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Vivian Smith

Back in Hobart

Back in Hobart

Back in Hobart

My point of reference is this summer slope,
these paddocks stacked like long plates of bread;
and at day’s end, the black loaves of the hills.

I’m back in Hobart after years away
visiting remembered, holy places:
grey boulders in a small suburban creek,
the leopard-spotted plane trees in the square.
The permanence of place does not recede:
the spiritual sky, the unencumbered air.

A cloudless day. Each carted stone in place.
My mother’s house lapses in front of tended trees,
and to the left the mountain changes face . . .

Years ago in Paris I saw a threadbare robe
worn by a priest in 580 AD;
locked behind glass its tarnished red and gold.

Standing by the gate I recall the whole scene now
knowing how things change, and how they hold.
Vivian  Smith

Vivian Smith

(Australië, 1933)

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Back in Hobart

My point of reference is this summer slope,
these paddocks stacked like long plates of bread;
and at day’s end, the black loaves of the hills.

I’m back in Hobart after years away
visiting remembered, holy places:
grey boulders in a small suburban creek,
the leopard-spotted plane trees in the square.
The permanence of place does not recede:
the spiritual sky, the unencumbered air.

A cloudless day. Each carted stone in place.
My mother’s house lapses in front of tended trees,
and to the left the mountain changes face . . .

Years ago in Paris I saw a threadbare robe
worn by a priest in 580 AD;
locked behind glass its tarnished red and gold.

Standing by the gate I recall the whole scene now
knowing how things change, and how they hold.

Back in Hobart

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Gemeente Rotterdam
Nederlands Letterenfonds
Stichting Van Beuningen Peterich-fonds
Prins Bernhard cultuurfonds
Lira fonds
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Gefinancierd door de Europese Unie
Elise Mathilde Fonds
Stichting Verzameling van Wijngaarden-Boot
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VDM
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