Author Archives: Paula Green

Karlo Mila’s ‘Moemoea (Composed for Poets for Ihumātao)’

 

Moemoea (Composed for Poets for Ihumātao)

I have a dream….
Not a Martin Luther King dream
more of a waking life dream
where you’re in a parallel universe movie of your own making.

In my dream,
Jacinda is walking in knee high gumboots
the tall, skinny, expensive kind
you used to have to order from Great Britain
and that I could never pull over my big Tongan calves.

She is wearing a red, red raincoat,
not like a Kathmandu one with a zip.
It’s more of a cape,
fire-truck red, lipstick red, Labour party red.
More of a red-riding hood cape
and it is billowing in the whipping wind.

And the way she struts it could be a Horse Polo ad
but it’s not, cos she and her gumboots
are on the whenua at Ihumātao
and she’s not walking alone,
flanked, either side is Nanaia, Kiritapu, Willow-Jean
and Louisa who has the reddest lipstick of them all.
They all have knee high boots and red jackets
and there is Carmel, taller than the rest,
even though her boots are flat,
who used to rent our family home.
And there is Jenny, with a red flower behind her ear,
who used to be married to my ex-husband.
And there is ‘Anahila, my mate,
with her righteous Tongan afro, and Poto too.
And in my dream the soundtrack is Beyonce playing
“Who rules the world? Girls!”
And behind them is Jacinda’s baby-daddy
pushing Neve Te Aroha in an expensive water proof pram
which is just as well, cos there is thunder and lightning
as these women walk.
And it strikes me that he is the perfect,
mana-ful, woke male.
The lips of all these women are pursed.
Not like in selfies, but like they are purposeful.
And in my dream they are walking in slow mo
and Marama is there in her reggae beanie, laughing,
saying, what took you fellas so long.

In my dream,
Jacinda has read Dr Rawiri Taonui’s article
and as her plane landed on the Auckland tarmac
she thought for the first time
about all the bodies, all the bones, the koiwi
the ancestors who had to give up everything,
a clean awa, their land, kai moana, unpolluted ocean,
who had to give too much to the city of Auckland,
even their graves.

I dream Jacinda truly felt
that this history stinks like sewage
as she drove into the shit-show
that has been the water treatment plant.
And she visibly flinched when she saw the Proclamation
issued by corrupt Governor Grey
with his fake news about dangerous attacking natives
as he coveted Waikato-Tainui having the best land, flour mills, most fertile export businesses,
and imported and gathered 16,000 British imperial and colonial troops
telling the natives to surrender,
or they’d be ejected.

I hope she knows
the archeologists say
this is an OG settlement place
Where to quote Alice Te Punga Somerville
where Māori
“Once were Pacific”
and evolved, over centuries,
Right here,
from us
into them.
And I’m waving a Tongan flag
at this small way that we are connected
and in my dream
Pita Turei is not comparing me to Captain Cook
for doing this, but he’s down there on the atea
saying ‘haere mai’ Jacinda,
and he looks so beautiful,
with his feathers in his hair.

And in my dream, at this very moment
he turns into a bird
and then he is joined by an army of kahu
from Okahu Bay
a whole field full of black hawks
with surveyors pegs in their beaks
and a burning papa kainga in their eyes.
And yeah, maybe, a park for all New Zealanders
is not enough, although it was gifted generously after the occupation of Bastion Point.
And there are overlapping interests here
not just the fact that blood joins
in so many mokopuna,
but cos the kaupapa of Tino Rangatiratanga
is an overlapping interest.
And even Paul Majurey says, tautoko.

And then all the maunga are there,
cos Pihanga led the way
and just like Pania
she’s quite the mountain.
It’s Mana Wāhine on display
and there’s the red line up of women
walking in the mud
and I don’t know where Willie, Kelvin and Peeni are
but it’s my dream and I don’t need to know.
Willie is def not doing the fingers at the crowd
behind the glass doors at Parliament, like I saw him do last week.
Just cos men who have had their children taken by the state heckled him.
And to be honest
I’m sure uplift kaupapa is over,
it’s time for uplifting.

And in my dream, all the boots on those women
are now thigh high and they are all wearing
ei katu of red flowers
made by my friend Ta’i,
cos it’s Cook Islands language week
and cos every woman looks more beautiful in an ei. Everyone.
And they are saying Kia Ora, Kia Orana.
And I am looking at Pania, Qiane, Amiria and the cousins.
Rihanna is singing, shining bright, bright like a diamond,
but not a blood diamond.
And Qiane says: “We don’t speak on behalf of Mana Whenua. We are Mana Whenua.”
And there is a sign in the sky,
not a tōhu but a billboard
and it says,
“Aotearoa, New Zealand. This LEADERSHIP is in dispute.”
And there are one hundred thousand likes on Facebook
and laughing, dancing GIFS and
emoji’s with love hearts in their eyes.

And then suddenly it is silent
and in my dream Jacinda stops
and takes off her gumboots
and is barefoot, skin to land,
and tears stream down her face
and she says, I can hear it,
I can feel the whenua singing.

Once you know it,
you cannot unknow it.

We do not hurt the things we love.

And in amidst that magic,
somewhere online
a give-a-little page
has gone viral
and people are buying back
Ihumātao, square metre by square metre,
and the soundtrack is playing Midnight Oil
and the donations pour in
Asians for Tino Rangatiratanga
the Muslim community
the Tongan church congregations
who give more than they can afford
because that’s how we roll
and the amounts are printed online
and even Don Brash donates because,
no he doesn’t, because not even in a dream!
But nobody cares,
because he is old news
and now girls rule the world.
And Jacinda stands up and says
to the international community
This is a win for climate change.
This is a win for indigenous people everywhere.
This is a win for community.
This is a win for New Zealand.
This is a win for Auckland.
This is a win for the whenua.
The soundtrack is playing ”We are the people”
by Louis Baker.
And even Tina Ngata says,
she did better than Helen Clark.
And on TV
beautiful Kanoa Lloyd
rapturous in red
sits there
queen of the prime time universe
and with a smug side-eye at her colleagues
she interviews Joe Blogs
from the heart of Remuera
about why he gave a little
and then he explains
that after coming to the whenua himself
and taking the tour with Pania
and reading about the history
he finally understood
that the people of Ihumātao
had given enough
to make Auckland great.

And it was time to stop taking.

Or living off the back of benefits
Of unjustly taken land.

It was time to give a little back.
He said. Actually, it was time
to give a lot.

And somewhere,
in Tāmaki
all the birds waiting
with surveyor pegs
in their mouths,
both extinct and living,
spat them from the
choke in their throats
and the black hawks
began to sing.

And all the people everywhere,
who can hear the dawn chorus of the dead,
locked in psychatric wards and prisons cells,
began to hum a happier tune
instead of feeling lament.

And somewhere,
Te Whiti, Tōhu, Te Kooti, Rua, Rewi, Tāwhiao,
Eva, Whina, Ngāneko and all the ancestors,
began to sing.
Knowing now,
the tongues of birds.

And us ordinary ones,
without the gifts of sight or sound,
if you listen carefully
you can catch a fragment
of that waiata,
you can hear it
in the refrain of
Rob Ruha’s new song,
and it
sounds like
freedom.

 

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Karlo read this poem last night at Poets for Ihumātao – on the whenua.

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Poetry Shelf Monday Poem: Jess Fiebig’s ‘Summer’

 

Summer 2016

 

that summer was heavy, thick

I felt myself weighted,

struggling to move through air

it was underwater with open eyes

breathless and pressurised

seeing everything through

the blur and sting

of sea water

 

my new breasts were tight and hard in my chest,

and I had to sleep on my back for the first time;

my body was an unfamiliar collection of bones,

brittle as shells, and freshly bleached hair.

 

it was an achingly empty summer,

it was bitten, itchy skin,

damp thighs rubbing on denim,

it was bare chested and freckled,

salt licking new scars

 

it was the season of lemons

softening in the bowl,

damp fur, and fingernails bitter and green

from tearing and linking

daisy stems

 

it was clotted black blood, sprinklers,

strawberries and razorblades,

it was warm, long nights alone

 

it was the summer of the 6 am hate poem,

the first summer the soles of my feet

grew thick and hard

and as I watched shadows stretch

and felt cool wind come off the water,

it was the summer

I fell in love with

myself.

 

Jess Fiebig

 

 

Jess Fiebig is a nationally-recognised poet, educator and performer living in Otautahi/Christchurch, New Zealand. Her writing has featured in journals such as Aotearotica, Catalyst, Landfall, takahē, Turbine, Poetry New Zealand Yearbook and Best New Zealand Poems 2018. Jess was commended in the 2017 and 2018 New Zealand Poetry Society International Poetry Competitions and was highly commended in 2019 Sarah Broom Poetry Prize. Her poetry explores themes such as madness, sex, love, family violence, friendship, drugs and dislocation. Jess teaches creative writing and is a tutor at the Christchurch School for Young Writers.  Jess’s website.

 

 

 

 

Poetry Shelf noticeboard: Victoria University announces second Emerging Pasifika Writer’s Residency

Victoria University of Wellington’s International Institute of Modern Letters (IIML) is delighted to announce the second Emerging Pasifika Writer’s Residency for 2020.

2 August 2019

The Residency, which includes a writing room and a stipend of $15,000, will run for three months during the first half of 2020. Applications are open now.

Current Resident, playwright Leki Jackson-Bourke says, “Where I come from, writing isn’t really a ‘thing’. Being here at the IIML as the Inaugural Emerging Pasifika Writer in Residence dispels that myth. It has been such a luxury to have extra time, space and resource—and being away from my community has given me time to reflect on how important it is for us to champion and write our own stories. We must tell our truth, before someone else does.”

The Residency is unique in offering the chance to work in a stimulating, established community of writers, with a mentor from the Pasifika arts community. Leki’s mentor, renowned playwright Victor Rodger says, “As well as close involvement with his own writing, the mentorship has given Leki the chance to encounter works which have challenged, provoked and expanded his frame of reference and which, I believe, will help his development as a writer.”

 

 

details here

 

 

 

Poetry Shelf audio spot: Tracey Slaughter reads ‘She is currently living’

 

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‘She is currently living’ appears in Conventional Weapons, Victoria University Press, 2019

 

 

Conventional Weapons is Tracey’s first full poetry collection but she has been publishing poetry for over two decades. She was the featured poet in Poetry NZ 25 (2002) and has published Her body rises: stories & poems (2005). She has received multiple awards including the international Bridport Prize in 2014, a 2007 New Zealand Book Month Award, and Katherine Mansfield Awards in 2004 and 2001. She also won the 2015 Landfall Essay Competition, and was the recipient of the 2010 Louis Johnson New Writers Bursary.

 

Poetry Shelf reviews Conventional Weapons.

Victoria University Press author page

 

 

 

 

Poetry Shelf in conversation with Amy Leigh Wicks

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Who doesn’t hope

for a fishing net

to come heavy

from the water with

an old locked box

caught in the net?

 

from ‘Loretta’

 

 

Amy Leigh Wicks holds a PhD from the International Institute of Modern Letters at Victoria University. Originally from New York, her debut collection Orange Juice and Rooftops appeared in 2009 while her poetry has also appeared on The Best American Poetry blog and in several local journals. She lives in Kaikōura with her husband.

Amy Leigh’s new collection The Dangerous Country of Love and Marriage is an intricate weave of themes, motifs, forms and sound effects that offers much for the reader. Strangeness and discomfort sit alongside beauty and soul searching as a woman writes between her birthplace and her new home. The enigmatic gaps in the narration are counterbalanced by sumptuous detail, exquisite images, tiny admissions; the melodic lines build both the music of place and the music of character. As much as it is a physical world marked by mountains, oceans, anchors and salt, it is an abstract world marked by conversations with God. It is a collection that has stuck with me.

 

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Amy Leigh Wicks, The Dangerous Country of Love and Marriage, Auckland University Press, 2019

 

Paula:  When did you first start reading and writing poetry?

Amy Leigh:  I remember coming across a box in my grandparent’s attic when I was about seven.  The box was filled with mostly handwritten poems by my Grandma.  They mostly rhymed, and her writing was in cursive, so I couldn’t make out all the words. I felt I had found a treasure box.  Later, I locked myself in Grandpa’s office and emerged however many hours later with a poem I’d written that I gave to Grandma.  She cried a little when I read it aloud to her, and took me out for an ice-cream sundae, which was as good as winning the lottery as far as I was concerned.

 

Paula: Oh what a wonderful memory. Were there any poetry turning points and/or epiphanies between that young girl writing and your recent collection?

Amy Leigh: A whole sky full of stars map the journey between little Amy Leigh writing and this collection.  The epiphanies and turning points are bright pinpricks against a darker subconscious, and the constellations that I see, clear as Orion, are comprised of poems, lectures, exhibitions, drawings on napkins.  Reading Nikki Giovanni’s poem Ego Tripping in high school alongside Shakespeare’s sonnets; sitting in Lorene Taurerewa’s Brooklyn studio as she described walking to school beside the barefoot James K. Baxter in Whanganui; working on sestinas and villanelles with locals in Kaikōura after the 7.8 earthquake: these are some of the influences that shape the way I read and the way I write.

 

The house is quiet and then the sound of bees

gather at my head. Will you let me be swallowed

by this? Another wave, another scalloped

rim of water on top of quiet water.

 

from ‘Impasse’

 

Paula: Your new collection weaves multiple themes and poetic effects. I view it as both a long narrative poem and a sequence of intensely connected pieces. What do you like your poetry to do?

Amy Leigh: When selecting poems for this collection, I wanted the reader to be able to let the book fall open and read a single poem without feeling they’d missed something vital. I also wanted a cover-to-cover reading to feel like one unfolding narrative that moved forward in time and backwards through memory in order to recover things that may have been lost along the way.

 

When the roof is pried from

the house and I am a sardine

(blinkless before you)

 

what will you say to me?

I see your hills, and yes,

every night a different

sun leaves slamming the door,

rattling the handle behind it.

 

from ‘Psalm III’

 

 

Paula: At times it felt like poetry as prayer. Did it ever feel like that to you?

Amy Leigh: Very much.  The sestinas offer a sort of liturgical reprieve, and Epiphany deals directly with the uncertainty and catharsis of prayer—‘it was just me, alone with the bruise/ of a bad decade, finally asking toward the sky/ for a little help, shuddering ugly tears until/ I was dry in the silence of an answer I’m still/learning to understand.’

 

expatriate

 

it is like heaven

here and every

where else too

but some sad

-ness hangs in

the air and I do

not know if I

carried it or of

it carries me

 

Paula: I am drawn to the way the collection layers the strange, unknowable and the unsettling within the context of a marriage and multiple homes. Does it make a difference where you are when you write?

Amy Leigh: Yes, I believe it does.  I’ll write where I am, regardless of the environment, but Kapiti Island at sunset in Plimmerton, wooden tables cluttered with tea cups at writing group in Kaikōura—these things affect my writing the way altitude, rainfall, and sunlight affect the flavour profile of a coffee bean.

 

Where else is there to go once I’ve got

paper, a new pencil with a green eraser

and half a peanut butter and jam sandwich? If

I could erase one year of my life

what would fill the hole? (..)

 

from ‘August’

 

Paula: How much of yourself do you let into the sequence and how much do you hold at arm’s length? In some ways I see the poems as both losing and finding things (including self).

Amy Leigh: While the poems in this collection are based on happenings in my life, the only confessional elements of the work that I’ve retained, are those elements that feel necessary to the advance the poem, or the collection. I have kept and discarded facts intentionally while putting this book together, in an attempt to perform the artist’s task as Louise Gluck describes, which ‘involves the transformation of the actual to the true.’

 

Paula: I have many favourites (‘Psalm II’, ‘Psalm III’, ‘Water Song’, Psalm X’, ‘Log No. 4’) but which poem particularly resonates for you? In either subject matter or resolution?

Amy Leigh: It depends on the day for me. Usually my favourite poem is the one I’ve just finished writing, until a bit of time goes by and I can look at it more objectively and less like an offspring of mine that needs nurturing. At the moment I’m fond of ‘Remnant’.  Just a little poem, but it makes me smile to be sharing a personal revelation that I find a little embarrassing in such a public way.

 

Remnant

 

Once I said, I want

to be a lawyer, a doctor,

and a ballerina—

 

I woke twenty years later

writing these poems.

 

Paula: Are there any poetry books that you have read in the past year or so that have particularly mattered?

Amy Leigh:  I’m reading Sugar Magnolia Wilson’s Because a Woman’s Heart is Like a Needle at the Bottom of the Ocean at the moment.  I met her at a reading in Wellington recently, and I felt as if someone had filled the room up with champagne while she read her work and we were all floating in it. Her voice and her words had this incredibly soft effervescent quality. Then when I held the book in my hands and let it fall open (which is what I like to do first before I begin reading a collection from start to finish) I opened to Full moon celebrations and I thought, this is really something.  To feel such resonance and joy at reading a stranger’s words is an incredible thing.

 

Paula: What do you love to do when you are not writing?

Amy Leigh: I love to dance and cook, and paint, although not usually at the same time. I also love to curl up with a stack of books on a rainy day, but if I’m not careful, before long I end picking up my pen and notebook.

 

Auckland University Press page

 

 

 

 

 

Poetry Shelf noticeboard: Stephanie Burt in conversation with Valerie Duff-Strautmann

Listen here

 

STEPHANIE BURT IS MANY things: poetry co-editor at The Nation, transgender activist, Guggenheim Fellowship recipient, the author of many books on literary criticism, which include, but aren’t limited to, Close Calls with Nonsense and The Poem Is You. Burt has a new book out called Don’t Read Poetry — not the title you might expect from someone (poet, literary critic, Harvard professor) who has devoted her life’s work to reading and writing poetry and reading and writing about poetry. The book is for those who are already reading poetry as well as for potential readers of the genre, but she is particularly interested in the latter — those who have avoided poetry or decided they hate it after being instructed to like a particular kind of poem. Burt is interested in having readers come to poems as “fan favorites” rather than as works in a professional hierarchy. Don’t Read Poetry might as easily have been called Read Many Poems, since Burt gives her readers a broad selection, helping them find a poetic niche or find their way back to poetry, perhaps after a long estrangement.

Don’t Read Poetry is divided into basic categories (Feelings, Characters, Forms, Difficulty, Wisdom, Community) so the reader can make sense of various poems’ raison d’être; ultimately, the book flows like a mixtape with the categories as organizing principles, reliant on each poem’s authenticity and voice. Burt’s intentions are clear from her introductory comments: “This book […] gives not just ways to read poems but reasons to read them, and ways to connect the poets and poems of the past, from Sappho and Li Bai to Wordsworth to some poems being written right now.”

We discussed Don’t Read Poetry over coffee in Belmont, Massachusetts, where we both live.

Poetry Shelf noitceboard: Lani Wendt Young’s NZBC talk

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Beloved Samoan author Lani Wendt Young presents an evocative talk on reading and writing in the digital age. Brought to you by NZBC.

About this Event

Join us for Stories from the Wild: Reading and Writing in the Digital Age, a brave and personal talk on the growth of Pasifika literature and how digital technologies are disrupting traditional publishing and offering new opportunities for both readers and writers.

Held in Wellington High School’s character auditorium, Stories from the Wild: Reading and Writing in the Digital Age will be delivered with Lani Wendt Young’s distinctive honesty, humour and passion.

Transport to the event is available via the number 3 bus, which stops outside the school on Taranaki Street. Follow signs from Taranaki street to the auditorium.

Parking is available in the both the Massey University and Wellington High School car parks – entrances on Taranaki street.

The auditorium has wheelchair access and gender-neutral bathrooms.

We look forward to seeing you there!

“To delve into what it means to be a reader in the digital age, we must first talk about what it was like before.