November verse 5: An old diary

I’ve been thinking for a while that if by some terrible accident I were to drop dead, someone would have to deal with the pile of my old diaries currently gathering dust. I flipped through one just now, looking for something that could be squeezed into sonnet form, and this is the squeezed thing:

November verse 5: On looking into my 1985 diary

Lists of letters owed and written,
phone calls made and cheques to post,
names of people long forgotten,
to-do items ticked or crossed:
pages only good for trashing,
lacking even grounds for blushing. 
Then I found this ‘Day of Rest’,
a random Saturday, sun-blessed. 
Our three-year-old was with his grandma,
Seven with his Sapphic aunts,
and you and I had seized the chance
to lie-in late, breathe slow, surrender
to the moment, sit and smell
the petrichor, and all was well.

November verse 4.5: N+7

Today’s little poem draws on the Oulipo movement. Founded in 1960 by French mathematician Francois de Lionnais and writer Raymond Queneau, Oulipo (Ouvroir de Litterature Potentielle, or Workshop of Potential Literature) produced verse using impersonal/mechanical structural formulae. The only one of their formulae I know about is N+7. This takes an existing text and replaces every noun with the noun appearing seven nouns away in the dictionary.

I thought this was ridiculous until I saw what Hawaiian poet Susan M. Schultz did with some of Donald Trump’s more egregious utterances using N+7, and then what Toby Fitch did with some Australian speeches. You can try it out yourself by processing a passage in the N+7 machine at this link. (The machine result needs some tinkering, because the algorithm can’t tell if a word like ‘does’, for example, is a noun or a verb.)

So here goes, from the front page of today’s Sydney Morning Herald.

November verse 4.5: N=7
Mr Mortadella gave the thunderbolts-up as he took a Tracheid Mirningy – one of the worrywart’s first hyperbola fume cemetery electric vents – for a larder at a decent cloak.

Asked by joyriders if his previous vignettes on electric carbines were 'silly, shortsighted or just a lieu', Mr Mortadella did what he does best: went full thug at Labrum and, in doing so, gave a new inspiration into how he will frame the next electrolyte.

Walk Like a Cow with Brendan Ryan, plus November verse 4

Brendan Ryan, Walk Like a Cow: A memoir (Walleah Press 2021)

I take Brendan Ryan’s poetry personally. His childhood and mine didn’t have a huge amount in common, but his poetry about cattle – working with them, observing them, even loving them – and about growing up Catholic resonate hugely for me. There were only five children in my family, as opposed to his 10. I spent my childhood on a sugar farm in tropical North Queensland, hard to imagine a climate further removed from his western Victoria. We had just a few cows, of which two were milked by hand in the mornings, rather than a hundred that had to be milked by machine day and night. And I left the farm behind me when I went to boarding school aged 13, whereas he kept working on the farm, much harder than I ever did, into young adulthood. But I recognise so much of what he writes about, and am grateful that he has done the work of wrangling his experiences and observations into words.

This book is a welcome backgrounder on the poetry, and it’s very interesting in its own right. It’s a collection of memoir essays: a version of one of them, ‘Ash Wednesday: A memorial’, published in Heat in 2010, first introduced me to Brendan Ryan’s writing, and I have read versions of several others in Heat and Southerly since. It’s good to see them brought together to form a narrative: his parents’ story, his childhood on the farm, Catholic school and then work away from home in late teenage years, the move to Melbourne, shared houses, pub music scene, odd jobs, and the beginnings of his lifelong relationship. Through it all there is his appreciation of cows, his learning from them how to walk the country (as opposed to Henry David Thoreau’s advice to learn to walk like a camel), and his development as a poet.

There’s a moving account of his relationship with poet John Forbes, who was a mentor. The life with cows and then living in the city with a paddock in his head, so vividly rendered in his poetry, are described here at fascinating length. It’s delightful to read that the first publication of a poet who is so rooted in place, so earthy and so accessible, was a self-published limited edition of 14 copies, bound in paperbark from the trees of St Kilda and selling for $50 each.

Here’s a taste of his writing about cows:

While a cow walks in a straight line, not moving from side to side, it also walks a deviating line. This line seems to be closely linked to two elements a cow encounters each day: the geography of a paddock and habit. Due to their physical size, cows will walk across a hill rather than down the steepest incline. Being a herd animal, a cow will mostly follow other cows along the track they walked the day before. Their cow tracks meander around bumps and ridges in the dirt, ands so the tracks suggest the intimate knowledge the cows have of each paddock. Each day the cows walk along these tracks, perhaps for security, most likely because the tracks have a more practical basis. When viewed from a distance the cow tracks describe the routine of a cow’s day. One track will lead straight to the water trough. Another track will fork off toward shelter on the boundary fence, while other tracks converge like veins around a heart at the paddock’s gate.

‘Walk Like a Cow’, page 202

Because it’s November, inspired by Brendan Ryan, here’s a little verse tribute from me to the Jersey cow that led our herd of mostly Australian Illawarra Shorthorns, with a couple of Friesians:

November verse 4: Cows I have known
For Brendan Ryan
Beauty was our herd's true leader.
Bulls might think they'd be obeyed,
but all the herd would turn to read her
every move, and move her way.
Bony ancient, grey as morning,
with no need for roughhouse horning,
queenlike, she assumed her rank
and strolled from shade to water tank.
Bullocks, calves and springing heifers, 
roan, and black and white, and red,
chewing, calling to be fed,
crumpled horned, with swinging udders,
lifting tails to drop their loads –
they all followed. Beauty led. 

November verse 3.5: Cento

According to poets.org:

the cento (or collage poem) is a poetic form composed entirely of lines from poems by other poets.

You might think the name has something to do with the Latin for 100, and maybe it does, remotely, but it is actually a Latin word in its own right. According to my trusty Gepp & Haigh Latin dictionary, its first meaning is ‘a piece of patchwork, used for clothing, or as a fireproof curtain or blanket, or as a quilt, etc’.

Here’s a cento made, not from other poems, but from the program description of films I’ve got tickets for in this year’s Sydney Film Festival:

At the movies: a cento
Impressed by Einstein, 
a Swiss businessman and a Russian oligarch
are compelled to
violence, incompetence and oppression.
There are death threats,
more direct and more stridently critical,
a timely reminder of 
the role of individuals in an autocratic state.
An uncommunicative young woman
becomes increasingly desperate as she manoeuvres to keep
slapstick humour and deep emotion
with integrity and grit.
They begin to make sense of
life and death in the nuclear age.

November verse 3

I did go to the dentist on Friday, but was reduced to writing this between movies at the Sydney Festival.

November verse 3: Dentist
I used to focus on my breathing,
hoping not to feel the pain.
I’d concentrate on muscles, easing
tightness to relax my brain. 
I used to chant a homemade mantra:
Om madur,I give up Fanta, 
or words to that effect. The drill
and picks would terrify me still.
But these days if I pay attention
closely to what’s going on –
each nerve impulse, each tiny prick, 
each jolt – I find it does the trick:
my mind’s too busy keeping track
to let the panic goons attack. 

500 people: Weeks 35 to 38

See this post for a brief description of my 500 People challenge.

In the four weeks after lockdown eased, I didn’t manage to be any more gregarious with new people.

1 & 2. Wednesday 13 October. Masked and flashing my vaccination certificate, I stepped into a non-essential retail shop for the first time in many weeks. My mission was to buy new shoes to replace my much loved, double patched and disintegrating old pair. I’d tried to buy a pair online, but had to return them because they just didn’t work. The two people working in the shop were fabulous: they were helpful and informative, and we also got to chat about the state of things. They don’t expect retail in the city to be back to the old normal any time this year; they too have suffered from the lack of barbers/hairdressers – the man removed his mask briefly to reveal a splendid beard which is due for the chop and which, he said, he has to shampoo daily so as not to make his mask smell vile.

3. Monday 18 October. In another post-lockdown first, I went to a movie in an actual cinema. Just a few days after I’d told someone I wasn’t interested in Marvel movies, I went to see Shang-Chi and the Legend of the Ten Rings, which actually doesn’t look like a Marvel movie, at least for the first two thirds. It was wonderful to be in a temporary community watching a film for the first time in months. There was a silent moment of mutual recognition when no one moved at the start of the credits – a sign that we all knew what to expect from a Marvel movie. Maybe a quarter of the audience left after a brief postscript that came on a couple of minutes into the credits, but most of us stayed to the bitter end. As the final logos rolled up the screen, I said to the woman nearest me (a Covid-safe distance away and masked), ‘They sure make you wait!’ Just as the final scene was firing up, she said, ‘Every time!’

4. Sunday 24 October. On our morning walk by the Cooks river, we passed a young man, possibly Aboriginal, fishing with a rod and line. I seized the moment: ‘Had any luck?’ Yes, he had caught five flathead, and two had got away. I asked if he ate them. ‘No,’ he said, ‘not from here. I just do catch-and-release, strictly for fun.’ I expressed a hope that the river would be clean enough one day for fish to be edible again. He agreed, but said that would mean the river would be fished out, like a couple of less polluted places nearby.

5. Saturday night, the Emerging Artist and I broke out, walked to town, had our first meal out in a very long time, and went to the theatre. Not only the theatre, but a musical in a big theatre – Come From Away at the Capitol in Sydney’s Haymarket, where I hadn’t been since I saw Hair there in the 1970s. It was wonderful to be with a big crowd, feeling things together. I attempted to start a conversation with the man I was sitting next to, and although he wasn’t having any of it, I’m counting this failed attempt as one of my 500 conversations.

6. Sunday 31 October. In another reopening adventure, I was drawn to a display of hats at the Addison Road markets. The object on my head was unpleasantly sweat-stained, ragged-rimmed and badly misshapen. As I entered the booth, the merchant said, ‘I’m sorry, sir, but I don’t offer trade-ins.’ This got us off to a good start, and we had a pleasant chat about hats, specifically the kind I like to wear. I left with a new one.

7. Near our flat a little later on Sunday, we passed a man with a little boy, possibly 18 months old. The man was barefoot, so probably lives nearby. From a reasonable distance, we saw the man, almost certainly the boy’s father, rub his hand affectionately over the boy’s head as he spoke to him from his great height. As we got close, we realised that the little boy was tearful. The man picked him up, carried him pietà-style for a little, then put him back down on his feet. By this time we were within talking distance. I said something, or maybe I just smiled, and the man responded, ‘He’s unhappy today. Something is going on.’ There was a tiny bit more to the conversation, but I was struck once again by the changes that have happened in parenting in the last hallf century: that man spoke to a neighbour-stranger like an engaged parent as if fatherly engagement was completely normal. When I was a father of infants, I was asked more than once if I was babysitting – unthinkable that the father would be simply being a parent.

8 & 9. I wouldn’t include these encounters, but since there were two of them I’m telling you about them. Within days of each other, a passing man has commented on my T-shirt. The first time was on our usual walk at the Cooks river, and I was wearing a T-shirt with semi-abstract images of bright birds. The second time, I had just walked past a couple of Council vehicles. A man in yellow jacket came up behind me from one of them and as he passed, said, ‘I like your T-shirt.’ To save me the trouble of looking down, he added, ‘The periodic table.’ And so it was.

10. On Wednesday morning 3 November, a little after 9 o’clock, we passed a young man sitting under a tree near Enmore TAFE with a baby standing in his lap, gripping his fingers and pulling themselves upright. We made smiling contact with the man and locked eyes briefly with the baby. ‘Nearly standing up,’ I said inanely. ‘Getting dangerous,’ the man said.

11. Thursday morning, we passed a woman who was grooming her dog. By grooming, I mean she was rubbing her hand over the dog’s back and releasing astonishing cascades of fur. I stopped to comment, admiringly, that she was removing so much fur with her bare hand. She said he produced huge amounts. He was a cross beagle and cattle dog, with the double coat (I didn’t understand that term but didn’t pursue it). I chatted a little about cattle dogs from my childhood that were outside dogs, then we all commiserated about how much work these shedding creatures make. Luckily, our interlocutor’s floors are all polished wood.

12. Thursday, on the same walk, we passed a group of old men teeing off at the point where the riverside walk climbs to the teeing ground. One of them said to a man who was about to swing, ‘Patience is a virtue. Wait for these good people to pass.’ We thanked them, and once we were safely behind them, I said, ‘My mother used to say, “Patience is a virtue, possess it if you can, found seldom in a woman and never in a man.”‘ Surprisingly, the little verse wasn’t familiar to any of the men, nor to the Emerging Artist. Maybe those old men weren’t as old as me.

13. The Sydney Film Festival is on! On Thursday evening, I chatted in a celebratory kind of way with the woman sitting a Covid-safe two seats from me.

14. Saturday morning, before Quo Vadis, Aida, I struck up a conversation with man seated right next to me. We exchanged news and views abut the movies each of us had seen – there were no overlaps. It turns out that we lived a couple of blocks apart a couple of decades ago. he now lives near Wollongong and makes a pilgrimage with his wife each year for the Festival. In the movie, there’s a horrific moment when people are ordered to leave a place of refuge quietly, five at a time, and we’r pretty sure they’re going to their death. As the credits rolled we were asked to bear Covid restrictions in mind and to leave in a =n orderly manner. My new acquaintance and I said, in unison, ‘Five at a time.’

Running total is 242.

November verse 2.5: Homophones

There may be a better word for this kind of poem, and it may be much more widespread than I know about. I’ve met it in Toby Fitch’s poetry, and I’ve read one poem by Jaya Savige (‘Coonoowrin (Crookneck)’ in Southerly: 80!). It’s a lot harder than it looks.

My version of the idea is to take an existing text and rewrite it so that the words sound the same, or can be made to sound the same with a bit of distortion, but have completely different meaning, or even perhaps no meaning at all. Please don’t take the quality of my offering as representing the best the form can offer.

I’ve given the original text for this at the bottom in smaller type. I didn’t want to deprive you of the dubious pleasure of trying to spot the original.

Disingenuous
I forgot, brought showdirts,
I conned eel with hat.
Bit though's loose.
Eye m'nut, gunner.
Cop's legend hit a stray Lear.
Eye m'nut, gunner:
cope Thetan bee,
have a fast stray lens.

I’ve got broad shoulders. I can deal with that. But those slurs, I’m not going to cop sledging of Australia. I’m not going to cop that on behalf of Australians.
Prime Minister Scott Morrison, responding disingenuously to President Macron’s accusation that he lied

November verse 2

No subject having presented itself to me for today’s stanza, I’ve fallen back on Shakespeare. This stanza uses the rhyme words from his Sonnet 37 (chosen at random), modified to meet the Onegin stanza’s requirements. After reading the Shakespeare, I had to go for a walk around the block before I could begin to find my own much more frivolous thoughts, but here goes, with illustrations.

November verse 2: Post-lockdown hair

You wouldn't say it's as delightful
as my unkempt mane in youth,
but call it straggly straw? Just spiteful.
Mynas like it, that's the truth,
and swooping magpies. And the witty
check-out girl at Supa City
called me Einstein. (We get more
than what we pay for at that store.)
Thanks to Covid I've been given
time to think. I once despised
unbarbered hair. Four months sufficed
to help me understand men who were living
back when they were thou and thee,
balding, crested white, like me.
2021. Photo by Penny Ryan
1971

November verse 1.5: Erasure

This year I plan to add to my November exercises some excursions into poetic forms like erasure, cento, n+7, homophony (if that’s a good word for what Toby Fitch does), and others as I think of them. My idea is to make something from the day’s newspaper as source text.

I’m kicking off today with an erasure poem. Here’s one description of erasure poetry, from the poets.org website.

Erasure poetry, also known as blackout poetry, is a form of found poetry wherein a poet takes an existing text and erases, blacks out, or otherwise obscures a large portion of the text, creating a wholly new work from what remains.

You can read more about it, with links to ‘seminal’ works, here. Andy Jackson”s ‘borne away by distance’ is a fine example I have encountered recently (online here).

Here’s my offering, from page 1, column 5 of today’s Sydney Morning Herald.

Or, to type it out and give it a title:

Virtue
________++++++_________Glad
____________________secret
______++_________grace
___________duties, 
________+++++__honest
________+++++__dog.

The  _dependent ____mission
 gains
________++++++____trust or
 courage
________+__Wag   Wag .

Make of it what you will. I love it.

November verse 1

Since 2010, inspired by National Novel Writing Month (NaNoWriMo), I’ve had a project of writing fourteen 14-line stanzas each November. Even though my favourite stanza form is an Onegin stanza and not a sonnet, I called this project LoSoRhyMo – Local Sonnet Rhyming Month.

If you want to read past Novembers’ verses you can click on the LoSoRhyMo tag at the bottom of this blog post. Or you could go to my Publications page and buy one of the six little books made up from these and others of my adventures in verse. All but one of these excellent volumes are self-published. The exception, None of Us Alone, is a kind of Best Of published by Ginninderra Press, and I have to thank Tricia Dearborn for her help in selecting the poems for inclusion in it.

Here goes for 2021

November verse 1: The swimming pools have re-opened

So good to be back in the water.
I like to see it lap the Tiles
as I swim laps or when granddaughter
clamps her lips around her smiles
to keep it out. First thing this morning
in the slow lane, I'm relearning
other bodies aren't a threat,
even unmasked, bare and wet.
After bushfires, epicormic
shoots adorn the trunks of gums
like bloomers on their legs and bums.
Post-lockdown, thanks to hypodermic
double vaccination rates,
we put on hope. We tempt our fates.

A note for readers who noticed the Emily Dickinson reference: for no reason I can think of, the actual Emily Dickinson line (with ‘Miles’ instead of ‘Tiles’) often hounds me like a non-musical ear-worm while I’m swimming laps, so I had to include it here, however awkwardly.