The leaves of his favourite tree were turning red. The seasons were on the move. Red leaves dropped, like clots of old blood after a sudden accident, a playground fall.
He remembered as a child, skidding across black asphalt, until his knees were a broken and bruised cocktail of stone and tar and gravel.
He was always amazed in those moments when he was on the ground for a change, to see the leaves, like the bloody paw prints of fabulous beasts. If was as if he was living in a strange fairy tale, a dream, high up on a mountain range where wild things roamed.
In the early mornings, he rose silently long before dawn, like some crazy insomniac. He heard the floorboards creak beneath his feet, his nightingale floor of perfect pitch. It was as if they were betraying some awful secret, braying about his erratic movements to an anxious, but slightly deaf world.
Increasingly he came to savour the reversed-out hours, like the negative of a black and white photograph, where light is dark and dark is light. A time in the world where the subtle differences between black and white and grey, and the even more subtle abilities to discern the differences, seem to have been lost in a rush of unreasonable clarity.
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| Autumn trees with vintage Holden Yarralumla |
When you belong to the world of aircraft and balloons you are a child of the dark. Every form of preparation seems to involve rising early, wrapping yourself in the darkness, so later you can soar above the light.
© Stephen Cassidy, 2014
For more information about the author see Writing biography.
See also
Island on fire
‘On an island you’re never far from the sea –
that is unless the island is huge, like Australia. In tiny Tasmania,
perched like an afterthought at the foot of Australia, even the
mountains in the centre are not far from the ocean raging around them –
just as in the distant homeland from which those who settled it came. On
the main island, though, everywhere is a long way from everywhere else.
Two islands, very different in size, in many ways with both similar and
different histories. Both on fire. But this not just about the fires –
it’s about what happened in front of the fire, the life lived in a time
of warming and burning, even if it sometimes felt like a rehearsal for
the end of the world’, Island on fire.
I smoke baby cigars
‘Smoking baby cigars in the dark of the backyard. Like some Cuban presidente haranguing the crowd with reminders, I proffer a list of romantic anniversaries, our May 4th movement, our July 12th uprising – our moment when everything became new’,
I smoke baby cigars.
Cut back to black
‘Cut back to black, thin chill drizzle mid-winter – infinite regression on petrol’. Also called ‘Revhead heaven’,
Cut back to black.
Coming back to these stones
‘Coming back to these stones – in the sandy dry reaches of the Coorong in South Australia’s South East birds flicker across the flat water like beads of run-away mercury’,
Coming back to these stones.
Landscapes in a rear vision mirror
‘Heading at a moment's notice into Broken Hill, breaking several traffic laws on the Barrier Highway, in the rear vision mirror the land kept switching colours’,
Landscapes in a rear vision mirror.
Stopping by Lake George
‘Lake George is a vast stretching freshwater lake, with no outlet. It is only diminished by evaporation. Many stories are told about Lake George, a still point of the turning earth, with all the quiet of the eye at the centre of a hurricane’,
Stopping by Lake George.See other work from the Conversations group exhibition, Goulburn Regional Art Gallery, 2004 – a collaborative exhibition of writers and visual artists.
State of origin
Multimedia piece developed with visual artist, Deborah Faeyrglenn, State of origin looked at where we come from, where we go next and where we truly belong. In this work the writer and visual artist combined word, image and computer technology to make visual music. Words and images moved across the computer screen, with no fixed address,
State of origin.
The lost art of conversation
Installation, developed with visual artist, Deborah Faeyrglenn, on words, meaning, reflection and infinite (or at least, partial) regression. Three tall thin vertical mirrors stand against the wall, covered in bursts of words. Three matching paper shadows flow out from the wall along the floor. Words on the mirrors flutter and blur into shadows,
The lost art of conversation.
balloon
A fictional narrative work in the form of a website, the website as writing. About the adventures of a refugee from the big city who sets up the High Country Thought Balloon Company. A series of brief vignettes about the characters, situations and stories which intersect the path of the balloons as they soar across the skies of the Southern Tablelands and Snowy region. It is about changing perspective,
balloon.
Malacoota Inlet
‘Shutdown in a flat, wet land, the line beween sea and sky where grey meets grey, where stricken yachts come in’,
Malacoota Inlet.
Sitting on twigs
‘Sitting on twigs in the flat lands, in a piece of country loaded with meaning, like a tightly coiled spring’,
Sitting on twigs.
Signature of waterA series of artworks as part of the Waterworks exhibition at Goulburn
Regional Art Gallery responding to the shared task of facing up to life
on our dry continent. It ranged from short, minimalist animations, using
cartoons, to hyperfiction drawing on the styles of crime novels. It was a
mix of poetry, storytelling, images and sounds which were heavily
influenced by the styles of popular culture and the urban and rural
landscapes around us,
Signature of water.
