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[cover image: Sara Hughes / cover design: Christine Hansen]
New NZ Poets in PerformanceEdited by Jack Ross.
Poems selected by Jack Ross & Jan Kemp
(Auckland: Auckland University Press, 2008)
With the appearance of this third and final volume of our series, it seems appropriate to say a few things about the “NZ Poets in Performance” project as a whole. The trilogy of anthologies Jan Kemp and I have put out through Auckland University Press include (in all) 27 + 27 + 28 =
82 poets and 110 + 87 + 97 =
294 tracks on 6 CDs. The first poet included, A. R. D. Fairburn, was born in 1904; the latest, Richard Reeve, in 1975.
‘If it doesn’t exist on the Internet, it doesn’t exist.’ One of our recent reviewers quoted this provocative
apothegm from US poet and conceptual artist Kenneth Goldsmith. I don't know if I entirely agree - books and (more to the point) live performances have a huge importance still - but we've certainly taken the dictum to heart. There's now a complete index site devoted to the
Aotearoa NZ Poetry Sound Archive (2002-4) and its predecessor, the
Waiata Archive (1974). This includes
pages on each of our 200-odd poets, together with full bibliographical details of our three AUP publications and the original 3-LP set
NZ Poets Read their Work (1974).
It's to be hoped that at some point in the future we may be able to link to a number of soundfiles from the archive itself, but for the moment (largely for copyright reasons) the only tracks available online are at our NZEPC
12 Taonga feature, and on the NZEPC's own
author pages.
We've received some brickbats as well as many bouquets from our numerous reviewers. Some have taken exception to our choice of titles. Certainly, I concur that if we'd chosen to call any one of our volumes
The Classic or
The Contemporary or
The New NZ Poets in Performance, I think it would be perfectly legitimate to interpret this as yet another exercise in building up a definitive canon of Kiwi poets. But then (of course) we didn't.
Classic,
Contemporary and
New NZ Poets in Performance, our actual titles, clearly imply the existence of many other "classic," "contemporary" and "new" poets whom we haven't been able to include for a variety of reasons (discussed in more detail in the books themselves). I'm not myself very interested in deciding who's
in and who's
out in a more loaded sense. The more the merrier is my instinct when it comes to our rich and fruitful poetry scene.
There also seems to be some dispute over the term “in performance." Personally I don’t see the presence (or absence) of a live audience as the sole criterion of performance. Do all the members of a movie's eventual audience have to be present when an actor records each take of a scene? And yet we continue to speak of Robert de Niro’s “performance” in
Raging Bull or
Taxi Driver. Or is it only stage actors who can be said to “perform”?
For the record, then, I'd like to state my opinion that a poet's studio recording of a poem can be every bit as much of a "performance" as the interpretation given at a live poetry reading. Our intention all along has been to include the best versions available to us of New Zealand poets reading their own work. I fail to see any ambiguity in our use of the term, but if anyone has been misled by it, I certainly apologise for the confusion.
I guess our desire all along was that the book could be used to promote awareness of NZ poetry in schools and tertiary institutions (though of course it’s been priced to appeal to individual consumers as well).
With that in mind, I’ve followed my own example with the
two previous volumes by compiling a
thematic breakdown of all the poems in the anthology (and it took quite a while, too, so don’t wax too sarcastic at my expense. I
know that some of the categories are a bit suss):
• ANIMALS
• CHILDHOOD
• ELEGY
• FAMILY
• FANTASY & IDENTITY
• FRIENDSHIP
• HISTORY
• LANDSCAPE & LOCALITY
• LANGUAGE & WRITING
• LIFE, THE UNIVERSE & EVERYTHING
• LOVE
• PAIN & SUFFERING
• PEOPLE
• RELATIONSHIPS & SEXUAL POLITICS
• SUBURBIA
Another way of choosing a poet to talk about in your classroom (or your writing workshop, for that matter) might be through
region and locality. Why not try to find a poet who comes from near where you live? Is there anything about their subject-matter, or their approach to writing, which seems to you to intersect fruitfully with the characteristics of your area?
Many of the poets in this book have associations with more than one place, but some (such as Tusiata Avia or Richard Reeve) are very strongly identified with a particular place, and constantly revisit it as subject-matter in their work.
Here are some of the places on offer:
• AUCKLAND
• BULGARIA
• CHRISTCHURCH & CANTERBURY
• COROMANDEL
• DUNEDIN & OTAGO
• NAPIER
• NORTHLAND
• NIUE
• WELLINGTON
Finally, further information may be accessed at the following websites:
• Aotearoa New Zealand Poetry Sound Archive: Bibliographical Aids for the Use of Those Consulting the Waiata Archive (1974) and the AoNZPSA (2002-2004) - Audio Recordings available in Special Collections, University of Auckland Library and in the Alexander Turnbull Library, Wellington.
(This is our own dedicated site, with full details of the AoNZPSA project).
• Authors. The New Zealand Electronic Poetry Centre.
(A select but valuable list of major NZ poets with pictures, recordings, and critical reactions).
• Homepage. Auckland University Press.
(Details of books and other publications by a number of the authors in the anthology).
• New Zealand Literature File. University of Auckland Library Website.
(This has thorough – though not always entirely reliable – bibliographies for many major New Zealand writers).
• Twelve Taonga. The New Zealand Electronic Poetry Centre.
(A brief account of the creation of the 1974 and 2004 recorded poetry archives, which were the principal source for this series of books).
• New Zealand Writers. The New Zealand Book Council Website.
(This has pictures and short biographical and critical summaries adapted from Roger Robinson & Nelson Wattie's Oxford Companion to New Zealand Literature (Melbourne: Oxford University Press, 1998), but with updated information and supplementary entries on more recent writers).
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