Vana Mansiadis reads ‘Hieroglyph 3 (or Colin McCahon’s Gate III in 1993)’
Published in The Grief Almanac: A Sequel Seraph Press, 2019
Seraph Press author page
Vana Mansiadis reads ‘Hieroglyph 3 (or Colin McCahon’s Gate III in 1993)’
Published in The Grief Almanac: A Sequel Seraph Press, 2019
Seraph Press author page
The dirty dishwater sky
I see a rainbow
the harbour gleaming white
the sparkling nighttime sky tower
a strange statue of Moses
an early morning cleaner
the crinkled-slept-in-sheets sky
a collective poem made up on the spot by NZ Booksellers
On Sunday I was a key-note presenter with poet Gemma Browne at the booksellers conference in Auckland. The conference theme was Creating Communities – which feels really important as both an adult and children’s author. I dedicated Wild Honey to four women: Elizabeth Caffin, my first publisher; bookseller Carole Beu who has done so much for women readers and writers through The Women’s Bookshop; Michele Leggott who has brought women’s poetry to light and has written dazzling poetry of her own; Tusiata Avia who has inspired young and older women as both a teacher and inspiring poet, and who is a dear friend.
Most of my time as a writer is private, secret, quiet, and I like it like that. It is the writing process that gives me the greatest joy as a poet – not winning prizes or being famous or getting picked for anthologies or festivals. These can all be lovely surprises that give your ego little boosts, and more importantly boost book sales, but nothing beats that moment when pen hits paper and the words start flowing and you think – Where did that come from? How did I write that?
Yet I also write in multiple communities and that is important to me. I have a number of publishing families for a start. Then there are the two communities I have created through my blogs – Poetry Box and Poetry Shelf – that are made up of diverse readers and writers. I wanted to create a go-to place for poetry because poetry was becoming less and less visible in the media. Books would be published and I wouldn’t know unless I spotted them in a bookshop or got a launch invite.
Even now it is very rare that Poetry Shelf will be included in a list of online sites, newsletters or links devoted to advancing our engagement with New Zealand books. Yet Poetry Shelf keeps poetry fans in touch with what is happening in our diverse book/writing communities, signalling the books that are released, events, opportunities. I am building up an archive of recordings, interviews, commentaries and reviews. What will happen to all this material when I can no longer care for it? It seems so fragile.
One part of me wants to switch off my computer and phone, and tuck up into a novel in the hammock – because some days I am just treading water and making no difference.
As an author I am also part of our community of booksellers and am more than happy to do events in bookshops, yes to help promote my books but also to promote NZ poetry through various initiatives. I want to start a Bookseller Spot on both my blogs where booksellers recommend a NZ book they have loved or any poetry book they have loved. Or record a poem from a NZ book they have loved. Please get in touch: firstname.lastname@example.org
I want to build and nurture a community of poets writing for children and make it easier for readers to find children’s poetry books. Is this possible? Do we want our children’s lives to be enriched by New Zealand poetry? It is the hardest thing – to get children’s poetry published, reviewed and in prominent places in bookshops. Can we show that poetry – the liberating place of word play – is the most glorious tool for any child. The reluctant writer can juggle words in the air, the sophisticated writer can advance their skills, take up challenges, explore their engagement in a challenging world. Poetry makes a child feel warm inside and itch to read and write.
I want to build bridges and nourish sightlines between our distinctive, diverse and wide roaming poetry communities. Is this possible? Is it vital? Can we draw together in attentiveness across cities, regions, cultures, generations, styles, preoccupations, politics, poetics, voices? For example, I see Louise Wallace (The Starling) and Emma Neale (Landfall) trying to do this in diverse ways. I see Anne O’Brien working hard to do this with her team at AWF. And Claire Maby through Verb Wellington.
And there is nothing wrong with nourishing your own poetry family, your go-to community that supports and listens to and reads what you do. As VUP do with their breathtaking stable of poets, their elders and emerging voices. As do the grassroot presses, such as Seraph, Cold Hub and Compound Press. The small journals such Mimicry and Min-a-ret.
I turned up at the conference after three hours sleep (max!), a poached egg and a short black and had the loveliest conversation with Gem. We talked about poetry, Wild Honey and building communities. I felt invigorated to be in the same room as people who work so hard, imaginatively, passionately, inventively – to sell our books. These are booksellers but they are also most importantly readers.
We wrote a poem to break the ice – and now I have broken the ice I want to keep making poetry visible and making poetry connections. How do I do it? How do we do it?
If I were rich and bounding with energy I would visit every bookshop that invited me and get children and adults hooked on the joy and curiosities of poetry.
I would start up a children’s poetry press.
But I am not rich and I am not bounding with energy at the moment so I will keep thinking on my feet and inventing ways for my blogs to make connections, start conversations, and celebrate the way our book community is comprised of many communities. And keep telling myself that I am not alone. Poetry Shelf has done that!
PS At Mary Kisler‘s conference session dedicated to her fabulous book, Finding Frances Hodgkins, Nicola Legat and Sam Elworthy talked about the new initiative, Coalition for Books. Various organisations are coming together under the one umbrella to work for the collective good of authors, publishers, booksellers and festivals. And of course readers.
PPS After such an intense and wonderful month I am now back to sleeping. Thankfully. Wild Honey‘s arrival in the world had shocked me into a constant state of awakeness.
Photo Credit: Sophie Davidson
If you were to map your poetry reading history, what books would act as key co-ordinates?
My poetry reading history – by which I mean paying attention to poetry and seeking it out on my own terms – begins with Anne Carson, whose long poem “The Glass Essay” was introduced to me by Anna Jackson in my final undergraduate year of uni. Her translations of Sappho in If Not, Winter and her shadowy, hybrid work Nox suddenly split open for me the limits of what poetry could mean. That’s when I began to feel at home in poetry, maybe because I’ve always been drawn to things that can’t be explained.
Very quickly in my literature degree I realised that the ‘Western literary canon’ we studied was the product of a violent colonial legacy. Instead I felt a pull towards the fringes of contemporary poetry, where I found poets doing extraordinary things with poetic form and linguistic boundaries, especially in The Time of the Giants by Anne Kennedy, The Same as Yes by Joan Fleming, and Lost And Gone Away by Lynn Jenner.
But it wasn’t until I discovered Cup by Alison Wong during my MA year that I recognised something of my own childhood and background in New Zealand poetry. Loop of Jade by Sarah Howe, published in 2016, was the first poetry book I ever read by someone half-Chinese like me. Ever since, I’ve been building my own poetry canon made up of works that negotiate displacement, loss, diaspora, living between cultures, and the ongoing damage caused by European colonisation. Schizophrene by Bhanu Kapil, Citizen by Claudia Rankine, Whereas by Layli Long Soldier, and Poukahangatus by Tayi Tibble are all books that I would like to carry around me at all times like talismans to keep me safe.
What do you want your poems to do?
I want a poems that are spells for curing homesickness, I want poems that are notebooks and witness accounts and dream diaries, I want poems that create a noticeable shift in the temperature of the air and transport you to your grandma’s kitchen.
Which poem in your selection particularly falls into place. Why?
I knew that when I saw a kōwhai tree in full bloom in a garden in north London, close to where I was working at the time, I would need to write about it because it was the only thing I could do. It was spring and in spring I tend to feel really melodramatic about things. I don’t think the poem is melodramatic, though; I think it ended up somehow capturing what I was feeling, in fragments: both very far away and very close to home at exactly the same moment.
There is no blueprint for writing poems. What might act as a poem trigger for you?
Recent poem triggers: silken tofu, being near the sea, tracking sunlight across my tiny garden in order to figure out where particular plants will grow, a house on fire by the side of the motorway, chocolate ice cream, dreams about whales, Chinese supermarkets, reading, reading.
If you were reviewing your entry poems, what three words would characterise their allure?
(This is too difficult and I wish I could ask someone else). Dreamlike, downpour, heatwave.
You are going to read together at the Auckland Writers Festival. If you could pick a dream team of poets to read – who would we see?
It would have to be a few American and British poets who I’ve discovered only since moving to London, because I want them and their work to travel as widely as possible. But I wouldn’t want to read alongside them because then I would be too nervous / too in awe / tearful to listen properly. Ocean Vuong – because sometimes at poetry readings he bursts into song. Also Tracy K. Smith, Raymond Antrobus, Bhanu Kapil, and Rachel Long.
Nina Mingya Powles is of Pākehā and Malaysian-Chinese heritage and was born in Wellington. She is the author of field notes on a downpour (2018), Luminescent (2017) and Girls of the Drift (2014). She is poetry editor of The Shanghai Literary Review and founding editor of Bitter Melon 苦瓜, a new poetry press. Her prose debut, a food memoir, will be published by The Emma Press in 2019.
You can hear Nina read ‘Mid-Autumn Moon Festival 2016’ here
John-Paul Powley, Kaitiaki o te Pō: Essays, Seraph Press, 2018
John-Paul Powley writes with ease and grace in essays that present entwined threads. Simplicity and richness coexist as he reaches down into the truth (his truth) of his experience. This is what draws me into his collection: the need to explore the personal truth of both past and present. It feels utterly explorative, vulnerable, testing, mobile. It feels humble.
The opening essay resembles a reflective walk, a sequence of interconnected musings, particularly on grief. John-Paul is watching Brideshead Revisited, he is walking through the grounds of Victoria University on his way to a History Conference that starts off tediously with an Education Minister who speaks of herself rather than from an accumulation of listening and then, when Justice Joe Williams suggests the role of the historian is as kaitiaki o te pō (caretaker of the night), includes moments of epiphany. John-Paul is walking through the past as he walks to the conference, retrieving his younger self and more importantly a university friend who had recently died in London. The essay is a deft weave of experience, ideas and feelings: of moving with the past into the future, of processing loss and carrying that loss forward, of shifting the way he carries the dead within him. Reading the essay is akin to taking a walk. I stop by certain vistas and objects and let the embedded ideas reverberate. A plaque, for example, unnoticed by the young John-Paul, now resonates. An old oak tree had been axed by bureaucracy to make room for a single car park.
The second essay also drew me in to close attention as John-Paul navigated his masculinity, his femininity, his gender identity – however we might define such concepts and ways of being. The fact others thought he was gay when he was not gay challenged him as both child and adult. We travel through his school-boy choices that threaten to put him at the bottom of the social ladder. He loathed the misogynistic lyrics of Guns N Roses, he picked leg warmers as his favourite item of clothing and pictured a leg-warmer dance scene when the class sniggered at him, he fell in love with Marlon Brando and cried when Marlon died. He got to shave before his Y8 peers did and it felt like a badge of masculinity. He wondered when he would ever be at the arrival point of himself. When as an adult he became Dean, at the high school where he taught, he wanted to protect the bullied and ended up being called a ‘faggot’. The layerings of confession and experience are deeply affecting. John-Paul asserts this is not a coming-out essay – I see the essay as an opening up of gender experience that resists location within either/or.
If the essays are deeply personal they are also political. One essay considers why Anzac Day irks him: he pinpoints our blind spots (indifference? ignorance? need to ignore? to privilege white narratives?): the New Zealand wars and the Boer war in the claim ‘we’ lost our innocence in Gallipoli. The notion of noble sacrifice. The whole business of remembering ‘them’ when who exactly was ‘them’. The way remembering begins at WWI.
John-Paul teaches (or has taught) history and social studies and that occupation strongly influences the weave of writing. When he visits a beach and the adjacent town with his children, he reflects upon the grave of Parnell but he also reflects upon the graves of Te Puni and his family. The dampened down stories, in the master narratives, are drawn to the light. It feels so important to be reading these essays, to be acknowledging the unspeakable violence and theft and wrongs done to Māori, to be widening our view of history. It feels so right that his students will not be limited to a Pākehā-centric view of the past.
This book feels like part of our coming together; of the contemporary call to reconsider who and how we are at both a personal level and within our communities, both past and present. It is essential reading.
Seraph Press author page
m y h i g h l i g h t s
I have had endless opportunities to transform the days and nights of 2018 with poetry musings. What good is poetry? Why write it? Why read it? Because it energises. Because it connects with the world on the other side of these hills and bush views. Because it gives me goose bumps and it makes me feel and think things.
I am fascinated by the things that stick – the readings I replay in my head – the books I finish and then read again within a week – the breathtaking poem I can’t let go. So much more than I write of here!
I have also invited some of the poets I mention to share their highlights.
2018: my year of poetry highlights
I kicked started an audio spot on my blog with Chris Tse reading a poem and it meant fans all round the country could hear how good he is. Like wow! Will keep this feature going in 2019.
Wellington Readers and Writers week was a definite highlight – and, amidst all the local and international stars, my standout session featured a bunch of Starling poets. The breathtaking performances of Tayi Tibble and essa may ranapiri made me jump off my seat like a fan girl. I got to post esssa’s poem on the blog.
To get to do an email conversation with Tayi after reading Poūkahangatus (VUP) – her stunning debut collection – was an absolute treat. I recently reread our interview and was again invigorated by her poetry engagements, the way she brings her whanau close, her poetry confidence, her fragilities, her song. I love love love her poetry.
My second standout event was the launch of tātai whetū edited by Maraea Rakuraku and Vana Manasiadis and published by Seraph Press. Lots of the women read with their translators. The room overflowed with warmth, aroha and poetry.
At the same festival I got to MC Selina Tusitala Marsh and friends at the National Library and witness her poetry charisma. Our Poet Laureate electrifies a room with poems (and countless other venues!), and I am in awe of the way she sparks poetry in so many people in so many places.
I also went to my double poetry launch of the year. Chris Tse’s He’s So MASC (AUP) – the book moved and delighted me to bits and I was inspired to do an email conversation with him for Poetry Shelf. He was so genius in his response. Anna Jackson’s Pasture and Flock: New and Selected Poems (AUP) delivers the quirkiest, unexpected, physical, cerebral poetry around. The book inspired another email conversation for the blog.
Tusiata Avia exploded my heart at her event with her cousin Victor Rodger; she read her challenging Unity and astonishing epileptic poems. Such contagious strength amidst such fragility my nerve endings were hot-wired (can that be done?). In a session I chaired on capital cities and poets, Bill Manhire read and spoke with such grace and wit the subject lit up. Capital city connections were made.
When Sam Duckor-Jones’s debut collection People from the Pit Stand Up (VUP) arrived, both the title and cover took me to the couch to start reading until I finished. All else was put on hold. I adore this book with its mystery and revelations, its lyricism and sinew; and doing a snail-paced email conversation was an utter pleasure.
I have long been a fan of Sue Wootton’s poetry with its sumptuous treats for the ear. So I was delighted to see The Yield (OUP) shortlisted for the 2018 NZ Book Awards. This is a book that sticks. I was equally delighted to see Elizabeth Smither win with her Night Horses (AUP) because her collection features poems I just can’t get out of my head. I carry her voice with me, having heard her read the poems at a Circle of Laureates event. I also loved Hannah Mettner’s Fully Clothed and So Forgetful (VUP), a debut that won best first Book. How this books sings with freshness and daring and originality.
I did a ‘Jane Arthur has won the Sarah Broom Poetry Award and Eileen Meyers picked her’ dance in my kitchen and then did an anxious flop when I found Eileen couldn’t make the festival. But listening to Jane read before I announced the winner I felt she had lifted me off the ground her poems were so good. I was on stage and people were watching.
Alison Glenny won the Kathleen Grattan Award and Otago University Press published The Farewell Tourist, her winning collection. We had a terrific email conversation. This book has taken up permanent residence in my head because I can’t stop thinking about the silent patches, the mystery, the musicality, the luminous lines, the Antarctica, the people, the losses, the love. And the way writing poetry can still be both fresh and vital. How can poetry be so good?!
I went to the HoopLA book launch at the Women’s Bookshop and got to hear three tastes from three fabulous new collections: Jo Thorpe’s This Thin Now, Elizabeth Welsh’s Over There a Mountain and Reihana Robinson’s Her limitless Her. Before they began, I started reading Reihana’s book and the mother poems at the start fizzed in my heart. I guess it’s a combination of how a good a poem is and what you are feeling on the day and what you experienced at some point in the past. Utter magic. Have now read all three and I adore them.
At Going West I got to chair Helen Heath, Chris Tse and Anna Jackson (oh like a dream team) for the Wellington and poetry session. I had the anxiety flowing (on linking city and poet again) but forgot all that as I became entranced by their poems and responses. Such generosity in sharing themselves in public – it not only opened up poetry writing but also the complicated knottiness of being human. Might sound corny but there you go. Felt special.
Helen Heath’s new collection Are Friends Eectric? (VUP) was another book that blew me apart with its angles and smoothness and provocations. We conversed earlier this year by email.
A new poetry book by former Poet Laureate Cilla McQueen is always an occasion to celebrate. Otago University Press have released Poeta: Selected and new poems this year. It is a beautiful edition curated with love and shows off the joys of Cilla’s poetry perfectly.
Two anthologies to treasure: because I love short poems Jenny Bornholdt’s gorgeous anthology Short Poems of New Zealand. And Steve Braunias’s The Friday Poem because he showcases an eclectic range of local of poets like no other anthology I know. I will miss him making his picks on Fridays (good news though Ashleigh Young is taking over that role).
Highlights from some poets
I spent six weeks reading & writing poems with the students of Eketahuna School. They were divided on the merits of James Brown’s Come On Lance. It sparked a number of discussions & became a sort of touchstone. Students shared the poems they’d written & gave feedback: it’s better than Come On Lance, or, it’s not as good as Come On Lance, or, shades of Come On Lance. Then someone would ask to hear Come On Lance again & half the room would cheer & half the room would groan. Thanks James Brown for Come On Lance.
My fave poetry thing all year has been the beautiful Heartache Festival that Hana Pera Aoake and Ali Burns put on at the start of the year! Spread over an afternoon and evening, across two Wellington homes, with readings and music and so much care and aroha. I wish all ‘literary festivals’ had such an atmosphere of openness and vulnerability!
Poetry-related things made up a lot of my highlights this year. I mean, obviously, winning the Sarah Broom Poetry Prize was … pretty up there. I’m still, like, “Me?! Whaaaat!” about it. I discovered two things after the win. First, that it’s possible to oscillate between happy confidence and painful imposter syndrome from one minute to the next. And second, that the constant state of sleep deprivation brought on by having a baby is actually strangely good for writing poetry. It puts me into that semi-dream-brain state that helps me see the extra-weirdness in everything. I wrote almost a whole collection’s worth of poems (VUP, 2020) in the second half of the year, thanks broken sleep!
A recent highlight for me was an event at Wellington’s LitCrawl: a conversation between US-based poet Kaveh Akbar and Kim Hill. I’m still processing all its gems – hopefully a recording will show up soon. Another was commissioning Courtney Sina Meredith to write something (“anything,” I said) for NZ Poetry Day for The Sapling, and getting back a moving reminder of the importance of everyone’s stories
This year I read more poetry than I have in ages, and whenever I enjoyed a book I declared it my favourite (I always do this). However, three local books have especially stayed with me and I will re-read them over summer: the debuts by Tayi Tibble and Sam Duckor-Jones, and the new Alice Miller. Looking ahead, I can’t wait for a couple of 2019 releases: the debut collections by essa may ranapiri and Sugar Magnolia Wilson.
Having Cilla McQueen roll and light me a cigarette outside the Blyth
Performing Arts Centre in Havelock North after the poets laureate
Poemlines: Coming Home reading (20.10.2018) and then smoking together,
cigarettes in one hand and tokotoko in the other. Then, with the relief that
comes after a reading, throwing the cigarette down into a bed of pebbles, hoping
the building doesn’t catch on fire.
Selina Tusitala Marsh
To perform my ‘Guys Like Gauguin’ sequence (from Fast Talking PI) in Tahiti at the Salon du Livre, between an ancient Banyan Tree and a fruiting Mango tree, while a French translator performs alongside me and Tahitians laugh their guts out!
For desiring ‘em young
So guys like Gauguin
Could dream and dream
Then take his syphilitic body
This year I’ve been lucky enough to read my work in some incredible settings, from the stately dining room at Featherston’s Royal Hotel, to a church-turned-designer-clothing-store in Melbourne’s CBD. But the most memorable reading I’ve done this year was with fellow Kiwis Holly Hunter, Morgan Bach and Nina Powles in a nondescript room at The Poetry Cafe in London, which the three of them currently call home. It was a beautiful sunny Saturday that day, but we still managed to coax people into a dark windowless room to listen to some New Zealand poetry for a couple of hours. This is a poetry moment I will treasure for many years to come.
I’ve had the pleasure of hearing and reading plenty of poems by plenty of poets this year. But far and away the most rejuvenating poetry experience for me during 2018 was working with the children at Karitane School, a small primary school on the East Otago coast. I’m always blown away by what happens when kids embark on the poetry journey. Not only is the exploration itself loads of fun, but once they discover for themselves the enormous potentiality in language – it’s just go! As they themselves wrote: “Plant the seeds and grow ideas / an idea tree! Sprouting questions … / Bloom the inventions / Fireworks of words …” So I tip my cap to these young poets, in awe of what they’ve already made and intrigued to find out what they’ll make next.
Found on the beach – is it a fossil?
jawbone? hunk of coral? No – it’s a wrecked,
fire-blackened fragment of Janola bottle,
its contorted plastic colonised by weeds
and sandy encrustations, printed instructions
still visible here and there, pale blue.
Growing inside the intact neck, poking out
like a pearly beak, a baby oyster.
Living in Bluff for twenty-two years now, I’ve sometimes felt out on a limb, in the tree of New Zealand poetry. I appreciate the journey my visitors undertake to reach me. A reluctant traveller myself, a special poetry moment for me was spent with Elizabeth Smither and Bill and Marion Manhire at Malo restaurant, in Havelock North. Old friends from way back – I haven’t seen them often but poetry and art have always connected us
In September, I was fortunate enough to be able to attend The Rosario International Poetry Festival in Argentina. It was poetic and romantic; late night dinners in high rise restaurants, bottles of dark wine served up like water, extremely flowery and elaborate cat-calling (Madam, you are a candy!) and of course sexy spanish poetry and sexy poets.
On our last night, Marcela, Eileen and I broke off and went to have dinner at probably what is the only Queer vegan hipster restaurant/boutique lingerie store/experimental dj venue in the whole of Argentina, if not the world. Literally. We couldn’t find a vegetable anywhere else. We went there, because Eileen had beef with the chef at the last place and also we had too much actual beef generally, but I digress.
So anyway there we are eating a vegan pizza and platter food, chatting. I accidentally say the C word like the dumbass crass kiwi that I am forgetting that it’s like, properly offensive to Americans. Eileen says they need to take a photo of this place because it’s camp af. I suggest that Marcela and I kiss for the photo to gay it up because I’m a Libra and I’m lowkey flirting for my life because it’s very hot and I’ve basically been on a red-wine buzz for five days. Eileen gets a text from Diana, one of the festival organisers telling them they are due to read in 10 minutes. We are shocked because the male latin poets tend to read for up to 2584656 times their allocated time slots, so we thought we had plenty of time to like, chill and eat vegan. Nonetheless poetry calls, so we have to dip real quick, but when we step outside, despite it being like 1546845 degrees the sky opens up and it’s pouring down. Thunder. Lightening. A full on tropical South American storm!
It’s too perfect it’s surreal. Running through the rain in South America. Marcella and I following Eileen like two hot wet groupies. Telling each other, “no you look pretty.” Feeling kind of primal. Throwing our wet dark curls around. The three of us agree that this is lowkey highkey very sexy. Cinematic and climatic. Eventually we hail a taxi because time is pressing. Though later that night, and by night I mean at like 4am, Marcella and I, very drunk and eating the rest of our Vegan pizza, confessed our shared disappointment that we couldn’t stay in the rain in Argentina… just for a little while longer….
We get to the venue and make a scene; just in time and looking like we’ve just been swimming. Eileen, soaking wet and therefore looking cooler than ever, reads her poem An American Poem while Marcella and I admire like fangirls with foggy glasses and starry eyes.
“And I am your president.” Eileen reads.
“You are! You are!” We both agree.
A poetry moment/reading. ‘The Body Electric’ session at this year’s Litcrawl was a celebration of queer and/or non-binary poets (Emma Barnes, Harold Coutts, Sam Duckor-Jones, essa may ranapiri, Ray Shipley ). Curated and introduced by poet Chris Tse (looking incredibly dapper in a sparkly jacket) it was an inspiring antidote to bullying, shame, and the pressure to conform.
A book. Not a book of poetry as such, but a book by a poet (and perhaps it’s time to be non-binary about genre as well as gender?). Reading Anne Kennedy’s The Ice Shelf I was struck by how unerringly it highlights the salient characteristics of this strange era we call the anthropocene: crisis and denial, waste and disappearance, exploitation, and the destruction caused by broken relationships and an absence of care.
A publishing event. Seraph Press published the lovely tātai whetū: seven Māori women poets in translation, with English and Te Reo versions of each poem on facing pages (and a sprinkling of additional stars on some pages). An invitation, as Karyn Parangatai writes in her similarly bilingual review of the book in Landfall Review online (another publishing first?) ‘to allow your tongue to tease the Māori words into life’.
Best writing advice received in 2018. ‘Follow the signifier’.
essa may ranapiri
There are so many poetry highlights for me this year, so many good books that have left me buzzing for the verse! First book I want to mention is Cody-Rose Clevidence’s second poetry collection flung Throne. It has pulled me back into a world of geological time and fractured identity.
Other books that have resonated are Sam Ducker-Jone’s People from the Pit Stand Up and Tayi Tibble’s Poūkahangatus, work from two amazingly talented writers and friends who I went through the IIML Masters course with. After pouring over their writing all year in the workshop environment seeing their writing in book form brought me to tears. So proud of them both!
Written out on a type-writer, A Bell Made of Stones by queer Chamorro poet, Lehua M. Taitano, explores space, in the world and on the page. They engage with narratives both indigenous and colonial critiquing the racist rhetoric and systems of the colonial nation state. It’s an incredible achievement, challenging in form and focus.
I’ve been (and continue to be) a part of some great collaborative poetry projects, a poetry collection; How It Colours Your Tongue with Loren Thomas and Aimee-Jane Anderson-O’Connor, a poetry chapbook; Eater Be Eaten with Rebecca Hawkes, and a longform poetry zine; what r u w/ a broken heart? with Hana Pera Aoake. Working with these people has and continues to be a such a blessing!
I put together a zine of queer NZ poetry called Queer the Pitch. Next year I’m going to work to release a booklet of trans and gender diverse poets, I’m looking forward to working with more talented queer voices!
The most important NZ poetry book to be released this year, it would have to be tātai whetū. It was published as part of Seraph Press’s Translation Series. It features work from seven amazing wāhine poets; Anahera Gildea, Michelle Ngamoki, Tru Paraha, Kiri Piahana-Wong, Maraea Rakuraku, Dayle Takitimu and Alice Te Punga Somerville. These poems are all accompanied by te reo Māori translations of the work. I can only imagine that it would be a super humbling experience to have your work taken from English and returned to the language of the manu. By happenstance I was able to attend the launch of tātai whetū; to hear these pieces read in both languages was a truly special experience. It’s so important that we continue to strive to uplift Māori voices, new words brought forth from the whenua should be prized in our literary community, thanks to Seraph for providing such a special place for these poems. Ka rawe!
This has been a year of particularly memorable poetry moments for me, from the launch of Seraph Press’s bilingual anthology Tātai Whetū in March and dazzling readings by Mary Rainsford and Tim Overton at a Poetry Fringe Open Mike in April, to Litcrawl’s inspiring installation in November of essa may ranapiri and Rebecca Hawkes hard at work on their collaborative poetry collection in a little glass cage/alcove at the City Art Gallery. They hid behind a table but their creative energy was palpable even through the glass. I would also like to mention a poetry salon hosted by Christine Brooks, at which a dog-and-cheese incident of startling grace brilliantly put into play her theory about the relevance of improv theatre theory to poetry practice. Perhaps my happiest poetry moment of the year took place one evening when I was alone in the house and, having cooked an excellent dinner and drunken rather a few small glasses of shiraz, started leafing through an old anthology of English verse reading poems out loud to myself, the more the metre the better. But the poems I will always return to are poems I have loved on the page, and this year I have been returning especially to Sam Duckor-Jones’s People from the Pit Stand Up, while I look forward to seeing published Helen Rickerby’s breath-taking new collection, How to Live, that has already dazzled me in draft form.
happy summer days
and thank you for visiting my bog
Luminescent is one of my favourite poetry reads in 2017. Check out this new interview with Helen Rickerby.
From Seraph Press:
We hope you can join us to celebrate the launch of these two exciting new chapbooks with a French connection, both of which grew out of Anna Jackson’s time as Katherine Mansfield Fellow in 2016.
When: Thursday 26 October 2017, 5.30 pm
Where: Vic Books, Easterfield Building, Kelburn Parade, Wellington
About the books:
Dear Tombs, Dear Horizon
by Anna Jackson
In 2016, while the Katherine Mansfield Fellow in Menton, France, Anna Jackson began recording some of her thoughts and impressions in a notebook. Over the three months of her tenure this grew into a lively and charming poetic essay, which weaves her own experiences with her engagement with other writers and texts, including her predecessor Katherine Mansfield.
Last Stop Before Insomnia / Dernier Arrêt Avant l’Insomnie
by Marlene Tissot, translated by translated by Anna Jackson and Geneviève Chevallier
Seraph Press Translation Series No. 3
This bi-lingual taster of deliciously playful poetry by French poet Marlene Tissot takes you on a wild ride through the existential, the sensual and the sleep-deprived.
To find out more about the books, or to buy them online, visit here. seraphpress.co.nz.
Two Lagoons, Trevor Hayes, Seraph Press, 2017
‘I have invented
myself this morning.
I have not imagined.’
from ‘Ash Song’
Trevor Haye’s Two Lagoons offers various resonant pools to sink into—forgive the pun, I rather like the idea of a poem as lagoon—and then establishes myriad links between. There is a here to there shimmer; from the South Island’s West Coast to South America; from a lived world, physically detailed and sensually lifted, to abstract movements, imaginings, sidesteps. The poems – there are 12 – are like surprise pockets: luminous with fizzing alchemy, grace, agility and rich layerings. The placement of this next to that, of the 19 letters in the mailbox alongside the milkman’s history, of the ‘trickery of phrasal verbs’ next to ‘the benefits of good manners’ is akin to sparks on the line. It’s a delight to read and I look forward to the next book.
I pack my suitcase lightly.
I have a toothbrush and floss,
as even nowhere is better
with healthy gums. I have some
reading material: a guide
to the extinct flora and fauna
and a book that translates silence.
I intend to visit the empty museums
and the vacant parking lots.
I’ll be able to take photos of nothing
but the wind. It seems unlikely
I will meet anybody there, as recent
political developments and negative
coverage by news media have discouraged
the travelling public.
©Trevor Hayes from Two Lagoons
Luminescent, Nina Powles, Seraph Press, 2017
Nina Powles’s debut poetry collection, Luminescent, is a set of five slender chapbooks in a night-sky sleeve. Each book is like a constellation, with a particular woman, its luminosity. (Auto)biography of Ghost catches a ghost who was said to haunted Queen Margaret College’s bell tower where she fell to her death; Sunflowers becomes a conversation and an homage to Katherine Mansfield; Whale Fall imagines the world of Betty Guard, perhaps the first Pākehā woman to have lived in the South Island; Her and the Flames draws upon Phyllis Porter who died at 19 when her costume caught alight in a theatrical performance; The Glowing Space Between the Stars turns to Beatrice Tinsley, a New Zealand cosmologist. There are notes in the back of each booklet that background each woman.
I love the way the poems talk to each other within each booklet and between booklets.
The poetry extends itself in imaginings, yet grounds itself in the light of an autobiographical presence and research. Motifs such as dust, moths, ghosts and dreams are like connecting lacework that render a sense of ethereal wholeness to the set. The poems accumulate exquisitely textured voice; confident and idiosyncratic, searching and still, melodic and spare, intricate and warm. Every poem is a jewel of a thing.
Sunflowers takes several Mansfield experiences as starting points for poems: she burnt all her letters and journals when she was in her early turbulent twenties; she wrote about a writing epiphany after seeing a Van Gogh painting for the first time; she recorded a dream after her brother’s death. In an early chapbook, Girls of the Drift, Nina put New Zealand poets, Jessie Mackay and Blanch Baughan together in poetry. The poems offered surprising pathways into our first women poets in print alongside a young contemporary poet forging her own poetic trails. With the Mansfield poems, I feel like I am sitting in a room in the South of France, and each poem resembles an aperture in the wall that pulls me into a Mansfield dreaming.
‘Fever dream’ is without punctuation, a slim short-lined poem that sizzles with ‘s’ alliterations that cut into the feverish night. In the midst of the hissing heat (stinging scorching nerves skin simmers inside struck bones sky she rising), two words cut into the fevered skin (teeth cracking). The poem is visually alert with its storm inflected sky. What stamps the poem indelibly is the final image:
bones cracking under
a New Zealand sky
and she is the wave
rising to meet it
‘She’ is Mansfield, and in that wave of fevered self, I am hooked into Mansfield musings.
The poems tap nostalgia, calling upon the senses to electrify the page. ‘Silver dream’ is set in a London garden in 1915, where Katherine bites into the pear her brother hands her:
It tastes like jam sandwiches
and sunshine on her mother’s hair.
After physical details that light the scene, the poem shifts to dream again, to the ghost-like vein that runs through all the poems, and it’s a surprising nudge. The pear leads us to ‘where everything is silver/ and he is alive again’, and the idyllic setting shifts. We are also lead to the collection’s title, as the whole poem glows with ache and loss in subtle overlaps:
Later she plants a pear tree
in one of her stories,
makes it glow in the window,
makes it touch the moon.
Several booklets feature erasure poems, where blocks of ghostly grey enable certain words to shine out as a poem. That we can see the journal entry in ‘Lucid dream’, through the grey veil, adds to the dream-like state of shiver and float. I pictured the whole journal translated into grey-veil poems. The lines that lift up feel so apt: ‘Time/ was shaken/ out of me.’ The final word, ‘violet’, pulls back to sweet-scented earth, to that nostalgic hunt for elsewhere places and elsewhere memories.
I love this set of poetry booklets, because we still need light shining on the shadows to recover the women who did extraordinary things, or everyday things, so they form a constellation, a suite of coordinates that might shift our contemporary means of navigation.
The Glowing Space Between Stars again links to the collection’s title, and underlines the idea that poetry can light up things, experiences, relations, ideas, feelings, memory. Beatrice, the cosmologist, shows how the space between things is the domain of curiosity. And for me, that feeds back into the way poetry is also curious about the gaps between. When you enter the poem gap, you enter a luminous field that so often surprises or delights or upturns.
Nina lists things in Beatrice’s childhood room; out of these things grew the adult curiosity (did anyone do this for Einstein or Newton?). She imagines the girl at 16:
then rushing home immediately
to write down what she’s seen,
the glowing space between stars,
how it seems to have changed
since the night before.
Nina is making poems and she is making biographies, the one coming out of the other, and it is as though she is not tied to the rules of one or the rules of the other but can imagine and detour and intrude. In ‘Minutes’, the poet moves behind the galaxy facts, and the ongoing discoveries, to reveal the hiding narratives, the domestic underlay:
The light emitted by distant galaxies
takes billions of years to reach us.
It comes from a far younger universe,
somewhere where no one ever worried
about ironing their husband’s shirts
or arranging after-school childcare
because there were no ironing boards
and no children and no husbands
Five glowing booklets of poems that shine beyond the individual poems to gather a necessary and inventive, a lyrical and seismic, view of five very different women. I love this collection with its feminist energy, its poetic agility and its warm heart.
This, too, was the perfect time
to measure things in infinities.
from ‘Red (ii)’
Nina Powles, half Malasian-Chinese and half Pākehā, is from Wellington where she graduated with an MA in Creative Writing from Victoria University. There, she won the 2015 Biggs Family Prize for Poetry for Luminescent’s first draft. She writes poetry, non-fiction and makes poetry zines. Her chapbook, Girls of the Drift, was published by Seraph Press in 2014.
Seraph Press page
Nina Powles web page