Broome speak
during the sunset I pause
the ocean’s got something to say to us
maybe it’s history speaking or maybe
it’s other people’s ancestors
hard to say for sure
with every snap of the pinkening sky, the
rocks become silhouettes, of picnics, the sand
ingrained in my grandmother’s sparkly linoleum kitchen floor
the surfaces getting sharper than the day
for a split second
between snapping anniversary selfies and dodging camels
and SUVs crawling, branded ants across the sand
Broome Broome
Broom Broom
while the ocean projects across the land to the carpark, the tourists keep clicking
the middle of history is full of the sound of rental cars with their handbrakes on
Oyster Interrupted
early on in the tour
you place slavery in darkness
and paid labour, in the light
an oyster shell covered in barnacles of the ocean’s bacterium truths, to be chipped away
pearls might be the circle of joy herself or a great asymmetrical disappointment
the oyster’s life is interrupted through
the insertion of a seed
the oyster releases liquid, to try to get it out
but most of the time it stays there
and after 2 or more years the liquid hardens
and that, folks, makes a cultured pearl
any guesses what this one’s worth?
I look at the seed, the abductor muscle, the
oyster’s thin sensory rim
I squirm in my seat
too much like unpaid labour for comfort
considering the life of codes and Bob Hawke
there arrived a time toward the end of history when language went underground
grammar, a shell patterned cave
I dreamt one night of seeking refuge there from
the rubber bullets I spied tucked under pedicured fingernails
the bullets had no names on them, except
for strange names, like
Hanson – Anning – Shorten – and
other names I can’t repeat here
I heard voices, travelling along the shell-writ grooves
they became softer the closer I drew
they become closer the softer I grew
I want to break the codes, some said, but
I don’t know if that code has a key
if that word had a history
codes? history?
once upon a time there was 0 1 0 1
1 is on
0 is off
for example;
wealthy, poor
loser, winner
red green
good politician bad politician
just then, just as the age of codes was drawing to an end, a nameless rubber bullet broke through an above-ground room’s window, glass shattered, fragments of meaning stuck to polyester designs, and jean-clad thighs stuck to brown retro lino, and coffee stained lips
too many shapes to collect
glass shards lodged in incomplete sentences
objects lost their verbs, and nouns, cried out for their missing adjectives and
no one quite knew anymore, whether racism came before capitalism
or capitalism came before racism or whether humanity came before Medicare
or Medicare came before Bob Hawke whether land came before rights or whether
Bob Hawke came before land rights and everyone wanted to watch him tear up when he
announced that he’d allow Chinese students to come to Australia after Tiananmen Square but
some of us couldn’t decide if he was good or not, deep down, and no one wanted to remember that there’d already been some exemptions for Chinese students made in the 1920s
and I? I didn’t know either
the thing about the code was
the violence had become a logic, and the logic was buried
deep down in the cells, of people with hearts who bleed rational blood
0 dollars can become 1 dollar, and
1 dollar can become many dollars
then, one day,
the language went underground and I, too, dreamt of seeking refuge there
leaving behind ‘0’ and ‘1’
taking my Medicare card with me
Nadia Rhook is a white settler historian, educator, and poet. She currently lectures Australian and Asia-Pacific history at the University of Western Australia, on Whadjuk Noongar land. Her poems appear in journals including Cordite, Westerly, and The Enchanting Verses, and her first poetry monograph, ‘boots’, is forthcoming with UWA Publishing in February 2020.
Spectacular!
Thank you Mehmet.