Paula Green’s NZ Poetry Shelf is a blog I pop in on regularly. Green claims that she only writes about poetry that she enjoys, which makes her reviews a breathe-easy and pleasurable read. She reliably sniffs out great local poetry, so my interest was roused when she announced that both session guests, Kerry Hines (right) and Leilani Tamu (below), had been subjects for her blog. Hines and Tamu are very different writers. But Green expressed that both drew uncannily similar responses in her reviews. As if to echo the uncanny, when asked to read from their collections, each chose poems with a titular ‘beach’. In both cases, the poems were atmospheric, and anchored to place.
Concept of place features heavily in both writers’ work. It is discussed that place can be temporal as well as spatial, and that place is often about people, politics, and the memories people have of place that morph over time.
Kerry Hines’ collection, Young Country, draws inspiration from the images of nineteenth-century photographer, William Williams. These haunting photographs were presented to us in a slide-show, and feature alongside the poetry in her book. Leilani Tamu spoke about the photography (one photograph in particular) that set her on her poetry journey, along with influences of writers such as Albert Wendt and Karlo Mila.
These two poets are informed by their academic interests – Leilani’s Master thesis was titled ‘Re-defining ‘the beach’ – the municipality of Apia, 1879-1900’ and Hines’ doctoral thesis, ‘After the fact: Poems, photographs and regenerating histories’. Each poet spoke about the importance of archives to their writing process, the importance of libraries.
These are two poets I’ll be sure to keep an eye on.
Event reported by Elizabeth Morton
by Kerry Hines
Published by AUP
The Art of Excavation
by Leilani Tamu
Published by Anahera Press