PAUL HETHERINGTONOne RoomIn teeming rain this disregarded placeputs on rare beauty: sinuous sticksshine that minutes ago were dry as dust,and toughened leaves seem newly reaching outas if to cradle all the wet they can,softened, like small hands joined to gatherwater from a tap to wash hot facesafter toil at sums, or pulling clumpsof withered grass. And I recall how wewould pull at recess from the wall the grassthat threatened with fire our drab one-room school,a place that was a haven of respitefrom the awesome heat and miles of glaring wheat.One room a sanctuary,where books and pretty drawings and some desksmeant we were proper students, that we'd knowhow to escape the failing yellow cropsthat hardly fed us, or fed our failing hope.Returning now the school is closed revealsthe broken wall smeared with an umber stain,scrawled with graffiti. Old bits of wood,asbestos and rusty ironmake a paltry, broken heap of junk,bits of a dream, in unseasonal rain.102WESTERLY, No.2, JUNE, 1989
REVIEWSMars, Arthur Boyd and Peter Porter, London,Andre Deutsch, 1988, lllp.Mars, an entire book of poems written tocommission on the subject of war? exploredthrough dry old Greek mythology? and thenbrought out in an expensive glossy edition ofpoems and pictures which the dust-jacketproudly and rightly calls "beautifully produced"?Come on, wrong from the start surely. This kindof response to Mars, Peter Porter's fourthcollaboration with Arthur Boyd, is at one andthe same time too facile and yet irresistible andcontained within the book itself.Porter's poems start from the commissionedsubject but are in no way limited by it. While-!J?rs is the product of two artists my interestIS In the poetry rather than in Boyd's cartoonswhich with their compulsive exploration ofcarnality associated with violence complementPorter's poems. In the 1987 essay on hiscollaborations "Working with Arthur Boyd"(published in <strong>Westerly</strong>, no. I, March 1987: 69-78), Porter describes the process of thecollaborations with Boyd:I have been given the subject and allowed todevelop it as ~ saw fit,. being simply plonkeddown on a Wide-ranging theme and told towrite poems to it. Arthur would then do thepictures in whatever form he fancied and theend product would be the two sets ofartworks issued together in a book. (1987, 70)I~ may well be that Mars, particularly comingstratght after Porter's recent and much moreattractive volume The Automatic Oracle(Oxford, 1987), will subside from attention tosettle in footnotes of future Porter-studies.Paradoxically the glossy production may greasethe slopes for the book's descent from attention.Should this prove the case it will be the reader'sloss, for, even against the weightier TheAutomatic Oracle, Mars offers ample challengesand rewards. Porter has affirmed theimportance he places on his collaborations, andhopes "that Mars will turn out to be our mostsuccessful collaboration so far" (1987, 78).Porter's poetry is by now well known andadmired for its inventive, intelligent andquestioning temper which embraces contradiction.The radical sceptic whose hermetic selfreflexivefictions despair of his own attempts atcommunication exists between the same coversWESTERLY, No.2, JUNE, 1989as the socially engaged satirist and moralist. InMars, Porter brings the conflicting tendencies towhat is perhaps their most extreme testing sitein his work to date - the extended explorationof war and poetry. Porter knows the easy iffundamental questions, and looks for answersthat will satisfy sooner than please. He also asksquestions that the reader becomes aware of onlyafter the event. It is part of the poet'sachievement in Mars that he is able to revitalizeand explore the topic while dressing the looselyconnected sequence in the faded old repertorywardrobe of classical mythology.The relationship of power and violence toculture, of war to poetry (or the other wayaround), has troubled Western-derived culturessince Homer set down the agenda. Through hismythological material drawn directly from bothThe Iliad and The Odyssey, Porter calls attentionto the central position held by the masculinistwarrior tradition in our culture.The relation of war to culture raisesfundamental questions for Western Humanism.For the poets an immediate aspect of theproblem is their role. Reliance on patronageinevitably means praising the warrior-bossesand glorifying the brutality which underwritesprivilege. Language is implicated inextricably inthe blood sports. Porter suggests: "Whereverlanguage came from/ it learned to please itsmasters soon enough:/it gives a certain cachetto the dead" (p.1Ol). The topic calls into questionthe pedagogic moral efficacy of culture, thevalue of poets as unacknowledged educators andlegislators. A~den, who loathed Shelley'sdefinition, continued to engage with politicalissues, from "Spain" to "The Shield of Achilles".The poet, seemingly for his own sake as a humanbeing, had to write what he elsewhere declaredwas futile.Porter, writing with his intense investment inthe tradition of erudite yet "cosy" conversationinvigorated by Auden, is also troubled with thepolitical question. In Mars, he wonders whetherwriting about the violence and suffering ofothers is an act of more than a little bad faith.Is the poet making capital out of irijustice,creating self-aggrandising "beautifully produced"artefacts out of real horror andoppression? Or is that in fact art's justificationand glory? Porter questions further, askingwhether it may not prove that violence is at thecentre of and sustains art in the individual and103
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CONTENTSWESTERLYVOLUME 34, No.2, JU
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WESTERLYa quarterly reviewISSN 0043
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JAN KEMPTo My Father, M.H.K.My fath
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JAN KEMPThe GypsySuddenly before yo
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WONG PHUI NAMA Death in the WardThe
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WONG PHUI NAMCousinI had to call to
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WONG PHUI NAMObitIt is as thin smok
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So thus I lie here fearful of movem
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VIRGINIA BERNARDA ValedictionWhen N
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"Yeah, yeah," I call, returning the
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she flops for a bit, slurps her tea
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well her students did, she was neve
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English or Indian, that they had th
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ANDREW TAYLORSpringSpring is a dive
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CAROL SElTZERAiming for the MouthTr
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GRAEME WILSONA Selection of Japanes
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a highly ambivalent attitude to his
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Esson attended some rehearsals of T
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the literary life of Bloomsbury. Lo
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Without Yeats Esson would quite lik
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"What theatre do you have in Austra
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In the back room Esson could feel t
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"When we started our little theatre
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a screen against a wall. A theatre
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VINCENT O'SULLIVANSinging Mastery:
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- Page 58 and 59: quite diverse traditions towards th
- Page 60 and 61: WARRICK WYNNEThe Wetlands (for Liam
- Page 62 and 63: JAN OWENSmileOur mother aimed the b
- Page 64 and 65: RICHARD KELLY TIPPINGOlympic Airway
- Page 66 and 67: DAVID REITERBear by the Jasper Road
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- Page 70 and 71: left, would have risen and walked o
- Page 72 and 73: He had hair like mine used to be, t
- Page 74 and 75: OLIVE PELLThe QuestionTell me how t
- Page 76 and 77: BRIAN MOONANAT 515: MASS LECTURE Th
- Page 78 and 79: PETER KIRKPATRICKTear HereThe bay i
- Page 80 and 81: JOHN WINTERThe Bird ManIn wooded, p
- Page 82 and 83: KNUTE SKINNERAugust 15There's a lig
- Page 84 and 85: M.E. PATTI WALKERThe Hook"Aren't yo
- Page 86 and 87: QMNQMNQMNQMNapartheid man, this is
- Page 88 and 89: QMNQMNQMNeasy because you don't bel
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- Page 92 and 93: GEOFF GOODFELLOWToo MuchDianne is 1
- Page 94 and 95: SHANE McCAULEYSouth Fremantle, Summ
- Page 96 and 97: JEAN KENTWaiting Out the DroughtWai
- Page 98 and 99: STEPHEN MAGEEJesus Falls, South Aus
- Page 100 and 101: SIMON BROWNBlue Hole, Santothe colo
- Page 102 and 103: CONAL FITZPATRICKA Brown Dog, Off A
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