Cloud Piercer, The Goddess, & The Blue Lake


Sky taut, eagle-pinned.  Earth bleached dry,  tree line stitched at land seams.

Freeze-fried sun-chilled river-etched rock.

Wind-scorched fields ripple over land bones. Mist quivers as morning sketches outlines on sky blue glaze.

Shadowed sheep legs stroll where stippled strokes hint at growth.  Long taupe plain.  Splayed trees, wind bent.  Bulls like boulders held in winds.  Seal-snout mountains sniff chiffon clouds.  Rocks inked in luminous lichen lurch in stubble.

A road rise, a fall, a road rise, a fall and …  a Pantone blue lake.  Flat.  Edged by sharp stones dice strewn

Again blue.  An impossible blue.

I can’t see distance.  It stands ahead, tall.  Untoned, untinted, undisturbed.  What blue is this?  A blue loo cleaners dream of.  A chemical blue.

Then Aoraki.  Mount Cook.  Aoraki.  Cloud Piercer.

Erect, blue-white tipped, primed for cloud by clouds’ contents.  Crisper the closer we come.  Meringue peaks.  Shattered cheeks.  Planes.  Serrations.

Faces, squint-eyed, purse-lipped, crow-frowned, nose broke.

And then I see her.  A blush giant woman leaning over a ridge, gazing far far far, head propped on her dropping arms.

My mountain is a woman who pre-dates Aoraki, pre-dates Captain Cook…  She rests, hugging her peak to herself, warms her bones in sun before her winter cape settles.

And if I remove my hyphen she predates …

Below the sacred peak where none may step, I see her holding.  Long being.  Tucked and curled in old enchantment wrapped wide in a woven quilt of strata weft, rain gully warp, embroidered with rare stone.  First snow glittering her shoulders.

I walk towards them all, towards her, towards Aoraki, towards Cloud Piercer, towards Mount Cook.  Towards the gritty dark teeth of the glacier which calves a luminous jade block to dissolve along the line into solid impossible lake-blue.

Glacier’s rotten teeth sunk in old grey bread now cleaned by calving green berg.  Chewing rock and spitting grit.  Grinding stones, mountain bones.  Giants digging, fee-fie-fo-fum….  Does she smile as I think this or is it just a ray of sun?

I look back often as I walk away.  A grandmother’s wispy bun of cloud.  A hat and muffler.  A homespun mountain.

Night.  No lights.  Flower stars stamp velvet sky unburnt by human fire.

Morning over a glacial floodplain, shimmering blue arteries, airless ice, no bleeding but cracks and splits of salmon scars.  Above the mist an unseen avalanche, a thudding crack, distant, cloud-muted, thunder rumble of slipping snow-rock.

We leave at last.  Drive back past the lake of cloudy blue.  Blank, still, matte, unpainted paper.  An eagle tears flesh from possum roadkill, accenting with blood that cold thick old ice blue.

Above, a sliver of pagan day moon ringed by riding towers.  Below, a lake to take away all sin and purify.  Lake to be what you see.  Past and present melted.  A left-be blue of ancient ice and crushed snow, chewed glaciers.  A deity we worship in silence.  A gem lake.  Turquoise.  Set in mooned mountains which cup blue with long ridged fingers.

It pulls my eye, demanding. I know mountains range, hunched ruffled lions’ manes horizon prowling.  Yet this time-taking turquoise, unholy in its pulling pagan purity, is all I see.  All else is setting for the simplest natural brooch of melted mountain.

Still, silent under windless skies it tells of power gone, lies basking in its icy dotage, face up, there for all who see and listen heartwise to its colour tale.  Epic, heroic, adversaries ground down, it lies at rest and speaks in tongues to the world’s faces reflecting awe.







Not quite


Long lying





Christine Cooke April 2016  All Rights Reserved


Houseboat Ecstasy…

February 16 2016
Hawkesbury River, north of Sydney, Australia, heading downstream via Wiseman’s Ferry.




Pneumatic drill of kookaburra chorus.  Calm and stillness in cool air until sun heats up the day.  The bush reaches temperature and seethes, fizzing, buzzing, boiling insects.

Passing sandstone flaking bluffs pocked with sun-blisters, ash-grey to burnt-umber. Towering gums, flowering with cream and white powder.


Snake in water.

Mobile grey-green quick lean blue-green steel.  Pin-prick glint eye, whip-smart, arrow strung, flint-sharp, whip-lash, mean, seen me, snap-snip, wave stitch, sharp snap.  Lands quick, slip way, off land, on land, gone.


I am alone on the houseboat, the men are gone to re-provision in the tinny tender.  I sit lengthways on a sofa, the oh-so-kind cool, southerly breeze mopping my brow as sun cracks sandstone, peeling grey skin to expose raw orange rock.  Eucalypts’ adolescent stubble strides, top bowed and shaking in heat and air, to root in old stone fractures.

We coursed today along the tidal Hawkesbury River through National Parks to constant, double-banked applause, cicada-rich, our houseboat a homecoming river queen.  As the tide now turns, so wheels our boat in curtsey on her mooring.

I have green tea, shade, words and Vaughan Williams’ ‘Fantasy on a Theme of Thomas Tallis’ playing on mi phone.  It makes me smile.  I feel like I’m in a version of that scene in ‘Out of Africa’ where the Streep/Redford couple camp in the bush for the first time together and he plays Mozart to the monkeys on a portable record player.  Flowering gums, I serenade you.  Cicadas – here’s Tallis for your constant background clapping.  Even the flies have buzzed off and are quiet.

A moment of pure, distilled ME.  Green sarong and loose, long-sleeved white cotton tunic, bra-less, hair tied back in a bright scarf – I feel free and comfy as clouds make shadow play with orange cliffs shattered into shaded blocks… are they eye sockets?  A frowning giant?  Ruins of a fabled, ancient city?  A strange, old script?  Seats of prehistoric amphitheatre?

I love that I am far from daily routine, free to let my mind wander, explore yet comforted and uplifted by old voicemail messages, happy family and friends wishing me Bon Voyage. Space to consider my needs for an hour or so.  To stop travelling and moor, let tide and time cradle me…

imageAnd the words come…

Bursting deco trees shape tulips with bony, white hands, arachnid skeletal fingers…  Such bright shadows…  Chalk sketches on green vellum canvas.  Cheerleader trees, arms outstretched, shake long-leaved pom-poms….

And now to Thomas Tallis pure…  ‘Spem in Alium’…  A motet for forty voices. Medieval Tamla Motown wall of sound…

A scorpion cloud arches its tessellated back, stings the cliff’s tree crown into quivering life as Tallis voices soar, wedge-tailed eagles now, soar over  sandstone blocks and stack ten, twenty, thirty, forty voices…  Dissolving grey, freeing light, peeling umber, startling and bleaching the staring soul…

Now I see…

The sandstone shadow play is really music, is notes…  Quaver caves, a semibreve of shade, a colorato cliff…  My music is sandstone rock, it rings and settles, reverberates and echoes, drills into being, and quivers, quivers in the air as cicada half life.  I am alive and living, rocked riverly, sung into spirit, soul-sanded, grey-gone, sanded-soul bright and orange, crust cracked off.  New skin, new skin as Tallis voices puncture me in purity, a scorpion note cloud, combined and arched for one long, slow moment of utter harmony.

… … …

I could cry with joy – senses, words, words like no other, each a step in virgin soil.  I am the first footprint in sand, preserved by careful land and layers.  Shown when time, when nature, when wind and water, sound and stillness, say and sing me into being, into new becoming.

I pull my skin around me, I hear the men returning.  I must find shape, unstick my soul from ecstasy.



Christine Cooke

Copyright February 2016