Category Archives: NZ Literary Festivals

Poetry Shelf favourite poems: Ian Wedde’s ‘Ballad for Worser Heberley’

Ballad for Worser Heberley

for the Heberley Family Reunion,
Pipitea marae, Easter 1990

1

I remember the pohutukawa’s summer crimson 
and the smell of two stroke fuel 
and the sandflies above the Waikawa mudflats 
whose bites as a kid I found cruel.

At night and with gunny-sack muffled oars 
when the sandflies were asleep 
with a hissing Tilley lamp we’d go fishing 
above the seagrass deep

—a-netting for the guarfish there 
where the nodding seahorses graze 
and the startled flounders all take fright 
stirring the muddy haze.

And who cared about the hungry sandflies 
when a-codding we would go 
my blue-eyed old man Chick Wedde and me 
where the Whekenui tides do flow.

It’s swift they run by Arapaoa’s flanks, 
and they run strong and deep, 
and the cod-lines that cut the kauri gunwale 
reach down to a whaler’s sleep.

When the tide was right and the sea was clear 
you could see the lines go down 
and each line had a bend in it 
that told how time turns round.

The line of time bends round my friends 
it bends the warp we’re in 
and where the daylight meets the deep 
a whaler’s yarns begin.

I feel a weight upon my line 
no hapuku is here 
but a weight of history swimming up 
into the summer air.

Oil about the outboard motor 
bedazzles the water’s skin 
and through the surge of the inward tide 
James Heberley’s story does begin.

2

In 1830 with a bad Southerly abaft 
soon after April Fool’s Day 
on big John Guard’s Waterloo schooner 
through Kura-te-au I made my way.

And I was just a sad young bloke 
with a sad history at my back 
when I ran in on the tide with mad John Guard 
to find my life’s deep lack.

Seaspray blew over the seaward bluffs 
the black rocks ate the foam 
my father and my mother were both dead 
and I was looking for home.

But what could I see on those saltburned slopes 
but the ghosts of my career: 
my father a German prisoner from Wittenburg 
my grand-dad a privateer

my mother a Dorset woman from Weymouth, 
I her first-born child, 
and my first master was called Samuel Chilton 
whose hard mouth never smiled.

He gave me such a rope-end thrashing 
that I left him a second time, 
I joined the Montagu brig for Newfoundland
though desertion was reckoned a crime —

and me just a kid with my hands made thick 
from the North Sea’s icy net, 
eyes full of freezing fog off the haddock banks 
and the North Sea’s bitter sunset.

And master Chilton that said when your mother dies 
you can’t see her coffin sink 
you can only blink at the salt mist 
about the far land’s brink.

And in the fo’c’sle’s seasick haven 
where a lamp lit the bulkhead’s leak 
you’d share your yarn with the foremast crew 
your haven you would seek.

Where you came from the rich ate kippers 
or if they chose, devilled eggs. 
They didn’t blow on their freezing paws 
they favoured their gouty legs.

And if you pinched an unripe greengage from their tree 
they’d see you in the gallows 
or if you were dead lucky 
wading ashore through Botany Bay shallows.

But I was even luckier, as they say, 
those who tell my tale: 
they tell how my tale was spliced and bent 
about the right whale’s tail.

And how poor young James Heberley 
fresh from South Ocean’s stench 
and the foretop’s winching burden of blubber 
his great good fortune did wrench.

In autumn I came ashore at Te Awaiti 
on Arapaoa Island. 
‘Tangata Whata’ the Maori called me— 
now ‘Worser’ Heberley I stand.

‘Ai! Tangata whata, haeremai, 
haeremai mou te kai!’ 
Food they gave me, and a name, 
in the paataka up high.

My name and my life I owe that place 
which soon I made my home. 
From that time, when Worser Heberley went forth, 
I didn’t go alone.

I raised a considerable family there, 
with Ngarewa I made my pact: 
from him I got my summer place at Anaho, 
my home from the bush I hacked.

I summered there in the mild weather 
and in autumn I went a-whaling 
from the boneyard beach we called Tarwhite 
where Colonel Wakefield’s Tory came sailing.

And I guessed from the moment I saw their rig 
that we had best take care: 
not the Maori, nor Worser Heberley’s mob 
stood to gain from this affair.

With fat Dick Barrett I went as pilot 
on the Tory to Taranaki. 
From Pukerangiora and Te Motu descended 
Te Atiawa’s history —

a history already made bitter once 
in the bloody musket wars, 
that might be made bitter yet again 
for Colonel Wakefield’s cause.

Worser Heberley was never a fool 
else I’d not have lived that long: 
I could see the Colonel meant to do business, 
I could hear the gist of his song.

He was singing about the clever cuckoo 
that lays her egg elsewhere 
and fosters there a monstrous chick 
too big for the nest to bear

so the other chicks must be all cast out 
for the greedy cuckoo’s sake. 
The Colonel sang this song I heard 
as he watched the Tory ‘s wake

tack up the South Taranaki Bight 
with Kapiti falling astern, 
and I, James Heberley, stayed close 
to see what I could learn.

And what I learned has since been written 
in many a history book: 
that you’ll find little enough of our record there 
however hard you look.

3

And now Worser Heberley’s story ceases, 
I hear his voice no more 
though my line still bends by the notched gunwale 
as it had done before

when I was just a kid gone fishing 
in my old man’s clinker boat 
and hadn’t learned that it’s history’s tide 
that keeps our craft afloat.

And now I see as I look about 
in Pipitea marae 
at the multitude here assembled 
that your line didn’t die —

and though old Worser Heberley was right 
to fear Colonel Wakefield’s song, 
he didn’t have to worry about the family 
which multiplies and grows strong.

I thank you for your kind attention 
the while my yarn has run. 
I wish you all prosperity and peace. 
Now my poem is done.

Ian Wedde
from The Drummer (Auckland University Press, 1993) also appears in Ian Wedde: Selected Poems (Auckland University Press, 2017)

In 1986 my novel Symmes Hole was launched at Unity Books in Wellington. An historical character I appropriated for the book is James ‘Worser Heberley’, a whaler who came ashore in Tōtaranui Queen Charlotte Sound in 1829. He married into local iwi and at the book launch tuhanga of James Heberley introduced themselves and suggested it would be appropriate, given my borrowing of their ancestor, if I could donate some copies of the book and also write and share something for their upcoming hui at Pipitea marae in Wellington. This is that poem, a favourite of mine for diverse reasons.

Ian Wedde

Ian Wedde’s latest poetry book was The Little Ache — A German notebook. Victoria University of Wellington Press, 2021. The poems were written while he was in Berlin researching his novel The Reed Warbler.

Poetry Shelf Spring season: Kasandra Hart-Kaumoana and Bridget van der Zijpp (AWF) pick poems

The Auckland Writers Festival is a strong supporter of poetry in Aotearoa, hosting a variety of events that feature poets from across generations, locations, styles, genres. You will find poets in conversation, in performance, on mixed panels, in outdoor street settings. Poetry is such a key part of many our literary festivals, I was delighted when Kasandra Hart-Kuamoana and Bridget van de Zijpp from the the Auckland’s literary festival agreed to pick some poems.

Hotel Emergencies, Bill Manhire

I love the way Bill Manhire’s poem, Hotel Emergencies, starts off with a gentle playfulness and a mild sense of internal panic and then spirals out to something much darker and concerned about state of the world. I once saw Bill reading it, saying he was inspired by a notice in a Copenhagen hotel room, and it stuck with me so firmly that forever after whenever I saw a badly translated notice near the door of a hotel room I would think of this poem. (Bridget)

When they ask you where you are really from, Mohamed Hassan

I was overseas when the mosque shootings occurred and from so far away I had only glimpses of how the tragedy was opening up a new dialogue here about racism and belonging. Then, on returning home, I picked up Mohamed Hassan’s collection, National Anthem, and was so moved by the profound intelligence of it, and the way he quietly breaks hearts with his beautiful way of expressing both resistance and recognition, and also tenderness and yearning, warmth and defiance. His reading of ‘When they ask you where you are really from’, which can be found online, is transfixing. (Bridget)

High Country Weather, James K Baxter

Is an Ockham’s razor for lockdown frustration and fatigue. Considered a Kiwi classic by many, and it’s no wonder. Baxter’s call to conquer anger and frustrations, to weather the storm, and to “surrender to the sky / your heart of anger” reads so much like incantation. It takes me down memory lanes of high-country alps, and my home region – through Waitomo Caves, to Rangitoto and Wharepapa South. The speaker recognises the value in never losing sight of the briefest semblance of beauty. The speaker also considers this practice to be an imperative, a survival technique. Where the very act of choosing to “yet see the red-gold cirrus / over snow mountain shine” seems like the utmost act of defiance. I celebrate this and a handful of Baxter’s other early works for their covert rebellion. Their giant phlex of negative capability. (Kasandra)

Eulogy, Ruby Solly

To me, the poem reads like whakatauki on the powerful nature of father and daughter – made even more powerful when explored in this form, and so poignantly. Its voice tends to me. Telling me to walk in both worlds. To grapple with internal conflicts and harness understanding through the wielding of ink and paper, mind and memory – within the external world. It sings of a journey toward catharsis, an accomplishment of the same, and I love that it reminds us how powerful the act and gift of writing is for the pursuit of understanding and reconciliation. (Kasandra)

Ruth Dallas, ‘Pioneer Women with Ferrets’

I use this poem to draw strength from days of old. From three or four, or more, generations ago. See the vignettes of daily life, and the fortitude of pioneers versus now. Be inspired. Let the old photographs that fill your mind with the roads of the road builders, and the hunt and the huntsmen and women, and the strife and the weather worn clothes, trickle into your spirit. Remember that once-upon-a-time tradies never used to have Tough Hands or WorkSafe! This poem stares with stark, steadfast eyes.
An urging for my overdue stocktake of my whakahautanga (self-mastery), I use this poem in times of disillusionment to fortify, survive, and soldier on. (Kasandra)

The poems

Pioneer Woman with Ferrets

Preserved in film
As under glass,
Her waist nipped in,
Skirt and sleeves
To ankle, wrist,
Voluminous
In the wind,
Hat to protect
Her Victorian complexion,
Large in the tussock
She looms,
Startling as a moa.
Unfocused,
Her children
Fasten wire-netting
Round close-set warrens,
And savage grasses
That bristle in a beard
From the rabbit-bitten hills.
She is monumental
In the treeless landscape.
Nonchalantly swings
In her left hand
A rabbit,
Bloodynose down.
In her right hand a club.

Ruth Dallas

from Walking on the Snow, Caxton Press, 1976. Published with kind permission from the Ruth Dallas Estate

High Country Weather

Alone we are born
   And die alone
Yet see the red-gold cirrus
   Over snow-mountain shine

Upon the upland road
   Ride easy, stranger:
Surrender to the sky
   Your heart of anger.

James K Baxter

from Blow, Wind of Fruitfulness, Caxton Press,1948. Also appears in numerous Baxter anthologies including Collected Poems, ed JE Weir, Oxford University Press, 1980, 1981, 1988, 1995). Published with kind permission of the James K Baxter Estate.

When they ask you where you are really from

Tell them
you are an unrequited pilgrim
two parallel lives that never touch
a whisper or a window
to what your country could be
if only it opened its arms
and took you whole

Tell them about the moon
how she eats at your skin
watches you pray and fast and cry
while the world sleeps
how she gives birth to herself and dies
and you wish upon her children

How you wander her night
plant cardamom in your friends’ eyes
cumin in their teeth
zaatar on their brow
lick the rest off your fingertips
it tastes of visa-on-entry
heaven with no random checks

Round the iftar table everyone speaks
of politics and God
trans rights and colonialism
we forget we didn’t speak the empire’s tongue

                                                                                                once

                                                                                  When they ask you why you speak so well                                                                                   for an immigrant:

Tell them about your grandmother’s laugh
how you never quite knew whether she was story or myth
the upper lip in your conviction
or a song ringing in your bones
drifting through the kitchen window
with the fried shrimp and newspaper voodoo dolls

Tell them how you have always been a voodoo doll
your feet licking the flames
the stove top eye a television screen
a news bulletin
an open casket
the needle pushing and pulling through your skin
every puncture a question played by an accusation
every bullet hole an answer you have to fill

                                                                                              with silence
                                                                                              with religion
                                                                                              with Xanax and daytime television

And when the muazzen calls you to pray on the radio
you will wrap your limbs in cotton sheets
walk through the crowd with your hands in your mouth
waiting for the gun.

Mohamed Hassan

from National Anthem, Dead Bird Books, 2020.You watch Mohamed read the poem here.

Eulogy

As a child
Whenever I was angry,
Inconsolable,
My father would tell me to write a eulogy
To the person who had caused me pain.
He said that by the end of it
I would see
That even those who cause us pain
Are precious to the world

          My father was an exceptional man,
          He was blessed
          With a gentle soul.
          He walking in step
          With the many animals he adores
          And he treaded lightly on this earth.

          He taught
          To tread as he did
          And to leave the world as you found it.
          Ideally, improve it.

One day I will read this to a room of faces I barely recognize.
I will look out on a world
No different with him gone 
As it was
With him here.

Ruby Solly

from Tōku Pāpā, Victoria University Press, 2021

Hotel Emergencies

The fire alarm sound: is given as a howling sound. Do not use the lifts. The optimism
    sound: is given as the sound of a man brushing his teeth. Do not go to bed. The
    respectability sound: is given as a familiar honking sound. Do not run, do not sing. 
    The dearly-departed sound: is given as a rumble in the bones. Do not enter the coffin.
    The afterlife sound: is given as the music of the spheres. It will not reconstruct. The
    bordello sound: is given as a small child screaming. Do not turn on the light. The
    accident sound: is given as an ambulance sound. You can hear it coming closer, do
    not crowd the footpaths. The execution sound: is given as the sound of prayer. Oh be
    cautious, do not stand too near

or you will surely hear: the machinegun sound, the weeping mother sound, the agony
    sound, the dying child sound: whose voice is already drowned by the approaching
    helicopter sound: which is given as the dead flower sound, the warlord sound, the
    hunting and fleeing and clattering sound, the amputation sound, the bloodbath
    sound, the sound of the President quietly addressing his dinner; now he places his
    knife and fork together (a polite and tidy sound) before addressing the nation

and making a just and necessary war sound: which is given as a freedom sound (do not 
    cherish memory): which is given as a security sound: which is given as a prisoner
    sound: which is given again as a war sound: which is a torture sound and a
    watchtower sound and a firing sound: which is given as a Timor sound: which is given
    as a decapitation sound (do not think you will not gasp tomorrow): which is given as a
    Darfur sound: which is given as a Dachau sound: which is given as a dry river-bed
    sound, as a wind in the poplars sound: which is given again as an angry god sound:

which is here as a Muslim sound: which is here as a Christian sound: which is here as a
    Jewish sound: which is here as a merciful god sound: which is here as a praying
    sound; which is here as a kneeling sound: which is here as a scripture sound: which is
    here as a black-wing sound: as a dark-cloud sound: as a black-ash sound: which is
    given as a howling sound: which is given as a fire alarm sound:

which is given late at night, calling you from your bed (do not use the lifts): which is
    given as a burning sound, no, as a human sound, as a heartbeat sound: which is given
    as a sound beyond sound: which is given as the sound of many weeping: which is
    given as an entirely familiar sound, a sound like no other, up there high in the smoke
    above the stars

Bill Manhire

from Lifted, Victoria University Press, 2005. You can hear Bill read the poem at Poetry Archives.

Born and bred in the heart of Te Awamutu-King Country, Kasandra M. Hart-Kaumoana (Ngāti Maniapoto, Ngāti Hikairo) completed her BA at Victoria University as a VUW-Foundation Scholar in Film, English, and Philosophy in 2019 – and Creative Writing at the IIML. She has since published two original pieces in Matatuhi Taranaki: A Bilingual Journal of Literature. Kasandra is kept busy full-time coordinating the Auckland Writers Festival and relishes the bona fide westie lifestyle in her newfound home, Waitakere.

Bridget van der Zijpp is the author of three novels: Misconduct (VUP, 2008), In the Neighbourhood of Fame (VUP, 2015), and the recently released I Laugh Me Broken (VUP, September 2021).  Bridget returned to Auckland in March 2020 after living in Berlin for a few years and is now the Programme Manager at the Auckland Writers Festival.

James K Baxter (1926 – 1972), poet, dramatist, literary critic and social commentator, was born in Dunedin. He was Burns Fellow at the University of Otago (1966-7). He published numerous plays and books of poetry and criticism during his life time, while several anthologies have been published posthumously. He lived in Tāmaki Makaurau, Auckland, Te Whanganui-a-Tara Wellington and Hiruharama Jerusalem. An extensive bio is available at ReadNZ.

Ruth Dallas (Ruth Minnie Mumford) (1919 – 2008) was born in Invercargill and lived in Dunedin from 1954. An award-winning poet and children’s author, she won the Poetry category of the New Zealand Book Awards in 1977 for her fifth collection, Walking on the Snow. She wrote over 20 books. During the 1960s, she assisted Charles Brasch with Landfall. She was awarded a CBE for Services to Literature, was the Burns Fellow at the University of Otago (1968) and received an honorary doctorate from there a decade later.

Mohamed Hassan is an award-winning journalist and writer from Auckland and Cairo. He was the winner of the 2015 NZ National Poetry Slam, a TEDx fellow and recipient of the Gold Trophy at the 2017 New York Radio Awards. His poetry has been watched and shared widely online and taught in schools internationally. His 2020 poetry collection National Anthem was shortlisted for the Ockham New Zealand Book Awards (2021).

Bill Manhire founded the creative writing programme at Victoria University of Wellington, which a little over 20 years ago became the International Institute of Modern Letters. His new book Wow is published by Victoria University Press in New Zealand and Carcanet in the UK.

Ruby Solly (Kāi Tahu, Waitaha, Kāti Māmoe) is a writer, musician and taonga pūoro practitioner living in Pōneke. She has been published in journals such as Landfall, Starling and Sport among others. In 2020 she released her debut album, Pōneke, which looks at the soundscapes of Wellington’s past, present and future through the use of taonga pūoro, cello, and environmental sounds. She is currently completing a PhD in public health, focusing on the use of taonga pūoro in hauora Māori. Tōku Pāpā is her first book.

Poetry Shelf Spring Season

Tara Black picks poems
Victor Rodger picks poems
Peter Ireland picks poems
Emma Espiner picks poems
Claire Mabey (VERB) picks poems
Sally Blundell picks poems
Frances Cooke picks poems
We Are Babies pick poems

Poetry Shelf on WORD in Ōtautahi Christchurch

Scorpio Books

Having been in lockdown for much of the year, in our sweet haven on the west coast of Tāmaki Makaurau, it feels both strange and wonderful to be flying south to rooms full of people celebrating words. On the plane I wear my mask, listen to music, read Bill Manhire’s Wow, and all the time feel like dancing in the aisle, dancing some kind of gratitude salsa.

Rachael King has shaped a stunning and innovative programme with heart and soul and verve that celebrates books and words in Aotearoa. I pretty much want to go to everything, but that isn’t possible of course, when you are doing your own sessions, and there are several venues. I am very happy there will be key podcasts and some replays on Radio NZ .

The Ko Aotearoa Tātou: We Are New Zealand reading: editor Paula Morris invited the speakers, and other contributors to the book, to stand.

October 30th. One moment I am in our beautiful bush clearing and then, after several hours travel, I am in a festival room listening to writers read from the brand new anthology Ko Aotearoa Tātou: We Are New Zealand (Otago University Press). It is mesmerising, moving, uplifting. It seems both so very real and so very unreal to be there, like I am a sheet of tissue paper that has floated in from up north. Fragile. Unable to speak. See through. Brittle. But hearing these writers, hearing Mohamed Hassan read, hearing essa may ranapiri read, to hear them read from heart, with body sway and body music, along with a number of other authors, is extraordinary.

Later that night, Rachel King launches the festival with ‘Brave Worlds’, the Gala event. John Campbell, with his contagious literary and life enthusiasms, introduces six authors, multiple bravenesses, multiple vulnerabilities. Elizabeth Knox talks abut the courage you draw upon when someone beloved has not much time left, how courage eludes, how loss might go hand-in-hand with regret. I am sitting at the back, fragile tissue paper on the seat, and feel I will start crying. There’s a break in Elizabeth’s voice near the end, and I am thinking it took courage to agree to this public self exposure.

Poet Mohamed Hasan had launched his debut collection National Anthem the night before. Here he talks of his father coming to Aotearoa, of building a family life, of the grief at his aunty’s death, of the immeasurable grief after the March 15 terrorist attacks, of the shocking rise of Islamic abuse since that date. Not the unity. Not the we-are-one. And it is important to hear this. Painful. And I am sitting here in my dampness thinking of the power of poetry. I need to be shown we need to be better. To do better.

Becky Manawatu talks about the courage it takes to stand on this stage alongside the other writers. She talks a bridge from her near failures at secondary school, of the boy who had faith in her desire to write, who believed she would write a novel, the ‘streaming’ test she sat that she thought she would ace, in her passion for learning and knowledge. But she favoured quality over speed so was labelled ‘average’. Becky tells us she was sustained by the mana her sisters fed her, not by the education system that failed her. I am back in my teenage shoes, remembering my English teacher who told me I would never get anywhere in the world writing as I wrote, me believing her, me failing school.

I wanted to stay and hear Behrouz Boochani, Laura Jean McKay and Witi Ihimaera, but I have been awake since 3.30 am, I am full of dampness and grief. I am feeling John’s warmth and empathy as he responds to each speaker, but I am feeling this is a tough tough world. Yes there’s a pandemic, yet there are so many other layers and challenges that demand our courage and our strength. And sometimes it all feels too much. All I can do is put my adult shoes back on and take one step at a time.

I told you I was reading Bill Manhire’s Wow (Victoria University Press), on the plane down, so hearing Bill read a few poems from his new collection and have a conversation with John Campbell is a treat. Bill talks about achieving a particular kind of music, about the way poems drift between sound and sense, sometimes favouring one, sometimes the other. He refers to the idea a poem might be a prolonged hesitation between the two (idea courtesy of another poet whose name eludes me). Ah the joy of hearing Bill read – you hear word music and it takes you in multiple directions. I am still reading his book and slow musing before I write something for the blog so don’t want to say too much more here. But a downright treat to be at this session – and to hear John share Bill’s impact on him in his classes at university: ‘A light went on in my head and heart which has never gone out.’

And that’s it really – sitting in this session it’s a light on in your head and heart.

I feel so comfortable in this session, I keep forgetting I am in the audience and almost join in the conversation, making comments on Bill’s poems, asking questions. Thank heavens I don’t! Would be so embarrassing. Like I said the world feels awry. I feel off kilter.

Later in the day and I am sharing the stage with Morrin Rout and six other poets to celebrate Wild Honey (Massey University Press) and women’s poetry in Aotearoa (Cilla McQueen, Jess Fieberg, Bernadette Hall, Frankie McMillan, Freya Daly Sadgrove and Selina Tusitala Marsh -sadly my dear friend Tusiata Avia couldn’t make it but Selina read a poem of hers). I am still feeling discombobulated, not used to talking to other people in the flesh, but I am having a quick-fire conversation with Morrin and listening to women read whose work I admire. I introduce Cilla and quote from her: ‘Poetry leaves me in a state of never knowing what’s going to happen next.’

I quote from Selina on poetry: ‘I guess it begins with movement, like, something has to move me emotionally, intellectually, spiritually. And then it has to fit right in my mouth, which doesn’t necessarily mean it must rhyme, but that the words must be able to mill about together on the tongue. Ftting in the mouth and on the tongue often means that the words dance with each other, shadowing each other’s rhythms. Juxtapositions are important in order to disrupt expectation and widen the reading audience. For example, what happens when Muay Thai kickboxing, a traditional Tuvalu dance, and grief move together in the same space, on the same page? And then a poem has to move someone else.’

Freya, Selina, Frankie, Bernadette, Cilla and Jess (photo credit: WORD Christchurch)

Morrin asks why I called the book Wild Honey. I don’t say how an Australian academic nearly vomited on me when I told her the title and the book structure at a dinner once. I tell the audience maybe things work on you below the surface, as my partner is the painter Michael Hight, and I have lived with his magnificent beehive (and night) paintings for decades. And how we always have a pot of honey on the kitchen table. But more than that, women’s poetry is like honey, yes sweet, and yes textured and sharp, and yes full of shadow and light, like the transformative activity of the hive. And yes, women have a history of writing poetry in the wild.

I am asked to reflect back on the three women I picked as my foundation stones for the poetry house I built (Jessie Mckay, Blanche Baughan and Eileen Duggan), the first women with books published here. I want to say so much about these women, how I learnt to cross the bridge to their writing over time, how they were fierce and strong, overtly political, fighting for a better world, full of doubt, most especially full of doubt about their ability to write poems when the men knew better. I don’t say how some academics have used the poems of this trio to support theory, especially post-colonial theory, and how both the woman and the poem disappears. And how I want to bring them back to the light.

I love the fact the auditorium lights are up and I can see both familiar and unfamiliar faces in the audience and it feels like a warm and supportive poetry family. I am so grateful to have this chance to talk poetry with Morrin, such a champion of writers and writing in Aotearoa.

Me measuring a poem, or the gleams, or the pause at the end of the line (Photo credit: WORD Christchurch)

Dinner. Eating vegan dosa with humus and crispy chick peas at 27 Steps.

Off to the launch of Tusiata Avia’s The Savage Coloniser Book (Victoria University Press). A small room packed with dear friends and whanau, and conversation. I am sitting on a stool right at the back listening to Tusiata read, and it is beyond words in my head, it is open heart surgery, and it is skin ripping, bone marrow shifting, it is legs unsteady, it is can’t breathe, because this book, these poems, like those of Mohamed, are sitting me bolt upright. I am the white woman. I am the white woman crying at the world. I can’t help it this year. I can’t sleep. I can’t eat.

The arrival of this book is spoken into being with Tusiata’s inner strength and mana. This is need. This is need to speak. This is need to write. This is need to listen. This is need to stop still.

I get a taxi back to the hotel with Elizabeth Knox and I feel the strangeness of this Covid year as we sit in the lobby and and she holds my hand and I tell her something and I am crying. And then I forget to tell her I always call her book The Astonishing Book but I do tell that I wish it had won the book award and that I cried when it wasn’t even shortlisted.

I am lying on my hotel bed drinking camomile tea thinking this is the year of little openings, like the slow lift doors in the hotel, and how something painful unexpectedly and surprisingly spills. Especially at this festival. We writers are spilling our little beans and we are crying. It is strange. And I am listening.

Multiple moons from my hotel room

Breakfast at my favourite cafe in Christchurch, Little Poms. Such a heavenly plate of food (think homemade muesli, saffron-poached pear, sliced kiwi fruit, coconut yoghurt and the best honey drizzle ever) gets you ready for anything, especially making a poetry playground with children.

Carl Shuker in scintillating conversation with Pip Adam

I haven’t read Pip Adam’s Nothing to See yet (Victoria University Press), and maybe I got some spoilers, but this was a gold-mine conversation. Carl is a brilliant chair (best author intro ever!). Pip is hesitant and awkward and effusive and lets slip writing pearls and is utterly inspiring. Listening to Pip I want to get back home and write. She tells us she is interested in loss and grief, and the way we lose ourselves. She is obsessed with artifice and she is obsessed with fakery. She feels like she has been writing one book for ten years. She says she has this brain that thinks it can kill her and she can keep on living. I love the way everything fits and connects, and forges forward and back and side tracks. Wonderful!

And now for The Astonishing Book, The Absolute Book (Victoria University Press): Elizabeth Knox in conversation with Noelle McCarthy. I could only stay for a taster as I had to get ready for my poetry playground, but I am sure this will be available as a podcast or on Radio NZ. Elizabeth’s book is a book of our times: it offers solace, challenges, shifting feelings, essential ideas, underlines our absolute need for books of all shapes and sizes. Above all it will make you happy. This is the Happy Book. If you haven’t read it yet – put it on your must-read list now!

My poetry playground was like a family occasion with everyone joining in and feeling the warm glow of poems. It felt special to do this.

The almost-final session is Dear Katherine. It is a chance for Rachael King to say ‘thank you’ to her terrific team and to introduce the session writers (Menton Fellows: Bill Manhire, Carl Nixon, Fiona Farrell, Vincent O’Sullivan and Paula Morris). Some have written letters to Katherine Mansfield, some have used the Menton time as a springboard to an anecdote or an epiphany. I am completely exhausted, yet utterly riveted with each presentation. It is spell binding. When this comes out on a podcast have a listen.

So many sessions I wish I had been able to get into: sold out (Ray Shipley’s Late Night Poetry Hour darn it, the Curiosity Cabinet, and Witi Ihimaera and Kingsley Spargo), or clashed with my events (sadly Emma Espiner in conversation with Becky Manawatu and David Eggleton’s Poet Laureate picks) or I was too exhausted (Eileen Merriman’s YA session).

That is surely the sign of a magnificent festival, the hunger for more. I kept using the words gleam and glint and light when I introduced the poets in my Wild Honey session. And decided that is what I hunger for – it’s not that I don’t read the dark, the risky, the challenging, but glints of light in the stories and poems we share, in the books we make, feel utterly necessary at the moment.

I couldn’t commit to appearing at WORD until the last moment, feeling at risk travelling, but WORD festival is my highlight of the year. As a writer I was cared for, as a reader I was rewarded on so many levels. Everyone around me was glowing with festival warmth. So many little encounters, conversations, hugs and gleams to bring home. Next year, I want to book my hotel room, a flight and go to as many events as possible.

Home to the sweet embrace of family, sleeping cats, the bird song, the burgeoning garden, the bush smells, the wide open wild beach, so many books to read, and the urge to keep writing secret things. Thanks Ōtautahi. Thanks WORD.

Poetry Shelf noticeboard: Poetry at Christchurch’s WORD Festival

WORD 2020 in Christchurch is a celebration of writers, books, thinks, talkers, journalists in Aotearoa. Honestly I haven’t dared look at the programme until today because I didn’t want to jinx heading south to participate in this festival.

This is a WONDERFUL feast and I can’t wait to go! Yes you can feast on words! Banquet on stories. Long lunch on poetry. Smorgasbord on ideas.

Take poetry for example. There is such a glorious range of poetry events from book launches to readings to a stand-up poetry quiz.

Check out book launches by Mohamed Hassan, Fiona Farrell, Tusiata Avia, Bernadette Hall and John Newton

You can listen to Bill Manhire in conversation with John Campbell (Wow).

You can go to New Zealand Poet Laureate David Eggleton’s poetry picks: Cilla McQueen, Kay McKenzie Cooke, James Norcliffe, Owen Marshall and Bernadatte Hall.

You can go to the Poetry Slam Finals.

The Canterbury Poets’ Collective poetry performances.

Go to Ray Shipley’s Late Night Poetry Hour: Mohamed Hassan, Freya Daly Sadgrove, Dominic Hoey, essa may ranapiri and more

My Wild Honey session where I will be in conversation with Morrin Rout plus readings by Cilla McQueen, Bernadette Hall, Selina Tusitala Marsh, Tusiata Avia, Jess Fiebig, Freya Daly Sadgrove and Frankie McMillan.

PLUS I am doing an interactive Poetry Playground interactive session for children.

So many great things in this programme but I can highly recommend:

The astonishing Witi Ihimaera with sublime musician Kingsley Spargo (saw a version at GOING WEST and wow!!).

Elizabeth Knox talking about her supremely good read The Absolute Book.

Eileen Merriman discussing her breathtaking YA novels.

Five writers writing a letter to Katherine Mansfield.

A Ralph Hotere session that includes Bill Manhire and Cilla McQueen.

The GALA night that might be sold out now.

The great debate.

Adventurous women.

The arrival of Ko Aotearoa Tātou | We Are New Zealand

So many good things – and yes there are some clashes that will be tough on the day for me!

Congratulations WORD (esp Rachael King for designing this wide-roving programme). You can check out the WORD banquet here – do pop down to Christchurch for a long weekend and join us for an inspirational, heartwarming, mindfeeding occasion.

You can see the full programme here

Some questions for poets reading at Paula Green’s Poetry Shelf Live (Wellington)

 

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Paula Green with Jane Arthur, Lynn Jenner, Simone Kaho, Gregory Kan, Karlo Mila, Tayi Tibble and and special guest, US Poet Laureate Joy Harjo.

 

Prompted by the arrival of Wild Honey, Claire Mabey (Verb Wellington) invited me to curate a session for NZ Festival of the Arts Writers programme. It morphed into a Poetry Shelf Live session at Claire’s suggestion. I have always wanted to do this and would love to curate seasons of Poetry Shelf Live in other places, even my hometown Auckland! But I am a big fan of the poetry verve in our capital city, and have multiple Wellington attachments, having lived there twice in my life (I started school at Petone Central way back when).

So am delighted to be hosting this session!

Picking just a handful of poets was hard as there are so many recent poetry collections that I have adored, along with poets whose work has inspired me for a long time. And it’s something special to have American Poet Laureate Joy Harjo read with us.

As a prelude to the reading, a few of the poets answered some poetry questions.

 

Why write poetry?

Gregory Kan: Poetry is a way for me to process the world and also to build new worlds.

Simone Kaho: My mother used to read me and my brothers and sister bedtime stories, and we all loved reading growing up. When I first came across poetry at school, I saw how much energy there was in it. It seemed to me, to be a wild and condensed version of stories in books. I was drawn to the way a poem could tell a story, or create powerful emotion with very few words. I liked how much the writer collaborates with the reader to create meaning. It looked like magic to me and I had to try and see if I had some in me.

Jane Arthur: I think it’s because my brain suits short, intense bursts of thoughts and words, thinking about poem-sized ideas and doing poetry-shaped crafting. Which is why it’s bizarre and terrifying that I am working on a children’s novel right now.

Lynn Jenner: 

Because poetry is an arrow.

Because it can also be  as wide as a sea.

 

What  attracts you in a poem as a reader?

Gregory Kan: Leaps of the mind, eye and imagination.

Simone Kaho: I like poetry that is dark and funny, but in any poetry I’m looking for the moments where you have to stop and look away from the page, to savour what the poem has said or done. I find in many poems, times where there’s a feeling of spiritual connection. What the poem is saying becomes so true for you it’s like you are experiencing it yourself, you suddenly blend with the poet and understand, deeply, something they are saying or feeling. This can happen in any type of poetry, but for me, it’s probably more likely to happen in poetry that is slightly narrative, or grounded in the real world.

Lynn Jenner: I like the poet to tell me about what they know and what they have learned in their life. I like politics in poems. Other than that, I probably like what everyone likes; surprising language, some building up of themes and some swing and lurch in the rhythm and cadence.

 

What matters to you in a poem as a writer?

Gregory Kan: Movement beyond what I know.

Lynn Jenner:It is important to feel that the poem has done enough, that it has brought something into the light and examined it quite a bit. Because of this, I tend to write long-ish poems! I also aspire to write poems that have an emotional punch to them.

Jane Arthur: Authenticity, voice, surprise.

Simone Kaho: When a poem works, to me, it’s like it holds it’s own energy. You can read it back and see things you didn’t necessarily intend at the time of writing, and it communicates new things back to you. It feels a bit distant – like a memory of being in that moment.

 

I just hosted a festival of tree poems on Poetry Shelf – do you have recurring things in your poems?

Lynn Jenner: Trees, actually, and people dying. Also people talking.

Gregory Kan: Funny you should mention the tree poems – trees!

Jane Arthur: There’s a constant oscillation between rage and apathy. At least, those were the two states I found myself in while writing Craven, and I can still sense them when I read it now.

Simone Kaho: Yes, trees is a recurring them in my poems. Also family, the natural environment generally, and how it feels to be human. Lately, I’ve been writing poetry that is perhaps more overtly political – it’s talking about gender dynamics and trauma.

 

Name 3 to 5 books that you have loved at different points in your life.

Lynn Jenner: Seamus Deane,  Reading in the Dark;  Amos Oz, Tales of Love and Darkness; Leo Tolstoy, Hadji Murad; H.G. Sebald, The Emmigrants

Gregory Kan: Nox by Anne Carson, Sonny by Mary Burger, Dreams for Kurosawa by Raul Zurita, Penury by Myung Mi Kim. Just off the top of my head. But really there are so many.

Simone Kaho:  Huckleberry Finn – Mark Twain, In the line of Beauty – Alan Hollinghurst, Bunny – Selima Hill, All of Tusiata Avia’s books, The Book of the Black Star – Albert Wendt

 

If you were to host a festival poetry session with poets from any time and any place who would you include?

Lynn Jenner: Adrienne Rich, Bill Manhire, Yevgeny Yevtushenko, Leonard Cohen, Paul Muldoon, Seamus Heaney, Rumi

Gregory Kan: I don’t know!

Simone Kaho: The poets in this reading definitely. Selima Hill, Tusiata Avia, Albert Wendt, essa may ranapiri, Hone Tuwhare, Jacquie Sturm, Maya Angelou, Staceyann Chin. I could go on to include 100’s but these would be my first picks.

 

 

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Poetry Shelf Classic Poem: Elizabeth Morton picks Janet Frame’s ‘I Visited’

 

I Visited

 

I visited
the angels and stars and stones;
also, adjectival poets, preferably original.
There was an air of restlessness
an inability to subside, a state of being at attention,
at worst, at war with the immediately beating heart and breathing lung.
I looked then in the word-chambers, the packed warehouses by the sea,
the decently kept but always decaying places where nouns and their
representative images lay together on high shelves
among abbreviations and longlost quotations. I listened.
Water lapped at the crumbling walls; it was a place
for murder, piracy; salt hunger seeped between the shelves;
it was time to write. Now or never. The now unbearable,
the never a complete denial of memory:
I was not, I never have been.

 

Janet Frame from The Goose Bath: Poems, Vintage, 2006

 

published with kind permission from The Janet Frame Estate (note in The Goose Bath states that this appeared as a section in a long untitled sequence)

 

 

Notes from Elizabeth Morton:

Veni Vedi Veci is a T-shirt-perfect slogan, gloating in its victory of ancient history, and its facility with Latin grammar. As an undergraduate I likely sported such an item of casual alliteration. I may have stood at the fence of Albert Park, smoking a Wee Willem cigarillo, mispronouncing the words to passing first-years and telling a bastardised yarn about Julius Caesar. Janet Frame’s poem, ‘I Visited’ relates a quieter, more tentative conquest – that ends in brute self-nihilation – ‘I was not, I never have been’. This is no Caesar. Here is a concession that our words are things to be borrowed, not usurped. There is a sense of things in flux, things that spill through the gaps in your fingers – ‘decaying places’ and ‘crumbling walls’. There is no pillaging of intangibles. The world of words is a lending library with ‘word chambers’ and ‘high shelves’.

Frame’s poem is gently playful. Through it, I recognise this impossibility of ownership. Words are slippery; words alter to their context; words are shared but never spent. I have supermarket bags full of words – words for ‘angels and stars and stones’, earthly and metaphysical – words like ‘turophile’ and ‘oleaginous’ and ‘eosophobia’ and ‘absquatulate’. They can never be conquests. I visit them. Visito. And I try to shake the dust off the words that have been left for dead. Words are people too, you know – ‘with beating heart and breathing lung’. Frame’s poem captures an excitement, a vitality, and also an humility. Also, ‘salt hunger’ makes me shiver.

 

 

 

Auckland writer, Auckland writer, Elizabeth Morton, is published in New Zealand, Australia, Ireland, the UK, Canada and the USA. She was feature poet in the Poetry New Zealand Yearbook 2017, and is included in Best Small Fictions 2016. Her first poetry collection, Wolf, was published with Mākaro Press in 2017. She is completing a MLitt at the University of Glasgow, usually in her pyjamas.

Janet Frame (1924-2004) published eleven novels, five story collections, a previous volume of poetry (The Pocket Mirror, 1967), a children’s book and a three-volume autobiography. She won numerous awards and honours, including New Zealand’s highest civil honour when she was made a Member of the Order of New Zealand in 1990. In 2003 she received the Prime Minister’s Award for Literary Achievement and was named an Arts Foundation Icon Artist. Pamela Gordon, Denis Harold and Bill Manhire edited The Goose Bath, Janet’s posthumous collection of poems in 2006.

 

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Poetry Shelf review: Murray Edmond’s Back Before You Know

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Murray Edmond, Back Before You Know, Compound Press, 2019

Jonas Bones, Jonas Bones esquire,

whale-stabber, seal-clubber,

great hands held like tongs in the fire,

road-digger, gold-grubber—

JONAS: Never did have no blasted luck,

every plan came unstuck—

Always up to his ears in muck

couldn’t make two ends meet.

So one last chance to call a stop

one last throw on a crumbling life,

on the King Country line he set up shop,

with one lone child and one sharp wife.

from ‘The Ballad of Jonas Bones’

 

 

Murray Edmond is a playwright, poet and fiction writer; he has worked as an editor, critic and dramaturge. Several of his poetry collections have been finalists in the New Zealand Book Awards:   Letters and Paragraphs, Fool Moon and Shaggy Magpie Songs. He has worked extensively in theatre including twenty years with Indian Ink on the creation of all the company’s scripts.

Murray’s new collection comprises two long poems that play with other sources; with fable, allegory, history, theatre, poetics, the ballad form. The first poem, ‘The Ballad of Jonas Bones’ steps off from Robert Penn Warren’s ‘The Ballad of Billie Potts’ (1943), from Kentucky to the Waikato / King Country. Murray claims his version as a palimpsest or adaptation, leaving traces of the original version, ghost-like and haunting. We may find vestiges of place, the story that gets passed down the line from ear to mouth, the innkeepers who rob their well-off guests, a character’s return to origins, the cutting shards of history, the kaleidoscopic turns of humanity. I haven’t read Warren’s poem but I sense its eerie presence.

Murray’s fluctuating rhythm and rhymes are like shifting river currents, his poem a river poem carrying the debris of story, hand-me-down anecdote. There’s gold and there’s mud, there’s error and there’s incident, there’s greed and there’s survival. Dialogue gives it life as a theatre piece, staged to the point I invent the presence of audience and a live version runs through my head. I am watching as the past is made present and the future present is gestured at in the revised story along with the original skelton. A wider context is superimposed and hides in the seams: ‘frontier’ stories that mutate in the telling, the more significant misrepresentations that shaped our histories, the way individual stories are muffled within the dominant narratives.

Ah but alongside these fertile underground veins is the fact this is a cracking good story with its blinding twists and wounding heart. For some reason I kept thinking of Blanche Baughan’s affecting long ballad, ‘Shingle Short’.

The second poem, ‘The Fancier Pigeon’, is equally arresting with Murray characteristically playful. I am reading with a wry smile, every sense provoked, my reading momentum both fluid and addictive.  We meet the fancier pigeon and the pigeon fancier (she with her hair aglint) when they meet perched on stools at a bar:

 

She had hair the colour of apricot

she smelt like a cake just taken

from the oven and her father played

drums in a band in the only night club

in town

 

I am always reluctant to spoil the unfolding of a poem, long or short, in ways that ruin the reading experience, that spotlight the darkened nooks and crannies, the poem’s pauses or digressions. That dampens the joy of reading. But I will say when the two characters kiss a pigeon drops a ring at their feet – they decide they will each keep the ring for a week and then only met when they exchange the ring. Such an emblematic hook.

The poem feels cinematic (visually sharp, moody hued), theatrical (with both dialogue and action body gripping) and fable-like (overlaying universal themes of love, betrayal, mishap and destiny). The poem also feels cinematic with its smudged lighting as though we can’t quite be sure what happens between this scene and the next, with the cue to fable never far off, the characters, a quartet, shifting and sliding in and out of view.

 

and it was there

the girl had stopped her

as she walked

“Has he come asking for me”

of course he had so she said “No”

and as if she were granting wishes

she asked

“You wanna come out on the lake

with me in the canoe?”

and she had lead her down

among the bulrushes

 

What I love about the poem – beyond the supple language play and the sensual images, the addictive and offbeat characters, and the narrative tug – is the way the world adheres. As reader you can’t just stick to the poet’s diverting fable – because the real world intrudes, the hurt and broken world if you hold the bigger picture, and the miniature daily stories if you hold the way humanity is formed by individuals. Both things matter at the level of the humane.

The book’s punning title, like a cypher, a tease, is also a ‘dropped ring’. It is re-sited as the last line: ‘BACK AGAIN BEFORE YOU KNOW’.  And I am looping back on the unknown and the achingly familiar, the beginning that is ending that is beginning and so on, the switch back roads and the clifftop vantage points, the downright miraculous and the daily mundane. Ah setting sail on this poetic loop, with its blurs and its epiphanies, is sheer bliss. Poetry bliss.

 

Compound Press author page

Ten reasons to read Sport 46

 

 

 

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1. Anna Smaill’s long interview with Bill Manhire. The advantages of  slow-paced email interviews are evident as Anna and Bill explore the personal, ventriloquism, creative writing programmes, reading poetry, writing poetry, weirdness, holding back, trauma, God, mystery, parents, memory, drinking jugs of beer with Hone Tuwhare through the night. Life and poetry still maintain the requisite cloudy patches, private life and inner life are signposted but not made specific. This is a cracking interview – it refreshes my engagements with Bill’s poems, and writing and reading poetry in general.

2. Oscar Upperton’s poem ‘Yellow House’ because it has bright detail in the present tense and I am in the scene reading on a glorious loop.

The stream crosses the bridge. Pūkeko flicker

from blue to white, bikes rust into each other.

We rust at table.

 

(and the fact this poem is followed by ‘Explaining yellow house’ where Pip Adam gets a mention)

 

3. Sarah Barnett’s long poem essay ‘One last thing before I go’. Wow. This piece of writing is one of my treasures of the year because it goes deep into tough dark experience. It is measured and probing and hits you in the gut. Yet the fact of it on the page in front of me, so crafted and exposed, is uplifting.

 

4. Jane Arthur’s poem ‘I’m home a lot’ because it’s strange and real and unsettling.

 

This one sounds loudest against the front windows

and this one across the roof, nearly lifting it,

in an angry violent way. not like a bird taking off.

And even the birds here are massive and prehistoric.

Silence is rare. It’s eerie when it happens. Our dreams are mute.

 

5. Morgan Bach’s poem ‘carousel’ because when you read this your breathing changes and you enter a glorious mysterious complicated experience in the present tense.

 

but now having swallowed full moons,

coupled with mirrors of reticence, I find

life is not an experiment like that

and soon the body gives up its hunt

how soon the body becomes a cliff

how soon the body becomes a full stop

 

6. Discovering new-to-me poet Nikki-Lee Birdsey – she has a collection out with VUP next year and is currently an IIML PhD candidate. Her first-person storytelling in the form of a poem gripped me from the first lines.

7. essa may ranapiri’s selections because I find myself picturing them performing the poems and then I take supreme delight in the detail on the page.

8. Lynley Edmeades’s “We’ve All Got to Be Somewhere’ because it left a wry grin on my face. Poetry can do that.

9. Emma Neale’s ‘Unlove’ because this poem sings so beautifully.

 

My friend whose mind has frozen

sends me small gifts she says to keep her sane —

a cornflower-blue watch;

a box carved of light with a green latch;

a pink soapstone egg she says will one day hatch

a small, exquisite monster, its teeth sharp as love.

 

10. Rata Gordon’s poem ‘Mango’ because the writing is spare but it makes you feel so many different things.

 

This is all you have

to look forward to

your heartbeat and a

mango

everything else has dissolved:

your family

your intentions

 

 

Sport page

 

 

 

 

 

 

 

 

 

 

 

 

A feast of poetry at Going West

 

 

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Serie Barford: The Curnow Reader

 

Going West always dedicates a significant part of its programme to poetry and this year is no exception.

‘New Zealand’s leading authors, poets, playwrights and musicians offer audiences a fortnight of fresh ideas, future-thinking, language and laughter at the 23rd Going West Writers Festival 1-16 September.’   Good location & food!

 

8 September                          Going West Poetry Slam. Glen Eden Playhouse

14-16 September               Going West Writers Festival weekend. Titirangi War Memorial Hall

 

Full programme here

 

 

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Word Up! is an exciting performance competition which gives 13–21 year-olds the opportunity to present their original work

If you think poetry is all about fields of daffodils and iambic pentameters, think again. Here, at the Going West Poetry Slam, poets lay it on the line to see who’s got the chops to rise to the top.

The weekend poetry events (14th -16th September):

Poet Serie Barford is the Opening Night’s Curnow Reader

Does a city a writer make? Three visiting Wellington poets – Chris Tse, Helen Heath and Anna Jackson – explore what it’s like to live, work and write in the windy city with Paula Green.

Going West is honoured to partner with Auckland University Press to host the launch of a new collection of poetry from C.K. Stead, That Derrida Whom I Derided Died: Poems 2013-2017.

 

As we incorporate artificial intelligence, automation and robotics into our lives and even our bodies, we continue to wrestle with what it all means for us as humans. Helen Heath and Dr Jo Cribb are joined by Vincent Heeringa to discuss these issues.

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Celebrating Elizabeth Smither’s Best Book of Poetry Award

 

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Elizabeth Smither, Night Horse – winner of the Best Poetry Book Award at the Ockham NZ Book Awards 2018

 

Paula: Your new collection is a delight to read and offers so many poetic treats. I was thinking as I read that your poems are like little jackets that can be worn inside out and outside in. In stillness there is movement and in movement there is stillness; in musicality there is plainness and in plainness there is musicality. In the strange there is the ordinary and in the ordinary there is the strange. What do you like your poems to do?

Elizabeth: I want them to do everything. Everything at once. I want them to feel and think (and feel the thinking in them as you read). I want them to be quick, in the old sense of the word: the opposite of dead. I want them to not know something and try to find it out – I would never write a poem with prior knowledge – I think ignorance can be bliss or at least start the motor. And as I write more I find out more and more about musicality. Isn’t one of the loveliest moments in music when harmony breaks through discord as though it is earned and you know that discord, instead of being a thicket or a dark wood, is part of it?

 

Paula: I especially love the ongoing friendship and granddaughter poems, but I particularly love the first poem, ‘My mother’s house.’ Kate Camp and I heard you read this at the National Library’s Circle of Laureates and were so moved and uplifted that we asked for copies! Unseen, you are observing your mother move through the house from the street (you gave us this introduction) and see her in shifting lights. The moment is extraordinary; are we are at our truest self when we are not observed? There is the characteristic Smither movement through the poem, slow and attentive, to the point of tilt or surprise. The final lines reverberate and alter the pitch of looking: ‘but she who made it/who would soon walk into the last room/of her life and go to sleep in it.’  Do you have a poem or two in the collection that particularly resonate with you?

Elizabeth: I’m fond of ‘The tablecloth’ after I observed my friend, Clay, scrubbing at a corner of a white damask tablecloth in the laundry after a dinner party. It reminded me of the old-fashioned way of washing linen in a river. It’s both a doll-sized tablecloth and something almost as large as the tablecloth for a royal banquet around which staff walk, measuring the placement of cutlery and the distance between each chair. ‘Ukulele for a dying child’ tumbles all over itself in an incoherent manner because the subject is so serious and no poet can do it justice. The grandmother poems will probably be ongoing because it is such an intense experience: something between a hovering angel and a lioness. Going back to your remark about ‘My mother’s house’ I agree with the truth that is available in our unobserved moments. Perhaps there is a balance between our social and our private moments which might comprise something Keats called ‘soul-making’.

from our interview

 

 

Tenderness

 

                           I

 

A tree in the centre of a corn field

the corn rising in its ranks like braided hair

to meet the lowest branches

 

a tree that has replaced at least twenty

corn stalks with their divided leaves

twenty golden cobs sweetly surrendered

 

for this lovely grace: leaf sweep touching

leaf sweep, the whole field given by

this rising trunk, a focus

 

the pattern drawn from the edge of the field

to the centre where the tree

delivers a blessing.

 

II

 

The forest planation blankets hills.

Neat-ankled, swift-running

the dark pines descend

 

except on one little hilltop a ride

of grass begins and runs

with the trees which seem to bend

 

tenderly towards it: a bed from which

a child has risen and begun walking

the solicitousness of pine branches over grass.

 

©Elizabeth Smither from Night Horse

 

 

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Paula: Have you seen a festival poetry session (anywhere) that has blown you off your seat (or had some other significant impact)?

Elizabeth: Margaret Atwood and Hans Magnus Enzensberger at the Aldeburgh festival. I read first and sat down between them, shivering.

Paula: If you could curate a dream poetry session at The Auckland Writers Festival which poets would be there and who would mc or chair it?

Elizabeth: I  think I’d do a Dead Poets session. Keats and Shelley, Robert Lowell, William Empson, John Crowe Ransom, Tomas Tranströmer, Szymborska, of course… the possibilities are endless. It might have something of the bitchy tone of ‘The Real Housewives of Melbourne’.  To chair it one of the Paulas: Green or Morris.

 

from Poetry Shelf  ’12 Questions for the Ockham New Zealand Book Award Poetry finalists’

 

Elizabeth will appear at the Auckland Writers Festival 

Sunday May 20  1.30 – 2.20 Disappearances  (4 readings) Limelight Room, Aotea Centre

 

Auckland University Press Night Horse page and author page

Booksellers review by Emma Shi

Radio NZ National review by Harry Ricketts with Kathryn Ryan

 

Award night

 

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