Wild Sovereign Development Site

Tag: art

  • watching the sun set

    Mum’s just taken Dad on an outing & waving goodbye to them I began to cry. Soon it will be the long goodbye. My Dad seems so cheerful and excited, sitting up in his passenger seat having been hoisted up by two of us out of the wheeling chair. The carer said he woke up this morning saying, “I have to get up! and get dressed! because today we are going to Jacob’s Well!” I was pining to go too but there is too much intricate and painstaking one-handed assemblage packing to do, for shipping to Germany. In between packing and finger X-rays I have rejoiced in the opportunity to serve, to be here and offer freshly ground espressos and little nightly shoulder massages where my Mum has torn her ligaments by helping haul Dad in and out of chairs; last night Dad’s hand took hold of mine on the guard rail of his hired hospital bed and was making little stroking movements that suggested to me a brand new notion. “Dad, is there any part of your body which might like a massage, too?”

    “Oh,” he said, diffidently, “I suppose.”

    “Maybe your hand?” I said, turning it very gently to palpate the withered meat. When I was done with that hand, his good hand, I said, “Maybe your other hand would like a bit of a rub, too?” And when I drew the clenched stricken left hand out from under the blanket like a miracle it had relaxed in sympathy, all the fingers spread flat and the palm as large as it ever was. I massaged the sweet curling poll of his head where perhaps he has never been massaged before. Dad closed his eyes and let his face unfold. I wish I could be here forever just offering these tiny daily services, these mutual favours. It uncrumples me to relieve his suffering. It filled my heart with heat when he said, three days ago after our first outing which was also to the seaside, “Darling could I have a cup of tea with honey and lemon, please?” Two months back he had to be fed sips of water from a spoon because his swallowing was so bad. This was the first time he had asked outright for anything to eat or drink since we all thought he would die, that night in Emergency. My mother that evening fell and shattered her hip, and they were lying two beds apart in the Emergency room at the hospital. My father said that if he had a heart attack or something else like that he did not want to be revived. Now he has revived, to a certain extent, all by himself. Or, via company. The companionship of the three of us in the house with this wonderful carer who is never too tired to bring him a fresh glass of milk when he calls into the baby monitor at three a.m. has latched him back onto life. The night after the voluntary cup of tea he had a friend visit who had come all the way from Sydney just to see them. It was the first time in all Dad’s friends’ visits I have heard his voice as much as the visitors’ voices, they had a spirited chat and then as it began to grow dark we asked Dad didn’t he want to come inside in case he got cold. “No,” he said, lying on the striped foam mattress on the cane couch which came back from Indonesia when we first moved here. “I’d like to stay out here a while. I want to watch the sun set.”

  • angel Bowie

    Two hipsters compete in a Berlin bookshop, the day of David Bowie’s death

    Hipster One: I know, I mean I was like twelve when I heard ‘Changes’ for the first time.

    Hipster Two: I know, it’s like, I just… it’s like I had a personal connection. You know? Like I…

    Hipster One, abruptly: Yeah, everybody seems to be saying that.

    Hipster Two, hastily: I mean, not that I felt it, I mean like, this morning I was kind of like, Wow… But ~

    Hipster One: But now ~

    Hipster Two: I mean it hasn’t ruined my day or anything.

    I am standing in the window alcove with a volume I saw from the street and have lifted out of the display. This conversation, with its switches from having to care most to having to care least, seems to me exhausting. I think about the beautiful and dignified Iman, Bowie’s wife, whose day the news presumably has ruined. Hipster One, who owns the bookshop, calls across the room.

    Hipster One: Kann ich helfen?

    Me: O nein – danke, ich kann es selber lesen.

    Thank you, no… I can read it for myself. I smile at her lest she think I am being less playful than rude. I am reading a journal called Elsewhere, about place. It is a first volume, compiled by a bunch of homesick expatriates and published locally in English. To get here I walked past a stream of graffiti saying if you want to talk English, go to New York – Berlin hates you. Variations included Not for yuppies and the more melancholy anti-gentrification slogan Wir bleiben alle, written on a building which is about to be mass-evicted and made over for higher-paying expatriates. It occurs to me that Bowie himself was one of the pioneers of this gentrification.

    My companion, who made the signage for this shop, comes in and the shop owner realises belatedly why I look half-familiar. She switches from the formal Sie to the friendly du and cozies up, saying: Habt ihr einen guten Rutsch gehabt?

    And did you both have a good slip? a good slide? This is how Germans picture their entry into the New Year. After Christmas they start wishing each other einen guten Rutsch, as though all the nation held its breath ready to lurch down wildly careening into the new frontier, meatier, balder, bolder, breathlessly. We’ve arrived!

    I buy the journal. We walk on. My companion guides me round a brownish squelch coiled on the stones. I look closer. “That – is just a big fat brown hair scrunchie.” He laughs. “And yet…”

    I am pushing my bicycle, I don’t want to risk a bad slip, a bad slide. I tell him about the dog mess I found on my first visit to New York, wrapped in a flattened red singlet bag and shaped exactly like the drawing of a heart. I wrote about it online: I dog poo New York. On the river a circle of ice has formed round the perfect hole where someone threw a chair, a microwave, a bicycle, and the hole has frozen over. Bottles stand drunkenly frozen in place where they bobbed, and a few Christmas trees. Where the water has dissolved into liquid are a dozen ducks cosily chatting on the curving edge of remaining ice, which resembles a beach. It is so cold the tops of the buildings disappear but my breath makes shapes on the air. We are all smokers today. Or maybe, dragons. Breathing ice.

  • pure new cold all over

    It’s snowing! It’s snowing! It’s snowing! I came into a cafe going, It’s snowing, and she said, I know, and I said, But – it’s snowing! and then hours later walked out into the dark and under the golden lights every car wore a fresh crisp white bonnet, my old tears burst its banks, oh – snow.

    In my cafe two fellows in black beards were drawing at a big round table and as the cafe closed two girls in long tresses came up to say, So? Are you drawing? They looked up, patiently. The girls were pretty and the boys kind. “So do you do this professionally? Or…”

    Ah, yes. That tasteful first question, also asked of every dentist and every builder’s labourer – so how much do you get paid for that? The taller girl plumped her bag down on top of the nearer guy’s paints. She got out her phone. “May I?” Yes, he said, standing back so that she could take a picture of his work. Her friend said, Doesn’t it bother you, working in a cafe? Behind her packing up my laptop and my notebooks I answered for him, only quietly – the only thing that bothers me about working in a cafe is that people come up and interrupt, this has happened to me many times, someone actually waving their hand under my nose to get my attention so that they can say, Doesn’t it bother you working in a place like this, how can you concentrate?

    Coming out into the fresh snow, unexpected and perfectly flawless just yet, I saw a man – let’s say a man – had drawn a huge erect penis on the rump of one of those anointed cars, cos some people don’t understand perfection. I could hear children cluttered round the corner shrieking in their snowsuits, that time of year! is here! so I put down the palm of my hand on someone’s bonnet to make a snow angel of five long fingers, marking: I too see this snowing time of year. This indoor landscape. Domain of families and gold. I too am here.

  • through Glass, darkly

    Philip Glass: a man who halfway through his own memoir, written by himself about his own life, can start a paragraph with: “But look at it from my point of view…” The innocent jostle of his ego crowds every page. He takes up plumbing as a day job in order to support his children, whose appearance in his life occupies one small paragraph out of 396 pages. He and his friend simply walk into the local plumbing emporium whenever they hit a snag and ask “for supplies and advice.” He recounts the time and energy spent by these professionals in training him and his friend and then says, “We taught ourselves basic bathroom plumbing this way.” Having reframed their teaching as his own auto-didact determination he then further undermines it with, “We weren’t that good at first, but it wasn’t that complicated, either.”

    Eventually Glass gets work under a proper licensed plumber, an older man who presumably has taken the time and trouble to earn his own certification. Everything works out smoothly for about three years, until one day an artist friend of Glass’s offers him more interesting work at the same price. He immediately dumps the plumber who has spent three years training him: “That was fine with me and I began practically the next day.” Audiences in Europe who didn’t like his music are described as “a bunch of yokels there who didn’t know anything about world music or even new music” – “They didn’t know anything.” How I wish there were a stronger alignment between good work and great character.

  • writing hardily

    Today I was writing in a cafe and when I pulled out my laptop to transcribe out of a messy notebook the woman next to me got up and slid between our tables, saying something over her shoulder under her breath. “I’ve just come from the office…” I was wondering why she would feel so insecure that she would need to explain her movements to a stranger when it sank in – as she sank in, to the bench seat opposite – what it was that she had said: “Ich komme gerade vom Büro, I’ve just come out of the office and I don’t want people doing their office work around me.” The funny thing was she was clutching her mobile phone like it was a huge reefer she was about to lift on the ball of the hand to her lips, and the flickering of her screen had caught my eye and momentarily bothered me, before I caught myself and realised how insane it was to resent someone for poring over their screen while I pored over mine. She was staring at me across the room, I raised my shoulders and spread my hands. “Was, denn?” She called the waitress over and repeated her complaint in the exact same words: “I’ve just come out of the office and I don’t want people doing their office work around me.” Around the flower arrangement she pointed me out. The waitress shrugged helplessly, her face relapsing from an attempt at sympathy into a foolish smirk. What could she say? I let go the sward of ideas I had built in the air as they demolished themselves and dissolved in the face of such tiny, such concerted ill-will, and took out my notebook again and tried to let my gaze fall into the precise point of the middle distance where happiness and contemplation and, it sometimes seems, poetry lie thick on the chilly air like leaves on the ice. I told myself this place – a “literary cafe” attached to a bookshop – would not exist if not for writers like me and took up my pen again and foraged on.

  • a doll, soused

    In my pajamas at 6pm: pajamas are my favourite clothes. The phone rings. It’s a woman I spent a recent evening immersed in, such kinship, a friend who’s an acquaintance, we hadn’t seen each other for fifteen years. We used once to live in the same tiny village, an island in the centre of town. “I’ve just scored free tickets for A Doll’s House, it starts at 6.30, I can pick you up on my way.” “I’m in my pajamas.” “Or you could meet me there.” So I dive through the shower and go.

    La Boite is in a playground of festival furniture, large swings built from slabs of ply painted black, projections onto a huge white screen, an outdoors bar. Under the stars. Too late arriving to be let in for the first act I take my ticket and wander. “Go up the back and read the secrets people have posted,” the lovely usher tells me in a whisper, “you can write your own secrets on a typewriter, get your nails done, get your palm read.” My friend has disappeared and gone inside. I buy a glass of wine in the pallet bar and carry it over to the palm-reading shed and read the wall. Some of the secrets are so lurid surely they must have been confected for the occasion – I can’t believe such a dark confluence of dramas has wandered past this tent, during the week of this festival. It’s my turn to get my palm read. I hold my hand out. “My name,” says the beautiful man in a top hat, “is Tawdry Heartburn.”

    The greatest drag name in all the world. He flexes his fingers round mine and asks questions. Strong, long thumb: do you like standing alone? Emotion line is deep in your palm – Oh, I know, I say – and it runs straight up this finger, the seam of intuition. Broad-handed people are across lots of areas of life. “It may be hard to finesse so many skills.” He drops his voice and confides something of his own. All the stars pricking their way across the roof of this white vinyl tent stand to attention like satellite dishes, I imagine, flowers in the dark sea of night. Salt sea polyps.

    Afterwards he draws out of his holster round the forearm, black leather, a brand-new fresh emery board. On the back is stamped his website name: this is his card. I go over to the theatre and go in. The stage is made from pallets and the second act is starting. My friend and I take seats right in front, where we can see, and be shouted over by the five actors who have each dyed their hair some lambent colour, as Ibsen insisted.

    Did Ibsen really write this way, a string of almost uninterrupted, seamlessly joined cliche? “They’ve rewritten it a bit,” my friend confides, in a whisper, and I whisper back, “Lord, I hate the theatre.” But the game comes down darkly upon us and snatches us away. At the high point where the spare actors rush out of the wings and turn the stage round like a carousel, breath is caught, time is hung. Then in the interval, climbing our way out of the palace of dark attention, I look back and see the immediate blue glow of a dozen screens. Something has happened on facebook, on twitter, on email while I’ve been gone. I’ll stand and suck my thumb, smallest and dearest of my own limbs. I will, I do.

    The music at the end is dense and scoring. It has a three/four beat behind four/four that drives it like a wagon. I stand up with everybody, groping our way back to our feet. Behind me is a face I’ve not seen since New York, a pianist who played on my album. We stand exclaiming, his date is impatient, I turn away and go over to the swing. My friend has gone to have her palm read, she says: I must go meet Tawdry. You will love her, I predict, fearlessly psychic now my palm is read. I lie full-length on the biggest swing under the scaffolding and let my heart hum its own earworm melody, unable to predict the night, sweet and buoyant waiting for the drive home, ready to greet myself, itching for paper, for a typewriter, a studio, for all New York. And Brisbane shines at night, that’s when it’s best and beautiful. Thanks Ibsen for the enduring ideas. Thanks West End for the villagers. I am tired and I drive carefully, the lion on my steering wheel yawns at me all the way home.

     

  • that lamp

    I have a lamp that is shaped like a shell, was in fact a shell, is a home for a strange and retiring sea creature long now gone. It glows almost red when you plug in the bulb, a beloved’s ear with light behind it. Lately as the days are tropical cold and dim and windy we light the lamps tagsüber. Near the beer factory is a tiny art printer who lays on canvas and on fine rag paper people’s photographs and paintings. We left the lamp on at home and went out. He showed me some of his work. He opened a drawer and let me roll some of the beautiful paper in my hands.

    Nearby is a tucked-in kind of cafe which you can barely see from the road, it is screened. Inside is like a secret fish tank. The chalkboard says You like cake. We make cake. Cake CAKE. We ordered cake. “Eighteen fifty,” said the guy. Cake is expensive. I said, “Now that was a very good year.” “Huh,” he said. We sat down and went over the book I am bringing to print this week: page after page of it, is it still beautiful, does it still hold. You’re looking for the tiny cracks and nail holes that let seep gradually the water. At the far end of the place a handsome man lay back in his chair. Stroking lazily his little device. He didn’t lift his eyes off it. His daughter dressed from head to toe in pink ballerina costume lay in a pile on the concrete playing dreamily with blocks they have stacked down there, singing and rousing on herself. She was in her own world, he was in someone else’s. Two men came into the cafe and I heard the guy recycling my pale joke. “19.90,” he said, “now there’s a good year. You’d be finished school, out into the world…” Behind my back I could almost hear them gazing at him blankly. I felt bad about the failure of the wordplay I’d transmitted, as though I had set him up.

    Later the night turned out fresh and enchanted, so strange, those nights that bring home the spirits from the deep sea and the mountainside. I lay in the hammock between two large trees, watching as the wind rustled and tumbled like cities through surf, down to the bony ground again and again, carrying in itself everything whole and real, everything breathing. This month I don’t know if you’ve noticed but again the full moon was full or albert full for days and days. This always feels like some kind of special benediction to me, as though we have been given a treat, like we have pulled off a trick somehow and gotten away with something.

    I should end there but there is something more to say. You know the night? In the night if you lie in a hammock you are in the air, you’re in the water. I gazed up, mostly with my eyes closed, into the depths of the tree, the sparring webwork of the lazing bed, the night itself drawing its fleece across the stars. It felt like one of those nights you could climb up into, curled as I lay curled, and the night would heal itself round you seamlessly and simply carry you away.

    When I came in my partner called me over to his screen. He loves the new. He wanted to play me a piece of music, piano music. We were silent, listening to the climbing sounds. “Isn’t it beautiful?” Yes, I said, it’s beautiful. He said, “It’s the first piece of music not composed by human~” “What?” I stood up. I think I was shouting. “Why did you play me this? Why did you?” “What’s the matter?” “Why do you show me this stuff?” “I thought it would make you feel good! It’s not scary, it’s just beautiful. Listen how lovely that is.” When someone who understands doesn’t understand: the world is a cyborg desert already. I said, “I can’t take it. I can’t live in a world where machines compose music. I can’t live.” An ache spread inside my chest, despair, hopelessness, rage. Within me I felt the impaired moon, the night, the thoughts of serene pursuit drain like soap scum away. Poke the pearls and they are merely bubbles, evaporating, the >plink<. Someone let the plug out of the sky and I felt all the buoyancy of things drag slowly down, my heart is hot and sore and sleep seems more oblivion than restorative hammock in a sea of quiet leaves which sparkle like near stars.

  • drawing from life

    Went to my first life drawing class in eight years. Boy, was that challenging. For one thing, the models were clad rather than naked and I had never tried to draw drapery before. Also, they were never still. The organisers of this local class had asked a hairdresser who operates across the road to bring his barber’s chair and give someone a haircut, on the dais, so that we could sketch them. He had mutton chop whiskers down the one side of his face and on the other temple the tattoo of a flame, which very much resembled a matching sideburn. When he took his shirt off for the longer poses people gasped. Rioting pin-up girls and 50s bathing beauties disported themselves on shoulders and back. I fingered my unpierced earlobes uneasily. How do people get up the nerve to do that to themselves?

    Our barber seemed to regard tattoo decisions as some kind of impulse buy. He pointed out one and another that he had thought better of; one arm was almost entirely blacked over to rid him of some ‘tribal’ tatts he no longer wanted. He’s going to get it drawn over again with white ink. I didn’t know you could do that. His hair was immaculately waxed and the volunteer, once done, looked natty too. Gorgeous boys. I was drawing and drawing. Trying to get the hang of it. Remembering snippets my last teacher had told us: like, Don’t draw the outline, the outline doesn’t exist. Draw the bulk, the heft, the volume, the weight. Because we were seated in the round people ended up as backdrops in one another’s drawings. At the break everybody got up and circled, pointing out pieces they likes and taking photographs. Slowly it dawned on me some of our efforts would be mounted on the group’s Facebook page. Last time I drew, phones were not smart. Facebook didn’t exist. There was no one to hear you in space when you screamed with frustration at the immense difficulty of the line, that doesn’t exist, the weight and the heft, which must be almost felt as much as seen, and the flicking sound one’s eyes make reading the page and then the figure, the figure then the page.

  • dancing, just dancing

    Dancing in the dark. It’s so beautiful. I heard about it back in Melbourne, where it was born (and so was I), and just kept not going because I felt too shy to go on my own. In Berlin I signed up for the No Lights No Lycra facebook page and waited for them to organise an event but they never did. Finally last Tuesday the old Ukrainian Community Hall in South Brisbane with its solemn Cyrillic listings in gold of every president since 1949 and its overpowering fake floral stench from the immaculate brown-tiled bathrooms downstairs came through for me and truly delivered. A girl in a slouchy beanie stood bopping on the pavement, holding an envelope. “You here for No Lights?” She slipped my five dollars inside her envelope and pushed the door wide. “C’mon in, we’ve just started.”

    Inside the dim foyer were big double doors. I went through. The darkness bloomed all around me like mould, soft and plentiful. Oh, the delicious sound, oh, the song I had not heard in so many years and which swept me away like laughing salt water. The song took me by the throat because I used to love it, in the day, the day when days were nights and I was only waiting for the soft darkness to fall. I remember driving to a club I loved and smiling at the doorman whom I knew from a Government lecture at Uni and who never charged me, and just falling onto the dancefloor and dancing until I had to go to the bathroom, until I needed a drink, until they closed. The dancefloor was tiled in black and white and I was very often the only one on it. I didn’t care. Alcohol helped me to get there. A man said to me once in a park, I know you! You were dancing at the club and you smiled at me. But I hadn’t even seen him, I was smiling at god. I was god. The music was everything.

    In the darkness the first song made me dance and very quickly the dancing made me cry. I remembered all the times I had wanted to dance and couldn’t. I realized: nobody can see me! I’m invisible. I’m hardly here. I felt the hot freedom pouring like molten sand through me and through me, like glass, a kind of tide of revelation, only me in this full space, me and the lyrics, me and the bass. And as I realized the extent to which I always feel observed, counted, and noticed, and to which I hinge and hem myself, and won’t let myself go, it all got too much and I started to cry. The crying lasted only a moment, a long moment, then the next song took me in its arms and I got this big broad grin across my face, a grin that almost hurt, that lasted several songs before it disappeared without my noticing it.

    By the time that boring song came up I didn’t care, I was dancing. My feet came up towards my chin, I flung my shoulders like a bird. I shuffled forward between the blurs. Ever so slowly as my eyes arrived I could make out through the teeming darkness people in a trance of dance, their arms flung up, their heads hanging low. People hopping, jumping, one woman just strutting in a long walk back and forth from one pillar to the next, making a shadowy sashay. Just for herself. She didn’t need to be anything, do anything. Everybody looked absorbed in their own element. I was dancing. We could not make each other out except to keep from colliding. Somebody laughed. Somebody set up a clap and its contagion caught across the wide old hall.

    I noticed the second Tuesday something that felt really familiar in me but which I had never consciously seen before: that a lot of the time my dancing involves throwing myself slightly off-balance, so the dancing is more like a falling, a forever falling. Just in time I catch myself, I stave off the floor, I rescue me.

    Spun on the spot like a floss I faced the back. The thread of light under the double doors and upright in between them reflected dully on the dim floorboards, resembling an upside-down cross. At the end of every song we grew still and soon another song started. Some were from the 70s, 80s, some were woven by machine. I went out to get cool air under my shirt and let the sweat roll between my breasts and pool in the tiny belly button cave and run down my arms; the night breeze struck me like a soft tree, ineffably; across the road in the old church hall a dozen drummers had set up a racket, independently, a rhythm, they sounded like they were conducting ceremony rather than just rehearsing. I walked round the hall and peered in on them before plunging back into the throbbing, dancing dark. “Last song!” she cried and everybody whooped. At the end of the hour a small light went on up the front and people gathered along the side bench for their bags. As we left two by two or singly or in threes the girl with the beanie was there, gallantly holding back the door, greeting everybody the same: “Nice work, ladies.” Only then as the street trees dipped over the road tropically did I parse the vision I had seen but not really noticed, when the lights came on: these people are all women – it is us who dance, it’s we who want an hour off from being seen, we are here to hold our freedom in our mouths like berries too many to swallow, the jaw dislodges and the voice unhinges and juice rolls fatly and purply downhill, over the hills and valleys of me. Of you, who is me.

    I opened all the windows and drove silent home. Thinking about a man who courted me by visiting with drugs. Who used to ply me with pot and I always accepted it and we would talk about music for hours, hours and hours and hours, maybe playing one song over a third, a fourth, a sixth and seventh time to see through the weave. He said to me, When you perform, remember: it’s all in the approach. It’s in the way you walk over to the guitar. I nodded, I had no idea what he might mean. And I got up and danced, irresistibly, through my own house like a thicket of books and ideas dense and shifting like sleeping cattle swaying upright, he loved to watch and I didn’t care, I let him, I’d forgotten him, and once I danced up in a sprung crouch onto the kitchen sink, under the taps, flicking the wall with my flat hands, I played the house like my instrument, I ran out on the verandah and threw my head back my mouth open where the rain poured down from the broken gutter and that night when I came in again and the song had ended my suitor was lying back in his chair, looking very grave, his long fingers a tent, and he said, “Yeah, I know you got the voice, like I said; I realize that you’re this big poet and all. But in my view: you are more yourself in the dance than in any other form.”

  • the great beauty

    If there is a chance you can get to see the Italian film before it closes The Great Beauty: do. It is just full and wonderful. Luscious but with not a drop running over, rich with sentiment free from sentimentalism. We sat so spellbound by the slow credits when the lights rose we were alone in the cinema. All the way home we were talking about it, but silently, pointing things out to each other to see. Under the moon we talked about it, mostly in gestures and unfinished language: the part with the flamingoes! the nun climbing the stone steps on her knees! the strippers in the window, the tourist who dies and the women singing on the antique balcony! It’s about a writer, who is old now and has only ever written one book. By the end of the film he knows what he will write next. He’s standing on a cliff top, indescribably except by film. If you love music, or dancing, or writing, or Rome, or the fact that human civilization has existed for a time on this planet: go see the film. I found it superbole.