Alison Croggon
Born in 1962, Alison Croggon is one of a new generation
of Australian poets which emerged in the 1990s.Ê She
writes in many genres, including criticism, theatre
and prose, and keeps a regular blog of theatre criticism,
Theatre Notes. Her poetry has been published widely
in anthologies and magazines in Australia and overseas.
Her first book of poems, This is the Stone, won the
1991 Anne Elder and Dame Mary Gilmore Prizes. Her novel
Navigatio , published by Black Pepper Press, was highly
commended in the 1995 Australian/Vogel literary awards
and is being translated for publication in France.
Her second book of poems, The Blue Gate, was released
in 1997 and was shortlisted for the Victorian Premier's
Poetry Prize.
Iseult
I am a queen at a high window
a black sail stands
at exactly the same distance
as always
which means the opposite
of whatever I take it to mean
I can't speak
no matter how many words
clot on the cold floor
some nursery rhymes are deadly
all of them are cruel
here the weather is harsh
and full of dust
words cut me as usual
or the usual words cut me
or was it someone else
I can't stitch a meaning
it unpicks itself
night after night
so many impediments
swell my tongue
you are the bitterest
heavier than rings or water
colder than a flock of birds
dispersed by storm
there is no true north
the stars oscillate
in unfamiliar orbits
the earth is strange
and marvellous
as winter is
and now is further away
than ever
Ode
We were woken too early, before the moths had died
in the streets,
when buds had barely hardened in the frost, when stars
are hurtful
and famished. They took us through gardens and past
the halls
where once we had lingered, past the houses and doused
markets.
Our footsteps echoed back like iron. Of course we were
frightened,
that was a given, of course we remembered photographs
we had studied
that then had nothing to do with us. The empty light
of morning
made anything seem possible, even freedom, even God.
We stumbled
on familiar roads, and everything turned away from
us,
lamp-posts, windows, signs. They weren’t ours any longer.
Even the air
greeted us differently, pinching our skin to wake us
from its dreams.
•
Words of course were beyond us. They were what killed
us
to begin with. They were taken away from the mouths
that loved them
and given to men who worked their sorceries in distant
cities,
who said that difficult things were simple now and
that simple things
no longer existed. It was hard to find our way, we
understood
the tender magic of hands, we knew the magic of things
not spoken,
but this was a trick we couldn’t grasp. It lifted the
world in a clump of glass
and when everything came back down the streets had
vanished.
In their places were shoes and clotting puddles and
sparking wires
and holes and bricks and other things that words have
no words for
and that silence swelling the noise until you can’t
hear anything at all.
•
It’s said that the dead don’t dream, but I dream of
flowers.
I could dream so many flowers — lilies like golden
snow on water,
hyacinths the colours of summer evenings or those amaranths
they call
love-lies-bleeding. I dream of none of those. I dream
instead
of wind-blown roses that grew in our shabby yard, of
daisies
glimpsed through the kitchen window, of marigolds that
glowed
through nets of weed. But most of all, I dream of red
anemones
that never grew in my garden. They rise on slender
stalks,
their seven-petalled heads bobbing and weaving in the
wind.
Wind-flowers, Pliny called them, because they open
only in the wind,
and the wind scatters their petals over every waste
in the world.