The Antipodean Chatterton

Ern Malley by Sidney Nolan, Art Gallery of South Australia

James McAuley and Harold Stewart, Dalrymple writes,

brought to life—eternal life—the unknown poet Ern Malley. (What a perfect name for a proletarian genius!)

The pair composed

a series of modernist poems in an afternoon and fooled the editor of a literary magazine, Max Harris, into publishing them as the work of a hitherto unsung genius.

Dalrymple comments:

I would have been fooled myself. The poems are full of wonderful lines: ‘I have split the infinitive. Beyond is anything.‘ And when it comes down to it, are we not, after all, ‘the black swan of trespass on alien waters‘?

 

Here are Malley’s poems in the collection The Darkening Ecliptic (‘Do not speak of secret matters in a field full of little hills’ — old proverb):

 

‘Four frowning bed-posts’

Boult to Marina

Only a part of me shall triumph in this
(I am not Pericles)
Though I have your silken eyes to kiss
And maiden-knees
Part of me remains, wench, Boult-upright
The rest of me drops off into the night.

What would you have me do? Go to the wars?
There’s damned deceit
In these wounds, thrusts, shell-holes, of the cause
And I’m no cheat.
So blowing this lily as trumpet with my lips
I assert my original glory in the dark eclipse.

Sainted and schismatic would you be?
Four frowning bedposts
Will be the cliffs of your wind-thrummelled sea
Lady of these coasts,
Blown lily, surplice and stole of Mytilene,
You shall rest snug to-night and know what I mean.

 

Max Harris

Dürer: Innsbruck, 1495

I had often, cowled in the slumberous heavy air,
Closed my inanimate lids to find it real,
As I knew it would be, the colourful spires
And painted roofs, the high snows glimpsed at the back,
All reversed in the quiet reflecting waters
Not knowing then that Dürer perceived it too.
Now I find that once more I have shrunk
To an interloper, robber of dead men’s dream,
I had read in books that art is not easy
But no one warned that the mind repeats
In its ignorance the vision of others. I am still
the black swan of trespass on alien waters.
 

Sybilline

‘The rabbit’s foot of fur and claw / Taps on the drain-pipe’

That rabbit’s foot I carried in my left pocket
Has worn a haemorrhage in the lining
The bunch of keys I carry with it
Jingles like fate in my omphagic ear
And when I stepped clear of the solid basalt
The introverted obelisk of night
I seized upon this Traumdeutung as a sword
To hew a passage to my love.

And now out of life, permanent revenant
I assert: the caterpillar feet
Of these predictions lead nowhere,
It is necessary to understand
That a poet may not exist, that his writings
Are the incomplete circle and straight drop
Of a question mark
And yet I know I shall be raised up
On the vertical banners of praise.

‘A frog makes guttural comment / On the naked and trespassing / Nymph of the lake’

The rabbit’s foot of fur and claw
Taps on the drain-pipe. In the alley
The children throw a ball against
Their future walls. The evening
Settles down like a brooding bird
Over streets that divide our life like a trauma
Would it be strange now to meet
The figure that strode hell swinging
His head by the hair
On Princess Street?

 

Night Piece

The swung torch scatters seeds
In the umbelliferous dark
And a frog makes guttural comment
On the naked and trespassing
Nymph of the lake.

The symbols were evident,
Though on park-gates
The iron birds looked disapproval
With rusty invidious beaks.

Among the water-lilies
A splash – white foam in the dark!
And you lay sobbing then
Upon my trembling intuitive arm.

 

‘Anatomy on fire’

Documentary Film

Innumerable the images
The register of birth and dying
Under the carved rococo porch
The Tigris — Venice — Melbourne — The Ch’en Plain —
And the sound track like a trail of saliva.
Dürer: Samson killing the Lion 1498
Thumbs twisting the great snarl of the beast’s mouth
Tail thrashing the air of disturbed swallows
That fly to the castle on the abraded hill

London:

Samson that great city, his anatomy on fire
Grasping with gnarled hands at the mad wasps
Yet while his bearded rage survives contriving
An entelechy of clouds and trumpets.
There have been interpolations, false syndromes
Like a rivet through the hand
Such deliberate suppressions of crisis as

‘The blood-dripping hirsute maw of night’s other temple’

Footscray:

The slant sun now descending
Upon the montage of the desecrate womb
Opened like a drain.
The young men aspire
Like departing souls from leaking roofs
And fractured imploring windows to
(All must be synchronized, the jagged
Quartz of vision with the asphalt of human speech)

Java:

‘In the year 1943 / I resigned to the living all collateral images / Reserving to myself a man’s / Inalienable right to be sad / At his own funeral

The elephant motifs contorted on admonitory walls,
The subtle nagas that raise the cobra hood
And hiss in the white masterful face.
What are these mirk channels of the flesh
That now sweep me from
The blood-dripping hirsute maw of night’s other temple
Down through the helpless row of bonzes
Till peace suddenly comes:

Adonai:

The solemn symphony of angels lighting
My steps with music, o consolations!
Palms!
O far shore, target and shield that I now
Desire beyond these terrestrial commitments.

 

Petit Testament

In the twenty-fifth year of my age
I find myself to be a dromedary
That has run short of water between
One oasis and the next mirage
And having despaired of ever
Making my obsessions intelligible
I am content at last to be
The sole clerk of my metamorphoses.

Max Harris

In the year 1943
I resigned to the living all collateral images
Reserving to myself a man’s
Inalienable right to be sad
At his own funeral.
(Here the peacock blinks the eyes
of his multipennate tail.)
In the same year
I said to my love (who is living)
Dear we shall never be that verb
Perched on the sole Arabian Tree
Not having learnt in our green age to forget
The sins that flow between the hands and feet
(Here the Tree weeps gum tears
Which are also real: I tell you
These things are real)
So I forced a parting
Scrubbing my few dingy words to brightness.

Where I have lived
The bed-bug sleeps in the seam, the cockroach
Inhabits the crack and the careful spider
Spins his aphorisms in the comer.
I have heard them shout in the streets
The chiliasms of the Socialist Reich
And in the magazines I have read
The Popular Front-to-Back.
But where I have lived
Spain weeps in the gutters of Footscray
Guernica is the ticking of the clock
The nightmare has become real, not as belief
But in the scrub-typhus of Mubo.

It is something to be at last speaking
Though in this No-Man’s-language appropriate
Only to No-Man’s-Land.
Set this down too:
I have pursued rhyme, image, and metre,
Known all the clefts in which the foot may stick,
Stumbled often, stammered,
But in time the fading voice grows wise
And seizing the co-ordinates of all existence
Traces the inevitable graph
And in conclusion:
There is a moment when the pelvis
Explodes like a grenade. I
Who have lived in the shadow that each act
Casts on the next act now emerge
As loyal as the thistle that in session
Puffs its full seed upon the indicative air.
I have split the infinite. Beyond is anything.

 

‘We have known these declensions, / Have winked when Hyperion / Was transmuted to a troll’

Palinode

There are ribald interventions
Like spurious seals upon
A Chinese landscape-roll
Or tangents to the rainbow.
We have known these declensions,
Have winked when Hyperion
Was transmuted to a troll.
We dubbed it a sideshow.

Now we find, too late
That these distractions were clues
To a transposed version
Of our too rigid state.
It is an ancient forgotten ruse
And a natural diversion.
Wiser now, but dissident,

I snap off your wrist
Like a stalk that entangles
And make my adieu.
Remember, in any event,
I was a haphazard amorist
Caught on the unlikely angles
Of an awkward arrangement. Weren’t you?

 

Baroque Exterior

‘Everyman arrests / His motives in these anthropoid erections’

When the hysterical vision strikes
The façade of an era it manifests
Its insidious relations.
The windowed eyes gleam with terror
The twin balconies are breasts
And at the efflux of a period’s error
Is a carved malicious portico.
Everyman arrests
His motives in these anthropoid erections.

Momentarily we awake —
Even as lately through wide eyes I saw
The promise of a new architecture
Of more sensitive pride, and I cursed
For the first time my own obliteration.
What Inigo had built I perceived
In a dream of recognition,
And for nights afterwards struggled
Helpless against the choking
Sands of time in my throat.

 

Perspective Lovesong

‘And if I mistook your dark hair for weed / Was it not floating upon my tides?’

It was a night when the planets
Were wreathed in dying garlands.
It seemed we had substituted
The abattoirs for the guillotine.
I shall not forget how you invented
Then, the conventions of faithfulness.

It seemed that we were submerged
Under a reef of coral to tantalize
The wise-grinning shark. The waters flashed
With Blue Angels and Moorish Idols.
And if I mistook your dark hair for weed
Was it not floating upon my tides?

I have remembered the chiaroscuro
Of your naked breasts and loins.
For you were wholly an admonition
That said: “From bright to dark
Is a brief longing. To hasten is now
To delay.” But I could not obey.

Princess, you lived in Princess St.,
Where the urchins pick their nose in the sun
With the left hand. You thought
That paying the price would give you admission
To the sad autumn of my Valhalla.
But I, too, invented faithfulness

 

‘Knowst not, my Lucia, that he / Who has caparisoned a nun dies / With his twankydillo at the ready?’

Culture as Exhibit

‘Swamps, marshes, borrow-pits and other
Areas of stagnant water serve
As breeding-grounds …’ Now
Have I found you, my Anopheles!
(There is a meaning for the circumspect)
Come, we will dance sedate quadrilles,
A pallid polka or a yelping shimmy
Over these sunken sodden breeding-grounds!
We will be wraiths and wreaths of tissue-paper
To clog the Town Council in their plans.
Culture forsooth! Albert, get my gun.

‘I have heard them shout in the streets / The chiliasms of the Socialist Reich’

I have been noted in the reading-rooms
As a borer of calf-bound volumes
Full of scandals at the Court. (Milord
Had his hand upon that snowy globe
Milady Lucy’s sinister breast . . .) Attendants
Have peered me over while I chewed
Back-numbers of Florentine gazettes
(Knowst not, my Lucia, that he
Who has caparisoned a nun dies
With his twankydillo at the ready? . . .)
But in all of this I got no culture till
I read a little pamphlet on my thighs
Entitled: ‘Friction as a Social Process.’
What?
Look, my Anopheles,
See how the floor of Heav’n is thick
Inlaid with patines of etcetera . . .
Sting them, sting them, my Anopheles.

 

Egyptian Register

‘The body’s a hillside, darling, moist / With bitter dews of regret. / The genitals (o lures of starveling faiths!) / Make an immense index to my cold remorse’

The hand burns resinous in the evening sky
Which is a lake of roses, perfumes, idylls
Breathed from the wastes of the Tartarean heart.
The skull gathers darkness, like an inept mountain
That broods on its aeons of self-injury.
The spine, barbed and venomous, pierces
The one unmodulated cumulus of cloud
And brings the gush of evanescent waters.
The lungs are Ra’s divine aquaria
Where the striped fish move at will
Towards a purpose darker than a dawn.
The body’s a hillside, darling, moist
With bitter dews of regret.
The genitals (o lures of starveling faiths!)
Make an immense index to my cold remorse.

Magic in the vegetable universe
Marks us at birth upon the forehead
With the ancient ankh. Nature
Has her own green centuries which move
Through our thin convex time. Aeons
Of that purpose slowly riot
In the decimals of our deceiving age.
It may be for nothing that we are:
But what we are continues
In larger patterns than the frontal stone
That taunts the living life.
O those dawn-waders, cold-sea-gazers,
The long-shanked ibises that on the Nile
Told one hushed peasant of rebirth
Move in a calm immortal frieze
On the mausoleum of my incestuous
And self-fructifying death.

 

‘The mausoleum of my incestuous / And self-fructifying death’

Young Prince of Tyre

‘Thy ear is liable, thy food is such
As hath been belch’d on by infected lungs’
— Pericles

Inattentive, suborned, betrayed, and shiftless,
You have hawked in your throat and spat
Outrage upon the velocipede of thriftless
Mechanical men posting themselves that
Built you a gibbet in the vile morass
Which now you must dangle on, alas.

The eyeless worm threads the bone, the living
Stand upright by habitual insouciance
Else they would fall. But how unforgiving
Are they to nonce-men that falter in the dance!
Their words are clews that clutched you on the post
And you were hung up, dry, a fidgety ghost.

‘Poor Thaisa has a red wound in the groin / That ill advises our concupiscence to foin’

The magpie’s carol has dried upon his tongue
To a flaky spittle of contempt. The loyalists
Clank their armour. We are no longer young,
And our rusty coat fares badly in the lists.
Poor Thaisa has a red wound in the groin
That ill advises our concupiscence to foin.
Yet there is one that stands i’ the gaps to teach us
The stages of our story. He the dark hero
Moistens his finger in iguana’s blood to beseech us
(Siegfried-like) to renew the language. Nero
And the botched tribe of imperial poets burn
Like the rafters. The new men are cool as spreading fern.

Now get you out, as you can, makeshift singers:
“Sail seas in cockles, have an wish for’t.”
New sign-posts stretch out the road that lingers
Yet on the spool. New images distort
Our creeping disjunct minds to incredible patterns,
Else thwarting the wayward seas to fetch home the slatterns,

‘Take it for a sign, insolent and superb / That at nightfall the woman who scarcely would / Now opens her cunning thighs to reveal the herb / Of content’

Take it for a sign, insolent and superb
That at nightfall the woman who scarcely would
Now opens her cunning thighs to reveal the herb
Of content. The valiant man who withstood
Rage, envy and malignant love, is no more
The wrecked Prince he was on the latter shore.

 

Colloquy with John Keats

‘And the Lord destroyeth the imagination of all them
that had not the truth with them.’ (Odes of Solomon 24.8)

I have been bitter with you, my brother,
Remembering that saying of Lenin when the shadow
Was already on his face: ‘The emotions are not skilled workers.’
Yet we are as the double almond concealed in one shell.
I have mistrusted your apodictic strength
Saying always: Yet why did you not finish Hyperion?
But now I have learned not to curtail
What was in you the valency of speech
The bond of molecular utterance.

Remembering that saying of Lenin when the shadow / Was already on his face: ‘The emotions are not skilled workers’

I have arranged the interstellar zodiac
With flowers on the Goat’s horn, and curious
Markings on the back of the Crab. I have lain
With the Lion, not with the Virgin, and become
He that discovers meanings.

Now in your honour Keats, I spin
The loaded Zodiac with my left hand
As the man at the fair revolves
His coloured deceitful board. Together
We lean over that whirl of
Beasts flowers images and men
Until it stops . . . Look! my number is up!
Like you I sought at first for Beauty
And then, in disgust, returned
As did you to the locus of sensation
And not till then did my voice build crenellated towers
Of an enteric substance in the air.
Then first I learned to speak clear; then through my turrets
Pealed that Great Bourdon which men have ignored.

Max Harris

Coda

We have lived as ectoplasm
The hand that would clutch
Our substance finds that his rude touch
Runs through him a frightful spasm
And hurls him back against the opposite wall.

 

Sonnets for the Novachord

‘We have lived as ectoplasm’

(i.)

Rise from the wrist, o kestrel
Mind, to a clear expanse.
Perform your high dance
On the clouds of ancestral
Duty. Hawk at the wraith
Of remembered emotions.
Vindicate our high notions
Of a new and pitiless faith.
It is not without risk!
In a lofty attempt
The fool makes a brisk
Tumble. Rightly contempt
Rewards the cloud-foot unwary
Who falls to the prairie.

‘In this deft pentacle / We imprison our wishes’

(ii.)

Poetry: the loaves and fishes,
Or no less miracle;
For in this deft pentacle
We imprison our wishes.

Though stilled to alabaster
This Ichthys shall swim
From the mind’s disaster
On the volatile hymn.

If this be the norm
Of our serious frolic
There’s no remorse:

Our magical force
Cleaves the ignorant storm
On the hyperbolic.

‘This Ichthys shall swim / From the mind’s disaster / On the volatile hymn’

Sweet William

I have avoided your wide English eyes:
But now I am whirled in their vortex.
My blood becomes a Damaged Man
Most like your Albion;
And I must go with stone feet
Down the staircase of flesh
To where in a shuddering embrace
My toppling opposites commit
The obscene, the unforgivable rape.

One moment of daylight let me have
Like a white arm thrust
Out of the dark and self-denying wave
And in the one moment I
Shall irremediably attest
How (though with sobs, and torn cries bleeding)
My white swan of quietness lies
Sanctified on my black swan’s breast.

‘A splash — the silver nymph / Was a foam flake in the night’

Night-piece (alternate version)

The intemperate torch grazed
With fire the umbel of the dark.
The pond-lilies could not stifle
The green descant of frogs.

We had not heeded the warning
That the iron birds creaked.
As we swung the park-gates
Their beaks glinted with dew.

A splash — the silver nymph
Was a foam flake in the night.
But though the careful winds
Visited our trembling flesh
They carried no echo.

 

‘The swung torch scatters seeds / In the umbelliferous dark’

‘In the twenty-fifth year of my age / I find myself to be a dromedary’

‘I have split the infinitive [or ‘infinite’]. / Beyond is anything’

‘There is a moment when the pelvis / Explodes like a grenade’

‘Dear we shall never be that verb / Perched on the sole Arabian Tree’

Ern Malley: ‘I am content at last to be / The sole clerk of my metamorphoses’

‘The iron birds looked disapproval / With rusty invidious beaks’

‘The black swan of trespass on alien waters’

‘Not knowing then that Dürer perceived it too’

Malley’s ‘So Long’: an unfinished poem in MSS blotted with the dying poet’s tears

Advertisements
Trackbacks are closed, but you can post a comment.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: