Tag Archives: Amy Leigh Wicks

Poetry Shelf in conversation with Amy Leigh Wicks





Who doesn’t hope

for a fishing net

to come heavy

from the water with

an old locked box

caught in the net?


from ‘Loretta’



Amy Leigh Wicks holds a PhD from the International Institute of Modern Letters at Victoria University. Originally from New York, her debut collection Orange Juice and Rooftops appeared in 2009 while her poetry has also appeared on The Best American Poetry blog and in several local journals. She lives in Kaikōura with her husband.

Amy Leigh’s new collection The Dangerous Country of Love and Marriage is an intricate weave of themes, motifs, forms and sound effects that offers much for the reader. Strangeness and discomfort sit alongside beauty and soul searching as a woman writes between her birthplace and her new home. The enigmatic gaps in the narration are counterbalanced by sumptuous detail, exquisite images, tiny admissions; the melodic lines build both the music of place and the music of character. As much as it is a physical world marked by mountains, oceans, anchors and salt, it is an abstract world marked by conversations with God. It is a collection that has stuck with me.




Amy Leigh Wicks, The Dangerous Country of Love and Marriage, Auckland University Press, 2019


Paula:  When did you first start reading and writing poetry?

Amy Leigh:  I remember coming across a box in my grandparent’s attic when I was about seven.  The box was filled with mostly handwritten poems by my Grandma.  They mostly rhymed, and her writing was in cursive, so I couldn’t make out all the words. I felt I had found a treasure box.  Later, I locked myself in Grandpa’s office and emerged however many hours later with a poem I’d written that I gave to Grandma.  She cried a little when I read it aloud to her, and took me out for an ice-cream sundae, which was as good as winning the lottery as far as I was concerned.


Paula: Oh what a wonderful memory. Were there any poetry turning points and/or epiphanies between that young girl writing and your recent collection?

Amy Leigh: A whole sky full of stars map the journey between little Amy Leigh writing and this collection.  The epiphanies and turning points are bright pinpricks against a darker subconscious, and the constellations that I see, clear as Orion, are comprised of poems, lectures, exhibitions, drawings on napkins.  Reading Nikki Giovanni’s poem Ego Tripping in high school alongside Shakespeare’s sonnets; sitting in Lorene Taurerewa’s Brooklyn studio as she described walking to school beside the barefoot James K. Baxter in Whanganui; working on sestinas and villanelles with locals in Kaikōura after the 7.8 earthquake: these are some of the influences that shape the way I read and the way I write.


The house is quiet and then the sound of bees

gather at my head. Will you let me be swallowed

by this? Another wave, another scalloped

rim of water on top of quiet water.


from ‘Impasse’


Paula: Your new collection weaves multiple themes and poetic effects. I view it as both a long narrative poem and a sequence of intensely connected pieces. What do you like your poetry to do?

Amy Leigh: When selecting poems for this collection, I wanted the reader to be able to let the book fall open and read a single poem without feeling they’d missed something vital. I also wanted a cover-to-cover reading to feel like one unfolding narrative that moved forward in time and backwards through memory in order to recover things that may have been lost along the way.


When the roof is pried from

the house and I am a sardine

(blinkless before you)


what will you say to me?

I see your hills, and yes,

every night a different

sun leaves slamming the door,

rattling the handle behind it.


from ‘Psalm III’



Paula: At times it felt like poetry as prayer. Did it ever feel like that to you?

Amy Leigh: Very much.  The sestinas offer a sort of liturgical reprieve, and Epiphany deals directly with the uncertainty and catharsis of prayer—‘it was just me, alone with the bruise/ of a bad decade, finally asking toward the sky/ for a little help, shuddering ugly tears until/ I was dry in the silence of an answer I’m still/learning to understand.’




it is like heaven

here and every

where else too

but some sad

-ness hangs in

the air and I do

not know if I

carried it or of

it carries me


Paula: I am drawn to the way the collection layers the strange, unknowable and the unsettling within the context of a marriage and multiple homes. Does it make a difference where you are when you write?

Amy Leigh: Yes, I believe it does.  I’ll write where I am, regardless of the environment, but Kapiti Island at sunset in Plimmerton, wooden tables cluttered with tea cups at writing group in Kaikōura—these things affect my writing the way altitude, rainfall, and sunlight affect the flavour profile of a coffee bean.


Where else is there to go once I’ve got

paper, a new pencil with a green eraser

and half a peanut butter and jam sandwich? If

I could erase one year of my life

what would fill the hole? (..)


from ‘August’


Paula: How much of yourself do you let into the sequence and how much do you hold at arm’s length? In some ways I see the poems as both losing and finding things (including self).

Amy Leigh: While the poems in this collection are based on happenings in my life, the only confessional elements of the work that I’ve retained, are those elements that feel necessary to the advance the poem, or the collection. I have kept and discarded facts intentionally while putting this book together, in an attempt to perform the artist’s task as Louise Gluck describes, which ‘involves the transformation of the actual to the true.’


Paula: I have many favourites (‘Psalm II’, ‘Psalm III’, ‘Water Song’, Psalm X’, ‘Log No. 4’) but which poem particularly resonates for you? In either subject matter or resolution?

Amy Leigh: It depends on the day for me. Usually my favourite poem is the one I’ve just finished writing, until a bit of time goes by and I can look at it more objectively and less like an offspring of mine that needs nurturing. At the moment I’m fond of ‘Remnant’.  Just a little poem, but it makes me smile to be sharing a personal revelation that I find a little embarrassing in such a public way.




Once I said, I want

to be a lawyer, a doctor,

and a ballerina—


I woke twenty years later

writing these poems.


Paula: Are there any poetry books that you have read in the past year or so that have particularly mattered?

Amy Leigh:  I’m reading Sugar Magnolia Wilson’s Because a Woman’s Heart is Like a Needle at the Bottom of the Ocean at the moment.  I met her at a reading in Wellington recently, and I felt as if someone had filled the room up with champagne while she read her work and we were all floating in it. Her voice and her words had this incredibly soft effervescent quality. Then when I held the book in my hands and let it fall open (which is what I like to do first before I begin reading a collection from start to finish) I opened to Full moon celebrations and I thought, this is really something.  To feel such resonance and joy at reading a stranger’s words is an incredible thing.


Paula: What do you love to do when you are not writing?

Amy Leigh: I love to dance and cook, and paint, although not usually at the same time. I also love to curl up with a stack of books on a rainy day, but if I’m not careful, before long I end picking up my pen and notebook.


Auckland University Press page






Poetry Shelf questions: 7 poets name 3 poetry books that have mattered



My bookshelves are like an autobiography because books, like albums, flag key points in my life.

To pick only three poetry books that have mattered at different points in your life is a tall order but these poets have sent me chasing collectons and composing my own list.

Featured poets: Fiona Kidman, Joan Fleming, Hannah Mettner,  David Eggleton, Sam Duckor-Jones, Amy Leigh-Wicks and Murray Edmond.


Fiona Kidman

I was team teaching a creative writing group with my dear late friend, the poet Lauris Edmond, when she read Elizabeth Bishop’s poem, “The Fish”. I remember the electricity in the air, as the dazzling images tumbled out, wonderfully read by Lauris. And then there is the moment where the caught fish is released back into the wild. I trembled when I heard the poem, the first I knew of Bishop’s work. This was in the late 1970s. Later, I bought Elizabeth Bishop The Complete Poems 1927 -1979, and discovered her inimitable Nova Scotian poems. I was working towards a novel partly set in Nova Scotia, and I carried the book with me – there, and on all my travels for years afterwards. I had a habit of pressing wildflowers collected along the way, and eventually, I realised that I was a danger to myself at the New Zealand border if I was to continue carrying them. I read the poems at home now.

Another book I have read and re-read many times, is Marguerite Duras’s last  book (I think) Practicalities (published in 1993). I had been influenced by her fiction as a young woman. But this was a tiny book of essays, fragments, interior monologues, about desire, housekeeping, her struggles with alcohol, domestic lists of important things to have in the house, reflections on death.

And one more.  On the bedside table I keep Seamus Heaney’s Opened Ground: Poems 1966-1996. I came late to Heaney’s work, but late is good, because I’m still making discoveries, there are still pleasures in store from the great Irish Nobel Prize winning writer. It’s like tracing my finger through language and feeling my own Irish blood singing its way through my veins. The collection contains, incidentally, a poem about Katherine Mansfield.


Joan Fleming

Anne Carson’s Autobiography of Red was a gift from Amy Brown on my 23rd birthday. It blew my head off. It is the best and strangest failed love poem I have ever read. But more than that, it showed me how a book could perform an argument, and at the same time, exquisitely fracture the foundations of the kind of thought that makes argument possible.

Jordan Abel’s book The Place of Scraps is an erasure poem and a series of prose reflections, which explode and complicate the work of ethnographer Marius Barbeau. I had been searching for poetry that could do this mode of critical work all through my PhD, and discovered The Place of Scraps very late in the journey, on the recommendation of the dear and brilliant Brian Blanchfield. The book is a stunning example of a new kind of ethnopoetics – or, perhaps, counter-ethnopoetics. I was needing and seeking it, and its sensibility has offered me a kind of permission for my own work.

I wonder if all writers read as opportunistically as this? Maybe we’re all like exploration geologists, searching for those forms and sensibilities that we can mine for our own nefarious compositional purposes. The latest book of this ilk for me has been Rachel Zucker’s Mothers. What gets me about this book is the collage essay form, the candid revelations, and the way Zucker’s poetics walk the line between sentimentality and the rejection of sentimentality. I’m completely charged by the possibilities of this book’s form. Watch this space, I guess.


Hannah Mettner

Every birthday when I was a girl, my parents would get me an obligatory book. This wasn’t a problem, as I liked reading, but the choices were a bit hit or miss, and I was often far more thrilled by other gifts. One year though, they got me The Door in the Air and other stories by Margaret Mahy, and it has become my enduring favourite book, certainly the book I’ve re-read most. My current favourite story (it changes all the time) is about a woman who bakes her grown-up son a birthday cake, ices it, and leaves it in a glass dome for the month leading up to his birthday (I presume it’s a fruit cake, otherwise, ew). In a hilarious twist, the cake becomes the next big thing in art, when it’s “discovered” by two gallery owners. I think it’s the perfect take-down of the art scene, and I often wonder what had happened in Mahy’s life that had inspired this gentle trashing of “taste-makers”. It’s also a really beautiful allegory for women’s work, which is so often un-recognised and un-celebrated: by elevating a cake, made with love by the light of a new moon, Mahy draws our attention to how little we do recognise this work, in the usual course of things. In the end, much to the chagrin of the gallery owners, who are considering taking the cake on an international art tour, the cake is eaten when the son comes home for his birthday, as intended. And all the stories in the book are these complicated, magical-realism, gently humorous, domestic, relationship-centred stories that do so much in such a short space.

My current favourite book of poems is Morgan Parker’s There are more Beautiful Things than Beyoncé, which I bought for its provocative title. It is the perfect mix of pop culture, politics and outrageously beautiful lines of poetry. It’s the kind of book that you can’t read all at once because each poem slays you. One of the poems, ‘The Gospel According to Her’ opens with this couplet:

What to a slave is the fourth of July
What to a woman is a vote

I mean! Wow! I’m so tired of the kind of ‘flippant cool’ and ‘awkward funny’ poetic voice that’s been popular for a bit now, and this book feels like such an antidote to that. It’s really important writing about the intersections of race, gender, class and pop culture in America, and it feels fiercely genuine.

And obviously one of my all-time favourite books of poems is Mags’ (Sugar Magnolia Wilson’s) new collectiom Because a Woman’s Heart is like a Needle at the Bottom of the Ocean. I’ve been waiting for this book since I first met Mags in our MA course in 2012, and, though I’d seen (I think) all of the poems in it before it was published, having them gathered together in one place makes them all seem to glow a bit brighter. It possesses some of the magical realism that brings me back time and again to the Mahy, with a slightly darker, more grown-up edge. It feels like a book that has already lived a thousand lives, and lived them richly, and has picked up scraps and talismans along the way to adorn its stories, like the bower birds in the poem ‘Glamour’. It does what the best poetry does, which is to offer you something beautiful and immediate on the surface, but with more and more layers of meaning to unpick as you make repeat visits. I think what it has to say on how we define ourselves in relation to other people is genuinely complex and profound.


David Eggleton

The Walled Garden by Russell Haley, published in 1972 by The Mandrake Root, was one of the first poetry books I ever bought, and I bought it in order to read it over and over and internalise it. Its verses I found visionary, oneiric, hallucinatory. I had seen it displayed in Auckland’s University Book Shop, which was then in the Student Quad on campus. I picked it up off the shelf, began idly flicking through and became immediately ensnared by its strange chanting lines:


Invest the real with moths of dream

white paper is a time machine




six inches of semantic dust cover the carpet

he drew with his fingers

new maps of home

Grafton Road and Carlton Gore …


As I was living in Grafton Road at the time, just along the bustling hippie encampments in the grand old villas near Carlton Gore Road, my brain began to hum. I bought the book and it immediately became my guide to a certain state of mind a celebration of another, more phantasmal, Auckland in the decade of the 1970s:


Gagarin is finding a new way to walk

both the rock and the lion are starting to talk …


Russell Haley was a British migrant who grew up in the north of England and then served in the R.A. F. in Iraq in the 1950s, at a time when the oil wells of Middle East were relatively untroubled by the meddling of the United States, and archeological expeditions to the Fertile Crescent were proceeding in an orderly fashion, and Persian poetry was being celebrated as the ne plus ultra of the Islamic Golden Age. In Haley’s The Walled Garden, still to me a wondrous book, I was attracted to the private mythology, the prophetic quality, the dream-like imagery, the air of premonition, of the circularity of history he was invoking: a sense of time of time regained out of a kind of colourful rubble — the bric a brac of twentieth century international modernism — which seemed to me at the time seductively exotic. Moreover, he managed to make tenets of Sufi mysticism rhyme and chime with kite-flying in the small hours on Bethells Beach:


3.30 am …


There are two voices —

the first is that of the man

holding the kite string —

he says everything and yet nothing.

The second is the deep hum of the rope

linking the man and the kite  —

this voice says nothing and yet everything

(from night flying with hanly)


Published in Auckland by Stephen Chan’s Association of Orientally Flavoured Syndics in 1972, David Mitchell’s first, and for several decades his only poetry collection, Pipe Dreams in Ponsonby, was reprinted in a second edition in 1975 by Caveman Press, whose publisher was Trevor Reeves. That is the edition, acquired second-hand years later, that I have in my possession, knocked out by Tablet Print in Dunedin and, though in a similar thin black cardboard jacket, not quite as elegant and well-printed as the earlier one. Yet it still conveys the magic, the mojo, of a poet who celebrated the poem as spoken word. For me, David Mitchell is an exemplar of the shaman able to take a poem off the page and make it into something performative, transcendent, on a stage. In Auckland in 1980, David Mitchell established the Globe Hotel weekly poetry readings which became inspirational. Mitchell was a poet of the primal, one who had an ability to suggest and conjure up the electric atmosphere of raw improvisation. A master of syllabics, the man with the golden ear, he was actually all craft. He worked with silence, building up cadences out of short phrases and using the pregnant pause to create resonance. He was intent on emphasising the evanescence of the moment; with the use of subtle intonation and enunciation, seeking to establish an authentic encounter with the poem he was reciting, its mood, its music.

Kendrick Smithyman was another early enthusiasm of mine, in particular his 1972 collection Earthquake Weather in its drab olive green cover, containing the poem ‘Hail’ whose last lines give the book its resonantly memorable title: ‘We call this earthquake weather. We may not be wrong.’

But it is his later epic 1997 poem Atua Wera that spun my compass round as an example of what a truly ambitious New Zealand poem could be. Atua Wera, is a poem glued together out of bits and bobs. It muses on historical hearsay, folklore, museological keepsakes, and intertextual chunks of letters and journals. It requires you to latch onto the poet’s rhythms of thought, his oblique way of saying things as he tells the story of Papahurihia, a Northland Māori millennial prophet who was a tohunga descended from tohunga.

In this verse biography, Smithyman is a prose Browning, up to his elbows in the old colonial dust, breaking up journalistic reportage into cryptic fragments, into crabbed lines scattered across the page, except that where Robert Browning embroidered endlessly in his epic The Ring and the Book on a story that, as Thomas Carlyle said, might have been told in ten lines and were better forgotten, Smithyman’s effort is a superb revivification of an amazing chapter in New Zealand colonial history.

A master-ventriloquist, like his subject, Smithyman uses James Busby, Thomas Kendall and Frederic Maning to tell us about Yankee sailors encountering Moriori voodoo, and about the Garden of Eden snake in Genesis being transformed into a lizard, then a dragon, then ‘a fiery flying serpent’ who turns out to be Te Atau Wera himself, the shape-shifter. Atua Wera is itself a shape-shifting poem of ghost-riders and end-of-world portents, of the phantom canoe on Lake Tarawera before the eruption, and of a light in the sky which turns out to be a TV repeater mast. It’s a book which is a palimpest, a treasure trove, a landmark, a beacon.


Sam Duckor-Jones

This is a large coffee table book of drawings of naked men and women fucking and sucking and being impaled in various ways. There is straight sex, queer sex, and not-so-subtle nods towards fun things like necrophilia! incest! bestiality! We loved this book when we were kids, we poured over it wide eyed, impatient, tingling and desirous and competitively appalled or nonchalant, depending. A little later, ie adolescence, when my friends and I started liking boys but had no language or real world models with which to express it, we drew: cousins rutting in basements, fey teachers with debased secrets, musclemen kissing in pantries… Different Dances was my manual for lusty expression: put it on the page. To this day I still prefer a pen and paper to real life, sigh.

David Trinidad has this long prose poem called ‘Mothers’ in which he remembers all the mothers from his childhood neighbourhoods. It’s intimate and cinematic and filled with satisfyingly stifling pastels and veneers of conformity and simmering desperations and a serious deluge of kitsch, moving from comic portrait to heartbreaking confession. I read it in 2016 and immediately made David Trinidad one of my favourite poets and Dear Prudence one of my most frequently thumbed books. David Trinidad constructs his poems from celebrity interviews, soap opera scripts, trashy novels, idol infatuations, all with a serious wash of queer love and it’s associated traumas. He takes plain language and wrings it with tight margins til it becomes something crystalized. I love him.

When I lived in Auckland I was a bad employee. I worked in a number of cafes, briefly. I was scared of the customers and didn’t have the cahones for kitchen trash talk. All I wanted to do was read and draw, why was this not allowed? On a lunch break at a Ponsonby spot where I was the lame FOH, I read Bliss in the upstairs staffroom. The barista came and sat beside me and talked and talked and would not stop talking so I picked up my book and climbed right out the window. I ran along the awnings and shimmied down a drainpipe, stormed righteously to Grey Lynn park, finished my chapter. Caught the next train home to Wellington. Ever since, Bliss has represented a real particular sort of escape to me, and is a reminder that a good book is worth it.


Amy Leigh Wicks

I came across Jack Kerouac’s On the Road in university. I resonated with his ability to articulate the insatiable longings of the human heart. The novel wasn’t the best written thing I’d read, but the timing of it, the casual language paired with a desperate feeling of urgency coincided perfectly with my itch for travel and spiritual discovery. Kerouac said in a later interview that the book was really just about two catholic boys in search of God. I think a lot of people might have trouble seeing it because of all the Benzedrine and riotous living, but it hit me in the guts as true.

I was in my early twenties when I read Edna St. Vincent Millay’s Collected Poems. Her sonnets continue to be one great sources of inspiration and reflection. From Sonnet XXX which begins, ‘Love is not all,’ and ends in a surprising turn, to her sonnet What lips my lips have kissed and where and why, which appeared in Vanity Fair in 1920, but reads to me as if it were written now, her poems are delicious, layered, and precisely crafted.

I started studying James K. Baxter while I was working on my Masters in New York, and found a very hard time finding his books. When I moved to New Zealand and came across New Selected Poems: James K. Baxter edited by Paul Millar, I felt I had struck gold. I carry it with me in my purse most days, as it is not cumbersome, and it has a selection of poetry from all of Baxter’s books as well as a selection of previously unpublished works. I find myself coming back to Farmhand, where ‘He has his awkward hopes, his envious dreams to yarn to […]’ to later in his life, the bittersweet but undeniably beautiful He Waiata mo Te Kare where he says, ‘Nobody would have given tuppence for our chances,/ Yet our love did not turn to hate.’


Murray Edmond

Plants of New Zealand by R.M.Laing and E.W.Blackwell (Whitcombe and Tombs , 1906)

Shanties by the Way: a selection of New Zealand Popular Songs and Ballads collected and edited by Rona Baily and Herbert Roth (Whitcombe and Tombs, 1967)

Hidden Camera by Zoran Zivkovic, trans. Alice Copple-Tosic, (London: Dalkey Archive, 2008)

I think I was given ‘Laing and Blackwell’ (as it was always called) for my 12th birthday, at the end of 1961. I would have asked for it. I had recently joined the Hamilton Junior Naturalists Club and had begun to discover ‘another world’ in the flora of Aotearoa, which was to be a gateway for understanding many other things about the country I lived in that no one had yet mentioned. Robert Laing and Ellen Blackwell’s Plants of New Zealand was the first serious, semi-populist, reasonably comprehensive book on New Zealand plants. Ellen Blackwell, an amateur botanist in her late thirties, had met Robert Laing, Christchurch school teacher, graduate of Canterbury University College, and botanist with a special interest in marine algae, on a ship heading for New Zealand in 1903. Laing was returning from an overseas trip, Blackwell was visiting her brother Frank at Pahi in the northern Kaipara, her first (and only!) visit to New Zealand. The fruit of this meeting was the publication of the evergreen ‘Laing and Blackwell’ in 1906, with Ellen contributing photos (along with brother Frank) and much of the northern botanical information. The sixth edition I received had been published in 1957. It’s a strange old hodge-podge of a book, with reliable basic botanical coverage, mixed with Maori ‘lore’ on plant use, plus some poetical diversions to William Pember Reeves and Alfred Domett. Pretty soon us budding naturalists had graduated to Lucy Moore and H.H.Allan’s properly scientific Flora of New Zealand, but we never forgot our Laing and Blackwell. Ellen Blackwell returned to England after three years in New Zealand, never to return, but she left a little gem behind her. I wrote a poem called ‘Te Ngahere’ (‘The Bush’), using my new discoveries, and next year, 1963, my first year at high school, it was published in the school magazine.

I bought Rona Bailey and Bert Roth’s anthology Shanties by the Way, when I was a first year student at Auckland University in 1968. It might be my favourite New Zealand poetry anthology. Of the 85 songs, ballads, chants, rhymes, jingles, ditties, shanties, broadsides, protests, burlesques, etc. 21 are by the illustrious Anon. It’s a history book and a poetry book at the same time, a collection of voices, registers and, indeed, languages of Aotearoa. When Russell Haley and I wrote our satire, Progress in the Dark, on the sordid history of Auckland city, for the Living Theatre Troupe in 1971, I raided the prohibition section of the anthology for our play:


I am a young teetotaller

And though but six years old,

Within my little breast there beats

A heart as true as gold.


Bert Roth, socialist, Viennese Jew, escapee from Hitler’s Austria, declared ‘enemy alien’ by the New Zealand Government, became the historian of the Union movement in New Zealand; Rona Bailey, physical education teacher, dancer, communist, activist, had studied modern dance and the collecting of folk dance and song in the USA just before World War Two. Together these two created a rich record in verse and song of the story of Aotearoa – read it, sing it, and you’ll get the picture!

Lisa Samuels gave me Zoran Zivkovic’s novel Hidden Camera not so long ago. It’s a scary, funny, dark, narratively powerful and hauntingly intoxicating tale that makes you question the very reality around you as you read. Zivkovic, who wrote his masters’ thesis at Belgrade University on Arthur C. Clarke, and latterly taught there for many years, knows his Lem, his Kafka, his Bulgakov and his Gogol. Perhaps his work evokes what a Robert Louis Stevenson thriller or a Henry James ghost story in the 21st century might read like. Aren’t we all being recorded, all the time? Are the narratives of us that are recorded more real than the lives we think we are living? Zivkovic is a writer who makes me want to record narratives myself, if only to fight back against the capture of ourselves, to escape the horror of the prisons we have built for ourselves.



Sam Duckor-Jones is a sculptor and poet who lives in Featherston. In 2017 he won the Biggs Poetry Prize from the International Institute of Modern Letters at Victoria University of Wellington. Victoria University press published his debut collection People from the Pit Stand Up in 2018.  His website.

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. His latest poetry collection Back Before You Know was published by Compound Press in 2019.

David Eggleton is a Dunedin-based poet and writer, who was formerly the editor of Landfall. He is working on a number of projects, including a new poetry collection.

Joan Fleming is a poet, teacher, and researcher. She is the author of two books of poetry, The Same as Yes and Failed Love Poems (both with Victoria University Press), and her third book is forthcoming with Cordite Books. She has recently completed a PhD in ethnopoetics at Monash University, a project which arose out of deep family ties and ongoing relationships with Warlpiri families in Central Australia. She is the New Zealand/Aotearoa Commissioning Editor for Cordite Poetry Review and teaches creative writing from Madrid, where she currently lives. She recently performed and served as Impresario for the Unamuno Author Series Festival in Madrid, and in 2020 she will travel to Honduras for the Our Little Roses Poetry Teaching Fellowship.

Fiona Kidman has published over 30 books including novels, poetry, memoir and a play. She has received a number of awards and honours including a DNZM, OBE and the French Legion of Honour. Her most recent book This Mortal Boy won the Acorn Foundation Fiction Prize at the Ockham Book Awards 2019. She has published a number of poetry collections; her debut Honey and Bitters appeared in 1975 while her more recent collections were published by Random House: Where Your Left Hand Rests (2010) and This Change in the Light (2016).

Amy Leigh Wicks is the author of The Dangerous Country of Love and Marriage (Auckland University Press 2019) and Orange Juice and Rooftops.

Hannah Mettner is a Wellington-based poet from Gisborne. Her first collection, Fully Clothed and so Forgetful (VUP 2017), was longlisted for the 2018 Ockham New Zealand Book Awards, and won the Jessie Mackay Award for best first book of poetry. She is co-editor with Morgan Bach and Sugar Magnolia Wilson of Sweet Mammalian, an online poetry journal launched in 2014.









A week of Poems: Amy Leigh Wick’s ‘I, Melchoir’



I, Melchior


To be honest, I didn’t know Baz or Casper

before we took the trip.  We studied

in different cities and my focus was on the history of stars

while Casper predicted movement. Neither of us

know what Baz studied exactly, but it was good

having him around.


Many nights over the small flame of our fire

we guessed at why the dream chose us,

and most days I wondered if I was a fool

to leave my life’s work for a single light.


Traveling west we saw the far reaches

of an empire whose gold leafed crown

would wrap around the head of every

nation if it could.  I didn’t mind the welcome

given to us by its governors and princes,

the cold limoncello and soft cheeses, the grapes

brought to our mouths by slender bangled wrists;


But there was something about that king—rouged

and fat, chewing a leg of meat, feeding us like we

were to be eaten next, asking exactly who it was

we were off to see—that reminded me not to be a man

given to appetite. I closed my eyes to the women

and remembered there was somewhere

I was supposed to be going.


The last days of travel were quiet, thirsty days,

full of dust and flies.  Nights we slept close in the dark,

because Baz insisted we not light any fires.  We argued

about whether we were on course and what we were

looking for in the first place until we found ourselves


under the star, at the door of a house.

It was nothing really.  A poor place and the girl

who answered the door was about fourteen, with a naked baby

looking out at us from behind her skirts where he stood.


Casper shoved me and I almost spoke, but didn’t.

Baz knelt, and that decided it. I lowered myself to my knees

right in the doorway, and as I did I felt something

no book has ever been able to explain.  Some strange peace,

the sound of beating wings filled the air and the child laughed.


We unloaded our treasures and as we did his mother’s

face was wet with tears.  She didn’t look at the spices,

she wasn’t marveling at the cost. Her head was tilted,

her mouth slightly open as if dreams she’d had

were playing out before her.  It was enough,

her silent grace, the child’s laugh–to answer at least

the only question worth asking.  We left at dusk

into a different world than we had come from.


The first sleep in the desert brought us the same nightmare;

a slaughter of children and the rouged king’s laughter

heard above the moan of young mothers.  We parted ways

in the dark, with a vow to never look for each other again

for fear of killing the King we’d found.


Did we find what we were looking for, or were we meant

to find something that would take all of history to unravel?

I think about Baz, face to the ground in that doorway,

when a star falls suddenly from the sky and wind blows out the last embers of fire.


©Amy Leigh Wicks




My two poetry readings to launch my new book feature some of my favourite poets

Like so many poets, I loathe people making speeches about me or my work. Much better to stage a poetry reading and celebrate the pull of cities.

My new poetry collection comes out of ten exceptional days I spent in New York with my family awhile ago. So I have invited a bunch of poets I love to read city poems by themselves and others. Big line-ups but it will free flow and leave time for wine and nibbles.

Once I got to fifteen I realised what poetry wealth we have in these places. I could have hosted another 15  in each place easily. That was so reassuring.

If I had time and money, I would have staged similar events in Christchurch and Dunedin where there bundles of poets I love too.

Please share if you have the inclination.

And you are ALL warmly invited!








On discovering Amy Leigh Wicks




I got to introduce Amy Leigh Wicks at the Rupaehu Writers Festival, but I had barely sighted her poetry. What a discovery! Like most people in the audience, she blew my socks off. Amy is an American from New York City whose debut collection is Orange Juice and Rooftops. She is currently enrolled in the PhD programme at IIML and will write the critical component of her thesis on the poetry of James K Baxter.

Listening to her read as opposing to reading her for the first time on the page offers quite a different poetry experience. I cheekily asked if could take away the printouts so I could write about the poems. Usually I just depend upon my scrawlings but as chair I tempered my notebook entries. Amy is one of those poets who really knows how to bring a poem to life in the air (she has a background as a slam poet). And in fact won the slam competition at Ruapehu.

This is what linked the the words in the air to the words on the page: space, silence,  pause, what is not said, mysterious bits, strangeness, poetic tilts.

What struck me on the page: these poems feed on questions, curiosity fizzes both above and below the surface. Alongside the the room to breathe, I rediscovered a clarity of voice, sometimes conversational, sometimes lyrical, always fluent. And then the effervescent detail that forms a little uplift in a line.


Here is an Amy Leigh Wicks poetry sampler:


from Honey Moon

The first time we climbed into bed

it seemed like there was no one


else in the world. Then we left New York

and by the time we reached California


we noticed an army of ghosts floating

like balloons above us each night


The word honeymoon is fractured in two  because although you might think this poem is about bed, love, marriage and travelling, those ghosts bust it apart so you shift a little. Often I enjoy strange presences without analysing their status as tropes in a poem. The ghosts float like balloons above the bed. Beautiful. Strange. They don’t need to mean anything. Yet the balloon-ghosts (or ghost-balloons) keep tugging me back to the poem as though I want to make a story for them and give them a part to play beyond the unsettled sleep of a honeymoon couple. This poem, excuse the pun, haunts me. Read the full poem here.


from Learning to Swim

When ____________happened it made me feel …

This is the first rule. It’s like swimming, our new game –

The facts are false, the world inside is real.


Am I still in Vienna, floating from Klimt’s kiss to Schiele?

No.We are at our dining room table, I am learning how not to blame.

When ____________happened it made me feel …


Usually the repetitive lure of a villanelle is like free flowing honey, and the sweetness of repetition infuses fluency. But here the repetition is like a set of judder bars that shakes you out of easy coasting.


from First Night in Aotearoa

I was sitting at a stone table

there was a fire behind me

and a candle before me and

it was raining all around and the papers

on the table were soaking wet

with black ink bleeding through


A few poems are part of a sequence entitled ‘Kiwi Dairy’ and touch upon Amy’s experience of New Zealand (she is from New York). With this poem, again you get the white space, the shiny detail, the strangeness and the multiple questions. It is addictive listening/reading.


Keep an eye out for Amy’s poetry. You will find some poems on Turbine.


Why I loved the Ruapehu Writers Festival


‘Memoir is a place to illuminate, not seek revenge.’ Elizabeth Knox

‘The Villa is a book of 100 tiny pieces. That’s how my brain was. Everything had fallen to pieces. I was writing in a state of shock.’ Fiona Farrell

‘I am a product of socialism and feminism.’ Fiona Farrell

‘We are not just a who or a what we are also a here.’ Martin Edmond

‘Archives are as questionable as memory.’ Martin Edmond

‘Poems have tended to ambush me every few decades.’ Fiona Kidman


[ I   k e e p   r e m e m b e r i n g

t h i n g s  a n d    a d d i n g     b i t s]


Yesterday there was a flurry of writers on social media suggesting the Ruapehu Writers Festival was the best festival ever. I have loved the richness and discoveries of so many other festivals, along with the family warmth of Going West. Yet this festival was special. The best ever.

The setting: The mountain to the north loomed large out of clouds, and on some days into bright blue sky. The mountain stream babbled past like a soothing mountain soundtrack. The trains punctuated sessions and we all stopped and listened to the comforting sound of travel.

The writers: The writers came from far and wide (Martin Edmond, Fiona Farrell). Bigger publishers were represented (Penguin Random House, Auckland University Press, Victoria University Press) and so too were the boutique Presses (Seraph Press, Anahera Press, Mākaro Press, Cat & Spaghetti Press, Hue & Cry – to name a few).


The sessions: Not a single dud. Just smorgasbord of highlights. I do want to pick out a couple of presentations that struck a chord with me.

Merrilyn George shared Ohakune stories with Martin Edmond. Wow! I wish the whole country could have squeezed in to hear the way the local matters. Has mattered, does matter and will matter. It was Martin’s session too, but he let Merrilyn take centre stage with his little anecdotal prompts.

The fluency of my good friend Sue Orr when she got talking about place as character.

Three writers musing on the Desert Road: Fiona Kidman, Ingrid Horrocks and Fergus Barrowman (standing in for Nigel Cox). The conversation just flowed and the extracts were riveting. I have tracked down Ingrid’s essay, ‘A Small Town Event,’ in Sport 43. The sample stuck with me so I need to read the whole thing.

Elizabeth Knox‘s festival lecture, ‘On Doubt, Doubtingly,’  explored the implications and means of building memoir. Particularly in view of multiple selves, and the multiple reception and behaviour of selves. Elizabeth showed the way ideas can move, stimulate and challenge. Deliciously complicated and moving.

The children who came to my poetry session. Some as a result of my visit to Ohakune Primary School on the Thursday. I had an outstanding time there. This is a school where the teachers have already sown the fertile seeds of poetry. PS Jenny and Laughton Patrick did a great job getting the whole room singing!

Three writers talk on structure: Pip Adams, Emily Perkins and Fiona Farrell. This session got on National Radio because Fiona let her guard down and moved most of us to tears. I thought I was going to start sobbing out loud. Listening to Fiona read from The Villa at the End of the Empire — a book shortlisted in the nonfiction section of the Ockham NZ Book Awards — was extraordinary. Yet the session was this and was more than this. It embraced two other terrific readings and generated a conversation on structure that made me want to get writing.

Six writers read from Extraordinary Elsewhere: Essays on Place from Aotearoa New Zealand (forthcoming VUP). Ashleigh Young‘s detail kept ringing in my ear, along with the moving circularity of Harry Rickett‘s essay and the philosophical nuggets of Martin Edmond (which I tweeted throughout the session).

I was quite taken with the response of Tim Corballis and Thom Conroy (chair) in my session on POV. I just loved the way Tim proposed the leaf on the boy’s shoe acted as a transcendental point of view. Ha! Thom was an excellent chair.

The final session of poets was a perfect way to end. I discovered the poetry of Hannah Mettner and will go hunting for it in issues of Turbine. I loved hearing Fiona Kidman read from her new book (out next week) and Vana Manasiadis from her old. Magnolia Wilson was also a new find off the page (I had loved her foldout poems). A local poet and ex-librarian, Helen Reynolds read her poems in the quietest of quiet voices. We stretched forward, further and further into her reading. It felt like I was bending forward into the end/ear of the festival.


The atmosphere: Warm, intimate, stimulating, generous. The festival had the family flavour of Going West but in a mountain setting. At four thirty each day we spilled into the bar for a glass of wine and platters of gratis nibbles before the final sessions. We shared conversation and that conversation was infused with a common love of books. And an infectious engagement with ideas.

The chance(ish) encounters: Hearing Amy Leigh Wicks read poetry for the first time and having lunch with her. I am itching to write about her poems on the blog. Sitting under the cool of a tree and talking women’s poetry with Sarah Jane Barnett (she was there as reader, as were other writers!). Eating breakfast with the very lovely Fiona Kidman and talking about women’s poetry in the seventies. Meeting a man who lived next to Eileen Duggan but not getting to follow that revelation up (ah! rue!). Drinking coffee with Fiona Farrell and talking about how something in the air or on the page prompted us to let our guard down. Just a tad. Meeting old friends.

The special features: A band of writers cycled back from Horopito Hall with James Brown after hearing a session on cycling and poetry (ok Ashleigh Young where can I read a version of your lost-things poem?). A local kaumatua guided at least forty readers and writers up to a waterfall and back (around two hours). Stacy Gregg led some fans on a horse trek.

The audiences: Most sessions were full to the brim.

The chairs: I especially loved Fergus Barrowman (he did zillions with just the right degree of input), Nick Ascroft (he was hilarious) and Thom Conroy (astute listener!).

The organisers: Anna Jackson, Helen Rickerby and Simon Edmonds built a festival out of nothing yet when I reflect upon this daring, I realise it was out of something. The festival grew out of the hard labour and inventive thinking of these three. It also grew out of the good will these three can harness: from the locals, the venue, the schools, the publishers and the out-of-town readers and writers. It might sound corny but it also grew out of the physical location and its beauty. The festival always bore this mind.

It was really good to hear Anna and Helen read and share ideas. I loved too the way they sat in the front row in every shared and listened so intently. I could see the joy of the occasion on their faces. You don’t usually see festival organisers with freedom to sit in the front row and listen. Yet another sign of what made this occasion special.

Place matters.

I think if I were to ask all writers and readers to join me in a huge pakipaki for Anna, Helen and Simon we would drown out the mountain stream and the passing train. Just for a moment. We are in debt to you. Thank you.


Excuse my phone photos!