Book Review: Tightrope, by Selina Tusitala Marsh

Available in bookshops nationwide. 

cv_tightropeSelina Tusitala Marsh is well known for being the 2016 Commonwealth Poet, an honour that involved writing a poem and performing it for the Queen at Westminster Abbey. Marsh also includes this poem in Tightrope. Titled ‘Unity’, this piece is a smooth poem that captures ideas of inclusivity. Marsh beautifully writes how ‘though 53 flags fly for our countries / they’re stitched from the fabric of our unity’. Throughout the poem, Marsh further explores this idea, repeating the phrase ‘There’s a ‘U’ and an ‘I’ in unity / costs the earth and yet it’s free’.

Marsh then follows this poem with other afterthoughts of the event. One of these poems is named ‘Pussy Cat’, where Marsh’s personality and identity stands strong. She paints a beautiful and vivid image of herself in the scene, talking about how ‘I frightened the Western world with my big hair… My moana blue Mena… My blood red lips / My Va philosophising / My poetic brown hips’. She wonderfully ends the poem by reiterating the theme of her previous poem, ‘Unity’. Here, she states, ‘Inverting West is Best / Instead drawing a circle / Encompassing all the rest’.

Marsh also explores other ways of describing identity. In the poem ‘Led by Line, Marsh portrays identity as something formed by several different factors. She tells how ‘We are led by line / blood line love line land line… when out of line / with the colonial line’, and how these lines—some part of us, some imposed upon us—make up our identity. Marsh then goes on to describe how we craft that identity by realigning and ‘drawing our line in the sand’. We must navigate what we ourselves feel is true. In doing so, we walk the tightrope of all these lines.

In the poem ‘Explanation of Poetry to My Immigrant Mother, Marsh also wonderfully portrays the joys of writing. She starts with describing the forms that a poem can take, how a poem can feel like ‘the kids’ lucky dip bin / love, grief, rage wrapped in headlines’. And then Marsh tells how a poem can also be a passport and send you to new places. She describes how a poem ‘can transit the likeness of you from New Lynn / to Niutao… can launch you across lined waters / where in another country / you find yourself / home’.

Throughout Tightrope, Marsh also included several black out poems. Black out poetry involves blacking out existing words and, in doing so, bringing out certain words and thus creating a new text. As well as being simple and sweet, Marsh’s black out pieces created a nice interlude between longer works. Using Albert Wendt’s novel Pouliuli, Marsh finds various parts of poetry within this broader context. One poem implores, ‘wake up Samoa and bring a New Zealand storyteller a pen’. Another declares, ‘discover the question recognise how to follow’.

I loved the fierceness and strength that Marsh invokes through her writing in Tightrope. Her recognition of identity and the multiple lines that create it is especially crucial in an ever-changing world. Marsh’s own pride is a stunning facet of her identity, and it shows through in her poetry.

Reviewed by Emma Shi

Tightrope
by Selina Tusitala Marsh
Published by AUP
ISBN 9781869408725

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Book Review: Wolf, by Elizabeth Morton

cv_wolf_MortonAvailable now in bookshops nationwide.

Wolf by Elizabeth Morton is an atmospheric and breathtaking collection that explores all the strange and mysterious parts of life. It’s all about the sharp edges, the rough shadows, the things that sit in the back of your mind and fester. It’s the uncomfortable, the estranged, all tightly packed into a world where the moon never seems to set and the sun never seems to rise.

It begins with Wolf. He is wild and he is also lonely. Morton’s language is sharply attuned with the wild world of Wolf. She describes how “as a pup Wolf had mewed / tender words… taller now, Wolf barks consonants.” He walks through forests, visits suburbia, travelling with a feeling of loneliness that presses on him the whole way. In Wolf has a dream, this feeling is brought to the fore as Wolf howls “Mo-ther / Mo-ther… but she does not hear”. The way Morton contrasts the eerie wanderings of Wolf as well as Wolf’s own heartache leaves an unsettling feeling of melancholy.

Then Morton expands out from Wolf into her own world, although it’s still not a world removed from the strangeness of the wild forest. Morton’s metaphors are raw and her words are tough. One of my favourite poems of the collection, 17, is a beautiful yet eerie piece. Morton begins, “it was March. / we had city grit in our gums, / and heads violent with stars”. Descriptions such as these made me pause, consider her words, and imagine in new ways. Morton continues with more of her peculiar and unique imagery: “and at seventeen / we were the final flashing synapse in a wrecked brain. / the last dry thrust of a fish”.

In this world, although things are not as wild as Wolf’s forest, the presence of Wolf still lives on. In The Dream, Morton and her dog walk through a landscape filled with “steel-wool bushes, the bones of manuka”. Morton manages to turn even the everyday into something strange and almost menacing. In Sirius, Morton finds the presence of the canine and the wild again in the deep sky: “I found the Dog Star / winking white and black”.

Another poem I really loved in Wolf is Poem in which i am a zombie. It’s written in the same vein as others in this collection—menacing and melancholic— and the imagery is still absolutely beautiful. It feels like Morton has dropped me in an alluring world, but she has also pressed pause. With the remote in her hand, Morton is free to show us around while trapping us in a strange state of being in between. Morton describes “powerlines heavy with starlings”, how she walks “in dactylic hexameter”. Then the loneliness creeps in: “i remember my name. / it leaves a bad taste.” This loneliness reaches its height in the final poignant lines of the poem: “now and then / i turn on all the lights / and pretend somebody’s home”.

Wolf is an absolutely breathtaking collection of poetry that Morton has crafted together with perfection. There is a little bit of Wolf in her and in all of us: the jagged parts of the heart, the strangeness of the night, and ultimately, the sadness. And Morton touches on this all in a heartbreaking but alluring way that kept me enraptured all the way through.

Reviewed by Emma Shi

Wolf
by Elizabeth Morton
Published by Makaro Press
ISBN 9780994137821

Book Review: Family History, by Johanna Emeney

Available in bookshops nationwide. 

cv_family_history_bigFamily History by Johanna Emeney begins with a secret: Emeney’s mother is an adoptee. When Emeney’s mother is diagnosed with breast cancer, and the lines of family history become something different, Emeney and her mother both have to navigate through a landscape of hospitals and grief.

Emeney begins with her mother’s old photo albums in her poem Captions. Her album is filled with written captions, from ‘MR AND MRS DUNNE AT OURS’ to simply ‘ME’. But some of these photos are just ‘bare grey squares’. Perhaps these photos were moved around, or maybe they were taken and never returned. As a result, these words have no photo to caption. Although the past and some of its photos have gone, the album still lives on, declaring a certain family history.

And then, with the diagnosis of breast cancer, Emeney’s family starts to unravel. How large was your heart is a poem where Emeney crosses over from the medical into the poetic, proving that the two do not need to be kept separate. Emeney portrays the rush of unfamiliarity that comes with medical terminology, describing how ‘The coroner reports a haematoma / over the anterior pericardium’. It is a flow of words that means nothing to a reader like me, who doesn’t have the medical knowledge. But then Emeney unpacks it in her own tender words. Emeney claims that she has already felt the size of her mother’s heart in her own way; ‘she has felt its beat in full swell / through warm, unbroken ribs’.

Further on, in Anonymous, Emeney’s mother is reduced to a sample of tissue that will be used for cancer research. A letter labels Emeney’s mother as simply ‘YOUR DECEASED RELATIVE’. The letter ends with a simple sentence: ‘You can be assured / no one will ever know / who the donor was’. Although these words are meant to be comforting, they also cause unease. Is it that easy for a person – brain, thoughts, and all – to be reduced to a piece of tissue when it was once so much more? This is why Emeney’s poetry is so rousing: it crosses between medical terminology – ‘Today I learned that heartstrings / are called chordae tendineae’ – to the complexity of human feelings – a ‘spectacle of attachment and loss’. Emeney tries to understand moments both poetically and scientifically.

And she does it beautifully. In Dandelion, Emeney reminisces on times from her childhood, fixating on the image of cicada shells stuck on her school jumper. In the final heart wrenching verse, present day Emeney finds traces of dandelions on her clothes, and she thinks of them as ‘three white parachutes’. She sweetly describes how these little parachutes remind her of her mother. To Emeney, those dandelion strands are ‘little angels of your (her mother’s) imprint, your leaving’.

The way that Emeney combines the medical with the poetic in Family History brings the true complexity of the medical world to light. Although medical science is based on concrete fact, the people in its system are still people, and they feel a variety of emotions. It is a world where words are charged with meaning, where diagnoses and procedures change the lives of patients and their loved ones. And Emeney is there, bringing the reader into that experience. It’s not just a medical history; it’s a family history.

Reviewed by Emma Shi

Family History
by Johanna Emeney
Published by Mākaro Press, part of the Hoopla series
ISBN 9780994137814

Book Review: The atomic composition of the seeming solid, by Shane Hollands

Available from selected bookshops nationwide.

cv_the_atomic_composition_of_the_seeming_solidA poet, a mystic, and a musician walk into a bar. No, they really do. Only, it’s Shane Hollands in each case, moving from one affectation to another, all within a single poem. Hollands is on something more than form. His poetry is abuzz with whisky and caffeine. And the fix is a contagion. The reader follows the verse into murky pubs, backs of cars, into the checkout of a Grey Lynn Foodtown. There is a grandiosity to his reach, counterweighted by the local and colloquial. We are served split-screens of celestial apparitions with the atomic, mythical opus with the simple tall-tale, global village then Motueka.

Shane Hollands is very Beat. But his voice sits comfortably within the New Zealand milieu. Whether in ‘Rotovegas’ or ‘Dorkland’, Shane has a way of importing his Beat energy, without it seeming forced. This is Kiwi bloke, meets Tom Waits. The geography is familiar, right down to the time-honoured cafés. We are on a trip. Shall we say we are tripping? We are on a sort of multisensory escapade, subject to the experiential blendings of a Synesthete. There is the ‘wild lonely road’, ‘the gnarl of sombre landscapes’. Hollands’ visual domain is pegged to emotion. It is atmospheric. There are times when you can smell the furniture, taste the music. There’s a pervasive tenebrosity, a wonderful grunginess about much of it. And there are lines that cut:
‘I wouldn’t give you a cigarette
unless you were on fire’

Hollands’ world has the lick of panpsychicism – His oceans are living, his storms are ‘wild with intent’. But the intentions of the poet take centre stage – chasing dreams, chasing love, chasing ecstatic lunacy, the free-range bliss that is ‘card-less / wallet-less and anonymous’. The result is feverish poetry. It rambles, it rages, but it is charming. There are hits from his ‘wordcore’ band, Freaky Meat, and there are quieter, more contemplative poems:
‘yet there were moments of beauty
when I sat on stone circles
watched you roll in perfect curls
on that wooden deck
I listened to you
moan’

This is work of a performer, but it defies the conventions of commonplace, and often didactic, spoken-word. Yes, Hollands’ poetry ‘wants to beat on your poetry’, and ‘would like to kick your poetry’s assonance’.

Reviewed by Elizabeth Morton

The atomic composition of the seeming solid
by Shane Hollands
Published by The Back Shed Press
ISBN 9780473384128

Book Review: The Internet of Things, by Kate Camp

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cv_the_internet_of_thingsThe title of poet Kate Camp’s latest collection is telling. The Internet of Things is the latest phrase being bandied about by technology bloggers. According to the Internet (funnily enough), it was first coined by someone called Peter T. Lewis as far back as the end of the late 1980s. It refers to a future where physical objects are connected via, you guessed it, the Internet. Alternatively called ‘smart’ technology, the phrase evokes objects speaking to one another without the need for human intervention.

With that context in mind, we delve into Kate’s poems, where objects do indeed speak and tell stories, beginning with the title poem. Here, the narrator visits John Lennon’s aunt Mimi’s home in Liverpool and the surrounding ports (ports of course having a double meaning, pops up in several poems).  The cover picture of the seemingly miniature kitchen evokes the objects of a children’s tea party, with its symbolic collection of objects for various dining rituals. There is a feeling of unreality to the photograph, like a staged home in a museum. Each object is clean, with no traces of the ‘eggs and chips’ or the whistle and steam of the kettle as Mimi made John his cups of tea.

As we move through the poems, we are presented with an array of objects, from the most banal (the contents of a rubbish bin), to the paintings of Rembrandt and the subject, St Jerome’s slippers (Like those white towelling freebies from a hotel). The poet imbues the mundane with a cheeky questioning and likewise grounds the typically austere objects of the art world with connections to the everyday. It is a rich source of subject matter for a poet and one that Kate surveys with skill and ease.

Poems such as Lego Lost at Sea, offer a glimpse of how absurd some childhood objects appear in different contexts. Based on a true story where millions of pieces of Lego were lost overboard in 1997, the poem sketches a scenario where a diver is depicted in the wooden fashion of a Lego person and the cartoonish stories those of us who played with Lego created.

Utilising the metaphor of the title again, we find Kate describing the body as being made up of channels, tunnels and space (a light elusion to the idea of cyber space perhaps?) In the poem Woman at Breakfast, Kate writes:

as most of us is empty space
around which our elements move
in their microscopic orbits. 

Then, we find gems such as the line, the dull miraculous privacy of the human mind. Much like the internet, Kate renders the body as repetitious and boring, but also a thing of wonder. As the book progresses, we are treated to natural imagery as well, so that we are not given a mechanical treatise or a metallic insight into a dystopian future. Rather, the works are often miniature nostalgias; poems that are objects in their own right; speaking to us and connecting with each of us silently and dynamically, wherever we might be.

Reviewed by Anna Forsyth

The Internet of Things
by Kate Camp
Published by VUP
ISBN 9781776561063

Book Review: Mister Hamilton, by John Dickson

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cv_mister_hamiltonMister Hamilton
is John Dickson’s first poetry collection in eighteen years, and it is clear he has honed his poetry well. The precision of Dickson’s writing is intense. It’s like being placed in a whole new country with so much to see, and there is an amazing rush in his writing as he shows us his world and more.

The story, like many stories, begins at home in New Zealand. ‘Plainsong’ is one of the first poems in Mister Hamilton. Often, images of home can become cliché after reading them over and over again. However, Dickson brings clarity to this poem with unique images that call your attention and make you stop for a moment. He describes ‘Southland’s slow intestinal rivers / laden with manuka dust / And my detachment from anything plain.’ Dickson perfectly captures the feeling of being homesick: a background noise that is always present, pervasive. Something that ‘smoulders still’despite all the time that has passed.

My favourite in the collection is the poem Something Else. While reading it, I wanted to speed up in anticipation of the words to come, as well as slow down in order to take everything in. I think what makes this poem so effective and enjoyable is how it brings you into its rush of words and images. Although it may seem fragmented at first, there is story underlying it all, with a selection of images that recur and words that repeat. At its heart, the poem tells of a lost girl and her father, who carries an ‘anguished stare’in his eyes. It is how Dickson uses this story to open up a certain world that makes it so interesting. There is a lost girl but she is also so much more than the girl others see on the six o’clock news. She is also the girl falling, the girl full of rage, the girl who finally stays silent and lets the snow enfold her.

Mister Hamilton is also a collection that’s very conscious of the rhythms of poetry. In Dickson’s own notes at the back of the book, he explicitly states: ‘I attempted to compose verses that would not only use the speech rhythms of other people as well as my own, but also match the rhythms with various metrical patterns’. ‘Sixties relic surveys his lawn’ is a satisfying poem that seems to sway with a steady rhythm, and captures the methodical nature of the exercise. The final verse in the poem mimics the motion of someone working back and forth while mowing the lawn: ‘you mow your fescue that way / way this fescue your mow you / you mow your fescue that way’.

As the dust settled from the rush of being brought into all of Dickson’s various worlds, I quietly finished Mister Hamilton. And I was left with an urge to go back and read some of my favourites in the collection again, and an additional urge to write my own. The words in some of these poems seem to crest like waves as you read them, and they rush with a mix of images that seek to both inspire and question.

Reviewed by Emma Shi

Mister Hamilton
by John Dickson
Published by Auckland University Press
ISBN 9781869408558

 

Book Review: New Sea Land, by Tim Jones

Available in selected bookshops nationwide.

cv_new_sea_landYou can lick the salt off this poetry, half expect sand to spill from the centrefold. Tim Jones’ latest collection, New Sea Land, is part history, part rattling fortune-telling. It is a slap on the face by a wet fish, a digging up of heads-in-the-sand. Jones has spied a calamity from the shoreline, an oncoming deluge. History is repeating on us, and this time the tide is coming in full.

New Sea Land is salty, but it is not your run-of-the-mill nostalgic beach jaunt. The sea and land are dispassionate players in a human-instigated ecological meltdown. Jones’ sea ‘does not mean any harm’ and his ‘sea does not apologise’. The sea is a desultory child, nibbling at the edges of things, erasing ‘Beachfront property / … with the stroke of a pen’.

Jones’ work is didactic, but not earnest at the expense of a playful image or a great one-liner. He pokes tongue at the itch for beachfront investments, and the securing of LIM reports. In a great little anachronism, Jones has Noah’s (of the Ark) carpenter crew curse ‘zero hours contracts’ and swim away from the job. Then there’s an alternative history played out, wherein Captain Cook and Dracula take ‘tea and blood together’ in Kealakekua Bay. It is all fun-and-games, but the broader picture is sober and confronting.

The world is falling apart at its seams. This is a New Zealand where climate change is playing out. The sea floods Lambton Quay, rolls over childhood homes, and meets householders at their doorsteps. People are left with new geographies of which to make sense. Jones gives us a periscope to a time where myopic vision has crystallised into something tangible. It is only once the impact is ostensible that we realise we ‘backed the wrong horse’.

There’s a passing of the torch, from one generation to the next, but one gets the sense that the flame has gone out. Jones’ people are asleep or in denial. They leave a legacy of rash decisions, a lack of investment in a future beyond their own:

‘You slept until you lost the path,

and woke to find your children’s path
blocked by rocks you long ago set falling’

New Sea Land glances backward, as much as it forecasts. It reflects on history, memory that ‘renders everything askew’. Jones stresses the importance of cognition of times-gone-by, in the navigation of a future. His people, though, are ‘so eager to obliterate the past’ that they ‘wash away the stepping stones’. Condemned to repeat past error, through disavowal of history, we find ‘all our futures / are hostage to our actions’.

Jones’ poetry is a caution and a premonition. ‘Nature doesn’t stuff around’. The sea and the land couldn’t care less about where we’re heading. Jones writes so well, you might lose sight of the fact you’re getting cold water thrown at you. You can lick the salt off this poetry, by all means. But Tim Jones doesn’t give you halcyon coastlines or ice-lollies on the beach. This is poetry that knows what’s coming, and insists you ‘keep your life raft close at hand’.

Reviewed by Elizabeth Morton

New Sea Land
by Tim Jones
Submarine (an imprint of Mākaro Press)
ISBN 9780994129963