Poster at Massey Albany
[photograph: Jack Ross]
Funnily enough, last weekend I was teaching a poetry course in the very room this poster adorned - or should I say "infested." It was, admittedly, a session on two contemporary poets:
a New Zealander and a West Indian, but the cap still seems to fit, somehow.
After all, who
else around here can be held responsible for a Doctoral thesis entitled "
An Elusive Identity: Versions of South America in English Literature from Aphra Behn to the Present Day" (University of Edinburgh, 1990)? Written, incidentally, on a large institutional mainframe computer - which did take a bit of mastering, but which has certainly prepared me pretty well for all the idle tapping around I've been doing on them ever since.
I guess the only Mexican poets I looked at in any depth in that epoch-making masterwork were the sublime Renaissance genius
Sor Juana Inés de la Cruz and (closer to the present day) Nobel Prize-winner Octavio Paz, together with certain of his contemporaries - I don't actually
recall any nineteenth-century Mexican poets worthy of being discussed alongside the Argentine José Hernández (author of the epic
Gaucho Martín Fierro). I could well be wrong, though.
Anyway, to hell with those dweebs! They're just jealous. Let them go back to their haggling and huckstering in the precincts of the temple. It gave me great pleasure to shake the dust of the place off my feet, and instead head north for a day-long road trip with my good friend and fellow poetry-obsessive
David Howard, up here for the
Going West Festival.
[Howard in Helensville]
I've known David for many years. We first met in Auckland in the late nineties, when he was making a living as an entrepreneurial pyrotechnician and events-organiser. He could never completely submerge the writer in him, though. The books have continued to appear in steady succession since the mid 80s:
- Head First. Auckland: Hard Echo Press, 1985.
- In the First Place: Poems 1980-1990. Photographs by Paul Swadel. Hazard Poets Series. Ed. Rob Jackaman. Christchurch: Hazard Press, 1991.
- Holding Company. Christchurch: Nag’s Head Press, 1995.
- Shebang: Collected Poems 1980-2000. Wellington: Steele Roberts, 2001.
- How to Occupy Our Selves. Photographs by Fiona Pardington. Wellington: HeadworX, 2003.
- The Word Went Round: Poems. Paintings by Garry Currin. Dunedin: Otago University Press, 2006.
- S(t)et. Port Chalmers, Otago: The Gumtree Press, 2009.
- Beyond What is Said to What Is. Graphics by Roger Hickin. Governor's Bay, Lyttelton: Cold Hub Press, 2010.
- The Incomplete Poems. Governor's Bay, Lyttelton: Cold Hub Press, 2011.
- You're So Pretty When You're Unfaithful To Me. Auckland: Holloway Press, 2012.
After he left Auckland around the turn of the millennium we stayed in touch, even after he moved to the frigid paddocks of Purakanui, north of Dunedin. Financial necessity forced him to visit Auckland from time to time to organise fireworks shows (his principal source of income), and most times we'd end up heading out into the wilds on various crazed excursions to the heart of the New Zealand dream ...
A surprising number of those drives ended up in Warkworth, mostly involving a trip to the Unicorn Bookshop, then run by the late lamented Richard Wasley. I wrote an obituary for Richard
here, but since then his beautiful
Unicorn Bookshop has reopened under new ownership. They'd been enlightened enough to offer me a $20 book token in their monthly prize draw, thus offering another reason for turning our footsteps in that direction.
[Welcome to the Kaipara!]
[Still a bit of colonial pizazz left in the old town]
[along with other things ...]
Scary, isn't it? If I'd been more assiduous, I would have got some shots of the bizarre old cinema complex at the bottom of the hill as you drive out of town, which is now home to a huge collection of art and antiques, only occasionally open to the public - mostly on weekends. This time we had to content ourselves with staring through the windows and speculating about the effects of damp on pre-loved paperbacks ...
The whole point of these road trips is to barrel along in the car in no particular direction, with no clear destination in mind, shooting the breeze about life, books, poetry, and the doings of mutual friends and acquaintances. We originally met through poet-priest the Rev.
Leicester Kyle, long before his departure for the Coast and a date with ecological destiny. We're also the joint executors of his literary estate, so there are generally a few things to sort out about that.
These are not particularly high-pressure conversations. I can't recall us ever having a serious falling out in the fifteen or so years of our friendship. I find a lot of his work incomprehensible, and much of mine seems to him (I suspect) perversely raw and underwritten. Who cares? We get on with the job, always with a certain respect for each other's judgement and dedication to the task in hand.
[The new-look Unicorn Bookshop (Warkworth)]
[The children's section]
And yes, I asked permission before taking these shots. We
did spend a fair amount of money on
various obscure books of poetry in there, so I guess Tania thought it would be churlish to refuse. She insisted on staying out of the photo, though. Which is a shame, because it's a beautiful little shop she's building there. Much of Richard's old stock still remains, but her own taste for children's books is beginning to make real inroads.
And so the day meandered on. We'd started from Glen Eden, driven north along the coast, via Helensville, then crossed over to Warkworth. By now it was time to hurry David off to the airport - which took a tiny bit longer than anticipated, but still got us there with time for him to check in.
As he left, he gave me a copy of this beautiful little book of poems by Lithuanian poet Tomas Venclova (David does love those obscure Eastern-European writers) ... so I'll close with some lines from one of his sparse, spare, fascinatingly deadpan poems, "
In the Lake Region" (trans. Ellen Hinsey):
The past does not enlighten us — but still, it attempts
to say something. Perhaps the crow knows more about us
and about history's dirt than we do ourselves.
Of what does she want to remind us? Of the black photos,
the black headphones,
of radio operators, black signatures under documents,
of the unarmed with their frozen pupils — of the prisoner's
boot or the trunk
of the refugee? Probably not. We will remember this anyway,
though it won't make us any wiser. The bird signifies
only stoicism
and patience. If you ask for them, your request
will be granted.
Pretty cool, huh?
If you want to check out some of David's own poetry, why not go to his
author page on the nzepc?
