That slim creek out of the sky
the dried-blood western gum tree
is all stir in its high reaches:
its strung haze-blue foliage is dancing
points down in breezy mobs, swapping
pace and place in an all-over sway
retarded en masse by crimson blossom.
Bees still at work up there tack
around their exploded furry likeness
and the lawn underneath’s a napped rug
of eyelash drift, of blooms flared
like a sneeze in a redhaired nostril,
minute urns, pinch-sized rockets
knocked down by winds, by night-creaking
fig-squirting bats, or the daily
parrot gang with green pocketknife wings.
Bristling food tough delicate
raucous life, each flower comes
as a spray in its own turned vase,
a taut starbust, honeyed model
of the tree’s fragrance crisping in your head.
When the japanese plum tree
was shedding in spring, we speculated
there among the drizzling petals
what kind of exquisitely precious
artistic bloom might be gendered
in a pure ethereal compost
of petals potted as they fell.
From unpetalled gun-debris
we know what is grown continually,
a tower of fabulous swish tatters,
a map hoisted upright, a crusted
riverbed with up-country show towns.
Les Murray, ‘Flowering Eucalypt in Autumn’, in The People’s Otherworld (Sydney: Angus & Robertson), 1983.