Category Archives: Page 7x/47/7

Jeff Lemire and others’ Black Hammer vols 5 & 7

Jeff Lemire (writer), Caitlin Yarsky (art), Dave Stewart (colorist) and Nate Piekos (letterer), Black Hammer Volume 5: Reborn Part I (Dark Horse Books 2022)
Jeff Lemire (writer), Caitlin Yarsky (art), Dave Stewart (colorist) and Nate Piekos (letterer), Black Hammer Volume 7: Reborn Part III (Dark Horse Books 2022)

When I wrote about Black Hammer Volume 4 (at this link) I thought it was the end of the story, but no, two year later in real life and TWENTY YEARS LATER in comics caption, along comes Volume 5, or Reborn Part I (monthly comics #1-4), closely followed by Volume 6 and 7, Reborn Parts II and III (monthly comics #5–8 and #9–12 respectively). Not only is superhero Black Hammer reborn, as his daughter Lucy reluctantly resumes the identity, but there is a new, female artist. Caitlin Yarsky’s distinctive artwork is every bit as dramatic as Dean Ormston’s in the earlier volumes, though I think the domestic elements of the story have taken on more weight

I was given Volume 7 as a Christmas gift. I hunted for the two earlier ones, but found only Volume 5. I’m resigned to never reading the middle of this trilogy, but I did enjoy the parts of the ride that I took part in, and Volume 7 does start with a recap of sorts.

Anti-God was defeated in the earlier books, and now he’s coming back, and multiple universes are about to be collide and be destroyed. In earlier books, the superannuated superheroes were put out to pasture in a kind of simulacrum of rustic bliss. Many of them turn up in this one, older, possibly wiser, or maybe something else. In the dizzying interplay of universes, the dead live again, the good become evil, the evil good – and some heartbreaking decisions have to be made. There are plenty of what you expect from a superhero comic: THWAKs, SHRIPs and THOOMs and svelte female bodies (always, mercifully, clothed), there’s also a lot of complex, even bewildering time shifts. The emotional heart of the story is Lucy having to choose between being a good mother and saving the universe. (A bit like E. M. Foster’s famous line in ‘Two Cheers for Democracy’: ‘If I had to choose between betraying my country and betraying my friend I hope I should have the guts to betray my country.’) Oh, she also has to resolve her daddy issues in a multiverse kind of way.

This is probably not the end of this Black Hammer series. The caption on the last page of Volume 7 reads, ‘The cataclysm has begun.’

The two pages 77* illustrate the books’ range of art and narrative style.

In Volume 5, there’s a more or less domestic scene, in characteristic muted tones.

‘Mom’ here is Black Hammer in her mundane identity. The pudgy middle-aged man, the children’s father, was once an aspiring super-villain. His superpower was pretty pathetic and when Black Hammer vanquished him she also won his heart. In a note, Caitlin Yarsky says his his ‘suburban dad look’ was partly inspired by the late Philip Seymour Hoffman. Lucy’s reluctance to rise to her son’s challenge is a micro version of her central dilemma.

Readers of previous volumes immediately recognise the quavery font in the final panel’s speech bubble: it’s the voice of Colonel Weird, whose entanglement in a time warp means that he lives in the ‘Para-Zone’ were he experiences all times at once. When he says something about the future, we know it’s true. This little speech bubble carries a huge narrative force, as the other characters’ response indicates.

Volume 7’s page 77 may not feature any SCRACKs or KRA-KoooOOMs (these come a couple of pages later), but it’s part of the luridly coloured epic story.

Yes, it’s lurid, but it is crystal clear.

Those upside-down buildings in the top part of the page are parts of other universes heading for this one. A convergence will spell major disaster. Digger is another former supervillain, now Black Hammer’s major ally. He is wounded and probably dying. The Doc is one of the completely good guys – at least this version of him is. The man with the goggles … no, it’s all too complex for a quick summary. And that approaching rocket ship is about to introduce a whole new level of complexity, as Colonel Weird makes another appearance, this time accompanied by multiple even weirder versions of himself.

I guess I’ll keep an eye out for Volume 8 – maybe it will hit the shops in time for my March birthday.


I wrote this blog post on land of the Gadigal and Wangal clans of the Eora Nation. I pay my respects to Elders past and present. After days of heavy rain, the heat is beating down, and the lizards are loving it.


My blogging practice is focus arbitrarily on the page of a book that coincides with my age, which is currently 77.

Asako Yuzuki’s Butter

Asako Yuzuki, Butter (2018, translation by Polly Barton, 4th Estate 2024)

This was my end-of-year gift from the Book Club. It is probably an excellent book about misogyny in Japanese culture, with sharp satiric assaults on attitudes to food, with extra piquancy derived from its claim to be based on a true-crime story. It was evidently a huge success in Japanese and this English translation by Polly Barton has been reviewed enthusiastically.

The protagonist, Kira, is an ambitious young woman journalist working on a sensationalist magazine. In searching for a career-defining scoop she becomes enthralled by Manako Kajii, a woman who defies the social norms of slender femininity and is currently in prison for having killed a number of elderly men, after winning their hearts by cooking luxurious food for them. Manako introduces Kira, who until now has survived on a spartan, negligent diet, to the joy of butter – cooking with it and eating the results.

My guess is that the key to enjoying the book is to read it fast, and I’m a slow reader. The themes are real and interesting: feminism versus feminine wiles; social norms versus desire; career ambition versus enjoyment of life. But I struggled with it, and gave up soon after my obligatory 77 pages.

It may well be that Polly Barton has reproduced the feel of the original Japanese, but the best way I can describe my response to the book’s language is to say that it reads like the kind of English you find in school students’ translations. The information is all there, but in the process of capturing it, the student forgets to pay attention to the natural rhythms and sequencing of English prose. That’s fine if you’re a teacher correcting someone’s homework, but if you’re reading a novel, it keeps yanking you out of the story.

I don’t want to spoil anyone’s enjoyment, but I’ll try to articulate why I find the book such a slog. Page 77* isn’t particularly egregious, but it offers a number of examples. Rika is on an outing with her mother, partly to cheer her up, and partly with the undeclared intention of having a look at Kajii’s apartment. Rika’s mother becomes high-spirited as they inspect the building that has been ‘making a splash in the news’.

I’ll just talk about the beginning and ending of the page, but you can enlarge the image to read it in full:

The first sentence:

Even when a resident came out and gave them a withering stare, Rika’s prevailing feeling was still one of relief that her mother’s mood had shifted.

There’s nothing glaringly wrong with that, but a close look reveals a number of tiny problems contributing to the cumulative awkwardness.

To my ear, the phrase ‘even when’ suggests an extreme event of some kind, and it takes a microsecond to realise that this is something quite undramatic: a resident comes out of the building and gives the pair a withering look. For another microsecond, I wonder why the resident would pay them any attention at all. They’re just two women in a public street. And it’s not just a look, but a stare! How does Rika know that this more or less abstract person is a resident? Moving on, the awkward phrase ‘prevailing feeling’ suggests, if anything, that Rika is experiencing complex emotions, but that suggestion goes nowhere. ‘One of relief’ is clutter – why not just ‘relief’?

One last thing: the word ‘still’, which if you read this sentence without context is completely innocuous. But it’s another example of a micro-interruption to the narrative flow. This is the first time we’ve been told that Rika is feeling relieved. The reader (or at least this one) has to do a quick calculation: oh yes, Rika’s mother’s mood has lifted so of course it was implied that Rika felt relief, so now we’re being told that that relief has survived. This is a recurrent quirk: we’re told that something has happened, rather than seeing it happen.

I can enjoy a text that demands work of me, but these extra little bits of readerly labour bring no joy.

I won’t take you laboriously through the whole page, though I can’t resist mentioning the phrase, ‘In the temple heaving with people’. The meaning is clear, but it doesn’t quite feel like English.

At the end of the page, Rika and her mother are having a coffee (in a Doutor, which Rika’s mother prefers to Starbucks because Starbucks doesn’t allow smoking – in the kind of culture-specific moment that I confess to enjoying).

No sooner had she lifted her mug of coffee to her lips than she began her confession.
‘You know, I feel like I can really understand why Manako Kajii was so popular with men. The truth is … You promise you won’t mention this to anyone?’
She giggled like a schoolgirl and leaned across the table to whisper in Rika’s ear. What Rika heard nearly made her choke on her mouthful of milk tea.
‘What! You worked as a decoy at a matchmaking party? I need to hear more about this.’

Again, these are tiny things, but they accumulate. ‘No sooner than’ is just slightly wrong: can you begin to talk at the moment you lift a mug of coffee to your lips? Specifying a mouthful of tea is unnecessary and creates another of those micro-pauses: I suppose it’s technically possible to choke on a mouthful of liquid, but the term ‘mouthful’ suggests that it’s still in the mouth and more likely to cause spluttering. Having the reader learn what the mother says only when Rika repeats it is an unnecessary and (to me) annoying complication.

Your mileage may vary, and I hope it does. If you want a completely different take on the book, I recommend Theresa Smith Writes.


I wrote this blog post on land of the Gadigal and Wangal clans of the Eora Nation. I happily acknowledge their Elders past and present for caring for this land for many thousands of years.


My blogging practice is to focus arbitrarily on the page of a book that coincides with my age, currently 77.

Philippe Jaccottet’s Pilgrim’s Bowl

Philippe Jaccottet. The Pilgrim’s Bowl (2001, translated by John Taylor 2015, Seagull Books 2022)

This is a short book by a poet who is completely new to me about an artist whose work I have never seen. It was a Christmas present, a book I wouldn’t have dreamed of buying for myself. I enjoyed it a lot.

Philipe Jaccottet (1925–2021) was a Swiss poet who wrote in French, one of only fifteen writers to be included in the canon-defining Bibliothèque de la Pléiade while still alive. His English-language Wikipedia page is extremely sparse, but French-language Wikipedia is a different thing altogether. His expansive page there includes this (as rendered by Google Translate):

Jaccottet writes that the poet is no longer ‘the Sun […] nor a son of the Sun; nor even a Torchbearer or a Lighthouse’ (he therefore rejects the image of the ‘poet-prophet’): the task of this ‘anonymous one […] dressed like any other anxious man’ is to try to ‘paint’ the world ‘so wonderfully’ that his work would be able to distract Man from his fear of death.

In The Pilgrim’s Bowl, Jaccottet turns his attention to the work of Italian painter and printmaker, Giorgio Morandi.

Though I’ve never seen an original work by Morandi (1890–1964, Wikipedia page here), I know a little more about him than about Jaccottet. The Emerging Artist did a beautiful drawing when at Art School that was copied, she told me, from one of his paintings, and the great cartoonist Jenny Coopes, taking up ceramics late in life, created a set of Morandesque objects which we now own. (For the benefit of readers who don’t know Morandi’s work: this photo does not capture anything of its austere, dreamlike simplicity.)

After reading this 66-page book with its dozen images, I feel that I know – and like, and admire – both these people much better. Jaccottet does not present as an art critic. He is not out to describe Morandi’s paintings, but to explore what he calls the enigma of the powerful emotion they create in him. This is from page 3:

It is not surprising to be stirred by the view of a mountain, the ocean, a sunset, a big city; or by the imminence of a war, the nearness of a face, the death of a close friend. And therefore, consequently, by their representation in a painting, poem or narrative. But with this artist: those inevitable three or four bottles, vases, boxes and bowls – what apparent insignificance, what ludicrousness or nearly so (and all the more so when the world seems about to collapse or explode)! And how can you dare claim that such a painting speaks a more convincing language to you than most contemporary works of art?

He approaches the enigma from different angles, ‘as naively as possible’. Which means he goes down tangent after tangent, and somehow enriches our sense of Morandi’s work.

Noting that Pascal and Leopardi were Morandi’s favourite authors, he spends fascinating pages discussing them. He riffs on snippets of Morandi’s biography. He catches fleeting associations – remembering that Morandi would let dust settle on his paintings, he thinks of the ‘sandman’ and then of the Sleeping Beauty, which gives him a way of talking about ‘the unchanging light bathing Morandi’s paintings’:

It never sparkles or glares, never flashes or breaks through clouds, even if it is clear as the dawn, with subtle rose and grey hues, this light is always strangely tranquil.

There is much more about that light.

He quotes from Dante and Plato. Acknowledging that he may be a little over the top, he compares Morandi’s still lifes with Vermeer’s paintings of young women and even with classic Madonnas.

Page 47* is the first half of the book’s most tangential tangent. Page 46 ends with this beautifully distilled paragraph:

The more Morandi’s art progresses in terms of deprivation and concentration, the more the objects in his still lifes take on, against a background of dust, ash or sand, the appearance and the dignity of monuments.

Then, abruptly, a parenthesis takes up the next two pages, beginning:

One night not long ago, I remembered a stopover in Ouazazarte, Morocco – rose-coloured sands and yellow sands, windy gusts blowing distant sand up into flags, and those fortress-like buildings shimmering in the excessive light without being mirages, yet barely distinct from the ground on which they had been built – why was this brief glimpse-like vision one morning so poignant?

I don’t know how to summarise this work. You have to be there. Let me just say that when I do get to see a painting by Morandi, I will come to it with eyes, heart and mind prepared.


I wrote this blog post on Wadawurrung land, overlooking the Painkalac River. I acknowledge their Elders past and present.


My blogging practice is to focus on the page of a book that coincides with my age, currently. As The Pilgrim’s Bowl has fewer than 77 pages, I’m focusing instead on my birth year, ’47.

Brubaker and Phillips’s Night Fever

Ed Brubaker, Night Fever (art by Sean Phillips, colors by Jacob Phillips, Image 2023)

I’m steadily making my way through the pile of books I was given as Christmas presents. As always the pile includes some excellent comics. We Are Not Strangers is one (blog post here). Night Fever, which could hardly be more different, is another.

Ed Brubaker and Sean Phillips are a prolific team of comics makers. I’ve read their work in a number of genres – Hollywood noir, fantasy spy stories, and horror, though none of them is necessarily constrained to just one genre. Unlike most of their comics, Night Fever is a stand-alone story rather than part of a series. It shares the physical and moral darkness of their other work.

The narrator-protagonist, Jonathan Webb, is a sales rep for a US publishing company who once dreamed of being a writer. In Europe for a book fair, filled with a sense of failure, he crashes a decadent upper-class party, an orgy like the one in Stanley Kubrick’s Eyes Wide Shut, by pretending to be someone whose name he spotted on the guest list.

As every genre reader knows, it’s dangerous to borrow someone else’s identity, especially if they have access to a boundary-pushing party attended by the super rich. Sure enough, Jonathan is caught up in all manner of terrible things: alcohol, drugs and debauchery as you’d expect, but then there’s larceny, murder and an exploding police car. As one caption puts it, ‘Crime is the biggest high in the world.’

But crime doesn’t pay. Or does it? Will he ever find his way back to mundane life, his loving wife and their two sons? And if he does, will he be content? Or will he be haunted by this week when he threw off the shackles of decency? And who is the stranger Rainer who leads him deeper and deeper into the darkness?

Page 77* give you a taste of the art work, including the dark palette. It’s also an example of the genre-blending quality of Brubaker and Phillips’s work. Jonathan has visited a bar where he’s been warned, too late, not to drink anything because, ‘They put a lot of stuff in the cocktails here.’ There follow a number of pages where black space represents things he doesn’t remember of the night, and the rest is full of jumbled images of debauchery and violence. This page is a moment of calm, in which the owner of a voice that has been speaking to him from the shadows is revealed:

Ah, you might think, this is where the story gets really weird. The next thing Jonathan remembers is being back at a party. Maybe she saved him, maybe he landed on something soft, maybe it was a drugged hallucination. It wouldn’t surprise me to learn that at this stage, Dave Brubaker himself wasn’t sure which way the story was heading. Another blue, four-armed person turns up a couple of pages later, and someone tells Jonathan that the aliens ‘have been coming more often lately … getting ready for the end’.

This page is also a good example of the objectifying treatment of women’s bodies that is my main dislike of comics like this. Thankfully this is the only naked woman in the book. I guess if you have scruples about pervy comic-book misogyny, you can always slip in a naked woman by giving her a second pair of arms and making her a godlike alien. (A full-frontal naked man turns up later, but he’s dead and not the least bit sexy.)

To quote my gift-giving son about another Brubaker-Phillips book, ‘It’s popcorn.’ It’s quality popcorn.


The first horror story I ever heard was told me by a Bundjalung woman – and it was much scarier than anything in Night Fever. I wrote this blog post on land of the Gadigal and Wangal people. I acknowledge their Elders past and present who have told stories here and cared for this land for millennia.

Michael Crane’s Urban / Landscape / Ordinary Lives

Michael Crane, Urban & Landscape / Ordinary Lives (Flying Island Books 2024)

Michael Crane organised Australia’s first poetry slam in 1991, and has been a significant figure in Melbourne’s spoken word scene ever since – or at least until his Wikipedia entry was updated, which may have been more than a decade ago until I added this book.

So this is a book of poems by a spoken word practitioner. That is, they are mainly poems for the stage rather than the page.

There are three sections: ‘Urban’, ‘Landscape’ and ‘Ordinary People’.

The first is mostly snapshots of life in inner-city Melbourne, with a couple of Brisbane scenes thrown in. The ones I like best are list poems. Take ‘The Emerald Hill Library Story Time’, for example, which lists many aspects of Clarendon Street that make it a tough place to live, and ends with the tenderness of storytime for children at the library; or ‘Hi Rise’, made up of fifteen couplets, each describingsomeone we take to be a resident of the building:

Marlene ran a tight ship
as her cat, Teddy, rubbed its tail between her legs.

Many visitors arrive unannounced,
cheating the security system.

Harry lives with his father
who he must treat like his child to manage him.

‘Landscape’ mostly moves out to the country, though in its final poem, ‘Life in the Big Smoke’, a poet from the country (a version of Michael Crane in his post-Wikipedia days?) visits the city, has a number of (non-)encounters and goes back ‘to where he came from’. This poem is enriched by being read in this context: its string of encounters echo similar ones on the first section, but the emotional impact is the opposite. In particular, it pairs nicely with ‘White noise of an urban landscape’, which begins, ‘The country life was not for him.’

The third section, ‘Ordinary Lives’ begins with ‘Introduction’, which lays out the section’s rationale, including this:

I find most people more interesting than me, but my job
is to document their success and failures, the moment of glory or
the times when they are alone without love.

The poems in this, as in all three sections, are mostly direct, straightforward, unassuming. They tend to name things without analysis or commentary. On the page they tend to be flat, but my sense is that they would come alive with the gesture, tone of voice and facial expression of spoken-word performance. They’re also mostly on the depressive side – fewer moments of glory, more times alone without love.

My arbitrary blogging practice, especially with books of poetry, is to focus on the page that corresponds to my age, which is currently 77. Page 77 of this book features one of the ‘Ordinary People’ poems, ‘On a plane to Cuba’:

This seems straightforward on a quick read, but there’s something unsettlingly off kilter about it – which may be another way of saying it couldn’t have been written by AI.

After I wrote that last sentence, I decided to test my assertion, and asked Chat GPT to write a poem about a woman who is about to leave her sleeping husband and go to Cuba. I’ve given the result at the bottom of this post, so as not to confuse it with real poetry*.

ChatGPT was worryingly proficient. But what it produced demonstrates that a mechanical aggregator just can’t do what a human poet can. The AI product has sharp images of the room, gives reasons for the woman’s choice of Cuba, and even has a last line that works, but none of it is surprising.

Michael Crane’s poem, on the other hand, pretends to be offering us clichés, but undermines them all the way. In the first ten lines, even as the poem evokes the woman’s yearning for elsewhere, it subtly, almost invisibly, distances itself from her. Does anyone in touch with reality think of Paris, City of Lights, as dimly lit? And though I’ve been in London when it snowed, surely ‘snow-covered footpaths’ is an idiosyncratic way of evoking that city. Her version of Cuba is similarly idiosyncratic. The ‘almost naked dancing women’ are a cliche from Rio rather than Havana. She seems to be vague about Cuban history. What is the ‘long war’? Maybe she’s thinking of Fidel wearing military fatigues? And, in the most telling split between the woman’s perspective and the poem’s, why does she find memories of war attractive?

In lines 13 to 15, the woman’s situation becomes clear:

She is going to catch a flight to Cuba 
as soon as she leaves the snoring man
who kidnapped her youth, ransomed her beauty.

Perhaps the woman’s idea of a ‘long war’ has come from the implied long time that she has been unhappily married. The definitive final line is hinted at here.

The poem continues to tread a fine balance between sympathy and – what is it? – scepticism. She takes no responsibility for whatever has one wrong with the relationship: there’s no indication that the man has been abusive – just that she took up with him when young and beautiful, and now feels the loss of those qualities (and we understand that she means he held her beauty to ransom rather than, what the words literally mean, that he paid a price to set it free). The feeling of loss is real, but we (or is it just me?) can’t help suspecting that she lacks insight.

Crucially, it’s her dreams that she packs along with supremely impractical clothing, and the last line strikes a superbly ambivalent note: all through the poem she has been dreaming of Cuba, and she heads off to ‘the songs of endless summer nights’, but really it might as well be dim Paris or snowy London, because what matters is

days filled with the absence of him.

It’s not ‘She’s Leaving Home‘, with it’s brilliant empathy for both sides of the departure, but then what is?


I finished writing this blog post on land of Gadigal and Wangal of the Eora Nation, as the sun was breaking through clouds after a day of heavy rain. I acknowledge the Elders past and present who have cared for this land for millennia.


*ChatGPT’s poem:

She watches him sleep, his chest rising and falling,
the steady rhythm of a man who never saw her breaking.
The sheets tangled around him,
a quiet fortress she once called home.
But now it feels like a cage.

Her bags are packed, a quiet rebellion in the corner.
Cuba waits—its colors, its heat,
its freedom, a place where she can feel her pulse again.
She runs her fingers over the window sill,
tracing the outlines of a life she no longer wants.

She should wake him, say goodbye,
but the words are too heavy,
the goodbyes too worn.
Instead, she steps lightly,
a ghost slipping past the threshold.

She breathes in the cool air of the morning,
the world opening wide in front of her.
And with every step,
she leaves behind the woman she used to be.

Josh Tuininga’s We Are Not Strangers

Josh Tuininga, We Are Not Strangers (Abrams Comicarts 2023)

In December 1941, about 127,000 Japanese Americans lived in the continental USA. After the attack on Pearl Harbor and the declaration of war on Japan, about 120,000 of them, of whom about two-thirds were U.S. citizens,  were forcibly relocated and incarcerated in concentration camps.

This is not a secret history. In The Karate Kid, the young boy comes across references to the deaths of Mr Miyagi’s wife and child in a camp. Star Trek actor George Takei famously spent a number of years in one of the camps as a child, as told in the documentary To Be Takei (2014) and in They Called Us Enemy, a comic he co-wrote that was published in 2019. David Guterson’s novel Snow Falling on Cedars (1994) and the Scott Hicks film made from it refer to the incarcerations. (There are more examples on Wikipedia – I’ve just mentioned the ones that ring a bell for me.) Various presidents have expressed regret over the episode.

Josh Tuiininga’s comic comes at the subject as it played out in Seattle, from the point of view of Sephardic Jews. It begins in December 1987, with the funeral of Marco, the narrator’s grandfather. The funeral proceeds according to Sephardic tradition, but a lot of people turn up that the narrator has never seen before. Curious, he asks them how they knew his grandfather so well, and the story emerges.

During World War Two, as the Sephardic Jews of Seattle were watching the horrific events unfolding in Germany, they were suddenly confronted by a terrible injustice closer to home, as Japanese friends and neighbours were rounded up, their businesses forcibly closed, and their lives disrupted.

Page 77* marks a turning point. Marco and his family have just heard a radio announcement that ‘the Japanese population in America are potentially dangerous’ and are to be relocated or suffer criminal penalties:

In the first image on this spread, the woman walking away with a dismissive gesture is Marco’s mother, who has successfully escaped Germany and been smuggled into the USA by way of Canada. Her gesture signifies contempt for the edict, which she has just said is like what happened to Jews under the Nazis (not a view the comic necessarily endorses, but it shows the basis for solidarity between Jews and Japanese).

The left-hand page appears to portray Marco and his family as helpless bystanders. Evidently the Japanese American Citizens League recommended compliance for pretty much the reasons that Marco gives here: to resist would be to undermine the war effort. But the wordless right-hand page suggests something else. It is followed by two more wordless pages, a full page drawing of Marco at his desk beneath a clock showing one-thirty, and then a single drawing of a lit window in a dark suburban scape. We don’t now what these images mean precisely, but they remain as a question as the rest of the story unfolds: there’s a Passover sermon at the Synagogue; one of the Japanese children has her white friends turn against her; the Central District of Seattle is filled with remnants of Japanese presence; there are glimpses of life in the camps, and on their closure signs of persistent anti-Japanese sentiment are everywhere.

But it turns out that what Marco was doing in his study that night was working out how he could safeguard his friends’ homes and businesses. When they return home, he gives them envelopes full of rent money, deeds and all that is needed to help restore their lives. And he has done it for as many families as he could manage. Only at his funeral do his own family find out what he has done.

‘Why did he keep it a secret?’ the narrator asks, and over a series of images that show Marco with family and his Japanese fishing friend in 1945, 1953, 1968, 1979 and then (his empty chair at the family table) 1987, the captions read:

Maybe he thought he would get into trouble.
Perhaps he wished he could have done more.
Or, maybe …
… he just wanted to forget all about it …
… and spend his time on more important things.

That last line is a caption between two images, one of Marco as an old man at a family meal, the other (echoing images from early in the book) of him and his Japanese friend fishing together and laughing.

It’s a powerful story, elegantly told in a palettte of mainly warm browns and pale blues. Though a note at the beginning assures us that this is a work of fiction, it also says the story is based on ‘the oral histories of many’.

It’s pure coincidence that I have read this so soon after Yael van der Wouden’s novel The Safekeep. That novel hinges on the loss of property and livelihood by Jews in the Netherlands under the Nazis – so that those who did return from camps found their houses occupied and their personal items now used by strangers. That almost certainly happened to many Japanese-Americans, but this story demonstrates how it could have been different, and that in at least some cases it was different.


It would have been impossible for me to read this book without thinking of North Queensland. My grandfather was a police magistrate. The family story is that because he had learned Italian he was brought back from his posting in Brisbane to supervise the internment of Italians during World War Two. That internment was on a smaller scale – 5000 men were taken from their families to internment camps in New South Wales and South Australia, and at least twice as many were put to work in remote areas building roads and rail, and working in mines. Many were naturalised Australian citizens.For the most part, only the adult men were taken away: the results were devastating for Italian farmers, and families were disrupted.

The ABC ran a story in 2020 marking the 75th anniversary of the end of the War (link here). The excellent Babinda museum tells one man’s story – a man who, characteristically, downplays the difficulties he faced. The official archival records of the internments have been made public for some decades now, but as far as I have been able to tell the many stories – from Innisfail, Ingham, Garradunga, Daradgee, Boogan – have yet to be told.


I wrote this blog post on land of Gadigal and Wangal of the Eora Nation, peoples whose own stories of mistreatment in times of war have yet to be fully told. I acknowledge the Elders past and present who have cared for this land for millennia.

The Book Group and Samantha Harvey’s Orbital

Samantha Harvey, Orbital (2023)

Before the meeting: We picked this book as our next title the day before it won the Booker Prize. Smart us!

Four men and two women on a space station orbit the Earth sixteen times in twenty-four hours. They eat, they monitor experiments with plants and mice, they do strenuous exercise to counteract the bodily effects of living in low-gravity, they maintain their environment and monitor their own vital signs, they report back to ground control, they exchange messages and images with their loved ones at home, they occasionally have weirdly unreal conversations with complete strangers on Earth, and they look out with wonder at the planet below them and at the vastness of space.

That’s the plot.

A writer less sure of herself might have developed a plot where the relationships among the travellers create conflict or titillation. There would be plenty of possibilities in the crew consisting of two Russian men, an Irish woman, a Japanese woman, a Christian man from the USA, and a Latino man with connections in the Philippines. But the subject of this novel is the humans’ relationship to the planet, and beyond that to the universe, from a perspective that makes the conflicts that dominate human life in general seem absurd.

At the front of the book there’s a diagram showing the pathway of the spacecraft’s orbit over the day. The craft flies / falls in a straight line, but the rotation of the planet beneath it means that it crisscrosses the land and ocean below. I kept flipping back to the diagram as chapter by chapter, one for each of the sixteen Earth orbits in the day, describes in lyrical language what can be seen below.

This book is ideal for my blogging practice of singling out a particular page, currently page 77, because though there is a narrative of sorts it’s not the kind that means one has to be wary about spoilers. Part of what makes this book a worthy winner of the Booker is its brilliance at the sentence level.

Page 77 is in the chapter ‘Orbit 8, ascending’. Though the craft is over the south-west of the USA, the narrative departs, as it does occasionally, from what lies below to describe what is happening on the other side of the planet:

Over there, in tomorrow, the typhoon summons winds of a hundred and eighty miles per hour. It’s rampaging through the Mariana Islands. The sea levels off the islands’ coasts have already risen with the expansion of the warmer water, and now, where the winds push the sea toward the westward edges of its basin, the sea rises more and a five-metre storm surge engulfs the inlands of Tinian and Saipan. It’s as though the islands are hit with cluster bombs – windows blown out, walls buckling, furniture flying, trees splicing.

There follows a little more description of the typhoon from a meteorological perspective. Its growth is the book’s one central narrative thread. In later chapters, the crew see it as spectacle – contrasted with the terrifying reality on land, especially as it affects a poor family who once offered hospitality to one of them.

But for now, the daily routine asserts itself:

The crew go on with the last of their tasks. Anton eats an energy bar to fight off late afternoon drowsiness. Shaun removes the four fasteners on the bracket of the smoke detector that needs replacing. Chie inspects the bacteria filters. Their path now ups and overs and exits America where the Atlantic is ancient, the placid silver-grey of a dug-up brooch. Calm suffuses this hemisphere. And with no ceremony they complete another lap of the lonely planet. They top out some three hundred miles off the Irish coast.

And then there’s this:

ln passing through the lab, Nell looks out and sees the promise of Europe on the watery horizon. She feels somehow speechless. Speechless at the fact of her loved ones being down there on that stately and resplendent sphere, as if she’s just discovered they’ve been living all along in the palace of a king or queen. People live there, she thinks. I live there. This seems improbable to her today.

This intermingling of more or less objective observations of the Earth as seen from orbit, the daily routines of life in the space station, moments of lyrical reflection is maintained, with miraculous poise, through the whole book.

The meeting: We’ve been calling our bring-a-plate meetings gentlemen’s picnics. This one was an actual picnic, in Bicentennial Park on the shores of Blackwattle Bay, Gadigal land. Pavlova, quiche, dumplings, barbecued sausages eaten to a backdrop of birdsong and practising dragon boats beneath a three-quarter moon. We were interrupted briefly by what seemed to be a gay bashing – eight men of certain ages tried to look imposing as we lumbered towards the scene, but it seemed to vanish before we reached it. We conferred with a couple of men who were dossing down in the Esther Abrahams pavilion, and with a cluster of hefty teenage boys, and decided there was nothing further any of us could do.

It was our final meeting for the year, so we swapped gift-wrapped books (I scored a Zadie Smith) and most of us read a poem: David Malouf, Robert Frost, me and John Levy (it was unclear whether I’d broken a rule by reading one of my own, but it was excused because my poem was there to illuminate John’s), Brecht, James Baldwin.

In the middle of this mostly joyous occasion, we managed to talk about the book. The first thing said could have been a paraphrase of my fourth paragraph above: what a relief that Samantha Harvey didn’t go down the track of having big conflicts among the crew. My sense is that everyone enjoyed the book a lot.

We reminded each other of ‘good bits’: the lab mice learning to live in low gravity, the tear drop that has to be caught and disposed of because free-floating liquid can’t be tolerated, the nose pressed against a stomach as two characters squeeze past each other … Someone mentioned what should have been obvious: though the crew sees sixteen sunrises, they all happen on the same day – I took that in my stride while reading the book, but when it’s put like that it leaves me gasping.

One person found a lot of the book tedious and repetitive, but later, driving in the car, he realised that the repetition was partly the point, these people were caught in a continuous loop.

The closest we came to disagreement was when someone said the absence of ordinary, everyday irritations and conflicts among the crew strained his credulity. In real life, people living together in such close quarters would inevitably grate on each other at best. Two arguments were offered to counter this view. First, on the level of verisimilitude, the crew are disciplined – they can live with an itch in a space suit for hours without scratching, surely they can put personal irritations aside. Second, yes it’s unrealistic, but to pay attention to such matters would have cluttered the book or even taken it to a different, less interesting place. (One of us has spent some months in a hut in the Antarctic, so could vouch for the likelihood of conflict – though he was the one who argued most strongly that these are disciplined space travellers.)

It was a terrific end to another Book Group year.

Photo by Steve Kennedy, used with permission

Andrew Burke’s Historic Present

Andrew Burke, Historic Present (Flying Island Pocket Poets 2023)

The ‘About the author’ paragraph at the back of this book begins ‘Andrew Burke was an Australian author’ – and you realise that the Acknowledgements two pages earlier were written very soon before the writer’s death in his 79th year (as confirmed by his Wikipedia entry), and that one of the last things Andrew Burke wrote was this tiny love note:

The many moods of this collection were suffered in partnership with my wife, Jeanette – so thanks for discussions over blueberries and porridge.

The preceding ninety pages of poetry do reflect and capture many moods, and it’s not hard to imagine the man who wrote them enjoying a quiet chat over blueberries and porridge – not just with his wife but with a community of poets living and dead. Many of those poets find their ways into the verse, either by name or by quotation, very occasionally in a way that made me go googling, but mostly as a way of invoking a community, of readers as well as writers of poetry.

There are poems of travel and childhood memory, poems marking the death of a friend, poems that seem above all to be recording a passing moment. They don’t strive for effect or makes a song and dance of their emotional content or insights, but quietly do their work and are gone.

‘Testicular Check-up’, for example, begins:

I fell in love with my balls
all over again when
they were endangered. 

(You’ve got to love those line breaks!) What follows is a good humoured conversation with the ‘lady’ scanning his testicles. He doesn’t spell out the emotional content of the moment. Enough to say that amid the chat and the matter-of-fact handling, first of his penis then of each testicle, he feigns comfort and indifference, the repetition of the word ‘feigning’ lying like a blanket over what is left unsaid.

Page 77* falls in the middle of the book’s longest poem, ‘Lone Patrol: Darlington 1991’. Again looking to Wikipedia, I find that Darlington is a small community some distance east of Perth frequented by artists. The speaker of this poem is living in someone else’s cottage, perhaps an Airbnb (or the 1991 equivalent) or a writerly retreat, or just to take a break from a difficult time on his life. He chats with a visitor, attends an AA meeting, writes, listens to Jack Kerouac, reflects on his life, enjoys the surroundings.

The poem is in 23 sections, and reads like notes on his time in the cottage. These lines, from page 78, referring to work he is doing on another poem, shed light on the nature of this poem:

'Triplog' poem edited
___________ down to 15 pages
but what to do
with such an
________idiosyncratic poem ...

‘Log’ isn’t a bad description of the current poem – ‘staylog’ perhaps, part journal, part jottings of observations and reflection. And it’s not hard to imagine that it has been edited down from copious daily notes to its 14 pages. I usually look for an overarching narrative in long poems, but here I couldn’t see anything other than a string of moments – and I’m happy with that.

Page 77:

The first two sections are short haiku- or senryu-like poems.

The first, as I read it, juxtaposes the speaker’s grim mood (‘Comedian – / no!’) with the cheerfulness of the natural world, represented by kookaburra’s laughter. Whether the laughter is derisory (the kookaburra is laughing at the poem’s speaker) or simply indifferent (the kookaburra is just laughing without reference to him) is left open.

The second is less successful. I googled ‘Do bees fart?’ Apparently it’s an age-old question, and they sort of do but not really. My sense is that the poem doesn’t care about that. It catches itself in a cliche celebration of flowers in the spring, and throws in a bit of vulgarity to shake the image up. (It does make me want to echo the earlier lines: ‘Comedian – no!’, but in a friendly way.) You might enjoy the way ‘break wind’ has a second, more literal meaning – the bee interrupts the flow of the breeze. If so I’m happy for you.

The third section starts out as a prosaic to do list, then in the second stanza that prosaicness finds what in my distant university days was called an ‘objective correlative’ – an embodiment of the underlying emotion:

I stare at the dry stick
propped against the wall

The narrative behind the matter-of-fact notes ‘pay car reg / pay lawyer’ comes more fully into view – there may be a divorce in the mix:

_________ all
creativity gone, energy,
sapped by money
and marriage hassles.
dry.

The section goes on, to describe an afternoon of talking, and then of trying to write. It ends, taking the image of the dry stick one step further:

dead spider talks
about mortality

Unlike the kookaburra, the dead spider (on a windowsill?) reminds him of his mortality; or perhaps he himself, dead-spider-like, can’t write of anything but death.

The poem is a staylog, and also a pretty matter-of-fact account of what a more egotistical person might have called a Dark Night of the Soul. In 1991, the poet was approaching 50. Perhaps the matter-of-factness was there at the time, or perhaps the poem got to its present form much more recently, and the matter-of-factness comes from the thirty-plus intervening years.

It’s a bitter-sweet thing to meet a poet only after he has died. But it is sweet.


I wrote this blog post on Gade / Wane. I acknowledge the Gadigal and Wangal elders past present and emerging, and gratefully acknowledge their care for this land for millennia.


* My blogging practice is to focus on page 77 (at least until I turn 78). In books like this, the practice saves me the impossible task of choosing one poem to represent them all.

Three books by John Levy, and November verse 10

John Levy, 54 Poems: Selected and New (Shearsman Press 2023)
––, To Assemble an Absence (above/ground press 2024)
––, Guest Book for People in My Dreams (Proper Tales Press 2024)

John Levy has commented generously a couple of times on this blog (here’s a link). When he emailed to ask if I’d like a copy of his recent book, with no expectation to blog about it, of course I said yes, provided I could send him one of mine. So we swapped books: I sent him two, he sent me three, an unequal exchange in more ways than the obvious. He has responded to my efforts with what I now know to be his characteristic generosity. And now I am blogging about his, motivated by joy, not obligation.

John’s books arrived when I was sitting down to lunch with the Emerging Artist and our grandchildren. I flipped 54 Poems open to the first page, and read out the prose poem ‘Kyoto’:

Kyoto

I'm at a temple. A young monk in black robes walks by, looks at me,
stops. He points to my long hair. Brown. Then to my goatee. Red. He
touches my armpit and looks puzzled. I point to my hair. He points to
my crotch. I point to my hair. He invites me in for green tea.

The children liked it, probably because of the crotch reference. The Emerging Artist liked it, possibly because of the colour play. I liked it for both those reasons, and also for the comedy about communication and connection that don’t need words.

These three books reminded me that poetry can be a lot of fun. It can deal with death and loss, all manner of elevated cultural matters, or issues encountered when working in a Public Defender’s office, and still be fun. It can talk to goats and spiders and be silly about words, while still being serious. It can be warm without being goopy, and self-referential without being wanky.

Naturally, I went Googling. Among other things, I found John being interviewed on the website of Touch the Donkey, a small quarterly poetry journal published by above/ground press, publishers of one of these chapbooks. In that interview, he describes his approach:

I begin writing a poem (or prose poem) without knowing what I am going to say after the first few words that I thought of to begin with. Sometimes … I begin with a friend in mind and want to write something for the friend although I usually haven’t figured out anything beyond wanting to write something to that friend.

It’s poetry impro.

No doubt these poems have been polished and revised, but they retain the feeling of immediacy, of the poet’s mind chasing associations like a distractable child in a toy shop, and then they resolve themselves as if by magic.

I’ll stick to ‘Levy’sAccordion Straps’ on page 77–78*. I apologise for the quality of these images:

You could call this a rabbit-hole poem. It doesn’t start in exactly the way Levy describes in the interview above, but it’s in the same paddock. It’s a comic version of close reading: he takes a single word from Gregory O’Brien’s poem ‘A Genealogy’ (of which we know nothing else), and sees where it takes him. Maybe it’s the obsessive copy editor in me, but I love it that the poem starts from what turns out to be a misspelling. We tend to think of USA-ers as culturally arrogant, but Levy here has the humility to check the ‘variant’, and then stays open to the possibility that they do things differently in New Zealand. (There’s an Easter egg in line 24: Levy slips in a typo of his own, adding a space in Angelo Dipippo’s surname.)

As the poem progresses in an apparently random manner, it turns out that it features quite a bit of English as spoken/written by people not from the USA. There’s quiet humour, but not, I think, mockery. The last line made me laugh out loud. Instead of seeing the ‘detour’ as taking him away for a moment from O’Brien’s poem, he sees it as having changed the kind of attention he brings to it.

And now, because it’s November, here’s an hommage (with an advance note – Mruphy’s [sic] Law decrees, ‘If you write anything criticising editing or proofreading, there will be a fault of some kind in what you have written’):

Verse 10: Dear John

YouTube. Angelo Di Pippo
plays, you said, 'La vie en rose'.
I can’t find him (you’ve got a typo
in his surname, Mruphy knows).
I do find other Piaf splendours –
Galliano working wonders.
Music takes me in its arms,
an infant whose late night alarms
are soothed by father’s tender crooning.
Jean, who says she’s ninety-one,
comments that life then was fun.
I googled “Levy’s straps” this morning,
found them, surfed around some more,
found fancy watch straps made by Shaw.

I finished this blog post on Awabakal country, near what is now one of the biggest coal ports in the world. I acknowledge Elders past, present and emerging for their continuing custodianship of this land.


My blogging practice, especially with books of poetry, is to focus on the page that coincides with my age, currently 77.

Journal Catch-up 26: Meanjin Winter 2024, and November verse 6

Esther Anatolitis (ediitor), Meanjin Vol 83 Nº 2 (Winter 2024)
(links are to the Meanjin website: some but not all of them are available to non-subscribers)

This Meanjin is incredibly rich and varied. I’ve carried it in my backpack for weeks, mostly reading a single article or story at a time when on public transport, in waiting rooms or queues, or occasionally – as in the days before podcasts – while walking. I have learned about:

Click on any link in that list, and you may find something instructive, challenging, entertaining or all three.

As the child of a farmer in North Queensland, where Mamu land has never been ceded and sugarcane monoculture has not been kind to the land, I was particularly moved by Katherine Wilson’s brief memoir about regenerative farming and collaboration with traditional owners, ‘Our Bog Paddock’s Understory‘.

I also want to mention ‘We, small heroes‘ by Micaela Sahhar, a short reflection on what it means in the current era that Palestinian culture has hospitality as a core value.

Of the four excellent pieces of fiction, Katerina Gibson’s ‘Something Dormant‘ stands out as a complex story of young, unrequited love remembered, with an environmental twist.

One of the joys of this Meanjin is the way its nine poems are spread throughout, so each one comes as a pleasant surprise among the prose. Having just this morning read an editorial on ‘eco-poetry’ in the Guardian (poetry ‘cannot ignore global heating’), I’ll single out Caitlin Maling’s ‘Ordinary Disaster‘, a chillingly affectless account of a mass dying of fish among coral in Western Australia.

It’s my blogging custom to focus on page 77. In November, I try to include a verse stanza in each blog post. Page 77 in this issue is part of a fascinating interview with architecture critic Naomi Stead (link here). The phrase that gives me my opening line comes from this paragraph:

I don’t want to be the schoolmarm, but if people understand more about the built environment – how it’s procured, how it comes into being, how it’s not an accident, how there’s almost nothing in our cities that is not deliberately designed – then they can begin to see the role that they themselves could play. I mean we should expect more, we should demand more of our cities and buildings and built environment, but we can only do that with a degree of knowledge and education about how this came to be, and what could be.

Rather than enlarge on Professor Stead’s point, my little verse follows where the phrase takes it. That and the plane that flew over our flat as I typed the first full stop.

November verse 6: We should demand more of our cities
We should demand more of our cities.
Not more aircraft overhead.
No more oh-dears, what-a-pities –
Packer's Pecker, Jeff's Shed.
Perhaps less civil inattention,
less of what's too gross to mention,
neighbours partying till four,
Mormons knocking on the door.

Demand more? Let me try. O Sydney,
Demand more? Let me try.
O Sydney,
give me silence, show me stars,
let me breathe air free from tars.
So many things I'd have you give me.
Make your waters clear again,
and some day soon please change your name

I wrote this blog post on Gade / Wane, not far from Warrane, which some people want to give its name to the whole of Sydney. I acknowledge the Gadigal and Wangal Elders past present and emerging, and gratrefully acknowldge their care for this land for millennia.