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Content From Issue: Volume 5 Number 1 (February 2018)

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From: Vol.05 N.01 – Stick in a Thumb and Pull out a Plum: Poetry and Comsumption

from ‘Buruja to Brisbane’

by Jake Goetz

6

 

weatherboard’s blur

as we pass down Banks Creek Road

to find the river in Fernvale

 

a packet of Roast Chicken SHAPES

OAK   Coca-Cola (registered trademark of

the United States)

and a polar bear crushed

between rocks along the bank

 

an excavator

DUMPS rocks

beside a dirt-bike track

as we walk along

the clear-green river

circles echoing

from the movement of fish

 

a rope swing mirrored

in the water

 

the water

mirrored in the trees

 

the trees in clouds

in water ripple

 

with 2 white maltese terriers

swimming

 

i undress

and sit in the shallows

 

undress you

my body

 

in the river

a body

Published: January 2018
Jake Goetz

currently lives in Brisbane. His poetry has previously appeared in Plumwood Mountain, Cordite, Rabbit and Mascara amongst others, and one of his poems was recently shortlisted for Overland‘s Fair Australia Prize. He is the editor of Marrickville Pause (https://marrickvillepause.wordpress.com).

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From: Vol.05 N.01 – Stick in a Thumb and Pull out a Plum: Poetry and Comsumption

Pop sung on the way home from the school run

by Lisa Brockwell

One part valium, one part L.S.D.,

one part iron infusion, one part time machine.

One part stinging nettle, a new pair of shoes,

sunglasses without smudges, novitiate on the loose.

One part ninja, wallflower, observant black sheep,

one part placating the ghosts who ride with me.

One part kitten calendar, two parts self-harm;

smile and strike the match, standing on the bomb.

 

One part fear of flying, three parts failure,

the butcher, the baker, the candlestick maker.

Six points the bright star of incantation,

blind drunk when I stop at the petrol station.

One part motherfucker, two parts go to ground,

lying naked in that meadow trying not to make a sound.

Published: January 2018
Lisa Brockwell

lives on a rural property near Byron Bay with her husband and young son. She was runner-up in the University of Canberra Vice-Chancellor’s International Poetry Prize in 2015. Her first collection, Earth Girls, published by Pitt Street Poetry in 2016, was commended in the Anne Elder Award.  www.lisabrockwell.com

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From: Vol.05 N.01 – Stick in a Thumb and Pull out a Plum: Poetry and Comsumption

Six Days in a Convent Far from Here

by Lesley Synge

or the St Joseph’s nuns at The Haven, Emu Park, Australia

 

the slow road north –

roadworks and the sight of

an overturned car

 

blessed are those who wake in a bed made up by nuns

 

wrapped up in green leaves

in the convent garden –

a small package of ants

 

on the beach

the wind snatches away

the straw hat he left in the car

 

blessed are those who wake in a bed made up by nuns

 

a boundary fencepost

is now driftwood

and salted white

 

like the television ad i heard one night

a little brown owl calls

where the bloody hell are you-oo?

 

blessed are those who wake in a bed made up by nuns

 

uprooted tree –

i upturn the Buddha’s advice

and meditate in the roots of trees

 

a kookaburra gang

not jovial at all

laughs while persecuting a magpie

 

blessed are those who wake in a bed made up by nuns

 

rainy day –

in the mirror of the dark bathroom

i look so young!

 

without much sun

the sea is silvery-cobalt

and stretches on and on

 

blessed are those who wake in a bed made up by nuns

 

ninety years ago, my jilted grandmother

came here

and decided she’d brave mothering alone

 

blessed are those who wake in a bed made up by nuns

Published: January 2018
Lesley Synge

lives in Brisbane. Her poet’s film, Mountains Belong to the People Who Love Them, is on YouTube. Her illustrated e-novel, Cry Ma Ma to the Moon (about poets in a love triangle), is available on Amazon Kindle as is her most recent work, the biography Wharfie.

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From: Vol.05 N.01 – Stick in a Thumb and Pull out a Plum: Poetry and Comsumption

Reflections on the Contents of a Corporate Box at Giants Stadium

by Lucas Smith

Resolutely drunk, playing at candour

above the green and maroon circus

maximus of Imperial America,

sit runaways, derelicts and a few straight As

made good on their promise,

a kernel of which cannot be mocked.

.                (I do not wish to mock promise tonight)

With hats on hearts for the anthem,

all the old-time foods are here:

Mustard, sauerkraut and onions

lined up for the bratwurst.

Crackerjacks, popcorn, Mint, That’s It!

They eat and compete to name all the retired numbers,

keep watch for Willie Mays on his stationary bike

in Willie Mays’ box next door,

then trade memories of freezing Candlestick

.                in July and wind and snow.

The visitors hit and scored their runs

the organist broke into a Bach partita

the box next door held Dodgers fans

McCovey Cove turned greener

five screens, inside and out

kept them abreast of all the action.

With the home team behind

in the sixth the derelicts and runaways, well, they left.

.                In the ninth the brawl broke out.

Imagine it from the owners’ perspective,

Rembrandts and Picassos jumping off the wall

going at it with water pistols full of paint thinner.

.                Don’t forget the winner.

Published: January 2018
Lucas Smith

is a PhD candidate at the National Centre for Australian Studies. His writing has appeared in Australian Poetry Journal, The Lifted Brow, Australian Book Review, Cordite, Gargouille, Santa Clara Review and several others.

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From: Vol.05 N.01 – Stick in a Thumb and Pull out a Plum: Poetry and Comsumption

An Appeasement

by Brent Cantwell

if we discard paper more carefully –

origami-like – firming each slow fold

with the flat of a thumb, if we bury

apple cores when the earth is damp and cold,

 

if we throw tin to the salt of the sea,

if we sandpaper down our dry mountains

of ball rubber, if we just plant more trees

to spine land-crabs to the land, if the sin

 

of tyres could be given to mosquitoes,

battery acid to the ants, if this new

Pacific Island of bags could feel the throes

and ultra-violence of the sun, would You

 

spare us the passive aggression of your ire,

the bile of your spit and the tantrum of your fire?

Published: January 2018
Brent Cantwell

is a New Zealand writer from Timaru, South Canterbury, who lives with his family in the hinterland of Queensland, Australia. He teaches high school English and has been writing for pleasure for 23 years. He has recently been published in Sweet Mammalian, Turbine/ Kapohau, Cordite, Brief, Blackmail Press, Landfall, London Grip and Takahe.

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From: Vol.05 N.01 – Stick in a Thumb and Pull out a Plum: Poetry and Comsumption

Precipitation

by Moya Costello

A car-buying episode stood in for her discomfort with the polished, brand-spanking new. Inevitably, she looked for a small, economical car. She said to the salesman, and it was a man, that she couldn’t understand why anyone would buy a luxury car – leather upholstered, colour coordinated, gadgets galore. The car was judgemental, judged her.

.            ‘I do.’ The salesman responded in emphatic non-debate.

.            She found herself always in these liminal spaces, the borderlands where things weren’t mapped. She lived on the border of two councils, at the end of the power line. And the power cut out regularly.

.            Residential properties were far between because of ‘acreage’, and many residents had post-boxes and not property letter-boxes; the entrances to their properties weren’t all that clear, the suburban fence now noticeable as a signature of obsessive hoarding, an agoraphobic’s deluded enclosure, a motif of the absurd, dada.

.            In a rainforest area, the damp and heat kept life in swell. The bush was thick through a combination of heat, water and the invasion and inundation of weeds.

.            She kept candles and matches in sight, to hand, in every room. Outside, on the veranda: more candles and citronella incense sticks and oil burner for mosquitoes, and flies, and fruit flies, and wasps, and mites. She stacked her medicine cupboard with antihistamines and calamine lotion, and one snake-bite kit for which she memorised the instructions. If you were missing a makeshift splint, tie the two legs together. But what if she were alone? What could she do? Lists of contacts for wildlife rescue and snake removal tucked into the car’s glovebox. Information sheets on minimising or eradicating weeds as a responsible property owner filed into a householder folder.

.            ‘Precipitous hills in impossible lushness’ was the description forthcoming from a long-term resident.

Published: January 2018
Moya Costello

is a writer, and Adjunct Lecturer, School of Arts and Social Sciences, Southern Cross University. Her books are novels (The Office as a Boat; Harriet Chandler) and short prose (Kites in Jakarta; Small Ecstasies). Her recent work is in the journals TEXT, Rabbit, Plumwood Mountain, Mosaic and Transformations.

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From: Vol.05 N.01 – Stick in a Thumb and Pull out a Plum: Poetry and Comsumption

onetaste

by Elaine Leong

thewaythesunlightstickstomeandslickstomelikeoiltowateritisoften

hard

totakea breathwhenitis sowarm-ing

likeabeehiveswarm-ing

everyth-ingpushingoutwardsandburrowinginwardsthereare

cablefibreopticnervesand

openairinternets

andphishingsites

andthemanonthemoonwavingatthesoundonmytongue

andastrangesenseofdistanceinthiseasyclaustrophobialikemaybetodayiwilltakeamilkbathor

maybetomorrowor

maybernevereven

itdoesntmatterbecausethewaytimewalkspastmyhouseevery

morninganddropsaletterinmycasketitssortof

conviviallikemaybethesuniswatchingitsshadowcomeoverus

andmaybethemoonisdissolvingintospace

andmaybetheoreosaremeltingintheirbox

andeveryth-ing

be-ing

mean-ing

expand-ing

inthecupofaheartthatissofullofloveand

soemptyofitselfitsalways

okaytobesmalltosomeoneand

largerthananyone

sunmoonmanletterboxoreoheartyoujustdunkrightinbeca
usethetasteissolovelyanditneverlastsforevereither

Published: January 2018
Elaine Leong

is a writer and visual artist from Melbourne. Recently, she completed an honours thesis at RMIT University which analysed the literary techniques used in Timothy Morton’s Hyperobjects as nonhuman things that enact Morton’s ecophilosophy. In her work, Leong seeks to map a poetics of ecological solidarity through intersecting language (as ingredient), experimental nonfiction (as method), and speculative philosophy (as recipe).

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From: Vol.05 N.01 – Stick in a Thumb and Pull out a Plum: Poetry and Comsumption

Burblings

by Dennis Garvey

That summer the ride-on was kept in the shed and the long grass

allowed to grow without water remained green above the brows

blowing in dry easterly wiles to knowing which article inspects

snakes and ladders and armies of flying droning creepy crawls

prospering neighbours tut-tutting on to vinyl hifi with refugees

their own labours going as neighbour waste eaten with luscious

long lash going up down downy up lip sewn in sync salad roasts

to whosoever moves that his neighbours must pull out all spooks

 

Ghosts of summers past the time for mowing long lawn cements

itself in place knowing for whosever abides to hang up artworks

must also walk the dog at night all her wiles to avoid poo coups

break wind like law must not obey boat race bobbing into bays

drinking only the best wines as you turn in accomplish buy ups

just is same as rings must pass laws craning to loosen up spools

of light finger cashing and always kowtowing into heaped sacks

burning turns leafy-green money moulds into new sub-prime tips

Published: January 2018
Dennis Garvey

lives in regional Western Australia, has been published around the traps a bit, and has diverse interests including matters and topics ecological and environmental, which is why I’m happy to have found Plumwood Mountain, and it me.

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From: Vol.05 N.01 – Stick in a Thumb and Pull out a Plum: Poetry and Comsumption

A Paltry Reminder

by Dennis Garvey

A: Romancing down the Corner Store

 

Of all those petty signs without credit

And all those puny signs devoid of credit

Of poetry and usury – Open All Hours –

And of our fathers, founding nations by finding

Retirement, pensioned off to a gilt-edged

Security, I won’t stash the usual wad of lies

As such, or tell stories about counting out scratchies

Until a much bigger coup was in store, or remember

How Dulcie, to get even with the Keats’s rule of thumb

Complained about the cockroach – a Handy Food – swallowed

Whole and alive, only to receive an extra – sent upon the bill

‘La Cucaracha!’ ‘La Cucaracha!’ We came to conquer

Napoleon said that, and the Fat Lady shouldn’t wear denim (axiom)

And of our fathers, and of English breakfasts, washed down by some

Foreign store, I say, finders keepers to a nation of shopkeepers

Tit for tat in a game of this and that, in this age of the deep-freeze

Where not only the dollar stands to go soft, and the man on the corner

Who used keep pigeons in a loft, is now respectable, and clean-shaven

Enough to race customers, and buy and run his own LuckySeven

 

B. Of Death and History

 

Where are the YouTube videos to show these things

About ourselves we never see, for instance

Distance from the shop, the next door drapery

Or the time it takes to traverse this space from A to B

And how the World Food Store, if caught on the hop

Must be good, for at least one more long weekend

And then the 20teens, arranged to ease this pain

In lieu of Mogadon, resigned to sun and blue fading

In the rain, came the endless lines of Aldi chains

Where the workers lost, and the shopper stood

To gain confidence; or is this merely the difference

Between – she’s got a nerve, changing channels

On my dream – character and personality, exposed

Again on increasingly smaller machines

Where numb to misery and the crisis in store, no more

No more do we catch what the refrigerator hums

Switching off death and history.

I am wired for delicacy, but the online grocer brings

Only ecstasy, oh how I try not to admire the bourgeoisie

Especially at Xmas and Easter and all year round

Published: January 2018
Dennis Garvey

lives in regional Western Australia, has been published around the traps a bit, and has diverse interests including matters and topics ecological and environmental, which is why I’m happy to have found Plumwood Mountain, and it me.

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From: Vol.05 N.01 – Stick in a Thumb and Pull out a Plum: Poetry and Comsumption

Password

by Bonny Cassidy

.            It could start with his ferrous cock clanging away between strings of late noon and beheld by a smirking antelope—eyes ajar like living graves, char, millet. Their horizontal mass which keeps arriving.

.            With him doodling a prism in chalk, his drack beard slaying the marks he’s made. His teats grafting at a thorny puddle, and teeth domed and coded, cracked.

.            Him on the walkways alone and green as his outlawed tubers. Our twisted news in his hands.

.            Meaning, its bulk would be the scree of our tinkling trash lodged in his astral pipe, sharp as motorbikes herded.

.            There’d be a creak such as low flames or a catafalque. Words and rubble would jounce off tracery, so would plebs; and palmettes’d wish him dead.

.            A monkey blinks. Hippocampus churning its hive. The children are not safe.

.            And so it must end by growing congeries of hands to juggle his bruised granite rack and swat wasps from his staring vulva. The drain of light that shrieks into our niche. He wishes up an egg.

.            Over and over there is peace, his foot plunging into a mustard brogue of dust.

.            Bells. Brill and crowy, the fog is hauled aside by ants: a gateless gate through which, rising on crewel lakes of printed leopard, stands his dark pink bed.

Published: January 2018
Bonny Cassidy

is the author of three poetry collections, most recently Chatelaine (Giramondo, 2017). She coedited the anthology, Contemporary Australian Feminist Poetry (Hunter Publishers, 2016) and is Feature Reviews Editor for Cordite Poetry Review. Bonny leads the BA Creative Writing at RMIT University, Melbourne.

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From: Vol.05 N.01 – Stick in a Thumb and Pull out a Plum: Poetry and Comsumption

[one little rat]

by Astrid Lorange

one little rat makes two little steaks,

and a steak is a meal or video still, one

frame in a longer shot. one little rat

carries a secret like a warning. one

little rat makes a steak-pack double,

one meal for two or a two-part

food-drama involving the passage of

meat, milk, hair, salt across borders.

one little rat is a pathogen, soft as a

word, canny as plastic. one rat shakes

on my arm in an anxious embrace; one

rat tugs at my cuff to show the back

entrance or weak point. one little

rat can milk a beet or freight gossip,

one rat divided make two dumb steaks

slapping at each other over a loose,

fuzzy phone line. or – classic rat –

one rat chews its way through the

wires and foam, through the layers

of copper or lead, through the jet oil

and haircream, all the way to another

rat, who, herself two steaks only roughly

covered in a jacket, chews right back

and falls in love.

Published: January 2018
Astrid Lorange

is a poet and teacher from Sydney. She lectures in contemporary writing at UNSW Art & Design. She is one half of the critical art collective Snack Syndicate.

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From: Vol.05 N.01 – Stick in a Thumb and Pull out a Plum: Poetry and Comsumption

Bend and stretch

by Ali Jane Smith

Ductility confused with tails of ducks

so A.A. Milne adorable

poking from the surface of the pond.

 

What are the ducks after down there?

Little fish? Elvers? The flagrant stems of waterlilies?

Something glorious in the sediment?

 

Perhaps the pond eels

have heard Edwardian children’s literature

recited by visitors to the pond.

Sound waves travelling through water

— glob glob glob globble

glob glob glob.

 

At this time of day myriad winged insects hover

above the uncut grass

visible because the golden light

reflects off and shines through them.

The lawn gnats rise and fall

like champagne bubbles.

Other insects, bigger, but not much, make a purposeful flight

a beeline! Predating on the little ones.

Now a bird. Another bird.

I’d like to say they are the first

in a stuttering series of red-browed firetails

but it’s a magpie pair I’ve started to take for granted.

Stick around, magpies, poo on the garden

I’m too squeamish and lazy

to keep chooks with their problems

of broodiness and garish foxy death.

 

If I’d used the time I’ve wasted thinking about

good and bad for entomology

I’d know more. At the museum

a woman was drawing sandhoppers.

Not insects, tiny crustaceans.

Her drawings make clear those details lost in photographs.

Later I think drawing also shows how seeing works through time

and so drawing is three dimensional in its way.

Photographs pretend a standstill.

Is that something like what Fay Dowker means about atoms and time?

Anyway, I like her voice and the way she hesitates then extrudes boldness when its needed.

 

The children are designing time machines on A3 paper.

They draw in details: arrows and question marks.

Do they want to go forward, or back?

I’d like to stay here for now. Everyone

stops growing, the dust stays exactly where it is

there are no events, bread

doesn’t get stale, ice doesn’t melt.

 

Here is a photograph of Kyoto Railway Station.

I was once there, four dimensionally, but

I don’t remember the shape of it. I remember walking

with my host family, I remember an enormous shopping centre

the whole thing glossy as a perfume counter.

My host sister confided, Kyoto is famous, and old.

Temples, gardens, shrines.

I saw some of these things, but I don’t remember.

Now here are photographs of the famous Fushimi Inari Shrine.

More than five thousand torii gates!

Stretching into the illusion of an unending path!

That red, like the firetail’s brow

not the red of blood or sunsets.

 

Once something’s on your mind you see it everywhere.

The entrance to a block of units looks like a torii gate.

An ad in The Economist shows torii gates.

Three skinny red gum leaves on the ground make the shape of a torii gate.

 

A ductile person is a silly, a gullible fool.

When I was vegetarian I went to a book launch

the crowd so tight in the room

we moved according to a subtle current.

Sushi made with eel was served.

I made a mental excuse for myself, I was so

hungry, I ate. The eel tasted delicious.

I saw eels in my mind, long and mottled

swimming and brooding. I ate more and more.

I thought about eel traps, woven, a place the eel swims into

and can’t turn back.

Published: January 2018
Ali Jane Smith

Ali Jane Smith’s poems have been published in literary journals. She has written reviews and essays for The Australian, Australian Poetry Journal, Cordite, Mascara Literary Review, Southerly, and Sydney Review of Books. She recently completed a series of poems commissioned by Wollongong Art Gallery and is co-writer, with Barbara Nicholson, for a piece of theatre in development by Anne-Louise Rentell. https://alijanesmith.wordpress.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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