The Mary and Peter Biggs Award for Poetry
Are Friends Electric? by Helen Heath (Victoria University Press)
There’s No Place Like the Internet in Springtime by Erik Kennedy (Victoria University Press)
The Facts by Therese Lloyd (Victoria University Press)
Poūkahangatus by Tayi Tibble (Victoria University Press)
Great to see we have new sponsors, Mary and Peter Biggs, for the Poetry Category at the Book Awards.
I have featured all four finalists on my blog because I have found much to love about these books – this therefore is a moment of celebration. Of course there are books not here that I loved immensely. Poetry Shelf is whole-heatedly devoted to celebrating local books and the fact that I don’t have time to feature all my poetry loves is testimony to the excellent poetry we publish – through both big and small presses. Victoria University Press is becoming a flagship for NZ poetry – publishing at least 9 books a year of high quality and diverse scope. I applaud them for that. And all the other publishers issuing standout poetry (there are many) and the booksellers who put local poetry books on their shelves.
Congratulations to the four finalists! And to VUP.
Listen to Helen read two poems here
Helen’s book is a complex, satisfying read with enticing layers and provocative subject matter. It is a book of seeing, strolling, collecting; as though this poet is a bricoleur and the book is a cabinet of curious things. What I love in the poems is the shifting voice, the conversational tones. The poems that link grief with the effect of technology upon our bodies get under my skin. Most importantly there is a carousel of voices that may or may not be invented or borrowed but that make you feel something.
I ask if you would like a body.
You say, ‘No I’m beyond bodies now,
I’m ready to be fluid, spilling out all over.
I’m ready to spread myself so thin that I’m
a membrane over the world.’ I’m not ready.
I take off my socks and shoes and walk
over a patch of grass very slowly.
from ‘Spilling out all over’
Erik’s first-full length collection sparks with multiple fascinations, experience, thought, wit, politics, optical delights and aural treats. It is a book of harmonics and elastic thinking, and is a pleasure to read. The collection navigates eclectic subject matter but I was initially drawn to the interplay between a virtual world and a classical world. I began to muse on how poetry fits into movement between the arrival of the internet and a legacy of classical knowledge. I also love the idea of poetry reacting to collisions, intersections, juxtapositions. Interestingly when I was jotting down notes I wrote the words ‘detail’, ‘things’ and ‘juxtaposition’ but not just for the embedded ideas. Yes, the detail in the poems is striking in itself, but I was drawn to the ‘static’ or the ‘conversation’ or ‘kinetic energy’ between things as I read.
Two feet of snow at my parents’ place, in another season.
Here, the cicadas sing like Christian women’s choirs
in a disused cotton mill. Belief is a kind of weather.
I haven’t seen proper snow for three years.
from ‘Letter from the Estuary’
Therese’s new collection resides in a captivating interplay of chords. You could say that any poetry book delivers chords whether aural, visual or thematic, and in the light of ideas and feelings. This book does it to a stunning degree. Once you start hunting for them – whether in harmony or not, between poems or within a single example – the rewards are myriad. At the core of the book the title poem, the standout-lift-you-off-your-feet poem, achieves a blinding intensity: raw, surprising, probing, accumulative, fearless. I particularly love the surprising turns of ‘Mr Anne Carson’. Therese’s collection takes you deep into personal experience that gets hooked up in the poetry of another (Anne Carson), in matted ideas and the need to write as a form of survival. It makes you feel as much as it makes you think. It is a riveting read.
For three months I tried
to make sense of something.
I applied various methods:
logic, illogic, meditation, physical exertion,
starvation, gluttony. Other things too
that are not necessarily the opposite of one another,
writing and reading for example.
from ‘The Facts’
Tayi’s debut collection, Poūkahangatus, has already and understandably attracted widespread media attention. The poetry is utterly agile on the beam of its making; and take ‘beam’ as you will. There is brightness, daring and sure-footedness. The poems move in distinctive directions: drawing whanau close, respecting a matrilineal bloodline (I adore this!), delving into the dark and reaping the light, cultural time-travelling, with baroque detail and sinewy gaps. The collection charts the engagement of a young, strong woman with her worlds and words – and the poetic interplay, the sheer joy and magnetism of the writing, is addictive. I treasure this book for its kaleidoscopic female relations and views of women; and the way women are the vital overcurrents and undercurrents of the collection. Above all I loved the kaleidoscopic effect of the book; the way it is edgy and dark and full of light. The way it catches living within popular culture and within family relations, the way it carries sharp ideas and equally sharp feelings.
in 1995 I was born and Walt Disney’s Animated Classic Pocahontas was
released. Have you ever heard a wolf cry to the blue corn moon? Mum has.
I howled when my mother told me Pocahontas was real but went with John
Smith to England and got a disease and died. Representation is important.
I am not a journalist punting on a winner – I am a poetry fan and have read all these books several times – any one of these books deserves to win. A toast from me x.