is this the Azure Kingfisher?
poor little fellah, beak still straight
the kingfisher dead outside
at the foot of the window
has made another world
is this the Azure Kingfisher? Read More »
poor little fellah, beak still straight
the kingfisher dead outside
at the foot of the window
has made another world
is this the Azure Kingfisher? Read More »
cicada
summer in the sunny south
it is a wooded tinnitus
and cast eyes down
or grey
how do they see?
Black
Prince
with tymbals
as to masque
or tournament
thinking’s all apocalyptic
you bucket it out like a miser
to float through the garden
like a veil of wing flung
just these few weeks
to joust and mate
so armoured for the fray
because a stutter flown
stim music
strafe the ear
and perched
and cling
grim for
must feed on sap
as royals do
all chorus
(that’s to say, refrain)
song of the Magicicada cassini
head banging?
no, techno
and this one who was never king
but good for burning, ravaging
on all flanks and utterly
so here’s much booty brought
in the Jurassic were mega-cicadas
shall we feed the birds this challenge of flight?
in a certain stillness struck
can you hear the alien whirr of we’re here
lion gorged with three parts argent
we serve the nymphs deep fried
this must be the seventh year
S. K. Kelen is an Australian poet who enjoys hanging around the house philosophically and travelling. His works have been widely published in journals, ezines and newspapers, anthologies and in his books. Kelen’s oeuvre covers a diverse range of styles and subjects, and includes pastorals, satires, sonnets, odes, narratives, haiku, epics, idylls, horror stories, sci-fi, allegories, prophecies, politics, history, love poems, portraits, travel poems, memory, people and places, meditations and ecstasies. A volume of his new and selected poems was published in 2012. His most recent book of poems, A Happening in Hades, was published by Puncher & Wattmann in 2020.
S. K. Kelen’s Flying Islands’ pocket book is Yonder Blue Wild (travel and places 1972 – 2017)
Three poems from Yonder Blue Wild:
A bend in the river, water’s clouded by green mud
Deep, really deep, good for proper swimming.
These days only children see spirit life
Work and play, see a world invisible to adults
Clear and just, a solar system glows every grain
Of sand and kids crush evil in one hand,
Until growing up evil comes again.
The light dappling the water surface
Reveals some native spirits’ power
Derives from fireflies. Gumnut babies
Fuss and fight give a lesson how funny
Is the futility of conflict. Children see
That crazy old spirit Pan left his shadow
Hanging from a tree and reflection
Drinking at the river, the old goat’s galloped
Way up mountain, leaps cliff to cliff
Grazes on blackberries growing in the scrub
Gazes over his Murrumbidgee domain.
All glands and rankness, his shaggy coat
Putrid with the smell of ewes, wallabies,
Kangaroos, still a monster, he’ll take
A bird bath later. Dirty musk fills the air
Like a native allergy, tea trees blossom
As he passes, kangaroos lift their heads
Breathe deep his scent and there are dogs, too.
When the kids see Pan they go gulp
If dads could see him they’d beat him to pulp.
You might not see but the musk stench
Wafts on the breeze. Currawongs squawk
The inside-out salute, warble a tone of pity
For the brute. The immigrant god moves inland—
Raucous the cockatoo never shuts up.
The train pulled into Madurai station early
in the morning. She stepped onto the platform
rubbed her eyes dazzled by the sunlight turning
the world white like a clean cotton sheet
she breathed deeply the morning’s incense
and thought it’s true you can smell India all the time.
The morning grew hotter and the light whiter
and the railway platform led to a street
made of dust compacted by a thousand years’
wheels, hooves and feet, the pavement
exploded with ramshackle stalls selling snacks
and bits and pieces, the lime painted buildings,
every now and then a garlanded Shiva or Ganesha.
(Brahmin cows strolled where they damn well pleased).
Thousands of people flowed out of houses
to join the crowd in the street all laughter
and gossip; children ran up hawking
gaudy drinks in plastic bags and paper cones
filled with nuts while old men sold boiled eggs
shouting that their eggs were the best eggs
and some beautiful women in beautiful saris
made tea and offered a cup for fifty rupee.
And in the corner of an eye: the urchins.
Lady Beggar stretched out her hand
breathed slowly a mute scream
performed the first asana from the book
of starvation yoga. Her eyes implored
yet mocked, her lips begged and sneered
her curving right arm pointed
to her mouth then her baby’s mouth,
pointed at her belly then her baby’s belly
she unleashed hunger’s slow ballet,
muttered soft pleas that hypnotised
and tugged the strings a good heart
holds in abundance (there are
many roads to heavenly realms,
not all pleasant). ‘Madam,’ she sang,
‘please madam, just a few pennies
and I can live a while—and my baby’
then the suburban woman’s eyes widened
as she emptied her purse of annas and cents
the beggar yelled delight
suddenly in the air there was a fragrance
like palm wine spilled on a balmy night.
A wild haired man with birds and insects
nesting in his elephantine legs
pointed at the mynah chicks chirping there
shouted ‘Benares! Benares!’
He received her fresh Indian banknotes
with laughing gratitude—
the next fifteen poor souls she gave
all her American dollars & pounds sterling.
The crowd of beggars grew.
Because they were hungry they laughed like crows—
she opened her suitcase and gave away her clothes
signed off the travellers cheques one by one, each
with a teardrop, threw away her camera like a bouquet
and bought every ragged child an ice cream.
The dusty streets are hot with the story.
A young girl asks ‘Can I have your earrings, madam?’
and is given them. A boy runs off with her laptop.
Then it is all white light then out of the light steps
a ragged King Neptune trident in hand
steps lightly through the crowd, waves the beggars on.
‘You are very kind madam those wretches
will live on your money like gods for a day or two
Your hand please — she stared at him and saw
his eyes not only held special intelligence
they reached into her. She came to
and grappled for her master card — lucky.
Her wide eyes narrowed and saw
no matter what she gave away she wouldn’t save
the world, it was weird what she had just done.
The sadhu’s eyes burned like suttee pyres, his muscles
tightened like ropes beneath the dusty rags—in another life
he’d have been a star or a psychopath—
here, he was a strange man in a strange land
He bowed nobly and hailed a taxi.
The gods banned machines from ever
entering the last pure tract of Megalong.
Here, even bracken’s picturesque
& the whipbird, breathless
with the beauty of it all,
is silent, reverential.
There’s a waterfall
splashing a rainbow
you walk under
that’s always there and will be
until the earth or sun shifts
sandstone cliffs, a kookaburra
laughs from gorgeous gloom
up & down, up & down.
JEAN KENT was born in Chinchilla, Qld, in 1951. She published her first poems in a literary magazine in 1970, while she was completing an Arts Degree (majoring in psychology) at the University of Qld; her first collection, Verandahs, appeared twenty years later, in 1970. Since then, another eight books of her poetry have been published. The most recent are The Hour of Silvered Mullet (Pitt Street Poetry, 2015) and Paris in my Pocket (PSP, 2016).
Awards Jean has won include the Anne Elder Prize and Dame Mary Gilmore Award (both for Verandahs), the Wesley Michel Wright Prize, the Josephine Ulrick Prize and Somerset Prize. She has been a runner-up for the Newcastle Poetry Prize and winner of its Local Section, and was a judge of the prize in 2013. She has received several writing grants from the Australia Council, including Overseas Residencies in Paris in 1994 and 2011.
As well as writing poetry, fiction and (occasional) nonfiction, Jean has worked as an educational psychologist, counsellor in TAFE colleges, lecturer in Creative Writing, mentor and facilitator of poetry workshops.
With Kit Kelen, Jean was co-editor of A Slow Combusting Hymn: Poetry from and about Newcastle and the Hunter Region (ASM/Cerberus Press, Flying Island Books, 2014).
Her Flying Island pocket book is The Language of Light (2013), a selection of her poems with Chinese translations by Iris Fan Xing.
In 2020, Kit Kelen invited her to converse with him by email for his blog spot, The Daily Kit. Their conversation over six months, covering a lot of topics, including poetry, but also COVID19, the deaths of their mothers, gardening … and some very recent drafts of poems, can be read here:
Jean lives at Lake Macquarie, NSW. Her website is jeankent.net.au
Views from the desk, Kilaben Bay
Some Poems
On the verandah of my grandparents’ house, the day falls asleep around me. This is the roof of my childhood. And this, the floor. Tin and wood: silver-grey, sibling corrugations. Like platforms for family legends they wait, rehearsing allegories as if it is always the end of a sun-limp day, the lucerne cut, wheat bagged and a needle in the hessian beckoning its tail of string.
In the fragrant dusk, soil settles. Crickets, ants and unseen lives team over cracks in black earth’s surface – years are strung like tales of Min-Min lights along this world of roof-creaks, board-sighs, a home paddock barracking for the far-off calls of dinner plates, falling tablecloths, cutlery and relatives.
Time melts here. Ghosts with glasses of Scotch catching the last day’s light in their hands, bend their knees, ease back into squatters’ chairs. I wake. A cool breeze is balancing beside the verandah rail, roping it and ruffling off, up into wisteria leaves: sitting tenants now, under the roof. Time melts. On the ends of long wooden arms, ice, moonlit, hugs the air.
JEAN KENT
(From Verandahs, Hale & Iremonger, 1990; reprinted Picaro Press, 2009.
Also in The Language of Light, ASM/Flying Island Books, Macao, 2013.)
After the tents of war, now the tents of Wallangarra: one last quarantine before the unfamiliar family can escape to what they hope will be a home.
Seven days—seven and six a day— under the sheltering granite ranges, fires heat drums, the coats of the women skim just high enough to escape the frost, the men in their new civvie uniforms stand stiff as saplings, not happily transplanted, yet.
On the bare ground by the railway, they should be thankful prisoners. So many huddles— and in amongst them, this trio who will step away from here into my family history: one man, his wife …
and a two year old girl, confronting this stranger, her father.
Just beyond the wahlenbergias, the shy native bluebells at the camp’s edge, are the Pyramids of Girraween: bald monoliths, made by volcanoes, not men.
Half a century later, I’ll try to climb one … But it is too early for a returned soldier to brave that skyline—better to bivouac here, picking bluebells, waiting at dusk for a wallaroo in its shaggy greatcoat to do a reconnaissance of this temporary invasion— negotiate with it for peace.
After the certain attacks of war: now world deaths from Spanish flu. In this border camp, learning to speak with the wary trust of the child, what can my grandparents do but hope they have outrun the final assault? In training for a domestic truce,
trust there will be a tomorrow soon, flinging over them only a tent of sky—as wahlenbergias, those fallen- sky flowers, cheer the edges of the last road home.
JEAN KENT
(Published in the Weekend Australian Review, 12th Sept 2020)
Weekends, Paris walks. Something shifts underground. Like a Rubik's cube slightly twisted the lines of colours realign, the harmony of humans gently shudders the city’s symmetrical grid.
Like the still spaces we enter when music moves us, weekends separate us from the deafness of habitual days. More so than ever here, on the other side of our usual world — here, where we live lit up like cymbals always on the verge of being struck. In the Luxembourg Gardens I am one small vibration in the shivering of the city toward some Sunday song. The babble of all the world is being quietened here —
Poles and Italians, Australians and Africans, small boys and motorised boats all blend into a buzz swarming from under the acid-yellow horse-chestnut leaves toward the end of summer’s silver hived within the lake.
Weekends, Paris talks with less tension accelerating its tongue. Even the tourist buses — clattering to halts like the abruptly dropped snakepods of bauhinia trees — release people who become, after a little time here, as calm as seeds waiting to be planted. We almost believe we could all belong — as we settle briefly on these wrought-iron chairs with their ringletted arms and verdigris-barred backs. We subside
on seats tattooed all over with holes spraying sunlight onto the crushed white gravel below. How many faces have fallen here — waiting for Paris light to persuade them to float back up, to lift towards it their first foreign shoots?
Weekends, Paris walks. It stalks us — as gently as the grandparents we never knew, those ghosts who passed through a war here eighty years ago. Like the nano-shifting of volcanic plates now, something in us shifts. Whatever homes we thought we had brought with us settle like hidden pockets in our winter coats — and we join the long lines of stilled people in black swivelling towards
the slightest caress of sun. The light, as it negotiates peace settlements within this temporary country of cold shoulders, is speaking everyone’s ancestral tongue.
JEAN KENT
(From Travelling with the Wrong Phrasebooks, Pitt Street Poetry, 2012;
also published in The Language of Light, ASM/Flying Island Books, Macao, 2013.)
HULLO TO THESE FLYING ISLANDS, from JEAN KENT Read More »
Christopher (Kit) Kelen is a poet and painter, resident in the Myall Lakes of NSW. Published widely since the seventies, he has a dozen full length collections in English as well as translated books of poetry in Chinese, Portuguese, French, Italian, Spanish, Indonesian, Swedish, Norwegian and Filipino. His latest volume of poetry in English is Poor Man’s Coat – Hardanger Poems, published by UWAP in 2018. In 2017, Kit was shortlisted twice for the Montreal Poetry Prize and won the Local Award in the Newcastle Poetry Prize. In 2019 and 2020 Kit won the Hunter Writers’ Centre award in the NPP. He was also shortlisted for the ACU prize in 2020. Kit’s Book of Mother is forthcoming from Puncher & Wattmann in 2021. Emeritus Professor at the University of Macau, where he taught for many years, Kit Kelen is also a Conjoint Professor at the University of Newcastle. In 2017, he was awarded an honorary doctorate by the University of Malmo, in Sweden. Literary editor for Postcolonial Text and Series Editor for Flying Islands Pocket Poets Series, Kit has mentored many poets and translators from various parts of the world, and run a number of on-line communities of practice in poetry (most notably Project 366 [from 2016-2020]). Kit is a Fellow of the Royal Society of NSW. You can follow Kit’s work-in-progress a the Daily Kit. Kit is the Co-ordinator of the THESE FLYING ISLANDS community blog.
Here is a little selection of poems from Kit’s book a pocket Kit 2, interspersed with some paintings and drawings:
embrace the poem squander the soul sleep to dream and wake to play let everything go wild today
let the spirits call our names let us requite
only the words to bear
from my door nowhere but the way
everything green is reaching for heaven for light and for love
squander the paint set afloat in a poem
only words to be borne to bear on
let everything go wild today wake to play and sleeping dream
so we may work the miracle set God and godly things all free
today let everything grow wild
First I came through a hoop of flesh. I didn’t jump, I swam. There was an endless mud plain and another storm coming. Rain beat the rice shoots green from the soil. Millions were huddled round the still ether.
The century dragged on. I missed the boat swam out to the island. And the air was still in the sun’s quarter and the half a sky where waves could have been. The moon washed up where the tide rusted into the sand.
Cars came out of the twentieth century. Coca Cola came ashore, lapped on the hard live shell of paradise. A coconut fell out of nowhere onto my child’s head. I didn’t stumble. There were stars and bars everywhere. I could hear the West crackling through looming shadows of bliss.
Back country, hills were dense with trees, Dissidence, notches for climbing up. And curled into a noose of straw the disappeared hung, swaying – invisible burden of paradise. I jumped through a hoop of gold. I had the ring of confidence then and a flag colour of mud.
Helicopters filled up the sky. When the noise came, birds shifted in a line, black, palm to palm, fifty metres. Then when they came back there was nothing the wind could move. Trees clung to a rock in the sea.
On dry land a had a good steady job in the fly-spray factory. They paid me in cigarettes so naturally I took up smoking. The mist from the nozzle formed up a halo to martyr the very air. You couldn’t call it a leak. It was more like missile testing.
Each day here proud of the fallen, brainless slaughters to glory in. The earth makes up a place for each. The new rice sings from the earth. The colour of the mud in our veins is a flag billowing over a hoop of bright gunmetal: the welcome mat. I didn’t jump, I swam.
like night come colour no matter
skins are under skin and skies too
shade patches, dapples take the tune soaks pigment where the eye was caught
canvas is linen really like a tent clouds abide in
there are rats have your pants vultures all sorts
one lies down in it all till the rags make ladders
next beanstalk’s got your name on it next stop is the stars
Picture a track, not one of ours but lower, maybe inches only off the scrub and winding from that height into a tangle water fits to a gully. The mind's untroubled there. It's all green. It works, birds feed off it. Trees stand up for themselves. Even the sky's got a look in.
Roll that gaze out onto a coin poisoned with flour and blankets. (The sun smiles over my gumboots and I driven on by greed and luck. For the sake of a good feed we murder our way across borders unseen.) It's dirt cheap so we buy a big block, sea on three sides, sit in a corner count up the tides. Flog some sense into the trees and ringbarking’s a miracle of endurance but we go at it like there's no tomorrow. Thumbs hammered flat chat to the milking pastures. Wattle and daub, brickwork entangles me. Rains come and go, mares eat oats where the dam rots down and does eat oats. Water loafs around all day and little lambs eat ivy. Prosecute those who trespass against us as we forget our great wronging of them. Why bother crops out of the ground when the hill sits still against geology's dull blade? That's how we live now – frontier alchemists making money of the dirt. It's lonely here so we stretch a thin wire out over the desert, build a million miles of rabbity fence. Out of nowhere the radio speaks to us and the air vibrates into atoms.
Let's tote all up. Boundless pasture, our coal will burn for a thousand years, this sun blots reason out. A nation now, we speak with one forked tongue. Three anthems but no lyrics we remember. No flag but hoist the washing. Nostalgia overwhelms me. Transport me over a farcical sea. Feed me salt biscuits, flat booze that gets me drunk. Chain me in old fetishes, punish me with ocean views. I'll re-enact the lot. I'll be a stripling on a small and weedy beast. I'll send the flintstones flying. I'll go on quiz shows in black and white. No test pattern now to stump the wits. It's a one-day invasion. The pitch shrinks. The flesh is stupid, the mind obeys and crimes committed drunkenly dementia soon forgets. Let's take a cake knife at this hill, make out a white man's house. Can't say fairer than that. So robber kings cheer on, their harbour full of hobby canvas.
Give us each day our dusty cup, temptation delivers from boredom. Give us the hundred tracks to go down, a freeway looming behind. The sun built out, we vote for the greenhouse. Time slips its old noose over our necks. Stars and stripes wave above. Just show us the way to the next little dollar. Oh don't ask why. Everybody's happy. A kid'll eat ivy too, wouldn't you bet your life we are.
is a beach towel, heavy with sand whole tribes tangled in it
involuntary sky – heart’s refuge in the true of dark mind’s refuge in the heart
the flag must be all things to all a mirror aloft, reflection unfurling that should make everyone happy
in a room with queen you’d see the queen and she’d see you, her subject one among the many flags
in the bush would be magpies to fly in and tangle catch them like that when they get territorial
on the front of the big boss’s car more of chrome, dark tarmac
in the night you’d choose the stars bright pinpricks from another sky in which the true flag must fly be windblown, limp from the accustomed pole
a square cut of heaven and so strings attached
the same words summon me often because – to put it simply – they know what I mean
1 which is the wild out-of-order snakes hunting under tin left lie
garden too thick for weeds this un-naming it chorus birds commonly bright
2 minds its business we make ours yields to spirit its sustaining best model from democracy dark wordless turn, self tending, ruthless absent of law it breathes to burn this one tree left cut down to size so when it’s mine it is no longer
flimsy instinct joins logic to one wish the guiltless having of all this
3 another sun spun, a next dicey sky of maverick opinion, told you inscrutable polysemy
song between the cityfolds come clumsy in its own confiding all unfinished business all neighbouring and all horizon
the bush is a trap sets camouflage falls in and all it catches bush
4 blade hailing the forest legend made failing memorabilia: smug of stockwhip, blanket
gathers as a blowfly to what was once meat
takes no convincing – its job to go nowhere
team of madmen tied to one tune a tidemark shows where we retreat
5 midst of limits, most natural of histories gospel uncut in the wood
a waste of pages cash scrawls down the bush beside my means as such pack up but where you come from’s as gone as what was here so we among all animals are party to
take down each sky made out in ribs a cross hangs bright above
6 one species relieving the others of hope
barks at the edge of night a dog burning the hinge of sentience it mourns
much admired the passage of rites because once you were my besotted a frightened face to rouse such love
leaves tracks to run a course paws take this shallowest of burials
the bush is an animal gathering home and our great Ark unmeaning
Blokes are always coming over, in their droves or in their ones. Wear thongs in summer, boots for weather. No one says mind my clean floor love.
Arriving in their utes and vans, they’re always round here, day and night, courting our Penelope. They know what’s next, what’s what, when, why. Blokes know what to do and what you need and even if you can’t decide. Blokes’ll sort your trouble out. If it aint broke it’s easy fixed. Take care but not responsible. They’re always late and rude and wet. Blokes like to be outside the best. They dare the ozone at their backs. Sleep with someone else. They say things you wouldn’t. Feel less, do more. You’ve got to love them though. Hide in their frothy beards to weep. You feel for them, the camera shies. They won’t be tied, won’t be predicted. But cuddle them and know they’re bad. Take them all for granted.
Blokes won’t take hints. Needn’t tell them. They slink away to shed when glum. Grow darker in the moody scrub and shed their lacks among the fauna. They won’t be caught, they get away. Get down to pub and dob and dob, until they’re almost in the clink. They tell their temporary comrades. Blokes tell the truth and when they don’t they’ve got the story all worked out.
They know the pecking order. How to fit, not rock the boat. Blokes make a play for the affections. Trust the passing moment, loathe permanence of plans. Blokes are slaves of circumstance. They can’t help being rough with stuff, have to give it all a test. See if it’s well made or not. It’s not their fault the way they are, was done to them as blokelings.
Blokes are mates or so they say. Won’t let a bastard down. The blokiest are your best mates. Your mates are blokes if you’re a bloke. Women can be mates or ladies. Can’t be blokes. Mate with them to make new playmates. Blokes or no. If you’re a bloke you mustn’t mate with other blokes. It doesn’t work. Dreadful thing. Unblokemanlike. Besides, how could you tell your mates?
Some things are better left unsaid. And out of earshot of the nagging blokes won’t need your looking after. Dinners tabled, washing done. Blokes go lean in filth and glue their rotting jeans together. They know it’s bad luck to speak when gesturing would do the trick.
As insects lead the faster life, they’ve lost a leg before you’ve finished telling the precautions. They’re enemies of labour saving, scoff at ingenuity. Do a thing the hardest way. Clog noses and their ears fall off, eyes are full of filings. Drown in beer to build a gut. It shows what blokey blokes they are. They suffer beef to have the dripping. Sneak from the ward at last for fags, and curse their curtailed freedom. That’s with a final breath.
Bloody this and bloody that is what your bloke ghost says at last. And when the dirt’s all spread, well sifted – where are those blokey souls all fled? They’ve gone to blokeland – hellish spot. The Shed Celestial. Dim or Bright to their deservings.
Still, there’s more. Never was a drought of blokes. Not since the war. No – blokelings grow to blokehood’s full bloom. Bloke’s abound and pull their weight. Show some leg, offer beer. Call for blokes – they will appear. When all else fails no need to fear. Just stir him up. Your bloke is here.