Week #76 A Thousand Words: a photographic series

Valentin and Clara

Sven Creutzmann is a photographer who, by his own admission, is keen to tell a story. Marrying documentary photography with artistry are his ingredients and he’s good at getting the balance right. There’s a warmth in these shots, even the brutal ones, that draws the viewer in. They fill in the details by inviting their audience past the front door; they expand on what it is that we need to understand.

The breadth of Creutzmann work is considerable. From the political to the social to the personal, the work is crisp and decisive. Whether up close or shot from a distance, engagement is key. For more of his tales, try here and here and here.

The Bat
Ruben Gonzalez
Idelbis, Tropicana

Week #74 Casablanca Not The Movie: A photographic series … Yoriyas

How do you get just enough movement and stillness in a photograph? Actually, how do you get just enough modernity and tradition in a photograph? The complimentary juxtaposition of subject matter and form are a quintessential aspect of Yoriyas’s photographs. They abound with it: humour and seriousness, colour and blanch, fantasy and reality. Devoid of judgement, they allow a taste of everything of variance to be packed into one image.  

Yoriyas Yassine Alaoui is a Moroccan photographer who seems to have come to the art in an organic manner. From chess to mathematics to hiphop to dance this is a person who follows their passions, and his photography is definitely one to be celebrated.

Documenting daily life in almost poetic distillation, you can see more of his work here and here. And for a recent look in the time of COVID, here.  

Week #73 A Day Out: a photographic series

Martin Parr 1Martin Parr 2Martin Parr 3Martin Parr 5Martin Parr 6Martin Parr 8Martin Parr 9Martin Parr 10

Martin Parr is interested in people. He photographs them without apology, capturing their lives and representing them with humour if not a stark honesty. Often touting a relaxed veneer, the photographs have a deep resonance. They are bald reflections of life sometimes opening up on the absurd and banal.

Quintessentially English – although not exclusively so – Parr gets below the radar of his photographic subjects and into the national psyche. He ekes out an individual’s essence and reflects it back to us with an empathy that goes all the way to truth-telling. It’s not that it’s harsh but then, these shots are not taken in a deprived land. In fact, it’s plenty that might be the more problematic protagonist, plenty that is usually the backdrop for those who are anything but rich.

No matter what informs the shots – whether they are brazen or brutal – these photos are warm. At one end of the spectrum they celebrate the human spirit and at the other they are pictures of an overwrought world?

Certainly, Martin Parr’s efforts are glorious to the eye. More of which can be elucidated here. And – my favourite of his collections taken in Manchester –  here. And if you’re still hungry, you can go here.

Week #72 Searching the Dead: a poem

Andy Kissane is one of my favourite Australian poets. His style is often full-sentenced and slow winding, giving a sense of room. Syntax perfect, he intertwines visual aspects with sensitivities that are seemingly unemotive. It’s a hard line to maintain. But when pulled off, as he does, it accomplishes a full understanding of what’s at stake. Not that it’s harrowing. Just the opposite. Despite the serious and sometimes gruesome subject matter of his work, the gentle rhythm and sneakily benign ideas, leads the reader inside the poem and, once there, takes them through veils of gravitas until everything has been revealed, until the poem is rounded out. And not in a way that simplifies things. Rather in a way that holds those ideas and, by extension, the reader, still.

Gently pleasing, his words reveal harsh truths about real life. Searching the Dead is a great example. Here and here, you can find others.

Searching the Dead

The bone-coloured branches of the rusty fig

twist and rise into a canopy of leaves that shuts

out the beating sun. It’s like standing in a limestone cave

and gazing up at limbs that resemble toned calves

and bulging biceps. As if the tree has been fashioned

out of human body parts miraculously glued together.

From a distance it appears sublime, but standing beneath it,

I can’t shift these images of haunches, thighs and elbows.

The human form, even when you’re not looking for it,

is everywhere. Five days out from Nui Dat, after the firefight

and the ambush, I went back into the rubber plantation

to search the pockets of the dead. They weren’t our dead,

our dead had been dusted off that morning, but here

were men who resembled us, soldiers who had been trained

to follow SOP, move carefully day and night, minimise risk.

Clothes now stretched tightly over bloated arms and legs,

feet cold and green, flies and gnats crowding around

their eyes, their mouths. Bodies washed clean by the rain,

a few with legs completely missing, one or two

without heads. We were searching for intelligence.

I found a gold American watch, sunglasses, a plastic comb,

a bag of uncooked rice, a lock of hair. Occasionally

what appeared to be a diary, filled with Vietnamese script,

a pressed flower fluttering down to the ground.

A cowrie shell bringing the news from the South China Sea.

In one man’s pockets a pair of lacy black knickers.

And photos wrapped in plastic to preserve them –

a girlfriend leaning against a motorbike, a couple posing

near a lake, a family in front of a shimmering pagoda.

Everything smeared with the same red dust that coated

my skin. There won’t be another photograph of this man

sitting with his children as he tucks into a steaming soup.

The rubber trees had been hit by bullets and dribbled

latex, as if they were crying. Johnno and Boffa

were digging a mass grave. I took my shirt off

so I could feel the sun on my back. I might have been

fielding at square leg, dreaming of the tea break.

When I opened a tin of tiger balm or laid down a pack

of playing cards, this shiver spread from my neck

to my shoulders. I was so aware of my body, how

it was greased and primed, how it wasn’t going to jam.

What I collected I put down by the base of the banyan tree,

the wood darker than this fig, soldiering on through

the hot afternoon, soaked with sweat. I was elated to be alive.

The work had to be done before we could move out.

I made a shrine to lives well lived, then went to find

some cool water to drink, some fresh air to breathe.

Week #70 The Horror of Delores Roach: a fiction podcast


I have, by now, listened to a fair number of podcasts. My favourites are the fictional ones. Like radio plays of old, they open a theatrical world that’s present and artistic and exceptional, all at once. Possibly due to the high cost in making these kinds of productions, there are few of them, relatively speaking, around. Gimlet Media however, have made at least three, all of which are worth a listen: Homecoming, Sandra and The Horror of Delores Roach.

The Horror of Delores Roach is one of their first productions and, not to put too fine a point on it, surprising does not quite cover how unexpected and bold, how touching and macabre, how devilish and humorous Delores’s tale is. Extremely well produced, the outrageous and, at times, political sway of the story deserves real-life consideration. This podcast stands out for its gumption alone. It is edible in oh-so-many ways.

Week #67 Golden Boys: a novel

Golden Boys sonya hartnett

Despite the fact that not much happens in Sonya Hartnett’s Golden Boys so much is going on that you could say this book carries its weight in its undercarriage. First you must look and then look again while the carriage moves you with its astute language, its great character depictions and its spellbindingly good metaphors. It is a novel to read for its words alone, and yet, and yet, there’s so much more.

Opening an eye on a family’s arrival into a neighbourhood, it is the children who will uncover the intricacies of such a landing. The adults, on the other hand, are cushioned by experience and the lack of need to bend towards others.

Hartnett shows us what that is like. The children’s hopes and fears, their rising awareness of the world they’ve been born into and the adults at the helm of that world. Golden Boys is not so much about what parents do – although there is enough said about that in the text – as what they don’t do: their lack of action, their poor decisions, their bad behaviour.

Set in a time (mid-80’s in suburban Australia) when men forgave everything in each other and, if not forgave, then downplayed, and women were their husband’s working attachés, the ubiquitous nuclear family (some may posit not much has changed) was a frightening and unrelenting knot for children. For all the ways that adults ingratiated themselves or lauded over children, with nothing properly discussed, the children in Golden Boys navigate the perils and joys with a spirit not yet tarnished and utterly unique to each of them.

This book taught me about a child’s inner life and made me so aware of something I’ve always said to parents who have come to me in my professional capacity as a Family Therapist: Children hear and see everything that you do.

Week #68 Fusion: a novel

Fusion Kate RichardsI couldn’t stop at reading Kate Richard’s first book, Madness: a memoir, and began immediately I’d finished, to read her second book, Fusion, a novel, that I would say, despite the closeness of the characters, is about isolation.

So close, indeed impossible to be closer, conjoint twins, Sea and Serene, and their cousin, Wren, must deal with, not only physical isolation but a mewling pestering emotional isolation that first Wren and then the twins must unlock themselves from. For Wren it takes the experience of meeting someone to open the doors so he can walk past what has cautioned him against relationships. For the twins it requires an emotional separation from each other – to become two instead of one – before, as individuals, they can contemplate having a friendship with one another and others.

Repetition and poetic prose are used to make the score, by which I mean the text, bend and slip and pull the reader along. The sense of each character’s pain and sensitivity is like a spiky blanket that cloaks and irritates, rises and rests, jabs and soothes. Fusion is an aria about human need and survival. It teaches the reader about courage.

Week #67 Manhattan: a photographic series


The first time I travelled to New York City I was struck by its contrary qualities. There’s a generosity among the harshness, a beauty, especially on Manhattan Island, despite the intensity. The attractiveness emanates from the architecture and manifests on the pavements. It resonates in the people, in their industry and their effort, and spreads through the small parks and large central garden. It travels along the grid of the city’s streets and climbs into the theatres and bars.

This duality of endeavour and largess is what the street photographer, Alan Schaller, loves to picture: the movement and vivacity of a city that holds ugliness with pride and energy with varied amounts of glue and glitter.

Homegrown and old-fashioned at times, Manhattan, simply put, has style. And it is this that Schaller’s black and white shots capture. There’s a softness to them that appears to be informed by the city itself. You can find it in other photographs Schaller has taken in other places, so, you could say, that along with a never-ending supply of subject-matter, the city has influenced Schaller’s eye by giving him the same generous position it displays. While managing to be objective, the stills have a softness that adds to their attraction. And, as the same gentleness imbues the angles of this city, subject and photo are inextricably joined.

Of course, Alan Schaller’s work goes beyond the crowded island. Cheek out more of his shots here and here.


Week #66 A View from the Bridge: a play


Arthur Miller‘s plays are often about men. He told stories of their power and their demise both through circumstance and a lack of insight into themselves. He depicted men’s breakdowns and broken relationships, the persecutions they enforced and their inner struggles to be good. Most importantly, Miller teased out the impact that their actions had on others.

Wonderfully rendered in a performance at the Melbourne Theatre Company, A View from the Bridge is not Miller’s most famous play, but quintessential in his canon as he mines the crises of masculinity he saw in his male characters. Set in the 1950s near the Brooklyn Bridge in New York City, the drama sets out the events that occur when illegal immigrants arrive from Italy to be housed secretively by a couple, Eddie and Beatrice, who have brought up Beatrice’s orphaned niece, Catherine, as their child.

As the play unfolds, Eddie’s struggle to control his attraction to Catherine, now seventeen-years-old, reveals itself. When Catherine falls for one of the Italian arrivals, jealousy flares in Eddie. His desperation not to lose her causes him to do something he would never normally do. Against all his prior beliefs and values, against every previous trait of loyalty and honour and his anti-establishment view, he alerts the authorities about the “illegals”, Beatrice’s cousins, who are living in his small apartment. It is a betrayal the gritty, hard-working Eddie would never normally commit, an act he knows will mean ostracism from his community and a fall from grace with his wife, Beatrice.

It’s this, the reaches we will go in order to fulfil our desires, especially when they are unconscious because we find the facts around them abhorrent, that, for me, A View from the Bridge is about. Blindness to oneself is a common phenomenon. But what we do when we are in that state, varies. Certainly, what we can’t tolerate in ourselves we will subvert into action, action that, depending on our level of denial, can go against our beliefs and values, and can even hurt us. Rage and high emotion do not assist to analysis what’s happening, to uncover why we are doing what we are.

Of course, in A View from the Bridge, drama is afoot, and in the tradition of the theatre of ancient Rome, and what followed in the Greek tragedies and in Shakespeare’s high dramas, it ends with ultimate demise.

A_View_from_the_Bridge 1View-from-the-Bridge-5a-view-from-the-bridge-6a-view-from-the-bridge-3

Week #65 Many Girls White Linen: a poem

Alison Whittaker has created a rhythm in Many Girls White Linen that manages to be both stark and affecting. With so few words and some of them repeated its hard to know exactly how she accomplishes this, but, after building over the first two stanzas, the third packs audacity into a tight wad that pushes on the gut.

Poetry should be physical and Whittaker has a gift for making it feel like grit in the mouth and soil on the hands. There’s something to be learned and certainly a lot to be appreciated in her textile of words, in the weave of their meaning and the anchor-drag they are loaded with. To read more go here and here and here.

Many Girls White Linen

no mist no mystery

no hanging rock only


many girls white linen

men with guns and

harsher things white women

amongst gums white linen

starch’er things later plaques

will mark this war

nails peeling back floor

scrubbing back blak chores

white luxe hangnails hanging

more than nails while

no palm glowing paler


later plaques will mark

this sick linen’s rotten

cotton genes later plaques

will track the try

to bleed lineage dry


its banks now flood

a new ancestor, Ordeal,


plaits this our blood

if evil is banal

how more boring is

suffering evil two bloodlines

from it how more

raw rousing horrifying is

the plaque that marks

something else rolling on

from this place a

roll of white linen

dropped on slight incline

amongst gums collecting grit

where blak girls hang

nails hang out picking

them hangnails