Elly McDonald

Writer


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Traffic Victim (1985)

I would argue

I would still be

arguing

as I stepped off the kerb, stepped into

a truck

bearing down

its tyres screech for me

its wheel-flesh burns

its brakes ache and break but always

you between me

between me

and death

your arm holds me back

holding back, straight and safe, your arm

curbs

 

and I would do

anything to reach you

to be

with you now

to yank you back to safety

I would kill

myself

anyone, anything, I would roll right over

any body

in my way

if I had my way

– screeching tyres, loss

shrieks –

I would run right over

any object, run right

to you: through

you holding on, holding fast

bearing all

 


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Tidal (1984)

In the laundry we found a postcard

Victorian erotica

a woman with blancmange buttocks and

a tentative smile

like her

malleable curves, bovine

eyes: a Gibson

girl, in sepia tones, her body

all graceful billows, as

rich as her husband’s wheatfields

her breasts, white as orchards in bloom

heavy

featured honey-lips and now

decades later, her country child

wades through pock-coral tidal pools

compulsive

he still finds relics

of a ship smashed by the bay

shards of pottery

pitted like daguerreotype

shattered, once-sharp edges smoothed

now aged, in submarine silence

he assembles the fragments for

mantelpiece display – a voyeur

caressing

he holds them with the tenderness

of her remembered

touch

 


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Other People (1981)

Long and gentle (soft dusky pink)

A girl in a coffeeshop

Closes up, jagged like an oyster.

Her face blurred like a moonstone.

 

huddled, hunted, in massive tawny furs

(a memory, but raw as a freshly-flayed kill)

can’t feel, can’t breathe, drains away…

her ankles loll like broken necks

 

The girl in the coffeeshop

Keeps her chin level,

Talks tired and calmly: I’m not

Really crying, she says.


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Telling (1985)

My grandmother, in the kitchen,

is talking to herself.

‘I had a friend called Alice,’

she intones, low voiced.

‘My friend called Alice baked bread;

she baked bread, ever day,

She was ill, and never told anyone

(I never told anyone

this, but she never did.)

Then she died, and nobody worried

no one had worried, she never

told anyone – so,

nobody ever did.’

My grandmother, in the kitchen,

keeps talking, telling herself. She says

she had a friend called Alice – she

says this baking bread, her daily bread –

and I know she never did.


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REM (1983)

swimming or flying; it’s exhausting

a lurching struggle to keep on top

to maintain buoyancy, a semblance of direction

How I spend my nights, aloft, in

flapping, plunging, plummeting…

speeding into spirals,

open-mouthed crazed arcs

colliding with telephone poles, tangled

in the wires or

strangled by seaweed, out-distancing

a shark – maybe three, vicious

in pursuit: threatening limbs

that churn, that battle, downward-destined and

ploughing through rubber when there’s sharks

all around, there are sharks

there below

How I spend my nights, afloat, and awake,

spent


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World’s End (1983)

So mistaken

she looks frightened, wan

a blank face, and dull

no understanding (like a peasant)

no response (a smacked-out hooker)

one

person emptied bleak

alone and

nothing in the world can make this right

Patagonia

iceflint fear

 

Life, more or less – more often

less – a desolate chill

remote

this is nowhere

she knows

she’s nothing, lichen on a rock

but if

still saying nothing

she just sits

and smiles the next time

life will go on

still clinging

much as before


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Showdown (1982)

this is untrue

not necessary

the sun is in my eyes; I glare back

 

what was given is unguarded but what is

Mine will not be taken

take your fingers from my face

 

I came

here alone: I remain

unmoved

 

a flat earth, full of cowboys

hard men, six feet junder

a mythic phallusy, walking dead

 

and you, your flesh is waxen

eyes are cold, your movements stiff

if you can stand it, stand your ground

 

but show me life

or I swear

I’l bury you


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Underwater (1982)

When he speaks he hears his voice

distorted, shrill – faraway

When he moves

he meets resistance; his progress is stifled

confused, he can’t feel –

no feet, no ground

like living underwater

this stark, still environment tints his vision

chill green

strident luminosity but

he’ll adjust. He’ll grow

clear hard scales, his blood

will run cold – transform to

survive. He’ll learn;

a dampened organism, tongues

insinuate, forever

in motion. He’ll see

through shell-pale eyes now

salt won’t sting


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Superman 2 (1982)

He will return, unwelcome

but welcomed by some

naturally divisive like a mirror

drawing the line between the land of the

existent and the image zone:

His face hasn’t changed and his voice

remains the same; no excuses

to start afresh, no new chink

to offer glimpses

of a different person, unavoidably himself

present physically and emotionally

Omnipresent.

cold, colorless

eyes that register nothing an

expression that won’t alter

altercation made flesh

uncalled for, he’s comeback

underneath he never went

what is true, is eternal; what is false

is what you will

He returns to resume his place here

as if nothing has

Changed


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Vertigo (1983)

here, I am uneasy

this place is strange, this space

empty. This incubator, sterile compound.

your unit. Myself glimpsed

in glass (in fragments), a full-length window pane

Ghost image on a TV screen

you disturb me

the air –

so sharp it hurts, this high

vertigo –

you make my eyes smart

Far removed, a burglar siren jams

(you alarm me)

the heavy breathing of cars, below

you oppress

like a radio not quite tuned to the stations

a shadow pall –

a phone left off the hook


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Northbound (1985)

In summer, while tanned, blue-eyed girls in

white cotton frocks planned weekends on the yacht

(the harbour danced with white, teasing sails)

he went up north

a country boy, he’d shyly confess

no time for cultural gorgings, for opera

in the park – a backwoods poet

raised among canefields

Never been farther than Cairns:

such yearing – as soon as he’d had means

he bought a neck of river: his boast, his own

human clay, his land

of parakeets and snakes. As a child the sky

seemed uncontainable: horizons so wide, so far

out of reach

now, driving north, he sleeps alone

on the beaches at night

counts the stars, then, satisfied the sky

has not contracted, he softly hums

The restless rhythms of the car tune

his days, and he sings, low and gentle

as he never could down here


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Dust (1985)

bright red

wounding the hillside, once

twice: every year

the dust billows down through the gullies

from up north, from the desert

dry-red flatlands, red dust clogs

cloaks the sky

so heavy, day smothers

so light, night fades

desperate-hearted nights, of throbbing sticky

heat: a bullet-hole

moon bleeds over soft lands –

bright red, like a bushfire

casting a pall


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Byzantium (1983)

A neon script emblazoned on the skyline

And the bassline from the car radio

Reverberates

Throbbing like the tremor of a long-bow string

After the arrow is loosed.

God is starry-eyed in the heavens

Tonight, and the streets down here are paved with gold

Light gilded – a Byzantine mosaic

Our city, bejewelled, wears a halo.

Driving through the night (through a pageant)

We are silent

We are blessed

We are wonders in a world

Of precious detail-work, of graven

Images: richly-inlaid mysteries

From the radio the bass emanates and

Envelops

A textured mantle, dark

And warm as blood