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

[Above] Photo of Paul Hardacre by Marissa Newell, 1999.


I letter to robert adamson I The Great Chain of Being I Little Frozen Trees I Charon to make-up I Synchronicity I


letter to robert adamson

                     'Back home I'd stare
into my father's drum of flames -'

           - Robert Adamson, Drum of Fire

raining & the flight was shit / in the sticks
somewhere off majura avenue (dickson) 19:39 0646
abstract & bearded hovering on a twelve foot
cushion of evil / a still from eisenstein's ivan
the terrible,
mutation of reading or action in two
parts. early blur of delight, all radioed & human
squawking a row of nameless trees / punctual cloud
swings left onto limestone hunched & rattling, absence
of names he is curled now & breathes through a tube /
attendants measure his piss, milk it into a bag &
store for later reference. said it was okay he camped &
weaved his funereal track / emu park, ogmore, lakes
creek (iced & dealing with horses) proper defences
are wooden & buried in earth. read hart crane (again).
read it aloud in the voice of a woman / only got as far
as 'surrender'. this city, this great & secret invention
bleak experiment of rooms (death) astounding scrawl of
hair & sunnies / sixty minutes in ash with friends its
flashlights bamboo & giggles / benares or equal dark.
nothing matters. swamp birds dribble & bloat, pilgrims
bob & piss / tabla & skulls / the living dirt in his mouth.
only living brother lost to art & buddhist end-games
the clever panel discuss her artefact collection style:
snipping his hair into a make-up bag or purse, galactic
themed with room for toenails. everything is cut & bagged
& stored downstairs / concrete tubs / the single bulb
of thought, he turns & smiles like a thunderbird
shovels chook food down a tea-stained hole.
in all my dreams the idiot baby with eternal crooked
grin / the story by candle light twisted downward so!
the roll of the drum & hotel in uproar, wilfred owen's
blood-shod barefoot dead, plunging incurably in haunted
latin finale. a little cup of grease that never left his
fingers, upstairs cracked & home / the curtained box (relief).
strange black birds cry from low branches, replacement
birds, the unsettling intersection of transparency & death /
distant bank or silent threat. my father as aguirre slaps
the horse and stares, sinking slowly / 'mexico was no
illusion' / the invention of fear finds a place in his neck,
whistling & fashioned by unseen dwarven attackers.
always raining, falling into water / choking tastes like
broken lungs / wind in canberra, night. knocks down trees
with words with skin / crude assemblies of metal & wood he
curls in shell & august / cage of eyes the chinese burn of
his throat. black birds hop & fan & unknown morning / red
or north / & feels like winter.

The Great Chain of Being

still riding that coffee at Pellegrini's
& our time on the clean winter corners
of druggie town reminds me I don't write
sonnets never have or seen the point
like phrenology waste of time & besides
the future is all floorboards & unfinished
interiors (small) kitchens bathrooms (okay,
bit dodgy) but overall remarkably pleasant
to look at from Swanston Street posted Burke
& Wills selected links from the chain went
down like dry biscuits or eating your pack
animal gets no mention in the collection of
paper film & river in a box under the house
& passed off as your life.

Little Frozen Trees

for B. R. Dionysius

rumbling slowly through the outskirts
great wooden wagons curl into a fist
drivers consult policy manuals inspect pincushion flesh
buffalo skin yellowed and curling at the edges hesitant
village blacksmiths study instructions suspended
from the city walls men starving in iron cages
intruders entering through open windows
the lone, almost desperate cries
of 'Nightfall!'

high above the population
gables topple together in prayer
decrepit buildings fingertips spill forth stalls
selling fruit meat hot soup corn and chestnuts a boy
jumbled sandstorm of rags runs from a doorway
hands you a piece of paper leads you
into a backroom motions you
to lie down.

in an alleyway beside the Catfish River
rubbish, discarded possessions a stone jetty
hemlock galleon tumbledown houses staircases
black flags everywhere

nothing to be found.

in a hut beneath a bridge
stucco fruit rots in barrels
poets and leg irons rust in boxes beneath cellars
women croak in tunnels cholera's nymphs
forecast epidemics at the surface
small, cloaked people stagger through boroughs
carry laden sacks between buildings / everything must be hidden.

near the marketplace guards stop inhabitants demand
to see papers stale bread torn cloth deserted offices
windowsills festive season suicides pigment
leached from stretched, narcotic torsos
negroes wearing oceans as beards
cheeks dyed orange faces wracked
pillory smiles.

Charon to Make-up

wish I'd never kept that fucking
scythe now it's all grim reaper &
biceps sticker tattoos / liquor store
hold-ups & your Uzi weighs a tonne
call Tom Savini we need blood & buckets
of shit like heads or bikie apocalypse
films that fight scene in Stone got out
of hand walking Kimba in a graveyard
in Crow's Nest can't believe it pooed that's
borderline pathological & China has used
executions to avoid this sort of thing
those pony-tailed devils will be the end of us
give them inkwells & see how they like it
when horse penis goes mainstream
like every street corner.

Synchronicity

4A's bladder scanner is gone or
otherwise missing the question is what
now? dial zero four times for emergency?
or is it feet up crap / Quest newspaper
start crossing things out? words? otherwise
make nothing of rules / this work station
with its cute black reality & long-needed reminder
of Good Times / Kotter / 'what you talkin' about Willis?'
or like dying Germans say - 'run to the hills!' -
an Arrakis mythology where you shout down rice crispies / christ
& Sting before turtles or yoga makes decisions like
'avoid contempo thongs' & 'age with taste - no Billy Idol'
but the need to compartmentalise greater than luck or casinos
or pissing off Egyptian barges means the role will be
remembered only as orange hair / black suit
& how cool he looked with the knife.

About the Poet Paul Hardacre

Paul Hardacre was born in Brisbane, Australia in 1974. In 1998, he received an Individual Project Grant from Arts Queensland to write a collection of poetry, Millennium Fetish. Also in 1998, he was appointed as an editor of the Queensland Writers' Centre's Rave Young Writers Page. In mid-2000, he founded papertiger media with his partner, designer Marissa Newell. He has published his own poetry in six countries, and has read his work on radio and at literary events throughout Australia. His first collection of poetry, The Year Nothing, was published by HeadworX in 2003.
   [Above] Photo of Paul Hardacre by Marissa Newell, 1999.

I Next I Back I Exit I
Thylazine No.9 (March, 2004)

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