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Looking for Truthiness Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research or private study only. The thesis may not be reproduced elsewhere without the permission of the author. i Looking for Truthiness A personal investigation into bicultural poetry from the Bay of Islands presented in fulfilment of the requirements for the degree of Masters in Creative Writing at Massey University, Albany New Zealand. Shelley Marie Arlidge 2020 ii Abstract The creative component of this thesis mixes poems, prose poems and prose. Boundaries are blurred. English and Te Reo Māori intermingle and sit side by side, as do memoir and writing situated in the present. Time is sometimes curved and loved ones are brought back. Parts of the portfolio touch on environmental issues. The main recurring theme is a search, not only for ‘truthiness’ which may help the author find a comfortable place to stand, but also for physical, intellectual and emotional nourishment from food, nature, family, community and place. The critical component is an exegesis, which looks at influences on this writing, influences which are both local and international, male and female, Māori and Pākehā. A research question is explored in the exegesis – What are the social, historical and personal constraints and drivers behind the work presented and considered here? Particular attention is given to the consequences of colonisation in Aotearoa-New Zealand, with a focus on writing from the greater Bay of Islands area by Robert Sullivan and Glenn Colquhoun. Although three decades have passed since their first books were published, many of the issues their writing explored remain unresolved. Similar drivers and constraints still exist today, despite the efforts of many writers, artists, activists, educators, politicians and ordinary people. The thesis concludes that there is still work to be done, and hopes that more individuals in our society will eventually accept that they have everything to gain and nothing to lose by acknowledging and confronting personal and institutional racism, by embracing biculturalism and by making room for an indigenous Māori perspective in their lives, alongside whatever other cultural legacy they inherit from those whose shoulders they stand on. iii Dedication To my mokopuna Olivia, Leon, Quinn and Annika because the future is yours iv Acknowledgements Many people have helped me in the preparation of this portfolio. Without them it would have been much harder to start, to persist and to finish. First, my thanks go to my supervisor, Jack Ross, who brought his considerable intellect and immense knowledge to the project, along with generosity and wry humour. His particular talent though, was in detecting my sometimes-subconscious hopes for my writing, matching them with Massey’s academic requirements and gently pointing me in the right direction. Russell’s writing community has supported me over many years. Particular thanks are due to Peter Dane and the Russell Writers Group for early encouragement. This group morphed more recently into Thursday Poets which met monthly on my front deck and has given valuable feedback on many of these poems. Thank you especially to Vivian Thonger, for getting me up in front of an open mic for the first time, and for your willing and incisive feedback. Along the way, thanks are also due for support from: Harry Ricketts for workshopping my ‘Hammock’ poem at Northwrite 2019; Northland poets Piet Nieuwland and Olivia Macassey; my work colleague Kyra Crouzat who got me over a block by suggesting I tidy my desk; Johanna Aitchison for a couple of nicely timed pep-talks; Kennedy Warne, for ‘Sharks’ and inspiration generally. Some of these poems have been published in Poetry NZ Yearbook, Landfall, Swamp, Fast Fibres and Russell Review. All photos are by the author except ‘Tiraha’ on p46, which appears, courtesy of Russell Museum. Finally, and mostly, to my family who have been and are always there when I need you – Matt, thanks for the benefit of your skilled journalist’s eye and no-nonsense critique, Jane & Kathy for all our conversations and Jeremy for making room in our life for my writing. To my big brother Brett, the first poet in our family, who gifted me a poem, ‘Sister Takurua’ 40 years ago, that may have been my first nudge to becoming a writer, asking me ‘never said so much / why bother?’ Finally, I have found a reason. Thank you all. v Table of Contents Abstract ..................................................................................................................................... iii Dedication ................................................................................................................................. iv Acknowledgements .................................................................................................................... v PART ONE: EXEGESIS ............................................................................................................. 2 Introduction / Whakamōhio ...................................................................................................... 2 1. Influences / Whakaako........................................................................................................... 2 Glenn Colquhoun ............................................................................................................................. 2 i. Who gets to write about what, and in which language? / Ko wai ngā kaituhi tika, ā he aha te reo tika? .......................................................................................................................... 9 2. Influences / Whakaako ........................................................................................................ 12 Robert Sullivan ............................................................................................................................... 12 ii. Poets talk to poets / Ka korero ngā kaituhi tētahi ki tētahi ............................................... 18 iii. Structure of feeling / Te Āhua o te Wā. 1985 - 2000 ......................................................... 19 3. Influences / Whakaako ........................................................................................................ 23 Pablo Neruda .................................................................................................................................. 23 4. Influences / Whakaako ........................................................................................................ 34 Anne Carson .................................................................................................................................... 34 5. Influences / Whakaako ........................................................................................................ 35 Airini Beautrais ............................................................................................................................... 35 iv. Structure of Feeling / Te Āhua o te Wā 2019-20 ............................................................... 37 Conclusion / Whakamutunga .................................................................................................. 39 Works Cited ............................................................................................................................. 42 PART TWO: CREATIVE COMPONENT .................................................................................. 46 Essential Notebook: Pukapuka Tino Pūtake ................................................................ 46 Introduction / Whakamōhio .................................................................................................... 46 A Short History of Russell & the Bay of Islands ...................................................................... 50 Kororāreka-Russell: A Visitor’s Guide ..................................................................................... 54 A Short Family History ............................................................................................................ 57 1848: Ngā Whakaaro o Tiraha ...................................................................................................... 57 1899: Inheritance ........................................................................................................................... 58 c. 1925, 2015: Past Meets Present ................................................................................................ 59 Tipi Haere: Excursions 1958 - 2020 ....................................................................................... 60 Crossing the Bay ............................................................................................................................. 60 Life Writing: I ................................................................................................................................. 61 1965: Moving................................................................................................................................... 63 Mangatarata .................................................................................................................................... 64 vi Physics Experiment ........................................................................................................................ 65 Hunters and Gatherers .................................................................................................................. 66
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