South32 and the Destruction of the Southwest Jarrah Forests

Good to see that the world's attention (of a sort) is being directed at the mining company South32's government-backed hyper-destruction of the northern jarrah forests in the south of Western Australia. That it comes via a Hollywood actor is neither here nor there, the facts are the facts and if Leonardo DiCaprio brings attention to this horrific reality, then that's a good use of 'influence'. 

So much use of influence is dubious and ultimately self-serving (usually a form of vanity, profiteering and/or ideological control), but a world in denial about habitat destruction will not hear unless it enters their personal ambit. The distressing thing is that it takes 'celebrity' for the media to take any real notice. And as we all know (and say), media is so often driven by zeitgeist, 'likes' and self-interest.

Destruction of the southwest forests is an ongoing, hour by hour issue. The worship of aluminium/bauxite (South32 owns 86% of Worsley Alumina) is central to this destruction. The deceptive sell of jobs, which are a distinctly finite proposition in such industries, drives the left-lite argument for the retention of this planet-killing industry, while consumerism and brute capitalist profiteering drives much of the rest. 

One of the most appalling aspects of the mining-sell in Western Australia is the lie of 'rehabilitation' of mine sites (forests cannot simply be replaced) along with the way such propaganda infiltrates schools. Mining's grip on Western Australia is so extreme that it underpins much of the arts, sports and daily life-activities of the population. Different mining companies use different social tactics, but all try to ingratiate themselves into the 'realities' of daily life. 

Readers of this blog will have read many entries like this over the years, but please don't let that inure you to the essential nature of each specific issue. Each case of destruction (and we are talking thousands of hectares of jarrah forest in this instance) is part of the picture of total annihilation of the biosphere, and as we recoil in trauma from the Trump administration's mass-scale ecological terrorism, we should surely keep in mind that it's an international issue, deeply set in authoritarian and (apparently) non-authoritarian political ecologies alike.

I acknowledge with respect the many activists who struggle with the corporate-government machine in trying to protect what remains of these magnificent forests. This poem was written in the latter stages of 2024 and scrutinises the various toxic activities of South32, a BHP spin-off that boasts a skyscraper in the city of Boorloo/Perth overlooking the river:

Limbo Subscript 24

 

South32 ‘spun out of BHP’ has city

sky-signage! and has been given

‘the go-ahead’ to rip out what’s left

 

of the circulatory system of  jarrah

forest near Boddington, to convert

tall-tree country to alumina dust

 

for smelting. The actual ruling

of the EPA to save what was left

of that forest was overruled

 

by the minister for environment.

This is the truth of limbo, which

has qualities of hell and purgatory

 

and the advertising campaign

known as ‘heaven’. And it has

so much more going for it —

 

you don’t have to search far

to see South32 has US

Department of Defense

 

financing for an American

zinc and manganese project,

and that one of their directors

 

is a non-executive director

of BEA industries, the mega

defence conglomerate. This

 

embroils the fate of innumerable species

of animals and plants: to be ‘restored’

or maybe ‘resurrected’ by people

 

from your schools who wanted

passionately to ‘work with nature’

and make a buck. To be ministers.

To sniff the almost clean-enough air.

 

 

            John Kinsella

Save Julimar Forest Experimental Anti-colonial Poem-Film

This is the second experimental poem-film of the new series. It is concerned with the ongoing threat to Julimar Forest in the 'Avon catchment' (not so far from Boorloo/Perth) by Chalice Mining. It draws colonial imagery (the horror Round House prison in Fremantle, the Western Australian Parliament House with mining economy skyscrapers peeking over the top, and Royal King's Park Tennis Club) into the ambit of the forest and also Ramsar protected wetlands on Wadandi country down near Busselton (very close to where my Irish colonial forebears arrived in the mid-nineteenth century after escaping British colonialism!) to emphasise the invasive destruction of colonial capital. Filmed on Yued, Whadjuk, Ballardong and Wadandi Boodjas it also uses the 'neon light' motif (recorded in Zürich, Switzerland).

John Kinsella

Origins of Colonialism # - a New Experimental Film

Over the last eighteen months I have been steadily accumulating 'footage' for a new series of experimental poem-films. This is the first and was filmed in at various locations in Germany, Ireland, Switzerland and Boorloo/Perth, Western Australia.

'Origins of Colonialism #' is a demi-silent film... there is sound, and the jackhammering is intrusive/interruptive, a motif of terror, but a conceptual silence also underpins the whole: the silence of a world still largely and materially in denial of collapsing eco-systems, and also the silence around confronting the causes of ongoing colonialism (one of the major reasons we have got to the point of collapse). Paths laid down over other paths, the labyrinth that cannot be 'solved', and the 'pre-evidence' (out of precedent) of our own footsteps to come as we follow the tracks of modernity laid down over the ley lines of deeper presences. And always looming, the markers of mining wealth and power. 

This new series connects to my earlier Rental Crisis films (see Rental Crisis 3 here), which I briefly discuss in an earlier blog entry. The lurid 'neon light' motif recurs and intensifies.

    John Kinsella

No Nuclear Submarines No Matter Who Owns Them! For a Nuclear-free World! For a Weapons-free World!

And where have all the anti-nuclear peace protesters gone?

Apexing

 

As the propaganda

unfurls to make a complaisant

audience even more pliable,

we hear of the unsighted

sonar world of insight

into the call of whales,

the sea creature speech

that is a privilege to eavesdrop

on, to warm the soul

the deeper and colder

it gets. ‘Brothers and sisters’

in the new regime, precise

as torpedoes, concise

as thirty-second showers,

intimate as cramped

living conditions in which

‘sex’ is off the menu (‘steak

and lobster’ is on). The massaging

of reception as the Virginia-class

fast-attack submarine USS Minnesota

slips in to ease the transfer

of nuclear reactors

so friendly to oceans

and surface, to all that earth

is and will no longer be.

Rockingham hugs the ‘apex

predator’, Fremantle hugs

the apex predator, Perth

hugs the apex predator.

Don’t call these places

by their Indigenous names

in such a context as this —

those names are forever

and not temporary.

Where have the protesters

gone? Where have the flotillas

of peace boats sailed? As easy

as economics the safety

of world as we know it in

back yards, front yards, down

the street, across the water,

high up in the tainted atmosphere.

 

 

            John Kinsella

Tracy Ryan's new Youtube channel Language Learning Life

By Tracy

In the last few days I've revived my till-now inactive Youtube channel now going by the title of Language Learning Life. 

It will feature discussions of language learning (French, German, Italian, Irish/Gaelic and more), reviews of resources for learning particular languages, and posts about translation.

Language studies and literature being on a continuum, there will also be literary items arising from our daily lives — past & future events, short readings including poetry from John Kinsella and Tim Kinsella as well as myself.

It's likely I'll upload quite regularly so don't forget to check back if these topics interest you.

Hope to see you on Language Learning Life... and if you like it, please subscribe!

The Queen's Apprenticeship in Spanish, and The War Within Me forthcoming

By Tracy Ryan

Back in late 2023, I posted about my first historical novel (my sixth novel, but first in that genre), The Queen's Apprenticeship, being published with Transit Lounge. It intertwines the third-person narrative of a real-life figure, Marguerite de Navarre, with that of a completely imagined character from a very different background whose first-person tale Marguerite is reading, embedding one story within the other...

In late 2024, the Spanish edition of that novel appeared with Ediciones Maeva, for any of you who read Spanish — or know somebody who does, and who might like historical fiction set in sixteenth-century France. It's translated by Carlos Milla and Isabel Ferrer. 

Cover design by Opalworks Barcelona

I already loved the Transit Lounge cover featuring a portrait of Marguerite de Navarre — I'm just as taken with the very different Spanish one, bringing together as it does the two protagonists, one a privileged royal woman and the other a young printer's apprentice named Jehane/Josse (there are identity changes through Jehane/Josse's story).

I'm excited to say that in June this year the next book, Book Two in my Queens of Navarre trilogy will also be appearing with Transit Lounge — The War Within Me.

This second historical novel takes up the story of Marguerite's daughter, Jeanne d'Albret — it's not a biography, but "biographical historical fiction" following her journey from childhood through to the French Wars of Religion (Civil Wars) in the latter half of the sixteenth century.

Here is a cover preview of The War Within Me: 

Cover design by Peter Lo, using a portrait of Jeanne
by an artist of the school of François Clouet

Though readers of the first novel will find connections in this one, it's able to be read as a standalone.

Book Three is still to come! That is the story of Marguerite de Valois ("Queen Margot"), the next Queen of Navarre.

Rachel Watts recently reviewed the first novel in Westerly online.

Other responses to Book 1, The Queen's Apprenticeship:

"a triumphant foray into historical fiction… a compelling exploration of patriarchy, privilege and resistance in Renaissance France, set amid a vividly sketched milieu … with convincing fictional characters."

— Cheryl Akle, The Australian

"the brilliant depth of character we want when reading historical fiction … a buoyancy of storytelling." — Jessie Tu, Sydney Morning Herald

Against the Ongoing Genocide in Gaza

Graphology Superscription 142: genocide phase 2 Gaza

 

The thin stretch of land Gazan Palestinians

have called home is more than a ‘sea view’.

 

But complicated by rubble and the odour of death,

the US will help decorate the guilty reminders.

 

And though it might be deft to say Trump’s

declarations are a real estate developer’s

 

sense of land-usage, of the profit

that will come from a glossy future,

 

it’s actually far more devious than going

eighteen holes (ready-formed by shell-

 

craters). In the sweeping aside of logger-

head turtles and jackals, in ensuring

 

contracts for Americans who make so many

of the weapons that have reshaped the past,

 

the endgame policies are energised

to drive the people out, to win history.

 

 

            John Kinsella