Random Access Clarifications

By John

One hundred and sixty years ago today (i.e. on May 23, 1849), Thoreau, according to Raymond R. Borst’s essential The Thoreau Log: A Documentary Life of Henry David Thoreau 1817-1862, ‘Surveys land in Lincoln near Sandy Pond Road which he wishes Emerson to buy because of its beauty (Moss, 7).’ Although he probably means ‘surveys’ in a more general sense, the subtext is still of division and possession. This issue of surveying has always bothered me, and I tried to critique it in my poem ‘Figures in A Paddock’ back in the late ’90s. I bring it up now because of the matter of removing fences and opening boundaries for the movement of wildlife (and, for that matter, people — but the caveat on that is if they’re moving through to interact with place without damaging: that’s where questions of preservation become complex: caveats make for contradictions).

Yesterday, BHP announced the first uranium mine in Western Australia. This is the beginning of another end. I want to declare loud and clear, that not only will I protest this in my poems, but I will be seated where they are going to mine, speaking my poems as they cart me off. Land and rights, and permissions and access, are matters not only of consensus (of which there can be none), but of the long-term rights of all traditional peoples/custodians. Because the corporate state has constructed a set of conditions by which people have to rely on its largesse for basic human requirements, the need to profit from such mining activities becomes normative and seemingly necessary. If the land wasn’t under pressure in that way, and community choices could be made without the imposition of a ‘you will do this or lose’ (at best) scenario, the state/corporate conditions/equation would be less likely to succeed in its tyranny.

Let’s not for a moment believe mining companies and their government apologists are operating for the wellbeing of communities (local or otherwise). The entire dynamic of money, employment, security, rights, and wellbeing is a ploy to control: create the necessity in order to offer ways of fulfilling it.

As for ‘progress’, when we have another benchmark for this in whichever field — tomorrow, next year, a decade from now — few would envisage turning back the clock to today. It’s circular logic, that will be deployed against the Neo-luddites whenever the opportunity arises.

At this moment I am watching a female western spinebill doing somersaults outside the window. Its curved beak is an entirely adequate and all-encompassing technology. The irony of typing on this laptop as I prepare to go offline and off-computer: well, it’s a log-book of a planned and permanent movement to find better ‘technologies’ (by which I mean less sophisticated and less reliant on industry: in other words, ‘simple living’ alternatives). They are ‘pre’, they are outside the notion of ‘progress’, and their usage is part of a desire to ‘de-technologise’, but yes, essentially they are technologies in themselves. Yet that’s semantic, because what I am clearly trying to do is step away from material ‘progress’ and to say one reaches a point materially that is more than adequate; that in fact the damage done far outweighs the ‘human application’ regarding the ecological. A manual typewriter rather than a computer (a technology that doesn’t need to ‘develop’ to achieve the same end results), a pen or pencil more often than not. Paper made from non-tree sources. And so on...

The ‘planning’: I make a living from writing, and have become computer-reliant in meeting my deadlines/obligations/expectations of how text is presented. I need to change the culture of production and how my publishers and others are willing to accept material from me. It can be done, but it has to be carefully planned and discussed. October is my deadline-aim in terms of ‘home’ stuff, with my university communications following at some point when I’ve been able to lobby effectively for some changes regarding my communication with students and so on. That can be realised, I am sure.

Actually, it’s more than this: I believe that we have to rethink social notions of what is adequate and what pleasure and leisure are. But this is not ‘primitivist’ thinking: it’s poetic thinking. Poems, to my mind, are about repair, analysis, fruition, and not destruction. And ‘destructive’ poems consciously deployed bring attention, in the cases I respect, to the failure of acts of repair. I write a lot about death and destruction, but I hope this allows a reader to refocus on their role (and the poet’s role and the poem’s role) in making such things allowable.

I had an interesting exchange with a fellow poet (and one I admire) the other day, about the blurring of lines between activism and poetry. He felt they were separate acts and used Judith Wright as an example. I maintained that Wright was an activist in her poetry as much as in her general life, especially towards the later years of her poetry writing (clearly in her prose, she was). This poet-friend was talking over his reactions to my Divine Comedy: Journeys Through a Regional Geography, which I consider my main work of poetry, a work that is in the realm of the ‘parafigurative’, where activism and poetry go hand-in-hand. Not to be didactic, but to be suggestive, and prompt ‘action’. My fellow poet felt that one should choose either a life of activism or a life of poetry. My reply was:

"mum was a poet and i’ve been writing it since i was six. for me it was a poet becoming an activist and making the two talk with each other. i have a book on ‘activism and the poet’ out with liverpool uni press next year. i’d like to think my poems do something other than ‘tell’ - i try to create many levels of approach in every poem i write, and for every poem to be reinvented with every reader and every reading. i am writing a new intro for j. wright’s selected at the moment and think she was an activist-poet in whose work (later work especially) these elements were in synch and didn’t counter each other. poetry has a long history of activism. on our blog (mutually said) i use a coinage i came up with re metaphor and activism — the ‘parafigurative’. this is what i am trying to do — articulate a poetry of action but also ambiguity."

My poet-friend also went on to discuss the structure of my Divine Comedy, and as this is relevant to the reading of the poem in terms of local and regional activism, I’ll include my reply:

"i think there are four narrative threads in the book:

1. the template of dante
2. the movement around the block approached from different angles (per the different canticles)
3. a topology and taxonomy of place that builds and ‘collapses’ to rebuild which is intertwined with a literal history of the place – including the building of a portrait of a surrounding community (yes, williams is the right parallel in this sense, and even more so olson’s maximus re location and illustration by example and observation and snippets of history etc).
4. the interactions of the ‘characters’ involved re their epiphanies and ‘elegies’"

Now, it’s back to my Thoreau book. Have just completed two new poems. Am now in the process of developing a ‘narrative’ framework for the book as a whole. It’s a matter of reconciling surveyed areas of poems and the points of access that surround them. I guess this will make sense (I hope) when the book appears. At the moment, I am considering ‘random access’ versus a set of semantic points of entry.

More on a Poetics of Gradients

by John

I find this blog space useful (at the moment) for ‘thinking aloud’. I have been filling my journal — my hand-written journal! — with notes about writing poetry and living on a steep hillside block. The physical effort to move around the block is rewarding but exacting, even if one is reasonably fit and healthy. The string of poems arising out of this experience, this interaction (how could there not be poems? — angles are what we deal with every day...) is becoming central to the manuscript I am working on. Not all would enjoy walking ‘our’ place — some would come and look and leave before they had to negotiate the steepness, even with the many trees and rocks to assist in their movements. The landscape I am writing is in counterpoint to the landscape of Thoreau’s Walden.

So, I have already written and published a number of poems about this, but I have also been keeping an ear and eye open for poems about climbing hills. For hill, valley, and high places, early (in particular) R. S. Thomas is superb. I am deeply attracted to his negative affirmations, his ‘grim’ negotiations with loss, and his beyond-irony observations of the imposition and liberations of patterning, mapping, demarcations (of nation, myth, labour, failures of belief and refusals to conform to imposed ‘belief’):

There’s a man still farming at Ty’n-y-Fawnog,
Contributing grimly to the accepted pattern.
The embryo music dead in his throat.

(R. S. Thomas, ‘The Welsh Hill Country’)

The Reverend Thomas’s centralising of the human within ‘creation’ is always displaced (certainly in the earlier verse) by a discomfort with the relationship between human, nature, and creator, and often a questioning of what divisions exist between these. The hills themselves are an interesting case in point, almost existing outside the triangle, operating at a tangent (and gradients) to the will of things.

This morning I came across another poem that seemed apt in many ways. It’s from a book I just received for review from the Sydney Morning Herald — The Other Way Out: New Poems by Bronwyn Lea (Giramondo, 2008). The poem entitled ‘Red Hill’ combines a clarity of affirmation offset by a haunting sense of threat that comes no matter the familiarity of climbing the same hill over a long period of time. It’s a poem that has the language of gradient (though it doesn’t specifically use that more mathematical descriptor/definition), poised to a point of absolute concision:

— the acute
angle of the world
to my cheek
rising as if to slap or kiss me
even to lie
down I am near
vertical & filled with steep
inclination —

(Bronwyn Lea)

The physicality of both body and spirit and the intellectual processing of the co-ordinates are deftly handled.

The hill we live on would not ‘slap or kiss me’ — it is too stony and too ‘defiant’ to register me/us in that way. Strangely, I know no matter how long I walk its slopes, it will resist me, but do so with indifference.

Gradient poems will always deploy words like ‘steep’, ‘incline’, and terms related to angles (‘acute’, ‘obtuse’, ‘right’...), but the point is how these terms relate to the emotional, social, political, and ethical space of the poem. The specificity matters and brings different impressions. An acute angle makes for a very different tension to an obtuse angle: not only in the different description of place, but also, obviously, in the effect the angle has on how the reader ‘feels’ the description. You can climb a steep angle but you have to scale a right angle, so to speak. I am interested in the inside of an angle as much as in the outside. The radian of an angle is part of the world I am examining: part of the sphere, part of the 360 degrees of a conceptual (and a literal) ‘planet’ I am trying to create around the specific place, around Jam Tree Gully, around this de-mapped ‘Walden’ (or not Walden).

What I am getting at, under the weirdness and irrelevancies, is that when we paint poetic portraits of place, we in fact create a very real mathematics of that space. In so many fantasy novels, writers include maps — and indeed it was the maps that originally attracted me so strongly to Tolkien’s Lord of the Rings when I was at high school (I went on to read the book twenty-six times and to write my final Year Eleven school paper in literature for my teacher Bill Green about it) — as a validation of the ‘fantasy’ (and/or speculative fiction) writer’s imagined world, of its ‘real spatiality’, as if the map makes concrete the projected imagined.

But I want to do the opposite — in my maths I want to de-map, to undo the recording of topographical features and the routes between them by allowing those features and routes to appear as they ‘naturally’ do on any given occasion: to alter and morph with erosion, changing movements of animals, new growth and death of old trees, and so on.

I have mentioned my problem with people disturbing the bush by using GPSs to go off-track, to make new routes between points. I am not advocating the arbitrary making of paths through spaces, but rather the following of paths as they grow and change. A lot of what I walk along are kangaroo paths. No map can be ‘real’ outside the moment of its making. It needs constant adjustment. Google Earth is an imperialism of mapping, not a liberation from its strictures, in the same way as GPS denies what’s there to follow points given without subjectivity via a satellite. How the satellite looks is relevant: whether it’s speaking electronically to a GPS or we’re examining pictures taken. The use of angles, the use of circles, the use of poems written out of the line (out of Eudumus), out of rays, is an alternative to merely creating a ‘map’. It is active and changing. Adjustments can be made.

Maybe pertinently, a couple of days ago we took young Tim to the Maritime Museum at Fremantle. Actually, we took him to see the Bon Scott statue, but after that had some spare time so thought we’d take him to see the harbour. One of the exhibitions was based on French exploration of Australia, and the display of early maps was fascinating. Curatorial paraphernalia confirming the drives of ‘exploration’ rang loud, and the stuffed animals spoke their own refutations, but the early maps of the southern land with their mix of hypothesis, guesswork, and solid charting, affirmed for me that the Idea (Platonic Forms, in some ways) of place is more accurate than the material. The maps, the more confirmed they are, become imitations of the land itself, and through imitation become separated from cause and effect. In other words, the map, though made through the senses, actually desensitises response to place.

Over the last week the locality around Jam Tree Gully has been assaulted by scramble and quad bikes hacking up the reserve firebreaks and along the boundaries of where we live. In swathes of ecological destructiveness, these violent pleasurists (along with the shooters around the place), use intimidation and aggression to impose their sense of control and mapping on animals, plants and humans of the place. I am told that many of them are city blokes come up during holidays to stay with other motorbike enthusiasts, getting overexcited at the ‘space’ and consequently ‘cutting sick’. I understand their compulsions, and would be a hypocrite if I didn’t acknowledge that as a kid around the farm I did similarly, but by the time I was in my mid teens I’d come to the conclusion that the destruction and violence of the activity cancelled the thrill and the pleasure.

Okay, that’s my learning curve and why should it be anyone else’s? Because there’s a growing awareness that such destructions have consequences far outside their locality and that it affects the riders as much as anything and anyone else...?

Is there an activist position to be had here? What do I do? Confronting them and declaring the wrongs of it likely means being targeted — I am told this has been happening lately. You’re selected (I use the word specifically) for special treatment. Okay, so I will try and dialogue with them. Will the riders listen? Who knows. But that’s the first activist step: dialogue.

Second and concurrent step: I will write poems, and maybe even read one to them. Seriously... sometimes it works. Poetry can really matter. Many bike riders of whatever modus operandi are operating as ‘outsiders’. I’ve known a few patch-wearing bikies in my time with whom I’ve had some excellent conversations about music and lyrics. In a territorial organisation, aesthetics and decodings are vital. I will certainly read poems to others around the place who are concerned about this damage (soil diseases/pathogens are also easily and readily spread via motorbike wheels). The terror and trauma being inflicted on the kangaroos and birds in the reserve, along with every other living thing, must be extreme, and needs to be countered. From the ‘official’ point of view, the riding of two-strokes through long grass is a fire risk, and this is another concern to all who live there.

But I mention this for another reason. One of the things that attracts riders to this place is the topography: the firebreaks cut through rocky ground, through treed slopes that become incredibly steep in places. It’s a rough and no doubt exhilarating ride. The riders charge down one valley wall and loop up another. The roar of their bikes shatters the valley air with a ringing that is beyond any ‘for whom the bell tolls’. The riders communicate with revs from one point to another. Triangles bend in 3D space. The rush down to the base of the valley (which is not broad) and the massive impetus downwards, then pulling up and slowing before impelling the machines with more revs to charge up the other side, is like a random and cut-loose amusement park ride. The down-up-down thrill. The bike does the work, but the rider’s excitement and consequent bodily activity work in parallel, or in unison.

In the act of thrill, the riders’ is a poetics of gradients as well. Not about conservation (as I hope mine is), but about concentration, focus, and separation from real-time, from the apparent limitations of ordinary movement (without the aid of a motorbike or other machinery). A kind of simulacrum of natural movement (the riding of a motorbike more in contact with the elements than the driving of a car) that multiples the adrenaline outcomes with less of the physical exhaustion.

The experience is repeated over and over until it sends those experiencing its side-effects around the twist (sorry, but it does). A machine poetics of gradients. If a bike travels up a hill at x speed and the hill has a gradient of...? It’s their outlaw poetry, but what I want to tell them is that it’s actually conservative and predictable: the outlaw act is, rather, to try to protect the ecology and to resist the urge of adrenaline, endorphins, and ‘pleasurism’ and ‘leisurism’, no matter how dark its origins, no matter how angry its rationalisations, or, conversely, how much ‘fun’ it might be.

Lightning Place -- Jam Tree Gully (and assorted photographs)

By John

Took a series of high-resolution photographs of some of wildlife on the block. See smaller versions of photos below. The kangaroos are in the reserve beyond our place, and despite the fence, have free access to our place, as does all the wildlife.

The movement of birds, insects, and reptiles, across their territories is unhindered by fences in the area, and it’s our desire for this to be the case with mammals as well.

So, below we have a thornbill looking out from its roosting-place after feeding and territorial movements with other thornbills and also other species of feeding birds around the block.


















There are photos of a golden whistler,

















mistletoe birds,

grey shrike-thrush, magpies, an eagle,






















and white-chinned honey-eaters gathered around a hairline fracture on the twenty-thousand-gallon rainwater tank, gripping the oxidation and lime extrusion to drink, in the hot, dry atmosphere of the place.























Also, an orb weaver spider, bull ants and Papilionidae butterfly.















Yesterday was a stormy day throughout the district. When we arrived back at Jam Tree Gully, Tracy flicked the power on (we keep it off whenever possible and by October, as we’ve noted before, plan to be entirely without electricity other than some solar cells to use only when absolutely necessary), and found that no water was coming out of the taps.

This meant the pump had gone — we are not on mains water supply but rather have a massive concrete rainwater tank plus two air-pumped bores as back-up. I went out to check the pump, and found the housing around the power outlet that drives the electric pump entirely shattered.

A storm was in progress so I couldn’t look closely but we discovered today via Mum and J. (who went out for a visit) that it had been lightning-struck — with a six-inch-long and one-inch-deep scar in the concrete wall of the tank, the electrics burnt out, and concrete shrapnel everywhere.

The lightning strike had followed one of the oxidised hairline cracks through the thick concrete (reinforced with steel mesh inside) — a thin line of moisture that completed the circuit so to speak, allowed the arc across the gap, to discharge.

I’d been working out in the storm, and given I’ve been struck by lightning in the past, and been in planes and houses struck by lightning on more than a few occasions, as J. said, another chapter has been added to my memoir of ‘lightning and me: a relationship’!

A few weeks ago, I wrote a poem about being on the top of the hill (which is really the north-easternmost edge of the Darling Range, looking out into the wheatbelt), and watching a storm brewing, so powerful that it looked like a storm within a storm. That poem will appear in a special issue of TriQuarterly edited by Ed Hirsch and due out next year, I think. It is certainly a poem that is central to my gradually-taking-shape Jam Tree Gully/Walden manuscript of poems.

Speaking of which, on the WW Norton Poems Out Loud website, a related piece of mine entitled ‘Visitors’ has just appeared. It looks at the relationship between what I am doing and Thoreau’s Walden, and includes another poem from the manuscript.

No doubt I will have more to say down the track on the lightning incident. It will obsess me. One thing that has come out of it, or, rather, something Tracy and I had been thinking of doing anyway, that is now confirmed, is to place another water-tank further up the hill on the block so as to entirely gravity-feed the house. When we are off-grid, a water pump won’t work anyway (though we will retain it with a solar cell for back-up); anything that relies on gravity is altogether more reliable and more sensible. The hill is very steep, and the storm forces that gather overhead concentrate on this high-point of stone and trees, so why not make use of it?