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From: Vol.11 N.01 – Queering Ecopoet(h)ics

A pond in Maui turned pink

by Caleb Parkin

and it isn’t toxic algae but nor should we swim, eat the fish. A photo opp – but should we be smiling? Single cells, drunk on seawater-salinity, doubled. It’s an Archaea party! It’s, like, something from the Barbie movie: their cute choreography, her journey on a pastel rocket to rollerblade in a neon-pink fanny pack on the California seafront. A flushed capillary, viewed from drone shots. The sea, cut off at a footbridge. How real world isn’t what I thought it was. A magenta scrap of water in three jagged prongs. The 1990s pink shell suit I loved – until I learned love was only permitted in certain milieus. Entire multiplexes pink, doors spilling like ruptured vessels. Scientists investigating this boy like something from Barbie. Some abundances are signs of environmental stress. Halobacteria: so motile and lurid and salty. Snug in pinkness, florid in drought. Like they’ll overspill into this neon globe, UV-marbled in too-much sun. That shell suit, so pink it could tip the Pacific.

Published: April 2024
Caleb Parkin

(he/they) holds an MSc Creative Writing for Therapeutic Purposes and is a postgraduate researcher at University of Exeter. Their debut collection This Fruiting Body (Nine Arches Press, 2021) explored queer ecologies and was longlisted for the Laurel Prize. Caleb’s second, Mingle, is due October 2024 with Nine Arches Press. They were Bristol City Poet 2020-22. Instagram: @calebparkinpoet X: @CalebParkin www.calebparkin.com

An Australian and international
journal of ecopoetry and ecopoetics.

Plumwood Mountain Journal is created on the unceded lands of the Gadigal and Wangal people of the Eora Nation. We pay our respects to all Aboriginal and Torres Strait Islander people, and to elders past, present and future. We also acknowledge all traditional custodians of the lands this journal reaches.

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