The Situation: Diane Brown

The Situation 2020

Tēnā koutou katoa

‘The Situation 2020’ is a kind of Poet Laureate's Choice of work from Aotearoa New Zealand poets for the Poet Laureate blog. Essentially, it will be a portfolio of poetry, posted over the next while, from a range of poets whose work I have enjoyed reading recently: interesting poems for interesting times.

 — David Eggleton


Artefact

Joanna Paul's collection waiting, silent
for years in the revolving bookcase in the hall;
always new, apparently more relevant voices
to be reckoned with, but Paula's Wild Honey
draws like love poems back into the room.
It's early morning, I'm sitting on the couch
in the bay window when a small note
slips out from the pages, a love poem perhaps.

Alas, my writing: Please wait/ I am at UBS
getting some books/ can get lift to/work/me/3.05.
A life I don't have any more, but what job did I
ever have that started after three? No waitress
or barmaid. And who am I telling to wait? No
name, no hearts or kisses? My customary plainness,
a please, but is it a polite or a begging please?
My husband, in true biographer style,

interrogates the note. ‘I'm not so sure it's your writing,
or your life, where would you have left such a note?’
And again, ‘What work? It doesn't make sense,
you're not one to write specific times. Maybe the book
was second hand?’ He turns to the first page,
$15 written in pencil. 7/11j below it. Another mystery.
On a mid-week cloudy, spring day, my past, my story,
slipping out of my hands, like love poems.


— Diane Brown


Finding Yourself on the Other Side

— from Every Now and Then I Have Another Child

Haven't you sometimes discovered yourself teetering
on the edge of a lake or skyscraper with no memory
of how you got there? And yet you know it's not dementia,
it’s more like you've slipped into another life, running
            on a parallel track

one layer behind. In that life, I wander the streets
of my newly alienated city looking for the man who offered
to take the baby from the hotel to a place of safety,
even though he was a stranger to me. Perhaps he could see
            I was not up to mothering.

Across the square, their hands twitching on batons, police
stand by watching the homeless rioting. An old-fashioned
fire engine drives onto the footpath heading towards me.
 ‘Out of the fucking way, lady,’ the fireman yells. I jump sideways.
            ‘Watch out for my baby,’ I say,

patting her back, in the timeless way of a mother, although
I've forgotten the details of her birth. But we all feel that, don't we,
when handed a white-wrapped bundle the midwife says belongs
to you now and forever. A lie. There comes a time they must slip
            from your grasp.

— Diane Brown

Diane Brown biography

Woman looking at camera wearing a colourful top.
Diane Brown. Image Philip Temple

Diane Brown is a novelist, memoirist, and poet who runs her own creative writing school, Creative Writing Dunedin. Her publications include two collections of poetry - Before The Divorce We Go To Disneyland, and Learning to Lie Together; a novel, If The Tongue Fits, and verse novel, Eight Stages of Grace, a travel memoir, Liars and Lovers, a prose/poetic memoir, Here Comes Another Vital Moment and a poetic family memoir, Taking My Mother To The Opera. Her latest book is a long poetic narrative, Every Now and Then I Have Another Child, Otago University Press, 2020.

In 2013 she was made a Member of the New Zealand Order of Merit for services to writing and education. She lives in Dunedin with her husband, author Philip Temple.

The Situation: Bernadette Hall

The Situation 2020

Tēnā koutou katoa

‘The Situation 2020’ is a kind of Poet Laureate's Choice of work from Aotearoa New Zealand poets for the Poet Laureate blog. Essentially, it will be a portfolio of poetry, posted over the next while, from a range of poets whose work I have enjoyed reading recently: interesting poems for interesting times.

   

— David Eggleton

from Fancy Dancing  


1. in conversation with the little cherry tree


So, there’s Duke Street and Castle Street and Great King Street

and Cumberland Street where the sign’s been wrenched off

(it’s such bad history ) and Malvern Street and Hunt Street

and Dundas Street where the big boys once threw Iti’s schoolbag

into the river. And there’s North East Valley right

at the edge of the compass where each of the wooden houses

has a carved architrave. There’s all the clamour

of the Santa Santa Parade, and Willowbank with the Compte de Paris

climbing all over the workmen’s cottages which brings us,

quite naturally, to the triplication of the Pacific heart

and the House of the Silver Triniti. And what about the music,

what about the groundlessness of the Lydian mode,

free of burden? To have flowered once is that reason enough,

my dear yedoensis, so heavy I’ve had to tie up your white aerials.


2.he kōrero pukapuka


Soft rain all night and the gravel paths fill up

with water. There are holes in the plumey grass,

that’s where the sheep are.  A child rattles

silver bells in a yellow frame. Waves bunch up

like Christmas. I left four of my rings in the green

tray when I passed through the Guardhouse.

Susan rang security from the library and I collected

them on my way out.  Such is my tiredness.

He’s learning things the hard way, the man

in the ugly prison track-pants. Every day he’s faking it

like the dream of big, easy chairs along a sun-washed

verandah.  But there’s no sunlight here, just a 22 hour

lockdown. ‘I wonder if I’ll see you round the traps,’

he says, ‘that’s if you ever manage to dig yourself out.


3.


A white sun held on a stem in the courtyard,

a rough paddock of barley grass and barbed wire.

The way the house is inhabited, starlings

in the water-trap, bumblebees under the shed.

The gauzy nets they’ve hung up in the old woman’s

room. ‘Did somebody die here once?’ ‘Yes.’

You want to meet the poet? Well, you’ll have

to take the inner city link bus and get off

at Three Lamps. He’ll tell you about the hemisphere,

the complex relationship between two parts

and a whole, where time is collapsed horizontally

and vertically.  As for your lover, sliding a fingernail

along your arm, well, that’s another story,

the way you mirror each other, Spiegel en Spiegel.


— Bernadette Hall

Bernadette Hall biography

Woman with a hat on leaning against a wall looking at a painting.
Artwork:FLIGHT by Robyn Webster. Image by Julie Williams. 

Bernadette Hall lives at Amberley Beach in the Hurunui, North Canterbury. A new collection of her work, ‘Fancy Dancing, new and selected poems 2007–2020’ will be published by Victoria University Press (VUP) in October this year. It includes a series of artworks by the Christchurch artist, Robyn Webster. ‘Flight’ is one of these.

Bernadette has a history of collaboration with the Dunedin artist, Kathryn Madill. For example in ‘The Merino Princess, selected poems 1989- 2001’ published by VUP in 2004. In September, their YA novella, ‘SUL, an Antarctic fable’ is due out from Scythe Press. It features 22 new paintings by Kathryn. The two had shared an Artists in Antarctica Award in December 2004.

In 2015 Bernadette received the Prime Minister’s Award for literary achievement in poetry and for her contribution to New Zealand literature. In 2016 she was made a Member of the New Zealand Order of Merit.

The Situation: Mary Macpherson

The Situation 2020

Tēnā koutou katoa

‘The Situation 2020’ is a kind of Poet Laureate's Choice of work from Aotearoa New Zealand poets for the Poet Laureate blog. Essentially, it will be a portfolio of poetry, posted over the next while, from a range of poets whose work I have enjoyed reading recently: interesting poems for interesting times.


— David Eggleton

Begin

i never know how to begin without / feeling dread in my heart / never know whether to wish

for wellness / or if i want an answer / well / i want one but not that one / never know what to

hope for / for you / hope is a winking word/ do you trust i have your interests at heart? / what

would be your hope? / freedom from people like me? / how could i know? / i wish i could ask

/ an official before talks begin / wish is the well i fall in


— Mary Macpherson


Need

The yellow leaf staring from our tiny lawn.

Our belief it’s a gift from the cat, and that gifts

exist in cat consciousness. Our need to know.

Our imaginary tree, deep in other trees, its leaves

drifting to inky rot. Our x-ray of night through which

a hunter travels, emitting delicate cries. The leaf we know

as Pseudopanax, its tissue drying under a billowing sky.

Our need to name. Our internet telling us it’s how

mothers teach their young to hunt. How a mother brings

bounty and makes it visible. Certain behaviourists

who say it’s a message to get up and play. Or is it care?

About us? Our need opening curtains

to a horse on the lawn.


— Mary Macpherson


Mary Macpherson biography

Mary Mcpherson. Image Peter Black.


Mary Macpherson is a Wellington poet and photographer. Her first poetry collection ‘Social Media’ was published in 2019 by The Cuba Press.

The Situation: Murray Edmond

The Situation 2020

Tēnā koutou katoa

‘The Situation 2020’ is a kind of Poet Laureate's Choice of work from Aotearoa New Zealand poets for the Poet Laureate blog. Essentially, it will be a portfolio of poetry, posted over the next while, from a range of poets whose work I have enjoyed reading recently: interesting poems for interesting times.

— David Eggleton

Back On The Night Shift

while you were away

the gentleman from Hong Kong came by

with the airline pilot’s wife

to enjoy themselves together

in your bed

they said you wouldn’t mind

so I let them in


and the waitress who occupies the lean-to

she was unaccountably seized

by a pain of unlocatable dimension

so they had to cut her open

but inside all looked

normal

and they stitched her up again


meanwhile a poet dressed like a dandy

with a wooden apple box

and a typewriter inside

as well as

a spare pair of knickers

took up residence in the sitting room

now he’s gone

the ambience was not to

his melancholy taste


I left my room untidy

so when you brought your lover there

there was reason for your disappointment

and the vegetable coop

that occupies the garage

is dwindling in its membership

as well as schism-ed in its politics

which has left a lot of leaves

lying on the floor

how beautiful they are


there’s nothing in my head

not even a low-pitched mysterious hum

which would be welcome

the names of things I use

they’ve all been borrowed

from the bank

and tomorrow

I have to give them back


ring me if you must

or better a note left on the kitchen table

the circumstances that we met in

were quite beyond description

I’ve even cause for memory

to raise its gaudy flag

here put your hand upon the mattress

feel the spring


you know how it is

it’s been years since

everything

the helicopter just flew over

I waved but it was too dark to capture

its attention


— Murray Edmond


Foolish Things

like the smell of a horse
or maybe worse

it was fear
I’m afraid to say

made me smell that way
but oh the relief

when the fear galloped away
to god knows where

where does fear
go when it’s gone

it’s gone
but with grief

not the same thing
the ghost of it clings


— Murray Edmond

Murray Edmond biography

Murray Edmond. Image by Joanna Forsberg.

Murray Edmond: lives in Glen Eden, Auckland. Poet (14 books, Shaggy Magpie Songs, 2015 and Back Before You Know, 2019); critic (Then It Was Now Again: Selected Critical Writing, 2014); fiction-writer (Strait Men and Other Tales, 2015); editor, Ka Mate Ka Ora ; dramaturge for Indian Ink Theatre.

Rāhui: Autumn Lockdown Journal

1.

Australia's heat map in January
glowed every which way, red, purple, black,
and our skies were made yellow by trans-Tasman smoke,
while scarcely less fraught were dog-days of February,
as arrivals drifted through airport duty-free,
in a haze of competing perfume spritzes,
and reports came of a strange virus out of Wuhan,
pale horse and pale rider.

Always to islanders danger comes over the sea;
heat sensors found fever in arrivals from Iran and Italy;
then there was talk of superspreaders,
of clusters in Bluff and on cruise ships,
that made us all nervous.
Some spoke of the sins of the borderless
world being visited upon our people.

Corona once meant halo, but now universal contagion:
viral status only rubbed out by strict sanitisation.
This changes everything, virologists claimed.
The Ides of March announced our new New Year,
when Pasifika was cancelled and things became clear.
Mad psychic weather with moonboots on was closing in,
though it was an Indian summer and days were fine.

2.

As Anubis weighs the heart of the deceased
against truth's feather and counts the cost,
in the Egyptian Book of the Dead,
so the New Zealand Government looked ahead,
and blinked, then said, this is a time of crisis,
and an end to all speculation: full alert, Code Red.

Jacinda arose with the down-home hippy vibe
of a primmer's teacher, newly promoted to principal,
guiding toddlers on a bush walk during a storm,
which has suddenly grown very dark and bleak
from what it was at the start of the week.
Jacinda Influencer, knocking the lid off
and getting to work with the Can-Do mentality,
puts out an order for an imminent lockdown;
her forehead furrows, all must prepare to go to burrows,
or to warrens of burrows, and isolate.
Press Gallery questions coil and whip at sore points,
each answer a lightning rod for more questions.
We are all caught somewhere between a fever dream
and a model predicting rapid escalation.

My ballpoint slides over this journal's white paper
the way a wave's crest is crossed by a surfer,
to leave a foam of excitable scribbles.
Hers is a prohibition, a proclamation, a rāhui —
go hard, or go home: so long, farewell, haere rā.
With a sense of imminent apocalypse and angst,
Kiwis are given just two days warning
of intent for all to move to live as shut-ins.

3.

Sovereign nations briskly airlift out their citizens;
Aotearoa seals itself within the salt-lick
of Te moana nui a Kiwa, as if, like a cove
bent on skullduggery,
Covid-19 could come ashore at a cove,
under cover of darkness, bearing seeds of strife.
Grasped reins of sea-horses, clouds raising anchor:
everybody's clearing off, you bet your life.

The Response rigmarole is trusted: we must prepare,
and anyway it has all bought time,
to have the whole country swing on a dime
and shelter as one, within local habitations.
This is a dog-whistle sheep round-up issue:
herd the mob together and get them to trot.

Forty-eight hours, town's already looking bare,
as a single seagull sculls up George Street,
slowly its wingtips rise and dip;
soon all towns will be silent and queer
as a five-cornered square with emptiness.
The cancel culture is everywhere.
Abyssinia: in a while, crocodile: after lockdown.

4.

Visitors grab their things and run,
the abrupt surge inwards has begun,
leaving the outdoors to the outdoors,
to roving magpie, ravening possum, furtive wallaby,
the antic rantipole stoat that darts bushwards,
the swamp harrier that airily rides a skyhook down.

Oh to sail like a falcon over Franz Josef,
its bluey white ice, to the grizzled silver
of braided rivers in their mournfulness,
coasting leeward of the Alps, one more time.
Those braided tresses rise out of the skull
of Hine nui te Po, mountain-white in the night,
and quiver, for she humps earthquake weather on her back,
and each silver braid flexes its own track.

As we close New Zealand's showroom curtains,
it seems an advantage to be distant islands,
even though it's only a small world after all.
A shiny vacancy of rental cars surrounds Queenstown,
and ghostly tumbleweeds bowl along her streets;
no cafe now does cinnamon toast to go,
and no snowflakes swirl out over the lake.

5.

Alert Level Four's all padlock snick, shove of rusty bolts,
lawns being mowed, home repairs being done.
Fear is a plume of airborne droplets;
you may try not to inhale, but that's bound to fail;
best not to go anywhere, just stay here.
Home-alones zone out with headphones.
Travel agents decommissioned; tourist hordes demobilised:
big oil offshore sucks it up through a straw.

Autumn in lockdown's something half-criminal,
half heroic, because, by breaking the rules,
you could get someone infected, even kill them,
so the country expects all to do their duty,
while fallen leaves turn a russet brown,
and rosella parrots flit between branches.

There are briefings daily at 1pm on the TV,
where, calm and collected, Doctor Bloomfield nixes
the bravado of masks, unless you're hospital staff.
Stilts and oystercatchers patrol our beaches,
checking up on invertebrates beneath the sand.


6.

Compass needle feels dead set; might get more deadly yet;
couldn't get much higher than Level Four;
how sombrely introspective each face looks.
From front windows, teddy bears, more and more,
stare at the dormant glooms of suburban streets.
All the shopping malls have gone quite quiet,
just rumbling of trucks sidling into docks,
bringing container-loads of perishables:
hot cross buns, well as fruit and vegetables.
April Fool's Day, Bauer Media folds our best bets:
North and South, Woman's Weekly, Listener magazine;
though journos storm on Twitter, Bauer has no regrets.

Evening skies from the back porch, halfway to nowhere,
go from yolk-yellow to bark-ochre to starry dark.
Sometimes there are borrowings from Tiepolo:
clouds like pink cherubs on a palace ceiling in Venice.
Other nights, the raging orange of Jeffrey Harris,
capturing some high operatic drama;
or else the chill diluted blue of Joanna Paul.
Each dawn brings its own eureka,
and panning the bright fine gold of autumn days.

Experts predict a graph rising like Kaikoura,
towards mountains of the whited dead;
and every frowning emoji on a computer,
stalks the double-fault of eldritch metaphor.
It's closing time in the gardens of the West;
lamplights are burning out all over Europe;
and the virus is a riddle wrapped
in a mystery inside of an enigma,
but we are assured that its code can be cracked.

7.

On social media, shrill trolls moan and mutter
their throw-shade conspiracy schmutter,
but if all the conspirators' theories
were laid end to end to the moon,
I think you're gonna find
they still couldn't bend a single spoon
with their hive mind;
and only Jeff Bezos can levitate
Bill Gates to the pangolin eldorado
at the end of any Amazon rainbow;
while Jacinda Stardust twinkles benignly,
like snow on cloudpiercer Aoraki.

Jacinda Alert, she triggers the alarm,
hammers the message, and nails it home
with the force of a judge's gavel,
to orchestrate the polyphony of God Defend New Zealand
for a godless age; and globally there are requiems
and outlooks grim, while numbers of the dying
go on climbing; and Neil Gaiman
chats about loving the slow pace of life here,
and how he'd like to stay and stay,
then immediately breaks bounds and flies away.

As Covid-19 shuffles closer, like a phantom plague of skinks,
we sink into the domestic like mudfish in dried-up wetlands.
So we might read tomorrow in the tea-leaves,
in the smoky taste of lapsang souchong,
or in the gumboot taste of Choysa,
through days of warmish mild weather,
while leaves wind-beaten to bruise-yellow
drop simpering out of the trees.


8.

Māui's fishhook glitters in the sky at dusk,
and earthshine lights up the lunar disc.
In midnight's silence, ghost-calling owls mope,
and mercy errands are dashed on by health workers.
Daylight, from dewy grass, brings forth field mushrooms,
and the pale brown caps of Blue Meanie shrooms.
In Wanaka, they are hurrahing in the harvest;
this year it's a bumper vintage crop.
The grape-pickers are unemployed guides and climbers;
above the must hovers a kind of delicate dust,
that settles its motes through the vineyard air;
while chilly gusts flap the golden tapestry of leaves,
as if to chase out some deeply hidden dragon there.

Here in Dunedin, from within the cocoon we call home,
we contemplate the burl of a Barry Brickell pot,
in which garden flowers unfurl,
and ponder the coronavirus froth
that gargles in compromised lungs
like a mustard gas attack at the Battle of Verdun.
They are pulling the plug out on old-timers
where healthcare's overwhelmed,
as we learn when we nurse to our bosoms
the glimmers of data streams,
held mesmerised and hushed by our screens.

Hedgehogs do battle on the back lawn
like mighty mammoths,
lit up by a torch in the small hours;
and by day there's the humdrum business
of dishwater down plug-holes,
and the smell of bread and biscuits being baked.
And everyone plays detective or enforcer,
even dobbing in the wayward Minister of Health,
after photographing his whereabouts by stealth.
The TV has turned into a kind of tureen
ladling out brown Windsor soup into the bowls
of the masses in the Sabbath calm of every evening.

9.

To venture forth for fresh air, like a witness,
is to see each person englobed in amber, on their own island,
or else in lockstep with a significant other,
or with well-exercised dogs;
and then closer, half turned away, apprehensive,
to make a wide berth, give you the swerve like a fata morgana;
and blackbirds, those grave-footed mincers,
haunt wastelands brambled with neglect,
while sentinel thorns surround ramparts of rock,
below a shuttered and barred church,
yellow-striped Level Four notice pasted to the locked door.

Easter, and children place Easter Bunny cards
in bedroom windows, while cats doze
and vigils are kept by toy figurines
lying abandoned in front yards
where finches flitter,
as some of the young and restless chafe at quarantine
and barge in groups through desolate car-parks,
as out of the blue air spins a kererū feather,
and day after day is sunny.

Ebikes whizz by, saddlebags loaded, 
the cyclists wearing sunnies and gloved and masked 
in splendid isolation.
Iso-bubble drivers are edgy in rear-view mirrors,
in solitary confinement for the duration of their trip,
supermarket-bound before quickly back to lockdown;
and George Street is becalmed at eventide in a brownout,
as if powered down near zero on the grid,
but traffic lights still blink and police cars glide.

10.

Moon is underwater, drought is in the land,
Covid-19, curious term, now one we all understand.
No country's neutral, all in thrall to the catchy virus,
and the spectre of economic anarchy haunts
both populist and globalist narratives,
from Britain to Brazil, by way of Washington,
Orbán Bolsanaro to Boris Putin,
Duterte Modi to Marine Trump.

The Anzac Day fanfare is subdued this year
to standing unified apart,
at the front gate, in faint echo of a brass bugle,
as red fills the sky and sunrise flashes on
the instant bronze age of house window panes.
Bright berries glow like drops of drawn blood,
and is that The Last Post catching on the wind,
or just the wheezy hinge of the unlatched gate?
Or is it the cry of the Covid-19 barbarian at the gate,
trying in its pesky microbe way to aggregate?

Some couch-surf all day in an anti-viral fug,
others putter round, play Candy Crush, or want a hug.
I hear Ashley Bloomfield, voice of pragmatic calm,
suddenly say, with a Dalek's krark krark:
Eliminate! Eradicate! Exterminate!
For that is what the Covids hate!
And then his voice pitch-shifts back to normal,
on RNZ National, the sensible public official,
giving his Daily Briefing on the need for vigilance.

11.

At last we're descending to Level Three,
a quota of freedom for you and for me,
and it's very nearly May, up in the hills,
we in our sunshot bubble admiring Red Admirals.
They nest on nettles then dance arrestingly away,
as noon burnishes the long-stemmed ragwort,
pestiferous grand-daddy to all the young ragwort;
and bracken winds spiderwebs down to the clay,
here by the shine of the wind-punished tussock;
and hark, hark, to the lark that trills,
above roofs, Stadium, and factory mills.
Weatherwise, the clouds turn dressing-gown grey,
as we get in our car and drive carefully away
from others, following distancing that must be obeyed,
or render perilous the whole blockade.

From Michigan in the USA,
we learn of protestors who boast that they
are willing to take a bullet for their neo-liberal beliefs
in the right of consumer choice and the right to Live Free or Die,
and that to follow rules of social distancing
is to be brainwashed in a Communist laundry,
with your mind pleated and steam-ironed to uniformity:
net result, virus spread increases and more people die,
the uncanny like wildfire leaping from host to host.
As P.M. Ardern said, it's a pandemic, damn it —
and you assemble at your peril and your loss.

Trump, at first, advised Americans just to relax,
and carry on with eating to the max;
and then he changed this soothing tune,
for a sinister dirge of blame and blame again,
anyone he thinks is lame, or in his way.
Although a proven liar,
he promises a miracle cure,
and drinks his pepped-up quinine
with a horrible equine whinny,
making tasty smacking noises through tiny lips.
Never say never, but Americans ever
need to trace the Rona with a scanner,
then hit it with lockdown's hammer till it's done,
or the menace will go on menacing forever and a day,
and America's very fabric continue to fray,
in a kind of Fantasy Sci-Fi Horror Thriller Show.

12.

Now the month of May advances,
the skies are bright and clear,
Orion's belt turns, the Southern Cross blazes,
in this Plague Year.
A black river careers deeply through the gorge,
as the last embers of sunset are snuffed out;
so it's bravo to frontline nurses both here
and overseas, while our teams largely prepare
to stand down, as we get ready
to go down to Level Two on 14 May,
when you can get a takeaway from a cafe
to take home;
and while at first no more than ten
at a pinch can be together,
if the logging of new cases stays steady at nil,
then in a week or maybe a fortnight,
a hundred souls can gather
as their birthright,
without fear of the long tail.

Finance Minister Grant Robertson,
who has dispensed largesse of money
for the sake of the economy,
on Budget Day promises further subsidy.
Hopes are, that, thanks to track and contact trace,
the least person will not be found out of place,
before the next wave breaks
on a further shore for a more weary nation.

So the future's not what it used to be, nor are we,
and here we go, here we go, here we go,
or rather here we stay;
and is that Teddy on the window sill still,
and will we go back to Level Three,
and will there be jobs for you and me, after lockdown?
This is the end of autumn, the end of May,;
and we are backing into a Southerly,
towards the warmest winter ever,
while in the garden in the sunshine,
a heavy kererū clings,
like a happy homing pigeon
to the branches of a favourite tree;
and by the sugar nectar feeder a bellbird sings
and a bumble bee bumbles
and the tūī argue at high frequency.
Ominously,
I read online in USA Today that American
columns of the sick and columns of the dead
march in ever greater numbers.
As humans, we are always approaching and leaving normal.
Deep breaths then, and a slow and even breathing.
Breath is a vapour. Skin is a porous border.
A poem is a kind of respirator.

- David Eggleton

The view from here VII

  In these troubled times

It’s a small enough thing to contribute,
but hanging out washing, dipping time
and again to the green basket so I
think of a crane at a friendly pond –
well, poetry’s notions aside, it is one
man’s small but significant shot
at a better world.
                               I would not, friend,
be too surprised should aliens
think this is how earthlings connect
on Mondays right along the street,
the suburb, the other side of town,
as answers return by camisoles,
vests, shirts spread solemnly
which may speak of death, more
sensual signings off with flimsier
colourful garments.
                                  I have red pegs
in my mouth which might be mistaken
for draculean thirst, a taste for
jugular embrace. (Oh, we joke
too, we washerfolk, slapping
sheets in place!)  One might erect
a library – more than that – a truly
fictive world, our taut lines
stretching their crisp goodwill
one city, one continent, to another. . .
Annunciations might whizz across wires
like shooting dockets in old-time shops. . .
Being Monday wherever. Yours ever,
Sock.


Vincent O’Sullivan


More poems in ‘The view from here’ series

The view from here — Ian Wedde

Takahe — Bill Manhire 

Cilla, writing — Elizabeth Smither

h e l l o   a n d   g o o d b y e — Michele Leggott 

Breach — Cilla McQueen

Between Shingle Creek and Fruitlands — Brian Turner

The view from here VI

Between Shingle Creek and Fruitlands



Cast your mind back to the first time you came this way,

      the road windy, corrugated, dusty,

the surface mostly the colour of yellow clay, cuttings

      stained with the leer of water seeping.



On the left the ever-ascending slopes,

      the Old Man Range, white flecks

in blue gullys near the summit,

      and your young old man wondering when



we’d ever get to Alexandra, your mum complaining

      about ‘the blessed dust’, both of them

cursing the ‘wash-board surface’ and you thinking

      about the number of times she told your father



that ‘it didn’t matter’ when it clearly did. And that

      was the way it always was with them,

it is with you, it is, period. Until, you might say,

      something happens that’s never happened before.



Like love came back and sent hate packing

      never to return, and peace of mind arrived

like a dove from afar, decided to stay, and you

      no longer dreamed of what might have been.



Brian Turner

More poems in ‘The view from here’ series

The view from here — Ian Wedde

Takahe — Bill Manhire 

Cilla, writing — Elizabeth Smither

h e l l o   a n d   g o o d b y e — Michele Leggott 

Breach — Cilla McQueen

In these troubled times — Vincent O'Sullivan

The view from here V

Breach


First check your meniscus
then step into the air
where Bluff lies silver-grey
in calm seclusion,

Sky oyster silk       like kissing
when once we used to touch      to scent
each other's skin          soft
as a thistledown clock.

Tomorrow the daylight hours turn back
towards a colder quarantine,
when trees hiss through their teeth
and sunlight leaves the deck;

This winter, to write at the outside table
I'll wear my old fur coat,
'Pichanaki' penned in some elder hand
on the note left in its pleated satin pocket.


Cilla McQueen
Motupōhue
April 2020


More poems in ‘The view from here’ series

The view from here — Ian Wedde

Takahe — Bill Manhire 

Cilla, writing — Elizabeth Smither

h e l l o   a n d   g o o d b y e — Michele Leggott 

Between Shingle Creek and Fruitlands — Brian Turner

In these troubled times — Vincent O'Sullivan

The view from here IV

h e l l o   a n d   g o o d b y e

remembering that we don’t always read to believe, 
sometimes we do it to travel, to forget, to dream, to change
Martin Edmond


there is a path that climbs
out of sleep with clear notes
on five fingers
blown across sweet grassy
plains    there is no holding
them they move like the wind
over your sleeping face
which knows where it has been
and why it must remember
the path that climbs
out of sleep and into the green
heartstring morning


vibrato the bell in the throat
the ball in the whistle when it’s low
and your breath is the slow bounce
of ropes that braid and twist
and hold up the floating planet
as if by magic
tremolo a fibrillation of the air
and its concertos better even
than a neighbour deciding between
harpsichord and salt fish
running through his fingers
and over the dark garden to where
we’re walking along
looking for the sound
of a word so deep in theft
its adventures have hardly begun


delirium    lady
in Illyria with a lily he calls
Elysium    the newly alighted angel’s
lineal poise    lirio what would you
on her silver tomb lirica
the white notebook up against
the red wall the black words
going on into the light 
lady I am negative wingspan
in Illyria and he is
Elysium    a lily a lyric
a white delirium


I saw you, you were
a minim wraith of silver light
the day moon a figure
on the road the blue moon
resurrected    sister lucy gone
to heaven in her silver boat
grass ghosts beginning to sing
and you on the spiral road


when I walk sea waves
as I turn glass mallets
and turn again wind chimes
sleeping with the last track
climbing the stairs in the dark


I wait and wait
and the weight of waiting
is impossible    cicadas shrill
above the cricket boys
over the daughter chorus 
that pearly necklace
I’m looking for in all the stations
on the way to Ocean City
Go with Eros    it’s plain as day
a mob of arboreal lorikeets
another kind of whistle
for the chorus
chiasmos comes and goes
thiasos is my east
my new looking my ghost
along the spiral road


looking up
from the dark garden
the vision of the boat
sailing in the sky
Fra Angelico’s room and nobody
left behind    no one missing
out on its mother of pearl ceilings
I cannot bear the pain
liths of orange    what does it mean
liths of orange roughy on
a big white plate
life and limb    kith and kin 
lift us into heaven tonight


she is a wounded bird
ringnecked dove where the air stopped
being vitreous and she fell
like a stone    the sonic boom
of her catastrophe
left a hole in the air the shape
of one meeting disaster
on a clear blue day
she could tell us
what it feels like to hit aporia
he has found her
on the ground who was a blur
of wings in her world
immaculate Viennese
coffee with cream what is that word
she is dying and he is sixteen
he lifts her tenderly
who has never touched death
soft feathers and dark eyes
lined with kohl mama
you were beautiful    schlagobers
dancing on the tables
of the Kaffeekammer Katzenjammer
whipped cream with ruffles
he buries her
by the white flowered ginger
and the air repairs itself
becoming the way she was
becoming the way it was
always about to be


sun in Aries monarchs sailing
in blue air
wingprints like blossom
or leaves on the ground
in front of the iron gate
an egg, an echo
riro on the hill leading
the grass ghosts
who are everywhere now
we’re listening
and here they come
two kids with a camera
by the obelisk
wanting a photograph
hand in hand
and a long way off
the sound of someone
breathing as if every breath
is a memento
Easter moon frangipani
lifting out of the ocean
how could we have known
wingprints blossom leaves
riro ghost the sound
of years running backwards
and forwards over the grass
against the blue air
and the inexorable weave
Easter moon white ginger
sun in Aries we stop swimming


flutes and bells
in the dark garden
and above it
passiflora making her way
across the sky
low whistles and white shells
touching the ears as we go
past the ghosts of ourselves
who have been here
who will go with her now
as she climbs molo molo
into the sky
O Easterners day by day
we are drawn
to your opulent diary
the cabbage trees tika tika tika
the grass that says only
thiasos 
break one string
and ten thousand things
will replace it
bells and flutes and drums
on the seaward side above
the place called Paradise
morning sun
and the boy who roars
swimming along the beach
I don’t see him
but I know he’s there
the whole neighbourhood
hears him and knows
he’s singing
hello and goodbye


Michele Leggott

More poems in ‘The view from here’ series

The view from here — Ian Wedde

Takahe — Bill Manhire 

Cilla, writing — Elizabeth Smither

Breach — Cilla McQueen

Between Shingle Creek and Fruitlands — Brian Turner

In these troubled times — Vincent O'Sullivan

The view from here III

Cilla, writing


We are the shortest laureates*. But this afternoon
Cilla almost touches the sky, writing
on her motel balcony, two storeys up.

Her head in its peaked cap, her pen
are outlined in a strange significant shadow
a little laureate traced by Rouault

and in the shadows a shorter laureate watching
admiring her application, her skywriting.
The day moon is there, the blinding sun.

Her neck grows warm, her neat head bends
over the page, she stretches her arms
and seems to frown and squint.

It is words, you clowns, the other laureate thinks
not sun in her eyes, not pain of thought
but heart and pen at work again.


Elizabeth Smither

*Cilla McQueen (2009-2011) and Elizabeth Smither (2001-2003) are the two shortest New Zealand poets’ laureate.

More poems in ‘The view from here’ series

The view from here — Ian Wedde

Takahe — Bill Manhire 

h e l l o   a n d   g o o d b y e — Michele Leggott 

Breach — Cilla McQueen

Between Shingle Creek and Fruitlands — Brian Turner

In these troubled times — Vincent O'Sullivan