a veil.

The fine weave of the mosquito net
keeps at bay our vulnerability.
The flesh is soft whatever we say.

I net a shed full of iron tools
from another era, a box full of
grease nipples, five motors,

two compressors, iron bars
heavy enough for murder
a river pump complete with belt,

but no river to plumb.
The pumps and jacks need fixing
and the jerry can leaks diesel.

The funnel is a spider oiled into
efficiency; my pyjamas are wet
with diesel, hands greased.

A survival kit with the national flag from
World War II is a box big enough for
a few sandwiches. It is wet with

fifty-year-old mosquito repellent,
a red flag to gain attention, and
morphine in case of severe pain.

She sits opposite me writhing in pain,
and I am powerless to do a thing.
A russet wasp locates the dishwashing

bowl with its soapy suds. Somehow
it sends a message and a second wasp
appears, they rendezvous over the

soapy water. The afternoon hums,
idling to the buzz of bush fly wings.
The almost silent brushing

of wings, the hell terror. A world
gone grey. Featureless. All difference
expunged. A holocaust of sameness

from horizon to eyeball. The world
gone flat. The diff's broken, he said.
Fix it, she said, I can't drive across

the Nullarbor in second gear. That was
before the flat tyre on the eve of
the new millennium. A night

of stars and silence. She's learning new things
about knots: how to tie an end knot,
a knot which can be neither tied nor untied.

A magic knot. Some knots have freed
criminals, others made them. By night she's
trying to untie the universal knot.

The knot which keeps the stars in their
vault. Mothers' milk for a giant serpent
stretching, tying the universal knot.

But stars or not, a truckie's knot would
do to keep the roof rack secure atop
the car. Near Wilcannia there's rain

and the car does a slow pirouette, mud
flying like matter in an expanding
universe. The red kelpie goes hunting

among the spinifex. No morsels will
tempt her back. Next morning the kelpie
is unwell. A forlorn look in her eyes.

Vorloren say the Germans. A sense
of loss. She pulls cat's eyes from
the hardened pads of her feet. Stones

have made them raw. The skin peeled back
like fruit. Tonight they will read stones,
coins, cards and measure distance by the stars.

THE WELL

Women meet at the well head -
They are perched high above me
their faces black against
the bright blue of the sky

I rest deep in the well
as they toss orphan words
into the depths, waiting
for the plink, calculating the depth.

Published in Bird (Spinifex Press, 1999).

THE FLOOD

When the flood came and I was twenty
it began again.

My father strapped himself to the tree and slept above
the swirling water.

He came home in a boat with men in yellow raincoats
carrying sandwiches.

The next day I fell from my chair
at breakfast.

My mother, believing ancient advice, pressed her finger
into my mouth.

In unconsciousness I bit, into bone
which cracked.

Now, when her finger hurts, she knows
a cold change is coming.

When I woke, I slept again. I felt
battered, beaten.

For three days I slept and woke, woke
and slept again.

Afterwards, we drove the tractor along the
cracked bitumen road.

Slabs of road angled where the earth had
expanded into clay.

My mother and I walked along the river as it fell back
into its banks.

She said, That day, I thought you had died.
Better my finger.

Sometimes I think I did, a part of me died in
those three days

I lost my belief in immortality.

Published in Bird (Spinifex Press, 1999).

THE LANGUAGE IN MY TONGUE

My tongue has blossomed in my mouth
It is filled with language
It spreads like a big red balloon
With language caught inside

A language that can't distinguish one thing from another
A language that does not care for past or future
A language tense with the present

The language in my tongue dissolves all history
It dissolves all expectation of the future
The language in my tongue is a big red balloon

There's a language in my body too
A language in the arch of my back
A language in the froth from my mouth
A language in my clenched fist
A language in the cry from my lungs
There's a language in my bleeding tongue

The language in my body and in my tongue
is the language they spoke in Delphi.
The language of the seizure that dispels time,
that defies death, that returns the orator
to the world of light, that single point that
draws me back from the inertia, the gravity
field of a hole so black, nothing exists
and nothing matters

Published in Bird (Spinifex Press, 1999).

About the Poet Susan Hawthorne

Susan Hawthorne is a poet, novelist, academic and circus performer. Her books include a collection of poems, Bird (1999), a novel, The Falling Women (1992/2003), Wild Politics: Feminism, Globalisation and Bio/diversity (2002) based on her PhD as well as numerous anthologies, the latest of which are September 11, 2001: Feminist Perspectives (2002, co-edited with Bronwyn Winter) and Cat Tales: The Meaning of Cats in Women's Lives (2003, co-edited with Jan Fook and Renate Klein). She is a founding member of the Performing Older Women's Circus, co-founder with Renate Klein of Spinifex Press and a Research Associate in the Department of Communication, Language and Cultural Studies at Victoria University, Melbourne. She has recently performed an aerials segment - Elisabetta's Story - as part of the annual Performing Older Women's Circus show at the North Melbourne Town Hall. Susan is currently working on a poetry collection titled Unstopped Mouths.
   [Above] Photo of Susan Hawthorne by NACED, 2003.

I Next I Back I Exit I
Thylazine No.8 (September, 2003)

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