Les Murray: Waiting for the Past

Collingwood: Black Inc., 2015, 78pp.

Among the many marvellous poems of Les Murray’s Waiting for the Past, there is one of special interest and significance called “I Wrote a Little Haiku”:

I wrote a little haiku
titled The Springfields:

Lead drips out of
a burning farm rail.
Their Civil War.

Critics didn’t like it,
said it was obscure
The title was the rifle
both American sides bore,
lead was its heavy bullet
the Minie, which tore

often wet with blood and sera
into the farmyard timbers
and forests of that era,
wood that, burnt even now,

might still re-melt and pour
out runs of silvery ichor
the size of wasted semen
it had annulled before.

There are a lot of interesting things happening here: firstly at the level of the poem itself. Because contemporary poetry can range in length it is possible actually to embed a poem within another one rather than merely allude to it. The fact that “The Springfields” is quoted (it appeared in Murray’s previous book, Taller When Prone) means that one poem is embedded in another in the same way, of course, that the lead bullets are embedded in the forests and farm rails of the battlefields of the American Civil War. The embedding is announced formally by having the first two lines in seven and five syllables respectively, thus preparing for the five, seven, five pattern of a traditional haiku and the pun on “bore” reveals a meditating, poetic mind whereby such connections rise to the surface. The poem thus belongs to that small but profoundly satisfying (for the reader) genre of unusual and thought-provoking mimeseis. Even mimesis can be said to “embed” meaning in the sense of enacting it and so “I Wrote a Little Haiku” turns out, at one level at least, to be about how meaning is embedded in a poem. To follow this line of thought allegorically, the suggestion might be that the “true” meaning of a poem is revealed (melted out as silvery ichor) only many years later (perhaps when a new, superior generation of critics of Australian poetry has arisen).

Contradicting this reading, slightly, is the undeniable fact that this is a poem which is not prepared to wait for the future but which wants to explain the meaning of the first poem now. Thus, structurally, it follows the old “Text – Gloss” form which is quite different to “Meaning hidden within and awaiting release” which is the one suggested by the poem’s content. The explanation that the larger poem gives is one which ties the event of the released metal of the bullets into Murray’s notion of war and the way in which war can be an assault on a generation of young men. In the case of the Civil War, where men from rural towns joined the same regiment, a particularly fierce encounter (the “Bloody Angle” or the “Peach Orchard) could deprive a community of an entire male generation. Thus the silvery ichor is not only meaning but also wasted semen. And, finally, one has to entertain the remote possibility that “I Wrote a Little Haiku” is a hoax poem, a mine embedded in a text, a deliberately dud poem designed to attract critics whose love of complex mimeticisms and lack of any sense of value will make them easy dupes: but that way paranoia lies!

It is also a poem which raises the complex issue of obscurity in poetry. Although obscurity ties in with the conscious riddling of many of Murray’s poems (an issue dealt with by Lisa Gorton in her review in the Sydney Review of Books), riddling is only one, fairly benevolent kind of obscurity. In the Indo-European poetic tradition, riddling arises out of the poet’s meditation on the connectedness (often through kennings and other sorts of metaphor) between things and, especially in the Germanic tradition, between things and their names. But, basically, riddles have only one answer and all power lies with the riddler. The riddle may be obscure but that is because the solver’s mind is not as attuned to reality and metaphor as is the riddler’s. In a way, “Yregami”, a poem from The Biplane Houses, shows how much Murray ponders these matters: there, metaphors are interestingly inverted, the tenor becoming the bearer (“A warm stocking caught among limbs / evokes a country road . . .” rather than the more conventional “a country road looks like a stocking”). The title, which sounds like an interesting Japanese art practice, is of course, the word “imagery” appropriately inverted: you have no freedom of interpretation here, you just have to “get it”.

But this is only one kind of obscurity. The sort of obscurity which emerges in “The Springfields” is the obscurity of disjunction. It could be argued that it’s endemic to a genre like haiku where, conventionally, two images are juxtaposed. The human mind, being what it is, always tries to grasp the connection between juxtaposed elements, even in more extreme cases where the method is entirely aleatory. But good poems of paired images often have solutions in commonly accepted cultural values: the images, that is, are two boats in the same ocean. In Murray’s original poem, the matrix from which the meaning of the juxtaposition arises is Murray’s own ideas about warfare and young men. If you’re au fait with these, the odds are that you will twig to the intended meaning.

My own desultory thoughts about obscurity in poetry are inclined to relate it to structure. Obscurity in ordinary language use – ranging from non-fictional prose like reports (and reviews) to genre fiction – is an infringement of what is really a mercantile relationship between writer and reader. And the fault is always likely to lie with the writer (though he or she might invoke the excuse that they didn’t realise that their readers were so dumb!). Obscurity in poetry differs because poetry is one of the limited areas of language use where there isn’t a mercantile relationship between writer and reader: if we buy books of poetry it is probably in the hope of having our own inner lives expanded or challenged but there are no guarantees anywhere on the book that allow us to return it, like a toaster, if it didn’t work. I’m inclined to think that there is at least one kind of obscurity in poetry that is a fault in a poem’s structure so that parts of it become subject to more stress than they can bear. An incomprehensible haiku is just two images that don’t relate and thus, structurally, the poem falls apart. Of course there are other kinds of obscurity: Yeats’s “Byzantium” is a magnificently integrated poem structurally, but the world of meaning in which it exists is so complex and alien that it might come from a different culture.

Finally in these thoughts about “I Wrote a Little Haiku”, one is forced, reluctantly in my case, to face questions of value. Is the larger poem a better poem than “The Springfields”? Does this question make any sense? It will be no surprise to readers who have put up with this analysis this far, that I think the longer poem is superior, essentially on structural grounds. The tie between the first two lines of “The Springfields” and the last is just a bit weak. What if the last line were replaced by “Medieval rhetoric” (admittedly seven syllables rather than five, but Murray’s has four) turning it, if it were to be embedded in a longer poem, into a short poem about how time and the application of the various methods of allegorical reading will gradually release the silvery meaning? Or even something like “Mahler’s faint hope” (four syllables) tying the meaning to the hope that in the future listeners or hearers will be born who understand the meaning?

As I’ve said, riddling and unexpected puzzles form an important part of Murray’s approach to his art and the poems of Waiting for the Past are full of them. Sometimes one feels that if one only knew Murray’s distinctive analysis of the world in more detail, these puzzles would solve themselves, but sometimes one isn’t so sure. In “Whale Sounding”, for example, we are treated to six lines of brilliant evocative description (“vertically diving, / thick roof tail / spilling salt rain . . .”) capped by “bubba dog down”. “The Backroad Collections” has a similar, if expanded, structure. Thirteen lines of brilliant, linguistically lush and celebrative description of the sort of second-hand clothes that can be found on the verandahs of country shops (“yellow bordure and buttony rib, / pouched swimsuits, cretonne ad lib / in front of blush-crimson sleeves”) is followed by a sort of “altogether elsewhere” moment:

and cattle who haven’t yet entered
any building wander, contented,
munching under their last trees

till a blowsy gold-ginger horizon
stacked up out of the day’s talk
glorifies and buries the sun.
A nude moon burns the newsprint version.

It’s tempting to see it, at first glance, as an extended haiku although it may well be that “The Fall of Rome” is its true structural original. It remains a challenging poem though. At first you think of it as being built out of its oppositions: a catalogue of outmoded fashions (“fashion” is always a loaded word in Murray) of dress is contrasted to the naked, wandering cattle. Basic farming culture, perhaps, juxtaposed with trivial cultural obsessions. But the description of the clothes is so linguistically celebratory that it is hard to see any negative judgements here. And what are these cattle doing? The fact that they haven’t yet entered any building and that the trees which they munch under are their “last” trees suggests that a particular building, an abattoir, awaits them in which case they are beef, not dairy, cattle. And what are we to make of the last four lines? Presumably the opposition of fashion and farming is transposed to an opposition between social trivia (talk which, ultimately, covers the sun) and the clear, monochromatic view of the moon. At any rate, there are resonances here with other poems from this collection: the idea of animals being naked – here not stated specifically but arising as part of the oppositions of the poem – appears in “Money and the Flying Horses” where stallions are described as “the nudest creatures alive”.

If “I Wrote a Little Haiku” redirects our reading of “The Springfields” towards the nature of war, there are plenty of poems in Waiting for the Past which take that subject up. “The Murders of Women” is a poem about domestic violence and, perhaps, also an attack on ignorant as well as ideologically driven interpretations of the phenomenon whereby:

. . . . . 
It brings the blue sergeants
to push down a head
still full of a war
that will feed the guess-writers.
One woman. Fifty-two women.

And then there are sectarian wars. “All of Half Way” is about leaving the Catholic south of Ireland for the Protestant north and “Persistence of the Reformation” tracks that historical phenomenon (“four hundred years of ship-spread / jihad at first called / the Thirty Years War”) down from sixteenth century Europe to the farms of rural Australia. This poem escapes the charge of being sectarian propaganda by its emphasis on the way in which decency tried to alleviate the worst of the problems – it’s a humanist poem at heart:

. . . . . 
while mutual help and space
and breach of cliché and face
here civilised the boundary fences
. . . . .
the local dead
still mostly lie in ranks
assigned them by denomination
though belief may say Ask Mum
and unpreached help
has long been the message.

But the subject of war, in its widest extent, also emerges in those poems which deal with the limiting of sexuality. “High Rise” is about the new, high rise cities of China (“Latest theory is, the billions / will slow their overbreeding // only when consuming in the sky . . . . . above all the only children”) and “Nuclear Family Bees” is a semi-allegorical account of the way in which native bees do not form self-protecting colonies (“pumped from a common womb”) but, instead, build “single wax houses” much more vulnerable to predators.

“Raising an Only Child” seems to connect with such poems but it is really one of those personal poems – like “Portrait of the Autist as a New World Driver” or “The Tune on Your Mind” – where Murray considers elements of his own personality as well as their origins. “Raising an Only Child” is actually a brilliant analysis not so much of an only child as of the phenomenon of an only child raised by parents who, themselves, come from multi-child families and thus “found you a mystery”:

. . . . . 
Expecting rejection, you tell
stories of yourself to the hills,
confused by your few instincts.

Employable only solo or top,
making friends from your own kind
is relief with blades in it
. . . . . 
Unable to flirt 
or credit most advances
you sit and mourn
links of your self-raising chain.

Murray belongs to that group of poets born before the Second World War and his personal overview of history is thus a long one. Many of these poems are about the past and many are about the changes that have taken place in the last three-quarters of a century. “Growth”, from which the book’s title (yet another puzzle) is taken, is based on the childhood experience of the death of an elderly neighbour, and “High Speed Trap Space”, though it might ultimately be an allegory about not swerving from the path of one’s faith, is based on an adolescent experience. And then there is “When Two Percent Were Students” (whose opening line, “Gorgeous expansion of life” is a good description of what readers might hope to get from poetry) which goes back to Murray’s days at university and implicitly contrasts the past with a present in which almost all young people are students of one kind or another. “Holland’s Nadir” recalls a visit paid to a Dutch submarine at the end of the war but moves, in its conclusion, to a wider statement about language and nations in the post-war period:

. . . . . 
The only ripostes still open
to them were torpedoes
and their throaty half-

American-sounding language.
Speaking a luckier one
we set off home then. Home

and all that word would mean
in the age of rebirthing nations
which would be my time.

Sometimes the personal component of these “historical” poems is reduced in favour of a more generalised interest in cultural history. “1960 Brought the Electric” is about the arrival of electricity in the country: though generally considered to be a miraculous thing, the artisanal skill of judging “whether boxwood / or mahogany baked longer / or hotter or better” in a wood-fired stove was lost as a result. And “Big Rabbit at the Verandah” details another war, that against the rabbit in the pre-myxomatosis years: it’s a cultural recollection spurred by the sight of a large “fleecy-chested and fawn” specimen sighted at the verandah. The way in which the change is embodied in the behaviour of working dogs, mentioned in this poem, is taken up in “Dog Skills” where what had in the past been “untrained mixed-breed biters / screamed at from the house” have morphed into surprisingly professional animals, going about their work with no fuss at all:

. . . . . 
Now new breeds and skill
silence the paddocks

a murmured vowel
brings collie and kelpie flying
along the road-cutting

till each makes its leap
of judgement into the tractor
tray, loose-tongued and smiling front.

Of course the expanded wealth of historical perspective that comes with age is counterbalanced by an increase in general physical decrepitude. A number of poems – including “English as a Second Language” and “The Plaster Eater” – refer to Murray’s wife, Valerie, his long partnership with her and the inevitable separations of hospital stays. The most moving poem in the book is “Last World Before the Stars” a vision of depression induced by separation which is imagined as standing on Pluto:

. . . . . 
looking off the short horizon,
the Sun a white daystar of squinch
glazing the ground like frozen twilight,

no life, no company, no nearness,
never a memory or a joke . . .

Future scholars will probably make much of the fact that this poem appears next to “Bird Signatures” which is in every sense positive, celebrating the beauties of the natural world and, even more, poetry’s ability to convey something of it. Being able to say that the “Tiny spinnakers / of blue wrens wag among waves / of uncut lawn grass” or that the cry of the Nankeen night heron is like a Japanese wood saw or an “Oz nail pulled out” – presumably reluctantly and by a claw hammer – is always something to place against the oncoming darker days.

Les Murray: Taller When Prone

Melbourne: Black Inc, 2010, 89pp.

This new book of Les Murray’s seems, on first readings at least, to be firmly in the late Murray style, inaugurated by Conscious and Verbal in 1999. These books will, you feel, inevitably be described as less combative, less in need of an opponent, often more playful. You have to be a quite a remove from the poems themselves to speak in these terms since the individual poems are usually, and intriguingly, very different from one another. At any rate, Taller When Prone encourages the taxonomist in me in that it makes me want to try to make some sense of the way different experiences get absorbed and expressed in different kinds of poems in the late Murray books. Murray’s poems do fall into various types or, at least, have familiar interests: there are portraits, poems devoted to arcane but interesting facts, poems revelling in the physicality of the world, poems revisiting personal and familial history, poems laying out Murray’s complex though by now familiar values and poems which analyse historical events in terms of those values. But this typing is fairly superficial. At a deeper level, involving the way the poems actually operate as poems, the way they come to their material and “deal with” it, there is another series of types, apparently independent of the material.

To take the portrait poems (of which there are more in Taller When Prone than in, say, The Biplane Houses) as an example. “The Double Diamond”, despite its title (which might have more significance than merely being a rural reference), is a portrait of an eighty year old man’s appearance at his wife’s funeral. It may be an attempt to pay tribute to a relative (“He was the family soldier / deadly marksman on tropic steeps.”) and to keep alive a certain rural generation, but to me it seems like a poem whose function is to support its final lines in which the eighty year old says, “Late years, I’ve lived at the hospital. / Now I’ll forget the way there.” It is, in other words, a celebration of rural wit embodying self-deprecating grace under pressure. Thus, structurally, it should probably be connected to poems like the comic one in which Murray is mistaken by a neighbouring lady diner for a writer of cookbooks. When these “books” are praised (as she leaves) Murray responds that they have obviously “done you nothing but good” before commenting “which was perhaps immodest / of whoever I am”. Or it might be grouped with “Phone Canvass” where a caller for the Blind Society responds to Murray’s “shy questions” about what blindness is like with a long poetic description before finishing “I can hear you smiling”.

Other portraits celebrate, like the one of Matt Laffan who lived with birth defects caused by the fact, Murray says, that the emigrations from Ireland led to a loss of lore as to which bloodlines should not be mixed. It is a celebration, though, in which the celebrator, in the concluding stanza, allows himself to be compared and contrasted with his subject:

Popular with women, and yet
vision of him in their company
often shows a precipice near
or a balcony-lit corridor.
I would have lacked his
heroism in being a hero.

The heroism, in other words, in being a visible rallying point for those suffering an affliction is greater than living with the affliction itself, because it makes one vulnerable to the group, one of the major baddies of Murray’s moral universe. Another poem celebrates a New England “outlaw”, Black Tommy McPherson, finally a victim of either social or anthropological snobbery (he was drugged by someone who was, perhaps, “a Darwin reader”) enacted through their agents, the police. Of course, in this view of things, there is the comforting fantasy that his “group” – “diggers, carriers and Cobb and Co. men / with relations and not” – wreak a kind of revenge by declaring the hotel black “in the new jargon of then”. The whole poem is done as a kind of bush ballad, in keeping with the time and location of the action, but it is ramshackle enough to look like a part-parody of the mode. The interesting part of the poem is the conclusion where, as with the Matt Laffan portrait, Murray brings himself into the picture:

I was thinking about New England,
of the Drummonds, the Wards and the Wrights,
how they’d all conjured gold from that country
by their different methods and lights.

All the gold I’d spun out of country
was imagery, remotely extolled,
but Tommy McPherson sported his with an air,
a black cousin with literal gold.

Although this is done with proper deference (Tommy’s gold is literal while the poet’s is merely metaphorical) there is still an alignment and affinity-making going on when Murray declares Tommy a cousin (metaphorically speaking). In fact some odd counter-images go on here. Tommy is black in colour but not “black” metaphorically – that experience is saved for his killers who become “black” in the sense of being removed from business and perhaps social intercourse. Tommy also owns literal “gold” whereas Murray, the poet, is the literal/literary man.

There are other portraits where the author doesn’t appear (at least, “literally”), such as that for the Cubanophile push member, Harry Reade, and a very moving poem, “Nursing Home”, where Murray presents one of his best realisations of sanctity on earth in the form of the elderly lady “distilled to love” who “sits holding hands / with an ancient woman / who calls her brother and George”.

And then there is a poem about the death and burial of Isaac Nathan, the setter of Byron’s Hebrew Melodies and perhaps son of the son of Poland’s last king who, finishing up in the antipodes, became, in 1864, the first tramcar victim in Sydney and who was buried in Camperdown cemetery near one of the putative originals for Dickens’s Miss Havisham. Of course I speak knowledgeably like this thanks to Wikipedia and a description such as I have given looks at the poem from the wrong way around. On first reading it is a congeries of completely arcane snippets of information which challenges you to get your head around it. As Sydney’s first musician, first attempted recorder of aboriginal chants, first victim of technology and member of an ethnicity always prone to persecution, Nathan may be being celebrated here as someone with whom Murray feels a bond (as he did with McPherson and Laffan), but this isn’t something the poem explores openly.

To me, although this is a portrait, its more important underlying mode involves the acquisition of arcane knowledge. There is a great deal of this in Murray’s poetry (the title of this book comes from a poem which lists a group of weird errors about the world) and it gives great pleasure both to its author and to its reader. A poem from The Biplane Houses where Murray identifies himself as a sufferer of Asperger’s Syndrome lists, among the features of that condition, “great memory”, but the poem that meshes best with it, for me, is a very early one, “Portrait of the Autist as a New World Driver”, from the 1974 collection, Lunch & Counterlunch:

. . . . .
they simplify
who say the Artist’s a child
they miss the point closely: an artist
even if he has brothers, sisters, spouse
is an only child

among the self-taught
the loners, chart-freaks, bush encyclopedists
there are protocols, too; we meet
gravely as stiff princes, and swap fact:
did you know some bats can climb side on?

Mind you, Hitler was one of us.
He had a theory. We also count stern scholars
in whose disputes you almost hear the teenage
hobbyist still: this then is no Persicum variant
nor – alas, o fleeting time – a Messerschmitt variant
. . . . . 

Another result of reading Taller When Prone is that one would like to follow up these threads which link poems by mode. But that would involve investigating their origins and etiologies – an immense task that I will happily leave to future Murray scholars and critics.

“Visiting Geneva” is simultaneously a portrait of that town and of John Calvin. (It also contains, in its list of the historical refugees of Geneva, a great deal of, to me, arcane knowledge.) But it is really one of those poems where Murray’s ethical framework comes into play. Calvin can be analysed under many heads, very few of them at all sympathetic, but to Murray he represents two vices: the mechanical joylessness of a certain kind of Protestantism with which Murray was familiar from his upbringing and, more importantly, the desire to create division which leads to groups, classes, castes:

. . . . . 
but, when you were God
sermons went on all day
without numen or presence.
Children were denied play.

I had fun with your moral snobbery
but your great work’s your recruits,
your Winners and Losers. You
turn mankind into suits -

Even Italy, messer John.

Readers of Murray are fairly used to this and, it is true, the application of Murray’s ethical position is less abrasive than it once was. For the first thirty years of Murray’s poetic career it was so extreme that it was something that readers, critics and scholars simply couldn’t avoid though discussion of it seemed uncomfortable and fed back into Murray’s own difficulties of those times by making him seem (to himself) assaulted on all sides. But if somebody makes a career of punching you in the prejudices (with their own prejudices) what are you to do: sit quietly and accept it? In the poems of Taller When Prone there is less of a fullscale assault and more of a quiet niggling that most readers can pass over with no more than a pained smile as coming with the Murray territory. One poem, “The 41st Year of 1968”, ascribes the horrors of last year’s Victorian bushfires to the hippy tendency to decry clear felling of rainforest and to seek homes in the deep bush. It’s title also suggests that somehow the poets of the great poetic upsurge of that period, sometimes called the “generation of 68”, were in some way involved (despite the fact that they were, by and large, extremely urban). In the Murray universe, it is true, there will be subterranean (probably metaphoric) connections between the writings of a great generation of poets whose values were, poetically, socially and politically, opposed to his own and the doings of those who wanted to drop out into the bush. Again, the poem looks like an elegy on the surface but is really a punch, or at least, a speculative jab. Another poem on the subject of bushfire, “Hesiod on Bushfire”, absorbs the entire horrible experience into Murray’s larger perspective in a way that recalls his debate with the late Peter Porter (Porter’s wonderful dig at Hesiod and his rural verities in “On First Looking into Chapman’s Hesiod” prompted an essay in reply from Murray) and even “The Burning Truck” the earliest poem of Murray’s Selecteds. “Hesiod on Bushfire” concludes:

. . . . .
Sex is Fire, in the ancient Law.
Investment is fire. Grazing beasts are cool Fire
backburning paddocks to the door.
Ideology is Fire.

The British Isles and giant fig trees are Water.
Horse-penis helicopters are watery TV
but unblocked roads and straight volunteers
are lifesaving spume spray.

Water and Fire chase each other in jet
planes. May you never flee through them
at a generation’s end, as when
the Great Depression died, or Marvellous Melbourne.

This is, in mode, quintessential Murray. It is enormously compressed and would take a lot of teasing out before one became comfortable with that sudden conclusion. Compression is usually a poetic virtue but it does have the additional advantage for Murray of compressing his social ideas into gnomic phrases that act as talismans and are difficult for a hostile reader to unravel.

Another poem, “Eucalypts in Exile”, is intriguing because it looks like a celebration of something distinctively Australian but sustains itself by being built on what I’ve called arcane knowledge: we are told that overseas plantings of gum trees have been thrown in Paris uprisings, been used to sop up malaria, and so on. But the poem finishes by moving the entire material into the world of allegory. Eucalypts are “loveable singly or unmarshalled” but they are “merciless in a gang”. They burn violently, “they have to shower sometimes in Hell”, and they cause the kinds of bushfires that “Hesiod on Bushfire” and “The 41st Year of 1968” are about, but at an allegorical level they represent groups motivated by ideology – the quintessential villains in the Murray universe.

Another of the types that turn up in this book are what you might call “travels in retrospect”. Travel literature of any kind is intriguing because one learns a lot about the personality of the writer who, in good travel writing, subjects him or herself to experiences which will test comfortable ethno-certainties. Taller When Prone begins with an interesting visit to the Taj Mahal, “From a Tourist Journal”. This poem starts with a brilliant compressed statement of difference:

We came to Agra over honking roads
being built under us, past baby wheat
and undoomed beasts and walking people.

Wonderful as this is (what prose travel writer can be said to be so luminously compressed?), it has to be pointed out that the poem, rather than lose its bearings in an alien reality which is beyond empathic connection, stresses the solid strength of the observing self. Murray is capable of fitting something as alien as the Taj, the Moghul culture that produced it and the modern-day inheritors of that culture, into his own system. He understands the poor who wear soldiers’ uniforms, “I’d felt that lure too, and understood” and the poem finishes with a description of a world of groups and hierarchies and perspectives and depths that is familiar to us from Murray’s poems about Australia:

Schoolkids from Nagaland posed with us
below it, for their brag books, and new cars
streamed left and right to the new world,
but from Agra Fort we’d viewed, through haze,

perfection as a factory making depth,
pearl chimneys of the Taj Mahal.

The tension that makes this a powerful work seems to me to be between its superlative rendering of difference and a simultaneous assertion of sameness, an assertion that “my system works, it can cope with this”.

It is possible that this is what is happening in a difficult three-line poem, “The Springfields”: “Lead drips out of / a burning farm rail. / Their Civil War.” I understand the basic situation here: when farm timber was burnt, the lead of the bullets fired in the Civil War which had been embedded in them, melted out. And the bullets were fired by Springfield rifles – a name always likely to produce wry smiles at its ironies. But in the Murray universe, civil war is the war between castes. Is he really suggesting that the American Civil War was a chance for the foul urban elites of the north to attack the honest white poor of the South? History is a lot more complex than that and one can’t believe that Murray would be so reductive.

There’s a lot that I’ve omitted by focussing on the different kind of modes in Murray. I’ve strategically managed to be in a position where I don’t have to say anything about the really cryptic poems like “Medallion”, “Singing Tour in Vietnam” and “The Fallen Golfer”. There are also poems of landscape which turn out to be poems of perspective. And there is a fascinating poem, “As Country Was Slow”, which focuses on the new roads around Taree and Buladelah. Roads are a Murray obsession and the cars that drive on them lead back, as so much in this book does, to “Portrait of the Autist as a New World Driver” where they are described as “high-speed hermitage[s]”. “As Country Was Slow” contains a magnificent description of Australia:

We’re one Ireland, plus
at least six Great Britains
welded around Mars
and cross-linked by cars - 
Benzene, diesel, autobahn;
they’re a German creation,
these private world-splicers.

I love the idea of Central Australia being described as Mars. How the rest is read depends: it could be referring simply to Australia’s total land area but if you want to stress the pun in Ireland, you might say the intention was for it to represent Tasmania while the six Great Britains were the mainland capitals. If you read it geographically then Western Australia (out on the western margins) might be Ireland. And if you read it in terms of ethnic heritage then it might mean that the “Anglo”-derived population of Australia outnumbered the Celtic by six to one. At any rate, the poem has a wonderful conclusion which returns to Murray himself, partaking of both the modern world of cars and the older rural world of horse-drawn carts and wondering whether, with a fuel or economic crisis, the future might finish up looking like the past. In doing so he speaks of his own ride to the graveyard in that vehicle which is always slow:

The uncle who farmed our place
was an Arab of his day
growing fuel for the horses
who hauled the roads then.
1914 ended that. Will I
see fuel crops come again?
I’ll ride a slow vehicle

before cars are slow
as country was slow.

Les Murray: The Biplane Houses

Melbourne: Black Inc., 2006, 90pp.

Les Murray’s total-poems-thus-far has an elephantine size and is a collection rich beyond normal readerly expectations. Future critics will need to work hard to follow and to try to describe its exact shape though already a basic pattern seems to have been laid down, one which culminates in Fredy Neptune and the bitterer poems of Subhuman Redneck Poems as a kind of catharsis. Whatever the accuracy of this, there is no doubt that The Biplane Houses forms a group with the previous Conscious and Verbal (1999) and Poems the Size of Postcards (2002). They inhabit the same corner of Murray-land and speak the same language. Perhaps it might be better to say that they inhabit the same micro-climate. There is a relaxed quality about the poetry though the themes and abstractions are recognizably those of Murray. They all post-date Murray’s catastrophic mental and physical illnesses and – what reader can say? – may reflect a kind of convalescent, “I really shouldn’t be here” calm.

There are great pleasures to be had reading Murray’s poems. Just as he has been in the past the most combative of poets he is also one of those who gives most pleasure. And the pleasures come in recognizable modes, modes which circulate throughout Conscious and Verbal and Poems the Size of Postcards as well as this new volume. I’d like to focus on these poetic modes rather than the evolving panorama of Murray’s complex views on Australia, religion, the human race etc. After all, the modes form the arsenal for the poet’s multi-pronged response to existence.

There are the cryptic squibs, for example. The Biplane Houses is framed by two of them, “The Averted” (“The one whose eyes / do not meet yours / is alone at heart / and looks where the dead look / for an ally in his cause” and “Industrial Relations” (“Said the conjuror Could I have afforded / to resign on the spot when you ordered / me to saw the Fat Lady / in half before payday / I would have. I find wage cuts sordid.”) Neither of these is quite as simple as it appears on the surface or as expectations based on a previous experience of this genre in the work of other poets might lead us to expect. Usually the pleasure comes immediately from the recognition of a deep truth placed in a beautiful syntactic shape. Think of Auden’s “Private faces in public places / are wiser and nicer / than public faces in private places”. Murray’s two squibs are predicated on his complex analysis of the world (that is, they are not derived from a widely-held but perhaps not understood or rarely expressed view of things) and, I have to say, really resist interpretation. Is sawing the fat lady in half to be seen as a punning example of a “wage-cut” – ie an operation paid for? I can’t help feeling that the resistance to interpretation is deliberate and that Murray’s squibs are half riddle though I could be being particularly interpretively obtuse here. There is nothing cryptic about “The Test”, however, and “Blueprint II” makes sense to anyone who has ever thought about what a Christian heaven might actually be like “Life after death / with all the difficult people / away in a separate felicity”. Here everything depends on the last word’s unspoken chiming with that coldly bureaucratic word “facility” and might well open out into a comment on the current government’s movement of people it considers difficult out to an off-shore “facility”. At any rate, the meanings here open out rather than try to close themselves off.

“The Statistics of Good” is a kind of extended version of “The Test”. A very beautiful sentence extended over two stanzas recalls Archbishop Mannix’s successful attempts to defeat the conscription campaign in the first world war. Then the final stanza returns to the proposition that Mannix saved the lives of perhaps half “the fit men of a generation”:

How many men? Half a million? Who knows?
Goodness counts each and theirs.
Politics and Death chase the numbers.

Even here, however, it is not immediately obvious why “theirs” is included.

Murray’s witticisms are thus unusual in demanding that we are familiar with the Murray interpretation of the world. We can follow the rest of the book through by looking at the kinds of poems Murray deploys and the relationships between them. The second poem, “Early Summer Hail with Rhymes in O” begins:

Suddenly the bush was America:
dark woods, and in them like snow.
The highway was miles of bath house,
bulk steam off ice shovelled over blue.

If one of Murray’s signatures is his invention, and special use, of abstractions, another is his distinctive syntactic shifts. The prose version of this opening might run “Suddenly the bush looked like something you might find in the north-east of the United States and being in the bush was like being in a snow storm in those woods”. In the first line the shift from simile to metaphor twists the meaning rather than simply intensifies it and the second line works by intense and distorting compression to produce “and in them like snow”. It looks back to an early poem “Once in a Lifetime, Snow” and thus connects up with other Murray poems and it also of course pulls Dante and Frost into the picture. The tone, though, is light and celebratory more than anything and concludes in a typically Murray way by associating delight with exhaled breath (as well as punning on “hail”):

Hills west of hills, twigs, hail to Dubbo,
all dunes of pursed constraint exhaling Ohh.

I think of this poem as being, if not exactly in a celebratory mode, at least in a mode which is open to the amazingness of the world. In this kind of poem the issue is not of language “capturing’ reality so much as dancing at fever pitch to keep up with the natural world. “Airscapes” is a good example as are “An Acrophobe’s Dragon” and the extraordinary “A Levitation of Land”. It is perhaps significant that two of these poems deal with the sky. This mode is both intense syntactically and also disjunctive – as though a set of verses were being thrown at a subject. Three stanzas from “Airscapes” for example:

The bubble-column of a desert whirlwind
fails, and plastic-bag ghosts
stay ascended, pallid and rare.

Over simmering wheat land,
over tree oils, scrub growing in rust
and way out to the storeyed forties.

Here be carbons, screamed up
by the djinn of blue kohl highways
that have the whish of the world
for this scorch of A.D.

These poems submit to reality rather than interpret it, or map it against a pre-existing interpretation. Other, less elevated poems, like “Travelling the British Roads”, “The Domain of the Octopus”, “Melbourne Pavement Coffee” (“Storeys over storeys without narrative / an estuarine vertical imperative / plugged into vast salt-pans of pavement”) and “Sunday on a Country River” share this disjunctive approach to their subjects. Perhaps the aim is a kind of cubist multi-perspectival view, perhaps it is a desire to write short poems and connect them into a buzzing whole. If it is the latter then a collection poem like “Twelve Poems” may be closer to Murray’s essential methods than it seems on the surface. Certainly “Lateral Dimensions” is a group of separate poems made into a whole:

haunted house -
one room the cattle
never would go in

mowing done -
each thing’s a ship again
on a wide green harbour

and so on through fourteen similar poem/sentences.

A little poem, “Winter Winds”, shows how good Murray can be at the virtues of a traditional lyric where syntax falls beautifully through line breaks:

Like applique on nothingness
like adjectives in hype
fallen bracts of the bougain-
eddy round the lee verandah
like flowers still partying
when their dress has gone home.

Yes it is slight but lyric poems of this kind always are – they don’t rely on the support of allegory or ideas to keep them upright – and there is something appealing about a very large poet with very large ideas treading so light-footedly.

Other poems do want to be interpreted as allegories, especially a number of the narratives. In “Upright Clear Across” children recall acting as guides on the old Pacific Highway when it flooded. They walked across the submerged road to show that it was still there and that its depth was something the waiting cars could cope with. In exchange, “every landing brought us two bobs and silver”. The situation here, children sure-footed in a flood, must have a symbolic significance: the flood is the weight of the world or of experience or it could be the pressure of the conformity demanded by the adult world. At any rate it is an ability that the passage of time renders irrelevant:

and then bridges came, high level,
and ant-logs sailed on beneath affluence.

“The Shining Slopes and Planes” describes a carpenter fixing up the Murrays’ tin roof. In a way it is a hymn to the stylish simplicity of anyone who is an expert in their field – in this case a tradesman: “Peter the carpenter walks straight up / the ladder, no hands, / and buttons down lapels of the roof”. But it is also clearly a poem about living on the ground and living in the sky – the roof is full of grass and miniature trees which have grown in the gutter. The fact that its last line produces the book’s title is also a clue to its significance.

If there is a stylistic feature that unites these modes it is Murray’s love of the pun. The title of the poem I have just mentioned refers to slopes and planes and perhaps generates the final image of “the biplane houses of Australia” through a pun on “planes”. This punning drive is not just a matter of verbal over-excitement, it is more a case of the poet seeing connections at a verbal as well as a visual level. We know this because “Black Belt in Marital Arts” faces up to the issue. It looks at first a minor, joke poem, but turns out to be crucial:

Pork hock and jellyfish. Poor cock.
King Henry had a marital block.
A dog in the manager? Don’t mock!
denial flows past Cairo.

A rhyme is a pun that knows where
to stop. Puns pique us with the glare
of worlds too coherent to bear
by any groan person.

Nothing moved him like her before.
It was like hymn and herbivore,
Serbs some are too acerbic for -
punning move toward music.

A rhyme is a pun that knows where to stop because it connects words (through sound) that otherwise have no connections (“stars”, “cars”, “jars”) but to someone seeing connections everywhere a rhyme is just a reminder of some of the less obvious ones. Puns reveal these connections to a greater extent thus creating a world of overwhelming coherence, far too much to bear for “any groan person”.

Thus the Murray world is full of symbolic correspondences. As a result riddling and punning are more than stylistic tics. There is a Murray mode though where meaning remains elusive though it is not at all like the riddling and punning modes I have been writing about. This might be described as the formal, “panel”, lyric. In a way they recall the early poem, “The Princes’ Land”, which was a formal, allegorical narrative in a very faux-medieval mode. These too look medieval in their appearance in blocks with refrain. “On the Central Coast Line” is one of these, its refrain mutating from a simple “a head ahead” (presumably to recall the sound of the train lines) but concluding, cryptically:

We knock inside a tunnel
and are released to wide chrome
to jelly-sting wharf towns -
if that head turned 
to show one certain face 
this would not be now 

It is as though a fairly standard Murray poem has been crossbred with a poem about what occurs inside someone’s mind as they look at other passengers in the train.

And what are we to make of “Leaf Brims”?

A clerk looks again at a photo,
decides, puts it into a file box
which he then ties shut with string
and the truth is years away.

A Naval longboat is rowed upstream
where jellied mirrors fracture light
all over sandstone river walls
and the truth is years away.

A one-inch baby clings to glass
on the rain side of a window as
a man halts, being led from office
but the truth is years away.

Our youngest were still child-size when
starched brims of the red lotus last
nodded over this pond in a sunny breeze
and the truth was years away.

I won’t bore readers with my cogitations about this – plainly a poem in which justice occurs in the sacral future – but its difficulties lie not in the ideas which form its context (the sort in which a smiling author seems to say, “You need a course in Murray”) but in its internalness. It is almost a very private poem.

Finally in The Biplane Houses are the narratives. These cover a wide variety of modes ranging from allegory (“Upright Clear Across”) to family experience (“Me and Je Reviens”) to personal experience (“The Succession”). But the one which is most intriguing is one which doesn’t deal with narrative meaning in a way which we are familiar with in Murray’s work. This is “Through the Lattice Door”:

This house, in lattice to the eaves,
diagonals tacked across diagonals,

is cool as a bottle in wicker.
The sun, through stiff lozenge leaves,

prints verandahs in yellow Argyle.
Under human weight, the aged floorboards

are subtly joined, and walk with you;
French windows along them flicker.

In this former hospital’s painted wards
lamplit crises have powdered to grief.

Inner walling, worn back to lead-blue,
stays moveless as the one person still

living here stands up from reading,
the one who returned here from her life,

up steps, inside the guesswork walls,
since in there love for her had persisted.

Though this has the familiar Murray graces (the floorboards, creaking, “walk with you”) it is hard to determine the author’s exact stake in the poem. It doesn’t seem to be making a point, in other words. As a result there is a kind of luminous quality about it as though Murray had given up his position as controlling author (almost always, in Murray’s poetry, tenaciously held on to) and allowed the poem to speak for itself as the poem of this woman’s life. I like it, though, of course, there is no way of knowing whether it will be a one-off of the harbinger of a new, relaxed mode where the authorial control over meaning and significance is loosened a little.