Smarter than Jack

Well, I guess it's true: cheeky animals are smarter than Jack. It kind of goes without saying, really. But I'm not entirely sure that I welcome the advent of a whole series of books reinforcing the fact.

Basically it started out as a book of cute animal stories compiled by animal-lover Jenny Campbell, which enjoyed so much success that it's now spawned a whole slew of sequels: Cats are Smarter than Jack, Dogs are Smarter than Jack, Aardvarks and Crocodiles [for all I know] are Smarter than Jack ...

What I'm curious about, though, is: Who is this Jack? I mean, I've looked in vain through the publicity material accompanying the series for the least reference to the original Jack. Is it simply meant to be a generic masculine appellation: Jack & Jill, Jack the Giant-killer -- the ubiquitous hero of so many nursery rhymes and folktales? Or is he some actual person (or animal, for that matter? Probably not, given the fact that so many other animals have been proclaimed to be smarter than him).

One thing's for certain -- he's male, and he's constantly being outsmarted. Which brings me to the real subject of this post.


I was all set to go along to the beach to read out my poem from the volume above, Poetry Pudding, edited by Jenny Argante and published by Reed earlier this year. There was a big launch party planned on Long Bay beach, with kids and party games and (I hoped) parents waiting in the wings to control their unruly offspring.

All set to go -- but then I checked the time. Not Sunday afternoon, but Saturday afternoon, 28th July 2007. So I missed it. Animals really are smarter than Jack.

So I've decided that the least I can do is to repent in this public forum, remind you that it 's now on sale in bookshops (or, alternatively, from the Reed website here), and to reprint, as a kind of teaser, my own poem from the book. Sorry, Tania:

Noughts and Crosses

My name is …
John Carter, Warlord of Barsoom X
I live in …
The Fortress of Solitude X
My father is …
a barbarian chieftain from the Plains of Leng X
My mother is …
a slavegirl from the Mongolian steppes X
I have 100 sisters and no brothers
save for the heads impaled atop my tent X
This summer I …
set out to pillage all the known world X
It was …
very easy X
My teacher is …
a dog whose last words will be screams of pain X !!
My best friend is …
my mighty two-handed battle-axe X
My classmates are …
dust beneath my chariot-wheels X
I like to …
ride like the wind on my 8-legged steed Thorondor X
When I grow up I want to be …
a vengeful ghost X

0
12

This silly work is becoming increasingly typical of you, I’m afraid. You know you could do far better if you tried.

[Poetry Pudding, ed. Jenny Argante (Auckland: Reed, 2007) 28-29].

Montana Poetry Day (July 27)

Poetry Central
Montana Poetry Day

Friday 27 July, 6 pm

Auckland City Libraries
nzepc
& Auckland University Press

Present

The dual-launch of
Contemporary New Zealand Poets in Performance
edited by Jack Ross & Jan Kemp

The Pop-up Book of Invasions
by Fiona Farrell

& the nzepc 6th birthday celebrations

MC: Iain Sharp

Readings by Fiona Farrell, Jan Kemp, Michele Leggott, Jack Ross, Bob Orr, Janet Charman, Martin Edmond and others

+ the announcement of the winner of the

Great New Zealand Digipoem competition !

Be there for a good time ... Drinks and snacks will also be served.

To Terezin

Well, thanks again to everyone who managed to come along to the booklaunch on Wednesday - to Scott Hamilton for launching the book with such panache and style (check out his launch speech here); to Peter Lineham for MC'ing, to Leanne Menzies for the superb catering, to Leonie at Bennetts Books for agreeing to host the event in the first place, to Julee Browning for being such a good sport when the printers didn't get her book there in time (so we were confined to taking orders on slips of paper ...), to my parents for coming along and buying a copy, to the brief crew for same, and - above all - to the lovely Bronwyn for being so supportive throughout.

If you'd really like to do me a favour (for whatever reason), it would be absolutely super if we could get a few more orders for the book. It'll cost around $20 in the shops, but you can still obtain it for the bargain price of $15 (+ $2 postage and packing) from Leanne Menzies at the School of Social & Cultural Studies. not a bad price for a slim (90-page) volume of verse with colour pictures and an afterword by Martin Edmond, I reckon ...

Launch Invitation!

You are all most cordially invited to a booklaunch, on

WEDNESDAY 13TH JUNE
4.15 pm
Bennetts Book Shop
Massey Albany

(Come off the northern motorway at the Albany turnoff, heading straight up the hill towards the main Massey campus, then drive in through Entrance One. Extensive parking is available. Bennetts bookshop is at the front of the large building to the left of this one, up a sweeping set of stone stairs.)

The two books being launched are new titles in the Massey Social and Cultural Studies monograph series:

#7 - Blood Ties with Strangers: Navigating the Course of Adoption Reunion over the Long Term
by Julee Browning

Drawing on in-depth interviews, this study expands on previous research to suggest that, both emotionally and practically, reunited relationships have no predictable pathways.

&

#8 - To Terezín
by Jack Ross

An account, in poetry and prose, of a visit to the Theresienstadt concentration camp in the Czech Republic, with an afterword by Montana-award-winning author Martin Edmond.

The books can either be bought either at the launch, or else ordered from the School of Social and Cultural Studies. Copies of Julee's book are $12 each; copies of mine are $15 each (+ $2 postage and packing).

Order enquiries to Leanne Menzies
L.Menzies@massey.ac.nz
Ph: (09) 441-8163
Fax: (09) 441-8162

Dr Graeme Macrae will launch Julee's book, and maverick poet and unrepentant Leftie Scott Hamilton has agreed to launch mine. Thanks again, guys!

You really owe it to yourself to check out this fascinating event. (Drinks and nibbles will be provided courtesy of the School of Social and Cultural Studies.)

Here are two sample poems from my book:

The Resistance


The trouble started
early in my stay
What would you like to see

in Prague?
The castle
The Charles bridge

the Jewish quarter
Theresienstadt
(Terezín

in Czech)
Why would you want
to go there?

I tried some explanations
heard so much about it
seen the films

read books
some friends had
mentioned it

before I left


*


Voyeur


Why would you want
to go there?
I think

sometimes
you’ve got to see
the nightmare

for yourself


If the survivors
told me
not to go

I’d stay away

Titus Strikes Again

[Will Joy Christie at the Titus Launch]

Titus Books appears to have a thing for trilogies (following in the footsteps of their illustrious namesake, Mervyn Peake's Titus Groan, perhaps?). This is the second launch [in the Alleluya Cafe, Karangahape Rd, this time -- Thursday 12th April] at which they've presented three books of poetry simultaneously: Will Christie's Luce Cannon, Scott Hamilton's To the Moon, in Seven Easy Steps, and Richard Taylor's Conversation with a Stone.

[Cover illustration by Ellen Portch]

Both Richard and Will have published chapbooks at various times before, but this is the first full-length book of poems for all three of them. And long overdue, I think we'd all agree.

I'd like to say more about all of the books, and I will, but for the moment I just want to direct you to the accounts here and here of the launch on Scott's blog. (Unfortunately I was otherwise detained, enjoying a blissful mid-semester break down in Wellington, but that sure won't stop me trying to publicise these fascinating collections).

All three of the authors are, again, old brief contributors, so it's extra gratifying to see them busting out into the staid New Zealand poetry mainstream.

[Richard Taylor at the Titus Launch]

Oh, and for the curious:
In early 2005 Titus launched a triad of novellas: Bill Direen's Coma, Jack Ross's Trouble in Mind & Olwyn Stewart's Curriculum Vitae.
In late 2005 they launched their first hat-trick of poetry books: Bill Direen's New Sea Land, Olivia Macassey's exquisite Love in the Age of Mechanical Reproduction & Stephen Oliver's Either Side the Horizon.
In early 2006 they launched a duo of novels (soon to be expanded to three with the addition of David Lyndon Brown's Marked Men): Bill Direen's Song of the Brakeman & Jack Ross's The Imaginary Museum of Atlantis.

I like Mike

This is the text of the speech I'm intending to give at Mike Johnson's sixtieth birthday party / launch for his new book on Waiheke island tomorrow (fingers crossed):

Everybody knows that Mike Johnson’s one of New Zealand’s foremost writers of fiction. If you didn’t know you really haven’t been keeping up. His strange, futuristic debut Lear (1986) matured into the dark Faulknerian vision of Dumb Show (1996), but there are a host of other fascinating novels and stories to be enjoyed along the way – and I hope there’ll be plenty more to come.

The success of his fiction may have had the effect of obscuring to some extent the fact that Mike actually began publishing as a poet, and has kept up this side of his oeuvre with almost equal intensity. His 1996 AUP volume Treasure Hunt, for instance, is woven around the tragic 1993 death of the Chinese poet Gu Cheng, who committed suicide after killing his wife here on Waiheke island.

The book that we’re here to celebrate today, then, The Vertical Harp: Selected Poems of Li He, represents the coming together of a number of strands both in Mike Johnson’s own work and in recent New Zealand culture.

It’s a obvious truism that, like it or not (personally I like it a lot), New Zealand is moving ever faster towards becoming a multicultural society. The trend is clearest in Auckland, because it’s the biggest population centre, and thus plays a kind of Ellis Island role in our cultural melting-pot.

It’s evident on our streets, our shops, and (above all) in our schools. As a tertiary teacher, Mike Johnson has experienced this evolution firsthand (as have I in my own teaching jobs at local Language Schools and at Massey Albany).

For writers, of course, this is truly priceless material – an “international theme” to parallel the New World / Old World divide of Henry James. And what better way to signal this than by publishing this book of poems from the works of that classic Chinese poète maudit Li He (who some of you might know better under the earlier Anglicisation Li Ho)?

Each of the major T’ang poets has his English adherents. The great rivals Tu Fu and Li Po are probably the most frequently translated (by Arthur Waley and Ezra Pound intially, but then by a host of other more-or-less inspired amateurs or experts), but then there’s the beautifully contemplative landscape poet Wang Wei as well, and then – probably somewhere quite far down the list because of his perceived personal and poetic intransigeance – we eventually encounter Li He, the so-called “Chinese Baudelaire” (perhaps Lautréamont might be a better analogue, considering the fact that he died at the age of 26).

In my case it was in a Penguin book called Poems of the Late T’ang (still one of the great titles, I think), translated by a guy called A. C. Graham. I found the whole thing completely entrancing, and spent far too much time reading it the summer I was supposed to be studying for my end-of-school exams (which is one of the many reasons I bombed out so badly, I suspect. I don’t think the English examiners appreciated being bombarded with platoons of quotes from obscure Chinese poets).

I first came across Mike’s own translations when working on collecting texts for the Aotearoa New Zealand Poetry Sound Archive, an immense collection of 171 New Zealand poets reading their own work, on 40 audio CDs, collected between 2002 and 2004 in all four of the major centres (and now housed in Auckland University Library and the Turnbull in Wellington, if you’re curious to check it out). I was very intrigued by the way Mike seemed able almost to ventriloquise through this 9th-century Chinese poet.

I had, however, encountered something similar with Kendrick Smithyman’s translations from the Italian. In Kendrick’s case, it was as if the necessity to incorporate an ideal of the Mediterranean – amore, pane e fantasia – somehow liberated him from late twentieth-century irony, the corner his exquisite art had ended by painting him into.

In Mike’s case, however, Li He appears to have liberated a kind of inner barbarian, a wilder, crazier poet than traditional Kiwi mores really allow us to be (perhaps he’ll prove me wrong later in the evening).

I don’t want to quote too many examples, as I know he’ll soon be introducing and reading from the poems himself, but I’d like to make just this one citation from “occult strings” – a poem about a female shaman exorcising demons:

on her passion-wood lute, the gold-leafed phoenix writhes
as she mutters and mumbles, face twisting to the harsh sounds
picking note for word, word for note

descend stars and spirits! come
taste meat!

That doesn’t sound like Arthur Waley. It doesn’t even sound like Ezra Pound (whom T. S. Eliot referred to as “the inventor of Chinese poetry for our time”). It’s time for some new inventors now, I think: both of Chinese poetry in English, and of New Zealand poetry itself. Mike Johnson is among those brave, outward-looking pioneers.

[This is what came up when I first googled Li He, trying to find a representative image. It’s hard to feel that either poet would really disapprove]:

Pania Press and the quality known as "wu"

... Here is a piece of metal which has been melted until it has become shapeless. It represents nothing. Nor does it have design, of any intentional sort. It is merely amorphous. One might say, it is mere content, deprived of form.’

Childan nodded.

‘Yet,’ Paul said, ‘I have for several days now inspected it, and for no logical reason I feel a certain emotional fondness. Why is that? I may ask. I do not even now project into this blob, as in psychological German tests, my own psyche. I still see no shapes or forms. But it somehow partakes of Tao. You see?’ He motioned Childan over. ‘It is balanced. The forces within this piece are stabilized. At rest. So to speak, this object has made its peace with the universe. It has separated from it and hence has managed to come to homeostasis.’

Childan nodded, studied the piece. But Paul had lost him.

‘It does not have wabi,’ Paul said, ‘nor could it ever. But—’ He touched the pin with his nail. ‘Robert, this object has wu.’

‘I believe you are right,’ Childan said, trying to recall what wu was; it was not a Japanese word — it was Chinese. Wisdom, he decided. Or comprehension. Anyhow, it was highly good.

‘The hands of the artificer,’ Paul said, ‘had wu, and allowed that wu to flow into this piece. Possibly he himself knows only that this piece satisfies. It is complete, Robert. By contemplating it, we gain more wu ourselves. We experience the tranquillity associated not with art but with holy things. I recall a shrine in Hiroshima wherein a shinbone of medieval saint could be examined. However, this is an artifact and that was a relic. This is alive in the now, whereas that merely remained. By this meditation, conducted by myself at great length since you were last here, I have come to identify the value which this has in opposition to historicity. I. am deeply moved, as you may see.’

‘Yes,’ Childan said ...

[Philip K. Dick. The Man in the High Castle. Harmondsworth: Penguin, 1965. 161-62.]

The quality known as wu. Pania Press books partake of that feeling also, I believe. They, too, are handcrafted from what might otherwise seem insignificant materials – a few pieces of thread, some sheets of paper – and yet each one is unique, with a unique and individual cover design.

Philip K. Dick’s Japanese businessman goes on to explain to the American Childan that ‘it is a fact that wu is customarily found in least imposing places, as in the Christian aphorism, “stones rejected by the builder.’” (The context gives this dialogue particular poignancy, but if you haven’t yet read his 1962 classic, where he imagines a world where German and Japan won the second World War, I’ll have to leave that up to your imagination).

Anyway, this post is just to signal that Pania Press’s first two commercial publications are now available for purchase. You can read more about them, and read sample poems, at the Pania Press blogsite, but I’ll just say here that:

many things happened, by Thérèse Lloyd, is a delightful and moving first collection of ten lyrics by a poet who will soon be jetting off to Iowa on a scholarship set up by Bill Manhire’s International Institute of Modern Letters.



Love in Wartime, by yours truly, is -- for me –- an unusually direct sequence of poems about love and loss. It seems a rather timely subject for meditation just now. Enjoy.

Screening on Saturday

Well, there are a couple of reasons for putting up this post.

The first is to publicise the screening, on Saturday 2nd December, of Gabriel White's new film Aucklantis (you can read my review of the parts I'd then seen here.) Full details of the screening can be found on his website here, but I'll just mention that it's at 3 pm, in lecture theatre WE240, AUT, Auckland (signs around St. Paul Street will direct you).

The second is to mention Gabriel's set of digital essays "The ABC of XY and Z," which are also now available on his website. Modesty forbids me from saying too much about these pieces, since the first, "Planet Atlantis" is an analysis of my novel The Imaginary Museum of Atlantis. The second, however, "Music Word Fire" (much longer) concerns the work of the composer Robert Ashley, and the third, "The Avoriginal" gives an account of Gabriel's own practice as a filmmaker. I'd certainly recommend giving them a look, especially (but certainly not exclusively) if you're thinking of coming along to the screening.

Further reports on that later ...

Myth of the 21st Century

I remember reading somewhere about the "Derridean biblioblitz" of 1967 -- the three books Of Grammatology; Writing and Difference; and Speech and Phenomena.

Far be it from me to suggest any resemblance between us, but this has been, nevertheless, an unusually busy year for me in terms of publishing. It began with:
1/ my novel The Imaginary Museum of Atlantis;
2/ went on to the Classic New Zealand Poets in Performance anthology;
3/ and now concludes with this collection of new fiction, edited by Tina Shaw and myself, entitled Myth of the 21st Century.

The stories were all commissioned specially for the book, so it was rather difficult to predict in advance just what the finished artefact would look like. Everyone has risen magnificently to the occasion, though -- we've ended up with 14 very quirky and individual stories, all grouped around the concept of myth, and specifically designed to focus on what the dominant myths of the next century might turn out to be.

The authors are (in order):
Patricia Grace, who rewrites the Maori legend of the tides;
Martin Edmond, who creates an urban myth for the Jenolan caves;
Tina Shaw, whose feral children catch and kill an albatross;
Mike Johnson, who spins a lush version of Psyche’s story;
Poet Karlo Mila, who offers a stunning Tongan nightmare;
Anthony McCarten, who tells a growing-up story in reverse;
Tracey Slaughter, who gives a disconcerting take on the Fates;
Vivienne Plumb, who makes some old fables disconcertingly new;
Charlotte Grimshaw, who pairs a warrior with his modern twin;
Jack Ross, who brings to life a selkie legend;
Maxine Alterio, who unfolds a contemporary Aztec myth;
Aaron Taouma, who tells the story of Uncle Sione, an urban holy fool;
Judith White, who spins a mythic yarn about a doomed love affair;
& Tim Corballis, who explores the very idea of myth itself.

(That's how the blurb describes us, anyway).

I think there's some pretty damned good stuff in there (though possibly I'm prejudiced). It was certainly an intensely educational experience putting it together. I enjoyed most of all the chance of observing a group of fiction-writers at work. Since I'm trying to horn in on their game, I'd better get an idea of some of the ground rules. Tina was very helpful there, and a tower of strength throughout the editing process.

The official publication date is today, so I guess I'll be raising a glass in celebration later on (we're not having an official launch this time). Check it out in a shop near you. It'd make an ideal Christmas present for some mythologically-minded friend or relative!

Tina and I will be interviewed by Lynn Freeman on Radio New Zealand's Arts on Sunday programme on Sunday afternoon (22/10) at 2pm, so that should be worth a listen, too. There's a link to the recording here, which should be up for the next four weeks (it's also available for download).

Life Writing

[cover design: Sarah Grimes / cover image: Simon Creasey]



[cover design & image: Lisa Allen]

Yesterday Dr Mary Paul, Xiaoping Wang and I were interviewed by Ling-Ling Liang of World TV for her Chinese-language news programme (available, she told us, on Sky Channel 10). The subject? The Life Writing course Mary and I teach at Massey Albany. We've been getting quite a lot of publicity for it lately.

Ling-Ling's interest was specifically in the various International students who have taken or are taking the course. There were three Chinese students in the class this semester alone (including Xiaoping), and in the past we've had many others, as well as people from a plethora of other countries: Russia, South Africa, Yugoslavia, Zimbabwe, and so on. It's been running for six years now, since 2001.

The course has three major parts: there's an anthology of readings, which are discussed and analysed in the weekly lectures; there are two-hour workshops, where students read out and critique a series of prescribed writing exercises; and there are the assignments: a reading journal, a selection from each students' completed exercises, and the final assignment -- a ten-page piece on any subject (biographical, autobiographical, genealogical, even fictional ...) in virtually any genre (verse, prose, interview, script, video, album ...)

It's a creative writing course, then, but also a vehicle for the Academic study of the various ways in which people use their own lives (or the lives of others) as raw material. What we do in teaching it is discuss the pragmatic implications of certain technical writing choices. Any story, true or false, needs to be told -- it's how best to tell it we can help with most. Beyond that, a large part of the pleasure of the course lies in sitting back and listening. It's amazing how well you can get to know a person simply by hearing some of their stories.

So far we've published two anthologies of work generated by the course: [your name here] (2003), and Where Will Massey Take You? (2005). A third is now in preparation. They're available from the School of Social and Cultural Studies at the (to my mind very reasonable) price of $10 each.

So if you're interested in exploring some of the ramifications of your own life story, or the life stories of people close to you, why not begin by doing our paper? It's a stage two English paper, but there are no specific prerequisites, and you won't have to submit a portfolio of work in advance. The more the merrier, so far as we're concerned -- the more diverse points of view and backgrounds the more we'll all end up learning.

I'll end with a passage from Nathan Calvert's interview with Farid Shafizadeh Dizaji, a young Iranian immigrant to New Zealand:

Did you know when you talk with a bad intention,
Every word in your mouth is a lethal weapon?
– Lethal Weapon (written 03/05)

… He grabbed me by the throat and I grabbed him by the throat and I had a crowbar in my back pocket and, um, I started hooking him and then all my friends started beating him up too, and the police officer he had no partner, no nothing, and then I grabbed my crowbar and hit him in the face and then he got knocked out and we were all just stomping him down and, um, yeah, and then we just gapped it and jumped in the car and rushed off while we left him bleeding, and left him injured really bad.

... and then about nine cop cars arrived on the scene and we all got arrested. That cop that we assaulted came as well and he said, “Yep, this is them.” From then we got arrested, went to court, no, went to jail, Takapuna cells, got fingerprinted. Got like, you know, got pretty hits in the cells too from other cops for hitting the other cop. But that was all good, we couldn’t do nothing, there was thousands of them, um, we just stayed there and took it. And then we got bailed, like, four hours later and then we just, yeah, and that was it. That’s how the incident happened.

Nathan: So what’s happening now? Have those actions had consequences after the event?

Farid: Well, I’m sure they do, but I haven’t really met them yet. What has happened is they’ve made me go to court and at first I didn’t wanna plead guilty because the way I was treated. I didn’t feel I was treated like a normal human being, a normal citizen. In New Zealand. I have a New Zealand citizenship. And I don’t think no-one should treat me the wrong way because I’m from somewhere else. They should treat me the same because I treat everybody else the same. No matter where they are, I treat them like brothers. But, um, so I pleaded not guilty, so they held my court case for a month, no, I think it was two weeks, to go back to court. And then they told me to write a letter, why I believe, why I plead not guilty.

[Where Will Massey Take You? Life Writing 2, ed. Jack Ross (Massey: School of Social and Cultural Studies, 2005) pp.34-36.]

It's no excuse, I guess (nor would Farid and Nathan see it as such), but the policeman Farid assaulted referred to him and his friends as "mongrels."

The 13 Book-launches of Dr J.

[Chris Cole Catley, Jack Ross & guest at Golden Weather launch, Takapuna Public Library]

"There's no such thing as a free launch"

-- Murray Edmond (attrib.)

I guess it's probably one of those old adages like "prise the gun from my cold, dead fingers" which endlessly migrates from speaker to speaker, but there's nevertheless a fair amount of truth in it.

As time goes by, you begin to learn the rules, however idealistic you were going in: always site the book-table near the exit (so that no-one can escape bookless without running the gauntlet of your reproachful gaze); never stint on food and drink (especially the latter-- you want to induce a false sense of euphoria in your guests); don't let the speeches go on too long; and (if possible) include a musician or a juggler or something novel to liven things up; only invite people who are likely to buy the book (that rules out the very rich and the very poor: too canny and too needy respectively).

It's with a certain amount of horror that I realise that the recent Classic Poets booklaunch was actually my thirteenth -- hence the melodramatic title of this post (I guess I was thinking of that old Dr Seuss film The 5,000 Fingers of Dr T; or else maybe The Nine Gates of the Land of Shadow, that Satanic tract in the Roman Polanski film The Ninth Gate, which damns everyone who looks at it to eternal perdition ...)

So here they are, in reverse order of occurrence:

1. 2006 (20 July) -- Peter Simpson & Elizabeth Caffin launch Classic New Zealand Poets in Performance, edited by Jack Ross & Jan Kemp (Auckland: AUP), in the Hobson Room, Jubilee Hall, Parnell. MC: Jack Ross. Readers: Riemke Ensing, Anne Kennedy, Alistair Paterson, Jack Ross, C K Stead, Richard von Sturmer & Sonja Yelich.
2. 2006 (15 June) -- Gabriel White, Scott Hamilton & Brett Cross launch The Imaginary Museum of Atlantis, by Jack Ross, & Bill Direen’s Song of the Brakeman (Auckland: Titus Books), at the University of Auckland English Department Common Room.MC: Michele Leggott. Readers: Jack Ross & Olwyn Stewart.
3. 2005 (16 November) -- Mary Paul & Grant Duncan launch Where Will Massey Take You? Life Writing 2, edited by Jack Ross (Massey University: School of Social & Cultural Studies) in the Common Room, Atrium Building, Massey @ Albany.
4. 2005 (21 May) -- Mike Johnson & Brett Cross launch Trouble in Mind , by Jack Ross, Olwyn Stewart’s Curriculum Vitae , & Bill Direen’s Coma (Auckland: Titus Books), at Shanghai Lil’s, corner of Anzac Rd & Customs St.
5. 2004 (24 October) -- Roger Horrocks & Raewyn Alexander launch Monkey Miss Her Now, by Jack Ross (Auckland: Danger Publishing), at the George Fraser Gallery, University of Auckland.
6. 2004 (19 September) -- George Wood, the Mayor of the North Shore, & Chris Cole Catley launch Golden Weather: North Shore Writers Past & Present, edited by Graeme Lay & Jack Ross (Auckland: Cape Catley), at the Takapuna Public Library.
7. 2004 (12 September) -- Jan Kemp & Jack Ross launch the Aotearoa / New Zealand Poetry Sound Archive (Auckland University Library: Special Collections), at the Titirangi Pioneer Hall, Auckland. MC: Jack Ross. Readers: C K Stead, Janet Charman, Stu Bagby, Riemke Ensing, Mike Johnson, Paula Green, Bob Orr , & Sonja Yelich.
8. 2003 (4 June) -- Tina Shaw & A/Prof Mike O’Brien launch [your name here]: Life Writing, edited by Jack Ross (Massey University: School of Social & Cultural Studies) in the Common Room, Atrium Building, Massey @ Albany.
9. 2002 (10 November) -- Alistair Paterson launches Chantal's Book, by Jack Ross (Wellington: HeadworX) at the Birdcage Tavern, 133 Franklin Rd, Ponsonby.
10. 2000 (14 December) -- Alan Brunton launches Nights with Giordano Bruno, by Jack Ross, & Sally Rodwell’s Gonne Strange Charity (Wellington: Bumper Books), at The Space, 146 Riddiford Street, Newtown, Wellington.
11. 2000 (10 December) -- Professor D. I. B. Smith launches Nights with Giordano Bruno, by Jack Ross (Wellington: Bumper Books), at 6 Hastings Rd, Mairangi Bay.
12. 2000 (1 October) -- Jack Ross & Gabriel White launch A Town Like Parataxis, text by Jack Ross, photos by Gabriel White (Auckland: Perdrix Press) at 23 Maxwell Ave, Westmere.
13. 1998 (25 September) -- Theresia Marshall launches City of Strange Brunettes, by Jack Ross, & Lee Dowrick’s That was Then ((Auckland: Pohutukawa Press), at the Takapuna Public Library.

I guess my main impression, looking at this line-up, is to marvel at the number of people who've helped me and my collaborators out over the years. I mean, I have tried to do my bit to reciprocate, but it doesn't make nearly such an impressive list:

1. 2005 (5 December) -- Launched Richard von Sturmer’s Suchness: Zen Poetry and Prose (Wellington: HeadworX), with music by Don McGlashan, at the St Columba Centre, 40 Vermont Street, Ponsonby.
2. 2005 (20 October) -- MC, with Ahmed Esau, introducing Riemke Ensing, Deborah Manning, and Bill Manhire, at the launch of Ahmed Zaoui’s Migrant Birds: 24 Contemplations (Nelson: Craig Potton Books), in the Crypt of St. Benedict’s Church, Newton.
3. 2005 (17 October) -- Launched Bill Direen’s New Sea Land and Stephen Oliver’s Either Side The Horizon , with Alistair Paterson, launching Olivia Macassey’s Love in the Age of Mechanical Reproduction (Auckland: Titus Books) at Rakino’s, High Street, Auckland.
4. 2004 (17 July) -- Launch, with Jan Kemp, Olivia Macassey, and Richard von Sturmer, of nzepc feature: 12 Taonga from the Aotearoa / New Zealand Poetry Sound Archive, at the Gus Fisher Gallery, Shortland St, Auckland.
5. 2000 (21 July) -- Organised the book-launch of Leicester Kyle’s A Safe House for a Man (Auckland: Polygraphia Press) at the Takapuna Public Library.

I suppose they can be quite fun sometimes -- meeting your pals, scarfing bread & cheese, making sure you're next to the drinks table when the speeches begin ... next time you go to one, though, do remember that you are expected at least to consider buying the book. Otherwise it's a bit like spending all afternoon tasting fine vintages at the vineyard and then rolling off without having purchased a single bottle -- it can be done, but it is a little gauche.

Really, though, I just want to put on record my thanks to all of you excellent people who have taken the trouble to come along on these many, many occasions. I guess your true reward will have to be postponed till you reach the next world, because it's unlikely to come in this one. I hope you take some satisfaction in knowing that you truly are the salt of the earth ...

The Imaginary Museum of Atlantis

[poster design by James Fryer]

It's two days now since that strange booklaunch in the English Department common-room at Auckland University. I've always thought it a pretty odd space, even before the carpets were all dyed slaughterhouse purple. Once we'd turned off all the lights and arranged little lamps around the window-ledges, though, it turned into a kind of Orphic cavern: the temple of the mysteries.

I think there had been a film preview in there before we arrived, so there was still a huge white screen in the middle of the floor. We didn't dare to try and take it down without instructions, so it stayed there behind the podium with the speakers projected onto it, like the chained-up captives in Plato's parable of the cave.

Michele Leggott had kindly agreed to introduce the speakers, and did so valiantly despite having hardly enough light to make out her notes.

Scott Hamilton went first. He's already given a spirited account on is own blog of the talk he gave introducing Bill Direen's J. G. Ballardesque novel / Apocalyptic text Song of the Brakeman. Brett Cross of Titus Books (the publisher of both novels), comments about the reading Olwyn Stewart then went on to give from it, that "it got quite surreal and trancelike there for a while, with hazy music in the background, the low lights, and words tumbling over the top ... I don't think I'll ever get those nodules of Tyrian purple nosing out of thinning fur out of my mind ..."

Then came Gabriel White, introducing my book The Imaginary Museum of Atlantis. "Jack has a cold front," he said. "Jack puts his worst foot forward." He went on to compare me to Plato -- or Plato's more subversive side, at any rate. He sure got a laugh at that! I despair of doing justice to all the extravagant stuff Gabriel had to say -- it was a pretty goddamned impressive performance, though, I reckon (though I say it that shouldn't). For a video-clip of part of Gabriel's speech, click here.

The wine flowed freely and bread & cheese went down by bucketloads. Strange shapes loomed up in the semi-darkness, insisting on sharing their own views on Atlantis. "Perhaps some of their descendants are here in this room," speculated one poet. "Perhaps we're all Atlanteans," I riposted.

Andrew McCully's mood music was the other unique feature of the evening. He played on heroically as evening turned into night and the stars and citylights came on. He was still playing when I left. I hope he and all those others got safely home.

If you didn't manage to get there, I'm afraid that you missed an experience. Both books are now on sale, though, and can be ordered from the Titus website. I'll finish with some of the plaudits my own book has earned already:

· The Imaginary Museum of Atlantis. ISBN 0-9582586-8-6. Auckland: Titus Books, 2006. RRP $NZ 27.95

"… after having read some of the contents, maybe it just wasn’t meant to be printed …"
– Marian Reeves, Massey Printery

"… rather rude …"
– Bronwyn Lloyd

"… women don’t always respond well to girl-girl erotica written by a bloke."
– Martin Edmond

I think that says it all, really. You owe it to yourself to check this novel out.

Restart button

I've been meditating for some time posting some work online, and had a website all planned -- pictures, internal links, the whole nine yards. I even went to a community education course at the local high school to find out how to do it (it always seemed to be raining on those nights ... I'd walk up through the football fields and see the other poor sods all processing around the visitors' parking area trying vainly to find a space ... even finding the right classroom was a bit of a chore. I went to that school when I was a kid, but it's grown monstrously since then ... the numbers tailed off gradually till there were only really two or three of us stalwarts left, determined to get our 49 dollars' worth).

The idea of paying further for the privilege of having my own domain name and having piles of crap hosted by some faceless provider didn't really appeal to me all that much, though, so I'm now hoping to accomplish much the same thing with this blog.

So it'll be a bit erratic, and intensely inter-connected. There'll be single entries, longer pieces, and ongoing raves. I don't know if anyone (except me) is going to like it, but hey, that's not my problem ("Hey," indeed -- why does one go all Californian the moment one logs onto a website?) ...