I can’t wait to read this new offering, a debut poetry collection by Morgan Bach, coming soon from Victoria University Press. What an adorable cover.
Morgan Bach’s author page is here.
I can’t wait to read this new offering, a debut poetry collection by Morgan Bach, coming soon from Victoria University Press. What an adorable cover.
Morgan Bach’s author page is here.
Charles Brasch: Selected Poems edited by Alan Roddick, Otago University Press, 2015
Poet and scholar, Alan Roddick previously edited Charles Brash’s posthumous collection, Home Ground (1974) and his Collected Poems (1984). Charles published a number of collections in his lifetime, mentored younger poets and was the founder and initial editor of Landfall. With his books all out-of-print, this is a timely arrival. One of New Zealand’s most influential literary journals, Landfall has represented poetic trends over decades, and continues to endure with renewed vitality (currently edited by David Eggleton), but it is interesting to step aside from this legacy and explore Brasch’s own poetry. He was a contemporary of RK Mason and ARD Fairburn and was selected by Allen Curnow for A Book of New Zealand Verse in 1951. For many poets, this was a sign of having made it. For Brasch, it knocked back some of the self doubt and sent him traversing new poetic paths. It was indeed a turning point.
One fascination of a selected poems is the way they cover the arc of a poet’s life and, in particular, writing life; the way poems reflect interior changes, and the way a changing world rubs against the process of writing. Charles’s first collection, The Land and the People, was published in 1939 with looming threats of war and world instability. He wrote with an initial attachment to the Romantics but by the 1970s his poetry was freer. The language is less tied to loftiness, to the abstract, to tight rhythms. He writes in plainer language, everyday language, yet you still see resolute connections with the subject matter of his first book: the land and the people. In many ways, the poetic arc of Alan’s selection lays its roots in Brash’s attachment to home, and the poem becomes a frame or form for a navigation of this. A homage at times. A questioning of sorts. Charles held the war at arm’s length, he held the rumpus of the 1960s at arm’s length (you don’t see him in Big Smoke, the anthology that highlights the radical poetry of the 1960s and 1970s). In his last decade or so, he is not rupturing form and content across the page in ways that SHOUT and displace. He is splitting his poems in ways that promote new revelations, new confessions whilst always maintaining his private stance. Love is there; love is struggled with and acknowledged but it is never overt, never clear.
from ‘In Your Presence’
I practise to believe,
And work towards love.
How should I see
Until I study with your eye?
He is unafraid to bare the self portrait in ‘Cry Mercy’:
Getting older, I grow more personal,
Like more, dislike more
And more intensely than ever —
People, customs, the state,
The ghastly status quo,
And myself, black-hearted crow
In the canting off-white feathers.
I was interested to discover that he worked on one of his most famous poems, ‘The Islands’ (originally published in his second book in 1948) for twenty years until he felt like he got it right. This is the poem that contains one of the most often quoted lines in New Zealand poetry:
Everywhere in light and calm the murmuring
Shadow of departure; distance looks our way;
And none knows where he will lie down at night.
The poem that has always resonated the most strongly with me is the sequence ‘Home Ground’ (from his last book, bearing that title) and a substantial part of the sequence is reproduced here. The language is sumptuous yet affords a degree of plainness. Individual lines stall and haunt you (‘I tramp my streets into recognition’). It feels open. It feels like writing this poem mattered greatly to the poet because it draws upon what matters. And within that, as with much great poetry, there is space, silence, mystery.
Silence will not let him go
Entirely; allowed a few notes
At the edge of dusk
He will be recalled before long
And folded into rock
Reassumed by the living stream.
Otago University Press have produced a terrific anthology with care taken over internal design and the cover. There is room for the poems to breathe both in terms of font choice and white space on the page. Alan’s introduction is useful but I do think there was room for more discussion of the poetry itself despite the witty inference in Charles’s ‘Pistol Point’ that poems ought to speak for themselves (‘Poems ask their own questions’). Selected Poems is a terrific introduction to Charles’s poetry; particularly to the way his poems shifted over time, on his own terms, and not at the behest of current poetic trends.
Endnote: I have a policy on this blog of using the first name of a poet. This is the first book I have reviewed by one of the key men poets who emerged in the mid-twentieth century in New Zealand, and it feels like I am transgressing a line by not using ‘Brasch.’ It feels like I have invited him into my kitchen to have a cup of tea informally. ‘Authority’ has sailed out the window.
Otago University Press page here
Gregory O’Brien’s terrific discussion with Kim Hill on the book here
NZ Book Council author page here
Afraid of falls?
We spent our childhoods upright. We rose asleep.
We rose silent, when our breaths were taken.
We sat on the mat, and were told to sit up.
There was so much to learn.
In the weekends, though, my brother
went into the bush behind the house
and he came back talking of the waterfalls.
Oh take me, take me to the waterfalls,
I promise not to fall.
Fruit fell. Whole lawns were carpeted!
Fell, and rotted where it fell.
In the end, we rose apart.
But I remember the waterfalls,
and I remember how the world was so much with us.
© Anna Jackson I, Clodia, and Other Portraits Auckland University Press, 2014
Anna is the Programme Director in the English Department at Victoria University. She has published five poetry collections, including Thicket, which was shortlisted for the New Zealand Post Book Awards in 2011.
When I was little I found it strange that you could “sit up” or “sit down” and the sitting would still be the same either way. I’ve also always loved Chris Price’s poem “Rose and Fell” and how its title makes such a strangeness of the phrase “rise and fall” by placing it in the past tense. So this is a meditation on rising and falling, and on childhood as a time before a fall, when instead of falling asleep you might rise asleep, and keep on rising.
We lived in Titirangi until I was seven, and my brother did go into the bush, and he did come back talking about the waterfalls.
This poem is like a little sonata pivoting upon the word, ‘fell.’ Then again, it is as though a word, ‘fall,’ is elbowing a pinhole in the dark expanse of memory to let the light of childhood through. Playfully. Childhood becomes a riff on falling (and rising), and there is a delicate, addictive humour in the overlaying words (‘oh take me, take me to the waterfalls,/ I promise not to fall’). The image of the childhood wonder is made more pungent by the carpet of rotting fruit, the stench of abundance and plenty (time, dreams, play).
The book that contains the poem, Anna’s latest, lifts from the previous collections. It is a book of portraits, and here, in this example, the portrait of a child(hood) might be invented, misremembered, once lived, fleetingly real, achingly so. It was no easy task picking a poem that stood out for me in this book (I am waiting to get a copy of Catallus so I can follow Anna’s reading map as I reread the poems to review). The lift and play of each line is glorious, the image equally so. I have donned the cotton dress of my younger self and the lift and fall moves beyond the gold nugget for ear and eye to that of elusive self. A little sonata that haunts and plays again.
Auckland University page
New Zealand Book Council page
Poetry Shelf interview
Weigh in your finest pieces of writing or visual art before our deadline of 20 May 2015.
Ika publishes poetry, fiction, creative non-fiction, visual art and photography from Aotearoa, the wider Pacific and beyond.
Whether you’re an emerging talent or have been prospecting for years, we want to see your glittering nuggets.
The submission limit is eight poems, eight images, or 7,000 words of prose.
Submissions for Best New Zealand Poems 2015 are open from 1January 2015 and must be received by 15 December 2015.
What to submit
When to submit
How to submit
Postal submissions should be directed to:
c/o International Institute of Modern Letters
PO Box 600
Email submissions of individual poems or a small selection of poems should be submitted, preferably as attachments, to: firstname.lastname@example.org.
Whether posting or emailing, please include the following information with each individual submission:
The place and date of publication of each poem submitted (including web links if relevant).
Your name, email and the poem title on each page you submit.
I had the pleasure to be a judge for The National Schools Poetry Award a few years ago and think it is a terrific feature of our writing landscape. Aside from the competition, the Wellington workshops are a great opportunity for young writers passionate about poetry and song writing to come together. I endorse this proposed campaign strongly. In my experience, writers came from all over New Zealand, under the umbrella of poetry, to share, to develop and to take off in myriad writing direction directions.
This just out from IIML:
The National Schools Poetry Award was set up by Bill Manhire in 2003. Last year we had to cancel the Award due to a lack of funds. This year Creative New Zealand has given us half what we need to run a full Award. To make up the shortfall we’re launching a Boosted fund-raising campaign. For most of the decade the Award has been running, we’ve been in the wonderful position of having private sponsors (Bell Gully at the start, then NZ Post). Times are tough and now we’re looking for wider support. We’ll be sending out links soon.
In the meantime here’s a great testimonial from Vanessa Scott, Head of English at Pakuranga College: ‘I believe this Award has lifted the profile of poetry within the school and shown the school community how young people can excel in literature and the arts, and that these achievements are just as valid as those won on a rugby field.’
National Poetry Day returns for its 18th year – Registrations are now open
The highly popular and eclectic National Poetry Day will be staged for its 18th year on 28 August 2015. A varied programme of events around the country will celebrate poetry in its many forms and engage with writers and readers at all levels.
“National Poetry Day is a golden opportunity to celebrate New Zealand poetry not just within extended poetry communities but also within mainstream contexts … Across the nation, a range of eclectic and stimulating events demonstrate new ways to promote the joy of poetry,” says poet Paula Green.
Damien Wilkins, Director of the International Institute of Modern Letters at Victoria University says, “The Day is an incredibly valuable opportunity to connect readers and writers …The broad range of poets and events, as well as its national reach, make this a highly significant date on the literary calendar.”
In 2015, you can keep abreast of poetry day developments with the National Poetry Day blog (https://nznationalpoetryday.wordpress.com/). It’s dedicated to reviewing New Zealand poetry and keeping those involved as coordinators for Poetry Day events informed about registrations and progress. It is bound to become a hub for poetry lovers nationwide.
This is the first year that National Poetry Day has had no association with the New Zealand Book Awards, and it is funded through a grant from Creative NZ. “We are extremely grateful for CNZ’s support of this year’s event,” says Nicola Legat, chair of the Book Awards Trust, which manages National Poetry Day, with the help of Booksellers NZ.
“They are supporting an amazing grassroots event that takes all sorts of wonderful forms, from poetry readings in libraries and halls to random acts of poetry in the public street.”
Miriam Barr is back on board as National Coordinator, and delighted to be involved in this important programme of events in 2015.
Registrations are now open to enrol your event for National Poetry Day. The combined registration and funding application form can be found online here. All registered events and activities will be included in the official calendar of events.
Event Registrations and Funding Applications both close on Monday, 25 May. For further information and to enrol your event, fill in the form online, or after 31 March, contact Miriam Barr, National Coordinator Poetry Day 2015 email@example.com.
Registration and Funding application form
NZ National Poetry Day blog
National Poetry Day Facebook page
Chairperson, Book Awards Trust
Phone: 021 958 887
General contact for physical forms before 31 March:
25 May Deadline for registration and closing day for funding applications
1 June Funding Applications confirmed to applicants
19 August National media release sent out
28 August National Poetry Day
Photo credit: F. J. Neuman
David Eggleton is a poet, reviewer and non fiction writer. His books include: Here on Earth: the Landscape in New Zealand Literature, (Craig Potton Publishing, 1999); Seasons: Four Essays on the New Zealand Year, (Craig Potton Publishing, 2001); Ready to Fly: the Story of New Zealand Rock Music, (Craig Potton Publishing, 2003); Into the Light: a History of New Zealand Photography, (Craig Potton Publishing, 2006); and Towards Aotearoa: A Short History of Twentieth Century New Zealand Art (Reed/Raupo, 2008). His poetry collections include: Rhyming Planet, (Steele Roberts, 2001); Fast Talker, (Auckland University Press, 2006); Time of the Icebergs, (Otago University Press, 2010); and The Conch Trumpet (Otago University Press, 2015). He is the current Editor of Landfall, and of Landfall Review Online. He lives in Dunedin.
To celebrate the arrival of his new poetry collection, The Conch Shell, David kindly agreed to answer some questions for Poetry Shelf.
‘Stone clacks on stone
so creek lizards slither,
runnels slip through claws,
each cloud’s a silver feather.’
from ‘Raukura’ in The Conch Trumpet
Did your childhood shape you as a poet? What did you like to read? Did you write as a child? What else did you like to do?
I had very little to do with books as a child, apart from prolonged weekly exposure to the King James Bible. However, it was a rich, sensual and even privileged environment, with wide exposure to a variety of cultures and a strong sense of the carnivalesque about everyday life. My father at that time was a soldier ant, when the last Pacific colonies were gaining independence, and then there were my mother’s ancestral voices and her extended family. This idyll was abruptly terminated when our family relocated permanently from Fiji to New Zealand. It was a bit like the post-Edenic Fall, though gradually I became aware of a different kind of richness, including eventually the world of the library.
In early adolescence my options veered between seminary school and reform school, though neither eventuated. I began to understand that truth, social truth at least, is not absolute but institutional and class-bound, and you need a ticket to get in — but if you are a poet you can construct your own truth. ‘I am the shadows my words cast’, as Octavio Paz wrote.
My early literary influences, besides the Bible, included Phantom comics, church music, gospel choirs and listening to pop music on the radio: an auditory riot. The Bible contained fascinating and troubling verses: ‘Eye for eye, tooth for tooth, hand for hand, foot for foot, burning for burning, wound for wound, stripe for stripe…’
Meantime, living in South Auckland there were not the quiescent, somnolent afternoons of lawn tennis such as you might have found in the leafy avenues of the inner suburbs, but rather the lingering smell of tanneries and abattoirs — offal being boiled down at the freezing works, corned beef being cooked for shipment to the Islands. This became partly associated in my mind with the lives of saints and martyrs I had already spent time reading about: believers being boiled in oil by non-believers, and so forth. There was also much bellowing in the streets and the roar of motorcycles.
When you started writing poems as a young adult, were there any poets in particular that you were drawn to (poems/poets as surrogate mentors)?
I got interested in writing at high school, my first published efforts appearing in the Aorere College literary magazine. Around the same time, I was discovering Dylan Thomas, Gerard Manley Hopkins, T. S. Eliot, Gunter Grass — some of these were on the school curriculum.
Then I got immersed in the American Beats and their ‘action writing’: Go! Howl! On the Road! I heeded the call; I dropped out of school and tried to get a job on a cargo ship. I wasn’t taken on, so I got a job in a South Auckland carpet warehouse instead. Kerouac’s road novels were a word-spattered canvas wide as America and seemed related to the Ab-Ex canvases of the artist Jackson Pollock, whose paintings I also got interested in.
Energised, I sought to emulate the yackety-yak spoken word rhythms of Jack Kerouac, the biting wisecracks of William Burroughs and the vatic yawp of Allen Ginsberg in my own screeds of verse. And then there was the one-man typographical liberation front of e.e. cummings: ‘anyone lived in a pretty how town and down they forgot as up they grew…’
I was pretty much unaware of New Zealand writing, apart from the plummy-voiced Bruce Mason, who had visited our school out in the sticks with his one-man theatrical show.
I remember when you were awarded London Time Out’s Street Entertainer of the Year in 1985. From that time you have gained a solid reputation as a performance poet. Do you still see yourself as a performance poet? Did the award alter the path of poet for you at all?
Well, 1985 was New Zealand’s special moment in the sun, with David Lange roaming the globe as a kind of No Nukes! ambassador, and Keri Hulme winning the Booker Prize. There was a big travelling Maori art exhibition, plus the Rainbow Warrior bombing, the Flying Nun catalogue. All that kind of created a climate where things New Zild were of interest in the UK, and I was able to get on and stay on the cabaret circuit at the time.
Performance for me became a poetry vehicle and there was a national consciousness locally it tapped into: grass roots, flax roots, ground up, underground, public assemblies to hear, watch, attend to, what poets and other performers were saying — and maybe have all this on at a variety night down at the community hall.
Things have changed, become more sophisticated, more ironic, more knowing. Perhaps there is less of a communal thing now and more of a tightly-organised, clearly-defined niche market, maybe even a gentrification of poetry scenes — where the confessional genre and the misery memoir have top billing, everyone competing to prove that they have the tiniest violin in the world and they know how to play it. I enjoyed, and still enjoy, the Dadaist nature of the wilder poetry performance. The novelist Henry James said about a poetry reading by Robert Browning that, if the audience didn’t understand his poems he seemed to understand them even less: ‘He reads them as if he hated them and would like to bite them to pieces.’ That sounds like my kind of event.
I love the way your poems absorb and replay the world in a dazzling eruption of detail, hallucinogenic at times. It is like standing in the street or bush just after it has rained. Luminous. Invigorating. Yet as much as each poem is an aural feast, there is an engagement with the world on multiple levels. What are key things for you when you write a poem?
Incantation, cadence, rhythm, pacing, matter more to me than formal metre stress and scansion. I like overgrown gardens and rainforest: that which is lush. I like absurdity and contradiction as closer to real experience rendered more accurately. In poetry, arguably, lexical meaning is less important than rhythm and emotionally-charged sound, which have their own echo-chamber allusiveness.
All that said, I also like psychedelic dream-fever imagery, and teasing evocations of mythical ancestors and invented traditions: invented traditions which engage with canonical poems, the poems which begin, as Yeats put it, in the foul rag and bone shop of the heart, but then become marble, monumental.
Poems are generated in many different ways, of course. Sometimes a poem might begin as a psychotherapeutic notion, as automatic writing, where as long as you keep writing you eventually find the solution to whatever it is that ails you, psychosomatically or existentially. Other poems may be less fluent; instead they are painstakingly assembled, built up like a movie in an editing suite from many separate images in order to create a mood, an atmosphere, a climate.
What one does not want is what Yeats (again!) described as ‘the stale odour of spilt poetry’: we want the fresh bouquet of wild flowers — or of hothouse blooms transfigured. Poetry remains in the service of the subversive. That’s its power. The magical thinking of the ancient gods has been replaced by a future of junk science, which explains that emotions are only neuropeptides attaching to receptors and stimulating an electrical charge on neurons. Easy-peasy. How might a poet extract a poem from this revised reality? That’s the challenge.
Do you see yourself as a political poet? Overtly so or in more subtle ways?
Poetry is politics by other means; anthologies prove this. But I think what you are getting at is the idea of poets on the barricades leading the revolution. OK, the revolution may not be televised, as Gil Scott-Heron prophesied in his debut album Small Talk at 125th and Lenox back in the 1970s, but these days it’s corporatised and monetised. As Arundhati Roy has pointed out, in the era of the free market, ‘free speech’ has become a valuable commodity, too valuable to be wasted on the underclass. Poetry must find ways to remain anarchic, not for sale. As the Zen poem has it: ‘Sitting quietly doing nothing/ Spring comes and the grass grows by itself.’
My favourite poets include the Nightingale and the Skylark: Keats and Shelley — not yet Pixar characters — and Shelley undoubtedly was a revolutionary bard who believed that poets are the unacknowledged legislators of the world. Likewise, William Blake was a revolutionary, but he wasn’t arrested and beheaded because they considered him mad. Nowadays we consider him a visionary.
I am inspired by the poetry of witness: that of Osip Mandelstam, Marina Tsvetaeva, Georg Trakl, John Clare, Pablo Neruda. These poets spoke truth to power and sometimes paid with their lives.
New Zealand is a relatively lucky country, but it also means, I think, that we have an obligation to speak out against injustice, though not necessarily through simple polemics. Poetry, said Auden, makes nothing happen — well, many poets would disagree. Poetry can help generate social earthquakes — or be part of them in subtle ways. Globalisation is all subtle interconnections.
One poem in my new book was inspired by the sight of a superyacht belonging to a Russian oligarch in Auckland’s Viaduct Basin, an impressive white vessel designed by Philippe Starck. I stayed on the wharf for a while, and revisited, watching the comings and goings on this superyacht, and then researched the background — or rather added to what I already knew. That’s the starting point for a poem, which is not so much about Putin’s Russia as about the approved neo-liberal narratives of today and the warped truths which seem to accompany unbridled power. Yet nothing is spelt out — the reader must surmise, or suspect.
Pablo Neruda said that a poem is a net, and in a net it’s not just the strings that count but also the air, or the ocean, that escapes through them. To which I might add about my poem that while ‘knowledge’ is steady and cumulative and a satisfying form of story-telling, ‘information’ is random and miscellaneous and frustrating. My poetry sometime plays around with these twinned perceptions. For, as Ralph Waldo Emerson wrote: ‘the poet knows he speaks adequately only when he speaks somewhat wildly, not with the intellect alone, but with the intellect inebriated by nectar.’
The fact is that the black rain of tragic images is unending. The poet must put out his bucket and collect enough, and then endeavour to make sense of them; find a way to transform the surplus into poetry. Mad Ireland hurt you into poetry said Auden of Yeats, rather contradicting his other statement that poetry makes nothing happen. The ambitious poet is a voyant, a seer still, despite the scoffers, disdainful of rolling up their sleeves, spitting on their hands and going to work. Delmore Schwarz was right: in dreams begin responsibilities.
From the frantic antics of the nuclear meltdown to the shirtfronting of the financial meltdown, there’s plenty happening politically that cries out for poems. Then, too, as New Zealanders we need to constantly catechise our past in poetry so as to attest to our grasp of identity. Because this collective past, the stuff of song, ballad and pontificating political speech, is only approximately remembered, or else only partly told. Different people will tell, for example, the story of the Treaty of Waitangi in skewed fashion, laying emphasis on different details, and carry this away as poetic myth. The poet of conscience searches out social stigmas, personal stigmas, linguistic stigmas — the difficult subjects — and finds new ways to address them.
Do you think we have a history of thinking and writing about the process of poetry? Any examples that sparked you? Have you done this?
Yes, of course we have a tradition of thinking about what poetry is. Manifestos, prefaces, books and essays by Allen Curnow, A.R.D. Fairburn, Alan Brunton, Riemke Ensing, Kendrick Smithyman, Ian Wedde, Bill Manhire, Murray Edmond, C.K. Stead and Robert Sullivan are amongst those I value most. A writer is a descendent of other writers. I’ve written a lot in response to reading other poets; that is, to specific instances, but not manifestos or generalising, barrow-pushing commentaries.
New Zealand has its own quirky bicultural literary history. There’s also a strong puritanical tradition, nowhere so pronounced, I think, as in the repressed verses of Charles Brasch. He reminds me of what Anthony Burgess once said about himself: that he was so much of a puritan that he couldn’t describe a kiss without blushing. That said, there’s a value in circumspection, in euphemism, in artful disguise: telling by other means.
Actually, I think that all the theorising stacks up to mere post-rationalisation, to temperaments attempting to influence posterity, whereas, as John Steinbeck put it: ‘Time is the only critic without ambition’. Instead, I would argue that we learn most by example — the example of careful noticers, and for me one of the influential is Katherine Mansfield, still one of our best, perhaps our best, echo-locators: ‘All that day the heat was terrible. The wind blew close to the ground, it rooted among the tussock grass, slithered along the road, so that the white pumice dust swirled in our faces.’ So much menace, so close to home.
What poets have mattered to you over the past year? Some may have mattered as a reader and others may have been crucial in your development as a writer.
It would take a book to answer this question adequately. I’ve read the work of around 1000 poets over the past year, and all of them mattered at the time of reading. To read a poem properly is to engage with it, alertly. Listing names and poems that grabbed me would be counter-productive, because each would require an explanation of the encounter: what the sense and what the sensibility? Deconstruction at warp speed cannot happen in this format.
What New Zealand poets are you drawn to now?
Currently my favourite New Zealand poet, in the terms of the poet I am thinking most about, is Robin Hyde, followed by Ursula Bethell and A.R.D. Fairburn. So many clues, or soundings, to where we are now lie in the inter-war years. Other than that, I pretty much read everybody.
Do you think your writing has changed over time?
My own feelings about this are, necessarily, extremely subjective, but I would advance a cautious perhaps. According to Heraclitus, everything flows and all movement is history. William Blake said that without contraries there is no progression. In short: change is the only constant in life; one writes not as one was, but as one is.
Certainly the cultural climate has changed, and my corporeal self has changed. The typical New Zealand afternoon of the recent past had all the excitement of a damp tea towel and all the urgency of a dripping tea urn, with somewhere the smell of scones burning. Somehow this no longer seems applicable. Along with Denis Glover though, I do not dream of Sussex downs or quaint old English towns — I think of what may yet be seen in Johnsonville and Geraldine.
You write in a variety of genres (poetry, short fiction, non-fiction, critical writing). Do they seep into each other? Does one have a particular grip on you as a writer?
All of my writing is really just personal essays by other means — that is, if you consider the personal essay a form of self-correction, a form of self-contestation, an interior monologue conducted in solitude in preparation for being presented in public. Otherwise, the prescriptions of each genre apply, distinctly.
However, in my view, literature is or should be a site of struggle, no matter what the genre. Each mode is always inherently in a state of primal conflict about purpose and meaning. Otherwise it is moribund, mere cliché-recycling.
There are elements of hybridity, the mongrel, in my writing. The mixed bag, the medley, the odd job lot, the tall order; that’s what I’ve ended up doing. To pluck out just one continuity: I have an overarching interest in the iconoclastic — how might we tear all these false idols down. And aren’t they all false anyway? So there you go; we’re always casting about for the new, the next, supreme fiction.
The detail you collect makes place so vital — and that place emerging is particular, local, recognisable. For me, the poems transcend poetic exercise or form as they establish contact with what it might or might not mean to be human. These poems tick with humanity. Is a sense of home an important factor as you write? Or connections with humanity?
The Rumanian philosopher E.M. Cioran wrote that you don’t inhabit a country, you inhabit a language, and as Caribbean poet Derek Walcott pointed out, when you inhabit a language you enter into a relationship with its imperial width. A language is not a place of contemplative retreat or escape; it’s a site of struggle. Struggle for control, or, to use Kendrick Smithyman’s formulation, ‘a way of saying’. So, it starts with the language, which works on homegrown imagery. As Ian Wedde once neatly put it, my poetry is preoccupied with ‘growth into location’. Not just that, but this regionalism reflects the society’s obsession with where it is: Anne French’s one big waka, Robert Sullivan’s hundred small waka.
This, in a way, is ‘small country syndrome’ and Dylan Thomas wrote something eloquently pertinent to this sense of us against the world in a letter to his wife: ‘the world is unbalanced unless, in the very centre of it, we little mutts stand together all the time in a hairy, golden, more-or-less unintelligible haze of daftness.’
By not living in exile, by living here, the whole past stays in the pulsating present. Wherever I turn, I see reminders of things past, of ghost trails, phantoms. As I write this, autumn rains are bashing at the windows in silver-grey lights as the furthermost fringe of Cyclone Pam brushes past. That’s what being here means to me. That and folk memories: cow cockies used to tighten Number 8 wire with a strainer until it literally sang when it was flicked. Now whole rugby stadiums hum that same tune.
This is a land of miraculous icons, a poet’s task is to discover and celebrate them before the local version of the Taliban, often in the form of a property developer, moves in and breaks them up.
What irks you in poetry?
I’m not sure that any poem irks me. Rather, the challenge is: what is the poet doing? Has it been achieved? Sometimes poems feel hollow, or are expressed in sentiments that have a breathy earnestness, yet you know that they know that you know they haven’t got there and earned it. Kate Clanchy wrote recently in the UK Poetry Review about a new collection of poems by Ruth Padel that some poems took your assent, your acquiescence, for granted because these were poems about ‘the Holocaust’. In fact, poems should take nothing for granted but must make their case through genuinely felt details, line by scrupulous line, even when about a supposedly sacrosanct subject. Even when a poem’s a failure, it remains interesting, through falling short.
What delights you?
The achievement, the mastery of the thing. Or else it falls away sharply to hit the ground with a thump. That said, value judgements are complex things, governed by notions of taste, knowledge of context, histories of contestation. A poem that appears to fly high to you — an ode to the west wind, a hymn at heaven’s gate — may not seem that way to another reader or listener.
Name three NZ poetry books that you have loved.
Just quickly. Runes (1977), by James K. Baxter. He was, at one time, both my spice paladin and my herb goblin. No Ordinary Sun (1977), by Hone Tuwhare. He could use his diaphragm like a sounding board, a sea chest. Inside Us the Dead (1976), by Albert Wendt. I was delighted by his witty reportage in the immediate post-colonial moment in the newly emergent Pasifika.
I love the title of your new collection (The Conch Shell). The blurb suggests that this collection ‘calls to the scattered tribes of contemporary New Zealand.’ What tribes do you belong to? What literary tribes? How does the word ‘contemporary’ modify things?
Yes, I’m blowing my own (conch) trumpet at sunrise. That title refers to tide-lines of life, to surf-like sounds, to gathering good vibrations, to gods of the sea who, clarion-like, lull the waves, and to the summer of shakes, the year of quakes. And so on, to the final burnout of the run-ragged consumer. The rest is the tribal outcast, and everything you cannot pin down, or ascribe a bar code to.
In fact, the word ‘tribe’ is fraught. I think James K. Baxter brought it into the literary realm. My own tribal background is distinctly heterogeneous rather than Fonterra-homogenous, but if I look around at my contemporaries, poets and otherwise, I see most of them making it up as they go along. A poem tests a proposition; it doesn’t always prove it.
These new poems offer shifting tones, preoccupations, rhythms. What discoveries did you make about poetry as you wrote? The world? Interior or external?
My poems like to dwell on the silver wake of a container ship, or the wet sand beneath the upturned hull of a dinghy, or the half-seen, the overheard. Poets re-arrange, but they have duties of care. X.J. Kennedy has pointed out that: ‘The world is full of poets with languid wrenches who don’t bother to take the last six turns on their bolts.’
It’s been five years since my last poetry collection Time of the Icebergs appeared, and one reason my collections have been regularly spaced that far apart is the need for more elbow-grease and line-tightening to get the burnish just so.
The poet’s mind, like anyone else’s is made up of reptilian substrate, limbic empathy and neo-cortical rationality. These shape your reveries and hopefully together lift them out of banality. Our ideas are dreams, styles, superstitions. We rationalise our temperaments, draw curtains over our windows, but poems carry an anarchic charge that reveals the force that through the green fuse drives the flower.
A poet is in the business of the unsayable being said, showing you fear in a handful of dust. A poet is amanuensis to the subconscious ceaselessly murmuring, and indeed to the planetary hum, the gravitational pull of the earth, the wobble of placental jellyfish in the womb — anything alive, mindless and gooey.
Is there a single poem or two in the collection that particularly resonates with you?
Every poem resonates on its own wavelength, but I found constructing an immediate elegiac response to my father’s death one of the most turbulent. A bit like getting to grips with a storm, with a howling wind that has shape and substance.
Returning to the notion of detail, I see the accumulation of things in your poems as an overlay of highways to elsewhere whether heart, issues, ideas, fancy, memory. Yet the things also pulsate as things in their own right. What draws you to ‘the thisness of things’ (the blurb)?
Things accumulate in my poems in almost haptic fashion, wrestled there like sculptural ingredients. They accumulate, as in the random haphazard assemblages of the Dadaist Kurt Schwitters, built out of found objects in the streets. Yes, I want to acknowledge the ‘thisness’ of things, but not in the sense of ‘property’. Rather, in the sense of: he who kisses the joy as it flies, lives in eternity’s sunrise.
Is doubt a key part of the writing process along with an elusive horizon of where you are satisfied with a poem?
I can’t get no satisfaction. Actually, poets need to be their own sophisticated antagonists. After all, why write? There’s always a struggle going on between self-revelation and self-concealment. Poetry is a kind of verbal tic; it runs in parallel with consciousness. To be conscious and verbal are vital signs, as Les Murray has pointed out. Then comes the self-questioning: are these fifty poems, fifty varieties of same-same? Is this what the thunder truly said? Is this poem really language dancing, and is it top of the poppermost — that is, is it the best you can do? All this nervous self-doubt surrounds the birth of a successful poem, I think.
The constant mantra to be a better writer is to write, write, write and read read read. You also need to live! What activities enrich your writing life?
Much time is taken up by arts-related stuff: gallery-going, movie-going, theatre-going, concert-going, poetry recitals, beer-sampling, weekend dabbling in arty-crafty matters. And then also I like to get out and about in the landscape: tramping through national parks, exploring West Coast walkways, cycling around Waiheke Island, or across the Mackenzie Country, climbing the lower slopes of the Southern Alps, and on and on. Typical Kiwi pastimes that keep one modestly prepared for the long sedentary hours ahead.
Some poets argue that there are no rules in poetry and all rules are to be broken. Do you agree? Do you have cardinal rules?
Poets are actually not their own creatures. They imitate their forebears. In her diaries, Susan Sontag wrote: ‘Poetry must be exact, intense, concrete, significant, honed, complex.’ She wrote this sentence as a high Modernist priestess when that kind of poetic faith was at its apogee, nevertheless I’d go along with that as an aspirational motto. Yeats again: ‘How but in custom and ceremony are beauty and innocence born?’
There are always rules. A poem — even one generated by a computer — follows rules. But these rules vary poem to poem, and the end result is not about the rules but about organic coherence and meaningfulness.
Here’s another Katherine Mansfield sentence (she’s endlessly quotable), and one William Burroughs would surely have applauded. The reasons why she wrote this don’t matter. What matters is the imagery and the pacing, the rhythm: ‘I took the revolver into the garden today and practised with it, how to load and unload and fire.’ A great New Zealand sentence.
Do you find social media an entertaining and useful tool or white noise?
Hyperreal, hyperventilating, hyper-opinionated, it’s the new centre of gravity — or else a black hole that will swallow the sun, and take all the time you have. I try to minimise my involvement. As for poetry, the internet works well as an events noticeboard, but actual poems feel anaemic on it, drained and destabilised, apt to float away into cyberspace, never to be seen again.
Finally if you were to be trapped for hours (in a waiting room, on a mountain, inside on a rainy day) what poetry book would you read?
Well, today, a big compendium that includes Auden’s ‘ 1 September 1939’, Owen’s ‘Dulce Et Decorum Est’ and ‘The Road to Mandalay’, ‘The Waste Land’, Christina Rossetti, and bits of Don Juan, the Sonnets of Shakespeare… ‘But I think my head is burning and in a way I’m yearning to be done with all this measuring of proof…’
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