Author Archives: Paula Green

Entries now open for the Peter Porter Poetry Prize

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The Peter Porter Poetry Prize
(now worth $8,500) is open!

Australian Book Review welcomes entries in the fourteenth Peter Porter Poetry Prize. The Porter Prize, which is worth a total of AU$8,500, is open until 3 December 2017.\

The Porter Prize is one of Australia’s most lucrative and respected awards for poetry. It honours the life and work of the great Australian poet Peter Porter (1929–2010), an honoured contributor to ABR for many years. All poets writing in English are eligible to enter.

Judges: John Hawke, Bill Manhire, and Jen Webb

First Prize: AU$5,000 and Arthur Boyd’s etching and aquatint The lady and the unicorn, 1975
Second Prize: AU$2,000
Three other shortlisted poets: AU$500 each

Poems must not exceed 75 lines and must be written in English.

Deadline for entries is 3 December 2017

Click here for more information about the 2017 Porter Prize or to enter online.

Before entering the Porter Prize, all poets must read the Terms and Conditions.

Please read our Frequently Asked Questions before contacting us with queries about the Porter Prize.

Click here for more information about past winners.

 

More information

Contact Darren Saffin at Progressive PR and Publicity on (03) 9696 6417 or darren@progressivepr.com.au

2017 Prime Minister’s Awards for Literary Achievement announced

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Paula Green, Peter Simpson (photo: Marti Friedlander), Witi Ihimaera.

 

 

Creative New Zealand has announced the winners of the 2017 Prime Minister’s Awards for Literary Achievement. They are internationally renowned Māori novelist Witi Ihimaera, literary historian and fine arts writer Peter Simpson and popular poet and children’s author Paula Green.

Each will be awarded $60,000 in recognition of their outstanding contribution to New Zealand literature. Witi Ihimaera will be honoured for fiction, Dr Peter Simpson for non-fiction, and Dr Paula Green for poetry.

Arts Council Chair Michael Moynahan said, “Our congratulations to this year’s recipients who are being recognised for their extraordinary legacy of literary achievement. As leaders in their respective crafts, they have engaged New Zealand readers with their story telling and have inspired other New Zealand writers to build on their literary legacy.”

The awards will be presented at a ceremony at Premier House in Wellington, on Wednesday 9 August. The 2017 Creative New Zealand Michael King Writer’s Fellowship winner, Dr Philip Norman, will also be honoured at the ceremony.

The Prime Minister’s Awards for Literary Achievement were established in 2003. Every year New Zealanders are invited to nominate their choice of a writer who has made a significant contribution to New Zealand literature in the genres of non-fiction, poetry and fiction. New Zealand writers are also able to nominate themselves for these awards.

Nominations are assessed by an expert literary panel and recommendations forwarded to the Arts Council of Creative New Zealand for approval.  This year’s selection panel was Rachael King, Nicola Legat, David Eggleton and Briar Grace-Smith.

A full list of previous recipients can be found on the Creative New Zealand website.

The Creative New Zealand Michael King Writer’s Fellowship is open to established writers of any literary genre who have already published a significant body of work. Valued at $100,000, it is awarded annually for a project that will take two or more years to complete.

 

Creative New Zealand and Unity Books invite you to a free literary event

The recipients of the 2017 Prime Ministers Awards for Literary Achievement will read and discuss their work with author Kate De Goldi.

This is a free event at Unity Books, 57 Willis Street, Wellington on Thursday 10 August, 12.30-1.15pm. All welcome. More info: http://bit.ly/2uD2ATe

 

For media enquiries, please contact:

Jasmyne Chung
Senior Communications & Advocacy Adviser
Creative New Zealand
jasmyne.chung@creativenz.govt.nz
M: 027 838 8868 | DDI: (04) 498 0727

 

 

2017 Prime Minister’s Award for Literary Achievement – Fiction

Witi Tame Ihimaera-Smiler, DCNZM, QSM (Te Aitanga-a-Māhaki, Auckland, born Gisborne)

Born in Gisborne, Witi Ihimaera is a novelist, short story writer, filmmaker, anthologist, librettist and playwright. He is of Te Whānau a Kai, Te Aitanga-a-Māhaki, Rongowhakaata, Ngāti Porou and Tūhoe descent. He has the distinction of being the first Māori writer, in 1972, to publish both a book of short stories and a novel. His novel, The Whale Rider, became an internationally successful feature film and Māori Boy: A Memoir of Childhood won the General Non-Fiction Award at the 2016 Ockham New Zealand Book Awards. His most recent books are Black Marks on the White Page, co-edited with Tina Makereti, and Sleeps Standing, with te reo translation by Hemi Kelly, about the Battle of Orakau.

Regarded as one of the world’s leading indigenous writers, Witi has held numerous writing residencies and fellowships. He holds an Honorary Doctorate from Victoria University of Wellington, and in 2009 he was honoured as an Arts Foundation of New Zealand Laureate as well as the supreme Māori arts award Te Tohu mō Te Arikinui Dame Te Atairangikaahu at the Creative New Zealand Te Waka Toi Awards. He was named a Distinguished Companion of the New Zealand Order of Merit in 2004. Last month the French Government appointed him a French Knight of the order of arts and letters (Chevalier de l’ordre des Arts et des Lettres) for his contribution to literature.

The selection panel described Witi as one of New Zealand’s most important post-colonial writers, who has consistently proved to be an outstanding storyteller, celebrated as a voice for Māoritanga and a literary leader.

 

2017 Prime Minister’s Award for Literary Achievement – Poetry

Dr Paula Green, MNZM (Auckland)

Paula Green is a poet, reviewer, anthologist, children’s author, book awards judge and blogger. She has published ten poetry collections, including several for children. In 2017, she was admitted to The New Zealand Order of Merit for Services to poetry and literature.

Paula has also co-edited a number of highly regarded anthologies, including 99 Ways into New Zealand Poetry, with Dr Harry Ricketts, which was short-listed for the 2010 NZ Post Book Awards. She runs two influential poetry blogs, NZ Poetry Box and NZ Poetry Shelf, and has been a judge for the NZ Post Book Awards, the NZ Post Secondary School Poetry Competition, and the inaugural Sarah Broom Poetry Prize in 2014.

Her recent publications include a collection of her own poems for children, The Letterbox Cat and Other Poems, which won Children’s Choice at the 2015 NZ Book Awards for Children and Young Adults, and an anthology of children’s verse, A Treasury of NZ Poems for Children. Her latest adult collection, New York Pocket Book, was published in 2016.

Paula has a Doctorate in Italian and was Literary Fellow at The University of Auckland (2005). She is a regular guest in New Zealand literary festivals and frequently performs and undertakes workshops in schools from Year 0 to 13.

The selection panel said Paula stood out amongst the nominees for this year’s Prime Minister’s Award for Literary Excellence in Poetry as an accomplished all-rounder, with special distinction as an author of children’s poetry. They described her as “a significant figure in New Zealand poetry as an anthologist and commentator” and as a leading poet.

 

2017 Prime Minister’s Award for Literary Achievement – Non-fiction

 

Dr Peter Simpson (Auckland, born Takaka)

Peter Simpson is a writer, editor, critic, curator and academic who has been writing about New Zealand literature, art and culture for more than 50 years. His first book, on Ronald Hugh Morrieson, was published in 1982; since then he has published eight sole-authored books, edited 12 other books, made substantial contributions to 25 other titles, published more than 100 articles in journals in New Zealand and overseas, and scores of reviews in newspapers, periodicals, scholarly journals and online.

He has taught at several universities in New Zealand and Canada between 1964 and 2008. Peter was co-founder and director of Holloway Press, 1993 -2013, publishing some 40 books. He has curated six exhibitions on Leo Bensemann and Colin McCahon for Hocken Collections, Auckland Art Gallery, Christchurch Art Gallery, Lopdell House Gallery and New Zealand Portrait Gallery.

Peter was awarded the 2012 Creative New Zealand Michael King Writer’s Fellowship. The book written during that Fellowship, Bloomsbury South: The Arts in Christchurch 1933-1953, was shortlisted for the illustrated non-fiction category of the 2017 Ockham NZ Book Awards.

The selection panel said Peter’s many books and other writing attest to his ability – both as a literary historian and as a writer on the fine arts – and that he has contributed significantly to the nation’s literary culture over many years.

2017 Michael King Writer’s Fellowship

 

Dr Philip Norman, CNZM (Christchurch)

Award-winning author and composer Dr Philip Norman has compiled three editions of the Bibliography of New Zealand Compositions, including biographies of some 120 New Zealand composers and descriptions of 4,000 of their works.

He has co-authored, edited or contributed to numerous other books and publications on New Zealand music. From 1980-1991 he was the principal music reviewer for The Press in Christchurch, writing more than 700 reviews.

In addition to being a writer Philip has composed more than 250 works, from orchestral, chamber music and opera through to choral works, musicals and ballet. He composed music for Footrot Flats, New Zealand’s best-selling musical, and for the Royal New Zealand Ballet’s successful Peter Pan, which is shortly to receive a repeat season in Perth, Australia.

About the Michael King Fellowship 2017:

The $100,000 Michael King Fellowship has been awarded to Dr Phillip Norman to create a history of New Zealand composers and their work from the start of European settlement to present day. Philip will use the fellowship to complete a lifetime of work studying New Zealand classical music identifying influential composers, works and performances, and tracing key developments through the decades.

 

2017 National Poetry Day calendar launched

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2017 CALENDAR OF EVENTS IS LAUNCHED!

To celebrate its 20th anniversary, Phantom Billstickers National Poetry Day offers its most ambitious and wide-ranging programme of events yet.

This year’s packed programme features more than 100 dynamic and accessible events, workshops and competitions, featuring acclaimed poets, new voices, young writers, and poetry enthusiasts. From Slam Poetry to sonnets, from stages to pavements, poetry will be created and enjoyed in a myriad of venues around the country: cafes, bars, schools, university campuses, community centres, retirement villages, marae, libraries and theatres – as well as on buses, trains and ferries.

For full information about all events, including places, venues, times, tickets and more, go to the Phantom Billstickers National Poetry Day 2017 Calendar of Events.

Poetry Shelf Winter Season: Liz Breslin off-piste

 

The way things are

 

When they’re going to give you medals they send you a letter.

When you go to get them you’ll be treading on old ground, though you won’t know it by your feet.

When you stand and salute you must keep your fingers straight, you must remember the promises you made. When they give you the medals it is symbolic, the freedom, the keys.

When I Skyped my Ma she said there are different things that the medal boxes say. Your babcia was in the Home Army and then there was a national medal, now, I’ve forgotten what it was and then that little booklet with the President’s stamp but they were different and the national armed military action medal and the cross of the Warsaw Uprising and krzyzem is cross but the grammar is different, it means with the cross, they’ve got different endings and we found two separate cross pins in a little plastic bag so we put them in the empty box and I showed them to people

when they came after she died because that’s what you do and I forgot to say, with the photos, match the booklet to the medals, because that’s how you do it, that’s the only way, I wouldn’t know otherwise, she never told me either. I wonder if it’s the key that’s missing, I don’t have an actual memory of seeing it. It clearly isn’t an actual key that opens an actual door because there’s clearly no such thing in an actual city. She could’ve had a lot of free bus rides with that card.

When my babcia did that interview, that once, she said and now that people are celebrating this Uprising, I think to myself was it really worth it, to pay such a price? And what for? What for? For we didn’t gain anything substantial, anything real.

 

©Liz Breslin

 

Author note: This poem was a departure for me because I usually obsess over line endings and over having less words doing more, whereas here I’ve tried to capture language as faithfully and actually and unravelled-ly as I could. It’s also new for me to allow myself prosey line endings. It used to bother me that I wasn’t quite sure what was flash fiction and what was prose and what a poem and now I’ve decided it’s whatever. It’s the way the words settle true.

Liz Breslin doesn’t know the difference between rhyme and reason but she can write her way out of a paper bag. Her first poem collection, Alzheimer’s and a spoon, is out now, thanks to Otago University Press. She also writes plays, short stories and a fortnightly column – Thinking Allowed – for the Otago Daily Times. Liz is comfy on the page and the stage, came third in the 2016 Charles Causley International Poetry Competition and was second runner up in the 2014 NZ Poetry Slam. Her website is here.

 

From Paula: For Poetry Shelf’s Winter Season, I invited 12 poets to pick one of their own poems that marks a shift in direction, that is outside the usual tracks of their poetry, that moves out of character, that nudges comfort zones of writing. It might be subject matter, style, form, approach, tone, effect, motivation, borrowings, revelation, invention, experimentation, exclusions, inclusions, melody …. anything!

 

 

 

 

 

 

Poetry Shelf Winter Series: Jack Ross off-piste

 

Never give up

when you

get home after an undisclosed

absence abroad (say seven days)

to find your life in

chaos wife in hospital note

in red ink left on

the coffee table explanations given

gratis by your father who

can’t hear the doorbell nor

is he aware of any

of the names of any

of the main protagonists it’s

a rainy night and nothing

for it but to drive

to the hospital (wherever that

might be) and fight for

parking in the truncated parking

zone – crowded out by their

new building – make your way

to the curtained alcove hone

in on the source of

disturbance see her hear her

voice breathe deeply understand the

cat’s hysterical reaction but transcend

it hug her tell her

about the presents you’ve brought

back for her leave her

behind eventually having been seen

(not moved) by the doctors

then go home

to sleep

 

Jack Ross

 

Author note: This poem, ‘Never give up,’ seems to fit best into your category of ‘poems off-piste.’ It’s a pure transcript of experience, written at a time in which all the poetry I came out with seemed to demand elaborate amounts of scaffolding to make any sense at all.

Alistair Paterson printed it in Poetry NZ in 2012, and it’s also available online on a website linked to one of my fiction projects, The Annotated Tree Worship (forthcoming later this year). He queried the use of the word ‘hone’ – as in to ‘hone in’ on something – suggesting ‘home in’ instead. I kept on hearing ‘hone’ in my head, though, and so stuck to the immediacy of my first impression.

I feel that there’s a lesson there somewhere, though I’m not quite sure what it is: keep on cutting back on the undergrowth and be faithful to the actuality of experience, I suppose.

 

Jack Ross is the managing editor of Poetry New Zealand, and works as a senior lecturer in Creative Writing at Massey University’s Auckland Campus. His latest book, The Annotated Tree Worship, is due out from Paper Table Novellas in late 2017. He blogs here.

 

From Paula: For Poetry Shelf’s Winter Season, I invited 12 poets to pick one of their own poems that marks a shift in direction, that is outside the usual tracks of their poetry, that moves out of character, that nudges comfort zones of writing. It might be subject matter, style, form, approach, tone, effect, motivation, borrowings, revelation, invention, experimentation, exclusions, inclusions, melody …. anything!

 

 

 

 

 

Johanna Emeney reviews Jenny Powell’s memoir at Landfall online

Full review here

 

The Case of the Missing Body, while also on the subject of living with pain/disability, is an entirely different book to The Walking Stick Tree. It contains scientific writing, poetry and, predominantly, prose, to tell the story of a woman regaining the capacity to connect with herself physically.

Powell uses the pseudonymous Lily in the prologue of the book to introduce us to the central character (who will be ‘I’ throughout the book). From childhood, Lily has had a proprioceptive deficit and joint hypermobility syndrome, which, combined, and not properly identified or treated in her youth, have caused her considerable pain and distress. Now in mid-life she is anxious, lacking in confidence and, admirably, desirous of change: she joins a gym and employs a personal trainer.

 

 

 

 

 

Hera Lindsay Bird’s interview with Cordite’s Jonno Révanche

For the complete interview see here.

Jonno Revanche: One of the things that stands out from your poetry collection is not just how funny it is, but it’s a very precise kind of humour, one that allows for introspection, sentimentality and emotional involvement. For example, in ‘mirror traps’ you declare it’s ‘love that plummets you down the elevator shaft.’ Sort of blunt, but still honest and witty in its own way. Do you find it hard to accommodate all these things? If so, do you feel like it took a lot of practice to get there?

Hera Lindsey Bird: This is a hard question to answer because it’s so second nature to me now, and I don’t mean to sound like I’m dashing off poems while laughing in a stolen Cadillac, but that particular hybrid of humour with a base of emotional honesty or engagement is almost all I care about in writing these days. There was a period when I first started, and I was writing a lot of controlled, aesthetically rigid poems but I quickly became bored of that, and when I get bored I get reckless, and when I get reckless I send a lot of joke poems about oral sex to my masters supervisor. But most of the work was admitting to myself what kind of writing I truly had the energy and enthusiasm for, and giving myself permission to write that way. My favourite writers in every genre always straddle the line between comedy and emotional engagement, George Saunders, Chelsey Minnis, Mark Leidner, Frank O’Hara, Lorrie Moore. It was just a matter of admitting that to myself, and then hot-wiring Cadillacs became a lot easier. I never write well when I’m sombre. Even my greatest personal tragedies I like to turn into a joke, which might be a personal failing but I don’t think has been a poetic one at least.

Poetry Shelf Winter Season: Chris Price off-piste

 

Six Thinkers

 

Six thinkers

 

Anne thinks that Brian should stop pestering her to marry him.

Brian thinks if only Anne would only stop worrying about how they were

going to live.

Catherine thinks that Dean would be a far better choice for her daughter.

Dean thinks that Erica is the hottest thing since Elvis Costello.

Erica thinks that accountancy students may be the most boring people on

earth.

Frank thinks that Catherine should just leave Anne alone to make up her

own mind.

 

Brian thinks it looks like rain as he hesitates on the porch.

Catherine isn’t sure, but she offers Brian an umbrella.

Dean sees that drip Brian leaving Anne’s place as he pulls into the next-door

 driveway in his Ford Capri.

Erica has been ready for ages but she still goes to the mirror to check her

make-up when she hears the car.

Frank thinks That boy’s got his head screwed on the right way, Erica’s a real

 doll, if I were his age . . .

Anne thanks God (in whom she no longer believes) that Brian’s gone at last,

and wonders what her father is looking at through the kitchen window.

 

Catherine says Would you like to join us for a barbeque, Dean?

Dean leans over the fence and says No thanks Mrs Franklin, I’ve got some

serious studying to do.

Erica says Yes, he’s got exams next week.

Frank says Gotta get your priorities straight eh Dean?

Anne says Well, maybe after exams, then?

Brian says nothing, he’s halfway to Forrest Hill, grateful that the rain’s held

off, whistling, not a clue in the world what a no-hoper he is.

 

Dean passes that git Brian on his way home and pretends not to see him so

he won’t have to offer him a lift.

Erica wonders whether Dean really is the man for her, when accountants

 are so uncool, even if he does have a Ford Capri and a flat on his own

with a view of the Harbour Bridge.

Frank lingers at the window, which affords him a good view of Erica’s

 cleavage as she stands at the fence talking to his wife.

Anne finally twigs to the reason for the amount of time her dad spends at the

kitchen window.

Brian gets home and puts on a cup of tea for his mum, who is asleep over

the racing pages, radio cantering on in the background.

Catherine wonders why her daughter doesn’t get out more, meet a few

boys like Dean.

 

Erica thinks Dean just wants to get into her pants, he’s like any other boy,

in the end.

Frank thinks he wouldn’t mind getting into that girl’s pants, if he were a

 younger man . . .

Anne thinks I know what you’re thinking you dirty old bastard.

Brian thinks I wonder what’s for dinner?

Catherine thinks that young women today just don’t know how easy

they’ve got it.

Dean thinks about slipping his hand down Erica’s jeans as he slides into

the bath with Elvis Costello up loud on the stereo.

 

Frank starts guiltily as his daughter clatters the knives and forks onto the

tray with unnecessary force.

Anne decides she’s never going to get married, at least not until she’s finished

her degree and got a few year’s work behind her.

Brian sets the table, and puts the steaming cup quietly down where his

mother can’t knock it over when she wakes.

Catherine comes inside and says, Well, time to light the barbeque, eh Frank?

Dean flings some Brut about his steaming person, wraps a towel round his

waist, strolls into the lounge and flicks through his address book.

Erica walks in her parent’s front door and sits thoughtfully by the

telephone in the hall.

 

Anne begins buttering the bread, but her mind is elsewhere, and she butters

the teatowel thoroughly before she realizes.

Brian finds some fish fingers and frozen peas in the freezer and thinks

that’ll do us as his mum’s snore begins to ruffle the pages of the paper,

 ever so slightly.

Catherine wonders if her daughter might be pregnant, she’s been so vague

lately, and now this thing with the teatowel.

Dean finds Glenda’s phone number and begins to dial.

Erica decides it’s time to begin again.

Frank begins to build up a nice wee blaze.

 

©Chris Price, from Husk (Auckland University Press, 2002)

 

 

‘Six Thinkers’ was a response to an exercise Bill Manhire set the IIML’s MA workshop of 1998. The exercise was simply to write a poem in the form of a list (although Bill did hand out a couple of example poems along with that instruction, one a recipe poem by Gary Snyder, the other an Allen Ginsberg poem that used anaphora – every line began with the word ‘Because’).

My initial idea was simple: I would write down the first six letters of the alphabet, in order, a bit like a multi-choice test, and use each letter to begin a new line. The next step was to assign a name to each initial, so I found myself with a cast of characters whom I needed to set in motion.

The added constraint was that I applied the rotating end-word pattern of the sestina to those six names at the beginning of each line, which gave me a template for a story in six six-line stanzas plus a three-line tailpiece that also had to (once again, drawing on the sestina) use all six names. I may have had the formal pattern in place, but the poem itself came to me very early one morning, and I got out of bed to write it down. I’ve never repeated the mongrel sestina form, nor have I produced another study of multiple characters like this one. It’s the first and last time that I’ve tricked myself into writing a story in poem form.

 

Chris Price‘s latest book is Beside Herself (AUP,2016). She convenes the Poetry and Creative Non-fiction MA Workshop at the International Institute of Modern Letters. ‘Six Thinkers’ appeared in her first book, Husk (AUP, 2002).

 

From Paula: For Poetry Shelf’s Winter Season, I invited 12 poets to pick one of their own poems that marks a shift in direction, that is outside the usual tracks of their poetry, that moves out of character, that nudges comfort zones of writing. It might be subject matter, style, form, approach, tone, effect, motivation, borrowings, revelation, invention, experimentation, exclusions, inclusions, melody …. anything!

 

 

 

VUP launches Kirsten McDougall’s Tess

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You are warmly invited to the launch of

Tess
by Kirsten McDougall

on Tuesday 15 August, 5.30pm–7.00pm
at Meow, 9 Edward St, Te Aro

Cash bar
Books will be for sale courtesy of Unity Books
$25, p/b

About Tess

Poetry Shelf Winter Season: Anne Kennedy off-piste

 

Die die, live live
1.

A puff of air
like a lover’s
sweet speech
bubble, blue
as sky. A brown
horizon turning
fast into tomorrow
and tomorrow, etc.
Mud and leather
and a man
who runs like rubber
drawn from itself
over mud
born from
its muddy
mother field.
A kick-off
and the howl of
a moon’s dog.
They kick
the tender thing and kick and kick the tender thing
and wail and sing.
Five-nil to them.
Fuck. And fuck
the conversion
too. More
points for them.
The ball sings.
The wind
sings a hymn
down the Saint
Patrick’s Day
parade-length
of field
and the wind
blows the ball
where it shouldn’t
go. You have to
hope these idiots
grasp softness
the idea of it
its air and
innocence.
Twelve-nil to
the other side.
Conversion? No.
A rose blooms.
The fullback
there he goes
into a scrum. He’s
in the scrum
for his girlfriend
the girl he loves.
A torn ear a red rose the love-song of the fullback
a big man a
fucking giant
look at him
run. A lot of blood.
He runs for the
invisible woman.
He’s a moving tree
a flowering
tree. The Aussie
should be sin-binned.
Oh. He is.
Penalty. Twelve-
three. Tenderness
and the terrible
wind-sound
necessary for
play. They kick the tender thing and kick and kick
the tender thing
and wail and sing.
A man jumps
to his feet
throwing the hand
of his girl into
the sky. He flails
and beseeches.
Go go go go go!
It’s her envoi.
A guttural
call Moss has
never heard before
coming from
here and here
a beating on
the edge of seagull
i.e. clarinet.
There’s a rolling
maul, players
scragging faces
with sprigs. The referee
runs and blood
runs like tears.
Penalty. Twelve-six.
Go man boot
the groaning
air cradle it
as your child.
Don’t fucking
drop it idiot.
A moan goes up.
It rests in
the bodied
stadium staying
there, living on
among the people
as damage.
They kick the tender thing and kick and kick the tender thing
and wail and sing.
Rain starts. Good
for the home team
(used to it).
The visitors gnash
their teeth. Mud
sprays men
into fossils
memento mori.
They’re covered
in the game
head to foot.
Outrageous penalty
fifteen-six. Fuck.
A scrum in mud
and more rain.
The field is
ankle-glass
sometimes shattered as a dance once seen moved in water
a splish and trail
like scarves.
Half time
(FW).

2.

The land shaved
of trees made
useful by
its nakedness
and water. Men
stand as if cattle
mirrored at
a trough. A whistle
like a cast
in a roving
eye roving
over the field.
The men swarm
towards the ball
flicking earth
and sky.
The Centre’s
butchering
down the field
as a lion hunts
prey in the late
afternoon.
As a boy he
loved animals.
Off-side. Fuck.
Blood and
sweat and blood
and the crack
of bones. They kick the tender thing and kick and kick
the tender thing
and wail and sing
and wail and sing.
A man is carried
off by St John’s
Ambulance. Ah well
Fifteen-eleven
but missed the
conversion the
egg. Another
kick-off and
before long
a line-out whatever
that is. A player
hurling himself
into infinity
running and falling
and not caring
his body everything
and nothing
hovering
on the brink of
his death, death
of a small
nation. He is
a carcass
or palace. He’s carried off by St John’s Ambulance.
But there’s a penalty.
Fifteen-fourteen.
They kick
the tender thing
and kick and kick
the tender thing
and wail and sing.
Howl and a face
coated in the season
and the game
is a season
imperative
compulsory
gone again and
a girl who walks into a woman. And rain drums length
of rain
drumming.
It’s late
and the sun dips
below the cap
of cloud touching
the heads of
the crowd limning
a moment blue.
They kick
the tender thing
and kick and kick
the tender thing
and wail and sing.
On the field
blood squelches
underfoot.
Twenty-fourteen.
Paul weeps
on her shoulder.
They’ve lost.
If they’d won
there’d be
just the same
weeping like a
well a stream
or cataract. She holds his bones under her hands
his back
where wings
might once
have been.
A good man
full of tenderness
giant i.e. a lot of
tenderness.
The small mercy
of no conversion.
A minute to go.
A man runs
down the field
like a doctor
in a field hospital.
A try to us!
Forty seconds
to go. The
half-back
lines up the
wet egg
of the universe
and after some
deliberation kicks
the tender thing.
And wails.
And sings.
Converted.
The sun sinks
The whistle blows.
They won!
(i.e. We won
apparently)
Paul and his mates
leap to their feet.
Hell we won.
They leap one
by one. Fintan
leaps to his feet.
Look even
Forest is leaping
to his feet. Moss
carried away with
the win and
Paul weeping
and giants leaping
and without thinking
she stands.
She looks down
at the long body
her old favourite.
And glances up
at the great giant
there beside her
a head taller
(no matter, he will
soon go away now
the game is over
and there is just
Finnegans Wake
to read or whatever
tall tale it was).
Light from
the tall lamp casts the giant shadow of the girl over Paul.
He is bathed
in a quick new
coolness, as
dusk falls suddenly
in the Tropics
and feels it
and stares up
at the girl and
backs and backs
(the love song
of the full-back).

© Anne Kennedy from The Time of the Giants (Auckland University Press, 2005)

 

 

Author note: Writing poetry at all was a jumping of the tracks for me, and although my prose was ‘poetic’ and my poems prosey, the change still felt enormous, like doing something other than writing. (I still think of it as not really writing, more arranging.) Boiled down, the change to poetry for me was to do with noticing the cool juxtaposition between freedom of language (a poetry reader is more likely to make leaps with you), and the restraint of form that is always there on the page in front of you.

The poem here (which I call my ‘rugby poem’) is from a verse novel, The Time of the Giants. It represents for me a few realizations. The first is the power of line breaks. They are marvellous things! Always have been, but with this poem I began to regard them anew, not just aurally, but visually – as a means to isolate words like stones in a Japanese garden.

With Giants I also realized I wanted to use a quite honed three-act structure to tell the story. In this poem, I knowingly brought together the whole cast at the end of Act III.

But why use this form to tell this part of the story? (I ask myself.) Because it’s fast, and the narrative is on full-throttle at this point; and because I wanted it to be high-energy like a pre-match haka, and a bit funny, and the line-breaks are ludicrous. (When you think about too much, all line breaks are ludicrous.)

 

Anne Kennedy‘s last book was the novel, The Last Days of the National Costume. Among other awards she has won the NZ Post Book Award for Poetry and the Montana Book Award for Poetry. In 2016 she was writer in residence at the IIML. Anne teaches creative writing at Manukau Institute of Technology.

 

From Paula: For Poetry Shelf’s Winter Season, I invited 12 poets to pick one of their own poems that marks a shift in direction, that is outside the usual tracks of their poetry, that moves out of character, that nudges comfort zones of writing. It might be subject matter, style, form, approach, tone, effect, motivation, borrowings, revelation, invention, experimentation, exclusions, inclusions, melody …. anything!