Tag Archives: David Eggleton

Poetry Shelf Postcard: Landfall 231

otago612164.jpg

 

We are well served by literary journals at the moment. Each delivers slightly different treats, biases, focuses but all offer high quality writing that resist any singular NZ model.

The latest Landfall (as you can see) has a stunning cover with its Peter Peryer photograph.

Inside: poetry (37 poets!), fiction, non-fiction, art and book reviews (including an excellent review of Anna Smaill’s The Chimes, one of my top fiction reads of the past year).

The poets range from the very familiar, whether young or old, to those new to me. And that is as it should be. David Eggleton is keeping the magazine fresh whilst giving vital space to our literary elders and maintaining a strong and welcome Pacific flavour.

 

A tasting plate of lines that got me (I seem to have been struck by mothers, fathers, surprising images, little twists):

 

from Brian Turner’s ‘Weekends’:

think of what a place could be

when it’s not what we possess

that counts most

but what we are possessed by

 

from CK Stead’s ‘One: Like a bird’ (for Kay):

You were beautiful, and I

sang, as I could in those days

all the way home—like a bird.

 

from Leilani Tamu’s ‘Researching Ali’i’:

I searched for you in boxes

the archivist muttered poison

 

from Rata Gordon’s ‘A Baby’:

I want to make a baby out of one peach and one prickle.

I want to use the kitchen sponge, sticky rice and a rubber band.

I want to use the coffee grinder.

 

from Siobhan Harvey’s ‘Spaceboy and the White Hole’:

he pictures matter barely visible, the light

of white holes as they transmit their secret

messages, sharp elegies, about letting go.

 

from Ruth Arnison’s ‘The Visit’:

Even from the road her house gave us the creeps.

Pale, communion wafer thin, and disapproving,

its severe windows three-quarter blinded.

 

from Heather McQuillan’s ‘In which I defend my father’s right to solitude’:

our father has a fine tooth way

of finding vulnerabilities

on the outward flanks

the wolf is always at his door

 

from Doc Drumheller’s ‘My Father’s Fingers’:

Days after my father died I felt a sense

of urgency to take care of his hot-house.

 

from Koenraad Kuiper’s ‘from Benedictine Sonnets’:

Mother always knitted particularly socks.

Knitting socks is a fine skill under the lamplight.

 

from Elizabeth Smither’s ‘Three “Willow” Pattern Bowls’:

My father thought I meant the plate

and wrapped one from the china cabinet

I carried it close to my heart

all the way back for a second reprimand.

 

from Bob Orr’s ‘Seven Haiku’:

I don’t care about

frogs

basho’s dead

 

from Will Leadbetter’s ‘Three Variations on “The Red Wheelbarrow” by William Carlos Williams’:

Nothing depends upon

the green wheelbarrow

 

Great winter reading!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Ika Issue 4 – a feast indeed

Ika_web_1.jpg

With the latest issue, Ika is planting its feet firmly on the NZ writing landscape, as a journal to take notice of. Each issue tweaks the design a little. This one looks good. Poems luxuriate on the page. The art is honoured. The internal design is appealing to the eye.

Anne Kennedy, with her astute eye and ear, has assembled writing that matches the fresh appeal of the design. Like Sport, the journal acknowledges its links to its Creative Writing programme and allows established writers to rub shoulders with students. I applaud the celebration of Pacific writing. You will find art, poetry, fiction, an interview and nonfiction. A feast indeed.

Lovely launch at Auckland Central Library on Saturday with a fitting speech by Sue Orr, a handful of readings and  wow-factor song.

 

A taste of poetry:

Annaleese Jochems: She is a graduate of MIT and is now doing a Masters in writing at Victoria. Her poem is your entry into the book and it leaves you wanting more. Just what a new voice offers: surprising lines, audacity, elasticity.

I must go home for dinner,/ but I don’t want to go home/ where I play my unrequited/ love like a banjo

 

Poet and publisher Kiri Piahana-Wong has a suite of poems that I think are her best yet. How do you reproduce feeling in a poem in 2016? Kiri shows how: ‘A month later my chest/ still felt like a stone/ was inside it so I stayed/ there and I kept waiting’

 

Bill Manhire also has a suite of poems. The first poem, ‘We Work to be Winners’ got under my skin because I loved the surprising juxtapositions of one line alongside the next. It got me thinking about the origins of the poem. Sometimes if you know that, it changes the way you read the lines. In this case I began inventing origins as I waited in a festival queue. It felt like the poem had a fascinating backstory which could become a poem in its own right. It might be a found poem (but from where? that is what intrigues). It could be written from the point of view  of someone who writes a sentence in a diary each Thursday. Or the offbeat biography of a hippy from the 1970s. Get the journal and decide for yourself. First line: ‘I left the ashram running for my life.’

Craig Santos Perez: ‘Micronesians in Denial’ brings mouth-watering detail alongside history alongside political spikes. I also loved ‘Aunty of rainwater and Smoke’ – the title says it all. This is poetry song and poetry joy.

David Eggleton (winner of Poetry Category at NZ Book Awards last week) is hitting his poetry straps so to speak. You get two poems that are a linguistic explosion in the ear with musical chords sneaking in and rhythms pulling you along at breakneck speed. It is not just aural gold though because there is the visual weave that ignites all senses.

Awks: you winged Auk-thing, awkward, huddling;

you wraparound, myriad, amphibious,

stretchy try-hard, Polywoodish

juggernaut’ (from ‘Edgeland’)

 

I am flicking in and out of the journal waiting for a session at the festival and stumble upon these lines by Hera Lindsay Bird (she has a book out with VUP later this year!): ‘O Anna/ let us jettison the manky quilts/ of our foremothers’ Yep – it is a terrific poem.

 

Courtney Sina Meredith’s ‘of all the bricks we laid in our sleep’ stuck with me, haunted me as I drove home on Sunday with festival fatigue. this poem was like a haunting refrain. ‘and hear your soft waiata/ through the floorboards’

 

This stanza from Doug Poole‘s ‘The light I had hoped’ also got to me:

As a child I would lie awake listening to my grandmother slapping

clothes on her bedside chair, speaking aloud her thoughts of the day,

clicking rosary beads and whispering her prayers

 

This afternoon I fell upon  ‘Chasing Spirits’ by Kim M. Melhuish. A voice keeps asking ‘how’s this’ and the answers tumble like little poetry postcards perfectly formed:

two words

fishing for love

pink orchids

finger paint

the night ahead.

 

And then it was this delicious morsel from Vivienne Plumb from ‘Peach Tree’:

The cactus unfurls its one brilliant

blinding flower. Excuse me,

there is no poetic peach tree here.

 

AND I still have to read poems by these poets: Airini Beautrias, Bryan Walpert, Charlotte Steel, Elizabeth Morton, Gregory O’Brien, Makyla Curtis, Manisha Anjali, Ria Masae, Richard Von Sturmer, Sophie van Waardenberg.

I applaud everyone involved. This is a journal worth subscribing to.

 

Enquiries: ikajournal@gmail.com

submit at

 

 

 

 

Poetry winner, David Eggleton’s seven best things to make a poem memorable

35.jpg

David Eggleton won the Ockham Book Award’s  Poetry category this year. Here are his Seven Things That Make A Poem Memorable. Gems.

1. The first thing is the poetic license, the dispensation, a poem grants allowing the poet to take liberties with language, with literary form, to yoke together like with unlike, the probable with the improbable, in a tiny space, and create a kind of explosion — sometimes thermonuclear, as in T.S.Eliot’s Modernism-defining 1922 poem ‘The Waste Land’. Virginia Woolf wrote shortly after this was published: ‘I sun myself upon the ravishing beauty of one of his lines, and reflect that I must make a dizzy and dangerous leap to the next. . .line.’

2. The second thing is the wonderfully mesmeric power of a poem’s metre, the entrancement of its heartbeat, its rhythm, its breathing, as these two lines from a Samuel Beckett poem indicate: ‘the churn of stale words in the heart again/ love love love thud of the old plunger. . .’ Allen Ginsberg shows another way the metre can memorably become stirring, march-like, uplifting, as well as amusingly sardonic, in his poem ‘Howl’: ‘buried alive in their innocent flannel suits on Madison Avenue amid/ blasts of leaden verse & the tanked-up clatter of the iron regiments of fashion/ & the nitroglycerine shrieks of the fairies of advertising/ & the mustard gas of sinister intelligent editors. . .’

 

for the rest of the list on The Ockham Book Award site see here

Poetry Shelf congratulates the winner of the poetry category at the Ockham NZ Book Awards

OLYMPUS DIGITAL CAMERA   35

Photo credit:  F. J. Neuman

 

‘Stone clacks on stone

so creek lizards slither,

runnels slip through claws,

each cloud’s a silver feather.’

from ‘Raukura’ in The Conch Trumpet (OUP)

 

I was chuffed to see David Eggleton win the Poetry category for his terrific collection, The Conch Shell.

David did a wonderful interview to coincide with the publication of this book last year. He is a very fine poet who has contributed much to our writing communities.

My hearty congratulations.

 

from the interview:

These new poems offer shifting tones, preoccupations, rhythms. What discoveries did you make about poetry as you wrote? The world? Interior or external?

My poems like to dwell on the silver wake of a container ship, or the wet sand beneath the upturned hull of a dinghy, or the half-seen, the overheard. Poets re-arrange, but they have duties of care. X.J. Kennedy has pointed out that: ‘The world is full of poets with languid wrenches who don’t bother to take the last six turns on their bolts.’

It’s been five years since my last poetry collection Time of the Icebergs appeared, and one reason my collections have been regularly spaced that far apart is the need for more elbow-grease and line-tightening to get the burnish just so.

The poet’s mind, like anyone else’s is made up of reptilian substrate, limbic empathy and neo-cortical rationality. These shape your reveries and hopefully together lift them out of banality. Our ideas are dreams, styles, superstitions. We rationalise our temperaments, draw curtains over our windows, but poems carry an anarchic charge that reveals the force that through the green fuse drives the flower.

A poet is in the business of the unsayable being said, showing you fear in a handful of dust. A poet is amanuensis to the subconscious ceaselessly murmuring, and indeed to the planetary hum, the gravitational pull of the earth, the wobble of placental jellyfish in the womb — anything alive, mindless and gooey.

the rest of the interview here

The Ockham NZ Poetry short list- two reviews, an interview and a book in my bag

I am heading off to Wellington this morning to go to A Circle of Laureates, the Lauris Edmond prize event and do a smidgeon of reading in between. Thought I would share these first:

1411440756602

How to Be Dead in a Year of Snakes Chris Tse, Auckland University Press

Chris Tse is a writer, musician and actor whose poetry first appeared in AUP New Posts 4 (Auckland University Press, 2011). He resides in Wellington, his home town.

Chris’s debut collection, How to Be Dead in a Year of Snakes, responds to a moment in history not so much by narrating that history but by installing a chorus of voices. He takes an event from 1905 when Lionel Terry went hunting for a Chinaman in Haining Street, Wellington and ended up murdering Joe Kum Yung. Within the opening pages, the chilling event is situated in a wider context where laws proscribe the alienness that situates  Chinese as outsiders. This is what gets under your skin as you read.

The poems draw upon and draw in notions of distance, defeat, guilt and forgiveness. There are the unsettled imaginings of what it is to be home, to be at home and to be out of home to the extent that home becomes difficult and different. Mostly it is a matter of death (and casting back into life) whereby phantoms stalk and cry about what might have been and what is: ‘You spend your thoughts drowning in your family-/ missing from this vista- and contemplate a return with nothing to show/ for your absence.’

The collection harvests shifting forms, voices and tones that promote poetry as mood, state of mind, emotional residue. Yes, there is detailed evidence of history but this is not a realist account, a story told in such a way. Instead the poetic spareness, the drifting phantom voices give stronger presence to things that are much harder to put into words. How to be dead, for example. How to find the co-ordinates of estrangement, of that which is unbearably lost and is hard to tally (family, home, what matters in life). On page four you move from a matter-of-fact representation of the law to page five and the wife in Canton (‘you carry her bones in your body’). Two disparate but equally potent aches.

For the rest of the review see here

 

OLYMPUS DIGITAL CAMERA       $_35

 

From an interview I did with David Eggleton last year:

I love the title of your new collection (The Conch Shell, Otago University Press). The blurb suggests that this collection ‘calls to the scattered tribes of contemporary New Zealand.’ What tribes do you belong to? What literary tribes? How does the word ‘contemporary’ modify things?

Yes, I’m blowing my own (conch) trumpet at sunrise. That title refers to tide-lines of life, to surf-like sounds, to gathering good vibrations, to gods of the sea who, clarion-like, lull the waves, and to the summer of shakes, the year of quakes. And so on, to the final burnout of the run-ragged consumer. The rest is the tribal outcast, and everything you cannot pin down, or ascribe a bar code to.

In fact, the word ‘tribe’ is fraught. I think James K. Baxter brought it into the literary realm. My own tribal background is distinctly heterogeneous rather than Fonterra-homogenous, but if I look around at my contemporaries, poets and otherwise, I see most of them making it up as they go along. A poem tests a proposition; it doesn’t always prove it.

 

These new poems offer shifting tones, preoccupations, rhythms. What discoveries did you make about poetry as you wrote? The world? Interior or external?

My poems like to dwell on the silver wake of a container ship, or the wet sand beneath the upturned hull of a dinghy, or the half-seen, the overheard. Poets re-arrange, but they have duties of care. X.J. Kennedy has pointed out that: ‘The world is full of poets with languid wrenches who don’t bother to take the last six turns on their bolts.’

It’s been five years since my last poetry collection Time of the Icebergs appeared, and one reason my collections have been regularly spaced that far apart is the need for more elbow-grease and line-tightening to get the burnish just so.

The poet’s mind, like anyone else’s is made up of reptilian substrate, limbic empathy and neo-cortical rationality. These shape your reveries and hopefully together lift them out of banality. Our ideas are dreams, styles, superstitions. We rationalise our temperaments, draw curtains over our windows, but poems carry an anarchic charge that reveals the force that through the green fuse drives the flower.

A poet is in the business of the unsayable being said, showing you fear in a handful of dust. A poet is amanuensis to the subconscious ceaselessly murmuring, and indeed to the planetary hum, the gravitational pull of the earth, the wobble of placental jellyfish in the womb — anything alive, mindless and gooey.

 

Is there a single poem or two in the collection that particularly resonates with you?

Every poem resonates on its own wavelength, but I found constructing an immediate elegiac response to my father’s death one of the most turbulent. A bit like getting to grips with a storm, with a howling wind that has shape and substance.

 

Returning to the notion of detail, I see the accumulation of things in your poems as an overlay of highways to elsewhere whether heart, issues, ideas, fancy, memory. Yet the things also pulsate as things in their own right. What draws you to ‘the thisness of things’ (the blurb)?

Things accumulate in my poems in almost haptic fashion, wrestled there like sculptural ingredients. They accumulate, as in the random haphazard assemblages of the Dadaist Kurt Schwitters, built out of found objects in the streets. Yes, I want to acknowledge the ‘thisness’ of things, but not in the sense of ‘property’. Rather, in the sense of: he who kisses the joy as it flies, lives in eternity’s sunrise.

 

For the complete interview see here

 

Tim-FB 9780473288396-TU

Tim Upperton, The Night We Ate The Baby HauNui Press, 2014

Tim Upperton’s debut poetry collection, A House on Fire, was published by Steele Roberts in 2009. Since then, his poetry has been published in numerous journals and he has won awards for a number of them. The poems for this new collection were written with the assistance of a Doctoral Scholarship from Massey University of New Zealand, so perhaps they form/formed part of his doctoral submission. Tim will be reading as part of the Haunui Press ‘Deep Friend Poetry Reading’ series at Vic Books on 26th March. Details here.

This latest book is unlike any other collection I have seen in New Zealand; chiefly in terms of the measure of discomfort. The forms are various, scooping an edgy wit into prose blocks, villanelle, triplets, couplets and freer patterns. Yet there is connective glue at work here, and that is what makes this collection stand out. I think it comes down to voice (whether or not it is the personal voice of the poet doesn’t really matter) because the voice steering the poems is sharp, forthright, witty, edgy, grumpy. It unsettles. It keeps you on your toes. On the back of the book, Ashleigh Young suggests that ‘[t]hese willfully, calmly disagreeable poems have tenderness and courage at their heart.’ I would agree. Therein lies the pleasure of reading these poems; there is more to the brittle edginess than meets the initial eye.

The first poem, ‘Avoid,’ very clearly announces that this is a poet who loves language, that is unafraid of rhyme and rhythm working arm in arm. The poem is a miniature explosion of sound effects — with sliding assonance, bounding consonants, near rhyme and sumptuous aural connections. It brought to mind the refrain in Don McGlashan’s song,  ‘Marvellous Year,’ and Bill Manhire’s glorious ‘1950s’ in the use of rhythm and rhyme, and aural trapeze work that is ear defying. Whereas Don’s song represents a potted portrait of the world in all its warts and glory (in a marvellous year), and Bill’s poem is a nostalgic recuperation of things, Tim sets up the collection’s  negative disposition and itemises things to avoid!

For the rest of the review see here

 

ghost_cover_front__73226.1427153026.140.215   ghost_cover_front__73226.1427153026.140.215   ghost_cover_front__73226.1427153026.140.215

Roger Horrocks Song in the Ghost Machine

I haven’t read this book! Last year I picked it up to review then found something about it was very close to a fragile starting point I had for a book in my head. I can’t talk about poems I am writing until they are written. I didn’t want to scare my starting point off so left in the pile to read.

Now that I am hard at work writing about NZ women’s poetry, my starting point is in a little holding bay where it may or may not survive. It has been there for over a decade though and has moved to second place in  a queue.

So I am throwing caution to the wind and taking this book to read on the plane.

 

 

 

 

 

 

My thoughts: 2016 Ockham NZ Book Award Poetry short list

Congratulations to all those who make the short lists! Especially in a year that was larger than a year.

Here is the short list for poetry, see below for other categories.

Poetry
How to be Dead in a Year of Snakes, by Chris Tse (Auckland University Press)
The Night We Ate the Baby, by Tim Upperton (Haunui Press)
Song of the Ghost in the Machine, by Roger Horrocks (Victoria University Press)
The Conch Trumpet, by David Eggleton (Otago University Press)
Would this be my list? No! But that doesn’t mean a thing. Book Awards will always reflect the predilections of the judges. And there are some strong collections here that I have reviewed and loved. Great to see Chris’s debut collection make the cut.
Good to see a small press make it along with the big presses who continue to show an admiral devotion to poetry.
Whom do I mourn? Emma Neale’s extraordinary collection, Tender Machines. Ahh!
I haven’t read many of the novels that made it but how I adored Anna Smaill’s The Chimes that did not. Sorry to be a party pooper on that one.
And how good to see Fiona Farrell and Lynn Jenner make the non-fiction list. I reviewed both those books on the blog and thought they were standout examples of how we can write about the world, catastrophe, home.
Fiction plus poetry equals one woman out of eight.  No women poets. Does this mean the men wrote all the best books in the past year? No way!
Is NZ literature in fine heart? Utterly yes. Astonishing books missed the long lists in both poetry and fiction. We are publishing such quality writing it makes judging almost impossible for Book Award Judges.
For those that missed out, good books have a life beyond book awards. Astonishing books are bigger than book awards. Remember that.
For those that have been picked, enjoy the well-deserved moment, then let the white noise settle and get on with what really matters. Writing.
The 2016 Ockham New Zealand Book Awards finalists are: 
Fiction
The Back of His Head, by Patrick Evans (Victoria University Press)
Chappy, by Patricia Grace (Penguin Random House)
Coming Rain, by Stephen Daisley (Text Publishing)
The Invisible Mile, by David Coventry (Victoria University Press)
Poetry
How to be Dead in a Year of Snakes, by Chris Tse (Auckland University Press)
The Night We Ate the Baby, by Tim Upperton (Haunui Press)
Song of the Ghost in the Machine, by Roger Horrocks (Victoria University Press)
The Conch Trumpet, by David Eggleton (Otago University Press)
General Non-Fiction
Maurice Gee: Life and Work, by Rachel Barrowman (Victoria University Press)
The Villa at the Edge of the Empire: One Hundred Ways to Read a City, by Fiona Farrell (Penguin Random House)
Māori Boy: A Memoir of Childhood, by Witi Ihimaera (Penguin Random House)
Lost and Gone Away, by Lynn Jenner (Auckland University Press)
Illustrated Non-Fiction
Te Ara Puoro: A Journey into the World of Māori Music, by Richard Nunns (Potton and Burton)
New Zealand Photography Collected, by Athol McCredie (Te Papa Press)
Tangata Whenua: An Illustrated History by Atholl Anderson, Judith Binney, Aroha Harris (Bridget Williams Books)
Real Modern: Everyday New Zealand in the 1950s and 1960s, by Bronwyn Labrum (Te Papa Press)
The Fiction category is judged by distinguished writer Owen Marshall CNZM, Wellington bookseller and reviewer Tilly Lloyd, and former Director of the Auckland Writers Festival and former Creative New Zealand senior literature adviser Jill Rawnsley.
The Poetry Prize is judged by former Auckland University Press publisher Elizabeth Caffin MNZM, Dr Paul Millar, of the University of Canterbury, and poet and University of Auckland academic Dr Selina Tusitala Marsh.
The General Non-Fiction Prize is judged by Metro Editor-At-Large Simon Wilson, Professor Lydia Wevers, literary historian, critic and director of the Stout Research Centre at Victoria University of Wellington, and Dr Jarrod Gilbert, a former Book Awards winner for Patched: A History of Gangs in New Zealand, of the University of Canterbury.
The Illustrated Non-Fiction Prize is judged by former publisher Jane Connor, publisher of the magisterial The Trees of New Zealand, which won the Book of the Year award in 2012, Associate Professor Linda Tyler, Director of the Centre for Art Studies at The University of Auckland, and Leonie Hayden, the editor of Mana magazine.
The winners (including of the four Best First Book Awards) will be announced at a ceremony on Tuesday May 10 2016, held as the opening night event of the Auckland Writers Festival. The awards ceremony is open to the public for the first time. Tickets to the event can be purchased via Ticketmaster once festival bookings open on Friday 18 March.