Monthly Archives: December 2014

Celebrating a year on Poetry Shelf: Four short poems by Bill Manhire

 

 

Top Dance Moves

You stand around not knowing what to do.

Then music comes and puts

its foot inside your shoe.

 

 

The E-mail Lover

Such clumsy roads keep us apart!

If I could find

the old, hand-written heart.

 

 

Beyond the screen but not completely out of reach

I can just make out the blackboard

where the first of my teachers first wrote speech.

 

 

My World War I Poem

Inside each trench, the sound of prayer.

Inside each prayer, the sound of digging.

 

© Bill Manhire 2014

 

 

These couplets are from Top Dance Moves & other poems, a slim chapbook published by Marinera Press, Wellington 2014. Some you may recognise as Bill tweeted a few of the short poems in the book from @pacificraft. This glorious wee collection filled me with the joy of poetry — the way slender lines send tendrils into a past that jumpstarts, or a heart that pulls, or a melody that swings, or a present that makes believe. One of my favourite reads of the year.

Thanks to everyone who read, shared or contributed to my posts in 2014.

Warm regards for the summer break,

Paula Green

 

 

 

Latest JAAM edited by Sue Wootton

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JAAM 32: Shorelines was launched simultaneously at the first LitCrawl festival in Wellington and at The Inch Bar in Dunedin on 15 November.  JAAM is a popular national literary journal, published annually with the help of funding from Creative NZ/Toi Aotearoa.

For the 2014 issue of JAAM we shifted south, welcoming Dunedin writer Sue Wootton (pictured) as our guest editor. Sue is probably best known as a poet – she has published three collections of poetry, most recently By Birdlight (Steele Roberts, 2011), and has won awards for her poems. But she’s also an experienced prose writer. Her ebook of three short stories, The Happiest Music on Earth, was published in 2012 and her children’s book, Cloudcatcher, came out in 2010. Sue has twice been a runner up in the BNZ Katherine Mansfield short story awards, has been a finalist in the Sunday Star Times and Royal Society of New Zealand Manhire Prize short story competitions, and has won the Aoraki Literary Festival short story prize.

The theme for JAAM 32 was ‘shorelines’, and Sue welcomed submissions that considered the theme from many angles. Sue says:

“I chose the theme of ‘Shorelines’ partly because I see our islands’ physical shorelines as the great connector for us as a people. I hoped the idea of shorelines would resonate for others, and prove a creative catalyst. It sure did – there were a huge number of submissions, and I’m sad to say I couldn’t select every good piece that I read. I decided to arrange this issue around the idea of korerorero, as expressed in Teoti Jardine’s opening poem, a kind of “never-ending ebb and flow” conversation, taking place from one end of the country to the other.”

There was a good representation of South Island writers in this issue, including Vincent O’Sullivan, Diane Brown, Rachel Bush, David Eggleton, Kerrin P. Sharpe, Joanna Preston, Carolyn McCurdie, Frankie McMillan, Emma Neale, Rhian Gallagher and Karen Zelas. Also among the writers whose work features in JAAM 32 are Tracey Slaughter, Morgan Bach and Tim Jones.

JAAM publishes poetry, fiction, creative non-fiction, essays, photography and other artwork.  It supports new and up and coming writers and gives them a chance to appear beside established local and international authors.  Guest editor, Sue Wootton says:

“Opening JAAM is always like lifting the lid on a jack-in-the-box: something energetic jumps out. The buzz is due to the eclectic (electric) mix of voices within the covers, which in turn is a result of JAAM’s commitment to artistic exploration. JAAM has always been not only a forum for New Zealand’s well-known established writers but also a place for new writers to chance their pens.”

For more information about JAAM you can visit: www.jaam.net.nz or contact the editors on jaammagazine@yahoo.co.nz.

Leilani Tamu’s The Art of Excavation — This is an impressive debut that lays poetic roots in the present in order to nourish the past.

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Leilani Tamu The Art of Excavation Anahera Press, 2014

Leilani Tamu graduated with an MA in Pacific History at the University of Auckland. She is also a  poet, social commentator and has worked as a New Zealand Diplomat. She was the 2013 Fulbright -Creative New Zealand Pacific Writer in Residence at the University of Hawai’i. Her poetry has appeared in numerous collections.

Leilani’s debut collection is in debt to the ‘concepts, ideas and philosophy’ underpinning her Masters thesis: Re-defining ‘the beach’: the Municipality of Apia, 1879 -1900. This poetry is the work of a poet who is Pacific archaeologist, word alchemist, hot-air balloonist (sees the world from new perspectives), scholar, musician, navigator, storyteller. The poems forge vibrant links with people and place, and with both economy and flair, they frame scenes and anecdotes. I was struck by the way the weighty package of a thesis is reduced to the slender frame and form of a poem yet billows with scholarly insight. A single phrase can open the poem out for the reader (‘layers of decaying colonial matter’ ‘but the missionaries/ caught the message/ on the wind/ and ate the bat’ ‘hijacked history remains supreme/ over dusty archives’).

Yes, these poems take you into history, a Pacific history that is forward facing as much as it includes  travels into the past. Yes, these poems are fueled by a genealogy of Pacific writers (there is a wonderful tribute to Albert Wendt’s ‘Inside Us the Dead’). Yes, these poems are lifted by a familial genealogy. The extensive endnotes and glossary add to the reading experience as they shine light on the genesis of a poem or linguistic options. What I particularly admired were the poetic choices that sung the Pacific as much as they commented on the Pacific. The line breaks augment the economy of words, together establishing the silent beats that evoke that which cannot be spoken, that which is spoken, that which is cradled and shared within  overlapping traditions of the Pacific. Or the aural chords and suspended alliteration that enacts the chords that link this person with that person, this place with that place, this event with that event. In ‘Midden Secrets’: you move from’ gut’ to ‘while at road juncture/ a collarbone juts  out’. In ‘A Tribute to the Black Ghost’: ‘like a black ghost the Sun’s ray glides/ on the surface of the lake-like lagoon’ and ‘with a flick of a wing/ her long sting trails behind.’

This is an impressive debut that lays poetic roots in the present in order to nourish the past.

 

Anahera Press page here

Vincent O’Sullivan posts some new poems by Emma Neale on the Laureate website. They are simply breathtaking.

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Current NZ Poet Laureate, Vincent O’Sullivan, has selected some new poems by Emma Neale to mark the shift between one year and the next. They are stunning poems, not only in the aural delights, the archival detail and each poem’s building momentum, but in the way the poet lays anchors in both a real world of sons and husband and an exhilarating world of ideas. These poems have shifted gear.

Emma was shortlisted for the Sarah Broom  Award this year and read with fellow shortlisted poet, Kirsti Whalen, at the Auckland Writers Festival. To hear Emma read was to hear the poetic detail and music come into even richer life. A highlight for me this year.

Vincent O’Sullivan on Emma Neale:

‘There is something so celebratory about Emma Neale’s poetry, about its eager, informed, needle-eyed engagement with the contemporary world, that it seems the very thing for this final Poet Laureate blog of the year, for what we still, with our perverse and saving optimism, call ‘the festive season’. Thanks to Emma for these unpublished poems, for their kitchen-familiar and cosmic-wide attentions, for running the hot thread of such linguistic flare and precision through whatever occasion she takes up. These seem to me the kind of poems that begin with readers but end with partners, in their take on how things are, and how we talk of them. This is poetry in that ancient tradition of ‘speaking for us all’, of making scenes and events that we find are about ourselves all the time, even when they may at first move so confidently in that Rilkean dimension of ‘beauty and terror’. Good poems to end one year, and to begin another.’

For the selected poems see here.

Landfall 228 highlights

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The latest issue of Landfall contains the essays by the winner (Diana Bridge) and runners-up (Sarah Bainbridge, Simon Thomas, Scott Hamilton) of the 2014 Landfall Essay Competition. Judge, David Eggleton, selected 11 finalists (all listed) from 39 entries before selecting the winners. He is also publishing the essay by another finalist, Tina Makareti in Landfall 229. Having read the judge’s comments, I am now interested to read the essays themselves.

What I have done though is read all the poetry. Four poems particularly stood out for me.

Carolyn McCurdie’s ‘Hut’ The opening lines are tremendous: ‘If I come back as a building/ it will be as a tramping hut.’ The poem deposits you in in its heart which is the heart of the hut. Right there in a place where words so frequently stop, yet Carolyn’s lines are memorable.

Reihana Robinson’s ‘And Blessed Be’ The lively word play of this poem is utterly infectious.

Semira Davis’s ‘White Girl: Māori World’  The poem has a razor-sharp edge that stops you in your tracks. Is it okay for a skinny white girl to speak Te Reo?

Rhian Ghallager’s ‘The Speed of God’ is a stunning example of poetry that is original (yes!), breathtaking, spare and refreshes repetition. Some poems rise above all the pother poems we write, and for me, this is one of them. Here is the opening stanza:

‘What if God had slowed down after making the grass and the stars and the

whales and let things settle for a bit so the day could practise leaving into the

arms of the night and the tides tinker their rhythms and the stars

find their most dramatic positions.’

I was capitivated by Michele Leggott’s essay, ‘Self-Portrait: Still Life, A Family Portrait.’ It is both inventive and moving. I don’t want to say anything more but let it unfold for you as you read it.

Oh and I also loved the portraits by Lorene Taurerewa. One features on the cover.

And as for the fiction, that is part of my summer reading.

Great issue, David Eggleton.

These Rough Notes: Bill Manhire, Norman Meehan, Hannah Griffin on RADIO CONCERT on Friday

A must-listen!

8:00 pm on Friday (12 Dec 2014)

Hannah Griffin (vocalist), Norman Meehan (pno), Colin Hemmingsen (cl/bass cl), Martin Riseley (vln), Stephen Gibbs (cello), Victoria Jones (dbass), Lance Philip, Bruce McNaught (percussion), George Mason (piper), Sue Prescott (whistle)

MEEHAN: These Rough Notes, An Evocation of Antarctica

Had we lived I should have had a tale to tell of the hardihood, endurance and courage of my companions which would have stirred the heart of every Englishman. These rough notes and our dead bodies must tell the tale (Robert Falcon Scott)

Drawing its title from one of the last pages of Scott’s journal, this collaboration between the poet Bill Manhire, composer Norman Meehan and singer Hannah Griffin remembers the tragedies of Scott’s polar expedition in 1912 and the crash of NZ901 into Mt Erebus in 1979. The collaboration also included images of Antarctica by Anne Noble, drawn from the series of Antarctic work she has been making since 2001 (recorded in Soundings Theatre, Te Papa, Wellington by RNZ)

More details here