Author Archives: Paula Green

Kay McKenzie Cooke shares photos and comments on Dunedin’s farewell to poet, John Dickson

 

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At times last night’s memorial poetry reading for John Dickson felt like friends gathered in a room together, having a quiet drink and reminiscing about their friend Dixie.
Fitting somehow that it was held in the Crown Hotel. Is it because the beloved Crown is such a Dunedin venue – non-pretentious, down-home, verging on grungy, established, under-stated, historical, storied – as if all the people who have frequented, hosted, performed, chatted and imbibed there have left behind some invisible imprint of themselves?
At other times the night took on the air of a formal poetry reading befitting and honouring a much-revered poet.

 

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Poet Richard Reeve opened proceedings by reading poems from John’s last book, Mister Hamilton.

 

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Jenny Powell read John’s famous Miles Davis poem; her delivery a tour de force and much appreciated by John Dickson aficionados present.
I read some of my own poems – poems about Dunedin and its streets and poets; poems which I hoped would reflect in some small way a poet I admired.

David Eggleton read two of his own poems, introducing his reading by saying he first met John thirty years ago and remembers, among other things, his gift as an entertaining raconteur of circular stories.
Richard spoke about how he got to know John in 1996 when he was a student and recalls their complex discussions about poetry, admitting that probably neither understood what the other was talking about. He also mentioned the value he placed on John and

Jenny’s friendship, and their visits to his Warrington home (which John dubbed as ‘bucolic’).
Richard also mentioned that in the 1980’s, John and Cilla McQueen ran poetry readings in Dunedin, which were attended by poets such as Hone Tuwhare and Bill Manhire.
John’s gift of friendship was mentioned many times – so much so that it became a feature of the night.

Max Lowery spoke about his friendship with John over many years and his regard for him both as a person (a friend, a flat-mate) and a poet. Towards the end of the evening, a quiet and reflective mood filled the room as Max talked about the photos of John that he had put up on the wall, and shared the memories that they evoked.

Alastair Reid also spoke of his close friendship with John, allowing someone like me, who didn’t know John well, insight into his individual take on life, his love of life, his curiosity about life and his love of learning, right to the end.

Alastair Galbraith also spoke about John’s dry humour, his laconic, unpretentious way of always just being himself. In particular, he spoke about John’s reading of his poetry. How amazingly deliberate and almost mesmerising it was. He recalled memories of recording

John reading his poetry and had the cds available for anyone wanting to buy them.
Richard read an excerpt from a twenty-eight page (yes, that’s right; twenty-eight page!) poem John had sent him as a response to a (much shorter) email Richard had sent him when the Irish poet Seamus Heaney died, thus treating those of us there to part of this poem’s dazzling, sweeping trains of thought.

Flatmates, poetry-reading mates, fellow poets, friends … all recalled John’s sense of humour and uniqueness.

Over and over, John Dickson’s warmth, regard, his gift of inclusion, of friendship, his intelligence and extraordinary complexity and depth as a poet, came through what people said and read.

Dixie will be greatly missed.

Kay Cooke, July 2017

 

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Winter Poetry Season: Hannah Mettner off-piste

 

My children are abducted by 17th-century French courtesans

In the rose garden near the big house
where somebody famous was either
born, or not, all the ladies spread their
pinks out in the sun. Pretty young ladies
with expensive, dewy faces who want
my children for their photogenic walls.
They look as though they’re picnicking
with their floral bubbles and their green
men but their stiletto fingers give them
away. And my children were just feeding
ducks, but where have they gone?! Quick
say the birds Find them Find them, gobbling
their trails of bread. The ladies strengthen
in the light and their prickles rise and my
nose is so full of their French scent that
I start to sneeze. The ladies wilt a little in
revulsion. Their corals and blushes and rouges
are falling brown, then grey; old ladies with
shallow bones and prickles blunted with
age. And where are your children they
want to know and I want to know too.
I’ve looked everywhere. There’s a low
graze of desperation in my throat, which
stings as I call their names. I uproot one
of the ladies and use her to beat back a
path through the others, until they look
almost young again in the freshness
of their bruises. When I get back to the
pond most of the spinsters have frosted
in the ground. The children are there
wearing new fur coats. One is putting logs
on a fire, while the other pulls dinner
from the snow.

©Hannah Mettner, from Fully clothed and so forgetful (Victoria University Press, 2017)

 

 

Author note: This is the poem that helped me realise that there was a way to integrate the emotional authenticity that I want my poems to convey (in this case the fear of ‘losing my children’) with something less literal. For me, this meant that rather than merely ‘stating facts’ in a pleasant or interesting way with line breaks, I was able to tease out multiple concepts and feelings simultaneously in an environment less concretely related to the real world. So, this poem deals with my fear of losing my children after the breakup of my relationship with their father, but holds with that the fear of a potential ‘stepmother’, and the fear of them doing fine without me, but because none of this takes place in a recognisable world (rosebushes don’t usually turn into young women), I felt freer to say all that.

 

Hannah Mettner is a Wellington writer originally from Gisborne. She runs the online poetry journal Sweet Mammalian with Sugar Magnolia Wilson and Morgan Bach. Her first book, Fully clothed and so forgetful, came out earlier this year.

 

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!

20/20 Bringing poetry to the people with free online collection -part 3 now live

Poems here

Phantom Billstickers National Poetry Day celebrate their 20th anniversary this year and, to mark the occasion, are publishing free online poetry collection 20/20. The collection includes Poet Laureates, Ockham New Zealand Book Awards winners and strong new voices from recent collections and anthologies.

The 20/20 collection features 40 poems by New Zealand poets who represent the diversity and vibrancy of our literary talent. Twenty of the poets featured in the collection are acclaimed writers, who were invited to select one of their own poems that they felt spoke to New Zealanders now. They were also asked to choose a poem by an emerging poet or writer who they considered to be essential reading in 2017.

Paula Morris (Ngati Wai, Ngati Whatua), spokesperson for the New Zealand Book Awards Trust, said that she was “excited to see the range of voices selected here, and the ethnic and geographic diversity in the poets chosen by our twenty established writers. This list speaks to a ‘new’ New Zealand literature, and reflects how much our culture is changing and growing.”

The poems are published in groups of ten between 24 May and 25 August 2017, with Group Three (see below) released today. The featured poets and their chosen poems are: Auckland-based poet C. K. Stead and his choice Johanna Emeney (North Shore, Auckland); David Eggleton (Dunedin) and Leilani Tamu (Auckland); Elizabeth Smither (Taranaki) and Rob Hack (Paekakariki); Richard Reeve (Dunedin) and Michael Steven (Auckland); Robert Sullivan (Auckland) and Ngahuia Te Awekotuku (Waikato).

C. K. Stead
‘Into extra time’
The Black River (AUP, 2007)

picks:

Johanna Emeney
‘Subtext’
Apple & Tree (Cape Catley, 2011)

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David Eggleton
‘Rakaia’
The Conch Trumpet (OUP, 2015)

picks:
Leilani Tamu
‘Avaiki Rain’
The Art of Excavation (Anahera Press, 2014)

———————————————————————————————————

Elizabeth Smither
‘Miss Bowerman and the hot water bottles’
Night Horse (AUP, 2017)

picks:
Rob Hack
‘Almost a Buddhist’
Everything is Here (Escalator Press, 2016)

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Richard Reeve
‘At Frankton Supermarket, Queenstown’
Manifesto Aotearoa ed. Emma Neale and Philip Temple (OUP, 2017)

picks:
Michael Steven
‘Dropped Pin: Jollie Street’
The Story of My Past Lives
(Maungatoa Press, 2017)

———————————————————————————————————————

Robert Sullivan
‘Sullivan Whānau’
Star Waka (AUP, 1999)

picks:
Ngahuia Te Awekotuku
‘Pukeroa’
Puna Wai Kōrero: An Anthology of Māori Poetry in English ed. Reina Whaitiri and Robert Sullivan (AUP, 2014).
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The 20/20 collection is being made available to all New Zealanders as a free download. The PDF can be accessed on Phantom Billstickers National Poetry Day, Friday 25 August, via this link

Phantom Billstickers National Poetry Day has been running continuously since 1997 and is always celebrated on the last Friday in August. Poetry enthusiasts from all over New Zealand organise a host of events – from poetry slams to flash and pop-up events – in a multiplicity of venues, including schools, libraries, bars, cafes and theatres. This year, Phantom Billstickers National Poetry Day takes place on Friday 25 August 2017.

Established in 1997, National Poetry Day is about discovery, diversity, community and pushing boundaries. It is a one-day national poetry-event extravaganza held on the last Friday of August each year. This is the second year of National Poetry Day operating under the sponsorship of Phantom Billstickers.

Phantom Billstickers National Poetry Day is proudly administered by the New Zealand Book Awards Trust.

This year’s Going West programme is a poetry treat

This is an excellent programme with the usual eclectic array of NZ voices/writers.

Poetry at Going West:

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Plus this little run of highlights:

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And many more!

C. K. Stead’s farewell on his NZ Poet Laureate blog

A month from now the new Poet Laureate will be named and my two-year stint will conclude. I was more than pleased to be named Laureate, since poetry has been the centre of my writing life, the part of it I always returned to with most pleasure, that seemed the most demanding, and the most satisfying when it went well – and the award came at a time in life (I was 82) when an end to writing of any kind could not be too far away – so perhaps a rounding off, a kind of culmination, an honour I valued probably more than any other. Although I had a few direct requests for ‘a Laureate poem’, and responded to these, and of course more invitations than usual to appear at festivals and readings, there was nothing particularly demanding about the role unless you made it so; and since it’s my temperament to pursue what Yeats calls ‘the fascination of what’s difficult’, I have made a bit of a burden of the Laureate blog. I have not been, and still am not, ‘a blog person’. The literary blogs I had read seemed as often as not vehicles for malice and gossip, and I did not want to go down that path. I did them, rather, as literary exercises, thinking aloud about whatever poetry theme or bit of local literary history happened to be exercising my mind at that time. So they have become a collection of literary essays, loosely autobiographical, which I suppose at some point might be published as a book. There have been so few reactions to them that I have never been sure whether I have been talking to myself, or to a small roomful, or more; I’ve only been certain that the bigger world out there, the world of crowds and popular culture, was not listening. But if they are publishable together the effort has not been wasted. For those who have read and commented on them, my grateful thanks!

For the complete post and Karl’s series as Poet Laureate see here.

Poetry Shelf Winter Season: Cliff Fell off-piste

 

Cento: The Rose of Tralee

 

I began to investigate the world,

Tearing at something of the mystery of birds, calls,

And the blue and green of the riverbed.

 

Once, I read a story of killed horses.

It is copyrighted.

But when the huntsman knelt beside her,

A pistol in his hand,

The Rose of Tralee quivered like a quartertone,

Though soundless. A fountain of roses flowed from her head.

 

You don’t have to understand the tui’s song

To admire it. I was so much older then,

Though only a child –

It was bitter to say farewell to the earth so renewed,

Bitter to sing in chapel that week:

 

The body of each of us is your body, Lord.

 

 

Author note: I first wrote – or stumbled upon, really – ‘Cento: The Rose of Tralee’ in 2002, a significant year in my development as a poet. The making of the poem happened fast and involved a kind of trance-like going sideways out of my usual practice, a shift in direction or approach that certainly nudged me out of the comfort zones of my writing.

As its title indicates, the poem is a cento (of sorts), though when I was writing it, I did not yet know of the Latin form that lends its creative process an air of legitimacy. I think I was just experimenting with the possibilities of Eliot’s dictum about poets stealing and trying to make something better or ‘at least something different’ out of their thefts. So it was that one Sunday evening in that long, marvellous winter I was looking through a 1991 anthology of post WW2 eastern and central European poetry, The Poetry of Survival, edited by Daniel Weissbort. The poems are for the most part darkly moving, sometimes terrifying, born of the holocaust and the forging of the Iron Curtain. I think I was trying to find some translations of Slavko Mihalic by Charles Simic, as I was reading Simic at the time. I already knew the anthology well. It had been a bible of mine during the 1990’s, at a time when I was focused on extending my reading of 20th century poetry.

I can’t now remember exactly which line or poem set me off, but I suddenly began to wonder if I could make a poem by opening pages at random and selecting lines that caught my eye. By the time I’d come up with the key image, ‘Once I read a story of killed horses’ – a conflation of lines by Dan Pagis and Peter Huchel – I had invoked a childhood memory of a horse being shot. This was on a farm where I was working a summer job, aged 14. So, the narrative of The Rose of Tralee’s sad demise, her hoof trapped in a crevice, began to insert its voice into a solemn parade of lines that have their origins in poems by Nina Cassian, Paul Celan, Leopold Staff, Zbigniew Herbert, Czeslaw Milosz, Agnes Nemes Nagy. Others, maybe, that I cannot now trace. In a moment of light relief, ‘It is copyrighted’ was an amusing, ironic aside from the sixteenth canto of Hans Magnus Enzenberger’s ‘The Sinking of the Titanic’. As I tried to resolve the poem, as a nightingale transformed into a tui, I must have started casting my net wider. It seems clear to me now that ‘I was so much older then,’ must be a steal from Bob Dylan’s ‘My Back Pages’. How it got in there, I can’t quite remember, but it did.

Cliff Fell is working on a fourth book of poems.

 

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!

 

 

Last days for: 2017 NEW VOICES – Emerging Poets Competition is NOW OPEN for entries

Background details and entry forms are available

This year’s judge will be poet, writer Dr Maris O’Rourke.

Closing Date : August 1st.

The competition is open to 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)

The winners will be announced at the Divine Muses Reading held on National Poetry Day, Friday August 25th at the St Paul Street Gallery, AUT.

Details here

Poetry Shelf Winter Season: Johanna Emeney off-piste

 

Shaken Down

 

In the hospital corridor,

the one two of my shoes

on hard lino,

then something

sounds broken—

 

a thermometer—

 

I have left people here

in rooms

and cabinets.

They’ve gone cold

in others’ hands.

 

The spine of me

spills

into so many

ball bearings…

 

Orderlies wheel

prone passengers.

Nurses pass

with busy eyes,

 

until one pauses

to put on gloves,

coveralls, booties.

She sticks up a sign

 

[DANGER HAZARDOUS SUBSTANCE]

 

and calls

for a flashlight,

holds it at an angle

to find beads of me-

rcury lodged in cracks

between wall and floor.

 

Without a fuss

she gathers masking tape,

an eyedropper,

index cards,

and uses them to

corral what is herdable

into new glass tubing.

Her cards say:

MY MOTHER DIED

WHEN I WAS YOUNG TOO, LOVE

 

What miracle

to approach

naked breakage,

to chase it unafraid,

gather it up

and talk it back down

to something

resembling normal.

 

©Johanna Emeney,  Family History, Mākaro Press, 2017

 

Author note: “Shaken down” grew from two ideas rattling about—a fresh one and a memory:

1) A friend told me that one of the first jobs nurses learn is to shake down a thermometer.

2) I kept thinking of a nurse who had been exceptionally kind to me on the night my mother was killed. This nurse, probably about twenty years my senior, told me about losing her own mother, and how it had affected her.

This is the first poem I wrote that departs from naturalism, moving towards a very minor kind of magical realism. To start with, I was just trying to recapture the experience of walking alone down a hospital corridor, having lost my mother in a car accident, my father still in the ICU. The huge loneliness and disbelief still felt such that they called for more than a realist presentation. The broken thermometer, leaking its apparently irretrievable, noxious mercury, the I-speaker, her spine turning liquid and draining out of her body—together, they were what it was like.

The nurse in the poem who executes practical measures in tidying up the mess (I had to google “how to clean up a small Mercury spill”) is supposed to symbolise that beautiful truth about good nurses—their ability to balance the medical and the personal so adeptly.

Had I not ventured into territory more fantastical than my norm, I think the poem would have been sentimental and lacked emotional verisimilitude. That would have been a shame, because to express gratitude genuinely, you can’t sound mawkish or trite—in real life or in a poem.

 

Johanna Emeney’s two books of poetry are Apple & Tree (Cape Catley, 2011) and Family History (Mākaro Press, 2017). In 2018, Ibidem Press will publish her academic textbook The Rise of Autobiographical Medical Poetry and The Medical Humanities, based on her doctoral study, and she is currently working a chapter on poetry for Routledge’s Companion to Literature and Disability. Jo has a background in English Literature, Japanese and Education—subjects she read at Pembroke College, Cambridge. She works as a tutor at Massey University, Auckland, and co-facilitates the Michael King Young Writers Programme with Rosalind Ali.

 

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!

Invitation to launch of Luminescent by Nina Powles

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The latest Starling: fresh young voices, new poems by Chris Tse and a Bill Manhire interview

 

 

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The Starling Issue 4

 

Ok, I am a big fan of this.

This is an excellent issue. Featured writer, Chris Tse’s poems are rich in direction and effect.

Most importantly, the editors are adept at selecting fresh young voices that make you hungry for poetry (and short fiction ) and what words can do. I was going to single a few out – but I love them all! Eclectic, energising, electric, effervescent.

 

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Bill’s interview is a good read:

On rhyme: ‘On the other hand I think sound patterns are at the heart of poetry – they tug words away from meaning and towards music. And one bizarre thing is that the need to find a rhyming word can force you to move in directions you might not have otherwise imagined. Rhyme can make you surprise yourself.’

On needing a dose of humour: ‘The greatest danger for poets is self-importance. Some poets really do believe themselves to be wiser and more perceptive than the rest of the human race.’

On getting students to bring poems by published poets to share in class: ‘The main thing would be that no one in the class would have their minds made up beforehand; or be trying to bypass the poem in order to find out ‘what teacher thinks’. It’s much better for the students to bypass the teacher and get to know the poem directly. Paradoxically, a good teacher can help this happen.’