Showing posts with label permaculture poetics. Show all posts
Showing posts with label permaculture poetics. Show all posts

re:)Fermenting culture: a return to insight through gut logic

Sunday, November 12, 2017

While my main work resides with Artist as Family, performing our day to day neopeasant home-economy radicalism or continuing to facilitate the network of community gardens in our home town, I have my own side projects always brewing away. Each day I research and/or write for two hours. Anymore than this and I feel myself becoming just another privileged Western thinker relying on my resources to be brought to me in the most earth-damaging intransigent way. I rail against such reliance to fuel my thought, and as a result (and being so odd within my culture) I'm writing work that doesn't yet have a wide readership, let alone a publisher in the conventional sense. This enables a wonderful freedom to experiment and be bold. Such obscurity is indeed a liberty, and paid for in the vegetables I grow myself and with friends and family. 

This year, after the compromises I felt co-writing The Art of Free Travel (compromises not with my awesome co-writer, but with the monetary demands placed on the book and how that eroded the spirit of it), I have returned to the fertile place of home and community publishing. My many editors have been my considerable brain trust – friends, family and the community of authors who I rate so highly. The result is this book, beautifully and sensitively designed by Adele Del Signore. 
The writing of re:)Fermenting culture has been an experiment which placed equal responsibility on the gut to inform the book's trajectory as another significant centre for logic and knowing. The mind in Western thought dominates everything, constructing a Cartesian blindness that is inherently masculine and thus, I argue, has constructed a gender-lopsidedness that has contributed significantly to climate, species, societal and ecological ruinations. To uncover this assertion I've gone right back, well before Descartes (he is just part of the succession of such lopsidedness), back to early Greece, to the Pandora myth and to the related myth of Prometheus and Epimetheus – the West's yin and yang story – a precautionary tale of twinned opposites concerning technology and memory that has long been forgotten.

My book is also an experiment in radical distribution. I'm going to steal it into bookshops and leave it in many more places besides. It's Free to take: pay later model is as original in Australian publishing as the content, and this ethico-politic, modelled on the honesty system of the ubiquitous Aussie farmgate stall, is another conceptual unsettling of bourgeois urban publishing. My only financial aim is to recuperate the modest expenses to pay for its production. The book is light and therefore cheap to send and distribute on foot, or via bicycle and public transport, but weighty in its cultural scope. A culture only of mind, of gender-lopsidedness, I argue, has become a culture of sterility, extraction and imperialism. This culture attacks our gut's logic. The gut is the Pandoran hub of human health, an underworld where 90% of serotonin and 50% of dopamine is produced, that is if the gut is given to kindly. I argue in re:)Fermenting culture the trouble that springs from gut reductionism (refined sugars, antibiotics, pesticides, acidic and non-fibre foods) is not to be underestimated.

So, this has been a snapshot into my cerebral contribution to the flowering earth this year. If you'd like an ebook version of it I will send it through for free. Just send me an email. But if you're like me and prefer to read off-screen it will cost you $10 plus postage. You can also barter me for a hardcopy. Please feel comfortable to get in touch.

Update (27 Sept 2018): My book in hard copy has sold out...

Here's the media release for those wishing it,

and here is the invitation to come to the book warming in our garden on the 26 November.

Happy gut reading wildly folk!

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A permaculture poetics

Wednesday, January 13, 2016

Spiral Orb: an experiment in permaculture poetics, is an online poetry journal based in the US. According to its editor Eric Magrane:
Spiral Orb is an experiment in juxtaposition, interrelationships, and intertextuality — a cross-pollination.
My poem Permamesostic, appeared in the first issue in 2010, and now my Anthem; elegy appears in the eleventh.


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Contour ploughing (poetry, permaculture and P A Yeomans)

Monday, November 11, 2013

Packing up the house today. About to leave on a year's adventure. Dipping into old notebooks. Stopping on this page. From fifteen years ago. A hill in Musk, close to here: Contour ploughing.


A black shouldered kite
follows my spine –
scribed by a grader,
filled with coarse rock
pursues the depression
         contours of my
         tired back;
my blades
with sour grasses
of mid-summer
once covered in clover
           like my belly now
dark and wet
protected from the sun's west

The drawing and poem were very simply imagined sometime in my late twenties (the notebook entry is undated). A vineyard is now situated on this hill, but it has never been ploughed on contour to create swales for passive water harvesting.

Well before I was ready to know about P A Yeomans, permaculture, ploughs and poetics or my own political imperative of bringing back the digging stick, I was intuitively writing and drawing up the logic of rehydrating land through swales – spoon drains that follow contours and hold up rain water. All these years later Ian Milliss and Lucas Ihlein are focussing on these very relationships in a show called The Yeomans Project. They have asked Milkwood Permaculture, Taranaki Farm, (f)route, Diego Bonetto and us, Artist as Family, along for the ride. And we will be riding over 1000 kms to witness this project, leaving Friday.

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Buckley and me

During my doctoral research I got to know William Buckley pretty well. As I was scouring material on him a friend, Maya Ward, recommended I read Strandloper, which is an excellent novel based on his life. I have called Buckley the first Australian permaculturalist (cheekily, in front of David Holmgren). Last year Southerly published my Portrait of the escaped convict who slowly nativised into a Wathaurong man over 32 years before Batman and co discovered him. The poem features in my thesis alongside this photograph painted by an unknown artist and undated. The painting hangs in the State Library of Victoria.


Today I was rifling through some images and I came across this photograph taken of me reading at the Victorian Writers' Centre (next door to the SLV) in 2011. I'm standing in front of my poem Step by step, which also features in my thesis.


An uncanny resemblance between permaculture poets? Buckley is important to me because he is a rare European who listened to and learnt from Indigenous land spirit and intelligence.

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Another community food garden

Wednesday, May 9, 2012

A drawing I finished today...


Click for bigger
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Step by Step

Wednesday, March 21, 2012

My permaculture poem Step by Step was yesterday awarded joint runner-up in the 2011 Overland Judith Wright Poetry Prize. Today I recorded the poem with some guitar accompaniment.



Overland will publish the poem in the next issue. Here's what judge Peter Minter very generously said about the work:

I think it’s probably fair to say that reading Jones’ ‘slow-text mesostic’ poems (cf John Cage) is a bit like extruding the brain through barbed wire mesh. But, as the saying goes the grass is always greener on the other side, so it’s a worthwhile endeavour in the end. Jones makes an explicit attack upon the romantic self-consciousness of white Australian literary culture and its oblivious transportation of European aesthetic modes into antipodean landscapes. ‘Step by step’ is not about ‘emotion recollected in tranquillity’. Its typographical interferences and static slowdown, hook and strain the reading process, such that emotion, reflection and cognition are caught and inflected in the present-time of reading. Jones forces us to grapple with a specific set of poethical considerations: how does language-use contribute to the violence of colonisation and machineries and economies of ecological destruction? What kinds of vernacular interventions might inhibit such violence? Can poetry save the world? Jones’ poetry isn’t for everyone, but the world he is saving is the same one you’re living in. 
Congratulations Joel Ephraim who's poem Rock Candy won the prize, and Sam Langer's Clouds fall like snow on the sky’s clear rocks who shares runner up with me. Also congrats to commended poets Rebecca Kylie Law, Alana Kelsall, Ella O’Keefe, Astrid Lorange, Fiona Hile, Stephen Nichols, Andrew Slattery, Banjo James, Molly Murn and Aden Rolfe.

Read Peter's full report here.

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