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Thylazine: The Australian Journal of Arts, Ethics & Literature                                                                                                                                    #9/thyla9k-ak
AUSTRALIAN POETS SERIES 9
The Poetry of Anne Kellas
Selected by Coral Hull

[Above] Photo of Anne Kellas by Giles Hugo, 2001.


I BULLET HOLES I POSTCARD FROM HOBART I THE PEACE SNOW I THIS BRIGHT AUTUMN I
ALICE I TWO POEMS ON A MEDIATION ABOUT CONFLICT IN 1999 I THE REFUGEE REPLIES I


BULLET HOLES

It took a long time to die
enough for the watching of
a street procession
I had time to turn my head
like a clown's, too heavy for the body
enough to tell Mfalele I loved him, and time
out of tune with the drums
and the marching, to kiss him.
I had time to watch the movements
of the first aid helpers
lamenting over me and ladling ointments
and creams and bandages over my wounds
streamers in the air, ticker-tape
time wasn't happening to me anymore,
just patterns of action,
ritual movements,
gongs,
wooden sounds.
The masks of words
floated down and stuck to me,
shrill sounds, confusion,
discordant, but always the marching.
I didn't think about death
or my executioners,
just my shoulder that throbbed and tore open
time and again.
Why hadn't they killed me properly -
when would I die?
I think I prayed a little.

And then came the doctors
three pinkish, tall, balding men,
one with a hypodermic.
The anaesthetic, I supposed.

The music had gone
and the marching.
They were trying to find
a chair for me to fit into,
a cane chair,
a dining room chair,
one with armrests,
but I was only content
if they laid me face down,
limbs at rest
against the soft, unresisting dark brown
earth.

People came and went,
throngs of people.

I was saying, why did we bother
to come all this way
if this can happen here?
I was saying goodbye to my children
I was saying something to them about
being good ...

And as it happens, they said,
the doctors,
the hospital's near here too,
and you could just walk out of the anaesthetic
and across the block to the next hospital and
carry on there. Like visiting, social call.
Nevermind all the fuss about bandages and things.
And it's the flowers afterwards you can look at.
And the morning sun.

Published in Poetry Australia (Australia).

POSTCARD FROM HOBART

Bits of reality sometimes fit into place like that -
Salamanca morning, Easter Saturday.
Irish green.
Park on a slope.
River, harbour, blue.
Iron sunlight.
Boats.
Glass. Rain-swept streets.
Oaks, Autumn leaves
yellow jasmine petals like butter.
Antarctic blue.
Wet shadows around all these -
everything standing ready to be
painted, written.

Down below, cars slide out of range
towards the tunnel,
each carrying exactly one spotlight of sun
into the silver halide dark.

Exhibited at the Arts Rush/Shoalhaven Poetry Festival postcard exhibition (Australia).

THE PEACE SNOW

The snow falls somehow differently now,
not on the foothills reshaped by the agriculture of war,
not on the city or the plains,
not on the hilltops, but on these machines flying low,

snow filling up their wings, their motors, their landing gear
completely blinded and bound by the soft wafers -
the peace snow dulling the bullets, weighing down the bombs
too heavy to fall to their manufacturers' instructions.

Wayward now,
in a blizzard -
not snow,
not peace -

Published in The Famous Reporter (Australia).

THIS BRIGHT AUTUMN

This bright Autumn,
no one goes to sleep.
The tree that died in summer
turns kwashiokor grey;
my window opens slowly
on someone else's morning rain.

Here, clouds of snow break anchor with the mountain
and mix incongruously with the smoke from chimneys.
These autumn leaves I press against my hand
these leaves that stay bright gold, their sun against a blur of sky
heaped high, raked firm, must form the gentle load
for carrying away, for sweeping clean, for wind.

You sit somewhere in a cloud on an island near the Pole
you from Africa, from far away from here.
Your reference point, it's lost.
No one counts these hills your home.
All sea-sick ship-wrecked clouds loom here, and slowly
tumble upside down their rain - your rain, my rain.

*Kwashiokor: a disease of malnutrition in Africa.

FROM THE CITY OF ALICE

I have eaten concrete.
It is bitter, tastes of money.

I became as tall as a sky scraper
and sent out for a parachute
because my world had failed.

And I would land beyond the cinders
and I would not crack the eggshell of the world.

I phoned the press, the TV stations, and my mother,
and told them all to watch the building's headlines.

I told them I had a parachute 59 storeys high,
that I could fly.

Published in Creative Arts Review, Journal of Australian Studies (Australia).

TWO POEMS ON A MEDIATION ABOUT CONFLICT IN 1999

I.
'Deliver me out of great waters, from the hand of strange children'

Abroad on a river, in a nation flowing to the sea
hundreds swept aside, the storms come.
All their kingdoms once strong now passed to dust,
all their days as light as ash lifted high, like motes
in air,
now hairsbreadth,
whisper-left
gone.

The Ancient of Days clapped His thunderhorns in the cumulous cloud,
dashed his lightning-rod anger against their implacable mallet
wrongs

Their strange-eyed children trod wilderness floors
in bedsitter dreams.
Organ-pipe sounds chilled their bones by night
while their spirits sought comfort in the smoke of weeds and rotten things,
their clothes a city's blackout for the bombfalls
their tatters made in advance of the coming holocaust
their lives an anticipation of the nothingness that had preceded them,
their past, their publishing houses, their rooms full of books,
their waning last moon
to sorrowed world
drowned in TV light instead.

Baked bread by the radiaton of computer monitors,
the rising sun a piece of paper held out each dawn
to a magnifying glass to warm the spark:
'A bruised reed he shall not break, a smouldering wick He will not snuff out -'

Then bring on the fans.
Propellor fans.

Out on a river flowing to the sea we ride tonight
all our moons alight.

II.
'All things aspire to the condition of music.'

Yet 'Home!' they cry, take me home
to that far shore I never saw when I left
when my foot stepped from the foreshore to the ferry
the land I trod as a child so surely mine
now not. Not so. Not home.

This coconut shell is given me to call my name into and shout aloud my woe.
Yet 'Home!' they cry, 'home is mine' their dreams assert.
And even in their sleep they're home.

"This new empty land now robs us", Lionel said.
It feeds the day our vital power, and by night denies us sleep and warmth.
We chill, here, in the new land, we slowly grow more still.
And all because our home outcast us, cast us
out onto the sea onto the shore.
Like so much seaweed. wet on rock we're stuck here.

I could walk around this knot of rocks
but find another bay is rimmed with more
and I have to stay, on the rim of sand and sea and shore
because here the sky talks at night
of stars and far far kingdoms lost
and places of delight in dreams
where people dance and dance
and spinners spin and spin
and music plays all down the scales of notes to fill the chords of time
with music's charms.
Heavenly sounds of ice and bells, of piano, harp and birdsong.
Hoopoe.
Wren.
Dove.
Bird.
Generic flight.
Wings.
Freedom,
Sky.
Dawn.
Light.
Art.
Seven colours woven into sun.
Movement: slow.
And still the dance goes on.

All things aspire to the condition of music.
Fred Williams sits down to paint.
A million scattered violin notes compressed in heated sand,
the components of glass lie ready to be made fire.

THE REFUGEE REPLIES

I have escaped the harsh whip-lip lash of my countrymen

but come full circle to your indifference.

May I meet you face to face,

my accusers?

Why are you alive, you ask.

How dare you live away?

You are not allowed to escape your horror,

or take your homeland with you.

You took too much furniture,

you have borrowed too many rosebushes along the way.

You were supposed to stay dirty,

aligned with the beggars for liberty.

Bush-rangers were supposed to eat you.

You were supposed to be driven crazy by flies.

The long spear of the Aboriginal in custody

was supposed to get you, the sun, the heat of the sky.

Instead,

it is the strangeness of a mountain covered with snow,

the beauty of a tin river,

the possibility of volcano

the slim distant poplars of memory

that sting.

The chant goes on.

And what are these clouds doing so close up to my cheek?

About the Poet Anne Kellas

Born near Johannesburg in South Africa, Anne Kellas grew up under the apartheid regime. Her work was first published in 1979 when she belonged to a group of writers known as the "Circle of Eight" who met as friends at the home of poet and publisher Lionel Abrahams. Shortly after the first State of Emergency was declared, she and her husband, journalist Giles Hugo, and their two children left South Africa for Australia. She is co-editor with Giles Hugo of the e-journal, The Write Stuff, and is one of the poetry reviewers for 'famous reporter'. Kellas's work is also featured in the following anthologies: Moorilla Mosaic, Hobart: Bumble Bee Books, 2000 (an anthology of 25 Tasmanian poets); and in the following overseas anthologies: A writer in stone: South African writers celebrate the 70th birthday of Lionel Abrahams, Cape Town: David Philip, 1998, Like a house on fire: Contemporary women's writing and art from South Africa, Cape Town, COSAW (Congress of South African Writers), 1994, 'Columbia' magazine,' University of Columbia, New York 1986 special supplement on South African writing edited by Nadine Gordimer (issue n.10, 1986). Anne Kellas's publications include: Poems from Mt. Moono, (Hippogriff Press, 1989), Isolated States (Cornford Press, 2001).
   [Above] Photo of Anne Kellas by Giles Hugo, 2001.

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Thylazine No.9 (March, 2004)

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