Two poems by Lorraine Gibson
Upon Reaching the Warp of Ennui,
stretched taut beyond capacity
my body longed
for unaccustomed possibilities.
I cast-off the binding purl
of praxis—unravelled into looser
thoughts, un-picked paths
towards a gentler weft.
Something whispered—habit,
habit, habit, (That little minx)
is hindering becoming.
So I ambled around the elliptical.
Seumas, my husband built
four walls. He said, ‘I’m
building us a home’.
I asked our chairs
‘Are you simply offering chairing
or tethering me
to sittability?’ I drew a line
under signs
and signifiers; I flowed
toward this susurrus
—reject the a-priori.
Fellow traveller, I urge you
do not simply skirt the margins:
stride out across the machair, touch
freedom’s fruitful fabric.
By all means mosey
around the material: But,
for the love of God, always
digress, digress, digress.
Note: Seumas is a Scottish name meaning ‘The supplanter’. A machair is an expansive fertile grassland plain on the north-west coast of Scotland.
Echo of a Small Child
Whose hands, in sorrow
or superstition, having fed
on the folklore of luck and loss
concealed this poignant
human fragment
between the Silver City’s cobalt
sky and miner’s blackened
chimney hearth?
Whose infant foot,
long since stilled, tottered
in this torn and solitary
once vermillion shoe
across the rocky ochre ranges
of Broken Hill.
What of the hand
one century hence
that found this toddler’s echo?
What thoughts were brought
to placing it in view
within a new millennium
upon a mantelpiece
inviting speculation?
Note: This poem is a response to finding a small child’s shoe on a high ledge inside the brick chimney of our miner’s cottage in the remote outback town of Broken Hill, Australia. Broken Hill is the birthplace of BHP, ‘Broken Hill Proprietary’ which mined silver on the ranges from 1885. Hence, the town is known colloquially as ‘The Silver City’. The shoe is thought to date from the late 19th to early 20th centuries. Shoes were often hidden in chimneys to bring luck or, more commonly, as a means of warding off evil spirits or witches which were thought to gain access to the home via the chimney. In Europe and Britain, it is understood this ritual was undertaken as early as the 1300s until the early 20th century.
Lorraine Gibson lives on Birpai Country. Her poetry is published or upcoming in Backstory, Meniscus, Booranga fourW 32, Poetry for The Planet (anthology), Live Encounters, The Galway Review and others. Her book, We Don’t Do Dots: Aboriginal Art and Culture in Wilcannia, New South Wales is published by Sean Kingston Publishing:UK