Judith Bishop

Bold shades of autumn leaf – or blazing embers’ light,
bright to extinguished, as if fires set
in hearths huddled closely in the dirt were offset
by pallid oceans with their artificial light.
Are the colours fire-signals to a planetary eye
that, like Atlas, feels the weight of earth,

The far city must make itself known
even here in the sitting room and
barred by winter branches. The skyline

The far city must make itself known
even here in the sitting room and
barred by winter branches. The skyline ...

You are seething; I am worried.
We have read the Greek myths.

This anger of yours feels like
a distant thunderclap

Night’s the ground beneath my feet
since I learned to walk with you.
Scented guide with birds and flowers on your breath,

I could say hello to things.
Theodore Roethke

i.
The hand’s wave,
when it comes –

Where the mind comes from,
where it goes,
when the moon rose,
where among the stars the light was seen
as you were born:
if it glistened in the tracks
stamped on leaves across the park
where we walked the early afternoon, alert,
listening up,
hearing how the plovers
pipe back and forth across the grass …

But desire is foolish / In the face of fate. / Yet the blindest / Are sons of gods.

Hölderlin

Flying crow-wise over Germany to Russia, we have
set down in a hangar. The children stare at us.
Our persecution is a memory. I’m curious to know,
now we fly from land to land seeking comfort,
what it takes to cure lack once and for all.
Coveting, they say, is the chief antagonist
to any blooming of the heart’s contentedness –

T/here

By Judith Bishop

This is not a place for candles, or the scent of red cedar
gathered on a hill to burn, or native plum, lit at night
to hold the urgent dead at bay: you won’t wake to hear
the click of brumbies’ hooves on a road that flows
to where the humans are, or blink to see the mob
jittering in the dawn air:
                                this is not a house
of language, in the first sense of the word, the one
in which it made the world, this is not a place of origin,
ground, or single source: this is not a road for drinking
in the middle of the night: you won’t see
the ink of fire moving night and day across

In her other life, Judith Bishop works as a linguist. A passionate concern with the intricacies of language, with the visceral effect of words on the tongue, aurally, and as they are knitted and unravelled on the page is manifest in her first collection of poems, Event. These poems are deeply immersed both in a complex observation of, and engagement with, the natural world, in particular with the ways in which poetic language can intervene in the world of perception, experience and desire. ‘You have to lean and listen for the heart / behind the shining paint’, Bishop writes in ‘Still Life with Cockles and Shells’, which won the 2006 ABR Poetry Prize and which Dorothy Porter included in The Best Australian Poems 2006. Like the beautiful illusions of the still-life painting, Bishop’s poetry creates an aesthetic surface which mimics the stasis of death and also harbours the ‘flutter in its flank’, the pulse of possibility visible to the attentive reader–observer. Look closely, her poetry exhorts, yield to the currents of language and image, become witness to death and life in intimate and endlessly renewing ‘events’ of struggle and embrace.