Tag Archives: poetry shelf monday poem

Poetry Shelf Monday Poem: Michele Leggott’s ‘very fine lace knitting’

 

very fine lace knitting

 

this is a picture of my house

wallpaper silvery with birch trees

covering the workbook

the stories and the pictures

red and yellow blue and blue-green

the smiling suns

jack in the box on the window sill

see Sweetie run

the high shelf in the toyshop

I want to be a ship

the umbrella poem

the oak tree and its acorns

the blue eyes that wouldn’t

the bar of chocolate and our mother at a high window

angelic openings in the calendar

circus elephants on the road at Waitara

hot black sand and the donkey rides at Ngāmotu

 

 

but we came ashore after the others

Mama still pale and no baby sister

though we begged her to tell us

when we might see her again

hush darlings she said

look at the tents and the lovely black sand

we will camp out until there is a house for us

but that house burned down right away

and Papa had no watch

or any instruments to make drawings with

and all of us felt sad

because the ship had gone

perhaps with our baby sister hidden somewhere inside

crying to us but we couldn’t hear

now Papa must cut the Sugar Loaf line

now Mama must tell us a new story

and when the earth shakes and the rats run across our blankets

we will not think of her

our sister outside in the dark

beside the rivers and wells

that wait to drown children less wary than us

 

 

when my mother was a girl

she thought all grown men had to go to jail

and feared to find her father one day

among the figures working in the prison gardens across the river

under the watchful eye of Marsland Hill

how did she know

afternoon sun slanting through eucalypts

stream curving or carving the valley that divides

here from there, us from them

now from then

or not at all

how did she know

that her grandfather was locked up

for three months pending trial

for the attempted murder of his wife and child

on the farm at the top of Maude Road

and that she, our great grandmother

would drop the charges, needing him

at home and claiming he would often shoot at her

going down the road, for target practice

he was cautioned against excessive drinking and released

to lose the farm and start over

as a teacher in country schools

how did my mother know

that her father, a young man in a country town

was put in the lock-up for two weeks in the year before the war

for sending indecent literature to the girl who jilted him

two postcards and a photograph

he is named but she is not

in the police report that went to the local paper

he was in the second draft

leaving for Palmerston North

dark hair brown eyes five foot seven

oblique scar on left forearm

August 1914

 

 

We were too small to remember

the trouble that took Papa to prison

for losing all his money

were we there too we ask Mama

did you take us did we all live in prison for a while

she will tell us only

that it wasn’t so bad

that everyone helped out and soon

he was home again I cannot now recall

how long we were away

but I was glad enough to leave that place

though I was not in favour of the long voyage

to the other side of the world

and dreaded confinement at sea

Well that is another story

now your father ties off his lines

for the company and remembers Cornish hills

Somerset hills and Devon hills under his pencil

he sees the nature path in the valley of the Huatoki

and knows it will take him to slopes covered in red and white pine

rimu and kahikatea

where a house may be built or brought

on land bought with remittances from England

 

 

the small child in the big photo

dark hair dark eyes pixie face

is my mother’s sister

they share a middle name

the child in the photo could be a year old

she is holding onto a stool with baby fingers

her feet are bare and she wears a dress

of soft white wool knitted by my grandmother

in whose bedroom the photo hangs

above the treadle sewing machine we are pumping hard

for the noise it makes up and down up and down

up and down and we are never told to stop or be quiet

we know the child in the photo died long ago

before she had time to become my mother’s sister

but we never ask our grandmother

about the very fine lace knitting

of the photo that hangs in her room

 

when at last we go looking for

the child who would have been our aunt

the trail is cold the dates stones or tears

Date of death: 20 September 1923

Place of death: Stewart Karitane Home Wanganui

Cause or causes of death: Gastroenteritis 2 1/2 Months, Exhaustion

Age and date of birth: 19 Months, Not Recorded

Place of birth: Stratford

Date of burial or cremation: 21 September 1923

Place of burial or cremation: Kopuatama Cemetery

 

we see our grandfather thrashing the Dodge

between Stratford and Whanganui

and the journey home with the little daughter

he will bury next day at Kopuatama

was our grandmother there

in the car at the Karitane Home at the graveside

the two and a half months of sickness

the birth of a second child

our Uncle Jack

8 July 1923

 

up and down up and down up and down

noise to cover a heartbeat under soft white wool

 

 

I look upon these letters and do not like to destroy them

they are a house of memory and when I read

I am my mother on deck at last

searching for a ripple on the flat Pacific Ocean

I am my father making delicate waves

around each of the Sugar Loaves on the map going to London

I am my brother in a choir of breakers

that bring his body to the landing place

I am my sister in the boat

outside the orbit of the moon and the orbit of the sun

I am my sister a bell-shaped skirt

between ship and shore

I am my sister painting a rock arch

that became fill for the breakwater

I am my sister exhausted

by travelling and the house to clear

I am my sister writing poems

that lie between the thin pages of letters

I am my sister singing

ship to shore choir of breakers alpine meadow

I am myself on the other side of nowhere

waiting for a knock on the door

 

 

my mother is taking a photo

of herself and our baby sister

in the mirror on the wall of silvery grey birches

it’s summer and she has propped the baby

between pillows in the armchair

holds the Box Brownie still

leans over the back of the chair smiling

into the mirror

she and her baby by themselves

reflected in silvery light

not for a moment aware of the child

whose passing long ago

mirrors to the day

the arrival of our sister

whose middle name my mother took

from the light of Clair de Lune

 

 

and so the daughter library

remakes itself and is not lost

though great libraries burn and cities fall

always there is someone

making copies or packing boxes

writing on the back of a painting or a photo

always there is someone

awake in the frosty dark

hearing the trains roll through and imagining

lying under the stars at Whakaahurangi

face to the sky on the shoulder of the mountain

between worlds and mirror light

 

***

 

Michele Leggott

Michele Leggott was the first New Zealand Poet Laureate 2007–09 under the administration of the National Library. She received the Prime Minister’s Award for Literary Achievement in Poetry in 2013. Her collections include Mirabile Dictu (2009), Heartland (2014), and Vanishing Points (2017), all from Auckland University Press. She cofounded the New Zealand Electronic Poetry Centre (NZEPC) with Brian Flaherty at the University of Auckland where she is Professor of English.

Auckland University Press page

Poetry Shelf review of Mezzaluna

Poetry Shelf Monday Poem: Anuja Mitra’s ‘Polaroid’

 

Polaroid

 

there we are — lost

in a thicket of murky lines,

faces swallowed by lack

of light.

 

she waves the picture impatiently

coaxing us into view.

I think I have questions

about polaroids,

 

like why do we romanticise

our parents’ relics

and who knows to pull us

from that milky dark?

 

the last summer of my saviourhood

she leapt from the dock at low tide,

water closing over her

like it might never give her back.

 

after her other friends deserted her

she bought the camera

to salvage us.

the first shot developed slowly,

 

our figures fading

into sight.

there we are! she yelled

like we were terra nova.

 

the second was blurry,

our bodies smudged

and slightly ghoulish.

she tore it in two

 

and gave me her half.

keep it, she said,

we’ll be each other’s

ghosts.

 

Anuja Mitra

 

 

Anuja Mitra lives in Auckland where she is finishing a Law/Arts degree. She is co-founder of the online arts magazine Oscen at oscen.co, and more of her writing can be found in Signals, Starling, Sweet Mammalian, Mayhem, The Three Lamps and Poetry NZ.

 

 

 

 

 

Poetry Shelf Monday poem: Jessie Puru’s ‘Milk’

Milk

Gumboots squelch across the paddock
it’s still dark and she’s making her way
over to the milking shed
a coat covers her to her knees
and tents over her growing belly

I imagine her working like normal
using her knees to lift
to carry the bucket home for breakfast
creamy milk, unpasteurised
perfect for porridge

trek back across the paddock, Tama-nui-te-rā
has begun to poke his head above the horizon
to warm the back of her
her belly starts to stir
then greet her with a few kicks

then she can get ready for her job
at the shop in town
or the mill,
whichever came first
and clean or cook
right up until the very due date

that week she will have her first girl
at eighteen
and a few years and girls later
she will marry down at the courthouse

then years later she will have 13 grandchildren
of course she will have favourites
and she will continue to work
and work and work
right up until the very last minute

and Tama-nui-te-rā will greet her
one last time
then farewell her not long after

*

her heels click across the footpath
it’s dusk and she’s making her way
a few streets over to the bus stop
a coat covers her to the ankles
it tents over her entirely

 

Jessie Puru

 

 

Jessie Puru, Ngāti Te Ata, Tainui,Ngā Puhi, is a Māori/ Pākeha poet and mother of one daughter living in Auckland. Her work has been published in Ika, Blackmail Press, Landfall, Poetry (US), and she was runner up for the Emerging Poets Competition in 2019. Jessie is currently working on her first collection of poems following the life of a young wāhine trying to find her connection with Te Ao Māori. She also has a Bachelor of Creative Arts from MIT and Master of Creative Writing degree from AUT.

 

 

 

 

 

Poetry Shelf Monday Poem: Ruby Solly’s ‘Dedication’

 

Dedication

 

This one’s for the aunty

that taught me

how to knead bread

properly.

Not with love,

but like you hate it.

The warm skin

of someone whose skin

doesn’t deserve it.

The aunty who calls out;

Beat it down girl

when the air bubbles

gasp through the dough.

And so you beat them

so far down

that you beat them

all the way out.

 

This one’s for

the girl in the tutu

and gumboots.

Shit covered

and tractor riding.

Pāpā doing her hair in loose braids,

those old farm ropes

swinging.

Tug of war fighting

to the sugar plum fairy.

 

This one’s for

the boy who thinks himself magic

then throws himself off

the top of the monkey bars

then doesn’t fly

but falls.

For the smashed nose,

for the freckles falling

from the face

in patterned rain.

Salt water cleaning the eyes

of a not special boy.

 

This one’s for

the girl with white skin

but black everything else

Pig dog! Pig dog!”

They say,

pulling her hair

until she barks.

Reaching out

from behind black eyes

to find nothing.

The ladder out

already pulled up

to a light that emanates

from everywhere

but below.

 

This one’s

for the man

who speaks not with words

but with hands in the soil.

Roots coiling down

towards magma core.

Digging to Rangiatea,

he knows he’ll get there

if he just digs and digs.

 

And now

you are all here

and we are ready

to begin.

 

Ruby Solly

 

 

Ruby Solly is a Kai Tahu / Waitaha writer and musician living in Pōneke. She has had poetry and creative non-fiction published in Landfall, Sport, Poetry NZ, Starling, Mimicry, Minarets, E-Tangata, The Spinoff, and Pantograph Punch amongst others. Victoria University Press will be publishing her debut book of poetry ‘Tōku Pāpā’ in early 2021. Ruby is also a scriptwriter and her film ‘Super Special’ which aims to share knowledge around traditional Māori views and practices around menstruation has been featured in film festivals within New Zealand and the US. As a musician, she has played with artists such as Yo-yo Ma as part of his Bach Project, Trinity Roots, Whirimako Black, Rikki Gooch, and Ariana Tikao. Ruby is a taonga puoro (traditional Māori musical instruments) player and therapist with a first-class master’s in music therapy where she conducted kaupapa Māori research into the use of taonga puoro in acute mental health.

 

 

Ruby Solly premieres a video for her new album Pōneke and a wānanga with essa may ranapiri

 

 

 

Poetry Shelf Monday Poem: Tim Upperton’s ‘Nobody knows’

 

Nobody knows

 

Many things make me sad these days,

the days make me sad, how they fade

into night so soon, how today

becomes yesterday, and then

last year, then seven years ago

when my mother died. She never

minded the passing of time,

getting old. Such a beauty she was.

Divorcing at seventy was a surprise.

She used to sing, sometimes, in a high voice,

‘Nobody knows – the troubles I’ve seen,’

and towards the end she’d sing,

‘Nobody knows …’ and then trail away,

and we knew and didn’t know.

 

 

Tim Upperton’s second poetry collection, The Night We Ate The Baby, was an Ockham New Zealand Book Awards finalist in 2016. He won the Caselberg International Poetry Competition in 2012 and again in 2013. His poems have been published in many magazines including Agni, Poetry, Shenandoah, Sport, Takahe, and Landfall, and are anthologised in The Best of Best New Zealand Poems (2011), Villanelles (2012), Essential New Zealand Poems (2014), Obsession: Sestinas in the Twenty-First Century (2014), and Bonsai (2018).

 

 

 

 

 

Poetry Shelf Monday Poem: Simone Kaho’s ‘Crane Fly’

 

Crane Fly

 

I’ve been in the bathroom with a flying daddy-long-legs thing locked in a battle for its life.
I saw it on a shower floor tile when I was showering.
A leggy bug fossil, squashed flat by water.
I told myself it was dead but couldn’t resist checking and it grabbed the toothbrush handle I held over its body.
So, I flicked it out of the shower and told myself It’ll sort itself out.
I checked when I got out.
It was lying in a wing and leg jumble, glued together with an iridescent water drop.
Still alive though, because it grabbed at the toothbrush again.
So I lifted it up to the windowsill, and it staggered upright-ish.
I saw it only had one back leg on the right, jabbing down to steady itself.
Three legs in total. It should have six.
But its struggles made it seem saveable, so I ripped off a single toilet paper square and touched the wings lightly and quickly.
That sucked the wetness up, but they were stuck together along its back, like wet cellophane but infinitely more fragile.
It wiggled its abdomen and wing joints like it was trying to fly.
That made me sad, that it wanted to fly, and couldn’t, and didn’t know why.
So, I separated the wings by running closed tweezers between the veiny transparent panels, then gently letting them open.
Oil glistened in my fingerprint troughs, which were larger than the wing veins.
If you try this yourself – don’t grab and pull the wings with tweezers.
I never closed the tweezers on a wing – it was all very indirect and slow.
After a few passes, its wings sprung apart.
It buzzed them and flew haphazardly back into the shower.
Which was clearly not a safe space.
So I walked it onto some toilet paper and put it on top of the mirror cabinet to calm down.
Later, in the middle of the night, I checked, and it was gone.
I bet it’s flown into a spider web I thought and looked in a corner of the room.
Sure enough, there it was, hanging in a web.
I counted the legs to be sure. Two fronts, one back.
There was no spider in the web so I pulled it out and laid it on the window beside the toilet in a cobwebby pile.
My cat thought about eating it but didn’t.
Its legs were stuck together, so I got the tweezers again and separated each leg, pinching cob web strands and slowly pulling, aware the web may be stronger than the legs.
Each time I pulled, I thought This leg might snap.
It’s not like there were legs to spare.
We got lucky.
After several minutes of tweezing the legs got free and it could even lift them and they didn’t stick to the window ledge.
I set it on a piece of toilet paper outside the window – thinking – Hey man, the bathroom isn’t safe. Go die outside.
It was pretty cold outside.
After I did my business, I noticed the toilet paper had blown away.
So, I mouthed Goodbye and Goodluck.
But when I went to shut the window the dude was quivering there, on the window frame, standing the right way up on his front two legs, the back one propped under like a lopsided tripod.
I shut the window and left him there.
Maybe he wants to die and I’m getting in the way.
Maybe none of the ways he’s been dying has been fast enough.
There’s too much waiting to die in an awkward tangle, so he battles to live, to find a better, quicker way.
Or maybe this is just how life is for a flying-daddy-long-legs in the bathroom.
How could I know?
I know I felt great success each time he made it through.
He’s a tough little bugger, although unspeakably vulnerable, directionless, and with no clue how to stay safe.

 

Simone Kaho

 

Simone Kaho is a Tongan / Pākehā poet who writes discontinuous narratives in poetry. She has a Masters from Victoria University of Wellington’s International Institute of Modern Letters. Her first book, Lucky Punch, was published by Anahera Press in 2016, The second will hopefully arrive in 2021.

 

 

 

 

 

Poetry Shelf Monday poem: Serie Barford’s ‘The midwife and the cello’

 

The midwife and the cello

 

I was perched amongst pīngao
contemplating a paragliding instruction

Don’t look at what you want to miss

when a woman sat beside me

pointed at the lagoon’s mouth
breaking into hazardous surf

crooned I’m a midwife
sing and play cello

I observed her eloquent hands
sand burying sprawling feet
lines networking a benevolent smile
dreads tied with frayed strips of cotton

remembered you returning home
buoyant with the miracle of birth

the baby with omniscient eyes
you eased into this world

how she lay within your arms

didn’t cry

 

Serie Barford

 

Serie Barford was born in Aotearoa to a migrant German-Samoan mother and a Palagi father. Her latest collection, Entangled Islands (Anahera Press 2015), is a mixture of poetry and prose. Serie’s work has appeared in numerous journals and anthologies. She was awarded the Seresin Landfall Residency in 2011 and is a recipient of the Michael King Writers’ Centre 2018 Pasifika residency. Some of Serie’s stories for children and adults have aired on RNZ National. She has recently completed a new collection, Sleeping with Stones.

 

 

 

 

 

Poetry Shelf Monday poem: Emma Neale’s ‘Wanting to believe in the butterfly effect’

 

Wanting to believe in the butterfly effect

 

I collect a box of groceries from cold storage,

take it to the drop-in centre, break open bread rolls

 

fill them with salad, cheese, mayonnaise; leave goofy notes

about extra cucumber for beauty treatment, or vegans,

 

in the hope that giving migrates invisible currents

to distant continents, pollinates oil barons’ and despots’ hearts —

 

They feel their hearts!

 

Yet our children watch polar ice-caps collapse on TV;

learn to say sixth mass extinction with furious fluency,

 

choose to walk to school all weathers, forego meat and dairy food,

their eyes the soot of burnt-out stumps.

 

Other days, they kneel with us, postures half hopeful, half bereft,

to press electric-white seedling roots, skinny wires

 

into the rich, dark sockets of a field’s edge, to try to light

cool lamps of leaves, to banish the creeping dread

 

that even planting trees might be as impotent

as fingers kissed to magpies, green forbidden on first-time brides.

 

Our young sons help us squash the sluggy pearls of grass grubs

that would eat the seedlings in their new-born cribs

 

but as the news reports that fresh forest fires blacken

the planet’s treasure map, one boy asks, in a toneless blank,

 

‘Why do people even have children?’

The other hugs me, his body’s slim shuttle

 

shaken with the gravity of the mind’s strain.

‘You shouldn’t have had us, Mum.’

 

But we had you because we loved the world.

 

Stern young faces gavel-blunt, their twinned silences

sentence me as yet another militant of double-speak:

 

In order to show our love for the planet,

we wanted children who could grieve for it.

 

Emma Neale

 

 

Emma Neale is the author of six novels and six collections of poetry, the most recent of which is To the Occupant (OUP, 2019). She works as a freelance editor in Otepoti/Dunedin, where she also occasionally teaches creative writing. This year she received the Lauris Edmond Memorial Award, a prize given biennially for a distinguished contribution to New Zealand poetry. She is the current editor of Landfall.

 

 

Poetry Shelf Monday Poem: Chris Tse’s ‘Ghost poem #3—The other side of the glass’

 

Ghost poem #3—The other side of the glass

 

I was working a sausage sizzle fundraiser

on the day George Michael died. His ghost

sat with me in my car while I scrolled through

social media exploding with grief and links

to his greatest hits. George took my hand

and told me not to cry before asking why I

smelt of burning flesh. Are we in hell? he asked.

Lower Hutt, I replied. My sunburnt neck

pulsed with residual heat or perhaps it was

the spark of a memory of watching him

perform at Sydney Mardi Gras in 2010 flanked

by shirtless cowboys, leather daddies and

policemen in latex pants. I think about it

all the time. Every now and then I crave to

feel that night again, slick trepidation running

down my spine every time I locked eyes with

another guy, hoping my smile would be returned

favourably. A certain beat can unlock the body

heat of that glittering night and all the other nights

of careless yearning since then tumbling

from limb-crushing dancefloor into the crisp

3AM air with his voice still ringing in my ears:

You’ve got to go to the city.

You’ve got to reach the other side of the glass.

Some of us are neither sunburst nor shade

but a symptom of formative summers caught

somewhere in between like hands pressed against

the edge of the rest of our lives. The glass was

my own making and all my future wonders were

one swift and decisive thought away. I wrote all

my desires in my breath for anyone to read them.

 

Chris Tse

 

 

Chris Tse is the author ofHow to be Dead in a Year of Snakes and HE’S SO MASC. He is co-editing an anthology of LGBTQIA+/Takatāpui New Zealand writers due to be published by Auckland University Press in 2021.

 

 

 

 

 

Poetry Shelf Monday Poem: Ash Davida Jane’s ‘undergrowth’

 

 

undergrowth

 

at dusk the birds by the road

are loud as a fire                      so much noise

from such small lungs

we say

it seems impossible but what’s worse is

we should be able to hear this anywhere

the branches

always ripe with nests

in spring

 

birdsong so big

we could almost dance to it

but the next day

we’re overheating in the park

& everyone’s too busy worrying

to notice our spot under the trees

I’m imagining a giant ballroom with

this leafy canopy for a roof

the floor a pool of cool green light

 

nobody’s been here for centuries &

most of the birds are gone too

but an ant crawls

across the cracked marble

& somewhere in the silence our buried

forms turning

back into earth             are still

in love

& the flowers pick themselves

up & carry on

 

 

Ash Davida Jane

 

 

Ash Davida Jane is a poet and bookseller from Te Whanganui-a-Tara. She has a Master of Arts from the International Institute of Modern Letters. Some of her recent work can be found in Peach Mag, Turbine | Kapohau, Best New Zealand Poems, and Scum. How to Live with Mammals is due to be published by Victoria University Press in 2021.