General

An Indigenous Map depicting a holistic world of a sacred land by Colleen Keating

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Our recent visit to the Museum of Contemporary Art  with a new exhibition on recent Indigenous Art.

This full wall mural was the one i kept returning to. It made me feel so much joy and every visit I learnt something new and yet it is about a desperately sad story.   Uranium Mining is threatening their homeland. Hence there is fear, stress, worry and powerlessness as it has happened before.

The map is unlike a Western Map which depicts a linear idea of a place . This map depicts water  –underground, shows geography, culture, seasons, biodiversity, environment, fragility,  beauty of the land and our interdependence on the it.

 

Kalyu 2014

“We painted to save it from the uranium mine . . . and to tell them there is underground stream. There’s no water on the surface to keep the dust down. That’s why we painted this big painting – to tell them and to teach others about the water system in our land “

–Ngalangka Nola Taylor, 2014

 

This extraordinary painting depicts a vast area in the Pilbara region of Western Australia that encompasses the Martu Aboriginal communities of Parnngurr and Punmu,

and represents the Martu Native Title detemination area in its entirety.  

Painted by nine artists from Parnngurr, it reflects the Martu people’s intimate knowledge of their desert country.

The work is a map in the most expansive sense.

Representing the landscape from below the ground to above the surface.

It brings together aspects of geography,

cultural knowledge

and seasonal time.

Through careful sequenced layers, the painting documents

the fragile, interdependent relationship

between different environmental elements,

indicating how the hidden underground waterways (kalyu) play

a vital role in the biodiversityof the areqa.

 

Kalyu was made in protest against uranioum mining exploration taking place on the edge of Karlamilyi National Park, which continues today. The national park is exempt from the 2002 Martu native title determination yet is considered by the artists to be

the ‘heart of martu Country’.

 

My poem written many years ago but still relevant today.

ghost of terra nullius

(in the search for a nuclear waste dump)

i arrived at Newtown community centre

free coffee  plenty of flyers  lots of chatter

and then sat as a welcomed outsider

beckoned by an email  that plucked the right chord

(amidst all the other vibrations including

marine parks   fracking   dumping  our reef)

a woman from Muckaty country stood 

quoted a prominent politician

why on earth can’t people in the middle of nowhere

accept low and intermediate level waste

and then she faced us 

unfortunately the already converted

and she answered his question

this is not nowhere mister politician

this on your Canberra map might look remote 

and empty

out of sight   out of mind 

this is not uninhabited space

this is somewhere   a sacred somewhere

we are here in this back of beyond 

our ancestors breathe and live in the red dust 

we are the land   our dreaming

our journey   our story 

this land is our song

the journal we write

the pictures we paint

this red earth is home to our people

creator and  creation 

no separation for us 

do not come here mister politician 

treading this desert

puts red soil on the soles of your shoes

and you wouldn’t want that

red dust gets into your soul 

makes you feel somewhere

it might choke you when the wind blows

here our horizon is circular   shimmers its mirage 

our population is sparse

yes it gives you space 

for your uranium dump I hear you say

            but we have reason to revolt at ignorance

maralinga   jabaroo and we hear of chenobyl

            maybe just words to you

     

            our song is our blood poured forth

            our hearts pound for our children

            for us life is timeless 

            for you I sense a rage of time 

but we have our animals and our food 

we have our water  our soil

our precious billabongs and springs

they are not for your contamination

Beachcomber featuring Jonathan Livingston Seagull by Colleen Keating

colleen General, Poetry Collection now available , ,

 

 

Most gulls don’t bother to learn more than the simple facts of flight –

how to get from shore to food and back. 

For most gulls, it is not flying that matters, but eating. 

For this gull though, it was not eating that mattered, but flying. 

More than anything else, Jonathan Livingston Seagull loved to fly.

– Richard Bach

 

A poet as beachcomber walks the beach, sometimes with pen and paper,

gathering sights and sounds, shells and stones, scents and seagull scenes.

Yet it is not always about the waves and wind, for the sea  carries the stories of the world;

how it connects and disconnects, how it gives and takes, reveals how we treat it. Humanity is always present in its deep moans and its dance of exaltation. When you listen, the ocean has much to say. Pick up Beachcomber  and, like Jonathan Livingston Seagull, these poems will take you flying.

 

 

Colleen Keating is a Sydney poet. Her

      poetry explores the paradox and wonder

of nature, the realities of life, of inequality,

injustice and the increasing threat to our

environment. This is her sixth collection of

poetry. For Colleen, poetry is vocational.

            I not so much choose it as my medium

of expression as much as it chooses me.

Awareness, mindfulness and an unperishing

sense of wonder are my guides.

 

 

Launch of a new book, Sandhill Island 75 by Jo van Kool

colleen General , , , , ,
Congratulations
Jo van Kool on the launch of her new book Sandhill Island 75 .A quintessential Australian conservation story. I was honoured to join with Barry Melville, Director of Radio 2RPH to assist in this .
   
Sandhill Island 75 is inspired by the late John Sinclair, who fought to save Fraser Island from sand mining and maintain its pristine beauty. Set in the 1970s on an imaginary island off the NSW coast, the story chronicles the ideological clash between conservationists and economic rationalists.
Central characters include aging artist Jim (inspired by Ian Fairweather who spent his final years living on Bribie Island) and 18-year-olds Tracey and Steve also inhabit the story.
It was a warm welcoming launch twith writers, poets, and interested friends enjoying comraderie, wine and nibbles at the Lane Cove Municipal Library. It was also very special to launch her new poetry book Here and There.
Thanks to Ginninderra Press and thanks to Library for their hospitality.

In memory of Uvalde’s children by Colleen Keating

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As I think of those families mourning the children who died in the Uvalde Elementary School mass shooting in Texas I find myself reflecting on the shining eyes of my Grandchildren: whispering to me about the gift they have made for their Mum for Mothers Day, describing to me how they think they saw the Easter bunny,  the light in their eyes as they open the birthday gifts we bring.  I think of the love I have for them and how I would do anything to protect them from evil that lurches about and my heart weeps for the Grandparents and their lost grandchildren  in the Uvalde Massacre and who have to standby powerless watching their sons and daughters grapple with the loss of a child.  

Poetry can not stop the pain, but poetry can give words to addressing  the agony.  it can stand quietly by for those who are experiencing wrenching heartbreak at this time.

In memory of Uvalde’s children

 our once big world   now a global village
with space and time a lillyput in a satellite realm
is real its song of humanity
its agonising cry

today’s message carries
visions of a school shooting
school photos only left–
tiny faces peering out
their shining eyes
show all the little dreams
children dream
and strip to nakedness
a whole nation

staring once again at emptiness
we are the witness
with adults bent over in pain
– many in foetal position
holding their bodies
from its bloodbath

it is said giving attention
is the rarest and purest sense of generosity

focus on
a small town  a primary school
a classroom
children
focus on
the good
alive in the agony of dissent
weaving
weaving in

Witches, Women & Words by Beatriz Copello

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I am proud to have a part in the affirmation of this wonderful newly realeased book by  Dr. Beatriz  Copello and published by Ginninderra Press. It was successfully launched last Friday evening and let’s hope the word spreads this is a collection of poetry not to be missed. 

“Beatriz Copello’s words take us on a profound journey through the perilous life we all find ourselves leading, where hope is hidden and ancestral anguish drives us to seek meaning and hope”

Anne Summers, journalist

These extraordinary poems in Witches Women and Words have our hearts beating with rage. This powerfully evocative collection speaks frankly of the twists and turns, pains, despair and hopes of the woman, the human, the poet, the abused earth, her trees and seas and biodiversity. 

In a world where “soldiers march blindfolded and mute” and of “wounds that never heal” It takes us on a journey: a witch’s broom, protection of a coven, and a cauldron of life’s struggles, to become free to allow the poem of woman to be created: “the poem born the poet a god”

She will have a voice, choose her destiny. You will be spellbound as you navigate these sensuous and imaginative poems where, “the persistent Southerly is a foreigner on this piece of soil” and “senses are like a tree in winter.”

This is not meant to be a peaceful read. This powerful collection of poetry by Beatriz Copello disturbs like her muse Neruda, with “words of fire, steel and hope. ” even as she writes “hope is hidden like a miser hides his riches.”

Colleen Keating, poet

Can we conjure a better world with the magic of words?  Can women, in particular, escape the cruel prison of history?  Beatriz Copello believes so.  Though she is “scared she learns to walk again” and “lets her blood run wild” in her new book, Witches Women and Words.  Even as the horrors of history reassert themselves, even when she is blindsided by the familiarity of death and haunted by lingering wounds in an atmosphere heavy with unspoken guilt, she “chooses life”.  With wit, passion and grace, and above all infinite empathy for the pains we all share, she chooses it for all of us.

Richard James Allen, poet.

An exciting launch for Decima Wraxall by Colleen Keating.

colleen General , ,

An exciting launch, not of one book, not of two books, but a launch of three books by Decima Wraxall. And I was honoured to be oart of this afternoon.

Poetry books: Flame, and Glimmers of Light and  a memoir Stolen Fruit.

Thank you to Ginninderra Press for the beautiful books .

This can be called a back log due to a pandemic or it can be called passion, dedication and determination to writing. We called it the latter . Congratulations on a wonderful, warm and writer-enthused afternoon. As I said at the launch.

“This for sure is a monentous occasion. Finally, we are here to celebrate. We are gathered and rightly so Decima , for you have not allowed anything like pandemic or lockdowns  to stop your writing. You have transcendented inertia to be here today with three books to launch. We have looked forwardd for so long to this bubbly celebration.

Chorus of the Hebrew Slaves . . . . and iconography by Colleen Keating

colleen General , , , ,

Listening to  Verdi’s Chorus of the Hebrew Slaves
my heart weeps
tears fall
my body stills
paused for the people
those without a warm bed and a home tonight.
Yes victims of war
and today victims of disasters
especially todays flood victims here

And so the war in Ukraine continues.

To see the people leaving their homes

leaving their husbands, fathers, sons behind,

leaving their homeland in the thousands,

now up to 4 million women and children

displaced is  horrible

a  tragedy.

Who could imagine this would happen again

in the 21st century.

My heart and love go out to the people of Ukraine

 and to the many people of Russia

who have the courage

to stand up and oppose this brutal invasion.

Former U.S president Barack Obama’s 2011 speech before the British Parliament said:

‘the longing for freedom or human dignity is not English, American, or Western,
but universal, and beats in every heart’.

I say it again:

We are all Ukrainians.  

Our destinies are intertwined

with the destines of all others on the planet 

as monk and social activist Thomas Merton once observed:

“we do not exist for ourselves alone’.”

 

“Creation of the World” by Ukrainian iconographer Lyuba Yatskiv.

(Thank you to my Hildegardian friend Amanda Dillon for sourcing these sensitive icons by Ukraine iconologists.)

It is incredible to me that within 3 months of COP26 in Glasgow, a war was launched at the other end of Europe with the explicit threat of the use of nuclear weapons or the explosion of a nuclear energy facility. Beyond its implications for human beings, the environment impact would be catastrophic.
How do these 2 possibilities exist side-by-side in our culture? Why is there always staggering amounts of money readily available for the purchase of death technology, but it’s so difficult to find the will – let alone the money – to solve our environmental problems?
Where is all the toxic waste material, the rubble of the bombed out, burnt-to-a-cinder cities, like Mariupol, going to go? The environmental impact is part of the long term human impact, but it is never discussed. Maybe we need an international court for war crimes against nature? Lord have mercy. 🙏🏼💙🇺🇦💛🙏🏼

 

 

“Archangel Michael. The defeat of satan” by Ukrainian iconographer, Kateryna Kuziv.

Praying for the defeat of the evil of war.

A friend has researched and shared Ukrainians icons

that are very touching and I would like to share them here 

Thank you Amanda for giving me permission to share

 

When war kills the dreams of the future – by Colleen Keating

colleen General, Poetry , , , ,

Sending spirit of peace,  of bright starlight over fields of barley 

These are horrible, tragic times and my heart and love go out to the people of Ukraine,
and to the many people of Russia who have the courage to stand up and oppose this brutal invasion.

The  tragic  and unnecessary invasion, which has already displaced more than 2 million people that have fled across Ukraine’s borders with neighbouring countries, is not only killing and wounding the lives of so many -but also attempting to kill the dreams of a future that so many hold dearly. 

Former U.S president Barack Obama’s 2011 speech before the British Parliament said:

‘the longing for freedom or human dignity is not English, American, or Western,
but universal, and beats in every heart’.

 

We are all Ukrainians.  Our destinies are intertwined with the destines of all others on the planet 

as monk and social activist Thomas Merton once observed:

“we do not exist for ourselves alone’.”

A friend has researched and shared Ukrainians icons that are very touching and I would like to share them here 

‘Nativity’ by Ukrainian  iconographer Ulyana Tomkevych

Sending love and hope to all the pregnant women and mothers caught up in the atrocities of war

* * * * * * * * * *

‘Crossing the Red Sea’ by Ukrainian iconographer Ivank Demchuk.

Sending safe passage to all those trying to find safe passage through
and out of Ukraine  May you be sheltered in this exodus. 

* * * * * * * * * *

The Visitation  by Ulayana Tomkevych 

Sending love to all women in Ukraine who are looking after older parents
and young children and having to make decisions of staying or leaving their beloved war-torn homeland.

* * * * * * * * * *

 

“The Protection of the Mother of God”

by Ukrainian iconographer Ulyana Tomkevych . How can we imagine what it would be like to live in a n ancient and beloved and beautiful city and be told it is going to be bombed and destroyed for no reason. How does one cope with this?

 

* * * * * * * * * *

 

 

 

Vale haiku by Colleen Keating

colleen General , ,

Vale Grandma and GGPat

a few new haiku
of loss and sadness while
nature continues to sing

a dim empty room
fragrance of the mock orange
leans in to the space

summer’s golden light
shines from red tips of trees
thawing our winter hearts

spanning a great age
the fallen rock is softened
lush with moss and lichen

shell of a cicada
it chose the blue flower
for its last song

thank you
i believe in angels
nurses and carers

 

Thank you Grandma for your love and care
all over our growing years.
We knew you always had our back
We will miss that

Now we can only hope
somehow your prayer wheel
will carry on to pray
and you are still there for us
but just in another way

Windfall issue 10 2022 Review by Simon Hanson

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Windfall: Australian Haiku, Issue 10, 2022 – Review

Simon Hanson

The 10th and final issue of the much-loved journal, Windfall: Australian Haiku, was released in January 2022.

Windfall is an annual journal edited by Beverley George and published by Peter Macrow at Blue Giraffe Press. The cover artwork is by Ron C. Moss, with design and layout by Matthew C. George.

Originating in Japan, the popularity of this short poetic genre has spread widely around the globe. Australian interest in haiku dates as far back as 1899 when an Australian haiku competition was conducted(1). Subsequently, in the 1970s, Janice Bostok produced Australia’s first haiku magazine, Tweed(2).

More recently, the Australian journal, paper wasp, ran for 20 years until ceasing publication in 2016 and, with the internet leading to growing interest in the genre, other print and online journals have encouraged and supported the writing of haiku.

For the past ten years, Windfall has focused solely on haiku about Australian urban and rural life, written by Australian residents. These poems have incorporated many elements of our landscapes, seasons, flora and fauna into the haiku form.

spring equinox
over the moonlit creek
a pobblebonk chorus

Mark Miller

leading
into sundown
dingo tracks

Tom Staudt

virgin rainforest
ninety-four rings
on a fresh cut stump

Andrew Hede

Nature haiku such as these enable Australians and others to appreciate images and sounds associated with the birds, animals and plants of this country.

waning moon
in the mangroves
fireflies stir

Maureen Sexton

rising heat
a jabiru crosses
the sun

Cynthia Rowe

winter afternoon —
golden wattle glows
on black sky canvas

Sheryl Hemphill

Windfall has chronicled some of the best Australian haiku for a decade. Issue 10 presents haiku by 63 poets. By my count, 20 of these poets also appeared in Issue 1, which suggests around 40 of the current Windfall poets have emerged in the intervening period. The growing Australian haiku community certainly includes a healthy influx of fresh voices and fresh ideas.

Some poems in Windfall relate to the interaction between nature and the human environment.

opera house steps
a long-nosed fur seal
soaks up the sunshine

Vanessa Proctor

rainforest glade
an empty packet of Smith’s
catches the sun

Nathan Sidney

While others use local flora and fauna to portray aspects of Australian behaviour and culture.

black cockatoos
in tree shadows
he stops treatment

Earl Livings

beachside walk
the roughness of
banksia pods

Nathalie Buckland

dunny
without a door . . .
the Milky Way

Leanne Mumford


Credit for Windfall’s success must go to editor, Beverley George, and to publisher, Peter Macrow. Beverley’s deep knowledge of the haiku form has enabled her to assemble a marvellous selection of Australian haiku for each edition of Windfall, while Peter has supported the journal throughout its life.

Beverley George selected the following haiku to conclude the 10th issue of Windfall. It was a wonderful choice, with the poem capturing a quintessentially Australian scene. But, more than that, the poem does not despair about ending. Rather, the poem celebrates the vitality of birth and renewal.

sheltered paddock
the udder punch
of a newborn

Glenys Ferguson

For ten years, Windfall has made an important contribution in recording the work of Australian haiku poets. Now, we all look to the future.

Review by Gregory Piko

A limited number of back issues of Windfall (No. 4 to No. 9) and of the final issue (No. 10) are available for $10 per copy, postage included. Cash or stamps are welcome, as are cheques payable to Peter Macrow. Please address to:

Peter Macrow
6/16 Osborne Street
Sandy Bay TAS 7005

1) Scott, Rob, “The History of Australian Haiku and the Emergence of a Local Accent,” The Haiku Foundation Digital Library, accessed January 22, 2022

2) Dean, Sharon Elyse , “White Heron: The Authorised Biography of Australia’s Pioneering Haiku Writer Janice M Bostok,” The Haiku Foundation Digital Library, accessed January 22, 2022