Poems From Glasshouses
(Stuart Barnes/Leigh Backhouse)

Posted on July 18, 2017 by in Book Extracts, Heightened Talk

Untitled, 2016, by Leigh Backhouse


ENDONE® Oxycodone hydrochloride 5 mg

Blister-white tablet engraved with ‘ENDONE’
on one side, break bar the other.
It does not take the place of your doctor
or pharmacist: opium or morphine:
Accident or Emergency.

Store it below ground, above ground, in
an unlocked cupboard. Store it in the bathroom,
store it near the sink. Leave it on every
window sill, leave it in the car. Swallow
it before meals with a glass of nausea.

Do not show your pupils, abnormal,
do not show your restlessness, do not show your goose
-flesh, do not show your fast heart rate, do not show your new
-born child to a doctor or pharmacist.

 

Port Curtis Road’s End

The inability to weep furrows the
pit of my gut like a plough. I, a bull’s-eye,
Port Curtis Road’s end. Why won’t you return my
calls. Cows gawk. Wind scallops algae-

green water, grass and fingers. Pop … Pop … Fish?
My heart, too, is scalloped. The A1, a crane
pirouettes. The iPhone pumps Let England Shake.
I scratch at a plump mosquito bite, inner

right knee. My mind pumps also: Why won’t you re-
turn my calls, return my calls, ret
Ducks startle, zip the river as though a dredge
were suctioning their webbing. Heehaw. Heehaw.

Hush. Hush. I marvel at my indifference.
I also gawk, at the cows’ simplicity.

*

I turn to a gathering murmuration.
Starlings dip below this bridge then boomerang,
passing over easy meat, to Uluru-
shrewd Mount Archer. Dead white gums. Tonight you’ll wail

Your neck’s burnt, yet proffer no aloe. Bottle-
green shards, hectares and farmhouses. Shadows
crane from left to right, lengthen: I gabble O’s,
sculpture a hedge of tiny white stones: Oxy-

codone: bulging disc: God, I’d kill for a drink.
Something larger’s taken to the air: a rap-
tor, black against unmoving clouds. A foolscap
saccule swishes: Thoroughbred horsehair: a syn-

chronization: Grey Goose, Raven Ale, Wild Turkey. I
narrow blinders: tropical boondocks widen.

 

Black Cockatoos

after David Brooks

Red-
tailed Bedouins
of Poetry, black
cockatoos embroider
the sun into us,
seam-rip it asunder.

*

On the Fitzroy’s
bank at midday,
cracking seeds of eucalypts
that outrank Council, a hundred
Banksian black cockatoos,
a paroxysm of commas.

*

With their subtler
complex-
ions, the females infinitely
more beautiful
than the ludic-
rously coloured gatherers.

*

The gospel according to the locals:
‘Four black cockatoos
kreeing seawards
means four days of rain’
(burkesbackyard.com.au confirms it).
I am not a God-fearing man.

*

Should black cockatoos
know
that theirs are the colours of life?
Indefatigable black
and needlepointed into this
starry orange and yellow.

*

Imprisoned
black cockatoos
long-lived as man
neglectful beneath the same
white sun, its ROYGBIV illusion
destroyed by the tiniest prism.

 

Matrimonies

Their delicate armies sway
   the ambiguities of space.
Feel in your hands, before you play,

trembling in warmth, and rising,
the agitation of the strings.
It would be comforting to sing

      to the solid mercy of water.
Grasshoppers click and whirr.
      I am high on acid rock, on wandering glitter.

I feel your pulsebeat through my fingertips.
Look, where the grass grows more intense:
grows luminous in distance,

shaping my lips. I lie
      among dazzling visions, lying
to the fine edge of clarity:

The season for philosophy draws on.
Sparrows flock to my pond.
Verses flow in a never-ending torrent.

Death has no features of his own.
Music’s much more than flesh and bone.
What’s all this but the language of illusion?

 

These poems are excerpted from Stuart Barnes’ award winning collection Glasshouses (UQP).

Note: ‘ENDONE® Oxycodone hydrochloride 5 mg’ is a remix of ENDONE® oxycodone hydrochloride CMI

‘Matrimonies’ is a cento from Gwen Harwood’s ‘Reed Voices’, ‘The Wasps’, ‘A Music Lesson’, ‘Songs of Eve I’, ‘Moonlight’, ‘An Old Graveyard’, ‘Looking towards Bruny’, ‘Carnal Knowledge II’, ‘Mappings of the Plane’, ‘Night Thoughts: Baby & Demon’, ‘Oyster Cove Pastorals’, ‘Shellgrit’, ‘Dust to Dust’, ‘Night Flight’, ‘Littoral’, ‘Thoughts before Sunrise’, ‘Three Poems for Margaret Diesendorf’, ‘A Public Place’, ‘Death Has No Features of His Own’, ‘A Music Lesson’, ‘After a Dream’

____________________________________________________________

Photo: Leigh Backhouse


Stuart
Barnes
was born in Hobart, Tasmania, and educated at Monash University, Victoria. His first poetry collection Glasshouses (UQP, 2016) won the 2015 Arts Queensland Thomas Shapcott Prize, was commended for the 2016 FAW Anne Elder Award, and was shortlisted for the 2017 ASAL Mary Gilmore Award. Stuart‘s learning Catalan and translating Imma Tubella’s Un secret de l’Empordà into English. Since 2013 he has lived in Central Queensland and been poetry editor for Tincture Journal. Visit his website and follow him on Twitter.

*

Leigh Backhouse is a photographer and can be contacted on Twitter.

 

 

 

 

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