Tag Archives: mohamed Hassan

Poetry Shelf noticeboard: Warm congratulations to the Ockham NZ Book Awards shortlisted poets

The finalists in the 2021 Mary and Peter Biggs Award for Poetry are:

Funkhaus by Hinemoana Baker (Victoria University Press)

Magnolia 木蘭by Nina Mingya Powles (Seraph Press)

National Anthem by Mohamed Hassan (Dead Bird Books)

The Savage Coloniser Book by Tusiata Avia (Victoria University Press)

Full shortlist and judges’ comments here.

“Poetry collections published in Aotearoa in 2020 show a wealth of exceptional and original work.  It’s an exciting situation for New Zealand poetry. The four shortlisted collections are striking, all exhibiting an acute global consciousness in difficult times,” says Poetry category convenor of judges Dr Briar Wood.

I was so excited about the poetry longlist, I spent the last few months celebrating each poet on the blog. What sublime books – I knew I would have a flood of sad glad feelings this morning (more than on other occasions) because books that I have adored were always going to miss out. I simply adored the longlist. So I am sending a big poetry toast to the six that didn’t make it – your books will have life beyond awards.

I am also sending a big poetry toast to the four finalists: your books have touched me deeply. Each collection comes from the heart, from your personal experience, from your imaginings and your reckonings, from your musical fluencies. The Poetry Shelf reviews are testimony to my profound engagement with your poems and how they have stuck with me.

Over the next weeks I am posting features on the poets: first up, later this morning, Tusiata Avia.

Mary and Peter Biggs CNZM are long-time arts advocates and patrons – particularly of literature, theatre and music. They have funded the Biggs Family Prize in Poetry at Victoria University of Wellington’s International Institute of Modern Letters since 2006, along with the Alex Scobie Research Prize in Classical Studies, Latin and Greek. They have been consistent supporters of the International Festival of the Arts, the Auckland Writers Festival, Wellington’s Circa Theatre, the New Zealand Arts Foundation, Featherston Booktown, Read NZ Te Pou Muramura (formerly the New Zealand Book Council), the New Zealand Symphony Orchestra, the Featherston Sculpture Trust and the Kokomai Arts Festival in the Wairarapa. Peter was Chair of Creative New Zealand from 1999 to 2006. He led the Cultural Philanthropy Taskforce in 2010 and the New Zealand Professional Orchestra Sector Review in 2012. Peter was appointed a Companion of the New Zealand Order of Merit for arts governance and philanthropy in 2013.

 

Poetry Shelf noticeboard: Brilliant longlist of Ockam New Zealand Book Awards just announced

Poetry Shelf has reviewed

The Savage Coloniser Book Tuisata Avia, Victoria University Press

Far Flung Rhian Gallagher Auckland University Press

National Anthem National Anthem, Dead Bird Books

Wow Bill Manhire, Victoria University Press

Pins Natalie Morrison, Victoria University Press (an interview)

This is Your Real Name, Elizabeth Morton, Otago University Press

I Am a Human Being Jackson Nieuwland, Compound Press

Magnolia, NIna Mingya Powles, Seraph Press

CONGRATULATIONS to all the poets. This is the best longlist I have seen in years. I have loved all these books to a sublime degree. I am also delighted to see a mix of university presses and smaller publishers, and those inbetween. I plan to review Hinemoana and Karlo’s books over the coming weeks (Goddess Muscle, Karlo Mila, Huia Press and Funkhaus, Hinemoana Baker, Victoria University Press).

Ockham New Zealand Book Award page

Poetry Shelf: 8 Poets pick favourite 2020 poetry reads

For end-of-year Poetry Shelf wraps, I have usually invited a swag of writers to pick books they have loved. It has always turned into a mammoth reading celebration, mostly of poetry, but with a little of everything else. This year I decided to invite a handful of poets, whose new books I have loved in 2020, to make a few poetry picks.

My review and interview output has been compromised this year. I still have perhaps 20 poetry books published in Aotearoa I have not yet reviewed, and I do hope to write about some of these over summer.

The 8 Poets

Among a number of other terrific poetry reads (Oscar Upperton’s New Transgender Blockbusters for example), here are eight books that struck me deep this year (with my review links). Tusiata Avia’s The Savager Coloniser (VUP) is the kind of book that tears you apart and you feel so utterly glad to have read it. Tusiata has put herself, her rage, experience, memories, loves, prayers, dreads into poems that face racism, terrorism, Covid, inequity, colonialism, being a mother and a daughter, being human. An extraordinary book. Rhian Gallagher’s Far-Flung (AUP) is a sumptuous arrival, a book of exquisite returns that slowly unfold across months. Her poetic craft includes the lyrical, the political, the personal and the contemplative in poems that reflect upon the land, experiences, relationships.

Rata Gordon‘s Second Person (VUP) is fresh, layered and utterly captivating. This is a book of birth, babies, death, the universe, love, motherhood, water, sky, wildlife. It is a book that celebrates the present tense, the way we can inhabit the now of being. Reading Mohamed Hassan’s new collection, National Anthem (Dead Bird Books), opens up what poetry can do. It widens your heart. It makes you feel. It makes you think. It gets you listening. It makes you think about things that matter. Humanity. Family. Soil. Ahh!

Bill Manhire‘s Wow (VUP) will haunt you – so many of these poems have joined my list of memorable poetry encounters. The baby in the title poem says ‘wow’ while the big brother says ‘also’. This new collection sparks both the ‘wow’ moments and the ‘also’ moments. Get lost in its glorious thickets and then find your way out to take stock of the ordinary (and out-of-the-ordinary) world about you. Like Rhian’s collection this is a book of poetry astonishments. Natalie Morrison‘s (VUP) debut collection Pins is exquisite, both melodious and tactile, economical and rich. There is both a quirkiness and a crafted musicality, resonant white space, yet perhaps a key link is that of narrative. I filled with joy as I read this book.

Jackson Nieuwland‘s I am a Human Being (Compound Press), so long in the making, lovingly crafted with the loving support of friends, with both doubt and with grace (think poise, fluency, adroitness), this book, in its lists and its expansions, moves beyond the need for a single self-defining word. I knew within a page or two, this book was a slow-speed read to savour with joy. Nina Powles‘s Magnolia (Seraph Press) is the book I am currently reading. I have long been a fan, from Girls of the Drift to the glorious Luminscent). Nina’s new book is so immensely satisfying as it navigates home and not-home, identity, history, myth, the lives of women – with characteristic nimbleness, heavenly phrasing, open-heart revelations, the senses on alert, the presence of food, multiple languages. Reading bliss!

The poets and their picks

Tusiata Avia

I’m a terrible book buyer. I tend to read books given to me (because I’m cheap like that) and the shopping-bag full of books my cousin, playwright, Victor Rodger, lends to me on the regular. He has the best taste! I should probably be a better reader of New Zealand poetry in particular, but I reckon I’ve got enough things to feel guilty about.

The top three on my list of books I have read this year and love:

 

Funkhaus by Hinemoana Baker (Victoria University Press)

I love the way Hinemoana uses language to make the ethereal and the mysterious. I’m happy to not immediately be able to pin down meaning; her language allows me to be suspended between what it does to me and what it means. Poems like the incantatory Aunties and Mother – which I think of as more ‘rooted’ – make me want to sit down immediately and write a poem. In fact that is exactly what I did do when I read this book. I love a book that makes me write.

An American Sunrise Joy Harjo (WW Norton & Co)

An American Sunrise is Joy Harjo’s most recent book of poetry. Joy is Poet Laureate of the United States. I love everything Joy Harjo has written. And I mean everything. She Had Some Horses (from an early book of the same name) is one of favourite poems of all time. Elise Paschen says of her, “ Joy Harjo is visionary and a truth sayer, and her expansive imagination sweeps time, interpolating history into the present.”. I would add to that she is taulaaitu, mouth-piece for the ancestors, gods and spirits. While you’re reading Joy Harjo’s poetry, read Crazy Brave, her wonderful autobiography. It will stay with you forever.

National Anthem by Mohamed Hassan (Dead Bird Books)

When I was looking for favourite lines in this book, I couldn’t decide, sooo many – like small poems in themselves. Mohamed speaks with an iron fist in a velvet glove. His poetry is elegant and beautiful and it tells the damn truth. Someone needs to tell the damn truth – about March 15, about being Muslim in New Zealand (and in the entire western world), about the things that happen so close to us – and inside us – that are easy (and more comfy) to avert our eyes from.

Some favourite lines from White Supremacy is a song we all know the words to but never sing out loud: ‘Please come and talk on our show tomorrow/ no don’t bring that up/…

‘This isn’t about race/ this is a time for mourning/ this is about us/ isn’t she amazing/ aren’t we all’…

‘Let us hold you and cry/ our grief into your hijabs’…

Who can tell these stories in this way but a good poet with fire in his fingers, love and pain in equal measure in his heart and feet on the battleground?

There are More Beautiful Things Than Beyonce Morgan Parker (Tin House)

I have to add, There are More Beautiful Things Than Beyonce by Morgan Parker to every list I write forever. In my opinion, no reader of poetry should miss this. If it doesn’t grab you by the shoulders, the heart, the brain, the belly – you might be dead. From the epigraph: ‘The president is black/ she black’ (Kendrick Lamar). Morgan Parker is PRESIDENT.

Rhian Gallagher

The Ecco Anthology of International Poetry (HarperCollins) edited by Ilya Kaminsky and Susan Harris features translations of 20th century poets from around the world and is packed with surprises.

Amidst all the books I have enjoyed during 2020, this is the one that I have read and re-read and continue to come back to. It was first published in 2010. I have been slow in coming to the book. 

When a poem in another language is re-cast into English, through the empathy and skill of a translator, it seems to unsettle notions of line, rhythmn, word choice and form. Translation pushes and tugs at the boundaries of the ‘rules’ and introduces a kind of strangeness. This strangeness I experience as an opening; a feeling of potential, slippery as a an eel to articulate. It recalibrates predetermined notions and generates excitement about what a poem can do or be.

There are well-known names here: Cavafy, Lorca, Akhmatova, Ritsos, Milosz, Symborska among others. There are also many poets previously unknown to me, and many whose work is either out of print or difficult to source. It’s a diverse, inspiring array of poetic voices and, as Kaminsky says in the introduction, puts us ‘in conversation with a global poetic tradition’.

Making discoveries is one of the great pleasures of anthologies. I now have a brand new ‘to read’ list.

Rata Gordon

When I’m reading something that inspires me, I have the urge to inhabit it somehow. I find that entering into a creative process by writing with, and around, another’s words helps me to absorb them into my internal landscape. This poem was created with snippets of some of the poetry I have met recently.

Soon, we are night sailing (Hunter, p. 71)

This is the closest you can get to it:

the void, the nothing,

the black lapping mouth of the sea

and the black arching back of the sky. (Hunter, p. 71)

One still maintains a little glimmer of hope

Deep down inside

A tiny light

About the size of a speck

Like a distant star

Is spotted on the horizon this dark night (Boochani, p. 26)

Swish swish swish

as quiet as a fish. (Ranger, p. 13)

… holy women

await you

on the shore –

long having practiced the art

of replacing hearts

with God

and song (Walker, p. 7)

Today you are tumbling towards her like the ocean.

… you are becoming nearer and nearer to someone other

than yourself. (Hawken, p. 49)

I have … imagined my life ending,

or simply evaporating,

by being subsumed into a tribe of blue people. (Nelson, p. 54)

The End We Start From by Megan Hunter (2017, Picador). (Not strictly poetry, but the book feels so much like a long poem to me). Line breaks added by me.

No Friend but the Mountains by Behrouz Boochani (2020, Picador).

‘Autumn Leaves’ by Laura Ranger. In A Treasury of NZ Poems for Children edited by Paula Green (2014, Random House).

Good Night, Willie Lee, I’ll See You in the Morning by Alice Walker (1975, The Women’s Press).

Small Stories of Devotion by Dinah Hawken (1991, Victoria University Press).

Bluets by Maggie Nelson (2009, Jonathan Cape). Line breaks added by me.

Mohamed Hassan

Tusiata Avia’s The Savage Coloniser Book (Victoria University Press)

A few weeks ago, I sat in the audience at a WORD Christchurch event and watched our former poet laureate Selina Tusitala Marsh read a poem from Tusiata Avia’s new collection. It began as such:

Hey James,

yeah, you

in the white wig

in that big Endeavour

sailing the blue, blue water

like a big arsehole

FUCK YOU, BITCH.

The hall fell pin silent and a heavy fog of discomfort descended from the ceiling, and I sat in the corner brimming with mischievous glee. It was a perfect moment, watching two of the country’s most celebrated poets jointly trash the country’s so-called ‘founder’ in the most spiteful way imaginable. The audience squirmed and squirmed and I grinned and grinned.

This is how Avia’s book begins, and it never lets up. As the title subtly implies with a hammer, Avia has things she wants to say, and doesn’t care how people feel about them. She delights in the spiteful, burrows down into the uncomfortable and the impolite and pulls out nuggets of painful truths with her bare hands. They are all truths that must be said bluntly and Avia drills them home.

In Massacre, Avia reflects on her youth fighting the demons of Christchurch, and asks us if our ‘this is not us’ mantra is divorced from the history carried in the land, haunted instead by the white spirits that rose to claim lives on March 15.

The book crescendos with How to be in a room full of white people, a dizzying poem that traps us in a single moment in time and forces us to witness and squirm and eventually, hopefully, understand what it is like to be the only brown body in a foreign space, in all its literal and metaphorical significance.

This has been my most cherished book this year, bringing together Tusiata Avia’s firecracker wit and her uncanny gift of conjuring worlds that feel vivid in their weight and poignancy. Abandoning all diplomacies, this is a blazing manifesto for honest and confrontational poetry that speaks with an urgency that puts me as a writer to shame, and demands more of me at once.

Bill Manhire

Jenny Lewis, Gilgamesh Retold, (Carcanet)

I love the way poetry re-visions the past, especially the deep past. I’m thinking of books like Matthew Francis’s reworking of the Welsh epic The Mabinogi and Alice Oswald’s Memorial, a book that abandons the main storyline of Homer’s Iliad in favour of narrating the death scenes of minor characters, accompanied by extra helpings of extended simile. I’d always known about the Epic of Gilgamesh, which I have owned for about 40 years in a yellow 1960 Penguin paperback. I’ve hardly opened it, but it’s one of some nine translations of the poem that Jenny Lewis has consulted for Gilgamesh Retold, published by Carcanet some four thousand years after the stories first circulated in oral form. (Her publisher at Carcanet, Michael Schmidt, has himself written a much admired book about the poem’s origins and afterlife)

Locally Dinah Hawken has worked with this ancient material, particularly writing about Inanna, the goddess of beauty and fertility and, sometimes, war, who is one of the major figures in the Gilgamesh cycle. Dinah’s feminist sense of the ancient stories accords with Jenny Lewis’s decision, as the blurb says, to relocate the poem “to its earlier oral roots in a Sumerian society where men and women were more equal, … [where] only women were allowed to brew beer and keep taverns, and women had their own language – emesal.”

It’s as well Inanna has such a significant role in Gilgamesh, for otherwise it would be a tale about male adventuring and bonding (Gilgamesh and Enkidu) and the discovery that even the greatest heroes can never overcome death. The world of Gilgamesh also gives us a Flood, which matches and in some ways outdoes the Old Testament. I love the way Jenny Lewis has retold these stories. She doesn’t try to pad them out to produce the sorts of coherence and pacing that contemporary readers and movie-goers find comfortable, while her phrasings have an unreductive clarity and a genuinely lyrical grace. The most audacious thing she has done, and has carried off brilliantly, is to use different metrical forms to reflect the ways in which a range of different custodians/retellers have voiced and revoiced the story. You admire the 21st-century poet’s craft even as she inducts you into a baffling and unfamiliar world. All stories, Gilgamesh Retold tells us, are made by many voices, and the best of them will journey on through many more.

And now I must try and summon up the courage to give the latest version of  Beowulf a go!

Natalie Morrison

Gregory Kan, Under Glass (Auckland University Press)

My esteemed colleague, with one hand around his Friday swill-bottle: ‘I hate poetry – no one cares, no one reads it anymore.’

Gregory Kan, with two suns infiltrating the long ride on the train
to Paekākāriki, illustrates otherwise: Under Glass lulls like a really disquieting guided meditation.

After lockdown, it is the first book I read outside our ‘bubble’.
Threading through an internal landscape, somehow a place I recognise.
‘Here, there are two suns. The ordinary sun is in the sky overhead. The other sun
is eating its way out from inside me.’

Certain lines, with their mystical insistence, snag on me and come back again from time to time:
‘Everything that surrounds the second sun is not part of it but nonetheless makes it what it is.’
It’s as if some lines have been dreaming of themselves. The book invites a gentle inspection. A glass bead held right up against the eye. A shutter flipped open over a stark interior.

‘When you move
a look moves inside me
and eats there what I eat.’

Once, a kind individual in Paekākāriki, their hands busy with a teapot, told me: ‘Those who know what it is,
fall on it like starving people.’

When Litcrawl comes, we make our way to some of the events. The room has sucked a crowd in.
Spells for 2020, with Rebecca Hawkes, Rata Gordon, Stacey Teague, Arihia Latham, Rachel McAlpine and Miriama Gemmell (thank you for your entrancing words), reminds me of how poetry is still something people might come in search of. Visitations of bees, airline heights and morphing walls. There is a sense of relief.

A crowd still feels like a dream, and a dream still feels like the sea. Gregory writes that ‘the sea is a house made of anything. The sea is a story about anything, told by someone unfit for storytelling. More than what I can know, and much more than I can understand.’

Under Glass, which wasn’t exactly written for this year (no ordinary year), seems to slot into it.

My steamed colleague, with one hand steadying the banister: ‘I guess Bob Dylan is okay, though.’

Note: I asked my colleague’s permission for quoting him. He said he was fine with it, as long as a mob of angry poets didn’t come knocking.

Jackson Nieuwland

2020 was the year we finally got a book from Hana Pera Aoake (A bathful of kawakawa and hot water Compound Press). I had been waiting for this for so so long. It’s a taonga that I am incredibly grateful for. Ever since I first read Hana’s work they have been one of my favourite writers. Their writing is both clever and wise, of the moment and timeless, pop culture and fine art, Aotearoa and international.

This is a book I will be returning to over and over again for inspiration, electrification, nourishment, and comfort. I would recommend it to anyone.

Other poetry books I read and loved this year: Deaf Republic by Ilya Kaminsky, The Book of Frank by CA Conrad, hoki mai by Stacey Teague, Hello by Crispin Best, and Head Girl by Freya Daly Sadgrove.

Nina Mingya Powles

For most of this year I could only read things in fragments. I could only hold on to small parts of poems, essays, short stories in my head before they floated away. This year I sought out poetry by Indigenous writers. Of these two books, the first I read slowly, dipping in and out like testing the surface of cool water. The other I read hungrily all at once.

Postcolonial Love Poem by Natalie Diaz (Graywold Press) reminded me why I write poetry, at a time when writing anything at all felt impossible. Diaz’s heavy, melodic love poems circled around my head for days: “My lover comes to me like darkfall – long, / and through my open window.” But it is her writing about water and the body that changed me. In this book, water is always in motion, a current that passes through time, memory and history. Her long poem “The First Water of the Body” is a history of the Colorado River, a sacred river: “I mean river as a verb. A happening. It is moving with me right now.”

A bathful of kawakawa and hot water by Hana Pera Aoake (Compound Press) came to me when I needed it most, nourishing me and warming me. I haven’t yet held a copy of the book, but I read it on my laptop over two days and have carried parts of it around in my body ever since: “I speak broken French and Português into the broken yellow gloaming.” A bathful of kawakawa and hot water is a searing, lyrical work of poetry, memoir, and political and cultural commentary. Like the title suggests, it was a balm for me, but also a reminder of the ongoing fight for our collective dream of a better world, and most importantly, that “racism is not just a product of psychological malice, but a product of capitalism.”

Poetry Shelf review: Mohamed Hassan’s National anthem

Mohamed Hassan, National Anthem, Dead Bird Books, 2020

the songs I breathe to

make my bones ache

smell like mama’s deep

fried cauliflower after

a long day of diaspora

 

from ‘John Lennon’

Reading Mohamed Hassan’s new collection, National Anthem, opens up what poetry can do. It widens your heart. It makes you feel. It makes you think. It gets you listening. It makes you think about things that matter. Humanity. Family. Soil.

It makes me yearn for a world where divisions and privileges – based on where you come from, the colour of your skin and the language you speak – are no longer active.

The poetry I have loved this year keeps returning to the word listen. For all kinds of reasons. The way poetry is music, the way poems active with sound feed your ear. The way you listen to other voices that are distinctive and are vital chimes on human experience. I need to read these poems. I need to read these poems and listen to how tough it is when people insist on sideswiping those who do not match their own reflection and choices.

Mohamed’s poetry, amongst other things, is written in soil, with all its significance – this living breathing life-essential earth that nourishes us, hearts, minds, bodies, connections. Soil, as a living entity is so contested and so unbearably damaged by greed and ignorance. It defines where we stand and where we have stood. Mohamed writes from the soil he has left behind in Egypt and the soil of his second home Aotearoa, the soil of his travels. The ink soil in his pen carries the earth of dreams, experiences, kinship, wounds, connections. Islamophobia. Revelations. Griefs. Hopes.  

Such acutely personal poetry is sometimes filtered through other characters, whether speaking of racism, isolation, separation, love:

I am a poet who writes about my feelings but can’t open up without being in character

without the stage lights and the orange diffusers softening my face for the audience 

from ‘Grief is an expensive habit’

 

 

Family is important. The poems never lose sight or contact with family. The grandfather looms large in particular dreams and memories. He is in a humiliating childhood scene, but he is also loss:

you can’t discard a loss the way you can

a birthday gift or a broken laptop

 

it lives with you, sleeps in the spare room

by the laundry and occasionally eats your food

 

I want to never lose my parents

but find a loss like that in someone

 

a love that sears into your lungs and lingers

if you draw the short straw and not die first

 

 

from ‘Bury me’

The grandmother is equally important. She is there in ‘When they ask you / why you speak so well for an immigrant’, a poem that reacts to the title’s misguided and recurring compliment:

Tell them

about your grandmother’s laugh

how you never quite knew whether she was story or myth

the upper lip in your conviction

or a song ringing in your bones

drifting through the kitchen window

with the fried shrimp and newspaper voodoo dolls

National anthem layers experience, and that layered experience opens up what immigrants deal with. This cannot be underestimated. This daily erosion. The intricate and extraordinary poem, ‘Life at a distance’, recounts the family’s move to Aotearoa, the mother yearning for home, bearing the racial slurs, crying bathroom tears. Twenty years later, the educated, assimilated and beloved son moves to Istanbul with his ‘kiwiness’.

migration is its own form

of social isolation

 

an ocean that sits between you

and everyone else

This is the kind of poem that burrows in deep with its complications and toughness, its epiphanies and its wisdoms. I want to hear it read aloud. To hear it sung in the air. This is a son’s story and a mother’s story, a braid of realisations: ‘and you realise she is wading through / her own migration, that like her / you are a dandelion flung in the wind’. One verse depicts the mother still watching Egyptian soap operas and skyping the grandmother, but doing things and being in a country she no longer wants to leave. ‘Home’ has doubled back on itself.

she tells me she is praying

I come home

 

and home

by any other name

 

is a quarantine

you have chosen

 

is a field of dandelions

flung together

 

learning to grow

In fact this is the kind of book that burrows in deep with its deft and moving exposures. The poetry is the hand on the heart, the hand never leaving the heart, especially after the individual, societal and cultural wounds of the mosque attacks, and the cumulative stories of grief, disharmony, anxiety, uncertainty, ignorance. The personal stories. The politics. Mohamed names the terrorist because he wants the repeated name to fade to oblivion. Jacinda refuses to name the terrorist because she too wants to demolish any shard of power or presence. Mohamed is using words, shaping poems, intensely personal, searingly political, to dissipate a name and move towards healing a community.

we will say your name

until you you are no more real

until your oblivion fades

 

and we will have sprouted

daffodils from our pain

a forest from our eyes

a mountain

a most beautiful way to heal

 

and who will worship you then?

 

from ‘The Prime Minister will not say his name but I will’

The poems hold out hope, time and time again, in an image or a phrase, in a word such as daffodils, in the idea that arms opening wide will embrace the whole person not just what they choose, in the dissatisfaction of arm’s length, in ‘the five stages of peace’. I keep wanting to share a poem with you, to sit down with you in café and say read this, feel this, ponder this, be changed, open your arms wide and greet the whole person, the poem. I am a privileged white woman with a warm home and food in the fridge, a loving family, a long history of publication, a tertiary education, a history of travel, a place to call home. But I need to listen harder. When will these global hierarchies and inequities end?

Mohamed brings us back to a person holding a pen fuelled with ink and soil and memory and challenge. He puts himself on show (albeit in character at times) no matter the pain. Here he is at the airport, at customs where some people sail through invisibly, while some people are interrogated because of name or colour. It is the poem’s ending that gets me, that keeps reminding me – in this catastrophic year of pandemic, overstretched frontline staff, hate crimes, wars, conspiracy theories, poverty, insufferable greed, and sexual and domestic abuse – every name and statistic is a real person. A real person with story.

This ending. This poem. Buy the book and read the poem:

listen

let’s take things slow

I want this, I do

but let’s build a relationship

on more than just racial profiling

 

I want you to know the real me

 

can’t you that I

well …

 

I’m just a boy

standing in front of a boy

asking him

 

 

to let me in

 

 

from ‘Customs: a love story’

The title poem, ‘National anthem’ is also a beauty, a poem of pledges that include good coffee, voices in unison, the grandmother’s laugh, zero flags and borders. The final stanza, the final lines in the collection are the kind of lines that will keep you going over corrugated roads and spiky living, that will keep you going whatever your story, whatever your challenges, and pain and love and prospects of death or hope. I am so hoping that Mohamed gets to read at Aotearoa festivals next year, not just five minutes in a poetry line up, but in a whole session where we can hear his words sing and shine and cut and hold out arms and offer such exquisite and necessary hope.

to those who would plot to sow me love

to bake me warmth and never break my art

to rob my eyes for safe keeping

to drown me in unconditional trust

 

to build with me

a new sun

 

I pledge myself

 

to you

 

from ‘National anthem’

Mohamed Hassan is an award-winning journalist and writer who has lived in Egypt, Aotearoa and Turkey. Hewas the winner of the 2015 NZ National Poetry Slam, a TEDx fellow and recipient of the Gold Trophy at the 2017 New York Radio Awards. His poetry has been watched and shared widely online and taught in schools internationally.

Dead Bird Books page

Poetry Shelf Monday Poem: Mohamed Hassan’s ‘Heaven is a window you can climb through’

Heaven is a window you can climb through

From the top of the sky-

tower we watch lovers

uncouple against

the sunset, red and screaming

light across faces of buildings

unbent by time, everyone belts

romance and the band plays over-

produced pop songs, a girl weeps

in disbelief, a boyfriend begs her

to calm down, two strangers long

for each other’s bones, a boy made

of scruff dances for every lost

night of wild, his heart unnerved, a hurt

like a heaven on his chest, we eat burgers

by the wharf, I make conversation

with people I’d rather not, practice my best

fake smile, the train smells like the morning

after, the earth is a flat plane, an endless reel

spinning on a loop, what if I never leave?

Mohamed Hassan

Mohamed Hassan is an award-winning journalist and poet from Auckland and Cairo. He was the 2015 National Poetry Slam Champion, a TEDx fellow, and represented NZ at the Individual World Poetry Slam in 2016. In 2017 he was awarded the Gold Trophy at the New York Radio Awards for his RNZ podcast series ‘Public Enemy’. His new collection of poems ‘National Anthem’ will be released in October by Dead Bird Books, and is available for pre-order.

My SST review of the refreshed Poetry NZ Yearbook

Book review: Poetry New Zealand Yearbook 2017 edited by Dr Jack Ross

Dr Jack Ross.

Supplied

Dr Jack Ross.

Poetry New Zealand Yearbook 2017

edited by Dr Jack Ross

Massey University Press, $35

Poetry New Zealand Yearbook 2017 
edited by  Dr Jack Ross

Poetry New Zealand Yearbook 2017 edited by Dr Jack Ross

Wellington poet Louis Johnson established the Poetry New Zealand Yearbook in 1951. It has just received a well-deserved makeover by Massey University Press. The new design is eye-catching, the writing has room to breathe and the content is eclectic. With Victoria and Otago University Presses publishing Sport and Landfall, it is good to see a literary magazine finding a home in Auckland. It is the only magazine that devotes sole attention to poetry and poetics, with an abundant measure of poems, reviews and essays.

Editor Dr Jack Ross aims to spotlight emerging and established poets and include “sound, well-considered reviews”. There are just under 100 poets in the issue, including Nick Ascroft, Riemke Ensing, Elizabeth Smither, Anna Jackson, Michele Leggott and Kiri Piahana-Wong. When I pick up a poetry journal, I am after the surprise of a fresh voice, the taste of new work by a well-loved poet, the revelatory contours of poetry that both behaves and misbehaves when it comes to questionable rule books. The annual delivers such treats.

A welcome find for me is the featured poet: Elizabeth Morton. Morton’s debut collection will be out this year with Makaro Press, so this sampler is perfect with its lush detail, lilting lines and surreal edges. My favourite poem, Celestial Bodies is by Rata Gordon (‘When you put Saturn in the bath/ it floats./ It’s true.’). Fingers-crossed we get to see a debut collection soon.

Mohamed Hassan’s breath-catching poem, the cyst, is another favourite: “In the small of my back/ at the edge of where my fingertips reach/ when I stretch them over my shoulder/ it is a dream of one day going home for good.”

You also get the sweet economy of Alice Hooton and Richard Jordan; the shifted hues of Jackson and Leggott (‘She is my rebel soul, my other self, the one who draws me out and folds me away’); the humour of Smither.

To have three essays – provocative and fascinating in equal degrees – by Janet Charman, Lisa Samuels and Bryan Walpert is a bonus.

Ross makes great claims for the generous review section suggesting “shouting from the rooftops doesn’t really work in the long-term”. A good poetry review opens a book for the reader as opposed to snapping it shut through the critic’s prejudices. However on several occasions I felt irritated by the male reviewers filtering poetry by women through conservative and reductive notions of what the poems are doing.

Ross’ review of Cilla McQueen’s memoir In a Slant Light highlighted a book that puzzled him to the point he did not not know exactly what she wanted “to share”. In contrast I found a poignant book, ripe with possibility and the portrait of a woman poet emerging from the shadows of men.

Poetry New Zealand Yearbook, in its revitalised form, and as a hub for poetry conversations, is now an essential destination for poetry fans. Not all the poems held my attention, but the delights are myriad.

 – Stuff