Open up your mouth and 
we’ll press our lives together. 
In the future you’ll stop breathing, 
and in a loving way we either will 
or will not have been kind enough 
to each other in this life time. 
Remember the night we thought 
we heard an owl telling the future? 
Remember, no matter how hard 
we looked, we couldn’t find its 
two pale orbs among the camellia’s 
dark branches. 
What I meant that night but 
said badly or didn’t say at all was: 
your b-baller’s touch was 
like a stone-fruit – hot from the sun, 
tender, but with an aftertaste 
of rocky indifference – traces of planet, 
mineral, amethyst, a hint of dry river bed.
I think I am terrified of being 
left alone with a spade on a 
small, sweet-skinned moon where 
the view is beautiful but 
nothing will grow. 
So, I’ll kiss you on your 
big pink mouth, but leave before 
I learn it’s me who’s not fit 
for life. 

The Moon and My ‘House’: A review of Haruki Murakami’s novel, 1Q84


There is an electronic moon attached to the side of my ‘house’. It emits a low hum and is neon white. It might sound funny but it’s not. At night when I have the blinds pulled to an appropriately 70s-cop-interrogation-room angle, the iced light scans across my body and I feel like nothing but a collection of meaty braille being read by an indifferent finger.

In these moments I am sure I am the calm-in-the-face-of-sheer-madness protagonist of a Haruki Murakami novel – yet to realise her massive inherent power, yet to realise her breasts are perky and perfectly shaped like small Mt. Fujis shining brightly in the sun, yet to realise the other half of the universe is some shy math teacher with a natural six-pack.

Beneath this indifference I feel like a glistening, wet creature. But it is more apt to say that I feel less like any living thing than I do a state. I am a voiceless want. An ache on the sheets. Maybe the metaphor of a sprig of something organic in a dark place frequented only by slightly magical cats, pushing its way up toward a pinprick of light far above – whether it’s a star or the exit outta here – the sprig never knows.

At the end of a Haruki Murakami novel we are not sure if we are sure or not. There seems to be a form of resolution but we were never clear in the first place which side of the door represented internal or external reality. And in some way this huge planetary wing mirror attached to my ‘house’ pushes me further into and further out of the world.

The space in my room breathes and on the exhale it bends everything including my body and yet-to-be-realised-perfect-breasts in a concave sheet out toward the soupy night. I do not know where my internal organs end and where the neon street signs begin, but it doesn’t matter – it’s all sexy. All red. All ruby. All wet. All glistening. All some kind of entrance or exit sign.


Listen to Sugar Magnolia Wilson read ‘The Moon and My ‘House’: A review of Haruki Murakami’s novel, 1Q84


Sugar Magnolia Wilson has recently returned from a UNESCO-Aschberg Residency for artists at the Instituto Sacatar in Brazil. The Moon and My ‘House’ was written during the residency as a prose poem book review of Haruki Murakami’s novel 1Q84 and as an ekphrastic response to the work of South Korean artist Jiyoung Chae. Moon-Baller was also written in Brazil and is just about heartache. Magnolia has just bought her first home; a micro-villa in Aro Valley. You should come and have tea sometime —