Article in Cordite

Hi. While I'm out hiking on the PCT (search for me on instagram) an article I wrote about walking The Shikoku Island Buddhist Pilgrimage has been published by Cordite. Check it out here: http://cordite.org.au/essays/concrete-a-shikoku-pilgrimage/

Peace.

Centre for Stories interview

Hello,

Please make yourself a cup of tea and/or coffee and listen to an interview between Robbie Wood and I at the Centre for Stories on the 11th of May 2017.

This interview is the most comprehensive I have been part of to date; discussing walking, poetry, environment, music, ecology and death.

Link here: https://media.sas.upenn.edu/pennsound/groups/Aust-Po/Centre-for-Stories/Quinton-James_Poetry-in-Conversation_Perth_5-11-2017.mp3

Cheers

 

Ten Years Gone

10 Years Gone

The troubles began on distant shores,
before you were born, and then you stood
on the brown and cream shag pile
in the hallway of the Mosman Park apartment,
I could see you in the mirror as I brushed my teeth
you had the courage to tell me you loved me
and that was all, the world didn’t end,
cars didn’t break down, your first born son
was in the living room, barely one,
and his mother was loving him, trying to be your number two.

I’ve gone through every cupboard and drawer
tipped all the tubs and shoe boxes on the floor
certain, in some way, I’d written more,
all I found was the dirt track lined with brown-wheat-weeds,
like a bull banksia you high five
the forty-five degree Greenough trees lying down,
path, ditch, cut, path, ditch, cut
the lump in your throat, the boglands
the infinite beach filled with suburbs
your foot stuck in a rabbit warren
and your sons may have been too old
to not have been affected by your absence,
that’s the synapse that says one more drink, just one more toke, one more drag.

When I climbed Mt Ventoux, Mt Rintoul, Mt Cooke,
climbed to temple number twelve,
anywhere the body wanted discomfort to cease,
the thought of you arose,
not in a I’m doing this for you sense,
no, more of you would love this shit, you arsehole,
and I also questioned why the person who I had spent
a third of my life with still said I was a mystery to her,
why all conditions lead to cessation,
and why we need to make more of an effort to use the gifts you left;
the bees have taken over a whole room
of Gary’s house, there’s enough honey to fill a Kombi:

Do you know that tomorrow
is the ten year anniversary
of your suicide; when I wake up
I shall wish you every happiness.

Spring, Summer, Autumn, Winter… And Spring

A pearl has no meaning to the pig, says South Korean director and writer Kim Ki Duk. His 2002 film Spring Summer Autumn Winter …and Spring is an anecdotal portrayal of time. Phrases, movements, events and conflicts circle back on themselves. People are shown as unwitting participants in a world with its own logic. Buddhist and mystic symbolism underpin and overlay the action. We learn about the characters through their actions, not what they say. The film requires little dialogue to convey its meaning.

In the opening sequence a young boy teases a frog, a snake and fish by tying a rock to them. The little creatures struggle. His grandfather – we can only assume they’re related – watches the kid torture the animals. That night while the kid is asleep the grandfather ties a rock to the boy. When he wakes up he’s distressed and is told the rock can be removed once he has seen to it that the rock is removed from the frog, snake and fish. If, by this time, any of the creatures have died then the boy will live with this burden. The boy drags the rock around the great lagoon where they live. The frog is alive. The Fish is alive. The snake has died overnight. The boy is distraught. The boy has a heavy heart.

If the grandfather had not disciplined the boy then we can assume he would have continued on in life thinking torturing animals was okay. We have seen already that it is in the boys nature to be cruel. Discipline is a way of altering that nature.

Later on in the film, the grandfather paints the heart sutra on the deck of the house that floats on the lagoon. The young boy, now a man, has returned, a fugitive after having fled the home with a girl who was visiting. Viewers do not witness this, but the young man murdered the woman one night when she sleeps with another man. The boy returns home and when detectives find him the grandfather requests that before he leaves the boy carve out the heart sutra with a knife.

The rationale of the film dictates the Buddhists wishes are respected and the detectives wait all day until the boy has finished carving. Only then can the boy begin healing his heavy heart, that began with the murder of the snake, some fifteen years before the murder of the woman. The return of the heart motif shows that the master played a small part in the boys downfall. As Phillip Larkin wrote: Your parents, they fuck you up, even if they don’t mean to, they do.