Editor's Note
The pauses in Ion Corcos’ poems have an electricity, and their silences are pregnant. When I read these poems, I feel like each line has a force field, as if each line is observing and drawn to the other as much as it is resisting the other. Even within the line, the syntax creates a moment of a “full” pause. After ‘outside the frame,’ the semi-colon is as much a separation as it is an elaboration. In ‘Magpie’s Nest,’ the effect of the em-dash after ‘watch’ spills into the word, ‘quiet’ and fractures the line as much as it helps the line stay.
In Ion’s poems, absences and detachments do not feel like negations, but a shift in relations between one object and another. Between many lines, invisible ellipses seem to be lurking, as do sudden but stunning revelations that feel like transformations which take place in secret, when the reader isn’t looking: “This morning, while sitting on a park bench, watching birds in the trees, I realised I had feathers.”
I hope that you, the reader, will also find the same pleasure in the twists of these silences as I do.
— Devanshi Khetarpal
The Bombay Literary Magazine
Magpie’s Nest
Now home is here: the elder tree, nightingales,
a stream. What can I say about then
but that which I remember.
To unbuild a home, I must leave.
The silence in the forest is full of birdsong,
damp soil, scampering green lizards;
I watch—quiet, patient to see one
fluorescent body behind a shrub, a yellow eye staring.
A man rakes grass into a pile of hay;
what emerges: a memory of reeds, insects over a marsh.
My body, roughened, staves off moss.
On a birch, a magpie’s nest; twigs fetched all day,
one after the other; if it falls, it will fall.
If an eagle takes an egg, it will take it.
An Unspoken Covenant
A jackdaw lands on the edge of a roof,
wipes snow from a walnut it has taken,
taps the shell until it cracks apart.
It glances at another bird passing above,
the sudden shift of snow on an awning.
Steely beak picks at the nut, knocks caw
into the air, leaving its meagre feast split,
as it disappears over a karstic lake.
On the water, coots have less room to hide
now that more reeds have been cut,
and snow has pushed the rusted clumps over,
unmelted ice keeping them down.
As the sun falls behind steep mountains,
a clattering of jackdaws settles on birches,
and all closes in. The fall breaks illusion:
now, it is not even ‘I’ that does not see.
In a room, a painting of Poseidon on a rock:
outside the frame; illumination, a wall.
This Morning I Was Not a Bird
This morning, while sitting on a park bench,
watching birds in the trees, I realised I had feathers
and that I was a pigeon sitting on a branch.
When I landed on a path strewn with crumbs,
a dog I didn’t notice ran after me. I flew,
and when I landed in an open space,
a boy threw pebbles at me; his mother told him
to stop as it was time to go home.
I wondered if I was a pterodactyl, or a heron,
would things have been different.
I joined a flock of other pigeons and settled in,
pecked at seeds, opened my wings to the crisp air.
In the woods, I spotted a white bone,
and a worn map of the area. There was nothing I could do
except renounce the gifts I once had: two hands,
a long reach, the ability to reflect and ponder,
embrace the trunk of a tree. I flew over the woods,
perched on the roof of a hidden chapel.
The door was shut. Inside, someone on a lyre;
I moved to the ledge of a high window, and listened.
Author | ION CORCOS
ION CORCOS Ion Corcos was born in Sydney, Australia in 1969. He has been published in Cordite, Meanjin, Westerly, Plumwood Mountain, Southword, Wild Court, riddlebird, and other journals. Ion is a nature lover and a supporter of animal rights. He is the author of A Spoon of Honey (Flutter Press, 2018).
This is the second time we’ve published a set of Ion’s poems. Check out ‘The Weight of a Sack of Rice’ and other poems (Issue 54, April 2023)