Category Archives: Poetry/Non-Fiction Issue 12

Mother Nature, Laura Bax


My suburb is, according to most people, a quiet one. It’s almost entirely suburban, has a primary school, high school, a few parks and decent local shops, even if the Coles is, according to my mother, ‘the worst Coles in Australia’. It also has a small bush reserve running through it, which is home to snakes, possums, a few trails and a small creek.

My mother is not most people. She is a guerrilla soldier, a one-woman army, a crusader against anything that disrupts her peace. Before my sister and I were born, she slept like the dead, apparently. Now she has earplugs and blindfolds and whoever chooses to go to bed after her has to slink like an enemy spy through their own home. I’m not sure when her crusades began, but they are a recent enough development that they don’t appear in any of my childhood memories.

The Battle of NorthConnex is easiest to date. Three years ago, a small patch of the bush near our house was chosen to become a base of operations for all sorts of machinery and contractors while they worked on widening the M2. Shrubs were flattened, concrete was laid, trucks and all manner of heavy machinery came and went. Then they really got to work. The sound barriers that lined the motorway were removed so they could chip away at sandstone in order to widen the road. The gentle wash of noise generated by the thousands of cars that travel along the M2 each day, which had once been soft, only noticeable if you were really listening, became distinct. The steady thrum that was once almost mistakeable for trees in the wind was now punctuated by distinct hiss and rumble of compression breaks, heavy trucks, and the occasional horn. Of course, there was little my mother could do to change it; she even begrudgingly admitted it was inevitable and necessary. But she kept a close eye on the project. She read every memo we ever received, emailed the project managers, and visited the community information centre.


My mother’s War on Unilever is harder to date.

The boundary between our house and the bush was always quite distinct. A leaning wire fence wraps around our property, guarding a sharp drop down to the nature reserve. As a child, it seemed like a cliff; now I realise it is only a rock wall, maybe five feet tall. Bindi-filled grass grows right to the edge of the rocks, while the other side is full of towering ironbark trees and sandy earth carpeted with years of leaflitter. On the other side of the trees is a small collection of factory units, including Unilever’s headquarters. Unilever, which has a groundskeeper who used to run a leaf blower and mow the grass before six in the morning. On Saturdays. That could have been what started mum’s crusade against them. Or it might’ve been the time they didn’t properly insulate the industrial cooling units, letting a low, fridge-like hum reverberate up the valley, through the trees, to our house. But it was probably the alarms that really started it. A persistent, aggravating, impossible-to-ignore ‘woop’ noise, followed by a robotic woman announcing the need to evacuate. That ran, on repeat for hours, before someone finally shut it off. Hours, because the only contact number for Unilever, anywhere on the internet, is to a call centre in the UK.

Unsatisfied with the scripted, emotionless apology email she received, Mum went into full Cold War mode, enacting trade embargos. We were all given strict instructions on what we could not buy—an ever-growing list, including, but not limited to: Rexona deodorant, Flora margarine, Omo laundry detergent, most shampoos and conditioners. All Dove, Lipton, and Vaseline products. Most heartbreakingly, Ben and Jerry’s ice cream. All owned and made by Unilever.

I must confess, I didn’t really care about the noise. But, as the noise pollution wore on my mother’s (and, by extension, my) sanity, I began to pay more attention.

The bush behind our house, when viewed from above, looks like a dark scar against the beige suburban grid. A scar is probably too negative a term for something that is undeniably alive; it looks like a river, a forked bolt of lightning, a creeping vine, a patch of lichen, or the veins on the inside of your wrists. There are little ridges in each pocket of bushland, areas where the canopy of gum trees is split by water – trickling creeks, slow moving streams, all snaking together to form Parramatta River, which in turn snakes its way out to Sydney Harbour. The spidery threads of bushland join together to form an unbroken chain of trees that ebbs and flows from Carlingford, curving up and around the Hills District. If you zoom out on the satellite image, you can see where the forest would have once joined the National Parks to the north.

The pictures look lush and healthy. From the ground, it is a different story.

Satellite pictures don’t show the oil drums, scattered like rotting logs among silvery gum trees, or the shopping trolley, half-submerged and rusting in the creek, far from any road access. It sits overturned, wheels to the sky, like the rotten carcass of some bizarre creature, a steel-boned wildebeest.


The highlight of my school holidays as kid was walking along trails in the reserve behind our house. My mum and I would descend the rough log steps and she would help me as I clambered over rocks. We would follow the path, criss-crossing our way along a small stream until it met up with the main creek. As a child, it seemed like a vast, rushing river, and every crossing was fraught with danger. More than a few ended with wet socks and muddy shoes. Once across the water, we could head right, up steep hills and out into winding suburban streets and on to McDonalds. This was my favourite trail to follow, as it held the promise of ice cream, but I also had to walk home after.

But if we took the path to the left, we would go to the dam. Technically a water retarding basin, the thirty-metre tall walls were covered with ever-changing murals of graffiti. As the trail approached the base of the concrete megalith, the dirt track joined a path of metal grates, the creek trickling through under our feet. Each step I took generated a metallic scape, ringing and reverberating as I ran along it. The path lead into a dark tunnel at the base of the massive wall, the arching walls painted dark green, dimming the sunlight that reached the bottom of the valley, creating a cave-like atmosphere. The air was cooler, and every noise, from your scraping metal steps to your quiet whispers would echo around, surrounding you like some strange symphony. Sometimes, I would run shrieking through the tunnel, making as much noise as I could. Other times, I would creep slowly, hand-in-hand with my mother, whispering to her and hearing my own voice whisper back. Broken shards of beer bottles would gleam from patches of moss like dark crystal stalagmites. When we emerged from the tunnel, I would examine the colourful walls like a little art critic, or, if the weather was warmer, take off my shoes and wade through the sandy pond where the concrete basin ended and the bush began again. When I got tired, or hungry, or bored, my mother and I would make our way up the hill and loop our way home. The trail from the dam ends in a cul-de-sac, and we would make our way past the factories, past Unilever, and through a narrower strip of bushland, all the way home, a big circle.

The creek in this narrow strip is a sad little thing, disappearing almost entirely when the rain stops. When there is water, it is murky and dark, frothing oddly around rocks and against the muddy bank. The world reflected on the water’s surface looks wrong, the colours not quite right. Sunlight is dappled and diffused by the canopy, but where the odd ray hits the creek it seems to glow, the water not translucent but cloudy and almost grey. Standing on a bridge over the water, when the wind blows the right direction, you can smell something sweet and clean, cloying and artificial – shampoo-like, coming from the factory hidden by the trees.

Of course, big corporations like Unilever aren’t the sole perpetrators of environmental damage. Dogs, feral cats, garden run-off, invasive plants and weeds can all be blamed on individuals. That is to say nothing of the plastic bags, caught in high tree branches like the nest of some alien bird. While it is impossible to live in our modern world without causing some damage, in the last few years there has been a shift towards minimising the harm we do. Plastic bags have been banned, and reusable coffee cups are becoming fashion items, from boutique, handmade porcelain affairs to mass-produced sparkly plastic. And while people inevitably do litter, most of us wouldn’t want to be caught dead doing it.

But corporations aren’t held to the same standards, or expectations of guilt that we are. In 2017, a report found that just one hundred companies were responsible for over 70% of the world’s carbon emissions – yet they face minimal consequences. For accidentally leaking chemical waste into the nature reserve behind our house, Unilever, a billion-dollar company, was fined $15,000. A bit of leaked soda ash and fifteen grand is nothing to a company like Unilever, which has, in recent years, been accused of using illegally deforested land for palm oil.

When I was in the final stages of writing this, editing and drafting, cutting and pasting paragraphs, trying to carve a story out of bursts of memory and short rants, environmental damage made the headlines again. In early October, the Intergovernmental Panel on Climate Change (IPCC), released a report on the current state of global carbon emissions. Solemn-faced men in suits calmly addressed reporters, announcing that with our current rate of pollution, our planet would be 2 degrees warmer in 40 years. Their report found carbon emissions must reach zero by 2050. Newsreaders delivered the planet’s death sentence with their usual cadence, concerned-but-not-overly-so, swiftly moving to the next story.

Two degrees seems like nothing. But even that tiny amount would lead to huge environmental damage, including the destruction of the Great Barrier Reef and the Amazon Rainforest, not to mention immeasurable destruction to human lives. Longer, more intense droughts, supersized storms, unprecedented bushfires and hurricanes will all occur. Food will become scarce as crops fail to handle increased temperatures and carbon dioxide. Warmer temperatures will see the tropical and mosquito borne diseases become more widespread. And while experts warn massive numbers of people would be displaced by rising sea levels, there are other, unforeseeable consequences of ice caps melting. Two years ago, there was an outbreak of a rare form of anthrax in far north Russia, which lead to the deaths of two people and thousands of reindeer. It was caused by permafrost melting, exposing a long-dead reindeer carcass, which held dormant spores of the deadly virus. Other diseases can survive in ice for millennia, while the world’s largest deposit of mercury is held tenuously in place by permafrost in the Arctic – rising temperatures will see it released, seeping into food sources and poisoning water supplies.

Recently, I went walking through the reserve for the first time in years. The thin dirt tracks are covered with a soft carpet of greying leaves, fallen from the eucalyptus trees above, which dampened the sound of my feet hitting the ground. Every few steps, the dull, uniform colour was broken with a splash of yellow, fresher-but-still-dead leaves, or fragments of plastic, broken and splintered, their original forms unrecognisable. As I approached the creek the path grew wide and the tightly-packed dirt trail became loose and silty, shifting beneath my feet. With the lack of rain, the water was low and the stench of rotten seaweed filled the air. A bright blue bottle cap sat half-buried in the dirt, a faded coke can nearby, like strange shells. A plastic bag bobbed in and out of view, an alien jellyfish held half underwater by a heavy branch.

As I stood on the edge of the water, I realised something. Despite the obvious signs of human civilisation around me, the noise of the factories and the constant hum of the motorway had faded, replaced with the soft whisper of wind through the remnant gum forest. I’d developed a sort of nihilistic tunnel-vision, stewing in the fact that individual attempts to reduce environmental degradation meant very little when corporations can (and do) get away with causing irreversible damage.

It’s not a view I hold alone. In recent years, science fiction has embraced a dystopian opinion of our future. Books, television, movies, feature humanity escaping from or surviving on a decimated planet. Even in the real world we focus on missions to Mars, on ways of leaving our planet behind instead of fixing the damage we’ve caused. The idea that we have broken the environment beyond repair seems to have been quietly accepted some time ago, slipping silently into our culture’s psyche.

But nature is, in a sense, its own corporation. It’s big, everywhere, and entirely apathetic to individuals. There is the constant swish of wind through trees, river-like, similar to the hum from the motorway, but at a different frequency. Along the trail, there are thick, ropey vines, twisting, climbing, and covering eucalypts and rocks alike. They are triffid-like, long thin stems reaching straight up to hook around branches. I’d presumed at first, that they were invasive, choking out native plants, but later learnt they were a native water vine. Along my street, houses are framed by wattle and magnolia, grevilleas and cherry blossoms. Bright yellow freesia spring up around the base of a bottlebrush tree. Recently, taking a shortcut home at dusk, I stumbled upon an echidna foraging for ants beside the chain-link fence of one of the factories. Despite the damage we have done, given a chance, life finds a way.

I think of my mother, and her crusade against Unilever. It seemed pointless, at first, illogical, even. But a fine is still a fine. And it is one Unilever never would have had to pay if my mother hadn’t emailed the EPA, demanding they look into it. The state of our planet is undeniably dire. But if we give in to our apathy or let the destruction of our planet become background noise, then we have already lost.


Download the PDF of ‘Mother Nature’


The Extra/CynthIA, Sam Moon


The Extra

The work is continual,

to fill the spaces around you like air,

the backdrop influence of the wind,

the tide. Lifeblood of the day-to-day

flowing downstage through streets,

stores, out of mind the way sea

evades the hand. I slip through

the set, through memory,

and construct an ambiance

—The coffeeshop businessman too crisp

for his slouch, for the casualness stretched

in his chair, failing to smother a grin—

With careful randomness,

I populate every set-piece,

blending conversation dotting

the scene like wallpaper

flowers behind a portrait of you

—The kids at the mall, uniforms pressed

against the stairway handrails, singing

to the height disparities of adolescence—

Surrounding you, I deliver

the background heartbeats;

footsteps of the world-builders

echoing across the stage,

your stage, breaking

like waves on the shore

of your soliloquy

—The matching smiles between a father

and the toddler who hangs on his arm

like hope, laughing like a wish—

I weave between spotlights

that know you like a lover, love you

like a savior, starring in my landscape

of the brushed shoulder;

the lullaby that fills a city,

that settles in a story

—The single exposed head in a blooming

field of umbrellas, hunched over

pinstripes grey as the falling sky—

A reassuring movement

suspended on the coast of your eye,

I sing familiarity on a stage

that never ends. The quiet solace

passing like savored time, purrs

the way a hearth-warmed quilt

adores the shoulder, all-encompassing

in the warmth of ovation

—The girl whose shoes glittered like the idea

of summer as she bounced by your window

on your last lazy Thursday—

Safe in realism, confidence,

the triumph of the quest

that calls you like the curtain

calls encore, you march

a finale in monologue.

My silent role in union

of the stage, in the bowing

cut to black, we live.



Count 1 1 2


Through the filters

And hear the air

In your mouth

Counting stiff


The message

That slithers in skulls

And states

The air in your lungs

Is not yours


The skywave intercepted

By flesh

Frozen tongue

Across your skin

Whispers to the nerves


Not alone

You have never

Breathed alone

Always borrowed air

Always gasping

Wavelengths of voice

Without you

Instructions beyond you

Saying always

Nothing except


To the one

Who knows


Download a PDF of ‘The Extra, CynthIA’


Do NOT Read This, Alexander Lafazanis


Totally like


The thing is like

people in the 90’s like

literally laughed at like

the idea of bottled water.

Who would actually pay

for something you can totally like

get for free

out of a tap?

Would you pay for petrol

if you had a pump in the kitchen?

I mean

a plastic bottle of water is basically pure EVIL.

When empty and crushed like a shackled lung

its shriek is sour

wincing and tart

When left forgotten

chosen and rotten

the water runs down like stale saliva.

Not to like

totally mention

the plastic ocean is

strangling the whales

creating one big watery grave…

And like

call me a hypocrite

but I could totally set sail on

a raft made from the plastic bottles

I’ve consumed in my life.

But I only buy them when I’m not at home

on the road

on the go.

It’s convenient

cold water from any corner

and it’s only a coupla dollars.

And as cars grow motors

bigger than their bonnet

and trees bow down to quick copy printers

publishing: ‘a million and one ways

to get a minute back.’

I swear that like

I can hear my time clock ticking

at a pace I just can’t catch.


The Dog Days



A young woman reaches up

freckles light brown as coffee grains

hanging sodden laundry

along a backyard clothesline.

On the woodshed windowsill

the radio melts amongst the ancient chattering

of cicadas tree to tree.

A female broadcaster announces:

‘Total fire ban on the hottest day of the year.’



New day spreads a baby

blue sky like an oil painting,

shining on crocodile grasslands

that simmer below.

Even the summer flies are resting in the shade

she smiles

pressing her face against the

shirt, cool and damp.



The danger signs have been red

no water, nor rain

commemorative minds

drift along to the torrid hum of Christmas holidays.

Hark! Hark! Murders siren strong winds

of fermenting dog days.

White iris above white flame

perched on dead wood.



Heat rising and night falling fast,

firefighters drenched in sweat

sail towards the sun.

The flames fleet marching up the frontline

halts in the machine gun fire of a pumper’s

spray, momentarily.



Red alert, pumps engaged

flames turning with the wind.

The Guv’s dashboard dispatch

inhabiting the blurred chaos of yells and groans.

No candles are held in a firestorm

fear smoulders inside bunker suits.

One fighter

face ashen as a tablespoon

sent to the sea

drops a knee to the whimsical chimes

of Nero’s lyre, off in the distance.



A wildfire in a torrent of flames

razes a forest flat into a charcoal graveyard.

At the heart of its heat

stubborn trunks explode like a gut punch

waves of embers washing over

a town of dreadful thirst.



Down by the billabong

far from bloody gums

a sandy kangaroo sits hidden underneath

a glowing whisper.

The trees breathe a charcoal breath.

Below, her joey dangles over the pouch

its thin skin ethereal

translucent grey.


Download PDF of Two Poems

Tagged ,

The constant., Masumi Atul Parmar


In science we learnt about
white noise.
How it is several noises at different frequencies.
How it drowns out sound because your brain can’t decipher it all simultaneously.
How it’s loud and meaningless.

My head, dense and heavy
saturated beyond comprehension.
I can’t take in anymore noise.
I cannot understand anymore noise.

But outside it is quiet,
my mother cannot comprehend what I mean,
when I say it’s too loud,
in my head.

Because all she hears is
the cars driving past our
red mini cooper;
the only car parked at the side of the road.

All my mother understands is that her daughter
does not remember how to use
her hands.
I can’t lower them from my ears.

They’re still soft to touch but stubborn,
they’re begging whoever has snuck into my head
to stop,
to stop the constant buzzing so I can remember again.
I hear my heart beat loudly in my ears,
my cupped hands only making the thuds

That’s always one of the first signs other than
the constant

The chattering,

the whirlwind of

a few hundred frequencies

in a red room.

Too many aspects of life trying to be the most prominent.

Only to be drowned out by another.

The spotlight shifts from

the lights of cars driving past,

to the sound of my mother’s voice

to the shape of my hands,

to the feel of my hair tickling my neck,

to the smell of the new leather seats

I can’t focus on anything.

And that
is how you end up on the floor of a parking lot.

A version of myself
stares back at me
from the chrome in the tyre–

I can’t comprehend who that girl is,

my mind is fighting to slow down.
My tears start to drown me,
I just can’t understand.

Then almost like it never happened,
my mind is clear
like a pearl being washed
by the gentle waves of the shore;
surface clean and shining-

The switch clicked back into its spot

“Was it because I focused on my breathing?

Was is it because I self-medicated?

Was is it because I’m thinking of the woman I love?

Was it because I found the knob in the dark?

All by myself?”

I can hear
the cars softly driving past ours;
the red mini cooper parked at the side of the road.

It’s like the noise never existed.

Download a PDF of ‘The constant’