Followers of Simone Kaho’s poetry and spoken word performances on various stages will be delighted and surprised by her debut collection. As a performer, she is vivacious and alluring. Her captivating readings lure you in, captivating you with her tales of extended family foibles, childhood fascinations and modern city romance and heartbreak. At times Simone’s work has a dark undercurrent in the form of vignettes capturing various acts of violence and casual misogyny. Lucky Punch is in fact a string of inter-related vignettes, verging on prose poetry, with some more formal poems interspersed. Each one is short and succinct, requiring the reader to pause before moving to the next one. Set mainly in Waterview, Auckland in the 1980s, it is as much a coming-of-age story, as it is a poetic reflection of a domestic and urban life, through the eyes of a curious child.
The illustrations that grace the monochrome cover are courtesy of a young relative of Simone’s. They depict a child bobbing above the waves; the title submerged and a wide-eyed character navigating this subterranean world in big heels. On the back, we have a man and possibly a woman in freefall. The childish drawings are fitting for the experiences described within the covers, where hidden dangers lurk in the background of fantastical and mundane childhood experiences. The politics of growing up with Tongan culture is touched upon lightly in several poems, such as, Standards, where vegetarian Simone examines the cultural ideas and hypocrisy around meat eating.
…I gave up meat eating at sixteen.
They thought I was crazy in Tonga.
Or there’s, the poem, Here, that touches on the racial attitudes that are present toward the Tongan culture in New Zealand:
An Air New Zealand training manual gets leaked.
It says Tongans are softly spoken but drink the bar dry.
Maybe it’s Tongan thing, like gold teeth.
Some of the poems are peppered with cultural references: Tongan time, the umu, and catching crayfish.
Simone’s fascination with the rhythms and quirks of nature is evident in the collection; something that may surprise fans of her stage work, which has a more urban and edgy mood. Firmly rooted in place, many of the images will be familiar to Aucklanders, such as hanging out at the local creek, running from bulls, pillaging blackberry bushes and taking trips to the local dairy for cheap bags of lollies. We all know the delight of finding a bird’s nest and pulling a disgusted face on discovering a weta for the first time. It’s relatable in a way that brings a smile to the face of the reader.
Expressed at times as a stream of consciousness, we look through the child’s eyes as events unfold and circumstances shift into uneasy young adulthood and all its rude awakenings. Simone holds our hand for the journey and we are right there with her, swinging from branches and experiencing our first kiss, our first sip of peach schnapps and our first gasp of recognition that the reality of growing up can hit you like a badly-thrown punch. When we walk away relatively unscathed, we feel lucky; we might even laugh about it later, or in Simone’s case, metabolise the experience into a poem.
Reviewed by Anna Forsyth
by Simone Kaho
Published by Anahera Press