The Situation: Serie Barford

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


If you were a tiputa

 

if you were a tiputa
I’d steal you from the museum

treat and preserve you

lift soil from your shoulders
with low pressure suction

divert the landslide
that swept you away

swab you with blotting paper
parcelled in acid free tissues

bathe you like a delicate artefact

lay you in humidification chambers
rehydrate your brittle parts

tenderly lacquer your frayed edges
patch gaping wounds with kozo

drape you over my shoulders
slumber within your bark cloth folds

press you against my heart

—Serie Barford

 

tiputa poncho-like garment made from barkcloth


The midwife and the cello


I was perched amongst pīngao
contemplating a paragliding instruction

Don’t look at what you want to miss

when a woman sat beside me

pointed at the lagoon’s mouth
breaking into hazardous surf

crooned   I’m a midwife
sing and play cello

I observed her eloquent hands
sand burying sprawling feet
lines networking a benevolent smile
dreads tied with frayed strips of cotton

remembered you returning home
buoyant with the miracle of birth

the baby with omniscient eyes
you eased into this world

how she lay within your arms

didn’t cry

—Serie Barford

Serie Barford biography

Smiling woman in front of a window with storks engraved on it.
Serie Barford. Image selfie by Serie Barford.

Serie was born in Aotearoa to a German-Samoan mother and a Palagi father. She was the recipient of a 2018 Pasifika residency at the Michael King Writers Centre. In 2019 Serie attended the launch of the Ukrainian version of her Tapa Talkpoetry collection in Kiev. Anahera Press plans to publish her latest poetry manuscript, Sleeping With Stones. Serie is currently writing poems and stories about the Casualisation of Toto/Blood in the Western Medical System.

The Situation: Fiona Farrell

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


Excerpt from: Myth and Legend

The leader

We met them at a corner
on the road. Black tarmac
buckled over rise and dip,
the tap tap of a donkey’s
hooves.The man walked
as in the illustrations, the
woman rode upon the
donkey’s bones, hand
cupping her belly as if
it were a fig, ripe to
bursting. As in the
illustrations. Torn shirt,
faded blue and threadbare,
her skin cracking under
the sun.

They appeared beyond the
mirage, floating towards
us on water, weightless and
unafraid. And then she gave
a mighty groan, slid from
the donkey’s back and
squatted under a barren tree.

And it was as in the illustrations,
the sleek black circle of the
skull between folds of crimson
flesh, then his ferocious face,
his  shoulders slithering into
dry leaf and his fists already
raised. She howled, called us
to come and see. And it was as
in the illustrations, but without
camel, sheep or the flutter of
white wings.

We recognized him.

Here was our bold leader!

Our salvation!

But it was late and the sun
was sliding, the moon its
pale shadow. So we left
them there, trudged on.

We did not have time to
wait, hoping he might grow.

—Fiona Farrell


Fiona Farrell biography

Black background, blonde woman wearing black coat with hear brooch
Fiona Farrell. Image Caroline Davies.

Fiona Farrell’s first novel The Skinny Louie Book won the New Zealand Book Award in 1993. Since then three of her five novels have been shortlisted for the award, while four have been longlisted for the International Dublin IMPAC Award. Her poetry and non-fiction have also received recognition and her plays continue to be among the most frequently performed in Playmarket NZ’s catalogue. Her poetry and fiction appear in many anthologies. She has been a guest at festivals throughout New Zealand and overseas. In 2007 she received the Prime Minister’s Award for Fiction and in 2102, the ONZM for Services to Literature.

The Situation: Albert Wendt

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

And so it is

we want so many things and much

What is real and not? What is the plan?

Our garden is an endless performance
of light and shadow  quick bird and insect palaver

The decisive wisdom of cut basil informs everything
teaches even the black rocks of the back fence to breathe

Blessed are the flowers  herbs and vegetables
Reina has planted in their healing loveliness

The hibiscus blooms want a language to describe their colour
I say the red of fresh blood or birth

A lone monarch butterfly flits from flower to flower
How temporary it all is how fleeting the attention

The boundary palm with the gigantic Afro is a fecund nest
for the squabble of birds that wake us in the mornings

In two weeks of succulent rain and heat our lawn
is a wild scramble of green that wants no limits

Into the breathless blue sky the pohutukawa
in the corner of our back yard stretches and stretches

Invisible in its foliage a warbler weaves a delicate song
I want to capture and remember like I try to hold

all the people I’ve loved or love
as they disappear into the space before memory

Yesterday I pulled up the compost lid
to a buffet of delicious decay and fat worms feasting

Soil  earth  is our return  our last need and answer
beyond addictive reason  fear and desire

Despite all else the day will fulfil its cycle of light and dark
and I’ll continue to want much and take my chances

 —Albert Wendt

 

Incantation

 Over the Waitakere the sky darkens and darkens

In its belly the faint blink of lightning
Barely audible thunder a few seconds later
Then thick rivulets of rain weave down
the bare branches of the kowhai beside him

Isabella  Te Wera  Tehaaora  Hohepa  Ashley  Tahu  Sina 
Caleb  Moengaroa  Amelia  Orlando  Maika
His mokopuna’s names slip  sparkle and burn in
the heart of his tongue  an incantation
which lifts him above the storm

He turns his palms upwards
but the storm doesn’t care to read them
Storms happen and the kowhai loses its leaves
according to the pacing and intention of the seasons
What is there at the end of leafing?

Some of his mokopuna will grow into prophetic readers
some will stumble early into the irresistible darkness
some will help wash and prepare his body for cremation
Outside his umbrella cover he extends his hands
Icy raindrops tattoo his palms but he can’t read the patterns

The caves along the rugged range of his history
 are stacked with carefully labelled files of loved ones
and the intruders he can’t exile into oblivion:
His father in his khaki work clothes is suddenly beside him 
whispering  ‘the storm has no power and will end shortly’

Fundamentalist faith  eyeless analysis and courage had been
his father’s basis of navigation with an all-knowing God
as central pivot of the Star Map he had made them all live by
until he was in the ultimate court and he couldn’t decipher
in speech his Map’s purpose and the dawn of the second coming

His mother has been a decisive eloquence over the sixty years since
she died of cancer and became his most precious presence
Always he has desired her understanding of the heart’s
whispering darkness and her acceptance of the future
and the unhealable pain of separation

The dark above the Waitakere has melted away
The rain has ceased but his hands are numb with cold
The bare branches of the kowhai are sleekly black with wet
The choice is to be here with his mokopuna and parents
The continuation is that of alofa and forgiveness

Isabella  Te Wera  Tehaaora  Hohepa  Ashley  Tahu  Sina 
Caleb  Moengaroa  Amelia  Orlando  Maika
Luisa  Tuaopepe …. the incantation will continue
to shape  soothe and unread his present

—Albert Wendt


Albert Wendt biography

Smiling Samoan man.
Albert Wendt. Image Raymond Sagapolutele

Maualaivao Albert Wendt is considered internationally as one of Samoa’s, Aotearoa’s, and the Pacific’s most influential novelists and poets. He has published numerous novels, and collections of poetry and short stories. He has won many honours and awards, including New Zealand’s highest honour, the Order of New Zealand.

The Situation: Riemke Ensing

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


A different country

[Not all wounds are visible]

On the Turiwiri road across the river from Dargaville,
we’re in Dalmatia. Dally Alley, 1955.
The grapes are ready
and the vast wooden vats are halfway filled.
Filomena’s in her element.
In her bare feet she is stamping down her harvest.
Filomena, Anastazija. Such regal names for the young girl
from Vrgorac, here more than half a century later
on her piece of promised ‘golden land’. ‘The new Amerika’.
Her arms are bare. She’s hoisted up her floral dress.
There’s no one there to watch and why should she care.
Seven children and a widow now alone here
on this isolated stretch of river swamp.
In no time at all, her face is puce. The colour of wine.
From the open door of her house
that replicates her husband’s father’s house in Kozica,
Tito looks on from his photograph. A hero here too      [Marshall Josip]
enjoying the spirit of this woman so engrossed in her dance,
tenaciously holding on to what she knew before that ship
took her to this out-cast world’s end.

Far, far off you might hear tamburitza
plucking for a different life.

Riemke Ensing


If only

 

If only death could be like the movies.

 

A large French window. The grand view. A sky forever open and blue.

A barely discernible breeze gently in the fine summer curtains.

A chair, and silently a man’s arm falling in slow motion

A quiet build up of strings we know too, well.

Everything measured and stately

 

as now on this gleaming gondola I imagine you, gliding

down the ‘most beautiful street in the world’.

A mist has wrapped us round and we are veiled in black

as we watch you leave so effortlessly, it seems. The water

stirring its sensual limbs beneath your prow as you become one

with distance and gold and the ambient reflections

eloquent in their multitudinous caress.

Riemke Ensing

Riemke Ensing biography

Black and white photo of a woman standing in front of a barn door.
Riemke Ensing. Image James Ensing-Trussell.

Riemke Ensing has had 12-plus books of poetry published, including Talking Pictures – selected poems, published by HeadworX. Her volume Storm Warning – after McCahon was set to music by Alex van den Broek (who has used several of her poems for his compositions) and premiered at the Christchurch Word Festival 2014.

She has collaborated with several craft printers in the production of her work. These include Beth Serjeant (The Visionary and Black ) Tara McLeod of The Pear Tree Press, John Holmes of The Frayed Frisket Press and Ronald Holloway of the Griffin Press. 'A different country’, by The Pear Tree Press, has been handset and printed for Tara McLeod’s 8 Poems series and is forthcoming as a publication. An earlier version of 'If only’, was hand-set and published by Tara McLeod of The Pear Tree Press in 2017.

In 2012, Riemke Ensing received the Lauris Edmond Memorial Award, a prize given biennially in recognition of a distinguished contribution to New Zealand poetry.

The Situation: James Norcliffe

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


Wolf Light

 

L’heure entre chien et loup

 

1

 

Wolf light: between your

out-breath and your in-breath;

your in-breath and your-out breath,

the stasis mimicking the real thing.

 

2

 

The time of fading

bees and dying ladybirds.

 

When the drone of distant motorways

drowns chittering and buzz:

the grey time where

all noise becomes white.

 

3

 

The little ones bring us stories.

They want us to read to them,

to embroider the bright illustrations

and make them even brighter.

 

How can we resist?

Lying is in our blood.

 

4

 

Buzz, drone, lies

and wolf light and after

wolf light: darkness.

After darkness: darkness

 

— James Norcliffe

 

The man who turned himself into a gun

 

 

At first he thought bullets;

then he expressed them.

 

He became gun-metal grey,

cold to the touch.

 

He wanted to press himself

into evil’s shoulder, be cradled there.

 

He wanted to be trained in evil’s grip,

evil’s telescopic sight in his sight.

 

Above all he wanted evil’s finger feeling for,

feathering, depressing his progressive trigger.

 

He was sleek, he was balanced:

no longer flesh, no longer sentient,

 

weighted,

then weightless

 

mechanically perfect,

perfectly mechanical.

 

— James Norcliffe


James Norcliffe biography

Man with a beard standing in front of a vine.
James Norcliffe. Image provided. 

James Norcliffe has published several collections of poetry and many novels for young people. His most recent poetry collection is Deadpan, published last year by Otago University Press. With Michelle Elvy and Frankie McMillan he edited Bonsai;(Canterbury University Press,) New Zealand’s first major collection of flash and short fiction, and this year with Michelle Elvy and Paula Morris, Ko Aotearoa Tātou — We Are New Zealand;(Otago University Press), an anthology celebrating diversity in New Zealand / Aotearoa.

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