A permaculture poetics
Wednesday, January 13, 2016
Spiral Orb is an experiment in juxtaposition, interrelationships, and intertextuality — a cross-pollination.
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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. Read more...
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. Read more...
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. Read more...








