Critical State
B. R. Dionysius
Queensland has witnessed five great extinction events over its 1.9 billion years existence. “Critical State” looks at the current impact of climate change, and the human impact on animal and plant species, and even ourselves, across the varied Queensland landscapes.
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      Poephila cincta cincta By the pool, their fingernail-sized gullets undulate briskly as if they are guilty celebrities scoffing a midnight treat, their black cravats panting with excitement. They can’t stay in this kitchen heat for long; fluent in the language of dehydration, a fast tipple or else they’re dumbstruck. Their image burned into extinction’s cyclopean retina, as if this fragile flock gazed into the sun directly, or they were a picnic of ants fried by a bully’s magnifying glass. The dam water is a current running through their bodies; it sets off the electricity of their flight, as one they scatter to the air, like a handful of wedding rice. Thie fall might weight as much; in the billionaire’s thoughts he’s ripped out the earth’s coal-black throat; the box trees cut open like rich sediment. Their habitat halved like a seed cake. 
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      Menura alberti (i) He whistled to her & like an inquisitive dog the bowl of her head angled, a satellite dish to receive the new music. She was muttering away in some mimic’s foreign language when he stumbled upon her; a woodland Pokémon that evolved the power of water & then slaked some deep desire in him. The brown, rusted stovepipe of her tail feathers swung back & forth, as each great scratch of her garden fork claws ripped the humus open like rotten cloth. As he fell, he noticed the bathtub-sized granite boulders were covered in grey lichen squares, cool & treacherous as damp flannels on a tiled floor. Momentum snared, he heard her scream. (ii) A Trojan War had passed since he last saw one. Oracle elusive, it had tracked him like a prophecy or some shadowy ninja as he hiked at Lamington. Then it had melted into the forest floor like a fat witchetty grub, a curled white question mark of memory he could only find again if he dug deeply. He picked himself up, mud stigmata slashed across his palms as he retook the track, his partner shaking her head at the plunge of birdmen. Or that his cry had become a lyrebird’s sound effect. Recorded for posterity like he was the endangered animal, a loss of pride’s habitat. Their black ship of extinction hauled up on nature’s beachhead, time caulking their voices’ hull; faint echoes of crackling bushfire and corroboree. 
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      For Judith Wright Gravity is rolling her particles into a child’s spitball. Like a student chewing paper in the classroom’s dark, there is something unlawful about our decline & fall. In her honour, eucalypts shed their clothes, drop bark. She has already touched the universe’s filigreed edge. The red shift galaxies shine singularly as flame trees in a distant quarry; their blooms are a well-kept hedge that borders our knowledge, doubt swarms like bees. She had long been a part of it; her hand-me-down cells she returned to the sun’s up-market store. A dying star’s decaying gift signalled the blow of her heart’s iron bell; as her last breath vanished like the atmosphere on Mars. She is monumental now; as though there was a Marathon mound of ancient Greek heroes piled up inside her head. She was the flint of eco-consciousness that was fiery born, when she struck at the builders who cleared out the dead. Still, the earth sucks in its beltline & gyrates its middle age spread. Forests recede like hairlines thinning out, as the hand of progress combs through them. All that’s left is hollow rage, as small groups of creatures turn & make their final stand. Judith. Her poems are etched on the trunks of scribbly gum. Insect mouths chew through the grain of her poetic field. As they kill, borers translate her words into a universal tongue, & hollow trunks of eucalyptus drum; never yield, never yield. 
Brett Dionysius
B. R. Dionysius was founding Director of the Queensland Poetry Festival. His poetry has been widely published in literary journals, anthologies, newspapers and online both in Australia and overseas.
He is the author of one artist’s book, The Barflies’ Chorus (1995, Lyrebird Press), four poetry collections, Fatherlands (2000, Five Islands Press), Bacchanalia (2002, Interactive Press), Bowra (2013, Whitmore Press), Weranga (2013, Walleah Press), a verse novel, Universal Andalusia (2006, SOI 3) and two chapbooks, The Negativity Bin (2010, PressPress) and The Curious Noise of History (2011, Picaro Press). Critical State (2022, Calanthe Press) is his ninth poetry collection. He teaches English and Literature, lives in Brisbane and in his spare time watches birds.
 
                         
              
            