Winter walk by Colleen Keating

colleen Poetry

Winter Walk


I write as a mother, wife, woman, Australian,
Christo-Catholic, Zen Taoist, seeker of beauty,
worker for peace, teacher, idealist, beachcomber
and curious wanderer.

My winter walk today was extra poignant
as I face an operation tomorrow and i have a sense of vulnerability
going through a general anaesethic and the risks involved at my age.

I especially enjoyed the crunch of the autumn leaves under foot
the crispy crunch of the maples
the sleeky softer crinch of the elms
and then  silence underfoot once in the bush
where footfall is absorbed by soft mulshy leaves
as if I am not there
making it easier to disappear into the environment.

I found the beauty of the light overwhelmingly stunning,
the tickling sound of the creek,
the birdsong and scratch of the bush turkey.


I observed and marvelled at the beauty of nature around me.

I especially loved the tiny toadstools growing out of the mossy trunk
and sighting young orchids growing from the tree trunk.

 

 
And I am very gratiful that I could walk into the bush
and that I have my special pocket of bush for escape.

 

 

 

 

I Choose Joy but find my self weeping for our inhumanity by Colleen Keating

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The poet Lucille Clifton’s says: 

“I choose joy because I am capable of it, and there are those who are not.” 

Life is challenging.

Many of us couldn’t wait to see the end of 2024 

and I like others were longing for a new start.

Yet on New Years Day  I spent time with my diary and was able to write

some memory to be grateful for, in every month.

Sometimes I think we forget the gifts and blessings and graces that come our way.

Of course  for our future, there are deep concerns.
Our environment, forests, trees, rivers, oceans, desert, lakes, all are suffering:
fresh air, clean drinking water, good soil and seed are essential for life
to continue on the earth and they are all at risk.
Our animals, birds, bees, Christmas beetles and many other species are threatened. As I suggest in my recent haiku:

billabong
song of frogs
gone silent

CK

my garden
beetles, bees and bandicoots
missing

CK

And yes, the grandchildren growing up so excitedly to face their world  gives me deep joy,  

but I realise the warring world that they will be contending with is  struggling to find a way to peace. 

There are so many positive signs of people claiming peace but the petro- war and weapons machine is powerful.

Which is why we can’t give up or give in to despair.

We can feel it, but we can’t let it paralyse us.

 I also think often of Gandhi’s words: 

“Anything you do will be insignificant, but it is very important that you do it.”  

 

And, while I’m on a roll quoting, Marcel Proust says: 

“The purpose of the artist is to draw back the veil that leaves us indifferent before the universe.” 

There is no room for indifference anymore  Indifference is complicity in allowing inhumanity and if one person is treated inhumanely we are all in trouble.

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The Cage of Paralysis: We cannot afford to be complicit

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I am called  

you are called

we are called

to be  witness

for the people of Gaza and Ukraine

but how to find the words to write.?

Any words mouthed,  fumble, crack in air

like pottery cracks in the opened kiln

how sharp the splinters of gathered words

* * * *

when i  realised  I was in anguish 

I cried for me, I cried for all of us.

Now I cry for our inhumanity 

I jolt myself many times   . . .this is self pity  

You are not  hungry

You are not in pain

you have all the medications you need

you are not living in fear

You have not lost family

Your house is safe and warm

and watertight.

When the next generation asks what action did you take

to stop the atrocities to which you  daily bear witness 

I can only be silent

and humble with  the helplessness I feel

whispering  I was with them . They were not alone.

I wish they could know they are not alone and how much we care .  

Our pain is the powerlessness that we live

as if in our own cage of paralysis

 

 

 

Eucalypt: Issue 38 2025 ed Julie Anne Thorndyke

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Thank you to the editor Julie  Anne Thorndyke for an exquisite production of the latest Eucalypt  Issue 38.

I can always feel the love and care in the selection and  placement  of  the tanka on the page

which of cousre enriches each one tanka.

Your work is appreciated. 

I am proud to be included with so many fine Tanka writers and  sensitive work  in this latest issue. 

Illustrator: Pem Sarti.

It was so special to be sharing the page with my dear friend Beverley George with our similiar sentiment .

 

a red dragonfly

rests on a white lotus

for a brief moment

time stands still 

in a maelstrom world

Colleen Keating

for an hour

the eastern water dragon

rests beside me . . .

innate trust

and companionship

Beverley George

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It was exciting to see a new tanka from Pip Griffin written after her recent journey to Canberra where she enjoyed the new Installation by Lindy Lee

Lee’s Ouroboros * –

coiled apertures

dance us into light

colour us with rainbows

shower us in stars

Pip Giffin

*Lindy Lee: Ouroboros, National Gallery of  Australia, Canberra.

 

 

 

 

 

 

At ‘Woodlands’ remembering the woman writer Ethel Turner and Celebrating the Society of Women Writers Centenary

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The Society of Women Writers, as part of their centenary celebrations had a booth at the recent open day of the National Heritage house ‘Woodlands’ in Killara the home where the woman writer Ethel Turner lived for some years and  where she wrote the famous Seven Little Australians. We could stand and be inspired in the  house, in the room, the corner, the desk, where she wrote at least 3 of her many books.   

It gave the Society an opportunity to advertise the Society and to talk about writing and how Ethel was an early member of the Society. 

 Ethel Turner lived at a time in the late 19th century, when women would start earning recognition for their works and perhaps start to get their seat at the table alongside their male contemporaries more than ever before, even if there was still a lot of gatekeeping.

Albert and Eva Lin who bought the house in 2017 realised ‘Woodlands’ was included on the State Heritage Register  and they decided to learn more about Ethel Turner.

Realising althought her iconic novel was still available, Ethel herself had been largely forgotten, they immediately set about  to rectify that. In conjunction with local historians and the local council, Albert and Ava set about restoring both home and garden to their former glory days.  Although keen to modernise the home for their young family,  they have restored part of the house to reflect its 1890’s inspiration for Turner’s imagination including a library of her complete works .  As Albert says:

‘Woodlands’ has been around before I existed. It will be  around long after I cease to exist. As its present custodian, if i do not do this that I am doing, who else?

Albert Lin Private owner of Woodlands with two of his five daughters

who has restored his home ‘Woodlands’ into the period of history of Ethel Turner’s time.

HerStory Arts Festival experience by Colleen Keating

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To be Highly Commended  in the HerStory Arts Festival for my poem  Remembering Judith Wright and to be invited to read it at the Wharf 2 presinct was a great honour and I hope Judith Wright, one of our finest Australian women poets 1924- 2000 is honoured as a result. 

I have written many poems about Judith Wright, her friendship with Oodgeroo Noonuccal, as an environmentsl mystic  and about meeting her in Braidwood at a Two Fires Festival  in the 90’s with her Biographer Sr. Veronica Brady IBVM,  a Loreto nun  and now it is exciting to have one of these poems  be Highly acclaimed.

Susan Brooker:   Gwen Bitti:      Colleen Keating

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HerStory is a new and independent arts festival on Gadigal Land, debuting at the iconic Wharf 2,

in the heart of Sydney’s creative district.

to experience exciting new Australian works from emerging artists and creatives.

It is a vibrant 4 days of art, music, poetry, play, short stories, memoirs and networking .

Writers will be showcasing their work through staged readings and presentations throughout the festival.

We want to extend a HUGE thank you to everyone who submitted — your voices are truly inspiring!

Congratulations and thanks for all the heart work.

Pip Griffin who was a judge in the writing competition  and Gwen Bitti  with their  books for sale at the book table.

and we enjoyed the spectacular venue in the city

Poets Pip Griffith, Sonia Hunt and Colleen Keating

 The Amazing Lucas Girls premieres at the 2025  Written by Cate Whittaker, this new play honors the real-life Lucas Girls of Ballarat. When Clara’s fiancé Wilf is pushed to enlist, she leads the charge against conscription, rallying women to bring hope and unity to a divided town. A powerful, true story of resilience, courage, and community. This often forgotten part of Australian history centres the women lost to HISStory. Congratulations Cate.

          

1:00 PM – Wharf 2 Theatre
Abigail Williams by Rebecca McNamee (Post-show Q&A)

2:00–2:40 pm – Atrium (Foyer)
-Readings & Book/Art Display
– Acknowledgement of Country – Prudence Weir
– Memoir: Yellow Gate – Vicki Geraghty
– Short Story: Uprooted – Susan Brooker
– Tribute: Remembering Judith Wright – Colleen Keating
– Memoir: One Piece – Gwen Biti
– Essay: The Ghost Ship – Kaye Spence
– Presentation: Matruchhaya Women’s Refuge – Preeti Kotwal or Lalita Kanakar

   

 

 

 

 

 

 

 

 

White Pebbles Haiku Group , Autumn 2025

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Thank you to  the Australian Haiku Society  for publishing our update and to Gwen Bitte  for her summary of a very warm Autumn Ginko at the Edogawa Gardens in East Gosford.

White Pebbles Ginko Autumn 2025

On Saturday March 15, together with esteemed founder and convener, Beverley George, White Pebbles members, Marilyn Humbert, Kent Robinson, Colleen Keating, Michael Thorley and Gwen Bitti gathered at the Edogawa Commemorative Gardens in East Gosford for their autumn meeting. Apologies were received from Pip Griffin, Maire Glacken and Samantha Sirimanne Hyde. Following coffee and a chat at the café, we agreed  to continue with Kent Robinson’s suggested theme from summer — Waterfall. Members then headed out on their ginko.

The strolling type gardens, filled with sunshine and neatly pruned greenery, offered harmony. Children played while ducks bathed and flapped wings or waddled around the gardens. The ever-present koi swam together, surfacing with gaping mouths. The last of the pink lotus blooming added an elegant touch to the pond. Cascading mini waterfalls and quacking ducks added a lively blend to the gardens. The wisteria walk extended a peaceful path and, although there were no blooms, the vines offered cool respite from the heat and a place to reflect. Meticulously raked patterns of white pebbles provided a serene visual element, inviting contemplation.

Following our ginko, we revealed our evocative and insightful waterfall haiku, in a private room. Each poem, while focused on the same feature, brought a unique perspective, capturing the varied sounds and elements of the falls and surrounding area. Members workshopped and gave measured and useful feedback on poems. In addition, individuals shared a few of their newly published haiku, as well as poems on something that recently surprised and delighted. Marilyn encouraged us to enter more competitions. She also read a quote on haiku by Japanese author and haiku poet, Santoka Taneda, 1880 -1940 and enlightened us that he was the originator and part of the free-form haiku movement.

Our joyful meeting concluded with our favourite photographer, Debbie Robinson,  capturing our smiles.

Members who had time stayed on to enjoy lunch together at the café. We departed with fond farewells until our winter meeting.

L to R: Colleen Keating, Kent Robinson, Michael Thorley, Marilyn Humbert, Beverley George and Gwen Bitti

 

The nightmare Sequence : Holding space humbly and with mercy for the injustice of our times. by Colleen keating

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The Nightmare Sequence is a searing response to the atrocities in Gaza and beyond since October 2023. Heartbreaking and humane, it is a necessary portrait of the violence committed by Israel and its Western allies.

Through poetry and visual art, Omar Sakr and Safdar Ahmed capture these historic injustices, while also critiquing the role of art and media – including their own – in this time. Born of collective suffering and despair, their collaboration interrogates the position of witness: the terrible and helpless distance of vision, the impact of being exposed to violence of this scale on a daily basis, and what it means to live in a society that is actively participating in the catastrophic destruction of Arabs and Muslims overseas.

With a foreword by Palestinian American poet George Abraham, The Nightmare Sequence is an insightful work of testimony that also considers how art is complicit in Empire. This transcendent book invokes the power of poetry and art to shift hearts and minds; it will serve as a vital record in decades to come.

With profound love and deep sorrow, paper and ink, words and images, Omar Sakr and Safdar Ahmed have created the story of our time. Each page of The Nightmare Sequence presents a provocative offering.

Do we read, look and think?

Do we experience anger and shame?

Do we feel the tenacity of the people of Gaza?

Will we remember their dead?

Will we condemn the killers?

Or will we move on?

Move away and seek the sunshine?’

Tony Birch

 

This is one of the most profound and transformative creative projects I’ve ever encountered: I felt both completely devastated and completely renewed by it. Birthed from and through a genocide, The Nightmare Sequence is an astonishingly original collaboration by two artists who are committed to the intimacies of humanity, the details of injustice, and uncompromising truth-telling. In a world that has rejected the Arab as being worthy of life and dignity, read this book to be reminded of the generosity and love of artists who insist on bearing witness to the trauma and humanity of Palestinians.’

The Weekend Australian on The Lost Arabs

‘In this collection Sakr reveals himself to be that rare beast: a poet with something to say and the means to say it. This is a book of poetry that surges and whispers and shouts and demands to be read in a sitting.’

The Guardian on The Lost Arabs

‘Thrilling … It is rare for such a collection to be a page-turner but [Sakr’s] poetry demands to be read, digested and re-read soon after.’

NSW Premier’s Literary Awards judges on Still Alive

‘Extraordinary … Ahmed’s work stands out as an example of brilliant storytelling created with and through community, a labour of generosity, and love. It is an unflinching critique of policy and discourse that demonstrates the power of art.’

The Age on Still Alive

‘Arrestingly powerful … Sensitive, heart-breaking, stippled with dark humour, it’s hard to imagine a more potent indictment of Australia’s immigration detention, or a clearer call to change it.’

 

The Ocean is Calling for Gemma by Colleen Keating

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The Ocean is Calling 

the sea

cool   calm  caressing  

ebbing into the sand

tickling my toes

my happy place

 

 

 

from dolphin dancing by Colleen Keating

bewitched in
hypnotised out
carefree

lightness of the sea
diving rolling floating
shooting the waves

 
synchronised
dolphin dancing
delightfully
caressing the waves

timeless
like children at play
in sea-scented breeze
comes a new dolphin dream

from another day by Colleen Keating

there is a touch of the transcendent

on the horizon today    the sky spreads 

like the sound of a symphony    and shadows

the deep slate of sea  with its surge

        of rolling energy   tufts of crested foam

 and sweeps of spindrift thrown in the air like hands of praise

from my poem  another day

— it’s a sonnet and the very last “Sonnet to Orpheus”

Let This Darkness Be a Bell Tower

Written by Rainer Maria Rilke

TranslatedJoanna Macy

Quiet friend who has come so far,

feel how your breathing makes more space around you.
Let this darkness be a bell tower
and you the bell. As you ring,

what batters you becomes your strength.
Move back and forth into the change.
What is it like, such intensity of pain?
If the drink is bitter, turn yourself to wine.

In this uncontainable night,
be the mystery at the crossroads of your senses,
the meaning discovered there.

And if the world has ceased to hear you,
say to the silent earth: I flow.
To the rushing water, speak: I am.

Sonnets to Orpheus II, 29

Thank you to Krista Tippitt for  her inspiring website ON BEING for this wonderful reminder of quiet peace.

 

Poet’s Corner, InReview compiled by John Miles

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Poems: My Days and Return From Eden

This week’s Poet’s Corner features poems from Colleen Keating and Richard Clarke.

CJ

Compiled by

John Miles

Apr 03, 2025

My Days

by Colleen Keating

 

These words are not about the sea

its white froth spraying wildly

into a silver sky and yesterday

shining with the glint of gems

their twinkle tapping my forever breath.

A sea that swirls at the rock edge

undermining the cliff grain by grain

sometimes rock by rock

that takes greedily and some days

gives, a shy curl to the beach 

 

They are about the days of this past week

elusive as the scuttling mud crabs, at my feet.

 

Return From Eden

by Richard Clarke

 

Shoulders slumped at the wheel while

stars illuminate the road ahead,

across the dry paddocks lie

the lights of the homestead.

 

Sprawled across the cracked back seat

twin sons verge on slumber,

drained by the shouts and shoves

of a company of cousins.

 

Carrying the boys indoors

their parents share a smile,

celebrate a rare day’s delight

amid long slow months of drought.

 

 

Colleen Keating and Richard Clarke are members of Sydney’s Pennant Hills Poets Group.
Bio notes for them can be found with their previous Poet’s Corner appearances on 14 March and 28 February.