Contemporary Australian Poetry
The Frugal Meal by Belinda Moxon
Great divide by Barnaby Smith
temptation to brutalise the birch immediate,
deface the defensive quaintness appeared
when junior sycophant is the first receiver,
give instead the arrival motorcade
for full occupation. Le Corbusier is not far
from the tongue, just not quite on it,
wanting to be fed in his loft which constricts
his aquiline frame, which
is obnoxious to the mannequins, who
are Stoics. Warsaw capacity for a new colony;
we can live outside in its caves, surely,
but like Virgil Thomson we are up against
a formidable genius as commander.
ten thirty in the tenements and there is new cubism
to the screeching face quietened by
a thronging public for the rail to Warsaw
which is by chance going there, having been Byalystock
and birch forest first. It is not liked for metaphor,
send me to the immediate.
the birches are swaying, like paganism,
and all of my cold resistant clothing is torn from me
and the miniature crows stifle the rescue
elegy of an Australian survivor and author of three
books of sentimental pseudo-autobiography.
Where might the right hagiogram be writ
to cut hagioscope from Warsaw to Melbourne,
giving me the pariah purview
to scratch hagioscope with dignity. Haworth and
Flaws in the Glass in a window which bent
but would not open. Never open maybe!
The theatre is atrocious, because unlimited,
and more brash than a keyboard, unless you touch
it with some virtual sense of innocence,
less commoditised than actual, and only
virtually might you throw off your lids.
Corey Wakeling is the author of Gargantuan Terrier, Buggy or Dinghy (Vagabond Press, 2012) and Goad Omen (Giramondo, 2013), and co-editor of Outcrop: radical Australian poetry of land (Black Rider Press, 2013). Corey was born in England, grew up in Perth, Western Australia, and studied and taught in Melbourne until a recent move to Japan. His poetry has been described as “delirious” (Ali Jane Smith, Southerly), “a new music, and a new awareness” (Philip Mead, Cordite Poetry Review), and a “millennial threat” (Duncan Hose, Rochford Street Review). As a critic, his work is concerned with the juncture between concept and sensation. He is Lecturer in English and Drama at Kobe College in Nishinomiya, Japan.