The Blue Plastic Milk Crate

Roger spends most of his days seated on a blue plastic milk crate. Every morning, summer or winter, the sun wakes him in his rag nest, warming the cold concrete in the opening leading to the corner stairwell of the building car park. Only just awake, Roger slouches half upright on his right arm and leaning over, takes a drink. Then of course there are other actions he undertakes that do not bear polite description. The point however, on every other morning, is the grime crusted, bearded, hair-dirted figure that ultimately staggers upright to flop onto his blue throne.

Around the corner, in the bitumen open space between the back of the Newtown Centre and the newer block of town houses there is a large crowd of industrial rubbish bins. Above them on the roof top the Ibis also gather to meet the sun. It’s peculiar if you remember that these birds were characterised by the ancient Egyptians as representative of the deity Thoth, god of writing and knowledge. A more unlikely bunch of long-legged, moth eaten looking birds, greedily squawking out of the side of their black, scythe-like beaks at the  prospect of fresh garbage, is hard to imagine. Scribes without too many pennies in their pockets perhaps? Fallen on hard times and forced to the streets to get a living?  Maybe they’re just like Roger.

Roger, set back in his customary niche in the early light. His old grey army surplus blanket is now draped around his bony shoulders and his arms are crossed on his chest; one hand is keeping hold of a grimy corner; the other tightly surrounds his breakfast bottle of beer.

You might also see Roger on other occasions as he returns from the other end of King Street. He is staggering from side to side along the black bitumen and brick footpath; stumbling down past Newtown Station toward the side lane by the High School of Performing Arts, the location of his throne. 

These outings do not for the most part coincide with any mere necessity for the body’s sustenance: stale bread rolls or some mangled chicken or leftover fruit; perhaps a two day old litre of milk, all being thrown out by the Cafes and other businesses along the strip. Instead, they are pure journeys of a suff,ering soul, rendered down now to the need for another bottle of drink. On such occasions, if his luck is in, Roger has already managed to consume at least one full one and has another clasped against his chest. The result of this good fortune is the added drama of loud, incomprehensible yelling and other, quieter conversations with what you could only interpret as the shades of his past:  beings that Roger can see, but we, the other passers-by cannot. 

Maybe if the seemingly oracular words of these mad, alcohol sustained rants could be unpacked like the contents of old suitcases, you might find in them some clues as to the progress of Roger’s life: why it is that his existence  has been rendered down to this crumpled crouching on his plastic box. Such an investigation however might require a real conversation rather than the simple acknowledgement that many locals afford Roger as they pass. If anybody did succumb to a full scale engagement with him though, Roger would probably tell them that he lost the tickets and the keys for the said luggage a long, long time ago.

So Roger will simply lie down once again at the end of this day. His head rests on an old jumper and the blanket is pulled up almost to his nose. His arms are crossed once more. He has enough liquor in his system to feel suitably embalmed: his breathing becomes one with the velvet dark.

In the frail barque of his sleep Roger is adrift and blessedly forgetful; and through the underworld of our urban night, he is sailing now, slowly, toward yet another dawn. 

Kalliope

Not much is really known of the eldest girl with the sultry voice and the ink-stained fingers; whether she was a decent dancer like her other sisters; whether she could truly hold a tune in her throat or her belly, or perhaps she just moaned the forms. Was she tightly frog-faced, or just splendidly beautiful? Did she dress clumsy in ash-stained rags or the richest silks, or simply in cotton? But it seems she still snared her share of would be admirers: her classicism, those clean white marble images, professions of dying and undying love; rhythms and rhymes: she had it all.
Kalliope

Beaks Snapping and Feathers Flying

uploads - G-Bird.jpg

Dear Phidias,

I have noticed of late,  as I’m sure you have also,  that he may as well be a Pompey,  this sorry excuse for a Prime Minister:  a grizzling mouth,  a balding pate and a flapping body,  all draped from head to toe in such preposterous ideas

about the quality of the purple;  have you seen how he perambulates the passageways and halls of the Senate?  Always only three steps ahead of the microphones, his staff, and his publicists? You must know Phidias

all our Legions, from the noble Generals and thrice burnished Centurions, to the lowliest of spear carriers,  are quite filled up with the deepest disrespect for him;  and the citizen body has long past begun to think it wiser to ignore his endless

blathering about the impropriety of our civic levies and the grinding price of corn.  So would it really be disunity to say that like a vengeful flock of furies;  beaks snapping, feathers flying;  we should fall on him now and strip him to his under garments;

then to apply our nails to his naked genitals,  his limbs, his hirsute chest and his laurel crown?  I can now only exhort you to prepare yourself Phidias:  best it should be done tonight when the moon is shrouded and the nightingale

is stilled in its song.  After the wine and the water libation,  I will kiss him on his pale cheek,  then dismiss the rest of his bored retainers. You must be waiting in the shadows that surround the stunted olives,  crouched there tightly in secret with our other friends.

All your heads must be properly covered with your togas;  that much at least may be marked as seemly;  but I digress:  there is no need now for further talk  about the shouting and fear;  all that will no doubt stain the linen.  As to the dousing of the torches and the bathos that must attend his final execution:

all of it,  my dear Phidias,  should not take very long …

Peter

Pierre mon frère, at the ending point now, you’ve slipped quietly out across this winter’s dry flood plains,  carrying a chisel, a paint brush and a pint pot,  all in a small string bag.

I can’t quite comprehend what use these things will be to you; to drink the last dregs of the amber sunlight this side of the wall? To carve your name in triplicate? As if we will forget. The smock that they have dressed you in is already covered in dust or in sand, chips falling from the brickwork.

For now you inhabit a small camp by the banks of our blood’s river (the flesh, after all, does look so much like grass). You will stay there until you think it’s safe to cross over.

Do you have enough coins in your pocket, dear cousin? There will be others who will need paying before too long. Your mother my Aunt, waits as always to scold you. My mother, your Aunt, smiling, waits to receive you.  My father,  your Uncle who always treated you as a son, gladly waits to receive you.

Don’t tarry dear Peter, mon chéri: but those here who love you might also say, don’t hurry. While we are all at a loss now to speak to you or for you,  we still desperately crave your company.

Sleep is the husk of a man lying slightly sidewise, covered with a hospital blanket, breathing in then out through an open mouth on a cool winter’s day before rain. His grieving wife sits quietly beside him.

The eyes are shuttered and without a tremor;  they cannot now see beyond the glass. Out there several hundred feet below, I can see the Parramatta River; it is too far away though on this afternoon to hear its waters singing.

Liverpool Hospital,  Western Plains,  Australia,  August 30th,  2018.

Photo Graphics Gallery

I’ve been taking snap shots now for over half a life time. My efforts began with a small Olympus point and Shoot in 1981; then I graduated to a Pentax Super-a. Remember the joy of handing in your film and getting the packet back only to find half your efforts were blurry or over-exposed ? Then came that wonder, the beginning of the digital age! These days I use Sony Alpha cameras and do my own “developing” on the Desktop with a huge range of tool options – Adobe products, Capture-one,  Apple professional products and so on. I’ve found that my knowledge of computing combined with a reasonable eye and a few of the “Missing Manuals” has made me into a bit of a Digital Artist . See the results of my labours at

photographics.sionit.com.au

P.S. nearly all the images on this site are also by me ! What fun !