Lyrebird Lament

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Lyrebird Lament I am the laugh of a kookaburra. I am a currawong. I am a galah. I am a liar because I am a lyrebird. I am a performer and I am superb. I've performed every winter of my life. I was born into the drama, into the bellowing music of males I looked up to, or down on, depending on my position in a nearby tree. They were inspirational from the start, with their five-foot feathery tails draping over their heads like stage curtains or a giant fringe of netted hair, almost tribal in their side-to-side and circling footsteps. They looked alive. That was how I learnt so much, by observing, by remembering and recording: seeing their fifty minute shows provided me with entertainment, but also something to look forward to, something to achieve. I was told I would have the chance to sing out like the others, eventually. At the moment, you're just a plain-tail, they said. Competition was always drilled into me. I knew you had to have a good memory, but also needed to be a good listener, which meant a high level of self-interest was impossible. I needed to remember everything so accurately to impersonate it properly. One note wrong, they said, and the audience could end up on someone else's side. And who was the audience? They were plainer birds, brown like pheasants and never quite as noisy as the rest of us, but I knew I liked them, females were good. They were what I wanted. When I realised that, I was about three years old and even though my feathers had been falling away every year, they had grown back longer each time they returned. At that point, I was ready. Practice makes perfect, was another thing they said. So that was mainly what my life consisted of: I am this, I am that. From high up in a tree, it all looked... ... middle of paper ... ... Whose side are my audience on now? That's when I close my eyes and run. Then I wake up again, having lost myself for a second time. I'm at the zoo now, in Adelaide. I regained my health after they took me in, which of course I am grateful for, but it seemed that even when my ability to make sounds returned, I had lost all my previous identities: I couldn't laugh like a kookaburra; I definitely couldn't laugh. Instead, I cry the cry of a human baby. I have learnt every one of a writer's words: he visits and sits alongside my fence every week and reads my story aloud as though he is me; as though he is stealing my identity. Now, I am the horn of a railway. I am a lumberjack. I am a car alarm. I am the shot of a rifle. I am a dog barking. I am a human voice. I am a camera with a shutter open. I am a liar because I am a lyrebird. I am a performer and I am superb.

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