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Thylazine: The Australian Journal of Arts, Ethics & Literature                                                                                                                                         #8/thyla8c
THE POETRY OF VERA NEWSOM
Selected by Coral Hull

[Above] Photo of Vera Newsom by photographer unknown, year unknown.

"Moving, you give to space a dimension.
Without you it would not exist."


I Midnight Snow I Walking I For Kevin Hart I I'll not lead myself I First Rose I Poems for Kate/i. The Numerous Lenses/ii. The Pool/iii. Sailing Ship/iv. Chasing Horses/v. The Well/vi. Tall in the Night/vii. I Heard You Pass/viii. Requiem/ I The Apple and the Serpent I 15th December, 1848 I The Headland I Woman At Dusk I Two Poems for Roland Robinson/1. At the Boatshed/2. High Tide I Departure I
To Be Here/1. In This Place/2. Still Life/3. For Charles Wright/4. Calliopsis/5. Driftwood I
Morpeth Plum Tree I Two Autumnal Poems/1. This Morning/2. My Grandmother Speaks I


Midnight Snow

That wind has many voices: women
who walk alone listen for a lull in the storm
to piece the words together, but it's only
when wind thrashes the eucalypts
they hear the voices, on the gully's edge.
Careful. A gust could snap the branches,
fling them over the precipice. It's always
at the breaking point they hear them,
like kites bucking against their strings
to be snatched away by a shift in the wind
Voices, whispering of the cliff's edge,
breasts declivities, laughter,
the sharp spears of fire. Midnight snow.

*

                           You were laughing
straight in my eyes, your hands on my shoulders,
bone pressing bone. Then they slid to my breasts.
Quick as spring buds I could feel them rising.
Outside there was snow. We could tell by the silence.
You piled on more logs till the flames leaping higher
reached their crescendo. Later,
we banked down the fire. All winter,
we had fuel and to spare.

*

                           What are you saying?
There was a gale and the eucalypts whining
threw down dead wood. All our lives,
we'd walked on the cliff edge, no thought of slipping.
Then, foothold uncertain, bones paper bark thin,
it was 'any time, now'...

*

                           It's strange,
when hot wind flattens the landscape
I never hear your voice; but should the wind rise
or the moon make midnight shadows on the snow
you are most real. To love is to be vulnerable.
I do not grudge the risk, would choose again to walk
on the precipice edge.

Published in Midnight Snow (Hale & Iremonger, 1988).

Walking

Your walk is you, the slow expression of
you. Always I see you walking -
first as object, a body moving
through space - a time sequence, a steady
progression. It defines you, the person.
Moving, you give to space a dimension.
Without you it would not exist.

*

If you lift up your arms and swing them
make wings of them, you are no longer
earthbound: the balls of your feet
set you bouncing: thought expands.
The dialogue you hold with yourself
is extended.

*

It is a pleasure to unlock the door -
a greater pleasure to leave it open.

*

You enter the garden,
cross the verandah,
walk over the brown tiles, the blue,
tread down the triangular white ones,
ignore their caesuras.

*

I do not hear you - your walk
is almost silent or see you, only
a shadow, a presence is passing.
I look up from my book. Already
you have passed the window,
and there at the door.
I hear your voice.
Now voice, shadow are person.

*

Must I fracture the moment,
lose its nowness? Even
stretching out my hands to greet you
would break it. When we kiss
is another moment.

*

You have stopped walking.
Time stops.
                           It is only
the speed of travel. Our discourse
is endlessly now.

Published in Midnight Snow (Hale & Iremonger, 1988).

For Kevin Hart

Old women who darn their shadows again each dusk.
So. I am an old woman. You see me darning.
Not the threadbare garment of the flesh
but my old phantoms: memory's husk?
or my dim ghost? Never in the full light of the sun -
as if I could not feel its warmth, or the sting of the rain -
you see me darning shadows in the dusk.
And why should I who know the night must come
and love more keenly the intense light of the day
fold up my working clothes in lavender and musk
because a young man thinks my task is done?
While my five senses park new messages
I have no time for darning in the dusk.

Published in The Apple and the Serpent (Hale & Iremonger, 1992).

I'll not lead myself

I've said No, I'll not lead myself by the hand
along those streets that lead to death as Man-
delstam once did, knowing myself like one
of a herd, earmarked for the slaughter.
As long as the old organ, heart, keeps time
I shall present myself. But when death comes
I'll go, glad of the rest that, at the last,
we all aspire to. the blank end of things -
ash, or a little dust. Only, life lived,
work done, when the wind blows I'll sing
as bones in the desert sing.

Published in The Apple and the Serpent (Hale & Iremonger, 1992).

First Rose

Action repeated. All action is repeated. My mother is climbing the flower-laden bank
in the lane. The lane is a tunnel. Year after year, feet treading the lane have worn
down a hollow. Year by year, the banks rise higher, the branches arch over.

High July. My mother is plucking a single wild rose. Once, when Sirius the dog star
had reached its ascendant, the wife of a Pharaoh plucked a five-petalled rose,
dog rose. Its perfume spread through the world. Pale pink, almost white, and old rose -
a touch of flushed purple. Single, double, moss, damask, tea, miniature, rambler, its
perfume spread over the world.

While I live, my mother is plucking a rose. She is climbing the hedgerow to pull
down the briars and show me a five-petalled rose, my first rose, dog rose, the first I
remember, star of Egypt, a rose.

Published in The Apple and the Serpent (Hale & Iremonger, 1992).

Poems for Kate

in memoriam

1. The Numerous Lenses

                          have swung into focus and captured you
a small figure at the centre.
A little adjustment, and I am looking into those brown eyes
                                       with their slightly puzzled expression,
their absorbed, getting-it-clear, yes, that's-how-it-is
                                       expression.

So you still ask yourself the same questions.
I smile at you, I feel so warm in your presence.

Then I remind myself you can't be real.

At once you begin to recede.
I want to call you back, but you shake your head.
Your hand moves in a gesture I know so well, and now, even
                                       your look has faded.

ii. The Pool

The thin wands of the Chinese quince
drop their white flowers;
the pool's still eye reflects
cloud, sky and the sharp spears
of water iris.

You crouch on your knees,
your long hair streaming.
The mossy bush rock is an island.
You imagine
a forest of reeds.

You need no microscope,
only the image-maker's shifting lens
that captures an island
in the curve of a shell,
a star in the palm of your hand.

iii Sailing Ship

A fisherman's net stretched taut
across the hold of the ship,
the gangling teenagers stood gaping:
you wouldn't dare.

You dared. Spread-eagled, spider-like,
arms and legs clutching the web,
you dared. A perilous crossing.
And, that time, you made it.

If I could mesh my fingers in your hair
I would haul you back and hold you here.

iv. Chasing Horses

Girl running, quicker than thought,
the sliding black mass of your hair
hurls back the sun's sharp spears.
Horses, gleaming and black,
wheel in their track.
The stallion's mane is liquid flame
and your hair a river of light.

v. The Well

The bell-topped well
is half buried in rubble,
yet, under the hill,
the spring still bubbles.

And, like a violin, double-stopped,
I hear your voice singing -
and the quick, little catch as it lifts
from contralto to treble.

vi. Tall in the Night

Tall in the night, with the rain in your hair,
beautiful girl you welcomed me home.
Behind you the saplings rose tall and spare.
Your kiss on my lips felt soft and warm.

Never again will I find you there -
tall lovely daughter who greeted me well -
You lie like a sapling struck by the storm
out in the night with the rain in your hair.

vii. I Heard You Pass

Down the long corridor,
that night I heard you pass
effortlessly singing
to the warm bed waiting
and the smooth white sheet.

All your long days before you,
marriage and love and the accustomed task,
secure in your belonging
down time's corridor
you thought to pass.

Suddenly, singing stops in your throat
in a strangled cry of fear.
I place a compress on your forehead, hold you,
listen as you whisper
your last word, lovely.

Death may strike in a flood,
an avalanche, a fever
or in the red tide of your blood,
and speechless, blind, you leave me
where hands reaching cannot touch.

And my mind is a labyrinth
where I wait to hear you pass,
effortlessly singing,
and I listen for that last word, lovely,
and the little catch of your laugh.

viii. Requiem

I was with you at your conception
and on the day you were born:
you turned the clock back when you left me
who should have gone before.

A champagne rose grows over your ashes,
cream, with pointed buds and long stems,
angular as your colt-like beauty,
pure as your olive skin.

The rose planted, what could I do but leave you,
speechless, devoid of breath?
Death is the ultimate divider:
I walk alone, you lie in earth.

Published in The Apple and the Serpent (Hale & Iremonger, 1992).

The Apple and the Serpent

                 It didn't eat from the tree of knowledge
                 and so it must perish.

                                                        Czeslaw Milosz -
                                                                    Diary of a Naturalist

1.
Look at me. Your eyes
shoot light at me.
I throw it back.
From the arcs of my eyes
I throw back my light.
Tell me,
when we no longer
stand eye to eye
where will our vision cross,
rather, say, meet?
Out of flesh, out of time,
is there a place where
light will meet light?

2.
Once we sat together
reached out our hands to each other,
our glances met.
You carried a serpent
coiled up in your gut -
How should I know?
All men have a serpent.
I, too.
In your eyes I see
the apple and the serpent.

3.
If Eden is a fable,
is the myth still potent?
And what is sin?
Not innocence lost,
not desire for knowledge,
not, as blind Milton would have it,
rebellious will.
In the apple of the eyes
is discernment,
delight and appraisal.
But the agile serpent,
clothed in dark lustre
is coiled in the belly.
The eye
perceives the serpent,
notes its cunning.

4.
Your history
is not my history.
You chose
perfection of the work and not the life,
and never knew
my crowded years of little tasks.
Now at life's end you find
dark night's remorse,
an empty purse,

and, loving perfection, know defect
and ease and a great bounty lost.
We each perceive
the other's serpent
and the other's gift.

5.
It is night. Rain, hail
assail me, pelt on
the window, insist on
the bleakness beyond.
Bed-warmth denied me
I crouch naked
in the storm's frenzy -
storm that strips back
the skeleton outcrops,
smashes down trees,
batters the self's dominion
lays bare the rock.

I tremble, shelterless,
see my failed commitment,
my rich life's waste.
My wry mouth would reject
the apple's pungent flesh,
but I must bite it to the core,
dare not spit out,
no, will not spit out
will eat the last bitter seed.

6.
You turn away your eyes.
They are dark with pain.
You crave
the nescience of beasts
that have no need to fear
the flaming sword,
the apple and the serpent,
need not look beyond
deception, guilt or knowledge
to that place
where light meets light.
The last betrayal
is the self.

7.
Your hooded eyes
are dark with pain.

If I should ever reach that place
where light meets light
I shall not find you there.

You turn away
your hooded eyes.

Published in The Apple and the Serpent (Hale & Iremonger, 1992).

15th December, 1848

Making Bread from Emily Bronte Re-collects

The floured board, accustomed fingers
kneading dough - how I love
to make the bread, as Tabitha once did.
I made her teach me. I was a mere child then.
It seemed a ritual and still does.
Why then does the mind stray
when making bread? It leaves behind
this fire-lit kitchen and is free to wander.
It always did. Poems come best
roaming the moors or kneading dough.

If they should bury me, twelve feet deep -
how I exaggerate - I still exaggerate.
Twice six is twelve - six feet deep - but what
a weight of earth, and topped with mill grit.
No, I'll lie like Branwell and the rest
under the flagstones of the Church.
Could they hold me there?

                                        Once I created
Cathie's ghost. An unquiet spirit, did it haunt
the man it loved for hatred of the man it loved?
It could not leave the place it loved,
knocked on the window pane, wailed like a child.
And I? Would it be love, obsession if you will,
would make me haunt this piece of earth I love?
Would I desire the things I never had -
the union of flesh with flesh, a mystic union,
soul and body with its counterpart -
or so they teach us - made one flesh.
                                        Would I crave
the children that I never had?
Is one life on earth enough?

True, I walked free
within my own containment, laboured
every day at household tasks,
an hourly discipline that tied me down
but left my spirit free to wander,
think its own thoughts and find new images.
For I have loved this world,
this rich and sensuous world, the open moors,
the scent of heather, bread baking.

                                        Day by day
I've made the bread this household eats. The smell
of baking bread would raise a daylight ghost
and lead it to this kitchen.

                                        Now flesh peels away
in my sisters' eyes I see the ghost
I'll soon become. My thinness haunts them.
If they did not look at me I could forget
how body dwindles. I will not take
their pity.

Though I knead the dough more slowly,
it is my mission and my gift. Who can make bread
like me? While I live I'll make
the bread we break. They say
bread is the staff of life,
but the first mouthful is enough
to make me gag.

Published in Emily Bronte Re-Collects and other Poems (Angus and Roberston, 1995).

The Headland

i
Walking along the headland
I was never alone
though all I craved was
space and silence, empty air
and a bird's far cry.

Ghosts, jockeying my elbows,
clamoured for attention.
Not daring to offer them a stone,
I plucked bread from my daily ration;
soon grew paler than they and hollow-eyed.

Lying on a green hummock of earth,
spilling like a tablecloth over the cliff's edge,
light as air, lighter than air,
like a child on a slippery dip
I could have slid into the sea's chaos.

All along the cliff path the ghosts accosted me.
They were so many and so skilled,
they never spoke their thoughts aloud -
They were like a choir humming a chorus,
not sounding the words.

At last I told myself: this is madness.
I am more deprived than they.
I loved them when they were living,
but now they have prolonged grief's season.
Time they lay down in comfortable ease -
wherever it is a ghost may lie.

ii
I am
tabula rasa
nothing
only
a husk
a shell
the tide can pounce on
buffet
discard
I lie beside an empty bucket
a bent fish hook
a thin
length of twine
the sea has not bothered
to play cat and mouse with
tangle
twist
or unwind

iii
I wanted my head to be
empty as air -
I could feel myself floating,
the cliff edge so near
I could see it waiting -
O, bliss of unbeing.
Somewhere
a gull kept screeching.
Raucous, persistent,
like canvas ripping,
it tore at my nerves.

Far below,
where the spring tide had flung them,
were heaps of driftwood.
Their shapes so fantastic
they haunt my dreams.
I teetered on the cliff's edge,
felt its ambivalence -
(no, mine was the ambivalence.)
Cliffs that swim in the haze exist
in their own dimension,
stride them though we may.
Height can be an abomination,
or a quest.
                           Unaware,
step by slow step,
I was picking my way
down the cliff's steep stair.
The driftwood was waiting,
fire, warmth were waiting.
I counted each step.

Now the alert gull was plunging.
Others came squawking -
hunger, the catch, the spoil -
I, too, was hungry, my body was hungry.
I tugged at the driftwood.
Weak, ineffectual, dragged
at the driftwood. All I wanted
was food, shelter, warmth.

iv
They came to meet me,
living people. Neighbours,
some there were whose names
I did not know. Their hands
were gentle and their arms
stronger than driftwood spars.
They led me, and I let them lead me,
they lit the fire and warmed me,
gave me bread and soup and wine,
unobtrusive, watched beside me.
Little things I still remember -
fire of brandy in my throat;
strong, brown hands replacing
a damp compress on my forehead;
eyebrows like a bird's wings
bent above me; the smooth oval
of a young girl's cheek.
Like a litany I name them.

v
I need not listen
when the wind gets up,
chivvies the land
for days on end.
There are treacherous places
Where I must not, randomly, be tempted.
Do I plan the last excursion?
Plans are futile. I am ready.

Yet, I shall not lightly go.

Published in Emily Bronte Re-Collects and other Poems (Angus and Roberston, 1995).

Women At Dusk

Mist envelops the creek where
horses neigh in the half light.
The white gums that flank the lawn

have scribbled their messages
in a script we can't decipher ....
Anticipation's hush

holds us, uneasy. We listen
to the creek in silence,
moving restless, over stones.

All night it will keep up its prattle.
We can hear the swish of a breeze
releasing itself from its wicker cage.

Limp clothes hang like ghosts on the line.
A woman, come to unpeg them,
smells them for their freshness, then

touches a garment to lips and cheek
as women for centuries have done.
The clothes are too moist and cold, she says.

They have waited here too long.

Published in High Tide (Five Islands Press, 2000).

Two Poems for Roland Robinson

1. At the Boatshed

The wide doors flung open, and a little breeze
crisping the edge of the waves. It stirs the papers
littered on the table. At the farther end
it lifts a single sheet. You snatch at it,
place it face down. Your fingers hover.
Then, with a dancer's gesture, move aside.
I can make out the shadow of the down strokes,
strong and even, copperplate.
Our eyes fixed on the page, you tease
yourself and me. "Is it a poem?" I ask,
"A new one?" You say you mustn't look
until you've quite forgotten it. It must seem new,
if you're to judge. Then, suddenly,
you flick the page and look. Reading aloud,
you glow with satisfaction.
"A new poem! Well," you add, "almost".

Editing my work your pen
is glinting like a sword,
stroke upon stroke,
line after line. I wince.
"Look at what's left," you say.
"Have you a poem, there?
or merely two good lines?
A single phrase? Hoard it.
You never know ..."

                                        Time for our evening walk.
Breathing the fresh smell of the bush,
we lose all sense of time. Tracks
twist and turn, stretch endlessly,
descend in hollows, skirt a cliff.
A splash of colour -- scarlet banksias.
Our spirits rise. Then paths divide and multiply,
like snakes and ladders. I would choose the snakes.
Somehow, for you the dice throws up a ladder,
you seem to sense the way.
Back at the fire with pots of scalding tea,
my eyes begin to close. I walk our tracks again.
Through fogs of sleep
I hear your voice admonishing:
"Write it down, now, before the image fades
or melts in dream. It's on the edge of sleep
poems come best."

2. High Tide

There is a long silence every poet dreads
when heat clouds the sky mauve-grey
and there is not the faintest flicker of a leaf.

The self is like a limp curtain hanging still
until a southerly has swept the stagnant air
and turned it cool and clean.

Now the body's framework stands upright
and flesh is curved as if a sculptor might
have worked in clay to build up form and shape.

The wide doors of the boatshed are propped open,
and the skiff waits on the slipway -- but not yet.
The swimmer dives, and rises, shaking

his sleek, wet head. Water, air. His body
can never have enough. He braces himself
against the pull of the incoming tide. His limbs

are fluid. He lets them go with the current,
drinks in the departing light, the first point of stars
and a ghost moon turning gold.

He swims through the broad band of light, then floats
counting the stars until they form in clusters
he can't decipher. Odd words come

like fish leaping. Tireless,
down the long track of gold he travels.
Water under the moon's pull bulges

over the beach. Now he can speak
with the tide's voice. Darkness,
night and the moon are his.

Published in High Tide (Five Islands Press, 2000).

Departure

And now one morning you shake out travelling clothes.
                                                                             Wang Wei

I look at you. What can I say?
"Speak to me. Stay with me. Stay."
That will not help you on the way
you are compelled to go -
through the black gorge
and the trackless snow
to the last mountain peak
that only the lone traveller may reach.
There hungry eagles whirl in the sky.
And though you have not lost the way
you know, I know,
you never can come back.

Published in High Tide (Five Islands Press, 2000).

To Be Here

1. In This Place

alone:
where tall trees cover
half the sky
and I, beneath trees, sky,
at ease.
Time to brood
on the long journey past -
such peace, gained here, at last.
Inside: book, pen. Outside:
the long, flat leaves
of the tired shrubs
calling for water ...
Body moves slowly now.
Often with pain.
And mind? Mind flares
with a sudden passion.

2. Still Life

Things you have used,
ready to hand: blue jug
checked cloth,
bread on a board.
a knife, cutting -.

3. For Charles Wright

At eighty-eight I ask
Who am I
that I should resist
the gratification
of the eye?

More and more I lean
towards the senses -
purple light on black grapes,
shadows under the pine,
white lilies erect
in a vase on the table.
Time to rejoice.
These are alive
and I am still here,
regarding.

4. Calliopsis

Gold coins tossed
over the rocks
on the roadside.
Such perfection. I pinch myself.

5. Driftwood

Things come and I write.
What power have I to say:
"not this." or what
I'd rather write?
Instead I bless
the unseen force that throws
its flotsam on the page,
and like a child collecting shells
I gather the rich spoil
flung up by the tide ...

Published in Angel's Glance (Halstead Press, 2003).

Morpeth Plum Tree

(for Nora Krouk)

Suffer and bear - all must be borne.

Flesh may weaken, bone become porous -
that I can bear; even annihilating pain.
Should spirit falter, mind grow dim
and the electric current cease to leap
synapse to synapse: that
I could not bear -

Winter at Morpeth, and a weathered tree,
almost beyond repair, shows nubs
where blossoms later may appear.
Its naked form resembles Ikebana -
a bough flung sideways at an angle,
twigs covered in lichen, greenish white.

Its spare beauty dazzles.

Published in Normadology (Halstead Press, 2003).

Two Autumnal Poems

1. This Morning

Go into the orchard
where the grass is yellow and lank
and among the threadbare leaves you'll spy
a late russet apple.

Inside, the first winter fire.
A book lies open on the table
and on the hob the iron kettle
begins to simmer.

The sudden chill in the air
catches at the throat and you know
if someone were here to listen
you would sound hoarse.

This sliver of ice
does not spear the arteries.
It alerts you blood is red
and augers a new fire

2. My Grandmother Speaks

An austere country
with steep fells
that lance the sky.

Here black-faced sheep
hide in the lee
of stone walls

that climb the ridges
like stairs. There is
nothing but wind
space and wind.

*

In autumn
the snow cap slides day after day

down Skiddaw's side.
My grandmother took us
into the orchard.

"Watch winter come,"
she said. "Nothing
can hold it."

Her words are true.

Published in Five Bells (Australia).

About the Poet Vera Newsom

Vera Newsom emigrated from England to New Zealand at the age of seven, then moved to Australia in her adolescence. She was raised in a family that was fiercely supportive of the women's suffrage movement, and she was encouraged by her father to pursue academic goals. As a young woman, Newsom began a career as a teacher, eventually working for over 40 years in state and private schools. She was retrenched from the state system in 1934 when she married. After retiring, Newsom began to pay serious attention to her writing. She had suspended her interest in poetry writing for approximately 40 years while she focused on family responsibilities. In the late 1970's she co-founded the Round Table Poets and her first published selection, Midnight Snow appeared in 1988. Newsom has undertaken fellowships at the Hawthornden International Writers' Retreat Centre Scotland, and at the Varuna Writers' Centre, Katoomba. She has twice received 2-year fellowships from the Australia Council to foster her writing. The Young Street Poets held a special even to celebrate Newsom's 90th birthday in 2002.
   [Above] Photo of Vera Newsom by photographer unknown, year unknown.

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

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