AWF17: Behind the Scenes at Landfall

Another free session! Fantastic, and again 300 plus people. There was a real buzz of anticipation from this lively crowd. I suspect many were there to relive old memories of their association with Landfall over the past seventy years that Landfall has been in continuous publication for. The title of the session would suggest the exposure of numerous scandals and raking over the coals for juicy stories. A little misleading perhaps, as the session was really about celebrating this seventy year milestone. It would seem all old secrets are staying right where they are, in the Landfall vaults. But the session was lively and interesting, with no need for any salacious details, the history of the journal another intriguing morsel in the saga of publishing in this country.

The session was introduced by writer/editor/curator Peter Simpson who would also appear to be the unofficial historian of Landfall. Although never an editor, he has contributed regularly since 1977. Deeply immersed in NZ literature and its authors, he is very well placed as commentator on the story of Landfall and the place it holds in New Zealand’s literary development. Joining him on the panel was Ian Sharpe, editor 1985-1992, Chris Price who edited from 1993-2000, and current editor David Eggleton. I found it really interesting that each of these three editors were poets before taking up the Landfall mantle. I like to think that the poetry side of their lives provided a perfect outlet when dealing with the tumultuous life of being Landfall editor.

There were a number of themes to come out of each of the editors. Firstly, was the ongoing struggle for survival with rival magazines started up, firstly by Robin Dudding and Islands in 1972, then Sport from Fergus Barrowman in 1989. There is such a small pool of writers in New Zealand, and funding has always been very tight. The journal nowadays only survives thanks to a Creative NZ grant, and very generous funding from current owner Otago University Press. Plus, the goodwill of many contributors.

Secondly, there seems to have been a determined commitment to follow the principles set down by founding editor Charles Brasch. A magazine ‘distinctly of New Zealand without being parochial’, writers were to be paid, the perfect platform to show the world what the voices of this country were all about. There is no doubt that the high standards, level of professionalism and genuine care for New Zealand writing that defined Brasch’s legacy set the standard for the journal. In David Eggleton’s words, Landfall is a ’plucky little magazine, a prime mover of who we are’.

Thirdly, the journal has always had to work hard at keeping modern and current. From post-war uncertainty around what exactly is New Zealand writing, to the post-modernism of the late 1980’s when Ian was editor, to the magazine being approachable and not too high minded for new/young writers, to recognising the increasing regionalism and cultural diversity of this country. Chris Price is particularly proud of starting the annual Landfall essay competition which is still going, having grown and developed to a high standard, contributing to the literature of this country. The latest winner of this competition is in the current issue, the 70^th anniversary issue of the journal. David commented further that attracting new and young writers is a constant challenge, especially with the formidable and intimidating air Landfall has developed around it.

The fourth theme emerging was how damn tough these editors have had to be. A thick hide would appear to be number one requirement, to cope with being the critic of submitted work, managing writer egos, making suggestions for improvements, plus truckloads of stamina. So much going on all of the time in this 70-year history – definitely the little magazine that could. There is also always conflict over the final choices for each issue. David (left) commented that as editor, you may make mistakes in choosing what to publish, it is very hard to please everybody all the time with the content of each issue. But his final words were that each issue of the magazine ‘becomes a time capsule or a particular moment’. And really what else can it be, the fact it has lasted seventy years is testament to how it continues to be both relevant and controversial.

David spoke briefly on the impact of the digital revolution on the magazine. Landfall Review has been online since 2011, with six reviews of current New Zealand writing put up a month. It also chooses to do reviews of books that aren’t extensively covered by mainstream media, giving a much needed avenue to these lesser known books. David also says he does virtually all his communication by email, which has streamlined his job significantly, but has made his relationships with writers and reviewers less personal. He receives hundreds of submissions for each issue which is fantastic, even if it does require him to make some tough calls.

The session organiser did their cunning best to get the panel to talk about skeletons in line with the session title, but those lips were going to remain firmly sealed. There were glimmerings of the conflicts that followed Denis Glover and Robin Dudding everywhere, as well as Dinny Donovan being difficult. Landfall was always associated with factions – in Wellington the likes of Louis Johnson and Alistair Campbell; Auckland with Keith Sinclair, and Kendrick Smithyman; the North Shore with Frank Sargeson, Janet Frame and Kevin Ireland; and continually stirring the pot with his meddling James K Baxter. Oh, such stories those walls could tell! Maybe we could do with a definitive biography of Landfall – it’s first seventy years.

Attended and reviewed by Felicity Murray on behalf of Booksellers NZ

Behind the Scenes at Landfall
featuring Peter Simpson, David Eggelton, Chris Price and Ian Sharpe
Auckland Writers Festival 2017, Friday, 19 May, 2.30 – 3.30pm

WORD: Bloomsbury South, by Peter Simpson, interviewed by Paul Millar

The publication of Bloomsbury South is an important event for the arts community of Christchurch. It tied together the many artistic genres and people who were based in Christchurch from 1933-53.

Peter Millar led an interesting hour of questions and reflections with the author, Peter Simpson. Millar described the book as “a beautiful object in its own right”. This comment arose from the way that images, headings and original documents have been used to create a superb reading of this period in the artistic history of New Zealand. He described it as a book which gives equal weight to text and images.

Peter Simpson recalled the time 15 years ago when he first realised the connections between the creative blossoming in Bloomsbury, London post-WW1 and what happened in Christchurch. In the intervening years he has written about many of the artists as individuals, but it was a much grander idea to bring them together in this book. He talked us through the chapters and grouping these in pre-war, war, and post-war. Then the different genres became a focus within these chapters. “Once I settled on this plan, I stuck to it”.

Simpson talked to us about the importance of a physical space for these artists to meet. 97 Cambridge Terrace was owned by artist Sydney Lough Thompson, but he rented out studio rooms to the arts community. This provided an intellectual, political and artistic home for an ever widening group.

Institutions such as the Caxton Press and the University provided support for the group. The Depression also played a pivotal part in developing an awareness of the struggles many New Zealanders faced. While most of the artists came from middle class homes, it was as Special Constables, recruited from the university, that they met the desperate face of real people. Certainly, Denis Glover’s biographer felt that the experience had a profound effect on Glover. Paul Millar likened this to the creative response generated post-quake in Christchurch. As the depression was a catalyst for the Bloomsbury South group, so the Christchurch earthquakes have provided an urgency in artistic response.

Ursula  Bethell’s role as a Mother Superior to the young male writers was a discovery which surprised Simpson. The general thought was that she ceased writing in 1934 and her influence stopped. His meticulous reading of the private correspondence of the artists, allowed him to trace connections and influences. Some, like Angus to Lilburn, wrote 2 or 3 times a week across the same city. He found this an invaluable resource and one which still offers unfound insights.

There was so much to celebrate in this event. Peter Simpson was the right man to write this book with an already extensive knowledge of these artists as individuals. But it was his vision to draw them together in these pages, and engage us in this story. He gave credit to his publisher, Auckland University Press, and in particular to Katrina Duncan, who superbly married text and image.

I had my copy of Bloomsbury South to be signed and when asked by my seat mate what I thought, I replied that I loved every page. I found him with a copy at the after match. ” I was tossing up, but your comments convinced me”. I know he will not be disappointed.

Reviewed by Kathy Watson

Bloomsbury South, by Peter Simpson, interviewed by Paul Millar

Bloomsbury South: The arts in Christchurch 1933-53
by Peter Simpson
Published by Auckland University Press
ISBN 9781869408480

Book Review: Bloomsbury South – The Arts in Christchurch 1933-53, by Peter Simpson

Available now in bookshops nationwide.

Something happened in Christchurch between 1933-53. Here, in this southern city, far removed from the creative artistic spark which had spread across Europe and the Americas, there was a blossoming. Christchurch is my city, so the arrival of Bloomsbury South was like opening a door to a world I suspected  had existed, but had never properly explored.

Peter Simpson knows this world, as he lived in Christchurch for 25 years. He was a student, then a teacher at Canterbury University so knew and worked with many of those in this artistic community. His familiarity with running a publishing and printing company, Holloway Press, also enabled him to have an intimate understanding of the mechanics of this group.

The something that happened was the coming together of a group of creative artists: writers, painters, dramatists, sculptors, publishers, musicians, actors and dramatists. Together they supported, discussed and experimented in the wider arts. The title alludes to the Bloomsbury set who rose to fame in London. While some might say it is a bit pretentious to make this connection, Peter Simpson gives strong evidence to support the title.

His research is meticulous, and follows the individual stories of these creative leaders. Ursula Bethell was a founding member, and her support and encouragement is shown as an important factor in the establishment of the group. She supported rising poets, while Leo Bensemann provided a house for a studio, but also the venue for discussions and parties in which big ideas were freely debated. The founding of the Caxton Press played an important role in the printing and distribution of many new works. Each development is explained and its importance highlighted in this very readable book.

Having lived in Christchurch all my life, I have grown up with these names. I suppose I have struggled with the vacuum left as they departed for more supportive roles in other cities. Peter Simpson details this gradual decline and the desperate attempts by the remaining members to struggle on. The furore over the gift of Francis Hodgkins’s painting, Pleasure Garden, epitomises the conservative backlash in Christchurch. The establishment resented and excluded the members of the group, and so they left, taking their vision and passion to other shores.

This book is one of those benchmark writings, which every follower of the development of a distinctly New Zealand voice, must read. Peter Simpson has timed the release of his book well, coming 5 years after the earthquakes, which literally shook up the arts scene in Christchurch. I trust this publication will signal a new era in Christchurch creativity. It is time to move forward with the knowledge of past mistakes to enable us to build a community which allows and supports all forms of expressive art. This book is a wonderful gift to anyone who wonders, “What happened?”

Reviewed by Kathy Watson

Bloomsbury South: The arts in Christchurch 1933-53
by Peter Simpson
Published by Auckland University Press
ISBN 9781869408480