Snapshots for 18th July 2007

The Other Suicide Bombers

It’s  not the ops tempo the boys
have  financial problems they think
about looking  at those rigs in Basra.
Noncoms got body  armor we don't get
suicide  prevention teams this ain't Nam &
only  98 under 25 did  it & only 310 tried  what do
you want  there are stressors and the guns  are there.

new nest

... the most
disconcerting moment
was when the plane
(single engine Cessna)
dipped
to the angle
of my writing pen
and I suddenly realised
the scratches on my window
were fingernail scars
from past passengers

we landed fine
on a red em dash
on the outback page
of Terra Australis
and a friendly
Sister of Saint John of God
(How's it goin', bro?)
came to greet us
in her t-shirt and jeans
a 48 year old woman
scrawny as
a desert bird
driving a giant 4X4
which trebles as
ambulance, operating theatre
and bus
broken rosary hanging
from her rearvision mirror

champagne bottles clinked as
we drove to this
incongruous modern house
on the ancient landscape
with its airconditioning
and internet connection

two Aboriginal women came to greet us
as black as burnt jarrah
men all gone a-mustering

only Deek
a homeless dingo
roamed the streets
of Gibb River settlement
with her teets hanging down
and her eyes on high beam
looking for tucker

Andrew Burke

Snap 18 July 2007

Even in dreams I am
insubstantial. Flimsy. Ghosting

through a history of rooms.
Tulips droop in glass pitchers.

Cats slip past the plastered walls.
Even in dreams my hips complain.

Stiff. Sullen. Uncooperative. Petals
fall onto hardwood floors. Linoleum

peels, curling up at the base
of the sink. An earthquake shakes

plates from the cupboard. Floating,
I drift to the basement. It's cool here,

tiled, mirrored. Echoing silence.

Sharon Brogan

Argentinian Black Catholic Jew

I.

Cante

He was an Argentinian Black Catholic Jew
It’s too bad but I am one too.
How sadly I think of my father!

After Mass he would play
Hernando’s Hideaway
Then the Blues, then yell at my mother.

After Mass he would play
Hernando’s Hideaway
And bitch of the Schwartzes and Yentels.

Then damn the Ofays
And, in his own special way,
Evict some of the Yids from his rentals.

II. Cante Cante

Take a Jew. Take my father.

Born in the beginning of the 20th century –
that century of universal disaster.

Born in the USA to a family of neurotic vaudevillians:

African American Jews who disguised their Jewishness
and pretended to be an Argentinian family of tango dancers.

An African American Jew dancing the tango:
the one dance that, above all, speaks of fatality,
of destinies engulfed in pain. It is the dance of sorrow.

Then take this Jew (my poor Papa)
and arrange it so that he falls in love in Berlin
months before Hitler takes over …

Falls in love with that fatal woman: Ilsa.

The rest of the family flees while my Papa -- the fake gaucho -- is drawn inexorably into the darkest of the dark underworlds that existed in Berlin:
the Nosferatau: the secret society of decadents with their Vampire balls and Grand Guigonal orgies

and my father and Ilsa dancing El tango de la muerte there while Europe descended into madness and my father danced –

danced to the dark music of the bandoneon and the violin:

A long stillness as the watchers waited in the dark and my father and Ilsa waited frozen on the stage and then

the quick motion that begins the tango!

stillness…

and then the sudden violence –

the dynamic of a frozen world suddenly shattered,

the apotheosis of the twentieth century!

III. Cante Cante Cante

I stepped out into the night from the funeral home remembering
how horrible it must have been for my father
to pretend he was a Catholic.

This explained his strange melancholy
during my first holy communion and,
as I remembered more of the story he told me,
I thought back to those times when,
my mother gone to Novena,
how he would lock himself into the bedroom
and all we could would hear was "Hernando's Hideaway"
on the old record player and

the sounds of my father shuffling about,

breathing …

IV. Cante Cante Cante Cante

Ilsa said "I am IRA.
And I think I can get us away.
But you must be baptized
And then in disguise
We’ll go to the U S of A!"

They fled cross the dark Irish sea.
My mother was Ilsa you see
And they remained in good health
And Pope Pius the Twelfth
Cried fie and fiddle dee dee!

Then they came to these shores at last
But the fad for the tango had passed
What could a Jew do
So he did a soft shoe
Grateful that he wasn’t gassed.

He starred in some old minstrel show
Papa said he wanted to go
Mama said “You Black Jew
You’re working for two.

Dance – it’s all that you know."

Joe Green
Fredonia, 5:11PM 7/11/07

My Brush with French

1 : Mr Body and Toto

Boys of thirteen, asked to learn
French from a textbook written
for younger, British children ....
Every lesson dragged us down
into the life of an enfant
not yet become a garcon,
down into Toto¹s childishness.
'Ou est toto? Toto est en famille',
bourgeois, or at least genteel.

None of us were genteel,
with Dads in trades or retail,
or they taught, or were in
some minor profession.
None knew any French,
unless 'Parlez-vous Anglais?'
and if they¹d been to the last war
(over just five years before),
'Voulez-vous something or other'.

Mr Body, known for his nose
and his temper, we called Snoz.
He drilled us. Homework was
memorize, memorize ­
easy for some of us.
Colin and I were best.
Reward: free time with an old
lunch-spotted number of
Paris Match, its pictures
bright, its news gone cold.

French, like Latin (only
it was dead), was so orderly:
each week extended our grasp.
We got to like 'e acute ou grave'
and 'c cedillas' were good to have.
Saying French out loud was
difficile, but he drilled us.
Our accents if not francais
were quasi-Snoz-fancy.
He¹d been in France, don't forget.
But ooh la la, we were too young
to hear what he¹d seen and done.
The phrase we most liked him to say
was 'Ca suffit pour aujourd'hui.'

2 : The Alliance Francaise

was an arm of civilization
reaching even to our tiny
nation, so remote and immature
vive la Nouvelle Zélande.
In December, should we care,
we'd visit the university,
our French conversation
would be in competition
with keen French students
from the best schools,
mostly private, mostly girls.

It was a day of freedom,
a half-hour of terror.
The university lecturer
with exaggerated politesse
fixed his eyes on our blushes
and coaxed us through silence.
'Pardonnez-moi. Merci beaucoup.'

Everyone must have got a prize.
Colin¹s and mine came in the mail
to school, one year a bronze
medal ­ of, surprisingly,
Francois Rabelais,
another a plain edition of
Eugénie Grandet
(unread to this day).

What more was needed
when we¹d graduated
from secondary to tertiary,
to get us enrolled
in French One at 'varsity'?
Nothing, unless a dream of meeting
my penfriend Angélique of Paree
(elegant pen and par avion
stamps engraved so finely),
and finding her complaisant.
But after I posted her my too
honest snap I never heard back.
There would be no rendezvous.

3 : "Varsity"

Tertiary French meant classes
too large to be taught, but bossed
instructed and tested,
and invited to take part
in the annual play, by Moliere.
The Professor was director
and always leading actor.
I, a foolish volunteer,
stammered through the stammerer's
part in Malade Imaginaire
so well the prompt kept prompting me.
The high point was at curtain-up,
that ancient signal to hush up:
thump thump thump backstage.
The rest was anti-climax.

Now Dr H. was mysterious
(understood to be Communist),
taught the history of the language
without a hint he was Marxist.
His research took him over summer
to Nouvelle Calédonie.
(Why not Tahiti? we wondered.
Could he prefer Melanesians
to honey-skinned Polynesians,
palm-leaf-skirted fuzzy-wuzzies
to Gauguinesque beauties?)
World expert on their vocabulary,
he spared us it entirely.
Mastering French, we knew,
you could travel and be true
to another idea of yourself:
autre lingue, autre personne.
Perhaps Dr H. in Nouméa
was some grand seigneur.

Auckland seemed to lack French folk.
Someone said: go down town,
browse in Goodman's Books
and listen, he's the real thing.
Wasn¹t his English crisp? ­
suave, even with that lisp.
And he'd sell you Mauriac,
Proust and the like, saying:
great book, bad translation.

No-one from France
taught Aucklanders French.
(No one from Germany
was hired to teach Deutsch.
Virgil was lectured on
by an evangelical Christian,
Plato by a Catholic theologian.

Poetry ­ English ­ by contrast,
was taught by a poet,
but that's another story.
A poet-critic, he exposed
bad verse to us freshers ­
U.S. word current then with us ­
while some fresherettes,
rather than note-taking,
got on with their knitting.)

French poets were mentioned
(unless Rimbaud) in lectures
but not 'compulsory'.
Flaubert? ­ not the wordy
and scandalous Madame Bovary
but 'Un Coeur Simple', simply.

Friday afternoon all year,
all of French literature
(by authors who were well dead)
was lectured on to all of us
(signing the attendance list
passed round; sometimes
D. Duck, V. Hugo, signed also).
And covered so mechanically,
vacuously. Was this
how they taught in Paris?

4 : La France Véritable

Colin's gift for French lifted
him up out and away; shifted
to France. He wrote 'Come stay
with us near Marseille.'
It was Christmas, and frozen,
he and his wife had chosen
(all they could afford)
a farm house without a farm,
in summer all warm charm,
in winter deathly chill.
So, in his care, to town, to find
my Kiwi French so far behind
his, nothing I could voice
made sense to any natives.
Paris, when he took us there,
seemed worse. No-one could want
to help a stuttering hesitant
visitor with an awful accent.

France itself? Magnificent.
As for that second self of mine,
I never found my inner Frenchman.

Max Richards
Doncaster, Victoria
18 July 2007

It's all I can do to snap

back jack
baby got
snapped
baby say
necky not
snapt thought
milkful mack
mayn't enrapt
rupturing
mother snap
holy this
& th'other
that snappeth
baby shat
& that runneth
over snap
& dale
what the hail
baby snap

Bob Marcacci