Contemporary NZ Poets by Region

Parts of the island are disappearing.
– Geoff Cochrane, “Atlantis”

Is it where you were born, where you were brought up, or where you live that defines you best as a person (or as a writer)? Bill Manhire was born in Invercargill, but is generally thought of as a Wellington poet; Janet Charman was born in Wellington but now lives and works in Auckland … I’ve been influenced more by where people were born than where they live now in compiling this list, but I have made some exceptions where the results seemed just too paradoxical.

So, anyway, here's my preliminary attempt at a regional breakdown of the 27 poets in our anthology, Contemporary NZ Poets in Performance (AUP, 2007):

Place -- Name -- Dates -- Pages in Contemporary NZ Poets

AUCKLAND & NORTHLAND

• Paula Green (b.1955) 115-18
educated at Auckland University, now lives on the West Coast.
• Sam Hunt (b.1946) 26-33
born in Castor Bay, but now lives north of Auckland.
• Richard von Sturmer (b.1957) 141-45
born in Devonport, lived abroad for more than a decade in the USA, and now lives in Remuera.

BLEINHELM & MARLBOROUGH

• Ian Wedde (b.1946) 46-52
born in Bleinhelm, travelled extensively as a child, but is now based in Wellington.

CHRISTCHURCH & CANTERBURY

• Alan Brunton (1946-2002) 17-25
born in Christchurch, educated in Auckland, but is most strongly associated with Island Bay in Wellington.
• Peter Olds (b.1944) 1-6
born in Christchurch, but is generally thought of as a Dunedin poet.

DUNEDIN & OTAGO

• David Eggleton (b.1952) 94-97
educated in Auckland, he is now based in Dunedin.
• Fiona Farrell (b.1947) 53-57
born in Oamaru, she is now based on Banks Peninsula.
• Bernadette Hall (b.1945) 7-11
born in Alexandra, Central Otago, she now lives in Christchurch.

GREECE

• Bill Sewell (1951-2003) 88-93
born in Athens, and brought up in parts of Southern Europe, he studied at Auckland, taught German in Dunedin, but then moved to Wellington.

GREYMOUTH & THE WEST COAST

• Keri Hulme (b.1947) 58-62
born in Christchurch, but is now based on the West Coast, at Okarito.
• James Norcliffe (b.1946) 42-45
born in Greymouth, but lives in Christchurch.

HAMILTON & WAIKATO

• Murray Edmond (b.1949) 63-68
born in Hamilton, now lives and works in Auckland.
• Jan Kemp (b.1949) 69-73
born in Hamilton, now lives between Torbay, on Auckland’s North Shore, and Frankfurt, Germany.
• Bob Orr (b.1949) 79-83
born on a farm in the Waikato, lives now in Auckland’s Point Chevalier.

INVERCARGILL & SOUTHLAND

• Bill Manhire (b.1946) 34-41
born in Invercargill, now lives and works in Wellington.

TARANAKI

• Michele Leggott (b.1956) 134-40
born in Stratford, she now lives in Devonport on Auckland’s North Shore.

UK

• Cilla McQueen (b.1949) 74-78
born in Birmingham, she now lives in Bluff, after many years living and working in Dunedin.
• Iain Sharp (b.1953) 104-07
born in Scotland, he now lives and works in Auckland.

WELLINGTON & THE HUTT VALLEY

• Janet Charman (b.1954) 108-14
born in the Hutt Valley, she now lives in Avondale, West Auckland.
• Geoff Cochrane (b.1951) 84-87
lives in Wellington’s Island Bay.
• Anne French (b.1956) 128-33
worked for many years in Auckland, but is now based in Wellington, where she grew up.
• Graham Lindsay (b.1952) 98-103
born in Wellington, he lived for many years in Dunedin, then Christchurch, and is now living in the UK.
• Stephanie de Montalk (b.1945) 12-16
based in Wellington.
• Vivienne Plumb (b.1955) 119-22
based in Wellington.
• Roma Potiki (b.1958)146-50
lives on the Kapiti Coast, outside Wellington.
• Apirana Taylor (b.1955) 123-27
lives on the Kapiti Coast outside Wellington.

Contemporary NZ Poets Teaching Notes

[cover image: Richard Killeen / Cover design: Christine Hansen]

Contemporary NZ Poets in Performance
Edited by Jack Ross & Jan Kemp
(Auckland: Auckland University Press, 2007)

So it appears that I'm down to give a public lecture (in the "Chancellor's Series," no less, alongside the likes of Nicky Hager and Cindy Kiro), on the subject of this series of anthologies: NZ Poets in Performance.

It's at 12 noon on Wednesday, August 1st, in the Study Centre Staff Lounge of Massey University, Albany. If you happen to be passing. Free entry -- free tea and coffee, too ...

That got me to thinking about the bunch of teaching notes I put up on this blog when AUP published Classic NZ Poets in Performance last year. I hope they’ve been handy to someone, at least. I haven't heard much about them either way. In any case, I thought I might continue the tradition and do the same thing for this sequel, Contemporary NZ Poets in Performance.

I guess the philosophy behind our selection of poems all along was to choose those which didn't require a great deal of background knowledge to like. We’ve tried to choose poems about very concrete, accessible topics, by poets who are used to reaching out to a general audience. That’s not to say that there aren’t subtleties and complexities in all three books (these two and the projected New NZ Poets, scheduled for publication next year), but the idea was never to compile an anthology purely for poetry-lovers -- though of course we hope they’re being catered for as well.

The plan, at least, was to try to put in something for everyone in the books, as I’ve attempted to demonstrate in the breakdown of poems by theme which follows this entry.

Once again, I know that some of the poems could be listed under more than one heading, but all I’m doing here is indicating what I think is the predominant subject-matter or thematic direction in each. If you don’t agree, that might be a good starting-point for discussion:

• ADOLESCENCE & EDUCATION
• ANIMALS
• ELEGY
• FLATTING
• FOOD
• FRIENDSHIP
• HISTORY
• LANDSCAPE & LOCALITY
• LANGUAGE & WRITING
• LIFE, THE UNIVERSE & EVERYTHING
• LOVE
• PAIN
• PARENTS & CHILDREN
• PEOPLE
• POLITICS & POLEMICS
• RELATIONSHIPS & SEXUAL POLITICS
• SPIRITUALITY
• SUBURBIA
• WORK

As with the Classic NZ Poets, our new book is arranged in chronological order of birthdates, beginning with Peter Olds in 1944 and ending with Roma Potiki in 1958. The preface to the book explains that:

This second volume, Contemporary New Zealand Poets in Performance, is our overview of the poetic generation which came to maturity in the 1960s and 1970s, that turbulent era of social, sexual, musical and artistic experimentation.

(Some might call them the baby-boomers, though I doubt it’s a term which appeals much to the people in question. )

Many of the poets in the book have associations with many different parts of New Zealand; others (such as Bob Orr or Keri Hulme) are very strongly identified with a particular region, and constantly revisit it as subject-matter in their work.

Here are some of the places on offer:

• AUCKLAND & NORTHLAND
• BLEINHELM & MARLBOROUGH
• CHRISTCHURCH & CANTERBURY
• DUNEDIN & OTAGO
• GREECE
• GREYMOUTH & THE WEST COAST
• HAMILTON & WAIKATO
• INVERCARGILL & SOUTHLAND
• TARANAKI
• UK
• WELLINGTON & THE HUTT VALLEY

Further information may be accessed at the following websites:

• 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 main source for this sereis 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).

Metamorphoses II (1993): The Crow

[The Metamorphoses of Ovid: A New Verse Translation by Allen Mandelbaum. San Diego: Harcourt, 1993. 60-61.]

"My father was a king, the famed Coroneus
of Phocis; and I was a lovely princess
with many suitors (do not laugh at this!).
My beauty was my ruin. For, in fact,
while I was walking on the shoreline sands,
as I still do, the sea-god saw me and
grew hot with love; his pleas and honeyed words
were useless; he made ready to use force.
He chased me; as I ran, I left behind
the hard-packed sands and staggered wearily
along the soft and yielding shore -- in vain;
then I invoked both gods and men. My voice
could reach no mortal. But, a virgin, I
did stir the virgin goddess with my plea.
And as I stretched my arms out toward the sky,
they started to grow darker, sprouting feathers.
I tried to free my shoulder, flinging off
my robe; but it, too, had become a cloak
of feathers, rooted deeply in my skin.
I tried to beat my bared breast with my hands:
but I, by now, had neither hands nor breast.
I ran, but now my feet no longer sank
into the sands; I skimmed along the ground,
then I flew off, on high, into the sky:
there I was taken by Minerva as
her stainless, blameless comrade.

But by now
to what does all my serving her amount?
I am supplanted by Nyctimene,
one who became an owl because of her
outrageous sin. Have you not heard men speak
of what is known to all of Lesbos -- how
Nyctimene defiled her father's bed?
And as a bird, yet conscious of her crime,
she flees men's eyes and flees the light: she hides
for shame among the shadows; she has been
cast out by all and exiled from the sky."

The crow is flying along with the raven, Phoebus Apollo's bird, who is anxious to tell his master about his mistress Coronis' adultery. They're gossiping to pass the time away. The number of stories within stories and stories melting into other stories at this point in Ovid's epic is literally beyond exact computation: speakers quoting speakers quoting speakers.

Two points might repay investigation here:

1/ Mandelbaum's translation, "fluid, readable, and accurate" according to his fans -- clunky and uninspired to his rivals, is justified by its author as follows:

... all that is here is not all that semes [sic]. Ovid's fictions form a bacchanalian narrative revel, in which each element may be drunk or delirious, but which -- in its endless deceptions -- provides truth. (Ovid read not only his Gorgias but his Hegel carefully.) [558]

I'm an ignorant man. I'll grant you that. But what precisely does that mean? I guess he intends to say that Ovid's as interested in the facts as he is in the delirious "revel" of language, but it still seems (or semes) an extraordinarily opaque way of putting it. Perhaps that's the point.

To me, I'm afraid, the translation seems a bit clunky: too many internal rhymes and limping pentameters: "on high, into the sky" ... or "And as I stretched my arms out toward the sky." It's a fantastically difficult and finicky task to convert so much verse into other verse, though, so I wouldn't want to overstress such deficiencies. The real worry is when Mandelbaum goes on to quote some verses of his own composition:

Ovidius-the-Garrulous,
The-Copious, the Ever-Swift,
Amir-Of-Metamorphosists,
and Sad-Seigneur-of-Scrutinists ...

"Prelude" to The Savantasse of Montparnasse (1988) [555]

Fucking hell! I thought that kind of thing went out with Lionel Johnson and the poetes maudits of the 1890s. It raises that old issue about whether indifferent poets can make good translators. To some extent, of course, this whole set of meditations on the Metamorphoses is designed to look at that question from a number of different angles.



2/ I guess, however, I mostly chose to reproduce the crow section of Ovid's epic because of my interest in Crow the trickster figure. Not just the one in Ted Hughes' book Crow (1970), nor even the version in The Crow (1994), that dodgy proto-Emo movie Bruce Lee's son Brandon got killed making, but (above all) that Anansi / Maui / Brer-Rabbit-like antihero of the Inuit and other northern cultures.

Crows are battlefield scavengers, cunning and resourceful rather than brave and forthright. The constellation "Corvus" is supposed to be named after one of Apollo's crows who decided to wait for some figs to ripen, rather than hastening back to his master with the water he was supposed to be collecting. He blamed his dilatoriness on a watersnake, but the god saw through the ruse at once.

One wonders if there's some connection here with Noah's raven, sent out from the ark to test the reappearance of dry land. The snake, too, seems to suggest certain Biblical parallels.