Black Cockatoos are Starving

Over the last couple of weeks we've been noticing a dramatic shift in the usual flight patterns of white-tailed black cockatoos over the valley. These magnificent, endangered birds are known as Ngolyenok in Noongar, and as Carnaby's in settler-speak. Sometimes we see 'Baudin's' as well, but usually on the other side of the river to the south-west. I say flight patterns 'over' the valley because, with rare exceptions, this has been the case for all the Sept/Oct periods (from the end of Djilba to the beginning of Kambarang) we've been here across fifteen years. 

Usually it's a migratory flight from north of here, with occasional pauses/perching before moving on to nesting hollows in wandoos at various points around the region (frequently bulldozed or cut down... it's an ongoing struggle to preserve nesting trees), or onward to the coastal plain to feed on banksia seeds. But this year is dramatically different — the 'wee-oo/wee-oo' calls have become a string of presence rather than snippets of audio. They have flown over, arced back, and hung around. Wing to wing, shadow by shadow, they are low overhead in cycles. 

We wondered if they were making use of flooded gum hollows down at the base of the valley for nesting — these flooded gums were largely destroyed years ago by a devastating 'controlled burn' that got out of hand and ignited dead leaves in forks and took out hundreds-of-years-old trees. But some remain basically intact, and others have grown back from the base of what remains of trunks (essentially chimneys). 

We are hearing the cockatoos constantly, and they are looping overhead throughout the day as they search for food. They are using York gums here as roosts (unusual), and astonishingly have started feeding on wild oats from the ground! I've also noticed on neighbouring 'properties' (what a word!) that they are foraging on animal fodder/feed in paddocks. 

I was quite literally writing a poem about this earlier today, when Tracy sent me an article by Emma Young and quoting botanist Kingsley Dixon about the paucity of food on the coastal plain for cockatoos visiting Boorloo/Perth due to the heat-stressed banksias not seeding as usual (late rains were another complicating factor) — further consequences of human-induced climate change. Everything suffers. To think that Chalice mining would wipe out cockatoo habitat to mine 'green metals' at Julimar (nearby)!— the contradictions are legion. 

As cockatoos starve, they search for alternative food sources, but this is an act of desperation. Unless we stop the war on nature (and on human life itself) in all its forms, we consign species after species to death. We simply don't have that right, and need to act on what we observe. A life of recording change brought about by human rapacity (and indifference) in poem after poem is confronting even for me. And the poem here speaks about the work necessary for all of us, myself included.

Ngolyenok —White-tailed Black Cockatoos — Have Become Part of My Quotidian

 

The feeding honk of cockatoos

that could be ‘contentment’ or pragmatism

is reworking my brain’s storage facilities,

 

multiplying in memory beyond the  2.5 petabytes

the Scientific American claims as capacity,

opening new pathways into non-neural tissue.

 

My hands and feet as repositories, to do the work.

Where for fifteen years they have passed over

at this time of year, cockatoos are demi-resident

 

and claiming something deeper, or opening

new possibilities given the impacts on their

habitat. Now I hear (more memory

 

will be required) that banksia woodlands

down on the coastal plain have failed to seed,

and these honking grazing cockatoos

 

are desperately feeding on wild oats

that grow outside the spray zones. I will

delay grass cutting a little longer

 

so they can augment their memories

with new possibilities, new scenes.

Then maybe the banksia will rise again,

restore memory to its optimal setting.

 

 

            John Kinsella

On the Corrosive Nature of Vows of Vengeance

 

Vow

Eternal cycle of vengeance

till the cycles ends in nothingness.

When the coding was done

either someone copied it down

wrong, or it was corrupt

in the first place. To attest

revenge is a vote of confidence

in one’s own ability to despise;

and to vow ‘dedication’ is to promise

to live under the light of a premise.

And when the asseveration to clip the wings

of any bird that sings a different song

comes into play, watch the sky crash

and the vowers gloat over their success.

John Kinsella

Eclogues 3

           John Kinsella

A third and final post (for the time being) on eclogues. This is an intertextual eclogue I wrote around May last year making use of an Emily Brontë poem. There's a conversation going on with the text and contexts of the original Brontë poem, but there's also a commentary on eco-collapse. It should be noted that by the time Emily died in 1848, the Industrial Revolution had so accelerated Anthropocene climate change that she was embedded in the damage in ways that might have induced a sublimated form of anxiety about 'human progress' if not a material resistance because of awareness. 

Mind you, it was only eight years later that Eunice Newton Foote made observations about climate and carbon dioxide, and towards the end of the century (1896) when Svante Arrhenius noted the effect carbon dioxide could have on temperatures on earth. So even though there's an absurdity implicit in culture jamming across very different eras, it's maybe not so absurd when we consider the import of 'progress'. Juxtaposing Brontë's (anomalous in many ways) 'conservative' politics in conversation with an (Audenesque) 'age of anxiety' resistance voice is belied by the far-sightedness of her insights into the self with regard to 'nature', and the deep passion for the interconnectedness of life. 

This is not a song competition à la Virgil's Third Eclogue (which drew on Theocritus, of course), but rather a 'song fusing': a discussion that becomes the figurative annealing of a problem that goes back to the mass destruction of forests, the rise of metals, and the entrenching of the military state in all its forms. There's no third speaker in this poem acting as judge, but maybe the reader is playing that role: as much over their own role in climate change and eco-destruction as over the validity of the two voices. 

Over the years I have used intertext a great deal, but as I always note, there are problems attached to doing so. Brontë isn't given a choice, of course, but I think the need of the planet outweighs such proprieties. As one who opposes AI usage of writers' work but am also opposed to anyone owning words or even combination of words, it might seem straightforward that I believe such jamming is an automatic 'right'. Further, as I use what I call 'templating' to intertext with 'canonical' works in order to contest the control mechanisms that deliver them to us as 'authoritative' (in whatever way), it might seem that I am entrenched in this 'freedom'. 

But it's more complex than this: there are many texts I'd never touch (especially if I felt it culturally appropriative), and when I do it can be either out of massive respect or massive disgust. It's not an easy picture. Suffice it to say in this instance that Emily Brontë's poetry accompanies me everywhere I go (I literally carry her collected poems with me everywhere). Oh, and competition has been a big part of the destruction of the biosphere. There is no competitiveness in this!

Eclogue With Emily Brontë’s ‘Shall earth no more inspire thee’

 

 

EB: Shall earth no more inspire thee,

Thou lonely dreamer now?

Since passion may not fire thee

Shall Nature cease to bow?

 

JK: I speak plainly: I’ve been keeping

records of failure, of diminishing rainfall

            and defoliation, of contaminated rivers

and erosion. Anti-inspiration.

 

EB: Thy mind is ever moving

In regions dark to thee;

Recall its useless roving—

Come back and dwell with me.

 

JK: I’m working on it. Where

I come from and don’t belong,

            I am trying to save a forest

from a ‘green metals’ miner.

 

EB: I know my mountain breezes

Enchant and soothe thee still—

I know my sunshine pleases

Despite thy wayward will.

 

JK: They do, maybe now

more than ever, but facts mess

            with the imagery. There

are mountains being converted to ore.

 

EB: When day with evening blending

Sinks from the summer sky,

I’ve seen thy spirit bending

In fond idolatry.

 

JK: I idolise the earth,

not the idols of capital —

            a ‘summer’s sky’

is a broken thesaurus.

 

EB: I’ve watched thee every hour;

I know my mighty sway,

I know my magic power

To drive thy griefs away.

 

JK: True, I rely on you.

But there’s less room for rhyme

            outside of advertising:

gadgets, oil particulate, fate.

 

EB: Few hearts to mortals given

On earth so wildly pine;

Yet none would ask a heaven

More like this earth than thine.

 

JK: Yes, that’s it  — ask no more

of heaven than we have around us,

            or had... going going but not gone.

A tree lost it seems too easy to forget.

 

EB: Then let my winds caress thee;

Thy comrade let me be—

Since nought beside can bless thee,

Return and dwell with me.

 

JK: Seems like we’re arguing

when we’re not — the flight

            of a pigeon is as glorious

as that of a goshawk. I love both.

 

 

            John Kinsella with Emily Brontë

Anyone interested in my eclogue work might look at poetry collections such as The Hunt, Visitants, Peripheral Light, The New Arcadia, Supervivid Depastoralism and The Pastoraclasm (essentially a book of eco-eclogues).

Anti-Colonial Anti-Pastoral Eclogue 2

Moving from the ancient Greek of Theocritus, to the Latin of Virgil, I am ‘reminded’ of Lisa Robertson’s anti-genre, anti-colonial, anti-patriarchy and anti-pastoral and feminist poetry work XEclogue. In her ‘Two Pieces’ Commentary in the context of this work, Robertson writes:

 

Certainly on this 500th anniversary of the so­ called New World, we must acknowledge that the utopian practice of Liberty stands now as a looming representation of degrading and humiliating oppressions to the (pastoral) majority, and that pastoral utopias efficiently aestheticize and naturalize the political practices of genocide, misogyny, and class and race oppression. I consider that now pastoral’s obvious obsolescence may offer a hybrid discursive potential to those who have been traditionally excluded from utopia.

 

I ‘feel’ the same, of course, even if I come out of a different gender construct and might be assumed to occupy a different reality in that construct. In the critical processing of voice and privilege in the uber-gendered canonicals of historic Euro-centric verse, it might also be assumed that I have been more easily ‘resolved’ as a ‘male’ (though I deplore many attributes of ‘maleness’ and probably all of ‘masculinity’) into a line of pastoral discursiveness through the ‘raw ingredients’ of body and the ‘geographical demographics’ of speaking from a rural ‘location’ (she might or might not speak from the ‘rural’ now or then).

 

The dialogues of the eclogue are based in a privileging of the male voice (as Robertson notes and deconstructs), especially in rivalry/competition. Her intervention into the ‘form’ is so essential because it generates new hybrid possibilities for not so much reclaiming as disclaiming the values of possession and occupation. This speaks to colonised spaces conceptually, but I imagine can be enacted through invited reading on country as well. This is about undoing the literary trope of pastoral, and also undoing the pastoral as an enacted mode of controlling responses to capital, control of land and control of people through wealth, class, gender and ethnicity. She also notes:

 

Historically, from Virgil to Spenser to Goldsmith, the pastoral poem narrated the exigencies of land tenure, labour’s relation to the state and capital, and the establishment of a sense of place as a ground for philosophical being and discourse. The trajectory of the pastoral poem has prepared a self congratulatory site for the reproduction of power.

 

I also strongly concur with this, and in the Australian context have only been able to read pastoral impositions in such a way. In tracing the invasive and destructive forces of colonial agricultural practice in wheatbelt Western Australia and juxtaposing that with ‘landscape poetry’ acclimations of non-Indigenous presence on country (maybe the dominant subtext of settler-colonial poetry in Australia), I have tried to de-map the routes of exploration and redefine (and contest) localised colonial notions of ‘Liberty’.

 

The anti-pastoral eclogue might introduce non-colonial voices, but contained in its construct it risks imprisoning those voices. Even in, say, a collaboratively composed anti-eclogue, the fact remains the eclogue breaks down and the pastoral dissolves because it has to — being the only ‘legitimate’ outcome of such a process. The poem dissolves into a concrete return of land to its people/s without caveats and disclaimers, without footnotes that are catches. Robertson mediates via Mary Wortley Montagu (the ‘Lady’ being part of the problem, I won’t prelude her name by inserting it in a syntactic way), which reinvents potential utopias as active fields of engagement in the face of versions of oppression (class, gender, ethnicity, wealth, access to disseminating ‘views’...).

 

One thing that seems ‘worth’ considering is the fracturing of pastoral as a mode of valorisation across ‘food production’ and other ‘primary industry’ allowing us to see the toxic ‘values’ underpinning its authority. Literary pastoral is a copywriting arm of the agrichemical industry, of farming advocacy groups, and conservative ‘family’ valu(ation). In other words, making (anti) pastoral works allows us to expose the modernising and adapting versions of pastoral that hide themselves in ‘greenwash’ (such as mining ‘green metals‘ and destroying habitat to ‘reduce carbon’).

 

Robertson might (I am guessing) also claim that weather (which greatly interests her, too) is not climate, but I expect that the rhizomes of her brilliant XEclogues would reach into the privileging of discussion and action around climate to show that it becomes the weather report that vested interests want to hear. The nuclear industry uses climate change to put the planet at ultimate risk, the ‘battery miners’ cloak consumerism with saviour narratives. They each have a deep ‘investment’ in the idea of peril yoked with the promise of ‘rescue’. And it’s all about the weather. And discourse/contests/declarations/public relations in the eclogues of power. That’s what we want to contest and rewrite to the point that the ‘genre’ cannot be wielded as propaganda by the state, military, corporations or other institutions of control.

 

 

            John Kinsella

Eclogues and the Fact that Colonialism Thrives in Western Australia — What Can We Do to Stop It? What Can Poetry Do to Thwart Colonialism?

After seeing images of the mass destruction of native bushland in the southwest of Australia near Scott River committed by the Blue Whale Farming Plantation I reach a nadir of anger, frustration and despair. Earlier in the day I have been writing pleading letters to prominent members of the Anglican Church to ask their assistance in trying to stop the grotesque 'development' of native bushland in the Hills of Boorloo/Perth in north Stoneville, a destructive project that would see the clear-felling of at least 200 hectares of 'vegetation', and possibly more (around 60 000 trees plus undergrowth). 

The Anglian diocese 'owns' that land, and the land development company Satterley at their behest is aiming to create a townsite through erasing this rich, diverse and essential hills habitat. The material gain for a supposedly spiritual organisation is obscene in itself, but it further implicates the original colonial project in Western Australia (backed by Canberra), and the consuming of country to disperse the material rewards among a hierarchical organisation. The Federal Government just gave approval for this 'project', and if that is bewildering, put it in the context of the mining and pastoral 'lease' colonialism that rules Australia making such things too often a fait accompli.

This is an unreconstructed colonial country, still emphasising its imperial roots rather than diverging from them. And not that far away from north Stoneville, Chalice has been granted official 'strategic status':  'The Western Australian Premier Roger Cook has granted strategic project status to Chalice Mining's (ASX:CHN) Gonneville Platinum Group Elements-Nickel-Copper-Cobalt Project.' just to make it that much easier for the erasure of habitat (and all it contains) and the imposition of 'green targets' that are industrial-consumer markers of 'climate care', and nothing to do with the well-being of the biosphere and all it contains. It's greed fused with 'progress', and such money is to be made that 'trickle down' arguments abound. If you want the truth of the brutality, you never need to look further than a website like Mining dot com dot Au... it tells it proud and raw, and within the colonial matrix of lip-service and industry-inflected reportage. 

This is what it's like in Western Australia and Australia as a whole — it's a barely mitigated assault on natural ecologies. From a visceral localised hatred of the individual tree found in some (I hope not many) urban (and rural) dwellers, to mass clearing illegally committed by a company with a (presumably unwitting) colonial signifier in its name (as well as an appropriation of an endangered species to boot), to mining companies claiming they are delivering the planet from climate change while destroying entire ecosystems, it's a remorseless furthering of the colonial project to its ultimate end: complete exploitation till every cent of profit is rung from the occupied land. 

Whether there is a 'Labor' or 'Coalition' government in power, the environment suffers. Whether there is a 'Labor' or 'Coalition' government in power, colonialism thrives, if via different routes. The surface gloss of Labor doesn't hide the reality of the damage being done. A conservative government got AUKUS up and running, a Labor government has given it teeth. And so on.

Out of my despair, I constantly ask myself what can I really do? When the bulldozers arrive at Julimar Forest or north Stoneville, I will be there. In fact, I will be reading and recording my 'Bulldozer Poem' before that and getting it out again as a contribution to preventative action. It's obviously best to stop an infection rather than to try to treat it when it's gone too far. And this is the infection of colonialism and capitalist greed. This is the infection of hierarchical governance on all levels: it is the fusion of the corporate, the private and the militarised state. I will read other poems. I will speak. I will write. The powers that be aren't perturbed, of course, but I do hope to motivate others. There are plenty out there caring and acting, and at least Blue Whale Farming Plantation have been held accountable and are having to revegetate the area they destroyed, but it won't and can't be the same as the erased habitat.

Out of my despair I continue to try and act. On the weekend I am teaching a poetry workshop based on the eclogue. I have used this form for almost forty years as a way of bringing opposing voices into a synthesis of refusal to comply with the status quo not only of capital and power, but also the power-structures of literature itself. 

'Literature' (especially as a nationalist mode of monitoring and archiving) is a tool of presentation, of regulating creativity through critical reception, dispersal of texts, and aesthetic co-ordination (and imposition) of public response. 

Take the eclogue, ur-textuality of Western 'pastoral' (though it means 'small poem' its emphasis is traditionally on the song-dialogue... and is underpinned with a bucolic competitiveness that brings certain issues of immediacy into focus), and consider the 'founder' of the tradition, Theocritus (a Sicilian Greek who wrote out of Alexandria and Cos c.300BCE-post-260BCE). Consider his concerns for herders and herds (the 'bucolic'), song, love, sex, humour, mythology, quotidian 'realism', households, 'towns' (see his 'mimes'), kings and hierarchies. It is also worth considering the embedding of slavery, empire and rural production into Theocritus's hierarchy (or faux non-hierarchies) of voices and what he does or doesn't do to question this). See here for J.M. Edmonds' English translation of Theocritus's First Idyll. 

Anyway, my eclogues are about departures and reconstitutions, and if the form isn't always 'anti', the content inevitably is in its (attempted) non-compliance. Traditions are created around texts, and extra compliances obviously imposed, so one is resisting traditions as well as 'original' contexts.

If in the Australian context the machinery of the colonial is resisted by Indigenous sovereignty, culture, knowledge and all attendant rights of being on country, there is an eclogue-ic marginalia of colonial resistance in the broader sense of transportation and punishment of convicts. This may or may not apply to individual convicts, or groups of convicts, but from the beginning of the colonial enterprise the 'undesirable' was either recouped through 'ticket of leave' reward for compliance (at least officially), with aim to eventually becoming a willing coloniser, or 'eternally' condemned as a threat to the empire. 

To stop machinery destroying habitat by direct intervention (locking on, damage of the machines or whatever) is seen as a threat to the colonial state and the law exacts 'revenge'. To stay on the other side of the eclogue and compete with the state you are expected to operate within the state's rules. Even activism such as my own which relies on non-damaging and non-violent interventions is threatened by action if I cross onto privatised land (what a joke). 

How we write about a wrong matters. To do so in uninformed ways with 'literary' aims in mind (even if we would like to think it's otherwise) can feed the state and capital by attenuating the 'literary', giving it legitimacy through adding 'depth', 'range' and 'sincerity' to its make-up, therefore 'legitimising' or making 'authentic' in consumable ways. I am reminded of the failed utopianism of poet Southey as he lapsed into a deep empire conservatism via official acclaim (the most effective weapon of the state to control its errant creative voices!). Southey's apparent radicalism (a very literary radicalism to my mind!) of the 1790s, when he wrote of transportation in his 'Botany-Bay Eclogues' (Oxford, 1794) without (as, sadly, was to be expected) understanding or connection with Aboriginal sovereignty, was a classic case of ambition vs. social issues. This is basic noble savage stuff, dressed up with the idyll to be tainted by the 'rustic' and the 'herds' of colonialism... the intervention is noted, but an awareness of the imposition of literary artifice on the 'native' is lacking. Could this poem have been much more? Likely, but not over the distance and via the literary tropes of 'wilderness' Southey is deploying. The eclogue fails to do any sort of justice.

Welcome, ye marshy heaths, ye pathless woods,

Where the rude native rests his wearied frame

Beneath the sheltering shade; where, when the storm

Benumbs his naked limbs, he flies to seek

The dripping shelter! Welcome, ye wild plains,

Unbroken by the plough, undelved by hand

Of patient rustic; where, for lowing herds

And for the music of the bleating flocks,

Alone is heard the kangaroo’s sad note,

Deepening in distance! Welcome, wilderness,

Nature’s domain! for here, as yet unknown

The comforts and the crimes of polished life,

Nature benignly gives to all enough,

Denies to all a superfluity.

The eclogue here becomes a tool for one set of voices to be privileged over other silenced or absent voices (outside 'observational description', which is a mediated subjectivity via the poet, who observes nothing in a real sense). And this might well be the problematical crux of the eclogue form. With this in mind, I try to push the form's temporal and spatial co-ordinates as much as the conceptual ones so that each 'voice' in itself is multi-layered, and not just performing a binary action within the poet's overall intent/vision/cause. There need to be cracks and fissures in each 'voice' in the 'dialogue' of an eclogue. No voice even in my most oppositional (argumentative) eclogues is meant to be unified and resolvable.

I attempt to use the eclogue to undo the controls of primary industrialising... the crushing notion that those who provide 'organic' and inorganic raw materials to communities should in some way have some kind of primacy over those who don't. Those who manufacture toxic spray to 'assist' farmers in growing grain to 'feed the planet' are as entrenched as values in the colonial equation as the invaders who stole the land in the first place. And this is what my eclogues seek to show through juxtaposition, conversation, artifice, contradictions and also colloquial familiarity. 

Here's an eclogue I've written in the height of 'spray season' here... even if you don't use the crap itself, it gets imposed on you and certainly on the habitat. The drift is literal, and it's also ontological, spiritual and political. We are all poisoned no matter how 'distant' its application.

Spray Regime Eclogue

 

 

Wild Oats

 

Cushioning the car-window-toss

of plastic drink container

to wager those carcinogens,

uncomfortable breakdown,

I labour to raise a seed head.

 

 

Glyphosate

 

Every excuse is made for my love

as you wither to root system.

I am non-selective, unbigoted

to de-glyph perennial unwanteds.

 

 

Wild Oats

 

Where native vegetation was excoriated

I stepped in to colour-code for privateering

astronauts (and the rest of them). Inland sea

to push aside, seeds clinging to their suits.

 

 

Glyphosate

 

I do love you, even if my love is broadly targeted.

I wear the marks of my makers down the line.

I love you as I love a herd of weeds.

I love you in the wide open spaces, the corrals.

 

 

Wild Oats

 

I call you out, N-(phosphonomethyl) glycine.

I call you out, Round-Up.

I call you out, evader of class-action suits.

I call to the sun and the earth and your deliverers.

I call through the hierarchies, to your makers.

 

So I keep trying and refuse the despair. Poetry has a purpose, and this is its purpose for me. To resist colonialism, violence, the hypocrisies of capitalism, while connecting respectfully as much as possible with the land itself and all it nurtures. And to push the form further, to show the complexity of any voice placed in a dialogue that is oppositional, I offer below an eclogue in 'signs' wherein each sign is affected by the other. Even a land developer can love an animal or care about the state of climate while destroying animals and climate — if we don't work to understand these contradictions, we'll never address and resolve the issues of damage.

Graphology Superscription 78 Signs of Ecloguismo: a spatial resistance collectivism

 

=, [], @

 

 

P(r)oem

 

Machismo almost destroyed us

in its plays and counterplays

across windrows and furrows,

across spray regimes

and territorial markings,

across closed and open forms.

Sign the alternatives,

sign the tolerances,

stress-test in metal fatigue

open-cut and deep below.

Signs to represent trees

and horizons. Conversations

resolving into the body-

collective, its energies.

 

 

Signs

 

 

=

 

Negating ¹ won’t let me

offer equality, such values

obfuscate a truth: we both

wish to see complete

redistribution of wealth.

The aphid per broadacre crops.

Food per industrial agriculture.

Clouds in the dirt.

 

 

[]

 

I am not saying you’d confine

me to index bracketing, to the single

value, resenting being thrown

into juxtaposition, a contesting

argument. I sign compatibility

as red-tailed black cockatoo

to full moon, a highlight

like a cluster of decades-old

trees on the edge of whittled

‘green space’. This set [I offer].

 

 

=

 

And so we resist form, and yet

are brought into rank proximity,

to be denied what we constitute.

Rufous whistler strikes alarm

and it sounds ‘joyful’.

 

 

[]

 

If it’s concrete to the orb weaver spider

[and you, my friend, seem to sign that]

turning the tree fork into death’s lyre,

does it follow as abstract subtext

bracketed to contain quotes

from a broad range of industry

sources, such as the road widening

destruction of yandee & flooded-

gums crossing a lexical Rubicon?

 

 

@

 

Me? Seems possible. Or it’s an appeasement.

Or ‘integration’. Or theft’. Or an act

of conscience-relief like replanting

saplings you know will be cut back

to their genes if and when you are no longer

around and they become ‘unwieldy’ or outré.

 

 

=

 

I have been co-opted, voicing

the voices that would force open

the everlastings before the sun

has signalled them. Or referring

to a meteor as a shooting star,

overwhelmed by your... our?...

role in it. It burnt me

through foliage. I saw.

 

 

All

 

We are bones left

after the silvereye’s death.

We are Theocritus

thirsting for home.

We are positive

and negative.

We are quantity

and empty.

We resist the survey.

We pass through the controls

placed on topography.

1. is a 'not equals' sign.

    John Kinsella

On the Western Australian State Government's Refusal to Effectively Protect Julimar 'State Forest' from the Threat of Mining (and other exploitation)

 

Herald Patches

 

(i) 2024: now

 

The minister for environment considers

Julimar forest’s availability for mining

 

            more important than its preservation.

            The chief executive officer of Chalice

 

couldn’t agree more, and praises

the official refusal to ‘sterilise’

 

            the forest’s ‘potential’. This is not

            surrealism but a radical departure

 

from the unconscious. There is violence

in city offices that spills out beyond

 

            low maintenance office plants, spills

            into the forest where fewer images

 

move as marsupials, lift as cockatoos.

Rhythm heralds consciousness.

 

 

(ii) 2019: prior

 

Rhythm heralds consciousness.

We seed an awareness in the vibrissae.

 

            Each livid patch, each resounding itch

            brings attention to the greater body.

 

One appears, then others. They will

scratch till the skin is damaged

 

            beyond repair. Make holes that can’t heal.

            A full scale ‘green’ battery industry

 

charges the assault. It’s a psychology

that goes back years. Take the 2019

 

            Indo-Pacific Defence Conference

            held at Crown Towers in ‘Perth’,

 

with a keynote on ‘defence industry

applications for WA's battery

 

            minerals and resources expertise’.

            ‘Green’ revolution destroying

 

all it contacts then making atopic collapse.

A minister’s or miner’s dream journal.

 

            A billionaire’s spacewalking view

            of Earth. A dermatologist’s similitude.

 

 

(iii) now unto ‘the future’

 

A dermatologist’s similitude.

Lost trees heaped for burning

 

            when up on the rise the house

            of the Big Whites overheats.

 

Largesse in the ore. Workers’

accommodation. Minesite infra-

 

            structure heralding State sanction.

            Words on the signs or the signs

 

themselves can be changed ipso facto.

Skill set. Application. Blue pencilled,

 

            each patch is forgotten. Bubble chart

            of raw data. Species lists. Red list data.

 

Environmental scientists, technicians,

supervisors, co-ordinators: on payrolls.

 

            Higher education for the conscious

            and unconscious. Illustrators.

 

Consumers. And open cut or under-

grounded into  the discursive,

 

            the body map

            is drilled into place.

 

 

            John Kinsella

 

 

Some Recent Poetry

Have been reading a lot of excellent new poetry. Some of my recent favourites include Kwame Dawes' Sturge Town, Alan Fyfe's G-d, Sleep, and Chaos and Camille Ralphs' After You Were, I Am. Here's a couple of pics Tracy took of me reading from After You Were, I Am excitedly to the birds, trees, grass and water at Deep Water Point on the Djarlgarro Beeliar in Boorloo/Perth. Here, I am specifically reading Ralph's brilliant 'kyrie eleison' and vocalising its soundscape/word-play/deconstructive ironies, and also its theological echoes. Ralphs is a sculptor of poems with intense technical skill as well as slant insights.

And I'd also like to mention our son Tim's first collection of poetry, Wingbeat, which is full of the natural world and David Lynch.

    John Kinsella