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Poetry Shelf Noticeboard: Phantom National Poetry Day 2021 set to ignite public spaces!

Poetry fans across Aotearoa New Zealand are eager to create a vibrant, diverse Phantom National Poetry Day on Friday 27 August 2021, after the global pandemic curtailed public gatherings last year. 

The packed programme goes live today (Thursday 5 August), revealing the breadth of our annual nationwide celebration.  More than 100 events and competitions are scheduled for late August.  You can find the full programme at Phantom National Poetry Day. 

Now in its 24th year, Phantom National Poetry Day is set to go off with a bang, with events all around the country – from cafés and bars to libraries, bookshops, marae, schools, universities and parks.  Poetry will also pop up on public transport, city streets, beaches, and hospitals.  There’s something for everyone, whether it’s poetry slams, open mic nights, readings, book launches, workshops or performances. 

Among the highlights are:

  • Whangarei – Fast Fibres Poetry 8: poetry anthology launch and performances
  • Auckland – Written Windows:  poetry displays throughout Auckland Hospital, with a performance event including Selina Tusitala Marsh and Renee Liang.
  • Hamilton – Flesh and Bone ii featuring poets from the moana, including Kelly Joseph, Maluseu Monise and essa may ranapiri. 
  • Wellington – Open Heart Surgery poetry evening at Good Books.
  • Christchurch – Counterculture – Politics in Poetry Open Mic: contemporary political poetry from Ōtautahi poets.
  • Queenstown – Pop-Up Poetry Workshop led by Amy O’Reilly and Bethany Rogers.
  • Dunedin – Poetic Cabaret: dine with pitch-perfect poets and invited instrumentalists. 

To celebrate both Phantom National Poetry Day and Australia Poetry Month, online warm-up event Aus x NZ Poetry Showcase is scheduled for Thursday 26 August.  The evening will include lively virtual readings from Tusiata Avia, winner of the Mary and Peter Biggs Award for Poetry at the 2021 Ockham New Zealand Book Awards; shortlisted poets Hinemoana Baker, Mohamed Hassan and Nina Mingya Powles; MitoQ Best First Book Award (Poetry) winner Jackson Nieuwland; and Aotearoa Poet Laureate David Eggleton.  

On Friday 27 August, Tusiata Avia will also appear at the WORD Christchurch Festival 2021 event Confluence and Jackson Nieuwland will take part in Wellington event Shouting Into The Void: Six Poets One Megaphone.  

Poet and NZ Book Awards Trust spokesperson Richard Pamatatau says, ‘As always, this year’s Phantom National Poetry Day is an opportunity for our poets to bring words, ideas and language to people across Aotearoa. To celebrate who we are, what we stand for and to reflect on what has passed.  In the midst of a global pandemic, and after last year’s socially distanced celebration, it is delightful to see activity and vibrancy surging back into the day, with so many events planned.’ 

Nearly 20 wickedly good poetry competitions are listed in the Competition Calendar, including online poetry competition Given Words 2021 – Noho Mai, in its 6th year, and E Tū Whānau’s inaugural Spoken Word Competition, with winners announced on Phantom National Poetry Day.  To find out more and enter these competitions visit Competition Calendar.

Much-loved children’s poet Paula Green has created an inspiring resource for teachers to use with students – one which will spark their imaginations as they write poetry and create events.  Find out more at Phantom National Poetry Day Schools Guide

Phantom CEO Robin McDonnell says, ‘Phantom Billstickers LOVES poetry and has been taking it to the streets of New Zealand and overseas for nearly 40 years.  There’s something delicious about finding poetry in unexpected places – on walls, lampposts, billboards – for all the world to see.  Phantom National Poetry Day gives us an opportunity to go large and celebrate our local poets.  What’s not to love!’ 

Held annually on the fourth Friday in August, Phantom National Poetry Day brings together poetry royalty and fans from all over Aotearoa New Zealand.  Many of the programmed events will be FREE and open to the public.  This popular fixture on our cultural calendar celebrates discovery, diversity and community.  For the past six years, Phantom Billstickers has supported National Poetry Day through its naming rights sponsorship. 

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

Social media links


Facebook: @NZPoetryDay

Twitter: @NZPoetryDay

Instagram: nzpoetryday

Hashtags: #NZPoetryDay 

National Poetry Day was established in 1997 with a mandate to celebrate discovery, diversity, community and pushing boundaries. It is a one-day national poetry-event extravaganza held every August. 

Phantom Billstickers has been assisting New Zealanders to express themselves since 1982. From the very beginning they’ve supported home-grown talent alongside their commercial campaign work, actively promoting New Zealand music, art, poetry and culture through a network that now numbers 6500 framed street posters countrywide. 

The New Zealand Book Awards Trust was established as a charitable trust in 2014 to govern and manage the country’s two major literary awards – The Ockham New Zealand Book Awards and the New Zealand Book Awards for Children & Young Adults – as well as Phantom National Poetry Day, and to ensure their longevity and credibility.

Poetry Shelf noticeboard: Fresh New Format Marks Going West Festival’s 2021 Live Season

The Ghost Resurrects the Family

Haunting it from within, all ghosts –

disappeared, departed and displaced –

find solace in the family they create;

as in the new home. For them, to parent

is to raise the dead and breathe fresh air

into ancient rites of passage. All

for their children, their future.

So that they will never know

how to grow invisible. Never see

the hardships of the hand-me-downs:

worn shoes; torn clothes; broken toys;

taunts; cold baths; half-finished meals.

The bodies never embraced; the words

never spoken: these too the ghost fades

from their offspring’s lives. Of course,

the damaged always loiter somewhere

out of reach. Like knives; clear cut

crystal; diamond ring: all pledged

as inheritance, to be passed down

as silently as curly hair and anaemia.

But the ghost doesn’t bleed out all

its harm; who does? The kids are safe

to make their own mistakes:

the ghost is at peace with that.

Siobhan Harvey

from Ghosts, Otago University Press, 2021.

Siobhan Harvey takes part in Shifting Ground event on Saturday 13th November. See full programme here.

Fresh New Format Marks Going West Festival’s 2021 Live Season

Going West Festival’s 26th season is dialing it up, offering four multi-media Saturday evening events featuring Aotearoa’s finest writers of prose, poetry and music once a month from August. 

Launching on Saturday 14 August, the richly layered new-format offers something for everyone with a love of reading and ideas. 

“Going West Festival is 25 years old this year. We want to demonstrate our commitment to the next quarter century with a fresh programming approach. There will be live music, oratory, performance and kōrero taking place, as well as pop up performances and installations, on multiple stages, with refreshments available throughout the evening. 

“You’ll hear new work from our literary and musical taonga and innovative ideas from some of our sharpest young minds. We’re keeping the kaupapa that our audiences tell us they love, so we’ll be as friendly as ever, and offering compelling insights into Aotearoa’s unique narrative culture all in one whare. But it won’t all happen in one long weekend. 

“The new format is covid-adaptable. It provides new programming opportunities and it’s also going to be a lot of fun,” says director James Littlewood. 

Award-winning writer and associate professor of creative writing at the University of Auckland Paula Morris is a mentor to the Festival’s fresh approach. Together with literary advisors Angelique Kasmara, Amy McDaid, Jack Cottrell and Sonya Wilson, Dr Morris has curated a programme that celebrates Aotearoa as a Pacific nation of increasing diversity under the theme ‘Stranded in Paradise.’

“Our group relished exploring books, writers, ideas, and imaginative connections for Going West this year. We looked for events that would engage and absorb diverse audiences, and feature emerging voices as well as established writers. We embraced the challenge of programming for such varied spaces,” says Dr Morris. 

Gala Night 

Theme: Stranded in Paradise

Saturday 14 August, 7pm – 10pm

Glen Eden Playhouse

$35 ($15 concession)

Always a sellout, the Gala night is the Festival’s traditional centre piece. This year it features arresting poets Darren Kamali and Karlo Mila, and a significant literary performance curated by singer-songwriter Charlotte Yates traversing her four albums of standout NZ poetry-to-song accompanied by multi-instrumentalist extraordinaire Show Pony and the stunning songstress, Julia Deans.

Emceed by Pita Turei.

Documented Reality

Saturday 11 September, 7pm – 10pm

Lopdell House and Te Uru

$25 ($15 concession)

Including powerful readings from Lana Lopesi, Charlotte Grimshaw, Alison Jones and Ghazaleh Golbaksh; conversations with Rebecca Macfie(Helen Kelly: Her Life) and Jack Cotterell (Ten Acceptable Acts of Arson); Len Bell on Marti Friedlander and Sarah Shieff on Denis Glover; a discussion with illustrations on The Front Line and conscientious objectors featuring Glyn Harper and Mustaq Missouri; and provocative performance poetry curated by Aiwa Pooamorn and Gemishka Chetty.

Fabricated Reality

Saturday 9 October, 7pm – 10pm
Lopdell House and Te Uru
$25 ($15 concession)

Including conversations and readings with powerhouse writers; a multi-media session with award-winning non-fiction writers; and a discussion on speculative fiction for screen. 

Shifting Ground

Saturday 13 November, 7pm – 10pm
Lopdell House and Te Uru
$25 ($15 concession)

Look forward to a panel discussion on te reo translating; an illustrated talk; readings from award-wining novelists; and a scripted musical soundscape from some of our finest poets.

Tickets go on sale at 9AM, Thursday 1 July from here 

Going West is grateful for the support of CNZ Creative New Zealand, The Trusts Community Foundation, Waitakere Ranges Local Board, Auckland Council, Te Uru Contemporary Art Gallery, Lopdell House and Glen Eden Playhouse

Poetry Shelf noticeboard: a Ruby Solly workshop at Time Out Bookstore

  • Pure Psychic Automatism
    September 4, 2021
    10:30 am – 3:30 pm

The written word is powerful, but it is also a chance to play and create things which we cannot have in our real lives. More so, it is a place to create things that are impossible even to think about; overripe stones, long hair always full of nocturnal animals, and sugar set fragily ajar by the wind. Join us as we read authors such as André Breton, Leonora Carrington, Richard Brautigan and Samuel Beckett. This workshop will also feature collaborative work using surrealist games and techniques developed during the surrealist movement, as well as exercises inspired by the work of surrealist and related writers. A great workshop for all who wish to extend their writing, to embrace the strange, and work on their potential to describe the indescribable.

Limit of 12 participants.

Details here

Poetry Shelf Theme Season: Thirteen poems about light

Light, lightness, lighting, lightly, that startling moment when it’s you on the deserted beach, and the sun appears on the horizon, a blinding glorious beauty blast that lifts you off the sand. Light, the shifting weather coming in from the coast, mapped out in shade colour daydream, storm and clarity. Yes poetry is home for the dark, but it is most definitely a place to celebrate the light.

The poems I have selected are not so much about light but have a light presence that leads in multiple directions. Once again I am grateful to publishers and poets who are supporting my season of themes.

The poems

Like Lamplight

One day when you are beside me

invite me to speak

of the secrets I never knew

I wanted to tell you, of the warmth

I never knew I owned

until you released it

by moving close as lamplight seems

to glass. Ask me

why I came to you

with the reverence of one

who sees a flower bloom

where none has bloomed before.

By saying what is

I will have said what is.

Sometimes when you are content

ask me what it is

that moves me to want to hold you so,

so often, and laugh when I tell

you the same old

indestructible thing.

One day when you are

where you need no invitation to be

I will tell you

how you flower

like lamplight in me.

Brian Turner

from Selected Poems, Victoria University Press, 2019

A swim with mum

She abandoned the boat one summer

and began to swim

a careful clumsy breast-stroke through the river. From the jetty

to the bridge, from the bridge to the jetty and

back again, patient as a beaver.

At twilight

the one light

is Mum, swimming.

She wears a black whaleskin onepiece

and her strange pale skin,

her hair a slow-moving beacon

through the mildew of trees.

She tells me the garden looks different, is smaller

from the river

and that one never grows familiar

with the soft tongues of weed that browse the skin.

Each breath when she swims is held and let go like a precious thing,

a pushed swing:

this is the only time she is not talking.

The river that runs past the house is darker, is quieter

when mum is swimming.

Ashleigh Young

from Magnificent Moon, Victoria University press, 2012

Still Life with Wind in the Trees

So much of the planet is fragile:

      things that flap on the line,

stuff on a plate, a car skidding

      over the paddocks . . .

I mean: abrupt, conditional,

       and as usual,

brief: so that you once again assume your place.

       Yet what if one day you looked out

through the open window

        and saw mortality

in the grey scribble

        of a boy holding an apple?

Fragility. Brevity. Beauty, even.

         Light in available space.

And what’s joy?

         Even a pencil will point to it.

for Joanna Margaret Paul, 1945-2003

Bill Manhire

from Lifted, Victoria University Press, 2005

A Life

The late afternoon

finds you seeking

clarity in a book

of Rilke poems, a

shortbread biscuit,

and a cup of lemon

tea—with a dash

of honey.

The honey swirls

down through the

tea, and biscuit

crumbs fall into

the book, lodging

in the spine. The

fading sun slants

across the page.

Today, you decide,

you are truly content

to call your life a

great song. Or even

a small song.

A lullaby. Something

to sing your child to


Kiri Piahana-Wong

from Night Swimming, Anahera Press, 2013

Saipipi, Savai’i, Samoa

Nana Se’ela asked me once

Eke mana’o e fai sau malu?

i turned to her, my makas widening in shock

i gaze down at the jellyfish, seagulls, and crosses

under the stars

tattooed around her thighs

in my Samoglish i questioned

me?  Ae ā Mum?

Nana’s throat made a raspy sound

like she was going to spit on the sand

true – Mum was lost to Niu Sila burdens

disguised as palagi exoticness 

had less time for village matters

she was spread between two Motherlands now

The first, native to her tongue rooted from the sands and plantations

where her mother gave birth to her.

The second, native to her offspring where she became mother herself.

Mum was fiapalagi, out of necessity

but i was palagified out of consequence.

so, was I much different?

i tilted my face up to the stars

that were more familiar to me

than the ones on Samoan thighs

without turning to her, i answered

Leai fa’afetai, Nana.

i felt her stare at me for a long pause

before puffing on her rolled tobacco.

we sat there silently looking at the night sky

until we were tired and went to sleep

side-by-side on a falalili’i in her fale.

Ria Masae

from ‘Native Rivalry’ in AUP New Poets 7, Auckland University Press,

experiments (our life together)

here is my experiment with the dark

we run to the top of the street and crossing it

become aware of the fountain’s lip and mosaics

under water pink blue hyaline we step through

the foot bath yes the gold leaf is holding on

here is my experiment with stars

it is a dormitory on the top floor this two o’clock

the babies wrapped loosely in sheets asleep

and somehow not falling out of their little moulded beds

the blinds drawn down the afternoon heat

here is my experiment with humours

aqueous the home movie

tears on the lens and always the return

to rivers their flumes and fumaroles

so plural so carrying so carried away

here is my experiment with light

which leaves me now the dear shapes

gone to sound the end wrapped around

the beginning a piano in a dark room that is

quite what it is like and never the same

here is my experiment with river

memory and the wind ruffles her hair

there are no fences on the sun only a truck

bouncing on the flood its wheels gone and us inside

scared to death and still steering

here is my experiment with rain

we swim and let the current take us

where it will which is some toehold around

the corner under cliffs of black honeycomb

the saltwater pool afloat on its concrete rim

here is my experiment with amygdala

in the morning we find a bar and marmelata

as the sun comes up and the streets are cool

a slice of duomo at the end of each stony block

an orchestration a theatre of the mind

here is my experiment with immanence

who was waiting there who was asking me

to look at heaven from the end of a dark wharf

and when I did when I raised my empty eyes

the city was there a necklace of light a horizon

here is my experiment with periphery

who was asking me not to forget

rippling scales in another room a gallery

at the top of the stairs a cupola a vault

a canopy a river of light on the ceiling

Michele Leggott

from Heartland, Auckland University Press, 2014

Into the Blue Light

for Kate Vercoe

I’m walking above myself in the blue light

indecently blue above the bay with its walk-on-water skin

here is the Kilmog slumping seaward

and the men in their high-vis vests

pouring tar and metal on gaping wounds

the last repair broke free; the highway

doesn’t want to lie still, none of us

want to be where we are

exactly but somewhere else

the track a tree’s ascent, kaikawaka! hold on

to the growing power, sun igniting little shouts against my eyeballs

and clouds come from Australia

hunkering over the Tasman with their strange accent

I’m high as a wing tip

where the ache meets the bliss

summit rocks exploding with lichen and moss –

little soft fellas suckered to a groove

bloom and bloom – the track isn’t content

with an end, flax rattling their sabres, tussocks

drying their hair in the stiff southeasterly; the track wants to go on

forever because it comes to nothing

but the blue light. I’m going out, out

out into the blue light, walking above myself.

Rhian Gallagher

from Far-Flung, Auckland University Press, 2020

Lantern light

Cannon room. Soft delight.

Rattling fight. Mud platoon. 

Fighting fit. Parlour’s floor.

Blind allure. Iron bit.

Head device. Treasured caul.

Blank morale. Not advice.

Mighty fall. Good to go.

Aching slow. Dead appall.

Acre of snow. Dead applaud.

Nightly call. Goodbye go.

Back in old. Noted vice.

Head of lice. Threatened more.

Binding law. Lying wit.

Crying quick. Hole in wall.

Rat in flight. Bloody moon.

Crayon gloom. Lantern light.

Oscar Upperton

from New Transgender Blockbusters, Victoria University Press, 2020


he moves his hand

down the dip of her back

over her buttocks

then up again

each stroke

the sound of a wave

over shingle

it’s like your skin has a grain he says

like the scales of a fish

oh she says feeling the world turn


she turns and there

it is — a touch

of rainbow in her skin

as he catches her

in the right


Alison Wong

from Cup, Steele Roberts, 2006


A wet shrub drips a thousand tiny mirrors.

Cows climb from the blue-veined clay.

The sea’s monster lung trembles.

Ocean lilies of yachts spread sail.

Sunlight bubbles on the purple cloudpane.

Time lies in its sunburn.

A knife cuts open a grapefruit’s centre.

Pips sparkle like summer boats.

David Eggleton

saying your names

after Richard Siken

the earth has names in every language / in

body language, an unravelling, the self offered,

open-faced and blushing, leaves flat and

extended, tender / since the beginning of human

thought / we’ve been drunk with naming,

with godly names, secret names / true names

with absolute power / animal names, not scientific

but the names wild beasts give the world, guttural

and warm, worn in the throat, irresistible /

inexpressible, but we’re trying, gesturing

at the sky and the ground, like babies learning

to speak, imitate, repeat, we learn the sounds

other people respond to / the more we love

a thing the more names it has, like the sun,

my emotional support star, my long-distance

lover, the original hot girl, the inventor

of sunsets, distant world in a sci-fi novel,

wildfire / if you look directly at it everything

dissolves / each name gets closer but refracts /

like looking through a prism, light glancing

everywhere, refusing to be held

Ash Davida Jane

from How to Live with Mammals, Victoria University Press, 2021


Our son, nearly one, has one near-word:

another determined birth

the sound stutters, gutters

then rushes and floods





He points to lamp and torch,

to LEDs on clock, computer, answer machine,

to sun-strike – on sash windows, ignited

from an old ute’s wing mirror, firing

a red beech leaf as it falls, flares,

flaught – like torn newsprint in a grate

as it spasms into flame….

“That’s right!” we say, “A light, a light.”

And as he points to hyacinth, door, cat,

and tries,




say, “No, that’s a flower, a door, a  cat,

but he, small and earnest professor,

cranes forward a little on his rump,

to repeat slowly and with extra care




until we look again.

It gathers in thick cones,

rods of bee caves

dozens of lilac oboe mouths

peeled back into stars.

It hovers on one wall

like a vertical lake

that rapidly drains

to miraculous views

(a dog! a tree! a car!)

then fills again with itself

hard, white, stilled.

It unfurls, blackbird-blue,

to arc and vault

from windowsill to garden

where discs and glints of it

flock, merge, and wheel apart

into hedge, clothesline, pegs, water,

frost on red roof, green blade, yellow grain:




“Ah,” we say, “We see.  There. 

And there.

Light.  Light. 

All shapes of light.”

Emma Neale

First published in Spark, Steele Roberts, 2008


I like the light that comes up

from down beyond the land.

I like the human light

yellow in windows.

The people moving about

in them. I like, too,

the way they amplify the light

beyond the land.

The way it will not last too long,

The way it will be extinguished by

another light we call the dark,

where everyone goes to recall

the light & the way it was,

among the fall of shadows.

Richard Langston

from Five O’Clock Shadows, The Cuba Press, 2020

The poets

David Eggleton is a poet and writer of Palagi, Rotuman and Tongan descent based in Dunedin. He has published a number of poetry collections, and has also released a number of recordings with his poetry set to music by a variety of musicians and composers. He is the former Editor of Landfall and Landfall Review Online as well as the Phantom Billstickers Cafe Reader. His book The Conch Trumpet won the 2016 Ockham New Zealand Book Award for Poetry. In 2016, he received the Prime Minister’s Award for Literary Achievement in Poetry. His most recent poetry collection is The Wilder Years: Selected Poems, published by Otago University Press in May 2021. He is the Aotearoa New Zealand Poet Laureate for 2019 – 2022.

Rhian Gallagher’s first poetry collection Salt Water Creek (Enitharmon Press, 2003) was shortlisted for the Forward Prize for First Collection. In 2008 she received the Janet Frame Literary Trust Award. Her second poetry collection Shift, (Auckland University Press 2011, Enitharmon Press, UK, 2012) won the 2012 New Zealand Post Book Award for Poetry. A collaborative work, Freda: Freda Du Faur, Southern Alps, 1909-1913, was produced with printer Sarah M. Smith and printmaker Lynn Taylor in 2016 (Otakou Press). Rhian was the Robert Burns Fellow in 2018. Her most recent poetry collection Far-Flung was published by Auckland University Press in 2020.

Ash Davida Jane’s poetry has appeared in MimicrySweet MammalianStarlingThe Spinoff and elsewhere. Her second book, How to Live With Mammals, was published by Victoria University Press in April 2021. She lives and works in Wellington.

Richard Langston is a poet, television director, and writer. Five O’Clock Shadows is his sixth book of poems. His previous books are Things Lay in Pieces (2012), The Trouble Lamp (2009), The Newspaper Poems (2007), Henry, Come See the Blue (2005), and Boy (2003). He also writes about NZ music and posts interviews with musicians on the Phantom Billstickers website.

Michele Leggott was the first New Zealand Poet Laureate 2007–09 under the administration of the National Library. She received the Prime Minister’s Award for Literary Achievement in Poetry in 2013. Her collections include Mirabile Dictu (2009), Heartland (2014), and Vanishing Points (2017), all from Auckland University Press. She cofounded the New Zealand Electronic Poetry Centre (NZEPC) with Brian Flaherty at the University of Auckland where she is Professor of English. Michele’s latest collection Mezzaluna: Selected Poems appeared in 2020 (Auckland University Press).

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.

Ria Masae is a writer, spoken word poet, and librarian of Samoan descent born and raised in Tāmaki Makaurau.  Her work has appeared in various publications including, Landfall, Takahē, and 2020 Best New Zealand Poems Anthology.  A collection of her poetry, titled, ‘What She Sees From Atop the Maunga’, can be found in, AUP New Poets 7.  She is currently working on a sole anthology of poems for publication.

Emma Neale is a writer and editor. Her most recent collection is To the Occupant. In 2020 she received the Lauris Edmond Memorial Award for a Distinguished Contribution to New Zealand Poetry.

Brian Turner was born in Dunedin in 1944. His first book of poems, Ladders of Rain (1978), won the Commonwealth Poetry Prize and was followed by a number of highly praised poetry collections and award-winning writing in a wide range of genres including journalism, biography, memoir and sports writing. Recent and acclaimed poetry collections include Night Fishing (VUP, 2016), and Just This (winner of the New Zealand Post Book Award for Poetry in 2010). He was the Te Mata Estate New Zealand Poet Laureate 2003–05 and received the Prime Minister’s Award for Poetry in 2009. He lives in Central Otago. 

Oscar Upperton lives in Wellington. His first collection New Transgender Blockbusters was published by VUP in March 2020. His second collection, on the life of nineteenth century surgeon Dr James Barry, is upcoming. 

Kiri Piahana-Wong is a poet and editor, and she is the publisher at Anahera Press. She lives in Auckland.

Alison Wong is the coeditor of the first anthology of creative writing by Asian New Zealanders. A Clear Dawn: New Asian Voices from Aotearoa New Zealand (AUP, 2021). Alison’s novel, As the Earth Turns Silver (Penguin/Picador, 2009) won the NZ Post Book Award for fiction and her poetry collection Cup (Steele Roberts, 2006) was shortlisted for the Jessie Mackay Award for best first book of poetry. She was a poetry judge at the 2018 Ockham New Zealand Book Awards. 

Ashleigh Young is the author of Magnificent Moon, Can You Tolerate This?, and How I Get Ready. She works as an editor at VUP.

Ten poems about clouds

Twelve poems about ice

Ten poems about dreaming

Eleven poems about the moon

Twelve poems about knitting

Ten poems about water

Twelve poems about faraway

Fourteen poems about walking

Twelve poems about food

Thirteen poems about home

Ten poems about edge

Eleven poems about breakfast

Twelve poems about kindness

Poetry Shelf noticeboard: The Great Write Inn is a Weekend for Writers

The Great Write Inn is a Weekend for Writers: 16-17 October 2021 Created by writers for writers, featuring Catherine Chidgey, Diane Brown, Emily Writes, Fiona Farrell, Amy Scott, Fiona Cole, Emma Neale, Beverly Martens and other special guests.

You need to go to the site to check the full details out

Poetry Shelf: Aidan-B. Howard reviews This Twilight Menagerie

This Twilight Menagerie is a poetry anthology of a special importance and a special calibre. Forty years ago, Poetry Live! was launched in Auckland as a weekly meeting of poets and poetry lovers, driven initially by the late David Mitchell, himself a poet of some national and international renown. Over the following years, the diverse team that runs this event has released occasional ‘annuals’ (in the loosest sense of the word). This year, however, is something even beyond this.

  To mark the 40th anniversary of this gathering, a significant 218-page anthology has been released, containing works from 79 poets, past and present, most still alive, but a few gone to that great typewriter in the sky. Many of these contributors have endured most of that entire 40 years on the local scene; some used to attend in the earlier days, but have subsequently moved on; others are fresh and enjoying the new opportunities that a local, public platform affords them. But in all cases, these poets have offered us something that they have considered to be of some quality and of some respect to the long Poetry Live! tradition.

  And it is from here that we see again that “special calibre”. Because the editors this year have been able to choose from so many artists and so many works that were offered for consideration, that selection has ended up being one of the finest collections that we could hope to find, one that would sit with pride next to the various yearbooks or the larger, more famous anthologies. It has poets laureate and literary award winners alongside retired teachers, plumbers and architecture students, all with one thing in common – their love of poetry. Aotearoa New Zealand already holds, and for a long time has held, the record as the country that publishes more poetry books, per capita, than any other, and so what we have here, really, is a tradition within a tradition, a ‘commonwealth’ of the two.

  Having been an arts and literary reviewer since the early 1980s, I have come across the good, the bad and the indifferent, as we find throughout the creative world. But for the first time in countless years, we have a collection in which there is nothing half-hearted, nothing disrespectfully casual. Covering every topic from the love of one’s father to the love of our grandmothers, from the pride in one’s mana to the fascination in the moon or in an octopus, to statues, to music, from the outrageous death of twin babies to the conflicted death of a junkie. The reader, any reader, will find something for themselves, a poem, a verse, a line, maybe a mere word or phrase, that means much to them and invokes an image, a memory or an intrigue… and maybe even a desire to put pen to paper and write themselves.

     I want to give words to you.

          Words to caress your face,

          To run across your lips, and around your eyes.


     I want to give you words

          That you will keep on your bookshelf,

          In your record case, and behind the door in your loo.

     Words that are ideas

          So that you can build sandcastles with them.

          And then I’ll give you words

          To hold back the flowing tide.

                         [Roger Hicks, Words (excerpt)]

Aidan-B. Howard

This Twilight Menagerie, Jamie Trower & Sam Clements Editors, $20 plus p&p, orderable by email at 219pp 210x150mm

Aidan Howard was the chief arts reviewer on Craccum for 13 of the years from 1980 to 2000, including 7 years as the arts editor and one as the editor.