Monthly Archives: July 2018

Announcing New Volumes: Pantograph Punch’s 2018-19 Critics in Residence Programme

What a fabulous initiative!

Full details here

The Pantograph Punch and Basement Theatre are pleased to invite submissions from individual writers to be part of New Volumes for 2018-19. Nau mai, haere mai!

 

TE KAUPAPA

We all know the deal: it’s tough out there for writers, and even more impossible to survive as a critic, let alone start out as one. But without critical writing – writing that responds, interrogates, and examines our experiences with artists and their work – how do we debate and grow as a community? How do we have public conversations about how work can be better, and how can we share the multiplicity of responses that any single experience might have?

New Volumes will involve up to four writers being mentored as a group across a 12-month period (beginning August 2018), covering three to four Basement shows each throughout the year  (primarily through critical writing, but with the opportunity to explore other forms like profiles or features). These pieces will go through a peer-editing process, and be accompanied by a series of workshops looking at a range of ideas, including form, structure, genre and the commercial reality of working as a writer.

Poetry Shelf audio spot: Vaughan Rapatahana’s Te Henga

 

 

Te Henga, 2017.jpg

 

 

 

 

 

Vaughan Rapatahana continues to write and to live across three countries. Several new books in different genre are due out soon in Hong Kong SAR, Aotearoa New Zealand, France, United Kingdom. Thank you also for this opportunity.

 

Poetry Shelf review of Ternion

 

 

 

 

 

Jacket 2: Vaughan Rapatahana in conversation with Bob Orr

 

Full piece and a few poems here

 

Bob Orr has been a well-regarded New Zealand poet for several decades, having eight collections of poetry produced to date, with a new collection due out soon. He is also rather different to so many ‘modern’ poets, in that he has always paddled his own poetic waka (or canoe) in and through his own currents. Oaring across his own ocean, if you will.

Bob never completed any tertiary education. He never attended any  university ‘creative writing’ classes in an endeavour to craft his poetry ‘better.’ Up until very recently, when he was the 2017 University of Waikato Writer in Residence, he eschewed any applications for literary grants. He rarely, if ever, uses a computer to write with or on — he doesn’t even have an email address. Indeed, he continues to write with an old style ribbon-fed typewriter. Bob Orr is a bit of a Luddite — all of which ensures that his stream of poetry flows deep from his heart and mind and is never obfuscated by the trends, tropes, and trivialities of the latest poetic fad. Like another key New Zealand poet, Sam Hunt, Bob Orr has always remained a people’s poet, by which I mean, a writer who keeps it simple, who never overreaches into pretentiousness and amorphous cleverdickism.

 

Visible Ink seeks submissions

full details here

Visible Ink wants your words, your art, and your hot take on Trace — the theme of our thirtieth edition. An annual literary anthology, we are accepting submissions of fiction and non-fiction, poetry and visual art. All published contributors will be paid — see below for rates.

The trace edition:

As both verb and noun, the word ‘trace’ invokes the dialectical nature of human connection. We trace the call, or we hang up. A trace is a mark of existence or passing. It is a harness-strap. It is a shadowed past tense that we cast unwillingly or pursue in search of the present. It is the memory of a thing, not the thing itself. A trace is scarcely discernible. It is latent, yet often imperative. We trace things to the fount, or wish the trail cold. A trace is a bullet whose course is made visible by a spoor of flames or smoke, used to assist in aiming. It is a warm gun: did you shoot or were you shot?

Rachel McAlpine: to take up writers in residence at Yeonhui Art Space in Seoul

 

Great news for Rachel McAlpine. Full post here

From Rachel:

I am excited and honoured to have been chosen as one of the writers in residence at Yeonhui Art Space in Seoul for the month of September. Everything about this residency gives me such a buzz.

  • The programme is part of the Seoul Foundation for Arts and Culture, a well organised government body
  • The buildings look charming and so does the setting
  • The thought of a whole month in which writing comes first thrills me top to toe
  • Everyone says the people of Korea are super friendly
  • I’m sure to be involved in some literary events
  • It’s in Seoul! My first visit to a legendary city! In autumn!
  • I will have time to explore the city including the famous flea markets and temples and daytime discos for old people.

 

 

 

 

 

Monday Poem: Anne Kennedy’s ‘One of My Baxter Poems’

 

One of My Baxter Poems

(from Moth Hour)

 

Coming down off the spine of the Botanical Gardens

onto the green flank of the dragon, shadows arch

 

under my feet. In the dell below, the shell-shaped stage

is strewn with red Camelias. November 

 

and across the valley on the dense dark Tinakori hill

houses begin to light up like Guy Fawkes. 

 

At the top of Patanga Crescent the pared-down villa

trembles with young men thinking,

 

pens lost in the wide sleeves of their dead uncles.

They are ecstatic and do everything extravagantly

 

in the last light: read, drink, fuck.

On the windowsill – a stone, leaf, a twig with buds,

 

and the black cat left behind mewling by the old lady

now in the Home of Compassion. No change.

 

©Anne Kennedy

 

Anne Kennedy’s new novel The Ice Shelf is due from VUP in October. She teaches writing at Manukau Institute of Technology. 

 

 

 

 

 

 

 

 

 

Better Off Read: Pip Adam in conversation with Helen Heath

 

 

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Wonderful conversation, wonderful book, plus the joys of reading Fleur Adcock.

‘This episode I caught up with poet, essayist and teacher Helen Heath. Helen recently published an astounding collection of poetry which poses the question Are Friends Electric? We got together to talk about Fleur Adcock’s poem ‘Gas’, first published in her 1971 collection High Tide in the Garden and it’s also available in Fleur Adcock Poems 1960-2000, and Helen’s exciting new book.’

Listen here