Category Archives: Uncategorized

Poetry Shelf noticeboard: Call for submissions to anthology on solo parenting

ALL WRITERS
CALL FOR SUBMISSIONS!!!

‘FLYING SOLO’
ANTHOLOGY OF NZ WRITING

Are you interested in submitting your work to be considered
for inclusion in a themed anthology on the experience of single parenting?

*

We want to read your take on ‘solo parenting’
─ whether humorous, enlightening, or challenging ─  
 in the genre of your choice: poetry, prose (creative non-fiction), or short fiction.

You may be a solo parent or the child of a solo parent, you may be a teacher, counsellor, doctor, friend, or anyone with a unique take on this phenomenon.

*

ENTERTAIN US, SURPRISE US, PROVOKE US, MOVE US
WITH YOUR CREATIVE WRITING
 ON THIS COMPELLING THEME.

*

Please submit your piece in Word format to jen-b@xtra.co.nz
by 15th November 2020 (date extended).
Prose – Max 3000 words (negotiable) ; Poetry – Max 3 pages (negotiable)

A submission fee of $30 is required per piece.
(Concessions for students, superannuitants, and others on application.)
Funds raised to go towards printing costs.
 Kiwibank 38-9016-0287406-00

* A NZ publisher has been confirmed and the project
will go to press early next year for release mid-late 2021.

The anthology will be edited
by Paddy Richardson and JCL Purchase.

Poetry Shelf Monday Poem: Michele Leggott’s ‘very fine lace knitting’

 

very fine lace knitting

 

this is a picture of my house

wallpaper silvery with birch trees

covering the workbook

the stories and the pictures

red and yellow blue and blue-green

the smiling suns

jack in the box on the window sill

see Sweetie run

the high shelf in the toyshop

I want to be a ship

the umbrella poem

the oak tree and its acorns

the blue eyes that wouldn’t

the bar of chocolate and our mother at a high window

angelic openings in the calendar

circus elephants on the road at Waitara

hot black sand and the donkey rides at Ngāmotu

 

 

but we came ashore after the others

Mama still pale and no baby sister

though we begged her to tell us

when we might see her again

hush darlings she said

look at the tents and the lovely black sand

we will camp out until there is a house for us

but that house burned down right away

and Papa had no watch

or any instruments to make drawings with

and all of us felt sad

because the ship had gone

perhaps with our baby sister hidden somewhere inside

crying to us but we couldn’t hear

now Papa must cut the Sugar Loaf line

now Mama must tell us a new story

and when the earth shakes and the rats run across our blankets

we will not think of her

our sister outside in the dark

beside the rivers and wells

that wait to drown children less wary than us

 

 

when my mother was a girl

she thought all grown men had to go to jail

and feared to find her father one day

among the figures working in the prison gardens across the river

under the watchful eye of Marsland Hill

how did she know

afternoon sun slanting through eucalypts

stream curving or carving the valley that divides

here from there, us from them

now from then

or not at all

how did she know

that her grandfather was locked up

for three months pending trial

for the attempted murder of his wife and child

on the farm at the top of Maude Road

and that she, our great grandmother

would drop the charges, needing him

at home and claiming he would often shoot at her

going down the road, for target practice

he was cautioned against excessive drinking and released

to lose the farm and start over

as a teacher in country schools

how did my mother know

that her father, a young man in a country town

was put in the lock-up for two weeks in the year before the war

for sending indecent literature to the girl who jilted him

two postcards and a photograph

he is named but she is not

in the police report that went to the local paper

he was in the second draft

leaving for Palmerston North

dark hair brown eyes five foot seven

oblique scar on left forearm

August 1914

 

 

We were too small to remember

the trouble that took Papa to prison

for losing all his money

were we there too we ask Mama

did you take us did we all live in prison for a while

she will tell us only

that it wasn’t so bad

that everyone helped out and soon

he was home again I cannot now recall

how long we were away

but I was glad enough to leave that place

though I was not in favour of the long voyage

to the other side of the world

and dreaded confinement at sea

Well that is another story

now your father ties off his lines

for the company and remembers Cornish hills

Somerset hills and Devon hills under his pencil

he sees the nature path in the valley of the Huatoki

and knows it will take him to slopes covered in red and white pine

rimu and kahikatea

where a house may be built or brought

on land bought with remittances from England

 

 

the small child in the big photo

dark hair dark eyes pixie face

is my mother’s sister

they share a middle name

the child in the photo could be a year old

she is holding onto a stool with baby fingers

her feet are bare and she wears a dress

of soft white wool knitted by my grandmother

in whose bedroom the photo hangs

above the treadle sewing machine we are pumping hard

for the noise it makes up and down up and down

up and down and we are never told to stop or be quiet

we know the child in the photo died long ago

before she had time to become my mother’s sister

but we never ask our grandmother

about the very fine lace knitting

of the photo that hangs in her room

 

when at last we go looking for

the child who would have been our aunt

the trail is cold the dates stones or tears

Date of death: 20 September 1923

Place of death: Stewart Karitane Home Wanganui

Cause or causes of death: Gastroenteritis 2 1/2 Months, Exhaustion

Age and date of birth: 19 Months, Not Recorded

Place of birth: Stratford

Date of burial or cremation: 21 September 1923

Place of burial or cremation: Kopuatama Cemetery

 

we see our grandfather thrashing the Dodge

between Stratford and Whanganui

and the journey home with the little daughter

he will bury next day at Kopuatama

was our grandmother there

in the car at the Karitane Home at the graveside

the two and a half months of sickness

the birth of a second child

our Uncle Jack

8 July 1923

 

up and down up and down up and down

noise to cover a heartbeat under soft white wool

 

 

I look upon these letters and do not like to destroy them

they are a house of memory and when I read

I am my mother on deck at last

searching for a ripple on the flat Pacific Ocean

I am my father making delicate waves

around each of the Sugar Loaves on the map going to London

I am my brother in a choir of breakers

that bring his body to the landing place

I am my sister in the boat

outside the orbit of the moon and the orbit of the sun

I am my sister a bell-shaped skirt

between ship and shore

I am my sister painting a rock arch

that became fill for the breakwater

I am my sister exhausted

by travelling and the house to clear

I am my sister writing poems

that lie between the thin pages of letters

I am my sister singing

ship to shore choir of breakers alpine meadow

I am myself on the other side of nowhere

waiting for a knock on the door

 

 

my mother is taking a photo

of herself and our baby sister

in the mirror on the wall of silvery grey birches

it’s summer and she has propped the baby

between pillows in the armchair

holds the Box Brownie still

leans over the back of the chair smiling

into the mirror

she and her baby by themselves

reflected in silvery light

not for a moment aware of the child

whose passing long ago

mirrors to the day

the arrival of our sister

whose middle name my mother took

from the light of Clair de Lune

 

 

and so the daughter library

remakes itself and is not lost

though great libraries burn and cities fall

always there is someone

making copies or packing boxes

writing on the back of a painting or a photo

always there is someone

awake in the frosty dark

hearing the trains roll through and imagining

lying under the stars at Whakaahurangi

face to the sky on the shoulder of the mountain

between worlds and mirror light

 

***

 

Michele Leggott

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.

Auckland University Press page

Poetry Shelf review of Mezzaluna

Poetry Shelf review: Rata Gordon’s Second Person

 

Screen Shot 2020-08-17 at 12.59.25 PM.png

 

Back in Level Three lockdown, but this time I can read, despite the wide awake nights. Rata Gordon’s debut poetry collection Second Person is mesmerising. It held me in the grip of poetry from first page until last. Yes! I devoured this collection in one sitting and then went back to dawdle on the poems that pulled me back in.

I have been musing on the way poetry can offer the reader a chain reaction of poem joy (among many other things of course). But joy seems like a good thing to imbibe at the moment.

Reading Second Person filled me with poetry joy.

This is a book of birth, babies, death, the universe, love, motherhood, water, sky, wildlife. It is a book that celebrates the present tense, the way we can inhabit the now of being. My first joy is visual as the poems are brocaded with hues and gleams. It is as though an artist has animated poems with their colour palette: ‘I painted sonnets on the wallpaper’. I adore the way a smattering of colour words spike the poems to gorgeous new levels. It fills me with joy.

 

I’m dressed in yellow leaking

gorse seeds out my pockets like

crumbs I am dressed in white skin

drinking from the spout of a

teapot (…)

 

from ‘The pregnant pioneer looks over her shoulder’

 

The second joy is the joy of sound. Many of the lines are short, the rhythm breathy with ample white space at the end of the line. These poems flow like a honey current. Again I am filled me with joy. At times it is the rhythm of walking. At time is is the rhythm of lying on the couch and looking out a wide window and breathing in and out, in and out. You inhale the poem.

As much as there is the physicality and a sensual present, there are also signposts to behind-the-scenes, to what is hinted at but not detailed. A taste from this poem for example:

 

In Delhi the dust

gets up your nose and into

your veins it swims

through the insides

of your bones

 

In April you want to hurt

yourself in the hotel room

but you don’t becuase a mango

will make it better

 

You walk through the streets

in the second person as if

watching yourself from behind

your backpack and your hands

are limp but your heart is

beating

 

This is all you have

to look forward to

your heartbeat and a

mango

everything else has dissolved:

your family

your intentions

 

from ‘Mango’

 

There is an unspoken story signposted here, and it may be real or fictional. It is the mood of the speaker, the state of mind, that holds as you read. The speaker becomes second person, alive, that beating heart, that mango luminous. I am musing on the way, as we write poems, as we insert ourselves above, between, behind and in the lines, we always become second person, whether past present future. I am filled with joy at this thought: the peering into the self inserted into the poem that is close at hand and walking away. Ah.

A third joy is the poetry stitching that shows through at times. Little windows open onto the writing of a poem, its making doesn’t just appear out of thin air, but is something altogether more mysterious, complicated, self-sustaining. I especially love ‘I find slaters’ with its surprising curves and bridges. Here is the middle bit:

 

I am rifling through this poem

trying to find

its hidden meaning.

If I rifle through fallen leaves

I find slaters.

 

The leaves are being digested.

 

How much twiddling do trees do?

Do they doodle on the sky?

Do they do a little spiral?

 

Second Person is fresh, layered and utterly captivating. Just the ticket  when you want to lie back on the couch and nestle into a welcome and very satisfying poetry retreat. I love this book.

 

Rata’s poetry has appeared in a number of Aotearoa journals. She works in the arts and mental health.

Her website.

Victoria University Press page.

 

 

 

 

 

Poetry Shelf noticeboard: Featherston Words in Winter cancelled

 

Screen Shot 2020-08-17 at 6.30.37 PM.png

 

Kia ora dear booklovers,

I’m very sorry to say that given the COVID alert level two status, the misgivings some of our presenters had on traveling and the impact of the guidelines on social distancing, and people gathering, the Featherston Booktown Board of Trustees have made the difficult decision to cancel the last Words in Winter events for August due to be held in the Anzac Hall on this Saturday, 22 August.

We were so looking forward to hosting Shayne Carter, Richard Langston, Lynn Freeman and the four wonderful poets from Wellington: Sam Duckor-Jones, Tayi Tibble, Jordan Hamel and Helen Rickerby at Featherston Booktown this weekend!

We hope to reschedule the events soon, either in the late Summer or at the Featherston Booktown Karukatea Festival in May next year (6-9 May 2021).

I hope you won’t be too disappointed and we thank you again for your support and patience…

Love

Mary Biggs

Operations Manager
Featherston Booktown Trust

Poetry Shelf Monday Poem: Anuja Mitra’s ‘Polaroid’

 

Polaroid

 

there we are — lost

in a thicket of murky lines,

faces swallowed by lack

of light.

 

she waves the picture impatiently

coaxing us into view.

I think I have questions

about polaroids,

 

like why do we romanticise

our parents’ relics

and who knows to pull us

from that milky dark?

 

the last summer of my saviourhood

she leapt from the dock at low tide,

water closing over her

like it might never give her back.

 

after her other friends deserted her

she bought the camera

to salvage us.

the first shot developed slowly,

 

our figures fading

into sight.

there we are! she yelled

like we were terra nova.

 

the second was blurry,

our bodies smudged

and slightly ghoulish.

she tore it in two

 

and gave me her half.

keep it, she said,

we’ll be each other’s

ghosts.

 

Anuja Mitra

 

 

Anuja Mitra lives in Auckland where she is finishing a Law/Arts degree. She is co-founder of the online arts magazine Oscen at oscen.co, and more of her writing can be found in Signals, Starling, Sweet Mammalian, Mayhem, The Three Lamps and Poetry NZ.

 

 

 

 

 

Poetry Shelf Lounge: a Landfall 239 reading

 

Screen Shot 2020-08-13 at 4.04.35 PM.png

 

Landfall 239 edited by Emma Neale, Otago University Press, 2020

 

To celebrate the arrival of Landfall 239, edited by Emma Neale, I invited a few poets to read their poems from the issue.

The new issue is an excellent place for small reading retreats. You get fiction, non-fiction, poetry and reviews. It includes heavenly embroidered panels by artist Vita Cochran; they took me back to my primary school days when embroidery was a thing. Surely this will inspire a swag of us to pick up needle and thread, and get creative. I equally adored the paintings – oil on linen or canvas – by Star Gossage. These muted portraits, favouring  blue / green palettes, hum with mood and presence. Gosh I love them.

You also get the winning essays in the Charles Brasch Young Writers’ Essay Competition 2020.  And they cut through any stasis. Especially Grace Lee’s winning essay, ‘Body/Love’.

Small reading excursions are so very satisfying. And with me not going out for the forseeable future, I am very glad to settle back on the couch, and watch / listen to this Landfall reading. And then venture back into the book to read the fiction and reviews. Wonderful.

Thank you Landfall poets for contributing to a Poetry Shelf Lounge event.

 

 

 

 

Author Photo May 2016.JPG

 

 

 

Lynley Edmeades reads ‘Notice’

 

 

 

LeonardLambert Less Sat Hat Band.jpg

 

 

 

Leonard Lambert reads ‘Nights of Wonder, Days of Splendour’

 

 

 

IMG_20200802_165536_617.jpg

 

 

 

Emer Lyons reads ‘Nothing repaired, nothing gained’

 

 

 

IMG_20200623_112221_469.jpg

 

 

 

Talia Marshall reads ‘Being Active’

 

 

 

Kōtuku Titihuia Nuttall.JPG

 

 

 

Kōtuku Titihuia Nuttall reads ‘Kēhua’

 

 

 

 

essa may ranapiri reads ‘echidna goes to see the drone perform in front of a live audience’

 

 

 

Jo-Ella Sarich reads ‘The Jasmine (We need to talk about suicide)’

 

 

 

Tim Saunders reads ‘Demilune’

 

 

 

Nicola Thorstensen reads ‘Legacy’

 

The Poets

 

Lynley Edmeades is the author of two books of poetry: As the Verb Tenses (2016) and Listening In (2019), both published with Otago University Press and both longlisted for the Ockham New Zealand Best Book Award. Lynley is a lecturer at the University of Otago, and she is currently working on a book of essays.

Leonard Lambert is a long-established NZ poet with a publication history stretching from A Washday Romance (John McIndoe, 1980) to Somewhere in August: Selected Poems 1969-2016 (Steele Roberts, 2016). His most recent publication is a chapbook, Winter Waves, from Cold Hub Press. Between poems he paints and is a regular exhibitor around his home turf of Hawke’s Bay.

Emer Lyons is a lesbian writer from Cork, currently in the last months of a creative critical PhD at Otago.

Talia Marshall (Ngāti Kuia/Rangitāne ō Wairau/Ngāti Rārua/Ngāti Takihiku) is a poet and essayist with one son and one dog who has a poetry collection forthcoming from Kilmog Press titled Bad Apple. In 2020 she is writing about Ans Westra’s photographs of Māori as part of her Emerging Māori Writer’s Residency at Victoria University. Her essay titled ‘This Is the Way He Walked Into the Darkest, Pinkest Part of the Whale and Cried Don’t Tell the Others’ was quoted on the cover of POETRY magazine’s February 2018 Aotearoa issue.

Kōtuku Titihuia Nuttall (Te Āti Awa, Ngāti Tūwharetoa, Ngāti Rangatahi, SȾÁ,UTW̱ First Nation) is a creative writing student at Te Pūtahi Tuhi Auaha o Te Ao (IIML). Her work has been published in Landfall, Turbine / Kapohau, Starling, Food Court, and Te Rito o Te Harakeke.

essa may ranapiri (Ngāti Raukawa/Tainui/Ngāti Takatāpui/Clan Gunn/Highgate) is a person or some shit / or whatever / they wrote a book of poems called ransack / it’s still in th world / the only time they use they/them pronouns for themselves is in these bios / isn’t that funny / thx goes out to their ancestors / who are as big as everything / just wow / just everything / they will write until they’re dead

Jo-Ella Sarich is a lawyer, writer, and mother to two young girls living in Te Awa Kairangi. Her poems have appeared in a number of print and online publications, including New Statesman, The Lake, Cleaver Magazine, Barzakh Magazine, Quarterday Review, Shoreline of Infinity, takahē magazine, Shot Glass Journal, the New Zealand Poetry Society’s Anthology for 2017 and the Poetry New Zealand Yearbook 2017.  Tumblr link, @jsarich_writer.

Tim Saunders farms sheep and beef near Palmerston North. He has had poetry and short stories published in Turbine|Kapohau, takahē, Landfall, Poetry NZ Yearbook and Flash Frontier. He won the 2018 Mindfood Magazine Short Story Competition, and placed third in the 2019 and 2020 National Flash Fiction Day Awards. His book, This Farming Life, was published by Allen & Unwin in August, 2020.

Nicola Thorstensen is a member of Dunedin’s Octagon Poetry Collective, which organises monthly poetry readings. Her work can be found in a number of New Zealand periodicals and journals, including Takahē, Poetry New Zealand and political anthology Manifesto Aotearoa.

 

 

 

 

 

 

 

Poetry Shelf review: Mary Maringikura Campbell’s Yellow Moon | E Marama Rengarenga: Selected Poems

 

9780473510718.jpg

 

Yellow Moon | E Marama Rengarenga: Selected Poems Mary Maringikura Campbell, edited by Mark Pirie, HeadworX Publishers, 2020

 

Mary Maringikura Campbell’s poetry chapbook Maringi was awarded the Earl of Seacliffe’s Poetry Prize in 2017. She began writing poems at the age of 13 and her work has appeared in various journals and anthologies. Her poetry has been translated into French and Italian, she sings and performs her own folk songs, and is a member of the drama group Te Ohu Whakaari. She is the daughter of poets Alistair Te Ariki Campbell and Meg Campbell. In 2011, with Peter Coates, Mary co-curated the Alistair Te Ariki Campbell exhibition at Pataka Museum in Porirua, which then travelled to the Cook Islands.

 

Apirana Taylor suggests the poems in Mary’s new collection resemble waka sailing over numerous tides and ocean undercurrents. A striking image and a perfect entry into poetry that moves you as you read. This is a book where the world matters, family matters, and a dark edge is countered with lightness. You will read of the moon, fish, the ocean, a coconut tree.

The opening poems are like an anchor; the first poem offers a genealogy that embraces:

 

Savaiki

 

Born of Te Ariki

Descended from

Atea and Hakaotu

Do not judge me

because my skin burns in the sun

I know who I am

and the direction I am travelling

Towards Savaiki

Towards the Son

 

The second poem anchors the poet in a beloved place, home, which is family as much as it is physical. The poem is like a marker of self – and the handful of words reverberate so beautifully I can feel the scene. I can feel what is not said. I feel as though I have been welcomed into the book. This is the second poem:

 

Small Town

 

Bends in the road

Paekakariki

a small town

north of Pukerua Bay

A full moon

Bright as a torch

in your face

My parents sleep

outside my window

A giant gull disappears

mid air

nothing is as it seems.

 

Enter the poetry and you enter the undercurrents Apirana spoke of:  there are broken people, women to be honoured (a woman with six children to care for is a Goddess), the storms and raging bulls inside one, suicides and grief, psychiatric care, anger. Darkness yes, but there is an attentiveness to others, the way love is also inside you, the way love stretches out and makes contact, the way love gives advice. Human to human. Mother to son.

 

The chapbook Maringi forms the second half of the book. It contains a number of family poems I find particularly moving. I posted ‘How We Love’ on Poetry Shelf around the time Wild Honey came out as I had made contact with Mary because of Meg’s poetry. ‘How We Love’ is one of the most moving and open-heart poems for a mother and father I know of. The last two lines make me weep. Still. You can read the poem here. It is a list poem with unexpected turns.  It has the music of both love and hate. Feeling is in the driving seat. The family stories hinted at. Just as they should be, kept hidden from our inquisitive eyes. You can read the poem here.

Mary’s ability to make me feel, without sitting me down and handing over full explanations of her life, is what makes her poems sing. Gloriously.

 

Hole in My Heart

 

Mum

It’s been two years

since you left a hole in my heart

See

You can put your hand through it.

 

Yellow Moon E Marama Rengarenga is a mesmerising self-portrait. A family portrait. It glints with light and dark, contemplation, love. The poems are full of holes, just as the heart is holey, and that adds to the pleasure and joy of reading this book. Each poem is a pulsating heart. Perhaps you can put your hand through it. Some of the poems will stick to me for a long time. Thank you.

 

HeadworX author page

You can listen to Mary read a poem (for her grandmother), ‘Ethell Mary’, here

 

 

 

 

 

 

Poetry Shelf noticeboard: Elizabeth Knox to receive honorary doctorate

Screen Shot 2020-08-11 at 11.41.48 AM

 

Acclaimed New Zealand writer Elizabeth Knox is to receive an honorary Doctor of Literature from Te Herenga Waka–Victoria University of Wellington.

“Elizabeth Knox is an inspiration to young people and emerging writers and is helping grow the next generation of literary talent in Aotearoa New Zealand,” says Chancellor Neil Paviour-Smith. “This honorary doctorate acknowledges her enormous contribution to literature.”

The honorary degree will be awarded during graduation week in September.

Ms Knox, who was made a Companion of the Order of New Zealand Merit for her services to literature in this year’s Queen’s Birthday Honours, is one of New Zealand’s most successful writers. She has achieved national and international acclaim for her powerfully imagined novels for adults and younger readers.

The author of 17 works to date, her most recent book is The Absolute Book, published by Victoria University Press. She was awarded the Prime Minister’s Award for Literary Achievement in Fiction in 2019.

Born and raised in Wellington, Elizabeth Knox began her degree in English Literature at the University in 1983, and it was in Bill Manhire’s Original Composition course that she started work on her first novel, After Z-Hour. She graduated in 1987, the same year After Z-Hour was published by Victoria University Press.

Her best-known work, The Vintner’s Luck, won the Deutz medal for Fiction and the Readers’ Choice and Booksellers’ Choice awards in the 1999 Montana New Zealand Book Awards. In 2001 it was awarded the inaugural Tasmania Pacific Region Prize. It has since been published in 10 languages.

Her Dreamhunter Duet series for young adults also received national and international recognition. Dreamhunter won the 2006 Esther Glen Award for New Zealand children’s literature and Dreamquake won an American Library Association Michael L. Printz Honor Award for Young Adult Literature in 2008.

Elizabeth Knox has been a Victoria University of Wellington Writing Fellow, a Katherine Mansfield Menton Fellow, and a recipient of the Michael King Writer’s Fellowship. She was one of the five inaugural recipients of an Arts Foundation Laureate Award in 2000. In addition to fiction, she has published essays and lectures on writing and how the imagination works.

She currently teaches a course in world-building at the International Institute of Modern Letters at the University.

Poetry Shelf Monday poem: Jessie Puru’s ‘Milk’

Milk

Gumboots squelch across the paddock
it’s still dark and she’s making her way
over to the milking shed
a coat covers her to her knees
and tents over her growing belly

I imagine her working like normal
using her knees to lift
to carry the bucket home for breakfast
creamy milk, unpasteurised
perfect for porridge

trek back across the paddock, Tama-nui-te-rā
has begun to poke his head above the horizon
to warm the back of her
her belly starts to stir
then greet her with a few kicks

then she can get ready for her job
at the shop in town
or the mill,
whichever came first
and clean or cook
right up until the very due date

that week she will have her first girl
at eighteen
and a few years and girls later
she will marry down at the courthouse

then years later she will have 13 grandchildren
of course she will have favourites
and she will continue to work
and work and work
right up until the very last minute

and Tama-nui-te-rā will greet her
one last time
then farewell her not long after

*

her heels click across the footpath
it’s dusk and she’s making her way
a few streets over to the bus stop
a coat covers her to the ankles
it tents over her entirely

 

Jessie Puru

 

 

Jessie Puru, Ngāti Te Ata, Tainui,Ngā Puhi, is a Māori/ Pākeha poet and mother of one daughter living in Auckland. Her work has been published in Ika, Blackmail Press, Landfall, Poetry (US), and she was runner up for the Emerging Poets Competition in 2019. Jessie is currently working on her first collection of poems following the life of a young wāhine trying to find her connection with Te Ao Māori. She also has a Bachelor of Creative Arts from MIT and Master of Creative Writing degree from AUT.