Monthly Archives: June 2019

Poetry Shelf Monday Poem: Maringikura Mary Campbell’s ‘How we loved’

 

How we loved

for Meg and Te Ariki Campbell

 

i always wondered why
the dogs never pissed inside the house
How the house gripped onto the hill
the wind
and how we never fell
How you lived even though
you wanted to die, my mother
How we loved and hated
but mostly loved
How we doubted the sincerity
of those whose lives seemed easier
How we hated the Nats
because they hated the poor
How we tolerated those who voted for National
because they thought their wealth would rub off on
them
How our family, our mokopuna, surpassed all others
and how every time we looked at each other we saw
out Tupuna
staring right back at us
How we loved our parents right to the end
of their lives and ours
My beloved parents
How we loved.

 

Maringikura Mary Campbell

 

Maringikura Mary Campbell lives in the family home in Pukerua Bay. She is a mother of three and has one mokopuna whom she adores. She published Maringi in 2017. She also published Smells like Sugar – poems by rangatahi young people in psychiatric care and What it takes to fly – poems by mental health consumers from around New Zealand.

You can listen to Maringikura Mary Campbell read another poem (for her grandmother), ‘Ethell Mary’, here

 

 

 

 

 

 

 

Poetry Shelf Friday talk spot: Saradha Koirala on Teaching Poetry

 

In Praise of Teaching Poetry

 

English teachers are often condemned for ruining poetry for everyone. For making poetry seem harder than it needs to be, flogging a dead verse and generally turning people off it. We’re told we teach too much haiku, too many “dead white guys” or that we look too closely for meaning that’s probably not actually there. If teachers are destroying your love and enjoyment of poetry, then I’m deeply sorry. On behalf of all teachers everywhere, I apologise because I can assure you, the last thing we’re trying to do is ruin something we hold in such high regard.

Most English teachers I know are secret poets anyway, many with our own published work. We have our favourite poems that we like to wheel out on special occasions, we recite lines to each other over mugs of instant coffee in the staffroom, we gasp involuntarily when we see Keats or Plath or Eliot on the latest book list. If anything, we’re trying not to appear too excited, too beguiled by the magic of language and metaphor and that we get to read, pore over, discuss it in our working days.

 

When I started my current job two years ago, I was sent the outline for the coming term. Every year level in English was studying poetry in some form. We had lovely NZ/Australian writer Lia Hills as our poet in residence doing workshops with the Year 7s and 8s, culminating in a poetry evening for parents. The Year 10s were writing a poetry portfolio based on close studies of the work of Darwish, Neruda, Transtromer, Akhmatova, Yeats, Heaney, Hughes, Bobbi Sykes, Eliot and Dylan Thomas. I added a few more women to the list – Grace Taylor, Grace Nichols, Dorothy Porter, Kate Tempest, Sarah Holland-Batt – and couldn’t believe my luck.

But what of the students? I’ll admit some struggled to write their own poetry. Lia Hills talked a lot about gathering “raw material”, having something to say and crafting words purposefully. Students learnt about the power of line breaks and moving a poem away from a narrative retelling to something more suggestive. Many of them created things you probably wouldn’t have expected from 13 year olds.

The Year 10s completed their portfolios and while some relished the opportunity – compiled their work into titled anthologies and ordered them carefully beneath beautifully designed covers – others squeezed out the bare minimum. But isn’t that just teaching for you? My main concern was, having studied poetry for a term, did they now hate it?

Poetry, like Maths, is often one of those things that young people have a fixed mindset about. They might have encountered something tricky early on and decided it wasn’t for them, but the teacher’s job is to open their minds and to help them find a way back in. It’s therefore almost surprising when I hear students say they love poetry and enjoy reading, studying and writing it. It seems I too have been conditioned into thinking teaching poetry is an up-hill battle.

I’m very lucky to teach at a school that values poetry. We have staff members with PhDs in poetry and translation, we are writers, we are daily readers of poetry. In previous schools, I’ll admit I’ve had to go down the haiku route a bit, but for some young minds having a formula, a rule and something to count out on fingers while writing makes the whole process more manageable, while not detracting from the magic of language.

I started this year again with poetry all round. The Year 7s wrote their own version of Carl Sandburg’s ‘Wilderness’, the Year 8s studied a range of poetry about ‘outsiders’ and created amazing digipoems with stop motion animation and cleverly edited soundtracks using software I had never seen before. My Year 11 Literature class enthusiastically read the work of Gwen Harwood. I didn’t once hear anyone groan at the idea of poetry and can only hope that when they encounter it in another form next year and the year after that their eyes will light up like a newly recruited English teacher looking over her poetry-filled syllabus.

 

 

Saradha Koirala’s latest collection of poetry is Photos of the Sky (The Cuba Press, 2018). She teaches English and Literature in Melbourne.

 

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Poetry Shelf noticeboard: Michelle Elvy’s ‘the everrumble’ launching at the Flash Fiction Festival UK

Ad Hoc Fiction is honoured to be publishing the everrumble, “a small novel in small forms” by Michelle Elvy. It’s a wonderful and important work of fiction highly praised by the writers quoted below. The striking cover art is by acclaimed Ethiopian artist, Eyayu Genet.

the everrumble is a poetic imagining of intense focus and sweeping ideas. Zettie’s story is fluid and in motion, transcending geographies and time. She stops talking, at age seven, and starts to listen – to the worlds she finds in language and books, and to the people and places she encounters as she moves across continents. Her silence connects her to people, to nature and to the elemental world. Magical and beyond boundaries, this collection focuses on small fragments, taking Zettie, and the reader, inevitably to the place where human history began.”

We excited that the everrumble will be launched at the Flash Fiction Festival, UK on 28th-30th June where Michelle is running workshops, chairing a panel on Flash Around the World, introducing the latest Best Small Fiction anthology, and talking about flash fiction in New Zealand. And it will also be for sale from June from the Ad Hoc Fiction bookshop in paperback in several different currencies and in ebook formats from Kindle and Nook.

 

 

 

 

 

Poetry Shelf audio spot: Emma Neale reads ‘Affidavit’

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‘Affadavit’ was published in the most recent Poetry NZ Yearbook and also appears in To the Occupant.

 

 

 

Emma Neale is the current editor of Landfall. Her new collection, To the Occupant, with cover art by Nick Austin, has just been published by Otago University Press.

Otago University Press author page

 

 

Poetry Shelf noticeboard: The Divine Muses invites entries for NEW VOICES – Emerging poets competition 2019

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CLOSING DATE: 2 AUGUST 2019

Results to be announced at Divine Muses Poetry Reading on National Poetry Day, 23 August 2019.

Judge – Poet & Editor, Elizabeth Welsh

First Prize: $200 in Unity Book’s book tokens
Second Prize: $100 in Unity Book’s book tokens

The competition is open only to writers considered ‘emerging’ i.e. have not published one or more books (fiction, poetry, nonfiction) with a New Zealand or overseas publisher, and is a current or former undergraduate (BA, Hons, BSc, BComm etc) or Masters student attending The University of Auckland, Auckland University of Technology, Manukau Institute of Technology and Massey University (Albany Campus, Auckland only) or student or graduate of Blue Haven Writers Workshops.

To view the complete entry details go here to download the entry form.

Either opt to print the entry form and then choose save as a PDF or export as a PDF. When you open the PDF click on edit and then in the header section select “T add Text” and fill in the form, save and email your entry as per instructions provided.

This year’s Divine Muses Reading and the announcement of the winners will be held at the Central Library, Auckland CBD.

 

 

 

 

 

 

Poetry Shelf Classic Poem: Johanna Emeney picks Michael Jackson’s ‘Green Turtle’

 

Green Turtle

 

Sam smashes its head in

with the same sledgehammer

I used this afternoon

to ram our tent pegs home.

 

A hemisphere turns

turtle; Sonny hacks

its mildewed, sea-marbled

breastplate free.

 

It recoils from the sky.

Head lolls.

A flipper feebly pushes

Sonny’s knife away.

 

They empty

the long gray rope of its life

onto the sand by the thudding boat

that holds two more

 

And its carapace is a vessel

filled with a wine lake

in which clouds

float, birds fly, leaves fall.

 

Michael Jackson

From Walking to Pencarrow: selected poems Cold Hub Press (2016)

 

 

This poem was occasioned during Jackson’s one-year stay with a Kuku-Yalanji family in the Bloomfield rainforest. The butchering of the turtle was carried out by his host’s brother and brother-in-law, and it was an incident that clearly raised conflicts within Jackson, both cultural and emotional. It is described in his nonfiction books The Accidental Anthropologist (Longacre, 2013) and As Wide as the World Is Wise: Reinventing Philosophical Anthropology (Columbia University Press, 2016). Jackson includes the poem in the memoir and the textbook.

The speaker’s complete vulnerability to the experience (not openness, vulnerability) is one of the main things that makes the poem so powerful for me. The narrative position of the speaker is that of an outsider endeavouring to be respectfully uninvolved in the spectacle. The reader can feel his reluctance to place judgement on this cultural encounter. However, it impossible not to intuit the initial shock of the first lines and the reverence of metaphor describing the turtle—I see him almost like an old general being denuded of his armour when “Sonny hacks/its mildewed, sea-marbled/breastplate free”. The diction and imagery create a perfectly credible awkwardness and humility to the speaker in the face of the turtle’s brutal death.

The other aspect of “Green Turtle” that I find very powerful is the transcendence of the final image. The last stanza is a distillation of everything that has gone before, and, as an ending to the poem, is exquisite, raising the narrative recollection of the killing of the turtle to a lyric contemplation of this event in the scheme of things, especially within a Western, Christian model. Here, in the final lines, is the shell of the turtle, a vessel containing a blood-wine, literally reflecting the things of the world that go on as normal despite the creature’s violent death just moments before. With this ultimate image, the poet invites his readers to undertake their own reflection on humankind and nature, on life and death, on religion and culture. The poem ends with such opening out, and such unexpected beauty.

Johanna Emeney

 

Jo Emeney holds a PhD in Creative Writing, and has taught at Massey, Albany, for the past nine years. She also runs the Michael King Young Writers Programme with Ros Ali.
Jo read English Literature at Pembroke College, Cambridge, and then taught senior school English Literature for twelve years. She has written two books of poetry (Apple & Tree, 2011; Family History, 2017), and one nonfiction book on the topic of lyric poetry and the medical humanities (2018). She has just finished drafting a chapter for Routledge on Disability and Poetry.

Michael Jackson is internationally renowned for his work in the field of existential anthropology and has been widely praised for his innovations in ethnographic writing. Jackson has done extensive fieldwork in Sierra Leone since 1969, and also carried out anthropological research in Aboriginal Australia, Europe, and New Zealand. He has taught in universities in New Zealand, Australia, the United States and is currently Distinguished Professor of World Religions at Harvard Divinity School. His most recent books include The Varieties of Temporal Experience (2018), Selected Poems (2017), and The Paper Nautilus: A Trilogy (2019). Cold Hub Press author page.

 

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Poetry Shelf noticeboard: 10 Questions with Paula Green at MUP website

full piece here

I have barely touched on all the women poets I loved in these 10 Qs – it took a fair chunk of pages in Wild Honey and even then I didn’t have enough room. When I went to university I longed for an essay with enough room to go deep and wide so I stayed until I could write a PhD thesis. Now it is time for little tiny secret things.

I am so delighted to be celebrating the book with some of the poets at events in August and September. Watch this space!

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Q1: Now that Wild Honey is off to print, are you feeling proud of it?

Yes, a thousand times yes. But also a tad anxious.

 

Q2: It’s a huge book and it’s been a monster project. Where did the idea for it first come from?

My university degrees considered Italian women writers, but when I left university I focused on my own poetry. I carried the Wild Honey seed from those days because New Zealand women poets felt like an unwritten story. All roads — my university life and my poetry life — led to Wild Honey.

 

Q3: How long has it taken you?

Four years writing and researching, but decades germinating.

 

Q4: It must have been a massive process of discovery. Tell us about one poet you are pleased to have come across and to have shone a spotlight on?

There were so many discoveries. Familiar poets appeared in surprising new lights as I lingered over their work, such as Fleur Adcock, Robin Hyde, Ursula Bethell, Nina Mingya Powles, Karlo Mila, Hinemoana Baker, Tusiata Avia, Alison Wong, Fiona Kidman, Emma Neale, Anna Jackson. I wanted to write whole books about each poet. I loved the work of Evelyn Patuawa-Nathan, unfamiliar to me, but was disappointed I could find only one book published in 1978. I wanted more!

Shining a light on Blanche Baughan was a delight. At first her poetry felt impenetrable, but then as I spent time in the archives, and her biography unfolded, her poems sang for me. She wrote from both heart and intellect, daring and empathy. Her extraordinary life story hides in traces in her poems as do her strong political ideas.