. . . Poetry Notes

Winter 2010 Volume 1, Issue 2

ISSN 1179-7681 Quarterly Newsletter of PANZA

humanism, largely purveyed by Inside this Issue Welcome journalists writing in rhyme. In Australia up to about 1910 both these Hello and welcome to the second issue poles exist in symbiosis in the Bulletin. Welcome of Poetry Notes, the newsletter of Although the same poles are found in 1 PANZA, the newly formed Poetry Australia, in Aotearoa they are given a Archive of Aotearoa. local authenticity through the local Niel Wright on John Liddell Poetry Notes will be published quarterly colour, particularly the Polynesian and will include information about Kelly’s Heine translations background. goings on at the Archive, articles on At its best in Aotearoa the intellectual historical New Zealand poets of interest, Poetry Archive opening humanism takes Heine and Nietzsche as occasional poems by invited poets and a its masters. German literature is much and book launch 3 record of recently received donations to the most influential; it is still strong on the Archive. Ursula Bethell. Georg Trakl translations The newsletter will be available for free However, although the characteristics of 5 by Nelson Wattie download from the Poetry Archive’s this literature are clear, its success is web site: almost nil. This is because of the endemic banality and facileness which Classic New Zealand http://poetryarchivenz.wordpress.com poetry blight its productions almost totally. 6 Only an occasional poem shows the slightest merit. The established culture Comment by Ivan Niel Wright on John (jingoistic British Imperialism) and Bootham journalism saturated with Sir Walter Liddell Kelly’s Heine Scott’s verse style are the source of New publication by these blights. PANZA translations There is a considerable survival of 18th 7 century literary mores among the less

Recently received educated. Scots by origin and education Wellington poet/critic/publisher Niel make a major contribution. A number of donations Wright discusses the 19th century New names can be quoted with large books Zealand translations by John Liddell or bodies of verse to their credit. About the Poetry Archive Kelly of German poet Heinrich Heine. Domett is sufficient. Such anthologies as Canterbury Rhymes (2nd edition Literature in English in Aotearoa had 1883) and New Zealand Verse (1906) already established a literary climate by are not unrepresentative. 1885, one hundred and twenty-five What we have to accept is that this is years ago. What I have to say about this where our English literature begins. It literature holds equally true for prose does not matter that by any standard it is PANZA and verse, but I will direct my remarks appallingly bad: 15th century verse was PO Box 6637 to the verse. as totally bad in England, but still gives Marion Square There are two poles, the popular rise to the Tudor-Elizabethan balladry which the Australians elevate Wellington 6141 Renaissance literature. to a national treasure, and an intellectual

...... Winter 2010 Although odd poems can be collected, Night lay upon my eyelids – Kelly’s title for all except the two there is only one substantial mass of Upon my lips lay lead, ballads at the end was Love Lyrics (from poems by a poet of this period that is With heart and brain all lifeless the German of Heine), showing the actually good. I lay among the dead. basis of his selection. He dates his This is John Liddell Kelly’s Heine translations of the Love Lyrics 1876-86. Poems, published in his 1902 book How long I cannot tell thee Kelly manages his translations with a Heather and Fern. I slept and never stirred; touch of genius. He lacks the music and Kelly was a Scots journalist who came But I woke, for a gentle beating phraseology which arrest and startle in a to Aotearoa about 1881 and is an elderly Upon my grave I heard. true poet. But Kelly is remarkably man by 1902. consistent in finding language, however He has all the defects of banal, facile “Arise, arise, dear Henry – pedestrian, cliche-ridden or formal it writing in his verse, except for his The endless day doth break. may be, that fits Heine’s poem. Heine translations. Here he produces Begun are the joys of Heaven, Kelly makes it look easy - that is a admirable work, the best translations of The dead are all awake!” supreme merit; but reference to other Heine I know: graceful, simple, genuine translators in verse (from Bowring to renditions. Here alone what Aotearoa I cannot rise, my darling – Wolfe and Lazarus) will show that it is literature in English was capable of up I am sightless evermore; a rare accomplishment. Translation to 1914 is seen at its best and as good as The light hath gone from my eye-lids is not just a matter of language, it is a needs be asked, as good as anything Through weeping oft and sore! matter of culture; the culture of the done since. original poems must be understood, If these poems had been taken as a “I will kiss the night, dear Henry, appreciated, not just the words before model or benchmark by others it would I will kiss it from thine eyes; the translator can reflect the spirit and have had a good effect. Thou shalt see the glorious angels, quality of the text. Kelly was aware that he excelled And the splendour of the skies!” Kelly catches the rapport between himself in his Heine Poems, as he Germans and English just at the right explains in his poem ‘Heine’, which is I cannot rise, my darling, time to capture and transmit the mood representative of his best original work. For a wound bleeds at my heart, of Heine. Kelly allows himself the He acknowledges there the total failure Where a scornful word thou spakest occasional Germanism, by no means a of the rest of his corpus. His self- Once stung me like a dart. blemish. criticism is sound. No more need be Kelly was a contemporary of Hardy, said. “Upon thy heart, dear Henry, Stevenson, Wilde, Shaw, Rider So I was pleased in 1985 to reprint the My hand I will lightly lay; Haggard, Conan Doyle. Against that sort Heine Poems through my imprint The wound will bleed no longer of literary performance, is Kelly to be Original Books. I took them from the And the pain will die away!” seen as a trifler, an amateur, an archaist? 1902 publication, still to be found I don’t think so. His concept of poetry is without too much search in collections I cannot rise, my darling, within the code of the period and his of old Aotearoa books. From my head the blood flows free, execution is simpler, therefore better I reprinted these poems so that they Where I shot me, in my anguish, than most. Kelly almost reaches the would not remain buried, but rather When I was robbed of thee. mode that A E Housman made his own would be flagged up by my notice of a few years later. them. Kelly was confident that his verse “My silken hair, dear Henry, would ultimately be recalled. I consider Upon it I will spread; Niel Wright’s The Pop Artist’s Garland: the Heine Poems to be our only treasure I will make the blood cease flowing Selected Poems 1952-2009 was recently of verse in English from the 19th And heal thy wounded head!” published by HeadworX. century. No other poet of the He is co-founder and administrator for 19th century can be resurrected in equal She begged so soft, so sweetly, the Poetry Archive of New Zealand quantity with so much satisfaction. This I could not say her nay: Aotearoa. His poetry will appear in one swallow makes our spring. I tried from the grave to raise me Issue 14 of the online journal Not all are equally successful, but all And go with my love away. International Literary Quarterly (UK). show the same approach and style; so it seemed best to give them all. At this, in head and bosom, The two best are ‘Nacht Lag Auf My wounds fresh open broke; Meinen Augen’ and ‘Das Ist Der Alte The blood flowed fast and faster – Maerchenwald’; but others I cried – and lo! I woke! have the same qualities. Here is ‘Nacht Lag Auf Meinen Augen’ in its entirety:

2 ...... Poetry Archive such as a New Zealander, or Aotearoan. pushed into the corner of some other Poetry Archive Not everyone agrees with that. Recently broader structure. The fact is that no opening and book on a TVNZ programme, a panel was human society lives without poetry. I asked to discuss the poetry of James K. would even say that no individual lives launch Baxter. One of the panel opened the without poetry, and the media types discussion by saying that in the referred to a moment ago are fools not hierarchy of the arts, poetry is because they have no poetry in their somewhere below macramé, and this souls but because they don’t know that position was not challenged by anyone it is there; they live in a semi-conscious else on the panel. As long as literary state. opinion is led on our national media by In his book How Art Made the World, fools of that kind, we will have to look Nigel Spivey* has described how the elsewhere for any real insights into our universal need to make art has in fact culture. constructed our very perceptions of The place to look is not in our big what the world is. In another relevant decorative institutions like the media, book, The Language Instinct, Stephen universities, major art galleries and the Pinker** has argued that language like but at a much more basic level, the distinguishes humanity from other grassroots level, where our culture has creatures in the way that web-making its foundations. distinguishes spiders from all others. In About twenty years ago I became aware poetry these two instincts coincide – the of the existence of the Poetry Library in art instinct and the language instinct – London. I visited it then and I have and it is in poetry that we become most visited it several times since, and I was fully human and most fully aware of our convinced from the beginning that New humanity. It is not by chance that Zealand needs an institution of that people in times of crisis and exaltation kind. I approached a number of turn to poetry – in cases of birth, individuals and existing institutions marriage and death or in the most vital with this idea and met brick walls on all turning points in a society’s history. In July, we officially opened the Poetry fronts. For example, when I was The reason that I failed miserably in my Archive in Wellington. Thanks to all President of the New Zealand Poetry efforts to found a poetry library is that I who helped with the launch that day, Society in the late nineties I put the idea approached people whose instincts for and particularly to Helen Rickerby for forward to the committee of that time, art and poetry have been distorted and setting up the PANZA website and to and I suggested that they might like to stunted by bureaucracy, intellectualism Mark Pirie for maintaining the PANZA view certain premises in the CBD which and similar diseases. Mark, Michael and online catalogue. could be a promising site. I thought that Niel have started somewhere else, at The following speech was read by if we begin with a central site we can grassroots, in the human heart, and they Nelson Wattie at the opening and book then approach the funding question are making the gesture that says, “Yes, launch held in St Anne’s School Room, from a firmer point of view. Not one we need this institution – and here it is, Northland, next door to the Poetry member of the Poetry Society in this suburban garage.” I am reminded Archive: committee viewed the site or took up that my Uncle Jim (my brother and I the idea in any other way. It is pleasing called him Uncle Jam, but he is known I have been asked to launch two books to see that as time passes attitudes outside the family as Sir James Wattie), of poetry into the world, and I am change, and the current president and started bottling fruit in my delighted to do that because of the deep committee of the New Zealand Poetry grandmother’s garage during the belief I have in the importance of Society have given the Archive a depression and ended his life as the poetry. For the same reason I want to generous donation and a lot of moral head of one of New Zealand’s largest congratulate the founders of the Poetry support. But back then one of the and most successful corporate Archive of New Zealand Aotearoa and committee members pointed out that the enterprises. From humble beginnings in to say a few words about that before Wellington Public Library already Niel’s suburban garage, I expect great addressing the two books. collects poetry – isn’t that enough? things to develop. I believe that poetry, far from being a Well, no it is not enough. An important But it is high time that I turned to my marginal decoration to other things, is at reason for a separate institution, such as actual purpose, which is to launch two the very heart of human life itself. It the London Poetry Library, is to books of poetry. The first of these is helps us define and understand what it demonstrate physically and visibly that closely connected to the Archive itself, means to be human. It can help us poetry has a unique and significant a kind of dinghy acting as flagship. It is define and understand what it means to place in the culture of the nation and is captained by the redoubtable Mark be a particular kind of human as well – not to be subsumed as a minor art Pirie, who seems to go from strength to ...... 3 Winter 2010 strength in his efforts on behalf of our almost incredible scope of his as that of Hero and Leander or Jason poetic imagination. Throughout the knowledge of New Zealand poetry. So and Medea, And he also tells stories, world, thematic anthologies have come many people have published poems and sometimes romantic sometimes comic, into fashion in the last ten years, and, in even books of poetry in this country that of life in modern Wellington. But addition to other achievements, Mark is it is almost impossible to get an narrative is not everything. I have our leading exponent of this kind of overview. As co-editor of The Oxford mentioned the aphorisms and there is book. Rail Poems of New Zealand Companion to New Zealand Literature I also a wide range of lyric forms and Aotearoa is appropriate to the occasion suppose it is my responsibility to strive themes to be discovered in these 100 because the railways have always been for such an overview, but I confess that pages. a vital part of the New Zealand I have been floored again and again by My partner tells me that I always talk imagination. They retain their Niel’s information on poets long too long on these occasions, and I can imaginative significance even if they forgotten by most of us but not by him. see that some of you are already decline in commercial value. With his He knows their names, what they wrote, growing weary. But I don’t want to customary hard work and ingenuity when they wrote, the contexts in which finish without giving you an actual Mark has brought a fascinating they wrote and, what’s most important, example of what I’ve been talking collection together. It contains classics he has actually read their work about. More important than talk about of our tradition – even though they attentively. poetry is poetry itself. I will conclude might seem forgotten – such as ballads We also know that he has been writing by reading what I consider to be one of by Will Lawson. In his own day, his own poems for many a year. He Niel’s most successful poems. It is Lawson was recognised as a bard of the began, he tells me, in 1947, which called “Wahine” and Wellingtonians railways, and one essayist even claimed means that he has been writing poems will have immediate associations with that you could identify the different for more than sixty years. He has that name. In fact storms are a recurring locomotives Lawson was writing about published them too. In fact no other motif in Niel Wright’s poetry – storms by the way the rhythms of his verse New Zealand writer has published so in the Mediterranean or in suburban matched the rhythms of their engines. many books. If we include his novels, gardens. In addition to recalling the Another classic of popular New Zealand stories, essays and other writings in disaster in a terrible Wellington storm, culture is also here, Peter Cape’s addition to the poetry, he has produced the word wahine is also, of course, the “Taumarunui”. Any book which about a thousand separate publications. Maori term for “woman”, and women represents both sisters Marilyn According to his own count he has are another recurring motif in these Duckworth and Fleur Adcock is sure to written more than 40,000 lines of verse. poems. In this particular poem the meet my approval. There are other well- The statistics surrounding Niel are quite breakup of the ship in the harbour known poets here, such as Jan Kemp, extraordinary. happens at the same time as a breakup Fiona Kidman, M.K. Joseph, Louis But the fact remains that he and his between lovers on shore, and the Johnson and Peter Olds, along with work are very little known. Most of his interweaving of these two events and names that are less familiar to us. The books have been produced in tiny the two associations of the title word themes covered are also wide-ranging. editions and their publisher – Niel give special poignancy to the poem. (As Political calls for building and himself – has made almost no effort to for the other poems – buy the book and protecting railways, the railway as a link distribute them beyond the legal deposit read them!) between communities, departures and in the National Library. Frankly, the arrivals, farewells and welcomes, the physical appearance of the books makes WAHINE food supplied at the stations and much them uninviting, and if you think the more. I am also intrigued to see that one you are looking at is only one of a By F W N Wright Marilyn Duckworth and Michael thousand and may not be representative, We did think twice whether to face O’Leary find the motion of trains you despair of getting any real Such rain and gale force sexually arousing. In short, considering impression of his work. Winds as inch deep drenched the small size of this book it is This makes the new book, meticulously The pavement and threatened to wrench astonishing how it overflows with edited and lovingly presented by Mark The massive steel and concrete building themes and ideas of many kinds. I am Pirie, the first real opportunity to get a loose happy to launch it and wave to it as it genuine feel for Wright’s poetry. We From its base. This was as close goes on its way. find a wide range of themes and forms. As the car would take us. We plunged into The other book I am launching today is The poems are always rhymed but the the rain The Pop Artist’s Garland by F.W.N. rhyme schemes are multifarious. And staggering in the wind, stumbled, rather than ran Wright, better known to his friends as Wright’s poems range in length from To reach shelter. As we and our colleagues Niel. Niel has been a striking and yet epigrams and aphorisms of two lines to sip mysterious figure in Wellington’s narrative poems of several pages. On Our morning tea or coffee over desultory literary community for many years. the evidence of this book I find that Niel gossip Nobody who has held conversation with has a special strength for narrative About this atrocious weather that still him will fail to be impressed by the poetry. He re-tells classical stories such continues

4 ...... Poetry Archive Unabated, we hear the indifferent news He was co-editor of The Oxford Year Companion to New Zealand Literature. That the Wahine on her voyage across the and gave the opening address at the Childhood’s shadowy stillness. Beneath the strait, unable launch of the Poetry Archive in greening ash-trees To enter harbour in such a storm, has been The gentleness of bluish gaze is grazing; disabled Wellington. We asked to include some golden peace. And is drifting without power or help of his translations of Austrian poet Something dark delights the violet’s through the heads Georg Trakl for our newsletter. fragrance; swaying corn But is in no immediate danger, the broadcast In the evening. Seeds and the golden shades adds. THREE POEMS BY of melancholy. We had spent the night before wrecking our GEORG TRAKL The carpenter hammers the beams; on the love darkening farm On one another’s bones. We believed Translated by Nelson Wattie The mill is grinding; in the hazel-bush a Too readily that all was well, all shipshape, purple mouth is arched, Regardless of the storm whose vehemence A masculine red is bent over silent water. The Autumn of the Lonely Man and sharp The autumn is gentle, the forest god, a

Onset intermittently we felt golden cloud Autumnal darkness falls replete with fruit Through concrete. We joked about the Follows the hermit, the black shadow of the And withered are the summer’s lovely geological fault, descending. glories. Rumoured to lie below the hillslope, A bend in rooms of stone; beneath old From fallen veils a perfect blue steps out. Which one day carrying building and all cypresses The flight of birds is sung in ancient stories. could slip The tears of nocturnal pictures have gathered Soft-spoken answers to some misty quest Catastrophically. We had awakened at six, at the spring; Have filled the gentle quiet. The wine is Two naked bodies in a single bed, had sex Golden eye at the outset, dark peace of mind pressed. Anew to the lash splash of the storm, with at the end.

no thought Sometimes a cross stands on a barren hill; Beyond. Hours later we learnt with shock A herd within the forest disappears. About Georg Trakl that Across the mirror-pool the white clouds sail; The Wahine, overwhelmed by an exceptional The quiet farmer’s gesture is at peace. Georg Trakl (1887-1914) lived most of wave Blue wings of evening brush without a Had sunk in the harbour. Just as conclusively his life in Salzburg, where he worked in sound we’ve his father’s pharmacy. His poems are A roof of brittle straw, the blackened Become strangers. Fifty lives were lost often related to the “Expressionist” ground. Within sight of the city viewers. The last movement, partly because of his manner

Of the wreckage was salvaged the other day. of creating a mosaic of simple Soon stars are nestling in the weary brow, That’s how we watched our love die, A soft constraint is entering chilly rooms statements, apparently unrelated, yet Uncomprehendingly, though in full view And angels step out softly from the blue connected even across his entire oeuvre It happened. Tell me, what became of you? Of lovers’ eyes, which now feel gentler by the repetition of key, evocative

harms. words. His use of colours has been Nelson Wattie The reeds are rustling; bony is the dawn, related to early modernist painting – the

As black dew drips from willows to the colours seem to become independent, *Nigel Spivey, How Art Made the World, lawn. London: BBC Books, 2005. applying to unlikely objects or even to no object at all. (Think of the blue **Stephen Pinker, The Language Instinct: The New Science of Language and Mind, horses of the contemporary art group The Sun London: Penguin Books, 1994. “Der Blaue Reiter”.) The melancholy

Every day the yellow sun moves above the tone and imagery seems to mourn the Photo of Niel Wright and Mark Pirie, hill. passing of his world even before the PANZA opening and book launch, St Lovely is the forest, the dark animal, First World War broke out. Trakl was Anne’s School Room, Northland, 25 July The man; hunter or shepherd. one of the first of many young poets to 2010 by Laurice Gilbert, President of the NZ

Poetry Society. fall in the war. He was sent to the Reddish, the fish rises in the green pond eastern front of the Habsburg Empire as Beneath the rounded sky, a medical orderly, left in charge of a The fisherman riding softly in his blue hall full of terribly wounded men dinghy. Georg Trakl without medicines or bandages. He ran translations by Slowly the grape turns ripe, the corn. from the hall in despair and saw corpses When daylight slowly fades hanging from the trees. The war was Nelson Wattie Both good and evil are prepared. only one month old when he killed himself with an overdose of drugs. When night falls Nelson Wattie is a Wellington-based The wanderer slowly lifts his heavy lids, Sun breaks out from a darker abyss. translator, poet and literary scholar...... 5 Winter 2010 Further reading: A Reading of the more attentive reading, however, Classic New Zealand Poetry of Ronald Brian Castle by F W reveals that the words individually and poetry Nielsen Wright, Cultural and Political in their small clusters are readily Booklets, 2001 comprehensible, even to the extent of being everyday in what they are saying This issue starts a new Poetry Notes and in their intended meaning. Though, feature: ‘Classic New Zealand poetry’. Comment by Ivan as stated above, Leggott’s concerns do A classic poem will be printed every tend to be localised, that locality can oft issue. This issue’s classic New Zealand Bootham times be the mind of a person who is poem is by the late Wellington poet steeped in literature, the humanities. In Ronald Castle (1907-1984), a local short, a poet who assumes her readers to chemist, writer and musician, who FUSED MUSING ON TWO POETS’ be similarly educated and so not fazed created a pharmacy museum in the TWO BOOKS when she takes them on a cultural tour. 1970s: Some of the names she drops will By Ivan Bootham eventually require a gloss (the downside SONNET ON THE FALKLAND of doing that sort of thing). It is ISLANDS The two poets are and probably too much to hope that a poem Michael O’Leary. The two books are loses little if a name unknown to the By Ronald Castle Leggot’s Mirabile Dictu (AUP, 2009) reader is thought to be an imaginary and O’Leary’s Toku Tinihanga being who encapsulates a particular type This tiny realm amid the waste of sea, (HeadworX, 2003). of humanity. Haunt of the seal and wide-winged albatross, Firstly Leggott’s poetry in the above For many of the statements above on With little herbage save Antarctic moss, And rocks defiant of the South’s decree. book. In it her concerns tend to be Leggott’s Mirabile Dictu the opposite But endless solitude could never be: localised and feminine, her vocabulary could be made on O’Leary’s Toku Near tiny islands tinier galleons toss, correspondingly in keeping with that. Tinihanga. But apart from them, And captains ponder whether gain or loss She sequences words with thoughtful noticeable and defining differences To raise a flag and claim the sovereignty. care, with restrained finesse. She does between the two collections are tone, Shall England, France or don of courtly not go for the obviously big statement manner, structure, subject matter. In all Spain — political or social (if they are not one those respects O’Leary comes over as a Shelter these isles beneath imperial wing? and the same, essentially). She, not more traditional poet, irrespective of the Whose cannon’s thud shall human settlers surprisingly given her failing eyesight, contemporaneity of his subject matter. bring From Cromwell’s England or the Spanish treasures what is seen, what is before His stance is that often thought Main? the eyes. Recording that immediacy of archetypical of poets: rhetorical, Shall Argentine pluck here her sad guitars context before the mind reflects on it, expressive, audience involving. There is While mighty ships steal on beneath the toys with it to make references to, and immediacy in his poetry. There is stars? analogies with, a wider, enriched passion in his poetry. Though, in context. And intermingling with that are conveying that, the pen nib he uses is (From The Select Poetry of Ronald Castle, the memories the seen and literal sometimes a little too broad. Wellington, 1983). information bring to mind. Her poems, Consequently, what he is attempting to though they may tell a tale, are not express is not in such instances as finely

structured as straightforward narratives, worded as it might be. Whether or not Publications by Ronald Castle: but of linked elliptical statements. They O’Leary’s poetry is easier to relate to Fleeting Music, Wright & Carman, can be read as summations, highlights than that of Leggott’s will depend on 1937 of a life, of a situation that define it the reader’s interests and literary Arcadian Grove, Wright & Carman, more tellingly for the poet (and reader) background. It may be correct to say 1939 than a straightforward narrative might. O’Leary’s poetry is seemingly more Psaltery and Trumpet, Chapbook Even a poem less successful as poetry, readily comprehensible on a first Publications, 1948 “winter 1928”, in its assemblage of reading than is Leggott’s. But there are Old Instruments in New Zealand: a words written to a child (words made discernible ramifications in the subject short survey of the Zillah and Ronald more understandable and colourful by matter of a number of his poems that Castle collection of early and unusual the would-be child-like drawings placed potentially are of wide-ranging musical instruments, Z & R Castle, above them), is a somewhat elliptical complexity. 1969 construct. Apart from that poem, and Verses for Music, R B Castle, 1981 the also illustrated “gulielmus igitur” Ivan Bootham is a Wellington writer. A The Select Poetry of Ronald Castle, poem, a surface impression of all the number of his poetry collections are Castle Publications, 1983 other poems in the collection is that collected in the Poetry Archive and are

their writer, the poet, favours constructs well worth seeking out. made of close weave word texture. A 6 ...... Poetry Archive About the Editor Ivan Bootham – Argot issues 26, 28 New publication by plus Argot broadsheets and Participants PANZA Mark Pirie is a Wellington writer, and Others by Brent Southgate publisher, anthologist and critic. Recently he edited The Pop Artist’s Rush Hour Press, Wellington – 25 Cars Garland: Selected Poems 1952-2009 by by Simon Williamson Niel Wright and The Earl is in...: 25 Years of the Earl of Seacliff (ESAW, Peg Tocker, – Songs of a 2009), to mark the 25th anniversary of Cricketer by Jim Tocker the publishing company ESAW. Among his many poetry collections are the John Denny, Auckland – Poetry NZ verse novel Tom (Poets Group, back issues 3, 5, 6, 8, 10 Christchurch, 2009) and Gallery: A Selection (Salt Publishing, UK, 2003). Lopdell House Gallery, Auckland – His most recent project is the major Two poetry reading anthologies: Red cricket poetry anthology ‘A Tingling Tendrils (2010) & elusive, but daring Catch’: A Century of New Zealand and strong (2009) Cricket Poems 1864-2009 (HeadworX, forthcoming 2010). Janet Charman, Auckland – 7 titles

Barry Southam, Christchurch – 9 titles

Recently received Laurice Gilbert, Wellington – 13 titles Rail Poems of NZ Aotearoa donations Little Rock & over lunch by Rosetta

Allan (from Rosetta Allan) Editor: Mark Pirie

L E Scott, Wellington – 9 titles Mary Cresswell, Paraparaumu – 4 titles ISBN: 978-1-86942-119-9

Price: $15.00 Cornelius & Co: Collected Working Stephen Nutter Saint Kilda meets Extent: 32 pages Class Verses by John O’Connor (from – Hugo Ball by Eric Beach Format: 149x210mm John O’Connor)

Publication: July 2010 PANZA kindly thanks these donators to Publisher: PANZA/ESAW Puriri Press, Auckland – 9 titles (from the archive. John Denny) The railway has been a dominant presence in New Zealand life for a A Morning Walk in the Later Days by century, connecting freight and people. Leonard Lambert (from Leonard About the Poetry In this new collection of rail poems, Lambert) editor Mark Pirie presents a fresh and Archive vibrant journey through many facets of Flying Against the Arrow and On a Day the railway and explores its significance Like This by Jan FitzGerald (from Jan in our daily lives. FitzGerald) Poetry Archive of New Zealand Contributors: Fleur Adcock, Marilyn Aotearoa (PANZA) Duckworth, Michael O’Leary, F W N Rona Driscoll – Thomas Bracken’s Not Wright, Simon Williamson, Kim Understood, 1944 edition PANZA contains Eggleston, , Jan Kemp, Fiona Kidman, Ron Riddell, Will Barry Southam, Christchurch – Presto A unique Archive of NZ published Lawson, Jean Hamilton Lennox, Roger magazine, 2 back issues poetry, with over three thousand titles Wrighton, Hugh Isdale, Stephen Oliver, from the 19th century to the present Peter Olds, M K Joseph, Rhys Pasley, Ron Riddell, Wanganui – G ville day. Mark Pirie, Alistair Paterson and Peter magazine, 1 issue, plus two books by Cape. Ron Riddell: Selected Haiku and The The Archive also contains photos and This is the first publication by Oracle of Alexandria paintings of NZ poets, publisher’s PANZA’s publishing arm in association catalogues, poetry ephemera, posters, with the Earl of Seacliff Art Workshop. Grant and Cathie Lawrey – Zephyr by reproductions of book covers and other Gary McCormick memorabilia related to NZ poetry and poetry performance.

...... 7 Winter 2010 Wanted Current PANZA Members: NZ poetry books (old & new) Mark Pirie (HeadworX), Roger Steele Other NZ poetry items i.e. critical books (Steele Roberts Ltd), Michael O’Leary on NZ poetry, anthologies of NZ poetry, (Earl of Seacliff Art Workshop) and poetry periodicals and broadsheets, Niel Wright (Original Books). poetry event programmes, posters and/or prints of NZ poets or their poetry Current Friends of PANZA: Paul books. Thompson and the New Zealand Poetry Society. DONT THROW OUT OLD NZ POETRY! SEND IT TO PANZA PANZA is a registered charitable trust

PANZA will offer: • Copies of NZ poetry books for private research and reading purposes. • Historical information for poets, writers, journalists, academics, researchers and independent scholars of NZ poetry. • Photocopying for private research purposes. • Books on NZ poetry and literary history, and CD-ROMs of NZ poetry and literature • CDs of NZ poets reading their work • Inspirational talks on NZ poets • Video/DVD/film screenings of documentaries on NZ poets • Readings/book launches by NZ poets • Educational visits for primary schools, intermediates, colleges, universities and creative writing schools/classes. • The Northland Writers’ Walk (in planning)

You can assist the preservation of NZ poetry by becoming one of the Friends of the Poetry Archive of New Zealand Aotearoa (PANZA ) If you’d like to become a friend or business sponsor of PANZA, please contact us.

Contact Details Poetry Archive of NZ Aotearoa (PANZA) 1 Woburn Road, Northland, Wellington PO Box 6637, Marion Square, Wellington Dr Niel Wright - Archivist (04) 475 8042 Michael O’Leary - Archivist (04) 905 7978 email: [email protected]

Visits by appointment only

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