Silver Branch series
Stuart Rawlinson
April 2023
About Stuart
Stuart Rawlinson is a Brisbane-based writer and musician, originally from the UK. Having lived most of his life overseas in countries such as China, Korea and Australia, Stuart’s writing finds inspiration in the ‘other’—other experiences, cultures, languages—and the dislocation this often brings.
Stuart is also a composer and musician. His music and poetry often compliment each other and he has released two poetry/music collections, 2015’s Encyclopaedia of Tress and 2021’s The Walled City. His music has provided the soundtrack to Black Bough Poetry’s Deep Time editions and the forthcoming Tutankhamun collection.
Stuart’s poems have appeared in various publications, such as Black Bough Poetry’s Deep Time volumes, The Storms Journal, Adelaide Literary Magazine and Wellington Street Review.
You can listen to Stuart reading his poetry on Soundcloud https://soundcloud.com/stuartrawlinson
The Land’s Amnesia
The land has lost its memory
links between pasture and hedgerow
and pulsing hills ploughed out
homogenised like milk
in dairy crates.
The bypass was a lane
was an ancient track
ritual layered upon ritual
henge to roundabout
old blood waters the bedding plants.
The Split Tree
It stands atop a bare hill,
Smouldering and steaming from last night’s storm.
Twigs singed and scattered
Beyond its branches’ reach.
The trunk, like two inverted legs—
A half-buried man—stands gaunt, colourless;
Made sterile by a ferocious burst.
The whip-cracked bark
Peels and feathers—its oxygen spent
In the storm-sundered sky;
Flakes of soot catch in my hair.
Twilight clouds gather for another strike—
Its roots will be next, as I watch
From a shelter of lies.
Déraciné
A rootless dimension
fell reflection in
an underlined sky
the yew in negative
windswept on
a crumbled wall
swallow skirts the tree line
an invisible wall
runs up through
root, trunk and branch
separating the mind from the other world
liminal and vague
the vale not deep
enough to divide
the river’s rake
drags the woods down
the season slows to a trickle
of bleak reality
words catch in cattle grates
deserted sheep pens
garrison the stone walls
penned-in dreams
written on the moor
the slope’s scars
lengthen in the late sun
Khaled
At what point can one say:
'Preservation is complete'?
Which pitted surface smoothed?
Which sand-filled tomb exhumed?
At a closed junction
Between life and death
Man and bird wrestle
Above traffic lights. You are
No Zenobia
No Roman house arrest
In exchange for a life's
Surrendered empire. And so
Finally you kneel,
A final thought for
Chipped faces off sarcophagi
Your final restoration
Wrist-twined
Spectacles
Still attached
Another midnight song
What is it tonight? What quick-shivering memories
will bolt through the dark door
stunning the slumbering child? Crouched bodies
murmuring and ready to roam—
a shock of silence through the brimming hum,
coded and borrowed, hard to coalesce
out of reach of the perihelion sun.
A stallion drags his hooves above the vacancy sign
to the sound of ice crashing through the barrel.
And out of nothing, a melody, framed
by the blue blind lines that grill the wall
cutting and pasting phases of the moon.
High fidelity, equalised to the high end of sleep,
compressed and forgotten under the quilt.
Without the heart
When you call,
the distant signal
reflects from a place
of remote thoughts.
Phone line vowels
stretch rhotic,
reverberant
through the dense matter
of accumulated thought—
forming a fiction
between silence and speech.
Words fail.
Comprehension stops.
I picture a pillow
indented and demented—
claylike, holding
the soft warmth of your stillness.
In the summer house,
cold from the low sun,
a vestige of recognition:
an unseen eyebrow raises.
We speak like a ritual—
repetition, bare syntax,
and as he lowers you
into the bath, I still listen
through the one-sided connection;
answer each question as though
it had never been asked,
falsely, without the heart
to tell you my cruel fact.
Her Sleeping Atoms Spread
She awoke on rubble—
splinters of brick for the unborn bride.
Her corsage choked on sand,
pinned through her heart
by a jealous Father’s hand.
Doorjambs and window frames
erect amongst the ruins.
discarded dolls limp under the
demolition sign.
Graffiti of numbers,
calculated her untethered future—
moved only by the faults
of economics, away
from her ancestors.
Buried below stories,
she walked down steps into
a floorless room, where her
sleeping atoms finally spread.
On the Way to Kirkby Lonsdale
Low,
Centripetal skirts around
For-sale forests.
Snow,
On the fell in
Low resolution, while
Intermittent
Blizzards slice
Frozen air across lanes.
Soon,
The castle appears
Between two small hills, as
Disjointed
As ever, with perfect lego turrets and
Unarmed arrow slots.
Manor lodges’
White drapes conceal
Bare, plastered walls
Or
Leather-bound books on
Smoking-jacket mantelpieces.
Cultures
Slapped into each other
Like colliding waves,
Formed
A fleeting, rising
Wall of water, before
Collapsing,
Homogenising
Brythonic rivers and mountains;
Roman cities;
Saxon villages; Viking dales.
In the time before I was
Born,
Assumptions were made –
Gently eroded like the Lune’s valley.
And now?
One image looks back
In the English mirror;
Every bend
Of the road, presses
On my chest;
Ribs,
Weighed down by a nagging
Graph of isobars, that
Converge
Two years ago. The plans that
Drowned in Lune’s last flood.
Where will the river lie next year?
When is the season of thoughts transmitted
to abandoned barns, and logs
half-rotted in inchoate ponds?
My burrs catch on language and memory.
My stones founder under Devil’s Bridge.
From The Walled City (2022):
Laoximen
The sorry grey walls and
newspapered windows,
stained by the shadows of agitprop,
mark and fill an arced space—
bedrocked by siege allotments
and narrow cuts in the city’s screen.
The shikumen stink is guarded
by a swollen mongrel mind
as old as the wine-red window frames.
A demolition is coming, but
levelled memories only
serve to reinforce
the girders of guilt.
For now, the connections
strung together by
alley-spanning clothes lines,
are cut and reconnected
in clean, slender towers.
I pass through a portal into
Fust and disorder—
no walls or corners to illuminate;
each layer, passed through as a ritual.
In the antechamber,
with no light for unfamiliar steps,
I feel for a bed to sleep on:
a shared room, made smaller
by its proximity to youth.
As the neighbourhood lowers
it is not my home they salvage,
but the perfect patina
of a now-tarnished dream.
an in
from simple means
to hard-fought
acceptance
I search
for an in, a knife-edge
of light
a back door
ajar
a glimpse
through an open window
share with me
an anecdote to a time
misremembered and
contaminated—the scrutinised
routes
to the mind’s
locus
these borderless
views recalled beneath
a dim light
form precise
monoliths
buried, unseen by
modern foundations
an array
of sharpened instruments
finely-honed skills
cannot disturb
my grip tightens
the past
like liquid
seeps away
into the barren earth
at last
a shadow
The walled city
From high up, the outline
of your walls traces a lost narrative—
a curated timeline, canonised and
mortared by the amorphous
heave of history.
The real limit wasn’t drawn
by your long-toppled palisades,
but a more subtle defence
of language and indefinite culture.
Two cities overlap, only
penetrated one at a time.
In the tenement turned rubble,
in a city of glass
I no longer appeal:
Bring down your walls, bring down your walls.
From Encyclopaedia of Trees (2015):
Copernican
Ripples bisect the horizon.
Liquid parallax reflects
A half-hollowed house on a cliff.
Its white bricks concertinaed
Down the groaning slope, exposing
Strata that extend like bloodlines.
Erosion has exposed the box
You buried when you were born –
Remains of organic compounds
Draw their rot on the sand.
Beneath the surf a coastal shelf,
Tethered to the Moon,
Dictating equations that sketch waves.
An uneven film of inconstant
Constants. The receding tide’s
Unchanging arc askew.
From the birthing beach
The yardstick keeps its level,
Regardless of the tide.
Damn the fidelity of the stars.
Almanac
Procyon, before the dog, with hidden white dwarf –
The hound’s teeth were inferred
Too late to change your one-way course.
Alsafi silhouettes the circling vultures;
Bloody lips receive the calmest sleep
On Masada’s reverse anniversary.
At 24, Mu Cassiopeiae, proud of her slow release,
Spins and slips from her centrifugal pole,
Then fumbles towards Perseus.
Gamma Pavonis tears her feathers off
Mid-flight, and scatters them across the
Vacuum – listless and homesick.
Scholz, so close, yet your trajectory
Missed my slow-motion evolution. Now,
Your parabola gets sharper and sharper.
On your 34th birthday I looked at the sky
And heard your birthing screams
Broadcast from Pollux.
Z8_GND_5296 – a distance
Older than me; older than the universe.
My constellation completes itself.
Stuart composed the scores for the Deep Time 1 and 2 anthologies, a project in tribute to Robert MacFarlane's Underland
Underland
Overland
Surface