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Cilla McQueen - The Radio Room

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Cilla McQueen The Radio Room

The Radio Room: summary, description and annotation

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In The Radio Room, Poet Laureate Cilla McQueen travels space and time, throwing thought-lines from her present-day corner of the world to the ancient Celtic islands of her ancestors (On a cliff-top above screeching gulls I stand still thinking backwards, antipodean poet grafted from ancient taproot in this bedrock ... if they spoke, what would they say? Could I understand that language at the root of my tongue? Her point of view is at once small, interior and intimate (I sit on an upturned apple box in the shade of my hat looking up through the pores of its straw) and in the next breath, flung outwards and upwards: Discovered in lenses, bent around stars. I leap island to island, altar to altar. The collection is about the writing and reading of poetry, too: Poem in hand, the tendons slide and muscles smile under the skin. Soapy Water riffs on modern politics to play with this theme: world poetry is running low. Naturally, there is speculation in solar poetry, wind...

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Published by Otago University Press Level 1 398 Cumberland Street PO Box - photo 1
Published by Otago University Press Level 1 398 Cumberland Street PO Box - photo 2
Published by Otago University Press Level 1 398 Cumberland Street PO Box - photo 3
Published by Otago University Press, Level 1 / 398 Cumberland Street, PO Box 56, Dunedin, New Zealand Email: , Fax: 64 3 479 8385 First published 2010. Reprinted 2011. Copyright Cilla McQueen 2010 ISBN 978 1 877578 03 8 (print) ISBN 978 1 927322 11 6 (EPUB) ISBN 978 1 927322 12 3 (Kindle) Written and published with the assistance of Creative New Zealand The Radio Room - image 4 Publisher: Wendy Harrex Designer: Fiona Moffat Author photograph: Isabella Harrex Ebook conversion 2015 by meBooks Also by Cilla McQueen Homing In (1982) Anti Gravity (1984) Wild Sweets (1986) Benzina (1988) Berlin Diary (1990) Crikey (1993) Markings (2000) Axis (2001) Soundings (2002) Fire-penny (2005) A Wind Harp (CD, 2006) To Andrea
A GHOSTLY BEAST
We scared ourselves white in the bothy the night that one of us expressed the prideful wish to dine on Clanranalds finest beast. Then came a lowing above the song of the storm, a lowing so close, if you could see through stone it would be just outside the wall! We talked ourselves to sleep that night, blocked our ears to the tempest roiling, talked ourselves out of it But when the first ignorant ventured at dawn outside, he found the encircling hoofprints proof, in the very fabric of the island.
OUR COW
By salt, by fire and water secured from enchantment, our cow is in the meadow, Beside the fertile patch of ground left fallow, sacred to that deity, whose name is lost.
ABOUT THE FOG
Damp sea-fog lay like a sheep on my journal outside all night on the table, turned radiant blue ink to turquoise wash through which the permanent horizons stared twenty-eight pages empty.

Of vanished thoughts here and there word-slivers, blots in the gutter, bled edges; some legible sentences in ballpoint. As if by tears lost the death of my mother, the reunion with my tokotoko at Matahiwi, Orepuki Hopupu ho nengenenge matangi rau at hand beside me now, ribboned, knotty, sleek, Washed away, goes without saying, language absorbed by a fog to dissolve in the sun.

ALTAR (ELEMENTS 1)
One rock, another rock, a flat rock on top. On this we laid our sin, the Great Auk that we killed for fear of sorcery Our sin because she was the last bird of her kind. Here the Amazon once laid a pair of antlers and a bowl of oil In thanks to the Being for new life, another year.
BEACON (ELEMENTS 2)
Discovered in lenses, bent around stars.
BEACON (ELEMENTS 2)
Discovered in lenses, bent around stars.

I leap island to island, altar to altar. Breathe life into things, one word to another, Sweep the night seas with a quartz shiver. My feet of quicksilver dancing on water.

BOOKWORM
Been here in arms, fresh linen, before snows aery characters illuminated, drifting down darkness beyond a window here before tell past to know time present past familiar, dawn cloud lifting from a dreaming mountain. Hold the image against meeting, knowing time and place coincidence, gaudeamus in the next dimension, life history, manifold instant of a given point. (Martin Martin, 1716, of the inhabitants of St Kilda)
COASTLINE ELEMENTS 3 I meet myself coming the other way Distinguish between - photo 5
COASTLINE (ELEMENTS 3)
I meet myself coming the other way. (Martin Martin, 1716, of the inhabitants of St Kilda)
COASTLINE ELEMENTS 3 I meet myself coming the other way Distinguish between - photo 5
COASTLINE (ELEMENTS 3)
I meet myself coming the other way.

Distinguish between two grains of sand. No power on earth can change me, nothing pins me down. Within my high and low I belong to none, A sacred slate where law is written.

CRAZY HORSE
Thanks for the dream of the sapphire sea last night, ultramarine-speed ocean framed by rocks, so bright it sang. Harmonically, I send pearls rolling down cabbage leaves, diamonds from my washing line, bronze totara, the harbours violet pewter plate in this fine dusk. All day the sapphire sea and the words have held my eyes.

As promised now and then a message comes of startling loveliness.

CUP OF TEA
My mothers sugar bowl is tinged with sadness And cannot be put together again. Tea of tar and smoke. Tea of green. A china bell, a silver spoon, whirl a pool, lip a fine warm rim. Smile over it.

A place to rest, a small vessel decorated with roses.

ETCHING
Art ages. For instance, this view of York Minster engraved with a fine burin. In the foreground an upright car of 1930s vintage with a cloth top, square back window, bumpers and narrow wheels is either parked or driving towards the cathedral through deep shade cast by a tall tree on the left. The shadow stretches across the road almost to the centre of the picture. On the right-hand footpath, opposite the reaching shadow, a single figure walks beside a fence towards the cathedral.

In the middle distance four people stand to the right of the entrance. Further reduced by distance, a group of three on the steps in front of the door. The distant three are little more than scratches but it is possible to see from the arrangement of their lines that a tall man, hands clasped behind his back, his legs two fine strokes, is bending slightly towards the woman beside him who is middle-aged, well-dressed, with a pale fur around her shoulders. Fox. Standing beside the woman is a gauche, slim-shouldered girl. The engraving of light areas is so feathery that the outline of York Minster is faintly blurred.

Shaded areas are hatched. The cathedral is bathed in sunlight from high on the left. It might be spring, late morning, after Matins. Of the group on the right, two are children. A boy of about eight wearing a cap, hands in his pockets, stands near his smaller sister. With the use of a magnifying glass one can see that their mother is wearing a knee-length chequered skirt, a fitted jacket and a beret.

The other figure might be a woman with her back turned, wearing a fur coat over a dark skirt below the knee. The single figure on the right is unlike the groups outside the church, whose shadows are miniatures of the larger shadows strong horizontal. This figure is going in the direction of the Minster but is perhaps about to turn the corner of the garden and walk away down the western side. A scarf over her hair, she walks heavily, bent slightly forwards under the weight of a sack on her back. Her gait seems measured, trudging. The dark streak of shadow across the base of the towers draws the eye which then travels up to their filigree crenellations.

A difference in the line distinguishes the laden figure in the foreground from the groups near the cathedral steps. On the left-hand footpath near the car, opposite the woman going the other way, three other figures can be seen in the shadow of the tree. There is energy in the lines of all but the woman who is walking towards the church but not going to church. She is perhaps on her way home with a bag of washing. Head bent, she leans slightly to the left because of what is slung over her right shoulder. She walks past four rounded trees, fruit trees perhaps, half the height of the tree across the road which casts the long shadow.

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