Looked up from my crouching position in the gutter to see this luscious young woman who works in my local deli. Uh, I said, I’m just taking some footage of this water rippling down the stones… look how beautiful it is! I rescued these from the bins at work, she replied, holding out her armful of red roses and yellow day-lilies. Do you want a bunch?
Tag: art
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be the big smoke
On the underground train above ground the whole carriage overheard two rather stoned young dudes speaking about Art, that is, themselves. As we unzipped the treetops people glanced at them, glanced away, smiled. One dude had a wry American accent and the upper hand. The other dude was Persian and explained at some length that his name is traditional, it means (if I heard right) secret treasure. What do you do, man, you must be an Artist? he asked. Yeah, American wry dude allowed. But like, what kind of Art, what do you Make? Well, mostly drawings and…. tattooing.
Instant rapture. Oh, wow, I should show you this tattoo I want, it’s like, I’ll have to show it to you, it’s so beautiful, man. There’s this guy and he’s smoking. And then there’s this girl. She’s, like, smokeface, like, she IS the SMOKE.
I remember that feeling, I thought: BEING the SMOKE. By the indulgent expressions on other passengers here and there in the cabin I thought that other people might once have experienced this, too. Persian dude said, you could like, do me with this drawing and then I could like, show everybody and make you totally famous.
God, I loved them. Their fatuous fellowship and impulse-buy tattoos. Just type my name into facebook, American dude promised, you will find me. Out in the strangely humid night there was a high round moon barrelled way up into the still-blue sky like cannonshot; people crossing the crowded railway bridge seemed to me ceremonial and slow. A tall princely man with Ethiopian features walked by in state, pushing a wire shopping trolley with five empty bottles in it.
9 years ago in Berlin, I lived this tiny story. -
subway sounds
In New York I came into 34th St subway station to hear a bunch of dudes playing a kind of washboard bluegrass. They weren’t excellent but they had vigour. Called themselves the Ebony Hillbillies: cute. O you’re from Australia & you wanna make a record? Love to!
Later I rang them up. “We’re not lettin you put Our Sound on Your Record for less than $800.”
I said, baffled, ‘But… it’s only one song.’
“You know, we getten called the best black banjo band in America.”
Sound engineer said to me, “Why are you crying? That shouldn’t hurt your feelings.” And he is right. But it does. It’s the lack of music, the tower of ego I cannot climb. The hand-to-hand combat whereby everybody has to constantly outdo everybody and every interaction is a kind of business deal. Where you have to self-promote and be the best this, the best that. It exhausts me. It chills my soul with its coldness and shrivels me. I’m not asking people to play for free but I want them to be interested, to love the originality of my project and to love the music enough to play as though they would do it for love.
Once I played one of my songs – a homemade sample off my first website – to a man of some stature when the website was new. This was during my year-long journey to build courage to do this thing. He said, in my opinion, you are going to be one of the greatest artists this country has ever produced. I burst into tears with relief. But later I looked over his website. It was all, the greatest this, the most highly qualified that. It was a minefield of pyramids. I don’t live in that field & it doesn’t seem real to me. That’s not how life works. I live in the jungle where every tree has its flower in the elbow, every bird has its arrow-glistening feather. Where there are a multitude of voices. Somehow they make a kind of complex harmony. Sometimes it is mayhem & a shattering din. More often it is sweet & overwhelming, it seduces me.
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story about an artist
In my twenties I worked at the front desk of the Queensland Art Gallery for a while. It is huge and immaculate and rather hushed. One day an old man came in, wizened and bent. He approached the island of our desk across the marble floor.
“This the art gallery?”
Yes, I said. His hands were trembling and his fingers seamed with dirt.
He had come down from the country on the bus: twelve hours. He set a bag down on the counter and began to open it very slowly. He said, “Got a painting for youse.”
He unrolled a canvas and showed it to me. The painting seemed to me pretty awful but his courage and his straightforward, honest presumption moved me to tears. He’s a Queenslander, this is his art, this is the Queensland Art Gallery – why shouldn’t he bring it in here and offer to hang it? It made sense.
I was too gauche to know how to deal with him and his imminent and crushing disappointment. I thought he might never have shown his work to anyone before. He had come all the way down here to make a fool out of himself – a noble, exemplary fool – and in doing so, he exposed the far greater foolishness of our urbanity, our conformity, our stupid ladders and pretentious mores. I saw all of this in an instant and it filled my sore heart with heat. I picked up the phone and called a kindly woman who worked in acquisitions, who had sometimes chatted with me in the lifts. I asked her to come down and see him. I hope she may have taken him out for coffee and talked with him about his work. I hope she encouraged him to paint more. I have often thought about this man and his simple human courage, his artist’s heart. He might be dead now and it’s possible his paintings may all have been thrown away.
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jarred honey
A friend of mine took her own life, from herself and from the rest of us, a little while back, perhaps eighteen months. After a long time another of her friends whom I didn’t know wrote to me in Berlin saying she had left behind a painting for me. We met when he was in town and he handed me a plastic bag with her rolled picture. Today in Ghana I got an email from another of her friends. She was a wonderful person and most beloved. This friend says she left a letter behind for me. Would I like it posted. I am so sorry my darling friend cannot know what she meant to us and did not survive long enough to have meant everything she was and had, to herself.
We met dancing. And at a certain point in the dance we sat down in pairs and she and I told each other the innermost stories of our lives and we both cried. That communion, when two foreign souls can grasp each other. When the self of this new person feels like paper or crumpled cloth or scatterings of cut grass on fine sand. I live for those times. She died, perhaps, for want of them. I will never forgive myself for having been too sad to reach back to her when she called out to me. I’ll never forget.
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for the ages
I went to see Paul Kelly play Berlin. I was going with my girlfriend and the evening of, she rang to say: I don’t feel well. I feel so tired and I just need to stay at home and curl on my couch. Can you go on your own?
I went. Since I left my boyfriend I have been going to a lot of events on my own. I sat with a German couple and the man said to me, “Do you know him?” “Oh,” I said, awkwardly. “I once sat in the same cafe with him in Richmond, in Melbourne. Australia’s not quite that small.”
This was in the Richmond Hill Cellar and Larder and Paul Kelly was sitting quietly with his friends and I was nutting out the playlist for my album, listening over and over through what we had made with cat-callers and buskers and students of jazz in New York and I looked round the room with my own music in my ears and saw the love: how everyone tried so hard to be courteous and pretend we had not noticed him there.
“But you know his songs,” this man elucidated now. “I am the same year as him: 1955.”
He patted himself on the chest, approvingly.
The audience was filled with Australians. You can tell by the facial expression. A certain kind of friendly lazy openness that lends itself to generalisation. I looked around. You looking at me? asked an older, Australian man behind me when I glanced round. Oh no, I said, I was just… gazing in your direction. He had hopped up. Held his beer up in his hand. Can I come sit with you? Ok, I said, and so he bought me some beers and talked in my ear between the songs. But I hardly heard. I was transported. Someone brought on a bottle of water and stood it next to the central mic. The musicians came onstage and among them were Vika and Linda, the glorious Islander Bulls, it had not occurred to me they’d travel with him. I know they sing backing vocals on his albums. They were radiant and they owned the stage, from its wing. Paul Kelly introduced the new album he had written and they launched it like a ball of flame. These people, and their music.
Linda sang one song and Vika sang another. In their salty, knowing womanhood they swayed side by side like palms. The beautiful affinity between them bespeaks sisterhood. The rest of the stage was occupied by men. They know each other. They can communicate with a bare glance. I was almost crying. There came a moment when the crowd threw back their heads and yawped, bawling along with the lyrics in our Australian accents: he took it pretty badly: she took both the kids.
Then they sang How To Make Gravy and I was crying. Surrounded by beautiful, healthy, young Australian men in their t shirts I flung my arms open and one of them snatched me up and hugged me harder than I have ever been held. I emerged from his embrace and his face was wet with my tears. Every time I smiled he smiled back at me. The music finished and they all walked offstage and we weren’t having it, we hammered our feet on the ground and yelled and hollered. Paul Kelly broke the glittering curtains open by himself. The closing song had been a quiet one, “Darling, you’re one for the ages,” and he had spoken the lyrics, shyly, in bad German: mein Liebling, du bist zeitlos. It seemed like he had half the crew of Rockwiz on stage with him and half of those were my Facebook friends. Australia really is that small. Now he took up his guitar in silence and the crowd began to sing to him, irresistible, a capella, “Darling – you’re one for the ages. Darling… you’re one for the ages.”
A grin tugged at Paul Kelly’s face. He is not a good actor, he is too authentic and sincere, as I had ascertained this evening by watching the film clip for Love is the Law, in which he looks uncomfortable and the film maker’s directions are almost visible on the screen. “Well this is probably my second favourite moment of tonight,” he said. “My favourite was when someone yelled out, ‘En-fucking-core!’” We laughed, proud of ourselves. He started to encore. We all stood still and listened. To awaken stillness in a big crowd is a consecrated kind of gift. Sweat was rolling down my spine and darling, I was one for the angels. When I got home I would hand wash every one of my garments in a trance of caretaking meditation and the beautiful young man had given me his number and so had the older Sydney guy, who sells Blundstones. But for now the rest of the band came back on and played like emperors. Much later, as I stood collecting my warm wrappings for the long bike ride home, a roadie opened the curtain and out the back I could see their white tour bus, Vika Bull standing beside it waiting for the gear to be boxed up and wheeled out, she was smoking a cigarette and our eyes met, and I felt a bolt of womanhood arc out of me and into the vast cold sweet dark Berlin sky which chuckled with the autumn wind, all the way home.
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The Great Fire
Only Shirley Hazzard could end a novel by writing explicitly of a virgin woman’s clitoris – which she describes with a kind of cheerful poetic simplicity as ‘the final fleshly inch where he could wake her and touch her, and say her name’ – using it to literally embody survival, and art, and all of life; turn her back on the War, which is, as we see, unending – ‘the inextinguishable conflagration’ – and write, at last, ‘Many had died. But not she, not he; not yet.’
Even to her, he would not say outright that he was thinking of death; of the many who had died in their youth, under his eyes; of those he had killed, of whom he’d known nothing. On the red battlefield, where I’ll never go again; in the inextinguishable conflagration.
These hours would be lived to the full. Years of hours would follow, but not this. He had felt their chance passing; she too, in fear. For this he had travelled to the airy, empty harbour where, like a legend, she lay in a mildewed swing-seat, waiting. As surely as if she had leapt from a planked deck into the ocean and swum ashore, she had jumped ship for him. Ten thousand miles had been retraced, down to the final fleshly inch where he could wake her and touch her, and say her name.
Many had died. But not she, not he; not yet.
~ Shirley Hazzard.
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mansplendour
I was working in a cafe, head down, muttering the words aloud under my breath as I forged down the page writing for hours. The man next to me started to take an interest. I was unwilling to give over my concentration to him but gradually angled my screen away to avert his possessive interest, shaded the words with my hand, made it clear I was busy and it was none of his business.
Some men cannot bear to be shown they have no influence in some woman’s life.
As soon as his companion got up to go to the bathroom this man spoke to me. Loud and assured, in German. “Something something astonishing you are able to concentrate in here” – a pure ruse to get my attention, as by speaking of this concentration he hoped to dispel it. When I still didn’t look up but went on chasing the verge of the idea which 20 seconds later broke over me like a wave and transformed my expectations for the writing I was working on, he was visibly, audibly miffed.
It reminded me of a man in Melbourne I had met only because he came to stand alongside me as I sat at the bar in an overfull restaurant, filling rapid pages with my thoughts. He stood there for a while, as I realised later, and when I didn’t react he actually passed a hand between my face and my page. This felt like someone had reached their big hand inside my head and stirred it round. I reared back. “What?” Where’s the fire?
This man was smiling, jovial, his hands back in his pockets. He rocked on his heels a little. “I was just wondering. Writing in here – don’t you find it difficult to concentrate?”
All the responses I could have made buzzed on my tongue like flies. But he was blind to his blindness and deaf to his own noise. This entitlement is also of course where mansplaining, manspreading, street harassment and rape come from.
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Uruk
In the museum today we followed the script, that is, the writing. Ancient forms of writing carved in stone, and some felled onto papyrus that was torn out of its location later and jammed into ‘found’ metal boxes. What is it about inhumanity that allows one to covet a culture’s gorgeously wrought temple at the same time as dehumanising them enough to justify tearing down the temple, or carving a chunk off it, and then rebuilding in a far colder climate in your own museum? We found this headstone densely scribbled which I so longed to touch. Only that I wouldn’t have put my fingers’ oils all over the ancient, four thousand year old stone. But if I had this in my house (I told my companion) I would rub my face over it every day: like this.
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house mousse
This week I’m going home to Berlin to find an apartment of my own, via a writing sabbatical in Thailand which I suspect I will sleep through. What was supposed to be two weeks has turned into a six week endeavour. I have worked from dawn til night, busted my finger, worn myself to a shred, and these are my small victories: Dad sat up and asked if he could have a cup of tea with lemon and honey. Dad wanted to sit out on the verandah and watch the sunset. Dad went on his first outing since the hospital and scoffed fish and chips and a giant fresh iced coffee laced with cream. Mum had someone to cry to. Mum went to a really good physio to whom I practically drove her with a stick and in a single visit was able to raise her damaged arm upright, from months of being stuck at a horizontal maximum. They learned how to use their iPad. The living room looks warm and congenial and less like a hospital. The garage has been cleared out and has one of Mum’s paintings hung to greet her when she gets in, as she starts now very cautiously to drive herself about now and again. The garden is healthy and the verandah brimming with fresh plants. The cat has been taught not to wash herself when she’s on the bed, which she was raised (by me) not to do but had forgotten in the local recent spoiling. In between I have packed up 11 cartons of painstakingly sorted and delicately couched feathers, crumples of fabric and shell, shards of perfectly worn wood, and partially assembled assemblages for shipping to Berlin. I feel replete.
This afternoon I made this for Dad, and he ate two teaspoons of it – victory! It’s velvety and rich. You can replace the honey with maple syrup if you are vegan.
FREAKY CHOCOLATE AVOCADO MOUSSE
1 frozen banana
3 tbsp cacao powder
1 refrigerated avocado
3 tsbp cocoa powder
2 tbsp honey, or maple syrup if you’re vegan
1 tsp lemon juice
1 tsp vanilla extract
2 tbsp iced water
A tiny pinch of saltINSTRUCTIONS
Blend.