My new book Haunts is available today!

Unpacking Copies of Haunts (27/6/24)
[photograph: Bronwyn Lloyd

The official publication date for my new collection of short stories, Haunts, is today, Monday 1st July, 2024.

Cover image: Graham Fletcher (by courtesy of the artist) /
Cover design: Daniela Gast (2024)

As you can see, it does bear a certain resemblance to my previous collection, Ghost Stories, also published by Lasavia Publishing five years ago.

Cover image: Graham Fletcher (by courtesy of the artist) /
Cover design: Daniela Gast (2019)

Once again, it's been a great pleasure to work on the book with the Lasavia team: editor Mike Johnson, and designers Daniela Gast & Rowan Johnson. Again, just like last time, I owe a big thank you to Graham Fletcher for the use of his cover image, and (as ever) to my brilliant wife Bronwyn Lloyd for invaluable advice at every stage. Thanks, too, to Tracey Slaughter for her comments on the typescript at a crucial point of the process.

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So what is the book about? The easiest thing might just be to quote from the blurb:

'As Jack Ross stated in his latest collection Ghost Stories, ‘We’re most haunted by that which we’ve worked hardest to deny and eradicate from our lives.'

- Brooke Georgia, Aubade (2022)

What do we actually mean by the word haunt? In this new set of stories inspired by the term, Jack Ross invokes a series of his favourite haunts via voices from the past, beginning with Samuel Butler’s Erewhon and concluding with Emanuel Swedenborg.
In between he visits with Irish ghost-story maestro Joseph Sheridan Le Fanu, along with others ranging from James Joyce to H. P. Lovecraft – not to mention Scheherazade herself, creator / narrator of The 1001 Nights.
Most importantly of all, perhaps, he tries to settle accounts with his own father, the architect of a vast entangled empire of native bush and weeds at the back of their suburban quarter-acre section in Mairangi Bay.
The book ends with the novella Cartographies of the Afterlife, an exploration of the penumbra between life and death, based on accounts from recent visitors.
In the immortal words of Bette Davis: ‘Fasten your seatbelts, it's going to be a bumpy night.’

Jack Ross is the author of six poetry collections, four novels, and four books of short fiction. His previous collection, Ghost Stories (Lasavia, 2019), has been prescribed for writing courses at three local universities. He’s also edited numerous books, anthologies, and literary journals, including (most recently) Mike Johnson’s Selected Poems (2023).
He blogs at http://mairangibay.blogspot.com/.

Brooke Georgia: Aubade (26/3-17/4/2022)

The quote featured above comes from the catalogue for Brooke Georgia's solo exhibition Aubade, at Public Record in Ponsonby.

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Lasavia Publishing

Another vital question is how you can obtain a copy of the book? We're planning a booklaunch a bit later in the year, but in the meantime, if you'd like to order one online, it's available from the following websites:

• Google Books
• Amazon.com
• Amazon.com.au
• Dussmann das KulturKaufhaus
• Fishpond
• Foyles
• Hatchards
• Mighty Ape
• The Nile
• Thrift Books
• Wheelers
  
  
• Lasavia Publishing
37 Crescent Rd West
Ostend
Waiheke Island
Auckland 1081
https://www.lasaviapublishing.com/

RRP: $NZ 30.00 (+ postage)

Should you buy a copy? Well, obviously, that's between you and your conscience, but I'll conclude by quoting a few extracts from the Lasavia manifesto, written by Waiheke poet and novelist Mike Johnson:

‘When Leila Lees and I first considered establishing Lasavia Publishing, less than one in a hundred manuscripts submitted to publishers reached publication. ... Manuscripts submitted to publishers were, and still are, routinely returned unopened. ‘Mechanisms of exclusion’ as Foucault called them, are rife in the present publishing climate, particularly in New Zealand.

... Publishers distrust the wild card, that which might put readers too far out of their comfort zones, as if comfort was somehow the purpose of literature. Both writers and readers lose out. Real grass roots work is lost or supplanted by celebrity culture. Only indy publishers, who don’t have to carry the overheads of big publishers, will be light enough on their feet to thrive in the new publishing environment."

Recent books issued by Lasavia include Max Gunn's Paybook, a novel by Graham Lindsay; Aucklanders, a collection of stories by Murray Edmond; and Mike Johnson's own Selected Poems, fruit of five decades' work in the medium.

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Isabel Michell: Luigi checks it out (1/7/24)

Tracey Slaughter: Devil's Trumpet

Tracey Slaughter (15-4-21)
[All launch photos by Bronwyn Lloyd]

It was a dark and stormy night in Kirikiriroa. There were roadworks outside Mercer which delayed us by half an hour or so, but when we finally got to Poppies Bookshop, a block back from Victoria Street, we found that the faithful had not deserted the cause. Once again, the place was overflowing with people.

Tracey's publisher Fergus Barrowman had come up from Wellington. Bronwyn and I had come down from Auckland. It was students from Waikato Uni and the local literati that really packed the space, though. I could hardly hear myself think!

MC Jack Ross reads out his launch speech

You'll notice Tracey's new book in the foreground of the picture above.

VUP Publisher Fergus Barrowman speaks about Tracey's book

Fergus was as witty as ever, quoting from the recent Spinoff article by Catherine Woulfe which lists "The sexiest lines from New Zealand’s sexiest new book, Devil’s Trumpet."

"Publicity like this is music to a publisher's ears," as he said.

Dave Taylor & Jack Ross

Here I am beside Tracey's Mayhem co-editor and long-time literary accomplice, Dave Taylor.

Fergus Barrowman with VUP authors Catherine Chidgey, Tracey Slaughter & Essa Ranapiri

And here's my launch speech for the book:

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Tracey Slaughter: Devil's Trumpet (Wellington: VUP, 2021)

What do dead girls talk about? They don’t ever talk to me.
– “ladybirds” [169]

We have a stage three creative writing course at Massey University, where I work, called "Starting Your Manuscript." The course is designed to ask students to analyse the kinds of decisions authors make when creating a book-length collection of stories or poems. The intention, of course, is to get them to apply the same thinking to their own writing.

When I was asked to contribute one example of a thoroughly thought-through collection to the course materials, I realised that – among the contemporary New Zealand writers I was determined to get the students to focus on – only one book stood out for me: I accordingly chose Tracey Slaughter's 2016 book of short stories deleted scenes for lovers.

Tracey Slaughter: deleted scenes for lovers (Wellington: VUP, 2016)

I still think that's a marvellous book, and every time I look through it I'm struck at how well it builds up a collective sense of atmosphere, and how thoroughly it paints the small-town New Zealand backdrop of most of the stories. Some of the individual pieces – “Consent,” for instance – strike like lightning bolts, but they strike a prepared audience, in a carefully prepared context.

Her new book, Devil’s Trumpet, is better. I have to say that that came as a bit of a surprise to me when Tracey first lent me the typescript. At most I guess I was expecting something as good as 'deleted scenes'. But there are some extra points about this one which work very much in its favour.

Tracey Slaughter: The Longest Drink in Town (Auckland: Pania Press, 2015)

Deleted scenes for lovers, as a collection, was focussed around the separately published, tour-de-force piece The Longest Drink in Town. I love that story, its multiple plotlines, its central, terrible incident, too tragic, almost, to be spoken aloud.

Tracey Slaughter: if there is no shelter (UK: AdHoc Fiction, 2020)

This time, too, Tracey has focussed her collection around the novella-length story if there is no shelter. That story is atmospheric in the extreme. Despite its being set in an unnamed city (possibly not a million miles from here), which has recently suffered a catastrophic earthquake, and despite the dark love story it tells, it reminds me more than anything of Rosie Scott's classic 1992 novel Feral City, set in a phantasmagoric future Auckland, ravaged by the economic reforms of the late twentieth century. And, as in that novel, small-scale human relationships are all that retain any value among the rubble of the past.

Rosie Scott: Feral City (1992)

Over the past few years, Tracey has been experimenting more and more with flash fiction. Partially, I guess, because it's become such a popular form here in New Zealand and worldwide, but mainly (I suspect) because in it she can combine the intensity of her stories with the cut-throat verbal directness of her poetry.

As I started to read the typescript of her new collection, I followed my usual practice of rationing myself to two stories per night. I can't read much more than that without losing focus on the individual scenes and characters. That was how I first read deleted scenes for lovers, and I assumed that the same technique would work with Devil's Trumpet.

Not so. It might sound like a small point, but it's one of those technical decisions which can be devastatingly effective in context. I’d read a long story, then start the next one, subconsciously drawing in breath for another long haul, only to find that it stopped at the bottom of the page!

Nor was it as simple as alternating ‘normal’-length stories with flashes. Sometimes Tracey puts three short pieces in a row, other times only two. The longer ones, too, come in twos and threes. You never know that you’re going to get next.

That's what I mean by really shaping a manuscript. I'd read many – by no means all – of the stories before, but the layered, textured way they were folded into the mix made the book as a whole seem more like the product of a single creative impulse than the more familiar showcase for many different moods.

Fata Morgana mirage

The book is devastatingly easy to read. It beguiles you in, like a fata morgana into a haunted wood where you literally have no idea where you're going to end up.

So what are the high-points those of you who’ve just bought – or are about to buy – this book are going to experience? Well, besides that beautiful, meditative, central novella, there are mosaic stories such as “postcards are a thing of the past” or “some facts about her home town”. Then there are the teasing complexities (perhaps particularly for those of us in the trade, but really for all attentive readers) of such stories as “point of view” or “stage three.”

Tracey Slaughter: Her body rises (Auckland: Random House, 2005)

No doubt these stories are the products of many moods, at many times. And yet here they seem unified, not disparate. Another thing I particularly liked about the structure of the book was its return to the alternating strobe effects of Tracey’s first book Her body rises (2005).

There the alternation was between stories and poems, which certainly had the effect of showcasing each individual piece. That difference in genre did give it a somewhat start-stop effect at times, admittedly, but I still think that it's one of the crucial components which has led to the breakthrough of this, her latest book.

Mind you, I'm not saying that if I (for example) were to alternate short pieces and longer stories, it would necessarily have the same effect. This is certainly not a panacea for writers grappling with similar basic problems of unity-in-diversity.

All the work here, whether it be one, a dozen, or fifty pages long, includes the verbal economy-in-exuberance and precise plot machinery we’ve come to associate with a Tracey Slaughter story. But the jump-cuts and unpredictable blindsiding each time one turns a page makes this her most inexhaustible box of delights to date: be they devilish (as the title suggests) or heavenly (as I myself prefer to believe).

To return to the quote I opened with, “What do dead girls talk about?” They may not ever talk to me, but they do seem to talk to Tracey Slaughter, and this book constitutes some of her transcripts from the edge.

[6-13/4/21]



Tracey Slaughter

The Oceanic Feeling - Pictures from a Booklaunch

Cover image: Katharina Jaeger / Cover design: William Bardebes (2020)
[All Photographs by William Bardebes (11/3/21)]

The Oceanic Feeling. Drawings by Katharina Jaeger. Afterword by Bronwyn Lloyd.
ISBN 978-0-473-55801-7. Auckland: Salt & Greyboy Press, 2021. 72 pp.

So Bronwyn and I drove down to Hamilton last Thursday with our good friend Liz Morton for the dual launch of Poetry New Zealand Yearbook 2021 and my own new poetry book The Oceanic Feeling.

Poppies Bookshop Hamilton
[l-to-r: Mark Houlahan, Aimee-Jane Anderson-O'Connor, Alison Southby, Bronwyn Lloyd, Janet Charman]

Luckily my publishers at Salt & Greyboy Press, William Bardebes and Emma Smith, were able to come down as well - and the former got a number of pictures of the event.

Tracey Slaughter launching the book

& me reading from it

So what is this "Oceanic Feeling," anyway?

J. M. Masson: The Oceanic Feeling (1980)

Here's a book on the subject by Sanskritist and animal-expert Jeffrey Masson. To quote my own abstract (alas, those of us in Academia do have to compose such statements when claiming such works as 'creative research'):

In a 1927 letter to Sigmund Freud, French writer Romain Rolland coined the term "the oceanic feeling" as a way of referring to that "sensation of ‘eternity’," of "being one with the external world as a whole," which underlies all religious belief (but does not necessarily depend on it). In his reply, Freud described this as a simple characterisation of the feeling an infant has before it learns there are any other people in the world.

Of course, those of us who live in Oceania, may have our own alternative interpretations of the phrase. This, at any rate, is mine.

Huge, heartfelt thanks, then, to everyone who worked so hard to make this event a success: Tracey Slaughter, for her luminous launch speech (and for inviting me along in the first place); Katharina Jaeger, for the use of her beautiful images in the book; Bronwyn Lloyd, for her afterword, not to mention her imperturbability in the midst of crisis; William Bardebes, for his amazing book design, as well as for rushing the copies down-country in time for the launch; Alison Southby for offering to sell it at her delightful bookshop Poppies Hamilton; and (of course) to all those who turned up on the day for the Yearbook launch, and kindly stayed on for this part of the event.

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Launch of The Oceanic Feeling - Thursday 11 March

Cover image: Katharina Jaeger / Cover design: William Bardebes (2020)

The Oceanic Feeling. Drawings by Katharina Jaeger. Afterword by Bronwyn Lloyd.
ISBN 978-0-473-55801-7. Auckland: Salt & Greyboy Press, 2021. 72 pp.

[I'm going out on a limb here and gambling on our present COVID-19 Level 2 status to assume that this event will be permitted to go ahead. You might be best to wait on confirmation of that before booking your fare to Hamilton, though. I think we should come in under the 100 participants restriction, but of course social distancing will have to be considered as well.]

Tracey Slaughter has very kindly invited me to piggyback the breaking of a bottle of champagne over the bow of my new book of poems onto the launch event for her first issue of Poetry New Zealand Yearbook as Managing Editor. Here are the details:

Venue: Poppies Bookshop Hamilton

Time: Thursday 11 March, 5.30 onwards

All welcome!

So what exactly is this book? It contains poems written over the past seven years or so, roughly the period I myself was editing Poetry New Zealand, with illustrations from Katharina Jaeger, and an afterword by Bronwyn Lloyd, beautifully produced by William Bardebes and Emma Smith at Salt & Greyboy Press.

Here's what the blurb has to say:

Blurb:

Jack Ross’s latest collection combines poems about ‘families – and how to survive them’ (in John Cleese’s phrase) with darkly humorous reflections on Academia and various other aspects of modern life. It concludes with some translations from Boris Pasternak and Guillaume Apollinaire.

The book also includes a suite of drawings by Swiss-New Zealand Artist Katharina Jaeger, ably explicated in an Afterword by Art Writer Bronwyn Lloyd.

'… picture yourself on a Gold Coast beach, the wind idly leafing through the pages of a much-annotated copy of Benjamin’s Arcades Project on your lap; as ‘Baudelaire’ flashes by in your peripheral vision, you disinterestedly observe a sleek conferential shark feeding – though far from frenziedly – on a smorgasbord of swimmers, whose names end with unstressed vowels and whose togs are at least a size too small. The water is the colour of an $8 bottle of rosé. I find reading Ross – to borrow his victims’ parlance – kind of like that.'

- Robert McLean, Landfall Review Online

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Born in Zurich in 1964, Katharina Jaeger studied art at Kunstgewerbeschule Zurich before emigrating to New Zealand in 1986. She has a Bachelor of Design from Christchurch Polytechnic Institute of Technology (now Ara Institute of Canterbury), where she currently teaches in the Visual Arts Programme. Katharina has exhibited in solo and group exhibitions nationally and internationally for over two decades. She was a finalist for the Parkin Drawing Prize in 2017 and her most recent solo exhibition, Billow, was held at PG Gallery 192 in September 2019.

Bronwyn Lloyd is a freelance art writer and textile artist who lives in Mairangi Bay. She completed a PhD on Rita Angus’s Goddess paintings at the University of Auckland in 2010. Since 1999 Bronwyn has been publishing articles and catalogue essays on New Zealand painting, applied art and design, as well as fiction: her first book of short stories, The Second Location, was published in 2011 by Titus Books. Her series of needlepoint amulets, Under the Protection, was exhibited at Masterworks Gallery in November 2020.

Jack Ross has published five poetry collections, three novels, three novellas, and three books of short fiction, most recently Ghost Stories (2019). He was managing editor of Poetry New Zealand from 2014-2019, and has edited numerous other books, anthologies, and literary journals. He lives in Mairangi Bay on Auckland’s North Shore and teaches creative writing at Massey University.

Crissi Blair: Salt & Greyboy Press (2019)

So there you go. The gang will all be there. There'll be readings and book-signings by Tracey, me, Aimee Jane, and a host of others - it'll be standing room only, and a night to remember. As Tracey has written about the work she's been receiving over the past year of COVID-19 lockdowns and confusion:

They wrote like their breath depended on it! Poem after poem that came in showed the traces of writers using language in its rawest form — to reach out, to make human contact, to leave some skin-temperature mark. When we were cut off from real presence, when we were barred from crossing thresholds, we sent language instead ...

I don't think that's something you'll be wanting to miss.

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New Managing Editor for Poetry New Zealand

Tracey Slaughter

I'm delighted to announce that an agreement has been reached between Dr Tracey Slaughter, Senior Lecturer in Creative Writing at Waikato University; Dr Jack Ross (me), the present managing editor of Poetry New Zealand; and Nicola Legat, head of Massey University Press, our publisher, for the future housing of the journal in the School of Arts at Waikato.

The formal announcement will be made at the launch of the latest issue, Poetry New Zealand Yearbook 2020, MC'ed by our distinguished guest editor Dr Johanna Emeney, in Devonport Public Library this evening.

Alistair Paterson, ed.: Poetry NZ 25 (September 2002)

What can I say about Tracey Slaughter? She was featured in Poetry NZ 25 in 2002, and has been a passionate supporter of the journal ever since. She is still, perhaps, better known as a fiction writer than a poet, but the publication last year of her first stand-alone collection, Conventional Weapons, by Victoria University Press, made it clear how dedicated she remains to poetry as an essential part of her writing life.

Tracey Slaughter: Conventional Weapons (2019)

Tracey is no stranger to the challenges of running a magazine, either. She co-founded the Waikato University literary journal Mayhem in 2014, and has been editing it - with an intrepid team of collaborators including Dave Taylor, Aimee-Jane Anderson-O'Connor, essa may ranapiri, and Melody Wilkinson - ever since.

Bronwyn Lloyd: Tracey & Jack (9/5/19)

I couldn't wish for a better successor as Managing Editor of Poetry New Zealand than my good friend Tracey. I will, however, be staying on for the present as part of the advisory board for the journal, along with A/Prof Mark Houlahan, Prof Michele Leggott, Alistair Paterson ONZM, and Prof Bryan Walpert.

Bronwyn Lloyd: Tracey & Kathy (2020)

For further details of how to submit work to the magazine, you can continue to check the Poetry NZ website. The only difference is that the email address editor@poetrynz.net will now redirect to Tracey rather than to me, and the postal address for any snailmail correspondence will now be:

Dr Tracey Slaughter
English Programme
School of Arts
Waikato University
Private Bag 3105
Hamilton 3240

Jack Ross, ed.: Poetry NZ Yearbook 2017 / 2018 / 2019
[Design by Jo Bailey]

My new book Ghost Stories is available today:

Cover image: Graham Fletcher (by courtesy of the artist) /
Cover design: Daniela Gast (2019)

The official publication date for my new collection of short fiction, Ghost Stories, was yesterday, 31st July 2019.

It's been a great pleasure to work on it with the team at Lasavia Publishing on Waiheke Island: editor Rowan Sylva, designer Daniela Gast, publisher Mike Johnson, as well as the other members of the collective. I also owe a big thank you to Graham Fletcher for the use of his cover image, and (as always) to my lovely wife Bronwyn for invaluable advice at every stage of the process. Thanks, too, to Tracey Slaughter for the use of that blurb quote.

So how do you obtain a copy of the book? That is, after all, the $64,000 question. If you wish to order one online, it's available from any of the following websites:

Amazon.com
RRP: $US 15.00 (+ postage)

Amazon.co.uk
RRP: £UK 12.28 (+ postage)

Book Depository
RRP: $NZ 29.44 (free postage)

Wheelers Books
RRP: $NZ 49.50

As usual, the Book Depository seems to offer the best deal, but remember that copies can also be purchased at a discounted rate, $20, at the Waiheke Market, or (for that matter) directly from Lasavia Publishing:

Lasavia Publishing
37 Crescent Rd West
Ostend
Waiheke Island
Auckland 1081
https://www.lasaviapublishing.com/
Lasavia Publishing: Editorial

RRP: $NZ 20.00 (+ postage)

We're planning a big launch party later in the year, which I'll describe in detail here on the blog once all the arrangements are finalised, so - if you prefer - you could wait until then. But I know what eager beavers some of you readers can be!

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So what exactly is the book about? The easiest thing might just be to quote from the blurb:

David Foster Wallace once wrote that 'every love story is a ghost story.' Not all of the stories in Jack Ross’s new collection are about love, but certainly all of them concern ghosts – imaginary, real, or entirely absent. As it turns out, there are even stranger things in the world: from haunted hotel rooms in Beijing to drunken poetry readings on Auckland’s North Shore. Or perhaps, as the Mayan prophets foresaw, the world really did end on the 21st December, 2012, and 'all bets are off, all the rules have changed, and – new Adams, new Eves – we have to find the courage somehow to start naming the strange new things we see.'

'There’s no one in New Zealand literature exploring the dark ways of narrative with the alchemical touch of Jack Ross, and his gift of spinning tales which jump "from track to track on the time-space continuum" never fails to leave me exhilarated, in outright awe'.

- Tracey Slaughter

Jack Ross works as a senior lecturer in creative writing at Massey University. He is the author of five poetry collections, four novels and three books of short fiction. His novel The Annotated Tree Worship was highly commended in the 2018 NZ Heritage Book Awards. He has also edited numerous books, anthologies, and literary journals, including brief, Landfall, and Poetry New Zealand. He blogs at http://mairangibay.blogspot.com/.

And here's a - slightly more informative - abstract I composed to send to my masters at Massey University, who insist on full details of every publication by their staff:

This is a set of ten short stories, with two essays: 'The Classic New Zealand Ghost Story,' an introduction to the collection as a whole; and 'Kipling and the Cross-Correspondences,' an account of the alleged attempts at communication from the other side by various dead members of the Society for Psychical Research in the early years of last century. The stories, too, are grouped around the common theme of ghosts and ghost stories, but in some rather unexpected ways. Two ('The Scam' and 'The Cross-Correspondences') are set in China, but most are explorations of the haunted landscapes of the New Zealand's North Island, from Featherston and Eketahuna to Raglan and Auckland. All of them (with the exception of 'Paragraphs') have been previously published in periodicals or online.

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99% Press

Now those of you obsessed (as I am) by numerology, might well have noticed an ominous feature of that list of publications in the blurb above. My breakdown of books now stands at:

5 poetry books
4 novels
3 short story collections
+ 1 stand-alone novella
= 13 in total

Yes, this is indeed my number thirteen!

All I can say is that nearly as many traditions see thirteen as a lucky number as fear it for being unlucky.

Mind you, I could fudge the count a bit if I wished. I could count my novel The Annotated Tree Worship as two books rather than one, given it appeared in two separate volumes. But they are intended as interlinked novellas, and were never really meant to be read independently.

There's also the fact that I've published 16 chapbooks at one time or another. That would bring up the total to an innocuous 29!

And then there are the various books and anthologies I've edited (15 in all, it would appear). That would bring us up to 44.

But these expedients would really just be cheating. So far as I'm concerned, I've now written 13 books, so I've taken some care to make the thirteenth as appropriate as possible. It is, after all, an exploration of the paranormal, the supernatural, as it manifests (for the most part) in some of the gloomier parts of New Zealand ...

I hope it's enjoyable. I know not everyone shares my fascination with such matters, but a great many people do. And I would argue that most of these stories can be read in a variety of ways: as actual 'ghost stories' being just one of them.

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Here's a list of the contents:

Introduction

The Classic New Zealand Ghost Story

Stories

Eketahuna
The Scam
Featherston
Leaves from a Diary of the End of the World
Is it Infrareal or is it Memorex?
Company
General Grant in Paeroa
Brothers
Catfish

The Cross-Correspondences

Paragraphs
Kipling and the Cross-Correspondences

And here's a list of my 13 books to date:

1. City of Strange Brunettes. ISBN 0-473-05446-9 (Auckland: Pohutukawa Press, 1998) [poetry book 1]
2. Nights with Giordano Bruno. ISBN 0-9582225-0-9 (Wellington: Bumper Books, 2000) [novel 1]
3. Chantal’s Book. ISBN 0-473-08744-8 (Wellington: HeadworX, 2002) [poetry book 2]
4. Monkey Miss Her Now & Everything a Teenage Girl Should Know. ISBN 0-476-00182-X (Auckland: Danger Publishing, 2004) [short story collection 1]
5. Trouble in Mind. Titus Novella Series. ISBN 0-9582586-1-9 (Auckland: Titus Books, 2005) [novella]
6. The Imaginary Museum of Atlantis. ISBN 0-9582586-8-6 (Auckland: Titus Books, 2006) [novel 2]
7. To Terezín: A Travelogue. Afterword by Martin Edmond. Social and Cultural Studies, 8. ISSN 1175-7132 (Auckland: Massey University, 2007) [poetry book 3]
8. EMO. ISBN 978-1-877441-07-3 (Auckland: Titus Books, 2008) [novel 3]
9. Kingdom of Alt. ISBN 978-1-877441-15-8 (Auckland: Titus Books, 2010) [short story collection 2]
10. Celanie: Poems & Drawings after Paul Celan. by Jack Ross & Emma Smith, with an Afterword by Bronwyn Lloyd. ISBN 978-0-473-22484-4 (Auckland: Pania Press, 2012) [poetry book 4]
11. A Clearer View of the Hinterland: Poems & Sequences 1981-2014. ISBN 978-0-473-29640-7 (Wellington: HeadworX, 2014) [poetry book 5]
12. The Annotated Tree Worship (Auckland: Paper Table, 2017) [novel 4]
    • Draft Research Portfolio. ISBN 978-0-473-41328-6. Paper Table Novellas, 2 (i).
    • List of Topoi. ISBN 978-0-473-41329-3. Paper Table Novellas, 2 (ii).
13. Ghost Stories. ISBN 978-0-9951165-5-9. 99% Press (Auckland: Lasavia Publishing, 2019) [short story collection 3]

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Lasavia Publishing