28 May 2010 Main Posts Poetry review – Music for broken instruments Maxine Beneba Clarke Music for broken instruments A.S. Patric Black Rider Press Music for broken instruments, an e-book by Melbourne writer A.S. Patric, has already been endorsed by a formidable group of writers and poets, including Aural Text’s Alicia Sometimes, and Page Seventeen’s Tiggy Johnson. Reading the collection, this comes as no surprise. Each page of the book has been beautifully typeset by Black Rider Press, against their trademark olde worlde crumple-watermarked pages in typewriter font. The tactility of the collection is frustrating, in part, for a digitally delivered book: Music for broken instruments begs to be printed on thick recycled paper, ribbon-bound and covered in leather or cloth for those winter afternoons with blanket, cat and cocoa. On the other hand, the aesthetics of the book cleverly serve as an enticement to press print. Patric, a widely published prose writer whose work has previously appeared in publications such as Quadrant, Page Seventeen, Overland and Etchings, has often declared prose to be his first love, and indeed there are several poems in this first collection in which this ongoing affair is evident. The narrator in ‘Public Places’, for example, with his self-examination and rhetoric, could very successfully be escorted into first-person short story territory. Patric’s poetry is at its best when the writer commits to form and style: when we see A.S. Patric The Poet in his element, structure and safeguards thrown to the wind. The otherworldly surrealism of ‘A Lover in Fortuna’ is a particular victory, the astonishing juxtaposition of images threaded together with extraordinary ease: First thing I’m going to do is grow me a Friedrich Nietzsche moustache / and then I’m going to hunt down all the men dressed in bear suits… / …I just don’t know which way is up inside the cardboard packing box… Elsewhere in Music for broken instruments, Patric brings this magic imagery to the every day. In ‘King Hit’, he conjures prisons only mice escape from, a coffee cup skull and an old man dancing like a king. In the poem ‘We of the Synchronised Yawns’, destiny becomes the train that leaves at 3.13am in the station of your mind. Each image is a wonder in and of itself. Such is the beauty of Music for broken instruments: poems sit within poems, which crouch within poems, devouring poems. Ambitious, perhaps, for a writer who has not previously published much poetic work, but for the most part Patric’s grasp is as strong as his reach. ‘We publish like thieves in the night’ is the Black Rider Press mantra, and so captivating is Patric’s wordplay that one is unaware the intruder has visited until the house is all but empty. This post has been cross-posted from slamup. Maxine Beneba Clarke Maxine Beneba Clarke is an Australian author and slam poet of Afro- Caribbean descent. Her short fiction collection Foreign Soil won the 2015 ABIA Award for Best Literary Fiction and the 2015 Indie Award for Best Debut Fiction, and was shortlisted for the Stella Prize. Her memoir, The Hate Race, her poetry collection Carrying the World, and her first children’s book, The Patchwork Bike, will be published by Hachette in late 2016. More by Maxine Beneba Clarke Overland is a not-for-profit magazine with a proud history of supporting writers, and publishing ideas and voices often excluded from other places. If you like this piece, or support Overland’s work in general, please subscribe or donate. Related articles & Essays First published in Overland Issue 228 11 November 202211 November 2022 Main Posts On the last day of Subscriberthon, our amazing online editor gives you one last (very good) reason to subscribe Editorial team What's in store for the last day of Subscriberthon? First published in Overland Issue 228 10 November 202210 November 2022 Main Posts On the second-last day of Subscriberthon, our favourite editor-duo give you reason #1002 to subscribe to Overland Editorial team What's in store for the second-last day of Subscriberthon?