Poetry Shelf noticeboard: The Kathleen Grattan Prize for a Sequence of Poems

International Writers’ Workshop NZ Inc (IWW) is delighted to announce that renowned New Zealand poet Siobhan Harvey, who lectures at AUT in Auckland, will judge The Kathleen Grattan Prize for a Sequence of Poems later this year.

Harvey was the winner of the award in 2019 for her sequence of poems titled Ghosts.

The prize of $1000 – which is made possible due to an ongoing bequest from the Jocelyn Grattan Charitable Trust – is for a cycle or sequence of unpublished poems that has a common link or theme. This is the twelfth year IWW has had the honour of organising the Prize.

The Kathleen Grattan Prize for a Sequence of Poems is sometimes referred to as the ‘Little Grattan’ as the Jocelyn Grattan Charitable Trust also funds the biennial Kathleen Grattan Award, run by Landfall / Otago University Press. Harvey won the Kathleen Grattan Award in 2013.

The competition is free for IWW members to enter. It is very easy for aspiring poets and writers to join IWW to be eligible to enter their poetry in the competition.

Previous winners over the past six years include: Harvey (2019) Heather Bauchop (2018), Janet Newman (2017), Michael Giacon (2016) Maris O’Rourke (2015) and Julie Ryan (2014.)

Harvey said: “I’m honoured to be asked to judge the 2020 IWW Kathleen Grattan Award for a Sequence of Poems. IWW does such important and integral work to foster and support writing talent within Aotearoa, and it’s humbling to think I have the task of judging this significant poetry competition. As a previous winner and runner up of the competition, I know the high standard of submissions I am already looking forward to receiving. In these challenging times, poetry continues to offers us the power of story, song and vision; all of which are needed now as much as ever.”

 

About the Judge

Siobhan Harvey is an award-winning author of six poetry books.

She is a Lecturer at The Centre for Creative Writing, Auckland University of Technology and has taught creative writing across New Zealand and the UK.

In 2019, Harvey judged the National Flash Fiction Competition and as well as winning the Kathleen Grattan Prize, she won the Robert Burns Poetry prize.

 

Preparatory Workshop

As well as judging the competition, Harvey will conduct a workshop on Writing Poetry at IWW’s meeting venue, the Lindisfarne Room at St Aidans Church, 97 Onewa Road, Northcote, Auckland on Tuesday June 16. Doors open at 10 am and the workshop runs from 10.30 am to 12.30 pm.

Visitors are welcome to attend the workshop for a $10 visitor fee. Any visitor who attends the workshop and joins IWW by the third Tuesday in July will be eligible to enter The Kathleen Grattan Prize for a Sequence of Poems and will have the visitor fee deducted from their joining fee.

 

About the Competition and about IWW

The rules for the competition, details of how to join IWW, meeting times and other activities of the workshop, which meets on the first and third Tuesdays of the month from February to November and runs several competitions a year, are available from the IWW website

 

Key Dates for The Kathleen Grattan Prize for a Sequence of Poems in 2020

16 June: Workshop with Siobhan Harvey on writing poetry.

21 July: Last day for new members to join IWW to be eligible to enter this year’s Prize.

6 October: Closing date for entries.

17 November: Announcement of the 2020 winner of The Kathleen Grattan Prize for a Sequence of Poems.

 

Contact

For further information about the Prize or about IWW, or if you would like photographs, please contact IWW President, Duncan Perkinson (email iww-writers@outlook.com) or check out the website

 

 

 

 

Poetry Shelf noticeboard:NFFD 2020 Online Events

 

 

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Welcome to 2020 National Flash Fiction Day!

NFFD 2020 ONLINE – all programme events are free – all welcome!

 

Forthcoming events livestreamed at the Flash Frontier YouTube channel Saturday in NZ/ Friday in other parts of the world — check your time zone and don’t miss it!

 

Friday, June 12 in NZ / Saturday, June 13 elsewhere

 

Language and Writing Small: A Roundtable with Journal Editors Around the World (Saturday, June 13, 9am NZ time / GMT + 12)

Featuring:

  • Christopher Allen, SmokeLongQuarterly (Germany)
  • Nuala O’Connor, Splonk (Ireland)
  • Grant Faulkner, 100 Word Story (US)
  • Ingrid Jendrzejewski, FlashBack Fiction(UK)
  • Rupert Dastur, The Short Story(UK)
  • Vaughan Rapatahana, Flash Frontier (Aotearoa New Zealand)
    • Moderator: Jordan Hamel (Aotearoa New Zealand)

 

Sunday, June 13 in NZ / Saturday, June 14

 

Imagination Unbound: Five Women on the Poetic Narrative Form (Sunday, June 14, 4pm NZ time – GMT +12) – including:

  • Nod Ghosh, author of Filthy Sucre(Truth Serum Press 2020)
    · Diane Brown, author of Every now and then I have another child(OUP 2020)
    · Helen Rickerby, author of How to live (AUP 2019)
    · Anne Kennedy, author of Moth Hour (AUP 2019)
    · Gail Ingram, author of Contents Under Pressure (Pukeko Publishing 2019)
    • Moderator: Michelle Elvy (Aotearoa New Zealand)

Forthcoming: Best Small Fictions and Best Microfictions: an international reading; Youth Voices; and the June 22 Online Awards Celebration – livestreamed to you!

Poetry Shelf noticeboard: Nina Mingya Powles’s Magnolia shortlisted for UK Poetry Prize

Felix Dennis Prize for Best First Collection (£5,000)

 

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Ella FrearsShine, Darling (Offord Road Books)
Will HarrisRENDANG (Granta Poetry)
Rachel LongMy Darling from the Lions (Picador)
Nina Mingya PowlesMagnolia 木蘭 (Nine Arches Press)
Martha SpracklandCitadel (Pavilion Poetry)

 

Forward Prize for Best Collection (£10,000)

 

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Caroline BirdThe Air Year (Carcanet)
Natalie DiazPostcolonial Love Poem (Faber & Faber)
Vicki FeaverI Want! I Want! (Cape Poetry)
David MorleyFURY (Carcanet)
Pascale PetitTiger Girl (Bloodaxe Books)

 

Forward Prizes for Poetry Website

 

 

 

 

 

 

 

Poetry Shelf audio spot: Adrienne Jansen reads ‘Bread’

 

 

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Adrienne Jansen reads ‘Bread’ from All of Us, poems which tell small stories of migration, co-written with carina gallegos. Published by Landing Press, 2018, and longlisted for the Okham NZ Book Awards 2019. Adrienne is a Wellington writer who writes poetry as well as fiction and non-fiction. She’s also involved with Landing Press, which publishes poetry that many people can enjoy.

 

 

 

 

 

 

 

 

 

 

 

Poetry Shelf noticeboard: call for submissions for anthology about cleaners and cleaning

 

Tēnā koutou poets, friends and whānau of poets, teachers, organisers, and great poetry people
Here is Landing Press’s exciting new project: an anthology of poems about cleaners and cleaning.

If you are working as a cleaner, or have ever worked as a cleaner, write a poem which catches that experience in some way. Send it to us. These poems are our first choice.

If you haven’t worked as a cleaner, but have a poem about cleaning or cleaners, send it to us. These poems will also be considered.

We want poems by/about cleaners in offices, hospitals, churches, rest homes, marae, on boats, in factories, on the streets, at beaches and rivers. Cleaners are everywhere, and we are interested in everywhere.

Please send us up to 3 poems. Maximum length 40 lines. On the same page as the poem include your name, email address and a very brief note about your experience as a cleaner. Or there might be another small story behind your poem you want to briefly include.

Send your poems to landingpresscleaners@gmail.com by Monday 27 July.

And please forward this information to anyone who might be interested.

This anthology will be published in late 2020 or early 2021. We had hoped to pay all writers, but the Covid 19 situation has affected fundraising for this book. If we can pay, we will, but we can’t promise. All included writers will get a complimentary copy of the anthology.

Landing Press is a small Wellington publisher of poems that many people can enjoy.

 

Hei kona i roto i ngā tūmanako

The Landing Press team

 

Poetry Shelf connections: Grace Iwashita-Taylor’s ‘my heart is in my mouth’

 

 

my heart is in my mouth

 

 

my mama didn’t prepare me for this, but her illness did

a forced pause for the heartburn of a worlds over consumption

isolation, a foreign concept for villages of homes

with more bellies than the home-belly can house

but indeed the sky has stopped bleeding, is now naked and breathing

standing outside under nights blanket I try to sink my breath in tune with it

the mouths of the monsters to our own making are now unveiled, are you listening?

my heart is in my mouth

baited

&

breathing

 

 

Grace Iwashita-Taylor

 

 

 

 

Grace Iwashita-Taylor, breathing bloodlines of Samoa, England and Japan. An artist of upu/words led her to the world of performing arts. Dedicated to carving, elevating and holding spaces for storytellers of Te Moana nui a Kiwa. Recipient of the CNZ Emerging Pacific Artist 2014 and the Auckland Mayoral Writers Grant 2016. Highlights include holding the visiting international writer in residence at the University of Hawaii 2018, Co-Founder of the first youth poetry slam in Aoteroa, Rising Voices (2011 – 2016) and the South Auckland Poets Collective and published collections Afakasi Speaks (2013) & Full Broken Bloom (2017) with ala press. Writer of MY OWN DARLING commissioned by Auckland Theatre Company (2015, 2017, 2019) and Curator of UPU (Auckland Arts Festival 2020).

 

 

 

 

 

Poetry Shelf Monday poem: Brian Turner’s ‘Between Shingle Creek and Fruitlands’

 

Between Shingle Creek and Fruitlands

 

Cast your mind back to the first time you came this way,

the road windy, corrugated, dusty,

the surface mostly the colour of yellow clay, cuttings

stained with the leer of water seeping.

 

On the left the ever-ascending slopes,

the Old Man Range, white flecks

in blue gullies near the summit,

and your young old man wondering when

 

we’d ever get to Alexandra, your mum complaining

about ‘the blessed dust’, both of them

cursing the ‘wash-board surface’ and you thinking

about the number of times she told your father

 

that ‘it didn’t matter’ when it clearly did. And that

was the way it always was with them,

it is with you, it is, period. Until, you might say,

something happens that’s never happened before.

 

Like love came back and sent hate packing

never to return, and peace of mind arrived

like a dove from afar, decided to stay, and you

no longer dreamed of what might have been.

 

Brian Turner

 

 

Brian Turner was born in Dunedin in 1944. His debut collection Ladders of Rain (1978) won the Commonwealth Poetry Prize. He has published a number of collections including Just This which won the NZ Post Book Award for Poetry in 2010. He has received the Prime Minister’s Award for Poetry (2009) and was NZ Poet Laureate (2003-5).  He lives in Central Otago.

In April 2019 Victoria University Press published Brian’s Selected Poems, a hardback treasury of poetry that gains life from southern skies and soil, and so much more. When I am longing to retreat to the beauty of the south, I find refuge in one of Brian’s poems. The economy on the line, the exquisite images, the braided rhythms. Read a poem and your feet are in the current of a gleaming river, your eyes fixed on a purple gold horizon line. His poetry presents his beloved home in shifting lights, but the range of his work offers so much more.

Brian became an Officer of the New Zealand Order of Merit for services to poetry and literature in the 2020 Queen’s Birthday Honours. He was to be the honoured writer at the Auckland Writers Festival year – he would have been on stage with John Campbell so am very sad to miss this event.

 

 

 

Poetry Shelf Noticeboard: National Flash Fiction Day 2020 online celebration!

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To ensure the safety of our reading and writing community, NFFD moves online this year. Please tune in to our online reading series and mark your diaries for June 22!

 

Online readings

YouTube reading series– featuring new books, journal editors, youth readers, NFFD judges past and present, Bath novella-in-flash readings, City Chairs and more

 

Subscribe to the YouTube channel and enter the June 22 Big Book Draw!

 

Micro Madness – June 1-22 micro readings from our annual international micro competition, with lockdown micros and no-theme micros – two per day!

 

Book Day – June 15, celebrating books published in 2020

Panel discussions

The Language of Flash: A Roundtable with Journal Editors Around the World June 13, 9am

Imagination Unbound: Five Women on the Poetic Narrative Form June 14, 4pm

Best Small Fictions and Best Microfictions: an international reading June 20, 9am NZ

Youth Voices June 21, 9am

and

The June 22 Online Awards Celebration – livestreamed to you!

 

Watch this space… for Short Lists and more details

 

nationalflash.org  / Queries: nationalflash@gmail.com

 

 

Poetry Shelf reading room: Rebecca Priestley’s Fifteen Million Years in Antarctica

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Rebecca Priestley Fifteen Million Years in Antarctica Victoria University Press 22020

 

During lockdown I would pick up Rebecca Priestley’s Fifteen Million Years in Antarctica, read a few sentences and then carry them with me all day as everything felt awry. Little talismans of comfort yes, but I could never keep reading. I was looking through a tiny pinhole into the blinding white of Antarctica, Bill Manhire’s ‘Erebus Voices’ always coming back to haunt. So adrift. So terribly adrift.

This week the world still wobbles and it is impossible to find words to cover the anxiety and despair. My calendar is clear for the forseeable future, my blogs are back to steady transmission, I have fresh notebooks and anthologies underway, but I am finding it hard to function. There is a strong part of me that wants to sever all ties, to bake the bread and sow the seeds, to switch off social media and watch the wind in the manuka.

I have retreated to Rebecca’s book. It is nothing like I expected – and I now read in glorious stretches – because as much as this is a portrait of the wide white continent, it is a portrait of a woman writing and discovering, and of a planet under threat. How apt to be reading this now, how apt to be reading the words of a woman who exposes layers of anxiety, her multiple roles (academic, teacher, mother, partner, writer, traveller, human being).

This book is extraordinary because I travel to Antarctica to such an intense degree –  I have never travelled like this in a book. It is as though I can taste and smell and touch an elsewhere through the sensory palette of the author, through Rebecca’s heart and mind engagements. When I put the book down I am dislocated. It’s like the Antarctica cold clings to me, like the danger and the beauty cuts into my skin. Like I can’t breathe. Like I am weighed down with a million clothes. But then I see the bush and the kereru and I start cooking dinner with the fire blazing and the music sweet in my ear.

Is there a word for this? The way a book can deposit you elsewhere so you are inextricably there?

I am cooking dinner and reflecting back on the self exposure, on the way Rebecca’s doubt and anxiety is not censored. How many books have been written with this erased, in order to be objective, rational, factual? I let a little doubt and personal admissions into Wild Honey but mostly I screened the humps and hurdles. I am thinking of the  interwoven and complex narratives that layer up behind everything.

More than anything I am reflecting on the urgent need to care for our planet: on the way research is continuing to underline a need to make choices, both at a personal level and at global and national levels. Again this resonates profoundly at a time we cleared skies with our reduction in travel and consumption.

Having yearned and indeed tried to visit Antarctica from an early age, Rebecca takes three trips to Antarctica. The first with poet Alice Miller and the others with various scientists and students. Neville Peat’s review in Landfall traces the trips – I want you to read the book for yourself because this is a book of multiple discoveries. Self discovery, geological discovery, planet discovery – and the more you read the more you determine choices that need to be made. I am thinking too we can never take for granted what goes on behind the scenes – of writing a book, of travelling to Antarctica, of flying on a plane, of collecting data and examining precious samples, or writing a song, painting a painting, building a house. A home.

Fifteen Million Years in Antarctica is the perfect retreat when you are trying to plot your way forward in these pandemic times. I keep trying to talk about the book and find myself stuttering. I just sit in the chair drifting. Shut your eyes and picture the scene – with your bag packed and sugary snacks ready – and nestle into the exhilarating cold of snow and exhilarating heat of human and humane endeavour. Time to open my notebook. Time to bake the bread, and plant the seeds, and read a children’s book.

 

 

Rebecca Priestley is an associate professor at Victoria University of Wellington and director of the university’s Centre for Science in Society. Rebecca was science columnist for the NZ Listener for six years and is the author or editor of five previous books, the most recent of which is Dispatches from Continent Seven: An anthology of Antarctic science (2016). She is a winner of the Royal Society of New Zealand Science Book Prize (2009) and the Prime Minister’s Science Communication Prize (2016). In 2018 she was made a Companion of the Royal Society Te Apārangi. She has an undergraduate degree in geology, a PhD in the history of science and an MA in Creative Writing from the International Institute of Modern Letters.

Victoria University Press page

 

Neville Peat’s Landfall review where he outlines the book