Bok cover: A jellyfish floating upside down.

John Kinsella
Cellnight: A Verse Novel

In the late 1980s, American nuclear-armed warships visit Perth, prompting impassioned protest from a wide array of people, including the narrator of John Kinsella’s verse novel Cellnight. After a brief prologue, they recall what they have seen and experienced. The waves of questions begin: “Who will / remember”. These rhetorical questions reverberate throughout the book and into the present.

At the time, the narrator lived in a cave near Fremantle’s Round House, a former prison dating from 1831 and a monument to how inextricable the carceral is from the colonial. Arrested at the protest, they are thrown into the lock-up, where they observe “At three am / a young / Noongar kid” brutally assaulted by police. From that point on, the threads of police and judicial power, militarism and empire, are traced through institutions, people and Country.

The narrator’s testimony is blocked from the outset by police and the judge. They are seen as “Troublemaker”, “full of shit / for caring”, but are perpetually haunted by the “quietness in / the cells”, a space without the sound of breathing “beyond / policebreath”.

Kinsella, an uncompromising and prolific poet who has published about a dozen books in the past five years, could hardly be accused of being reluctant to speak. His poetry has always explored the many ways in which the need to testify must grapple with the complicity of the self, within systems of power.

As with all contemporary poetry that doesn’t try to insulate itself from the political, there is a tension in Cellnight, between a focus on specific events and a centrifugal exploration of broader systems. Kinsella’s response to this conundrum is to suggest that the abstract is always embedded in the concrete, and the need to make connections is paramount.

There’s a taut, precarious urgency here. The lines are very short, usually between one and four words long, arranged in “spindle sonnets” that flow into each other. The sentences are generally long, with many clauses, dashes, parentheses and anaphora. It’s hypnotic, at times disorientingly so, to be swept up in the book’s overwhelming sense of injustice.

The novel finds its most pointed impact when it subtly diverges from its poetic form with longer lines or lines indented across the page. These moments of rupture and expansion signal a way out of an impasse, the sense that justice is not only “acknowledgement” but “vigilance / to prevent / harm, it is / remembering, / it is / lifeforce”.

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This article was first published in the print edition of The Saturday Paper on April 15, 2023 as "Cellnight: A Verse Novel".

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