Poem/Diwali

NASA's photo of Diwali Night fireworks in India

– reblogged from here.

Furious refugee groups have questioned how long the federal government will continue mandatory detention after the suicide of another refugee at Sydney’s Villawood Detention Centre.

Refugee Action Coalition spokesman Ian Rintoul today slammed the government following the death this morning of the Tamil refugee known as Shooty to his friends.

The Immigration Department has confirmed the man was taken to hospital earlier today but died.

Citing poisoning as a possible cause of death, Mr Rintoul said a number of approaches had been made to DIAC to have Shooty released into community detention, but they had been unsuccessful.

He said the man’s failed bid to be released to attend a Hindu festival may have sparked his suicide.

– Patrick Lion, Refugee advocates slam mandatory detention after refugee suicide

.

Diwali

.

The lights are lit

to welcome a goddess.

.

Good has won, and nations gleam

with rainbow lights

as evil is driven out by love

and families meet

and laughter is shared

. 

and just for a night

the world is remade –

the stars are rivalled

by earthly brightness:

. 

billions of hearts

and billions of candles

blaze like auroras

and banish the dark.

. 

But elsewhere, as always,

evil endures.

. 

The cell has no candles.

It punishes hearts

by denying them hope

until life is a box

without doors or space

and the whole world hangs

from the tip of a key

whose name is release

that is rarely spoken

and seldom used.

. 

And into this dark

comes the rumour of light

that is called Diwali,

and all good things

are remembered again,

 .

and the promise of love

is music in ears he thought were deaf;

and the promise of kin

is touch to a body long denied;

and the promise of free

is bread in the mouth starvation claimed –

.

but at the last, the man in the cell

remains.

. 

Despair is his poison.

Darkness wins.

He swallows it down

and the lights go out,

for the key called release

fits a second door

whose name is death

and whose lock will open

even when cells

will not.

. 

A billion candles

to welcome a goddess –

. 

and yet we could not light one

to welcome a man.

– also posted here.

Poem/Girl In The Photo

I just took a photo of a photo

of myself.

 .

In it, a twelve- or thirteen-year-old me

sits on a wedge of carpeted stair,

a GameBoy in her hands as a fixed stare

rearranges TETRIS blocks, with her gold hair

lopped at shoulder-length, tan arms bare

and noticeably darker than a chest more fair,

a pale slope yet without cleavage; and a still air

of concentration. I doubt she knew the camera was there.

 .

My mother sent me the photo. A friend of hers

dug it up, then passed it on.

None of us can recall where it was taken, or why:

the steps are unfamiliar, the occasion itself, if there was one,

lost to history. Still, I recognise things:

the green shirt, favourite, acquired at Christmas – my best friend had one, too;

the black crepe skirt I wore to the theatre;

the sandals, as yet new, which I wore and wore

until they fell to bits.

 .

The GameBoy isn’t mine, though.

This one belonged to my godmother’s son,

a special clear case with black and white graphics

made (or so I can Google now) in 1995.

Mine was yellow, a colour model

not released for another three years, at which time

I saved my birthday money to buy

what my parents wouldn’t. Either way,

it dates the photo: December ’98, I think,

or early ’99.

 .

And now I hold the image twice: once in the print

propped up on my desk, the physical copy passed

from hand to hand, plucked from some album

and mailed overseas; and now, again,

in digital form. I pull out my camera

and suddenly, I’m sucked through time and space,

back to that unknown date and unknown place

to take a photo of my younger self

with a camera more advanced than the game she holds

by a full decade –

 .

And then I’m back, sitting at my rented desk

in Scotland, staring at a tiny screen

and the unblinking face of the girl I was,

wondering what else she knew, and did,

that was never seen.

Political Correspondence

Dear Mr Rudd,

Since your triumphant ascention to the Prime Ministership, there seems have been some confusion about who, exactly, was elected. It’s true that I (and others of like mind) voted for the Labor Party under your erstwhile helmsmanship; but that does not mean, Mr Rudd, that we voted for you. You were merely the vehicle with which we ousted the long-loathed Howard. This is not to say we don’t appreciate your governance, or rather, the governance of your party. We do. We are really ecstatic at the prospect of a Labor federal government. But the honeymoon has ended, Mr Rudd – as, indeed, was inevitable – and the time has come for straight talkin’.

Let me be frank. We don’t like Kevin the Man. He is not who we voted for. He might share flesh with our PM, but as far as we’re concerned, he’s a totally different entity. We are interested in his opinions only insofar as they mirror those of Kevin the Prime Minister. We are extremely uninterested – not to say unimpressed – with any effort to make Kevin the Man a spokesman for our nation. Kevin the Man is entitled to his opinions, just like any other citizen. But he is not entitled to lend them Prime Ministerial authority.  

Which brings me, Mr Rudd, to the subject of Olympia Papapetrou.

When you tell an 11-year-old girl that her naked self constitutes an abusive image, it is you – not the photographer and not her subject – who has brought abuse to the party. Consider her portrait as a Rorschach test for your psyche. Where it is possible to see beauty, innocence, fragility, youth, childhood, art, you see only naked sexuality, adult, abusive and paedophelic. This says nothing about Olympia Papapetrou, Mr Rudd, but considerably more about you. Personal opinions aside, you did not become Prime Minister through an inability to compromise, act tactfully or otherwise shut up on cue. Such evasions are your meat and drink, Mr Rudd, just as they are for all effective politicans: and you are very effective. Shaming Olympia Papapetrou was not your only option, because whatever morality is professed by Kevin the Man, Kevin the Prime Minister holds right of veto – or should, when it comes to public speaking.

Here is a photo a mother took of her child. Here is a photo that child loves – cherishes as an image of herself. If it comes to hold a taint for her, that taint is your doing, Mr Rudd. Because in your capacity as Prime Minister of Australia – which capacity you are in whenever the cameras are rolling – you told an eleven-year-old girl that her naked body is ugly, wrong, and a symbol for the most depraved act that could ever be perpetrated against it.

Child protection advocates seem curiously uninterested in Olympia’s right to defend her portrait, and for no better reason than her age. In another five or seven years, if she still loves the photo, will they listen then? Perhaps such advocates are, ultimately, used to speaking for children, not to them. There is condescention in the view that children cannot think for themselves, which assumption children’s rights advocates have spent the better part of a century trying to correct. To then turn around and claim the exact opposite – that Olympia cannot know her own mind, and is utterly unentitled to enjoy a photograph of herself, or to comment intelligently on it, because of her age – is deeply, insultingly hypocrtical.

Mr Rudd, the office of Prime Minister means more than a right to be heard or to make political judgements: it means the responsibility to do so with intelligence, forethought and a measure of objectivity. We ordinary citizens may complain on blogs or at the pub, in the street or to friends with more freedom than you now possess: because we are ordinary. When you stepped into the top job, you did so at the expense of your right to free and public opinion, because although the Prime Minister is a person, their office is not. Australia cannot speak with the voice of Kevin the Man, but only with that of Kevin the Prime Minister, his government and their people.

In that sense, Olympia Papapetrou – naked or clothed and regardless of age – has more entitlement to her public opinion than you. Out of the mouths of babes and sucklings, Mr Rudd. And you are neither.

Sincerely,

Foz