Tag Archives: poetry shelf monday poem

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.

 

 

 

 

 

 

 

Poetry Shelf Monday Poem: Fleur Adcock’s ‘Island Bay’

 

Island Bay

 

Bright specks of neverlastingness

float at me out of the blue air,

perhaps constructed by my retina

 

which these days constructs so much else,

or by the air itself, the limpid sky,

the sea drenched in its turquoise liquors

 

like the paua shells we used to pick up

seventy years ago, two bays

along from here, under the whale’s great jaw.

 

Fleur Adcock

 

 

Fleur Adcock was born in New Zealand but has lived in England since 1963, with regular visits to NZ. She lives in London, and has dual British and New Zealand citizenship. She was awarded an OBE in 1996, a CNZM in 2008 and the Queen’s Gold Medal for Poetry in 2006. Her poetry is published in Britain by Bloodaxe Books and in New Zealand by Victoria University Press. In 2019 her Collected Poems appeared from Victoria University Press, and later that year she received the Prime Minister’s award for Literary Achievement in Poetry.

Fleur: I wrote this poem when I was in New Zealand late last year. It feels unbelievable that I should have been able to walk freely along the coast of Island Bay basking in the sunshine and the wind, just because I felt like it; things are not like that here, and may never be again for someone of my age. But at least it’s spring, and I have my garden, and am allowed to go for walks in the local woods as long as I don’t travel on a bus to get there, or risk doing anything so audacious as my own shopping.

 

 

 

 

 

 

 

Poetry Shelf connections: two poems from Nicola Easthope

 

Unessential kiss

 

I thought we’d meet in Island Bay

on a park bench facing the sea.

Well, you two on it, in your safe bubble

with us three standing, two metres away.

 

There’d be coffee poured from the flask

steaming against the strait’s new ice

and muffins with feijoa’s soap-sweet grit.

We’d inhale the aroma, lift our masks.

 

In lock down, I can’t mistakenly slip

on the mussel-kelp-anemone rock

and the soft creased surface of your cheeks

cannot be surprised by my bursting lips.

 

 

Numb and Absurd have morning

love children

and there is small relief.

 

Boris has gone to hospital.

Donald is lost, will lose.

Scotland’s chief medical officer,

 

Catherine and our Health Minister, David

have apologised for breaking

their own rules. The Queen, Elizabeth

 

calls for stoicism and self-discipline.

The iwi from Uawa are dancing

on the checkpoint line, in rainbow chiffon

 

wings, totally winning.

Craig from Solly’s lorries says all loos

are closed on his route from Mataura

 

to Ashburton but he makes it in time

yet the journo presses him – just take us

through this – what did this feel like?

 

I am looking in the mirror at the small

purulent pimple on my chin

wondering why on earth at my age?

 

I am thinking of people with nothing

in the fridge and no safe haven.

I am loading the dishwasher too unlovingly

 

and chip the willow-green bowl my mother

made at a pottery nightclass way back

when all we ever caught off each other

 

were colds, mumps, chickenpox, headlice

and it was wickedly easy

to make ourselves burp, or cry.

 

Nicola Easthope

 

 

Nicola Easthope (Pākehā, tangata Tiriti) is a teacher, poet and cheerleader for teen activism, from the Kāpiti Coast. Her two collections are leaving my arms free to fly around you (Steele Roberts, 2011) and Working the tang (The Cuba Press, 2018), and individual poems have been published in Aotearoa, Australia, Scotland and the U.S. She was a guest of the Queensland Poetry Festival in 2012, the Tasmanian Poetry Festival in 2018, and a couple of very cool LitCrawl seasons in Pōneke. You can find more of her work on gannet ink

 

 

 

 

 

Poetry Shelf Monday poem: Jordan Hamel’s ‘Te Papa’s giant squid dreams of the moana’

 

Te Papa’s giant squid dreams of the moana

 

school kids stare in awe and disgust

I’ve learnt more about my own

history from science teachers

 

giant soldiers mourn my captivity

the earthquake house shakes

in condemnation, docents wipe

away rebellious fingerprints

 

Did you know the Architeuthis has three hearts 

and a donut shaped brain?

 

my ink is responsible

for love notes in math class

complicated café orders

ratifying bilateral trade agreements

 

are you reading this in hard copy

sweet saviour

if so…  you’re welcome

 

once people have extracted

everything from you that’s special

they put you on display

and tell the world

how special you were

 

like the rugby hall of fame

where the 1985 All Blacks are kept in chains

destined to tackle each other into eternity

or permanent brain damage

 

I can’t find my edges

I’ve forgotten my reach

membrane liquefying

in industrial brine, I’m just

sinew floating in a historically

significant chowder

 

if you’re reading this before 2040

take an E-Scooter to the waterfront at midnight

break into the nature exhibit

pry open my colossal jar

let me Shawshank out of there

sliding back to my mother’s dank embrace

 

if you’re reading this after 2040 it’s too late

she’s already taken me back

Te Papa too

 

Jordan Hamel

 

 

 

Jordan Hamel (he/him) is a Pōneke-based poet and performer. He is the co-editor of Stasis Journal, which you should definitely check out. He was the 2018 New Zealand Poetry Slam champion and has words published or forthcoming in Poetry New Zealand, takahē, Landfall, Sport, Mimicry, Mayhem and elsewhere.

 

 

 

 

Poetry Shelf Monday poem: Kiri Piahana-Wong’s ‘ Give me an ordinary day’

 

Give me an ordinary day

 

Ordinary days

Where the salt sings in the air

And the tūī rests in the tree outside our kitchen window

And the sun is occluded by cloud, so that the light

does not reach out and hurt our eyes

And we have eaten, and we have drunk

We have slept, and will sleep more

And the child is fed

And the books have been read

And the toys are strewn around the lounge

Give me an ordinary day

 

Ordinary days

Where I sit at my desk, working for hours

until the light dims

And you are outside in the garden,

clipping back the hedge and trees

And then I am standing at the sink, washing dishes,

And chopping up vegetables for dinner

We sit down together, we eat, our child is laughing

And you play Muddy Waters on the stereo

And later we lie in bed reading until midnight

Give me an ordinary day

 

Ordinary days

Where no one falls sick, no one is hurt

We have milk, we have bread and coffee and tea

Nothing is pressing, nothing to worry about today

The newspaper is full of entertainment news

The washing is clean, it has been folded and put away

Loss and disappointment pass us by

Outside it is busy, the street hums with sound

The children are trailing up the road to school

And busy commuters rush by talking on cellphones

Give me an ordinary day

 

And because I’m a dreamer, on my ordinary day

Nobody I loved ever died too young

My father is still right here, sitting in his chair,

where he always sits, looking out at the sea

I never lost anything I truly wanted

And nothing ever hurt me more than I could bear

The rain falls when we need it, the sun shines

People don’t argue, it’s easy to talk to everyone

Everyone is kind, we all put others before ourselves

The world isn’t dying, there is life thriving everywhere

Oh Lord, give me an ordinary day

 

Kiri Piahana-Wong

 

 

Kiri Piahana-Wong, Ngāti Ranginui, is a poet and editor, and is the publisher at Anahera Press. Kiri’s first full-length collection, Night Swimming, was published in 2013.