Tag Archives: James Brown

Poetry Shelf interviews Elizabeth Smither: ‘ I think poetry in many ways is a dare’


Smither photo.jpg

Elizabeth Smither with Rusty and Sneaky




‘The Labradors have made nests already

simply by lying in the long grass

sucking the green into their bodies’


from ‘Lying in the long grass between two black Labradors’ in Night Horse



I recently read through the alluring stretch of Elizabeth Smither’s poetry; from Here Come the Clouds published in 1975, to the new collection, Night Horse, just released by Auckland University Press. I was drawn into melodious lines, pocket anecdotes, bright images and enviable movement. Harry Ricketts talked about the transformative quality of Elizabeth’s poems in an interview with Kathryn Ryan, and I agree. As you follow reading paths from the opening line, there is always  some form of transformation. The poetry, from debut until now, is meditative, andante, beautiful.

Elizabeth Smither has written 18 collections of poetry, five novels, five short story collections, journals, essays and reviews. She was New Zealand’s Poet Laureate (2001-3), was awarded the Prime Minister’s Award for Literary Achievement in Poetry in 2008, the same year she received an Hon D. Litt from Auckland University. She has appeared widely at festivals and her work has been published in Australia, USA and UK.

To celebrate Night Horse (Auckland University Press, 2017), Elizabeth agreed to answer a few questions.


‘You can run as fast as Atalanta

who bowled three apples at her suitors

Double Red Delicious’


from ‘An apple tree for Ruby’ in Night Horse


What sparked your imagination as a child? Was reading a main attraction or did you also write? Did particular books endure?

Reading and writing. I liked to say long sentences to myself as I walked. The first thing I can remember writing about was my pet New Zealand White rabbit. All the usual books of the period: Anne of Green Gables, Little Women, A Girl of the Limberlost  which I found faintly terrifying. I can see these are the precursors of George Eliot and Jane Austen. As a teenager I had a crush on French writers: Colette, Gide, Mauriac, Sartre, de Beauvoir, Simenon. My father was a great novel reader and he impressed on me the sacrifices made by writers like Charles Dickens. I was scared of Quilp in The Old Curiosity Shop and never got past the page on which he appeared.


‘The cats are out by the letterboxes

at the ends of long driveways

waiting to see how the night will shape itself.’


from ‘Cat night’ in Night Horse


Your debut poetry collection, Here Come the Clouds, appeared in 1975, your eighteenth volume, Night Horse, was published in June this year. I see the same poetic attentiveness and ability to assemble detail that both stalls and surprises the reader. Do you see any changes in the way your write poems, or what you bring to poems, over the past decades?

Elizabeth Caffin wrote of an assured voice but I am unaware of it. I think it is more a question of a philosophy: Keats being lost in the leaves of a tree; being most ourselves when we are unconscious of what the self is; not feeling we are the centre of the universe but one of its parts. It is also a balancing act: the outside world meeting the interior; the sad existing alongside the pleasing, our mixed motives and our inability to ever know more than a fraction. In compensation we have the lovely leap of the imagination. I think poetry in many ways is a dare.


Have any poets or books affected or boosted your poetic directions?

Wallace Stevens was a huge discovery. I used to spend a year reading a major poet. Stevens, Roethke, Berryman, Plath, Sexton, Bishop, Lowell, Synder, The Beats, Black Mountain. Now I am less of a swot and read wherever I please. And when I am tired and jaded I re-read Hercule Poirot.


‘More moon tonight. 14 per cent  bigger

and closer to the earth. The whole sky

seems to leap to greet a visitor.’


from ‘Perigee moon’ in Night Horse



In 1975, very few women poets were getting published in New Zealand. Did you feel you were writing within a community of poets? Men or women? Was it difficult to get your first book out?

Part community, part social movement: Greer, Friedan, Steinem, Kedgley, Mead. The United Women’s Convention. We were all swallowing American poets at that time, looking for a freer way forward. My first book I owe to Sam Hunt who was visiting and found a folder of poems he gave to Alister Taylor. After Alister came McIndoe and then AUP.


‘Fast the pulse of the music, every beat

clear as a little stream running over stones’


from ‘At the ballet’ in Night Horse


Your new collection is a delight to read and offers so many poetic treats. I was thinking as I read that your poems are like little jackets that can be worn inside out and outside in. In stillness there is movement and in movement there is stillness; in musicality there is plainness and in plainness there is musicality. In the strange there is the ordinary and in the ordinary there is the strange. What do you like your poems to do?

I want them to do everything. Everything at once. I want them to feel and think (and feel the thinking in them as you read). I want them to be quick, in the old sense of the word: the opposite of dead. I want them to not know something and try to find it out – I would never write a poem with prior knowledge – I think ignorance can be bliss or at least start the motor. And as I write more I find out more and more about musicality. Isn’t one of the loveliest moments in music when harmony breaks through discord as though it is earned and you know that discord, instead of being a thicket or a dark wood, is part of it?



‘Down their sleeves (his jacket, her blouse)

run currents the early evening stars detect

and whose meaning is held in great museums’


from ‘Holding hands’ in Night Horse


I love that idea! What attracts you in the poetry of others?

Boldness, form (the pressure of it), language as clear as it can be, given the difficulty or otherwise of the content, not being self-centred, engaging the reader. Visceral was the quality Allen Curnow looked for when I had the temerity to leave a poem in his letterbox. ‘I poked it with a stick and it was alive.’ James Brown does it in ‘Flying Fuck’ (‘The Spinoff, June 9, 2017); Stephen Romer in some lines about cleaning a barn (‘Carcanet Eletter: Set Thy Love in Order)

            ‘Perhaps in our cool northern air

you rose some echelons

being lighter, the barn empty’


while Carol Ann Duffy excoriates Theresa May with lines that reach back to the roots of poetry:

‘The furious young

ran towards her through fields of wheat.’



‘Morals that are so pure they blaze

the sunlight back into the air’


from ‘A landscape of shining of leaves’ in Night Horse


Janet Frame worked hard to get the rhythm right in her poems and she wasn’t always satisfied (ah, the rogue self-doubt! I adore her musical effects). I find you are able to slow down the pace of your poems so that I linger as reader upon an image, a word, an anecdote, a side-thought to see what surfaces. Does this reflect your process as a writer?

I think, since I write in longhand, it may echo the pauses during composition.


Do you, like Janet and countless other poets, have poetry anxieties?

Just the big anxiety, the generalised one. To be better, to get closer, to go deeper, knowing that a rigorous equation awaits. I particularly felt this in ballet: any advance, even within the safety of a spotlight, opened a further and equivalent unknown. My other anxiety is that, having embarked on a poem at speed and decided on a stanza form, the stanzas won’t add up when I have finished.


‘Eggs in foil were hidden everywhere

until the taste of sweetness palled.

She sits in an armchair with her bear’


from ‘Ruby and fruit’ in Night Horse


Your poetry does not slip into a self-confession or grant a window on your most private life, yet it acts as an autobiographical record of your relations with the world, people, animals and objects. How do you see the relationship between autobiography and your poems?

Some of the recent autobiographical poems remind me a little of Elgar’s ‘Enigma Variations’. Ruminating portraits of friends or events illustrating a friend. The ‘Enigma Variations’ are tender but well-defined, different in tone. Autobiography, to me, has many hazards. We all excuse ourselves and even the most honest and analytic among us favour some perspectives over others. I feel confident that something of ourselves always gets in and reveals more than we can imagine. ‘Am I in this poem?’ has never worried me. I know I am.


Are there taboo areas?

No, never. It’s just a case of what you can handle.



‘It was all those unseen moments we do not see

the best of a friend, the best of a mother

competent and gracious in her solitude’


from ‘My mother’s house’ in Night Horse


‘Later you’ll scrub individual stains

from the white field: the rim of someone’s glass

down which a red droplet ran, a smear

of eggy quiche, a buttered crumb.’


from ‘The tablecloth’ in Night Horse


I especially love the ongoing friendship and granddaughter poems, but I particularly love the first poem, ‘My mother’s house.’ Kate Camp and I heard you read this at the National Library’s Circle of Laureates  and were so moved and uplifted that we asked for copies! Unseen, you are observing your mother move through the house from the street (you gave us this introduction) and see her in shifting lights. The moment is extraordinary; are we are at our truest self when we are not observed? There is the characteristic Smither movement through the poem, slow and attentive, to the point of tilt or surprise. The final lines reverberate and alter the pitch of looking: ‘but she who made it/who would soon walk into the last room/of her life and go to sleep in it.’  Do you have a poem or two in the collection that particularly resonate with you?

I’m fond of ‘The tablecloth’ after I observed my friend, Clay, scrubbing at a corner of a white damask tablecloth in the laundry after a dinner party. It reminded me of the old-fashioned way of washing linen in a river. It’s both a doll-sized tablecloth and something almost as large as the tablecloth for a royal banquet around which staff walk, measuring the placement of cutlery and the distance between each chair. ‘Ukulele for a dying child’ tumbles all over itself in an incoherent manner because the subject is so serious and no poet can do it justice. The grandmother poems will probably be ongoing because it is such an intense experience: something between a hovering angel and a lioness. Going back to your remark about ‘My mother’s house’ I agree with the truth that is available in our unobserved moments. Perhaps there is a balance between our social and our private moments which might comprise something Keats called ‘soul-making’.


‘Next morning she was called again

to undo the work of her marvellous wrists.

“Miss Bowerman, can you let out the water?”‘


from ‘Miss Bowerman and the hot water bottles’ in Night Horse


There is no formula for an ending but I often get an intake of breath, a tiny heart skip when I read your poems. What do you like endings to do?

The endings I like best have some extravagance in them, like the ending of ‘Cat Night’ where the road which still retains the day’s warmth turns into carriages and cocottes on the Champs-Elysées.


‘Let the street lights mark

the great promenade down which love will come

like black carriages on the Champs-Elysées.’


There’s a big difference between the size of a cat and a carriage but the emotion is the same.



Which New Zealand poets have you read in the past year or so that have struck or stuck?

Diana Bridge, Claire Orchard, John Dennison, yourself in New York, Michael Harlow, Geoff Cochrane and all the laureates.


Or from elsewhere?

Lots of Australians. I’ve just read Rosemary Dobson’s Collected Poems.


Do you read widely in other genres?

Yes, I particularly like hybrid forms – travelogues that turn into miniature poetry collections, diaries, memoirs that admit to no rules as if they understand the psychology of the reader who is liable to become bored, and also the limits of being an author. My main love remains the novel, followed closely by the short story and the detective story.


I was once asked to pick a single New Zealand poem I love to talk about on Summer Noelle. What poem would you pick?

Since Allen Curnow: Simply by Sailing in a New Direction, a biography by Terry Sturm, edited by Linda Cassells and Allen Curnow: Collected Poems, edited by Elizabeth Caffin and Terry Sturm are being published by AUP later this year, and since our pohutukawa are threatened by myrtle rust, I would pick ‘Spectacular Blossom’.


‘ – Can anyone choose

And call it beauty? – The victims

Are always beautiful.’




Auckland University Press Night Horse page and author page

Booksellers review by Emma Shi

Radio NZ National review by Harry Ricketts with Kathryn Ryan











Poetry Shelf Autumn Season: Poets pick a word – James Brown unpicks



Not Writing

The longer the week drags on, the more I realise I’m not going to be able to write anything creative for Paula. I feel flat and dull. I’d finally handed a poetry manuscript to VUP the previous week and am in a post-hand-in slump.

Paula had provided a long list of words as sparks, but now I couldn’t face the decision I would have to make if I returned to them. The tyranny of choice. I recall there were a lot of poetic words – ‘lilt’ was one – and of course ‘cycling’ had caught my eye. But I don’t want to write about cycling. I’m also not even sure what I’m supposed to produce. Should I be writing a poem?

It’s like I’m struggling with one of the creative writing exercises I set my students at the IIML, and I begin to think about creative sparks – when something takes off and when it doesn’t. And, let’s be honest, mostly things don’t. If I could sit down and write a book of poems like I’m typing this, it would take about a week. My last poetry book took seven years. Not full-time, of course, but I suddenly realise how much of my writing takes place off the page. Gazing around, thinking, reading, listening to music, people, nothing … actually writing is only part of it. I recently read (some of) The Writer’s Room by Charlotte Wood – a book of interviews with writers. I didn’t recognise any poets; certainly the interviewees I read were prose writers and they presented themselves as impressively diligent, rising early to pound out word counts, often leaving off mid-flight or sentence so they could jump straight back into the action the next morning without wasteful floundering.

I wonder how different the process is for poets. The poetry writer’s room, if there’s a room at all, would, I imagine, witness much less keyboard action. For me, poetry writing is beset with guilty spaces. But like the prose writers, I too have to leave off poems and return to them – they’re rarely completed in one sitting – though it may be several days before I can get back to them. Time and space are good for those poems I kid myself are finished, but not for a poem still trying to ignite. The initial spark may go out. Poetry is a bit like lighting a fire: you often have to wander away to gather fuel, but you need to return and keep blowing on it for it to really take hold and raze everything in your suburb – or however far it’s going to travel.

Okay, most poems are more candle than bushfire, but what makes some reach ignition temperature and some not? I’ve come to the conclusion that there’s no special formula for mine (though I can think of things that don’t help), but they generally begin with an idea, phrase or word that interests me. I got a couple of poems out of the word ‘hibiscus’. And this very week, flat and dull as I feel, I tried to get a poem going using a particular kind of word. The result so far has been amusing, but pointless. I also created a small found poem using a couple of sentences from a friend’s email. I wonder if my interest in found poetry stems from being averse to poetry’s emotive and moralistic excesses.

At this point I remember Paula saying something about ‘a couple of paragraphs’. Eek. I was just getting going. Maybe there is something in triggers and deadlines.


©James Brown 2017

James Brown’s new poetry collection, probably called /Floods Another Chamber/, will be published by VUP later in 2017.

Poetry Shelf Poem: James Brown’s very funny ‘Janet and John Go to a Book Launch’

Janet and John Go to the Book Launch



Janet stands next to John.

Jenny is there. James is there.

Joy is everywhere.


Janet and John go to the drinks table.

Janet says, ‘Please may I have an orange juice?’

John says, ‘May I have a glass of beer, please?’

‘Here you are,’ says the man.


Janet and John listen to the speech.

‘That was a kind speech,’ says Janet.


The man adjusts the microphone.

The poet thanks many people.

He reads a poem. Everyone is quiet.

That was a clever poem, thinks Janet.


The poet reads another poem.

The boy in the poem has no raincoat.

Janet whispers, ‘That was a sad poem.’

John whispers, ‘Some poems are sad.’


The poet reads one last poem.

Everybody laughs. Everybody claps.

Janet says, ‘That was a funny poem.’

She tickles John. John spills his beer.


The poet reads one last short poem.

That short poem was quite long, thinks John.


Janet and John join the queue.

They buy the poetry book.

‘Thank you for coming,’ says the poet.

He writes in their book:


To Janet and Jon

The friend is mightier than the word!

Deepest regards forever,

The Poet


Janet and John leave the book launch.

‘I would like to write a poetry book,’ says Janet.

‘Don’t be silly,’ says John.


©James Brown 2016


I first heard James read this poem at the National Library’s poetry event in Wellington this year. It made me laugh out loud. I loved the nostalgic trip back to the Janet and John primers I recited as a child. I loved that awkward feeling that I get at book launches. The dead pan humour. Posting it made me laugh out loud again and that surely is a poetry tonic.

Poetry Shelf interviews Jenny Bornholdt: ‘There’s always a feeling, a kind of charge, when a poem is making itself known’


Jenny Bornholdt (Deborah Smith 2016).jpg

Photo credit: Deborah Smith


‘The moon came up

and all our thinking

went sideways.’


from ‘Full Moon’



Jenny Bornholdt is one of my favourite New Zealand poets, so a new Selected Poems is an occasion worth marking. Her poetry traverses decades; her poems never lose sight of the world at hand, are unafraid of the personal or little ripples of strangeness, and underscore a mind both roving and attentive. There is an ease of writing that might belie slow craft but Jenny’s poetry is exquisitely shaped from line to form. Returning to the early poems, I was taken once again by their enduring freshness. A lightness of touch, honeyed lines. As poet, Jenny harvests little patches of the world and transforms them into poems. Patches that might be ordinary or everyday, offbeat or linked to feeling something – patches that stall me as reader. I love that. When I read the poems, I get access to a glorious poetry flow yet there are these luminous pauses. If I were writing an essay, it might explore the poetics of pause and currents.

When I was editing Dear Heart, I pictured a little chapbook of Jenny Bornholdt love poems because she has written some of my favourites whether for husband, father or child (‘A love poem has very long sentences,’ ‘Poem,’ ‘Pastoral,’ ‘Mrs Winter’s Jump,’ ‘The inner life’ ‘Full Moon’ for starters).

To have this new book is a gift. Thanks Jenny for the interview.



selected_poems_jenny_bornholdtrgbweb__66924-1464840641-220-220   selected_poems_jenny_bornholdtrgbweb__66924-1464840641-220-220   selected_poems_jenny_bornholdtrgbweb__66924-1464840641-220-220

Selected Poems Jenny Bornholdt, Victoria University Press, 2016



Did your childhood shape you as a poet? What did you like to read? Did you write as a child? What else did you like to do?

Yes, I think it did. I was one of those kids who read a lot – anything that was going. I loved the Readers Digest. My mother took us to the library every week and I got out four books, which was the limit then. I also spent a lot of time outside – we had kids our age next door and over the road and we spent most of our time with them.


When you started writing poems as a young adult, were there any poets in particular that you were drawn to?

I didn’t write any poems til I was about 18. I read a lot of novels and if I thought about being any kind of writer it’d would’ve been a novelist, or journalist, which is the direction I headed in.  I’d read some of the Mersey poets when I was younger and I remember liking Roger McGough’s casual, ‘talky’ style.


Did university life transform your poetry writing? New discoveries or directions?

University was where I discovered poetry. I really had no idea about anything before I went there.  Everything was exciting – from Middle English to contemporary American poetry. And I did the ‘Original Composition’ course, which changed everything.



‘So careless the trees—

having remembered their leaves

they forget them again

so they fall on us, big

as hands.’


from ‘ Autumn’



Your poetry reflects a quiet absorption of the world that surprises, moves and astonishes. Sometimes it feels as though you tilt the world slightly for us to see. What are key things for you when you write a poem?

Each poem is different, but there’s always a feeling, a kind of charge, when a poem is making itself known. It’s a matter of trusting yourself and following the direction of the poem.


Reading your new Selected Poems sent me back to the original collections with admiration and delight. It is fascinating reading across the arc of decades—gathering echoes, favoured motifs, shifting melodies. Do you think your poetry has changed over time? Did you spot points of return such as leaves, the garden, or baking?

There are many points of return. One thing that surprised me was the number of tea towels in my poems.

It was really interesting making the selection for this book – there seemed to be such a strong sense of continuity. I can see changes, though, and that’s good. I think I’m writing better poems – they seem stronger to me. Over time I think I’ve let myself get a bit weirder.


Ha! I love the idea of tea towels. I never spotted them. I think I need to send you a poetry tea towel to celebrate. I am always drawn to the conversational tone that is both of the everyday and rises beyond it in your poems. How do you see your poems working as conversation?

They’re probably a conversation with myself. Me saying things out loud to see what happens.


Some of your most moving poems document illness. Do you think illness made your writing life more difficult or did writing give you solace and energy? Or something altogether different?

Illness definitely made my writing life difficult. I was out of action for a year with bad hip pain and didn’t write anything. I could barely get out of bed. Then, after surgery, I spent a year recovering and during that time my writing life began to surface and I found enormous solace in it. Writing gave me a way of processing what had happened – of making it into something else. It was like turning the awfulness around and sending it off in another direction.


‘For six weeks now I’ve been outside of weather

and of reading. Outside of myself.’


from ‘Along way from home’



The result for the reader is a cluster of poems that draw you into that experience of illness, then lead you in so many other directions. You have never been afraid of a longer poem, of longer lines and and a slow unfolding of subject matter like a storyteller holding a listener in the delicious grip of attention. Do you have one that particularly resonates for you?

I love all the poems in The Rocky Shore. You’re probably not meant to say that about your own work, but there you are. Those poems resonate because they’re so much about my life and what’s important in it. Those poems really found their form.


I love the Rocky Shore too. I agree they have found just the right form and within that form a perfect alchemy of ingredients. It is on my shelf of classic NZ poetry books. When you were putting the selection together was there an older poem that surprised you – like coming across a long-lost friend?

I was surprised by ‘Waiting Shelter.’ I think that one’s still got something.


‘How you remember people. To remember

them as well as they remember you.

To remember them with abandon. To


abandon remembering them. Which is

better? or worse? Rooms and rooms

and always people moving in


and out of them. Love,

love, a knock on the door. A

heart murmur to remember you by.’


from ‘Waiting shelter’


What poets have mattered to you over the past year? Some may have mattered as a reader and others may have affected you as a writer.

I’ve read and re-read Mary Ruefle’s book of essays Madness, Rack, and Honey – it makes me want to write. I find prose writers often affect me strongly – I’ve just read by Elizabeth Strout, for the third time this year. It’s one of the most affecting books I’ve ever read. Alice Oswald’s new book of poems Falling Awake is a marvellous, strange thing.


What New Zealand poets have you been drawn to over time?

Dinah Hawken, Bill Manhire, Andrew Johnston, James Brown, Mary Ursula Bethell, Geoff Cochrane.


Michele Leggott has talked about a matrix of early women poets in New Zealand who supported each other. Have you sustained a vital conversation with poet friends on your own work and on the whole business of writing poetry?

Greg (O’Brien) and I talk about poetry a lot – it helps to live with someone who does the same thing you do. And I often talk to friends (some of them writers) about writing and reading. It’s so much a part of my life that I can’t imagine not talking about it.


Some poets argue that there are no rules in poetry and all rules are to be broken. Do you agree? Do you have cardinal rules? Do you have rules you particularly like to break?

I think it’s more that there are conventions and, as in any art form, these can be done away with as long as what happens ‘works’. Poems are strange things – they have their own logic and find their own forms.


‘This poem was always going to end there, with Frankie

and the toast. That image has been the engine


of the poem, but then

more happened.’


from ‘Big minty nose’



The constant mantra to be a better writer is to write, write, write and read read read. You also need to live! What activities enrich your writing life?

Most things, except doing my tax return.


Finally if you were to be trapped for hours (in a waiting room, on a mountain, inside on a rainy day) what poetry book would you read?

Elizabeth Bishop’s Compete Poems.


51yTZd+toIL._SX319_BO1,204,203,200_.jpg     9780393285284_300.jpg    25893709


Victoria University Press author page


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!








Ashleigh Young goes biking!

Check out this terrific post from Ashleigh Young:

A bike ride with James Brown


I’ve been a big fan of James Brown’s poems for a long time. The first poem of his I read was ‘Loneliness’, in 2001. It’s probably still his most well known poem, all these years later. I wonder if James is a bit tired of it now, has made a real effort to leave it behind, the way Radiohead have left behind ‘Creep’ but a stubborn faction of people still want them to play it and wish they’d go back to their roots. Anyway, after I read it and Lemon, his second book, I became preoccupied with tracking down a copy of his first book, Go Round Power Please. It was out of print, but that eerie crowd of little pottery faces on the cover haunted me, and eventually I stumbled across a copy in a secondhand bookstore, and when I read that book, I knew that James’s poems would end up being permanent fixtures in my head.

The full post is here

Poetry books I have enjoyed in the past year 1/2


As promised, I am launching this blog with a taste of some of the books I have enjoyed in the past year (it is coming in three parts). Part three I am linking to two books I reviewed in The  Herald.

Janet Charman At the White Coast Auckland University Press 2012

cp-at-the-white-coast  cp-at-the-white-coast

An award winning poet, Janet Charman’s new collection is dedicated to her grandmothers and this book does seem like a gift for women. At The White Coast is a collection of travel poems – here, abroad and through the past, whether invented or true. Charman’s continual flair with words translates into enviable lines, sweet rhythms, elastic syntax, experience rendered into economical delights. She moves from bedsits to ferry stops, from trains to social work, from picket lines to boyfriends, from girlfriends to spaghetti-authentico (‘always in besidedness/ more than a couple’). Or ‘i think/ before sailing into orchard and paddock/ she had the breathless crush of metropolis’. This is my favourite Charman book to date – the poems are both moving and marvellous.

Albert Wendt From Mãnoa to a Ponsonby Garden Auckland University Press 2012

cp-from-manoa-to-a-ponsonby-garden  cp-from-manoa-to-a-ponsonby-garden

Albert Wendt’s latest collection, From Mãnoa to a Ponsonby Garden, is a joy to read. The poems reach out into the stretch of the Pacific with their heart very much in the present. They navigate birthdays, love, death and growth. The terrific sequence of garden poems is like a memoir or diary in the form of a garden narrative; the flowers, the vegetables, the family, the generations, the life cycles are hued with tenderness, vulnerability, strength, humour, wisdom. The love that the poet feels for his partner, Reina, is a poetic drumbeat –essential, moving, steady. These poems come out of quietness, contemplation, experience. Our poetic elder has delivered a masterpiece.

Emma Neale The Truth Garden Otago University Press 2012

Neale 2-1 Neale 2-1

Emma Neale’s collection, The Truth Garden, deservedly won the Kathleen Grattan Award for Poetry in 2011. The book features an exquisite cover image by Kathryn Madill, but I found the small, tight font didn’t do justice to the poems. If Neale’s poetry were a tapestry it would be cast in rich threads – luminous phrases catch your eye repeatedly and make you linger. Poems carry you through family, rivers, cycling, time, night, dreams and musings with tenderness, attentiveness and imagination (‘Night, and the study window burns/ not like a beacon, but as if to warn/ late travellers from some hidden reef/ of thought’). Or ‘how to stockpile time, how hoard its shine/ when time is the very stuff that seeps inside us.’ There is a magnificent sestina on fidelity that, with its repeating rhymes, echoes the tidal flux of trust and love.

Kerrin P Sharpe Three Days in a Wishing Well Victoria University Press 2012

wishingwell300dpi__97252.1351543335.220.220 wishingwell300dpi__97252.1351543335.220.220  wishingwell300dpi__97252.1351543335.220.220

Kerrin P Sharpe was awarded the New Zealand Post Creative Writing Teacher’s Award in 2008, and now this Christchurch-based writer has released her first poetry collection, Three Days in a Wishing Well. It was one of my top debuts for 2012. Sharpe brings a raft of poetic tools into marvellous play: economy, rhyme, omission, mystery. Reality corkscrews in a fairytale like manner; subjects range wide from hats to monks, from mother to father, from lighthouse keeper to sewing needles. Each poem is utterly flavoursome as it combines music, anecdote and emotional lift: ‘to hug my father was/ to know the sky: the/ voices of soldiers the/ families that squeezed/ him inside.’ Stunning.

Ashleigh Young Magnificent Moon Victoria University Press 2012

magnificentmoon300dpi__43800.1351470952.220.220  magnificentmoon300dpi__43800.1351470952.220.220  magnificentmoon300dpi__43800.1351470952.220.220

Ashleigh Young, winner of the Landfall Essay Competition, also has a debut collection out (Magnificent Moon). Her poems bring together anecdote, an everyday that is off beat, stretching metaphors, gorgeous rhyme, swooping anecdote and the best found poem I have read in awhile (Buttons). For me it is a vibrant collection, and enough poems stand out to make it stick and flag this writer as one to watch.

James Brown Warm Auditorium Victoria University Press 2012

warmauditorium300dpi__87807.1351542581.220.220  warmauditorium300dpi__87807.1351542581.220.220  warmauditorium300dpi__87807.1351542581.220.220

James Brown lets you into his workspace in his new collection (Warm Auditorium). It’s a great title that stands in for poetry if not life — his auditorium is packed with people, ideas, talk, wit, confession, story, aphorisms, provocations, warmth, sidetracks, playfulness. Brown likes to make things up, break rules, move you, challenge you, divert you. His poetry is so good you want to linger in the dark reading space and lean in towards the light and lift of his lines. As he says: ‘poetry/was running round my head like marbles over linoleum.’

Jeffrey Paparoa Holman Shaken Down 6.3 Canterbury University Press 2012

shakendownmed  shakendownmed  shakendownmed

Jeffrey Paparoa Holman, like Fiona Farrell, has responded to Christchurch’s earthquakes in writing. His thoughtful endnote considers whether poems have any worth in the aftermath of catastrophe. He suggests that ‘a poem can send us back out into this troubled and marvellous world prepared to live more fully.’ A big claim, but his new collection, Shaken Down 6.3, does just that. These fine, troubling, beautiful poems are a window for us all. The photographs are a bonus.