QPF Spotlight #14 – Jessika Tong’s Desert(ed) Island Poems

Last year at QPF, one of my highlights was an afternoon reading by local Brisbane poet, Jessika Tong; words raw and engaging, pulling the crowd into her at times unsettling world. Audiences will again have the opportunity to hear Jessika at this year’s QLD Poetry Festival, so I asked her about the poems she would tuck into her hip-pocket if she was heading off to a Desert(ed) Island.

 

Jessika Tong

 

Lady Lazarus – Sylvia Plath

Dying
Is an art, like everything else.
I do it exceptionally well.

I do it so it feels like hell.
I do it so it feels real.
I guess you could say I’ve a call.

This poem, to me, is beautiful. I have always admired the sharp, short but brutal lines of ‘Lady Lazarus’, as well as its honesty and brave approach to language.  I first read this poem when I was fourteen and have come to greatly appreciate its place amongst my collection of favourites with its stabbing lines and bold imagery. I have always been an avid reader of Plath and a great admirer of the ways in which she chose to express herself.

Ash, ash –
You poke and stir.
Flesh, bone, there is nothing there –

I don’t think ‘Lady Lazarus’ is sun and sand material but I would take it, regardless of the scenery.

 

Bindawalla, binda, bindi, bindii – Elizabeth Hodgson

I enjoy the simple words of this poem. The way it doesn’t glamorize but haunts with its starkness (deserted island) – this is what makes it appealing. I discovered this poem only a few weeks ago and immediately shoved it under the eyes of friends just to see if it broke their hearts as well (it did).

The nurses laughed as they put me in a shoe-box
And gave me to my mother: she cried.

I was weighed and measured.
With the Apgar score they rated me
To see if I could survive in this world on my own.

 

Rapunzel – Anne Sexton

Anne Sexton has always been a curious creature. I find myself drawn to her confessions and fragile but dark wordplay. The way she dominates a line with her famous ‘I’. Her recreation of ‘Rapunzel’ shows her brilliant mastery of taking a beloved fairytale and making it entirely her own. I adore most of Sexton’s work but ‘Rapunzel’ remains a solid favourite (as does the entire collection of ‘Transformations’) since fairytales and folk lore (Baltic) have always entranced me. I grew up with a mother who looked like a witch and read me tale after tale in front of a crackling fireplace so I feel very much at home when I am reading ‘Rapunzel’.

As for Mother Gothel,
Her heart shrank to the size of a pin,
Never again to say: Hold me, my young dear,
Hold me,
And only as she dreamt of the yellow hair
Did moonlight sift into her mouth.

 

Light breaks where no sun shines – Dylan Thomas

Light breaks where no sun shines;
Where no sea runs, the waters of the heart
Push in their tides;
And, broken ghosts with glow-worms in their heads,
The things of light
File through the flesh where no flesh decks the bones.

This poem describes the body, or the death of the body, in the most extraordinary way – its slow decay with connection to earth “the secret of the soil grows through the eye”. Like all great Thomas poems, there seems to be edge to something other than man, woman, body, sea, animal, bone and light. Like many of the other poems I would select, this one would not suit an island littered with sun tanned shoulders and coconut milk.

 

You took away all the oceans and all the rooms (307) – Osip Mandelstam

I have carried this poem around with me in a notebook for years. Transferring it when each book became fat and useless. Mandelstam died in the Gulags of Russia but wrote this particular poem while in exile. It is a brave poem, highlighting the human spirit without making one gag.

You took away all the oceans and all the room.
You gave me my shoe-size in earth with bars around it.
Where did it get you? Nowhere.
You left me my lips, and they shape words, even in silence.

 

The Nim Poems – Dorothy Hewett

Alice turning eleven
Watching the blood trickle
Between her thighs onto the warm boards
The woodbugs investigated it
For touching myself on the woodheap
I must be going to die she thought

This poem is an epic and is broken up into seventy-two verses under a number of sub-headings. I love the way that Alice’s life (the centre piece of the poem) is slowly rolled out with its mythical undertones and raw language. Hewett writes poetry that is adventurous and the Nim poems are a great example of her wild talent and provocative imagination – she is not shy and this is why I appreciate this set (and her) so much.

She went to the races
Pregnant in a black pill box hat
With a veil
He borrowed his father’s ute
& drove her to the abortionist’s
The unregistered doctor came
In the dark & masturbated her clitoris
Relax  he told her

 

In a dark time – Theodore Roethke

What’s madness but nobility of soul
At odds with circumstance? The days on fire!
I know the purity of pure despair,
My shadow pinned against a sweating wall,
That place among the rocks – is it a cave,
Or winding path? The edge is what I  have.

This poem is incredibly rich with imagery and rhythm. It reads like a heartbeat. Poems which generally describe self-discovery can be flowery and are poems which I usually avoid except for this one. ‘In a dark time’ is fat with death-like images but is rich with hope, recording the pain one must go through in search of the I. “A fallen man, I climb out of my fear. The mind enters itself, and God the mind, and one is One, free in the tearing wind”. What an exquisite creature Roethke is.

 

And you as well must die, beloved dust – Edna St. Vincent Millay

This flawless, vital hand, this perfect head,
This body of flame and steel, before the gust
Of Death, or under his autumnal frost
Shall be as any leaf, be no less dead

This poem bleeds and aches. It is truly beautiful and one of my all time favourites with its wonderful ode to lost love and death. This is a poem to sit quietly with as it is flooded with such intense imagery that it demands to be read slowly so as to be truly absorbed. I like the way that nature is used to describe decay of body, love, and life and how the appreciation of beauty is stitched into each line adding to the poems romantic appeal.

 

Trees – Jordie Albiston

My breasts fall free my torso expands
Hair covers my flesh like a friend   I
Feel my roots burgeon back down the
Years I stretch and stand to leave

‘Trees’ is pure magic. This poem was given to me as a gift when I was eighteen and although the pages have grown a faint yellow around the edges I have never grown bored of it. I like the connection to earth and how this is drawn back into the poet’s (or female) body.

Please do not feed the trees
They do not hunger  They do not seethe
Or writhe   requiring the control of
Nylon silk   twisted   root bound foot

The way Albiston is able to create an almost tree-like envy while wrapping the female into root and bark greatly appeals to me. I grew up in a pine forest and have always carried with me, and throughout my own work, the image of trees and I have always been fascinated by their appearance within the poems of others (The moon and the yew tree by Sylvia Plath).

 

And there’s no grave – Marina Tsvetaeva

And there’s no grave! No separation, ending!
The tables un-spelled, the house – wakened up.
Like Death – on a gay dinner after wedding,
I’m Life, arrived on the last evening sup!

Marina Tsvetaeva reminds me of my Grandmother by the sharpness of her face and severe fringe. My Grandmother smelt of her garden, beheaded chickens without crying, poured entire bottles of Brandy in her trifles. She always reminded me of a woman from the old world. A Tsvetaeva (although not Russian, but German). I admire Tsvetaeva originality, her spitting lines, and at times, her hardness.

 

About Jessika:

Jessika Tong grew up in a small pine village on the Northern Island of New Zealand and has spent most of her adult life in Central and South East Queensland. Jessika has appeared within various literary journals including Motherlode: Australian Women’s Poetry 1986 – 2008, Poetry Matters, The Age, The Australian Literature Review, The Westerly, Wet Ink, Tears in the Fence FourWnineteen, Mascara, Pendulum, LinQ, Poetrix, Polestar and Verandah22. Her first collection, The Anatomy of Blue was released in December 2008 by SunLine Press.

 

Words
by Jessika Tong

I came over the green flanked
Sea of the Arctic hooked pike
With brilliant gristle I came madly
Rocked the crotch bell split the
Artery of its tarred filaments let
The lid off your blood box

A studded stump of a man now
Cleaned of your gorse you achieve
Talent, nerves, the watery earth
Of the eye its black points and
Waxy edge of white humanness,
Pureness, at last, you are one of us

A beggar for ink in your house
I have filleted books of their sternums
Poured alphabets down the throats
Of geese until their livers, fat with dictionaries,
Swelled the emptied nib of a pen we are
Nothing special but hands in suffrage

Finding windows in bodies small curtains
Of meat a kind of light that turns on when
The tongue stamps its ownership
It does not breathe or speak
Its teeth poisoned at the root it
Opens, grisly as a cut throat, blowing red balloons.

 

Catch Jessika at QPF 2009:

Saturday August 22 – 1:30pm – 2:30pm

Spine of Lost Voices: featuring Jessika Tong, Noelle Janaczewska & Elizabeth Bachinsky

 

Saturday August 22 – 8:00pm

A Million Bright Things: featuring a short set from every bright thing on the 2009 program plus a feature set from the awesome Neil Murray

 

All sessions are held at the Judith Wright Centre of Contemporary Arts, Brunswick St. Fortitude Valley.

For full program details head to www.queenslandpoetryfestival.com

3 Comments

Filed under Desert(ed) Island Poems

3 responses to “QPF Spotlight #14 – Jessika Tong’s Desert(ed) Island Poems

  1. hinemoana

    I can’t wait for the festival!!! And this one’s a kiwi – even better (she says, parochial as). x H

  2. Jessssss
    This is really captivated me in.
    When the festival come, I am in. Definitely.

    Dying
    Is an art, like everything else.
    I do it exceptionally well.

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