. . . Poetry Notes

Summer 2014 Volume 4, Issue 4

ISSN 1179-7681 Quarterly Newsletter of PANZA

arising out of a “lack of any vital Inside this Issue Welcome relation to experience” (for references see the index to his Look Back Harder, Hello and welcome to issue 16 of 1987), still spring most readily to mind Welcome Poetry Notes, the newsletter of PANZA, – despite the partial rehabilitation in 1 the newly formed Poetry Archive of Trixie Te Arama Menzies’s article Comment on Kowhai Gold New Zealand Aotearoa. ‘Kowhai Gold – Skeleton or Scapegoat’, Poetry Notes will be published quarterly Landfall 165 (March 1988) pp.19-26, Obituary: Trevor Reeves and will include information about which demonstrated that the “poetic goings on at the Archive, articles on tradition” it embodies is not as isolated 3 historical New Zealand poets of interest, (a “continuum”: p.20) as has been Classic New Zealand occasional poems by invited poets and a poetry by Alice Mackenzie claimed, both from what preceded it 9 record of recently received donations to (Alexander and Currie) and what Comment on Yilma Tasew the Archive. followed (Curnow). 11 by Teresia Teaiwa Articles and poems are copyright in the This literary critical analysis of the book names of the individual authors. has overlooked and obscured its Comment on Lawrence The newsletter will be available for free bibliographical interest, which proves to 12 Inch download from the Poetry Archive’s be more than mere curiosity. website: Comparison of a number of copies Comment on Martin Wilson reveals that the anthology as planned 13 http://poetryarchivenz.wordpress.com included the work not of fifty-six poets

but of fifty-seven: lurking in the index Comment on John and bibliography of a few of the earliest O’London Literary Club 14 Rowan Gibbs on copies off the press (and even in the text National Poetry Day poem of a single rogue specimen found) is Kowhai Gold “Geoffrey de Montalk”. A poem of his, 2013: The Wreck of the 15 ‘The Song of a Dead Rat’, was Wairarapa originally on p.154, and its removal has Donate to PANZA through Wellington writer and bibliographer involved not only the replacement of Rowan Gibbs discusses the important PayPal that leaf, but alteration of the Contents, 17 and much maligned 1930 Kowhai Gold the Bibliography, and the Index, Recently received anthology, edited by Quentin Pope, in together with the last two leaves of the donations particular the problems relating to a text, from where the original poem, P W contributor withdrawing material from Robertson’s ‘Invocation’, was About the Poetry Archive it, which resulted in differing bound transferred to fill in the lacuna left by copies found to be still available in de Montalk’s departure. collector’s and library’s hands. One might have hoped for a great story behind all this – Potocki’s poem or PANZA Much has been written about this character unmasked as offensive at the PO Box 6637 anthology, little of it polite. Curnow’s eleventh hour, perhaps, but it seems the Marion Square label “lamentable… insipidities mixed reason was much more prosaic. The Wellington 6141 with puerilities”, and the charge of “a poem itself, despite its alarming title, fanciful aimlessness” about its contents, was not to blame – it had been printed

...... Summer 2014 previously in Potocki’s (admittedly self- booksellers to place orders from, lists it (b) The first corrected copies: published, but with the blessing of J H E as having 173 pages; it gives the month These have the above seven leaves Schroder) Wild Oats (Sumner, 1927). In of publication as October. Further, ([A8], [L5], [M4-M5], [M6-M7], [M8]) the introduction to his While Howls and D’Arcy Cresswell’s critique of “this excised and reprinted replacement Grunts (Palmerston North, 1997) amusing, remarkable book” in New leaves pasted in: Potocki gives the explanation: “…There Zealand News (London), no.91, 18 (i) Page xv replaces the listing for de was the affair of Kowhai Gold… in November 1930 p.11, gives the number Montalk at p.154 with P W Robertson, which a poem of Ours, which had been of contributors as fifty-six, indicating and page xvi deletes Robertson at the praised long ago by the late Ian that his review copy was a corrected end, leaving Adams’s ‘Sydney’ the final Donnelly, was included without so copy. (Fairburn called Cresswell’s “a poem in the book; much as a By-Your-Leave, and without vile sniggering review”, and wrote a (ii) Page 153 is as before but p.154 the family patronymic Potocki, while “dignified reply” in the next issue of deletes the de Montalk poem and prints infamous poetasters had pages & pages. New Zealand News, 2 December, p.6, Robertson’s in its place; We insisted on their taking this poem pointing out that “Cresswell withdrew (iii) Page 167 is as before but p.168 out…”. several of his poems from the book deletes Robertson’s poem, leaving the Potocki seems here to be alleging as before publication”.) lower half of the page blank; pages 169- many as four reasons for the excision of I was able to inspect fourteen copies of 170 now contain the “Bibliography” the poem: they didn’t ask; they got his the book, in libraries and in private (with de Montalk deleted); name “wrong”; he didn’t like the hands; one library copy (a corrected (iv) The Bibliography continues on company of his fellow poets; and copy) is not recorded as it had been p.171; p.[172] is blank; p.[173] is the (worst) Pope chose only one poem by rebound and resewn, obscuring its “Index” (deleting de Montalk); p.[174] him. (All rather sad, as the only other status. blank; New Zealand verse anthology, Niel (a) Original printing (assumed – no (v) Page [175] is the colophon; Wright assures me, that has ever copy located): p.[176] blank. included Potocki is Helen Shaw’s This is distinguished by having all the And so the number of leaves is the Mystical Choice, 1981: a long wait). following points: same, but at the end the pagination is Removal of Potocki’s poem involved (i) The last leaf of the ‘Contents’, altered and there is one extra blank excision of seven leaves of text from [A8], pp.xv-xvi, is integral and sewn, page. The cancelling (replacement) every copy of the already printed (and, and lists on the recto the de Montalk leaves [A8] and [L5] are of course in the case of most copies, bound) book, poem as on p.154 of the book (between single leaves, and [M4-M5] is a fold (a and their replacement with corrected Isobel Maud Peacocke and C S Perry), conjugate pair of leaves); however, leaves. These were at first (probably and on the verso P W Robertson’s [M6,M7,M8] seem (oddly, and surely with copies that had already been cased) ‘Invocation’ as starting on p.168, inconveniently) to be single leaves, pasted in; later (presumably with copies following A H Adams’s ‘Sydney’; though they perhaps vary from copy to still in sheets) they were sewn in (ii) The leaf [L5], pp.153-154, is copy: in one copy seen, (g) below, sections. The mechanics of the task integral and sewn, and prints on the [M7,M8] appear to be a fold but in (h) must have been considerable, even for recto the end of Peacocke’s poem and [M8] is pasted in back to front, meaning Dent, who at their huge Temple Press on the verso ‘THE SONG OF A DEAD that it must be a singleton. complex in Letchworth Garden City had RAT’ by “Geoffrey de Montalk”; Of (b) four copies have been seen a large staff and did their own (iii) The last two leaves of the main (Turnbull Library 175,582 and 173,589; typesetting, printing, sewing, and text, [M4, M5], pp.167-168 and 169- National Library copy; copy belonging casing. Inevitably an occasional copy 170, are integral and sewn, and print on to Rowan Gibbs which had belonged to escaped correction, in whole or in part, p.168 Adams’s ‘Sydney’ and below it P W Robertson, so a contributor’s and in a few copies the “cancels” the first half of Robertson’s copy). (replacement leaves) were wrongly ‘Invocation’; on p.169 the second half (c) Final corrected copies: inserted – fortunately, as it is from these of ‘Invocation’; p.[170] blank; These have the text as in (b) but the “hybrid” (and “freak”) copies that the (iv) The leaves [M6] and [M7], pages corrected leaves instead of being pasted original form of the book must be 171-172 and 173-174, are integral and in have been newly printed and are part reconstructed, for no surviving sewn, pp.171-3 being the of the sections and sewn in. unaltered copy of the original printing “Bibliography” with “Geoffrey de (Only one copy has been seen of this has yet come to light. Montalk: / Wild Oats, The Author, final state, belonging to Niel Wright, Possibly none ever left the warehouse: 1927” as the final entry on p.172; probably indicating that most of the even the British Library deposit copy is p.[174] blank; copies sent to New Zealand were sent catalogued as having 173 pages, which (v) Leaf [M8], pages 175-176, is fairly early.) indicates that it was a corrected copy; integral and sewn, p.175 being “Index”, In fact, due no doubt to the complicated and the details of the book supplied by with “Montalk, Geoffrey de, 154” the (and probably rushed) nature of the Dent to the English Catalogue of Books, fourth item in the right hand column; operation, many copies (indeed, the issued in advance of publication for p.[176] is the Temple Press colophon. majority of those inspected) were

2 ...... Poetry Archive corrected only in part: the following thirty years. Presently he is involved “hybrid” copies have L5 or M4-M8 Obituary: Trevor in on-line publication on the internet, uncorrected (no copy has been found Reeves the highlight of which is an with A8 in its original state): international literary review entitled

(d) A8 and L5 corrected and integral as Southern Ocean Review which Reeves in (c) but M original (meaning that de edits. It also appears in a hard-copy Montalk appears in the Bibliography edition. and Index but not in the text, and Robertson’s poem is printed twice, on 1 – What was your initial reason for p.154 and pp.168-9). getting involved in publishing? Please (Three copies of (d) were found: try to think of this in the spirit of Turnbull Library 45,032 and two what you were thinking and doing at belonging to Rowan Gibbs, since sold.) the time. (e) A8 and M corrected and integral as in (c) but L5 original and printing the de I had been writing poems and sending Montalk poem (though it is deleted them off for publication for a while, and from the Contents, Bibliography and in the course of which, corresponded Index): this is the only copy located OBITUARY FOR TREVOR with Brian Turner who was at the time with the de Montalk poem still present. REEVES by Dr Michael O’Leary an editor with Oxford University Press (This copy belonged to John Reece Cole in Wellington. In a letter I received and is now in the Turnbull Library.) Dunedin poet and publisher Trevor early in 1971 he told me he heard that I (f) A8, L5 and M all corrected, but A5 Reeves died recently in Dunedin after a was about to set up a press. That was is pasted in as (b) whereas the other long illness. Reeves was a major player news to me, but I thought “why not,” so leaves are sewn in as (c). in New Zealand literary publishing in I wrote down the name of my press that (Two such copies seen: Wellington City the 1970s, this can be seen by his simply popped into my head at the time: Library and Victoria University.) publication list below. In more modern Caveman Press. The two final variants are best regarded times he was neglected as the as accidental “freaks” juggernaut of public funded university 2 – Who or what was your main (g) As (b) but L5 is pasted in back to presses has taken over the high ground influence behind your decision to front (making the order of pages 153, of publishing. Yet, without people like publish? These may include literary 155, 154 and splitting Peacocke’s poem Reeves who considered publishing or non-literary influences. in two). poetry in particular a necessity to the (One such copy seen, in private hands, culture of New Zealand it is doubtful My main influence was Lindsay Smith which had belonged to a contributor.) whether recent publishing would exist. who, through the ’60s had been a music (h) As (b) but M8 is pasted in back to Reeves was one of those people who student at Otago University. He also front (this could be easily done as one ‘believed’ in literature, so I have wrote poetry and in the course of our side is the colophon and the other side is included his answer to a questionnaire friendship I became interested in doing blank). he completed for an MA thesis I wrote that too – having given up any idea of (One such copy seen: J C Beaglehole on small press publishing in New continuing with my music interests. His Room copy at Victoria University.) Zealand. Just looking at his publication book of poems Skyhook was ready for line-up shows the type of publisher he publication, and I decided to publish it. Rowan Gibbs, author of this article, has was. He was also a poet himself, which My brother, Graeme, an accountant, recently published a cricket book, W W gave him further authority to have his took an interest in the finances and to Robinson on the Cricket Field. Copies ideas expressed. And this is the reason I some extent distribution of Caveman available from Rowan at: wrote my thesis, published by Steele Press. We acquired a 1914 Golding [email protected] Roberts in 2007 as a book, so that Platen disc-inker letterpress machine as Rowan also notes further about Kowhai people like Reeves could have their say a donation from Whitcoulls and I Gold editor Quentin Pope: in a literary culture which was fast learned how to do letterpress printing, “Regarding Pope’s own poem becoming forgetful of those who had firstly using handset type, and later ‘Retrospect’, Eric McCormick said (An gone before as they begin to die off. So, linotype. Alan Loney joined us in late Absurd Ambition, 1993, p.41): “…That I salute Trevor Reeves for his 1971 and handset his own book, and is emulation [of Rupert Brooke] carried contribution and hand the floor over to was a helpful influence as we to the point of caricature… Kowhai you:– progressed. Gold contained at least three versions of ‘The Great Lover’ alone… and Publisher: Caveman Press. Trevor 3 – In your choice of authors was the Brooke was in effect the chief Reeves a poet and a printer who has main consideration for inclusion contributor to that ignoble collection”. worked tirelessly for many political as philosophical, literary or pragmatic? well as literary causes over more than

...... 3 Summer 2014 I think literary was the principal academia, although issues of often than not subsidised by their consideration in choice of work to ‘professionalism’ continually arose in authors, or paid for in full by them. publish. However, we did take a policy the 1960s and ’70s and even later, However, that includes books by direction which included publishing the where academics liked to suggest that academics, particularly in the non- work of overseas writers. A principal writing of superior quality arose out of fiction field. influence was my association with Don the academic process. There are Also there is the advent of printing Long, an American who came to New elements of truth in this, but technology which enables you to go to a Zealand with his parents at the age of traditionally, the bulk of truly great printer with a computer disk and ask the 14. He wrote a lot of poetry, eventually writing comes from no really specific printer to ‘docutech’ 200 copies please setting up Edge magazine, which area of society. This is particularly true – all at a reasonable cost. I am presently published a lot of overseas work. We of American writing where nationalism doing this for authors with the press that were not interested in philosophical is not an obsession such as it has been in succeeded Caveman Press, Square One directions in the writing, specifically. New Zealand and Canada and some Press. The main criteria being that it must be other countries. Also the grants systems I believe “real publishing” is just that – creative. Nor were we interested in in New Zealand and Canada tend to any sort of publishing is real publishing, ‘movements’ such as post-modernism favour writing by academics, for whether it is on-line on the Internet or etc. We were not university orientated academics. even on CDs. I don’t think the term but on the other hand, we did not In general, there is a sort of levelling- “Vanity Press” has much currency any exclude ourselves from their influences. out phenomenon in place in any society, more. You can spend six months writing Another influence in our choice of so that bad work, whether it be a book, give the manuscript to a authors was to see if we could include academically derived, or those by publisher who publishes it at his own graphic material to complement the ‘ordinary members of the public’ (for expense, perhaps with the aid of a grant, written work. want of a better description) will then get no return at all in terms of We did this successfully with artwork ultimately be seen for what it is – good royalty as a return for the work you put complementing books by the likes of or bad; popular or shunned. in. Is that “Vanity Publishing”? Or you Stanley Palmer (Tony Beyer), Ralph Funding has always been a problem for could put up the printing cost, then go Hotere (Hone Tuwhare) and Barry literature. Funders, for instance the New halves with the publisher on the sales of Cleavin (Lindsay Smith) etc. To an Zealand Literary Fund, which was the book, after he has paid the extent we were ‘creating’ our own replaced by the QEII Arts Council, then distribution cost – and still make no market for poetry collections, so the Creative NZ, had always been starved return on your efforts. In a sense, all pragmatism of choosing already for funds. I was appointed to the New publishing is vanity and the methods by successful authors did not really enter Zealand Literary Fund Committee in which the publishing is done do not into our calculations. 1973 for a three year term, and in those change it from being just that. So you days we had no more than $4,500 each might as well call vanity publishing, 4 – “...and if there is still a number of year to dispense. real publishing. commissioned works which seem to There was pressure to give grants to Some publishers have a different view. have been dreamed up by a well-established presses rather than For instance, the publishers who award sabotaging office-boy on an LSD trip, small private presses, which was the Pushcart Prize in the USA there are now each year a growing probably fair enough, but I can say that deliberately exclude from consideration quantity of books which worthily add the emphasis has now changed quite a any work that has appeared solely on to our literature.” Professor J.C. Reid lot. In those days there were people on the Internet, claiming that this work is from an article introducing New the committee who knew writing well “Vanity” publishing. Of course it isn’t, Zealand Books in Print, written in but came, not just from the universities, because somebody has to pay for it, and 1968. I interpret Reid’s assessment as but from publishing, bookselling, more likely than not the author doesn’t an indication of the rift between the schools etc. get a return just in the same way as he acceptable ‘worthy’ literature as These days with the rapid rise of the gets little or no return in the ways endorsed by academia, and the new ‘corporate culture’ the people making described above, from print publishing. wave of sabotaging office boys and grants – mainly those trained in The New Zealand Society of Authors girls who at that time commissioned administration – are less likely to say (PEN) are seeking to establish their publishers to put out their works, or ‘what’s the work like’ and more, ‘who membership status criteria in that simply published things themselves, the hell is he/she.’ writers who are published on Internet and in many cases the work of their As to the “Vanity Press” there has magazine (of which there are thousands friends. Comment on this quote in always been a lot of that, and even more throughout the world, now) as relation to the ‘Vanity Press’ vs ‘Real these days. In fact, because of the insufficient reason to allow them Publishing’ debate. decline of printed literature (for instance ordinary membership. I believe this is 90% of all New Zealand’s bookshops divisive and backward-looking. To a large extent literature has never are owned by one man), and the rise of Literature endorsed by academia has, in been the exclusive preserve of the Internet, printed books are more my opinion, no more claim to quality

4 ...... Poetry Archive than non-academic literature not Caveman couldn’t even make it into the (Takahe, JAAM etc.), but not in Landfall endorsed by academia. An example is index, even on those grounds! Oxford’s and Sport. the work of American writer Charles website has done a bit of a “catch-up” However, the definite up-side was that Bukowski, who never went near a of some of the more glaring omissions, more New Zealand writers were university in his life. but not of any significance. publishing in overseas magazines – However, his books are the most particularly magazines on the Internet. borrowed works of literature in USA 5 – Initially, was your focus This was especially gratifying, because libraries, both public and academic. His outwardly cosmopolitan or inwardly even though most Internet magazines works beat the rest, hands down. If you New Zealand looking, and how has are based in the USA and are already bring up the subject of Bukowski in this emphasis changed over the internationally focused, New Zealand library lists on the Internet, such as years? writers are making it into these “Cafe Blue” a university-based publications against very stiff university list, you will get a diatribe of Initially, the focus of Caveman Press competition indeed. This can only help abuse, as I have received. Bukowski was inward focusing – local authors raise the standard of New Zealand came through the “wrong door” and is etc., but became outwardly writing published here in New Zealand, deeply resented. cosmopolitan in response to what could and indeed this is happening now. In New Zealand you have the modest be described as a literary movement – The “outward-looking” revolution that example of Alan Duff (did I say not academically based, I might add, to began in the early 1970s has resumed. modest?) whose work is not contrast the work of overseas with what The younger generation of writers and academically based or accepted, writers here were producing. The aim of publishers, such as Mark Pirie, seem breaking sales records. Things have this was to try to broaden the range of prepared to continue it. Creative New moved along from the days of J C Reid, subject matter and modify the influence Zealand, of course, is still reluctant to although I would have no criticism of of those who were looking for the fund publications with overseas content his worth and place in New Zealand “Great New Zealand Novel” to “The in them – even though the New Zealand literature. A fine writer and editor, Great Novel”. This was my focus right writers may be getting substantial indeed. up until Caveman Press ceased overseas coverage in them. However, some academics are still publishing literature to concentrate on Such considerations do not affect maintaining the “myth of difference” publishing general books of non-fiction, funding in, say, the USA, where the and various policies of exclusion. A in the early 1980s. criteria is whether the content is worthy case in point was the publication of the With the demise of other magazines and or not, not where it comes from. revised Oxford History of New Zealand publishers in the 1980s things quickly Literature in English in 1998. A whole returned to “normal”, where the inward 6 – What were your methods of chunk of writers and publishers from looking past had re-established itself printing and distribution as a the early to mid 1970s and even later, with the help of academia, which had publisher? Did you receive any were omitted, including myself and been affronted by the “office boy” financial or other assistance from Caveman Press. Also other presses at publishers. In fact I was an office boy in either public organisations, or private the time that had broken the a wool store until I threw in the job in sponsorship? ‘nationalistic’ mould and reached 1974 to become a full-time publisher. outside New Zealand to publish, were At that time I was appointed to the New With Caveman Press there were some excluded. Surprise omissions include Zealand Literary Fund through the grants applied for and received, but not Jim Henderson and even a former influence of Patricia Godsiff, then many. We received no assistance from holder of the Burns Literary Fellowship retired as a Nelson school headmistress. public organisations, and only a little at Otago University, John Dickson! That appointment enraged some writers from private donations. Sales of poetry Spectacularly missing was Stephen who considered themselves firmly in those days were buoyant, and there Higginson (who at one time was an established and calling the shots. Two was no significant shortfalls in returns. editor and writer at Caveman Press) and of these, tried to browbeat and cajole Private Gardens for instance, although his magazine, Pilgrims. It was not easy me into relinquishing the appointment. well funded, sold 1275 copies – a to contemplate that this was the result of They may have won in the end, after pleasing result. Also, in those days there incompetence. One instance was a Middleton set up a petition to ask the were few photocopiers, so copyright mention of Private Gardens, New Minister of Internal Affairs to have me was not significantly breached as is the Zealand’s first anthology of poetry for removed. I was not re-appointed. case these days, particularly with the women poets – published by Caveman With the advent of the Internet in the advent of the Internet. Press in 1977. Not only did this highly early 1990s, literature became more Methods of printing in the early days of regarded and completely sold out book global. More overseas writers began Caveman Press began with handsetting get scant attention in the Oxford being published in New Zealand letterpress, then linotype, with all the History, but the editors did not even magazines – both on-line (although my production being done “in house”. This have the courtesy to attribute the Southern Ocean Review is still really changed later to using regular printers publication to Caveman Press – so the only international one), and in print using offset with type and paste-ups

...... 5 Summer 2014 supplied. Later, we used overseas no alternative but to cease publishing in America, and we have our breed of it printers where there was a need to do and distributing under that imprint. in New Zealand. I am not against this, overseas imprints for publishers Square One Press was established later as surely the arts faculties need more overseas (such as a Graham Billing in that decade (1980s) and we are still encouragement in this age of corporate novel we published). These days the going today. I never begrudged any time utilitarianism where the funding favours wheel has turned full circle, with the I put into writing and publishing. Even buildings and institutions rather than shrinkage of demand for printed less so now, as the urge or need to creative individualism. A lot of the collections of poetry for instance. Small ‘earn’ a living is now more or less work submitted from American poets runs of books – say, 50-100 copies, can absent. with PhDs or MFAs in creative writing now be done on a high quality is pretty pedestrian, convoluted, or photocopy machine. An example is the 9 – Where do you place yourself and drearily negative. 50 copies on paper we publish every your achievements as a publisher A lot of the writing courses carefully issue of Southern Ocean Review, (and as a writer if applicable) in the teach bad writers on how to become concurrent with the Internet version, history of the modern-day New mediocre ones. Well, mediocre ones can which so far has received over 20,000 Zealand literary scene? Do you feel become better ones, so maybe we need “hits”. In an age where the booksellers’ that your contribution has been those writing courses. But it would be a monopoly will not stock poetry books adequately acknowledged. mistake to say that those who didn’t on principle, private distribution by mail attend writing courses are mediocre order, supply to libraries, and publishing Having no place set for my activities in writers or worse, never to become really on the Internet is the order of the day. publishing and writing by the Oxford good writers. History of New Zealand Literature in We really need some unbiased and 7 – How much of your publishing was English, it is difficult to assess my objective commentators on the general commissioned and paid for (either achievements as a writer and a overall scene in literature in this fully or partially) by the author? Was publisher. As a writer I believe I made country. From a general perspective and your operation helped by the some considerable headway in the short not via an academic viewpoint. I am voluntary work of friends and fiction milieu, having had stories placed hopeful. family? overseas in print and Internet magazines – some for quite considerable payments, T.R. Dunedin, 2000. In the 1970s none of our work was even on the Internet. My publisher commissioned or paid for. We are (HeadworX) had applied for a Creative Caveman Press Bibliography looking at this now, however, as the NZ grant for my book of short stories, 1971-1983 market for printed books continues to Breaker Breaker and Other Stories but shrink. The publishing operation then there is no guarantee of success there, as Key: certainly benefited from the voluntary they may decide that since my work is Author help of friends and family. Later in the not well known here, it is no good. [In Title 1970s, with a publishing office and fact, it was subsequently turned down. – Date other activities developed such as Ed.] Corporate managers now read the Type & No. of copies printed graphic design and marketing – and also manuscripts (if indeed that is what they with book importation – our publishing do) and they may well decide that Te BAXTER, James K. became more professionally based, Papa or the Edinburgh Tattoo is worthy Ode to Auckland and Other Poems employing editors and people to help of more money than my little book. 1972 with distribution. At one stage Caveman Press in the mid- Poetry (2000) 1970s was publishing half the total BAXTER, James K. 8 – What has been the cost to you books of poetry published in New Letter to Peter Olds personally in terms of time, money Zealand. With other publishers at the 1972 and resources, of being involved in time, mostly young, we were up to the Poetry (100) publishing in New Zealand? You may three quarter mark, I estimate. BEYER, Tony consider this in relation to more I am heartened by the “young crop” of Jesus Hobo difficult areas such as relationships writers and publishers coming along. 1971 with friends, family etc. also. They are a realistic lot and I learn from Poetry (350) them, now, in terms of the technologies BEYER, Tony In terms of time and money, we had of publication and distribution. Some The Meat some successes and some failures. In have had to step over high hurdles set 1974 terms of money, we always made by established academics, when in fact Poetry (150) money from publishing and distribution they are academics too. It seems to be a BILLING, Graham overall – at least until the exchange rate different scene. The Primal Therapy of Tom Purslane reverses in 1981-82 which left us (along One of the tools of academia is to set up 1980 with other distributors such Fullertons) writing courses. This is practiced widely Novel (1000)

6 ...... Poetry Archive BILLING, Graham MCALPINE, Rachel OLDS, Peter Changing Countries Stay at the Dinner Party Doctor’s Rock 1980 1977 1976 Poetry (400) Poetry (500) Poetry (500) BROOKS, Jocelyn MCALPINE, Rachel PATERSON, Alistair Ill Conceived Lament for Ariadne Cities and Strangers 1981 1974 1975 Law and abortion practice in New Poetry (500) Poetry (500) Zealand (700) MELLING, Gerald REEVES, Trevor CARON, Elsa, et al. Open Schoolhouse Stones Fri Alert 1980 1971 1974 Environments for children in N.Z. Poetry (600) Politics (3000) (1000) REEVES, Trevor EDMOND, Murray MELLING, Gerald Unemployment in the 1980’s Entering the Eye Joyful Architecture 1983 1973 1980 Politics (200) Poetry (400) The genius of New Zealand’s Ian REEVES, Trevor ENSING, Riemke, ed. Athfield (1250) Apple Salt Private Gardens MITCALFE, Barry 1975 1977 Migrant Poetry (500) An anthology of New Zealand women 1975 ROWE, Rosamond Agnes poets (1250) Poetry (400) Feet Upon a Rock FOX, William L. MITCHELL, David 1981 Trial Separation Pipe Dreams in Ponsonby Autobiography (3000) 1972 1975 SMITH, Hal Poetry (400) Poetry, 2nd ed. (400) 1st ed. published Divided We Stand GARDNER, Ray by Stephen Chan, 1971 1981 The Drug Book MORRISSEY, Michael Poetry (3000) 1978 Make Love in All the Rooms SMITH, Lindsay A drug addict’s story (600) 1978 Skyhook JOHNSON, Ingrid Poetry (400) 1971 The Paper Midwife NOAKES, John Poetry (350) 1974 Life in N.Z. SOUTHAM, Barry Home birth (2000) 1979 Mixed Singles JOHNSON, Louis N.Z. Listener quotes & cartoons (2000) 1981 Onion O’BRIEN, Karen Short stories (500) 1972 Woman’s Work SOUTHAM, Barry Poetry (150) 1981 The People Dance KEMP, Jan Women at work (1000) 1982 Against the Softness of Women OLDS, Peter Poetry (500) 1973 Lady Moss Revived TUWHARE, Hone Poetry (400) 1972 Something Nothing LASENBY, Jack Poetry (150) 1974 Power OLDS, Peter Poetry (1000) 1972 4 V8 Poems TUWHARE, Hone Poetry (150) 1972 Come Rain, Hail LIST, Dennis Poetry (150) 1973 Pathways into the Brain OLDS, Peter Poetry (2000) 1973 Freeway TUWHARE, Hone Poetry (400) 1974 Sap-wood and Milk LONEY, Alan Poetry (450) 1972 The Bare Remembrance OLDS, Peter Poetry (3500) 1971 Beethoven’s Guitar WANTLING, William Poetry (300) 1980 San Quentin’s Stranger LONG, D.S. Poetry (500) 1973 Borrow Pit Poetry (800) 1971 Poetry (350)

...... 7 Summer 2014 WANTLING, William Early days on the Dunstan / John Crossroads / poetry by Trevor Reeves; Obscene and Other Poems McCraw. paintings by Judith Wolfe. 1972 c2007. c2009. Poetry (150) WRIGHT, Judith Fruitful land: the story of fruitgrowing Hand in hand / Trevor Reeves, poems; The Fourth Quarter and irrigation in the Alexandra-Clyde Judith Wolfe, art. 1976 district / John McCraw. c2007. Poetry (400) c2005. Poetry book to cuddle up in bed with / Editor’s Note: In addition to Dr Michael Gold on the Dunstan / John McCraw. Trevor Reeves. O’Leary’s bibliography of Trevor’s c2003. 2003. Caveman Press, PANZA member Mark Pirie has compiled a bibliography of Golden junction: episodes in Southern ocean review: international Trevor Reeves’ other publishing venture Alexandra’s history / John McCraw. on-line magazine of the arts. Eds. Square One Press. c2002. Trevor Reeves/Judith Wolfe. Nos. 1-50, Square One Press published a mixture 1996-2009. of non-fiction, art, poetry, fiction and Harbour horror / John McCraw. political or satirical books, some of c2001. Greenhouse New Zealand: our climate: which he co-published or authored with past, present and future / Jim Salinger; his wife, the painter/artist/cartoonist Mountain water & river gold: stories of [graphics by Judith Wolfe]. Judith Wolfe. gold mining in the Alexandra district / c1991. Mark writes: ‘I knew Trev personally. I John McCraw. first met him and his wife Judith in c2000. Footprints on a gravel road: stories and Dunedin, 1999, when I was writing my poems / by Barry Southam. MA on Louis Johnson. He gave me a Harrowing times / by Neale McMillan, 2005. copy of Louis’ biker poem Onion and a Murray O’Neill and Trevor Reeves. whole stack of other Caveman books c1996. Fishing stories for the ninety percent / and showed me letters he’d received Bruce Tapp. from American poets Charles Dear pal: a kiwi battler in the South c2006. Bukowski, A D Winans and William Island outback / Barrie Mann. Wantling, very impressive to any c2003. Milton: the story of a lockout / David aspiring young publisher. I was just 25. Tranter. Trev holds a special place in my Positively architecture!: New Zealand’s c1996. memories.” Roger Walker / by Gerald Melling. 1985. Clyde on the Dunstan / Isobel Veitch. Square One Press Bibliography 2003. 1984-2010 by Mark Pirie ‘Oh, Baxter is everywhere’: some Dunedin poems / by Peter Olds. From Wells Fargo, California, to Cobb Replicar!: a century of motoring in c2003. and Co., Otago / Isobel Veitch; North Otago and beyond / Rona illustrations by Judith Wolfe. Adshead, Rex Murray. Colosseum: poems / Frank Pervan. c2003. c2002. c2007. Cuban cocktail: poems / Isha Wagner. Weatherboard: poems / Tony Beyer. Treadmill: poems / Frank Pervan. c2007. 2000. c2007. Indian shadows: poems / Isha Wagner. Real fire: New Zealand poetry of the Abuse of power: the story of the Clyde 2008. 1960s and 1970s / selected by Bernard Dam / Trevor Reeves & Judith Wolfe; Gadd. introduction by John Kennedy; Whispers: for David / Isha Wagner. c2001. [cartoons by Judith Wolfe]. c2010. [1990]/ Last conspiracy / Allen Gray. Huey Hydro of Clyde: [cartoons / by c2000. Breaker breaker & other stories / Judith Wolfe] Trevor Reeves. 1984. Dunedin holocaust: the tragic fire in the c2001. Octagon Buildings, Dunedin, 1879 / In the grip of evil: the Bain murders / John McCraw. Judith Wolfe & Trevor Reeves. c1998. c2003.

8 ...... Poetry Archive Nazi holocaust for beginners / Judith Poems by Alice Mackenzie THE HILLS OF WAKATIP[U] Wolfe & Trevor Reeves. 2006. MARTIN’S BAY How beautiful the hills around In winter do appear, On the West Coast of Otago With their snowy covering Classic New Zealand There’s a place called Martin’s Bay, Gleaming bright and clear. From Lake Wakatip[u] it is poetry Only sixty miles away. Those lofty hills of Wakatip[u] Look so bright and fair Few human beings there reside, With their snow-encrusted peaks This issue’s classic New Zealand poetry Pioneering is their way; Uplifted in the air. is by Alice Mackenzie (nee McKenzie) But there is room for many more (1873-1963). To live at Martin’s Bay. As they stand in snowy splendour She has recently received increased O’er the lake so dark and deep, attention and her pioneer diaries/writings There many fertile acres are In its waters are reflected from the remote Martin’s Bay near Of uncultivated land, Each brightly gleaming peak. Milford Sound were this year in the Growing the wild native trees Turnbull Gallery Exhibition, Logs to Untouched by human hand. When in the summer they are seen, Blogs and its accompanying ebook, at They charm the stranger’s eye the National Library of New Zealand. And among the trees and ferns With their rugged peaks outlined Laura Kroetsch wrote a Masters thesis Which grow so dense around, Against the clear blue sky. on Mackenzie’s life writing, Fine in the Living in fearless liberty, morning: the life writing of Alice Wild birds do there abound. Each precipice upon those hills McKenzie: a thesis submitted to the Is so clearly seen, Victoria University of Wellington in From the hour the light of dawn And the valleys at their feet fulfilment of the requirements for the Proclaims the rising sun, Are robed in verdant green. degree of Master of Arts in English / by They make the bush with music ring Laura C. Kroetsch. Until the day is done. Though those hills of Wakatip[u] The only New Zealand anthologies to In summer look so fair, pick her up appear to be John Gordon’s On its shores the breakers It is in the winter they two rural writing anthologies, Out of Of the ocean roll for ever, Their loveliest aspect wear. Town (1999) and Fresh Fields (2001). And many lovely scenes we see Fresh Fields includes the following bio Upon its lake and river. When the winter sun is setting note: And its parting rays are streaming, The lake is Lake McKerrow, Then those hills of Wakatip[u] ALICE MACKENZIE Which lies in calm repose; Are in their true beauty gleaming. Daughter and chronicler of the The river is the Hollyford, remarkable McKenzie family who Which to the ocean flows. Then those hills do look so bright settled on a 40-acre block at Martin’s Reflecting back the sunset’s glow, Bay, 15 miles north of Milford Sound. On the river Hollyford With the dying light of sunset In 1902 she married Peter Mackenzie Such lovely scenes we see; Tinting all the gleaming snow. of Glenorchy, where they farmed until The trees beside its waters retirement in Queenstown. Aged 71 In them reflected be. she wrote her only [non-fiction] book, MEMORIES Pioneers of Martin’s Bay, though for And on that solitary lake many years, she contributed jokes, We hear no human sound; Her form it is bent, and dim is her sight, verse and articles to farming On its wooded shores there are Her face is all wrinkled, her hair is so magazines. No dwellings to be found. white; She is bent with the weight of eighty Alice’s book of poems (under the The distant echo of the sea long years, name of Mrs Peter Mackenzie) was And black swan’s note so clear, A life of some pleasure, but far more of published c1946, and her highly And the whirr of the wild duck’s wing tears; regarded non-fiction book on Martin’s Are the only sounds we hear. Play an old tune with a haunting refrain Bay was published in 1947, running And that old, old woman is young into several more reprints or editions again. in 1952, 1970 and 2006.

...... 9 Summer 2014 Place a sweet flower in her trembling To see it in the summer time There once was a wedding held in the hands, With green fields of McIntyre and valley, Her thoughts will fly to far-away lands, Baird, The only wedding that ever had been; For the sound of a tune or the scent of a To a diamond set in emeralds Sunset wild flowers graced the wedding rose, It well could be compared. feast, And back to her youth her memory And the hall was a bower of ferns so goes; A few short years ago Lake Hayes green. She forgets the long years of sorrow and Did undiscovered lie, pain, The only sound to break the gloom Many a pair have left a church door And that old, old woman feels young The seagulls’ plaintive cry. And paced to the tune of a wedding again. march, But now its scenes are altered And swords were held high over their With dwellings on its shore, heads HONEYSUCKLE No longer now Lake Hayes can claim To form for them a victorious arch. Its solitude of yore. Upon an old and ruined wall In the Hollyford Valley this couple went The honeysuckle twines, The glossy surface of the lake, forth Hiding all the wall’s defects The hills which proudly stand, With bushmen and roadmen on each With starry blossomed vines. Impress upon a thoughtful mind side The work of our Creator’s hand. Holding shovels and axes to form an How beautiful those starry flowers arch Which are so sweet and fair, To honour the bridegroom and his fair And breathing to the evening breeze THE HOLLYFORD VALLEY bride. A fragrance sweet and rare. Away in the depth of a forest so wild No organ there played a wedding hymn, It climbs around the ruined wall The Hollyford Valley in solitude lay; No wedding bells for them did ring; And covers it complete, The Hollyford River, in sunshine and But high in the trees above their heads Covering all the wall’s defects shade, For a choir the wild birds sweetly sing. With flowers so pure and sweet. Flows down through that valley to reach Martin’s Bay. The honeysuckle seems to me WHEN THE TIDE WAS LOW AT A friend so brave and true In the long years gone by, the early MARTIN’S BAY Who shields the weakness of a friend Pioneers From the world’s heartless view. They tramped where even no track I stood upon the sandy shore could be found; As evening shadows fell; And if misfortunes on me fall They forded the rivers, and walked The sun was sinking in the west And all seems dark before me, through the bush, Across the ocean’s swell. Like honeysuckle be some friend Then set up a tent and slept on the To shed sweet influence o’er me. ground. O’er the sea the sun was casting Each brightly tinted ray No matter what obstacles came in their As the waves came sweeping LAKE HAYES way, To the shore at Martin’s Bay. They struggled along in those long, Leaving Queenstown far behind lonely years; The moon was rising o’er the hills With all its lovely bays Now they are dead and their labours are As the sun sank in the west, The strangers’ eyes are charmed again o’er, And the silvery moon was gleaming In gazing on Lake Hayes. But we honour the names of those On the ocean’s heaving breast. early Pioneers. Girt round by mountains high and steep And those ever-moving waters Lake Hayes doth peaceful lie The Tourists now drive where the Sparkling brightly as they roar Reflecting back those lofty hills Pioneers trod, And are dashed in foamy billows Which tower against the sky. And a road through the Hollyford On that wild and lonely shore. winds its way, Looking from its eastern shores, And the ring of the axes is heard in the All around are wooded hills, When the sun sinks o’er the mountains bush, No matter where your eyes are turning; steep Where the road is being formed to You see no human habitation Reflecting back the Remarkables Martin’s Bay. Except where one lone light is burning. Upon those waters dark and deep.

10 ...... Poetry Archive Here solitude doth reign supreme, still fails to conform to—and, in fact, Refugee Punk Metal Anti-Aesthetic All scenes are lone and drear, flouts—the hegemonic standards of demands is visceral engagement But there is music in the loneliness literary taste in Wellington. accompanied by counter-hegemonic Which solitude will make us hear. But after reading through this new political action. But there is no cookie- collection of poems, I am convinced cutter template provided for Yilma’s A whispering sound among the trees, that there is something new to say about audience. There is music in the ocean’s roar, Yilma’s work. I want to call it an Afro One needs to conjure up a screaming There’s a voice in the wandering breeze Punk anti-aesthetic, but ‘Afro Punk’ as guitar and bass as one reads the poems Which is sighing along the shore. a term has already been domesticated in this collection. Each of the words we and packaged for commodification by must imagine becoming And the voice of Nature speaks to us others. Maybe it needs to be called a indistinguishable from one another as In every flower that grows, Refugee Punk Metal Anti-aesthetic. Of they are screamed by a vocalist, so that And the voice of God is calling us course, this is not to say that Yilma’s whatever pathos there is, is transformed In every breeze which blows. personal sense of style emulates in any into the rage of a mosh pit. Most of the way the stereotypical image of an urban poems Yilma has compiled here end (From Poems by Mrs P. Mackenzie, punk or heavy metal rocker; in fact, far with three lines repeated deliberately, c1946) from it. Yilma dresses with the panache anthemically: “Not at all! Not at all! Not of a Third World Intellectual—he can at all!” By proposing a framework for look elegant in his Ethiopian national understanding Yilma’s poetry I could be Comment on Yilma dress, and dapper in a leather bomber seen as re-enacting the sorts of jacket with a red neck scarf with white domesticating interpretive work that Tafere Tasew tee shirt and dark jeans. Indeed Yilma other literary critics are often criticised could hold and has held his own for. But I would suggest that if there perfectly well in the company of was an interpretive framework that was YILMA TAFERE TASEW’S Wellington’s cultural elite. But if we bound to be subversive—even of its REFUGEE PUNK METAL ANTI- understand his poetry as a own theorists—it would be a Refugee AESTHETIC by Dr Teresia Teaiwa representation of his interior life, as I Punk Metal Anti-Aesthetic. It’s suggest we should, then the Refugee guaranteed to “spit/vomit”, and In 2010 I wrote a foreword for a volume Punk Metal Anti-Aesthetic goes kind of “spite/vomit” in your face. of Yilma Tafere Tasew’s poetry that wild. You won’t be able to come away from promised to be the first in a series. In What are the basic principles or reading the poems in this collection and that foreword I tried to frame Yilma’s characteristics of a Refugee Punk Anti- declare that you enjoyed them. You writing for a Wellington audience. You Aesthetic? Well, punk is always anti- shouldn’t be able to enjoy this poetry see, Wellington is not just the political aesthetic, in its rejection of middle-class because refugees should not have to capital of New Zealand, it is also the and bourgeois pretentions. So a Refugee leave their homes or lose their family cultural capital. Poetry is therefore Punk Metal Anti-Aesthetic, especially members along the way; they should not accorded a particular currency in this as exemplified by Yilma in his poetry, have to suffer the indignities and city—poetry that is cerebral, artful and would refuse the temptation to make a violence of refugee camps; nor the refined, that is. The type of poetry that lived experience palatable. Would abjection of trying to integrate into an appeals to the city’s cultural elite has refuse to render the experience of apathetic and sometimes hostile host the air of the New Zealand String refugee camps hauntingly beautiful; country. Long may Yilma Tafere Quartet, the bouquet of a Marlborough would reject the notion that a diasporic Tasew’s Refugee Punk Metal Anti- Sauvignon Blanc and the taste of a refugee experience could easily be Aesthetic continue to strike dissonant Kāpiti Kikorangi or regional blue integrated or assimilated into a new chords in a city that prefers to hear cheese about it. So in the foreword I culture of privilege; and would not symphonies. tried to speak directly to the Wellington hesitate to offend or upset its audience aesthetic and challenge the city’s with blunt truths and violent imagery or Dr Teresia Teaiwa is a poet and critic connoisseurs to reckon with the way energy. For me, there is no question that who teaches at Victoria University of they were demanding certain things Yilma’s poetry in Broken Wings is Wellington. from poetry—things like refuge, working within a Refugee Punk Metal liberation, and transcendence from the Anti-Aesthetic. Yilma Tafere Tasew’s new collection mundane, the literal and the artless Not being a fan of hard-core punk, Broken Wings is available from Steele realities of most people’s lives. In trying myself, I must also admit that I am not a Roberts Ltd in Wellington. to respond to his new volume of poetry, fan of Yilma’s poetry. By this I mean Broken Wings (2013) I was sorely that Yilma’s poetry demands much tempted to recycle the last foreword I more of its audience than a banal wrote for him. Because Yilma’s poetry declaration of “fandom”. What a ...... 11 Summer 2014 powerful sonnet in English, as J H E Lawrence Inch shows no awareness of Comment on Schroder thought. women poets. Lawrence Inch Georgian poetry takes Wordsworth as Lawrence Inch also shows no awareness its model and sees Robert Bridges as of the ecological debasement of the exemplifying the technical standard to natural world. Nevertheless as pseudo LAWRENCE INCH’S 1968 SCRIP be achieved. Shakespeare said long ago ‘Poor inch of OF JOY by Niel Wright The great early example of a Georgian nature’. (See the 1986 Oxford Complete poet is Rupert Brooke, who is let it be Shakespeare, Pericles Act 3, Scene 1, The other day came to my notice a New said a very fine poet with unique line 34, or my edition of Pericles The Zealand poet I had never heard of technical insights. See my numerous Marina Scenes Edited, line 52, for the before, Lawrence Bates Inch. But we writings on him. Inch quotes phrase above not given otherwise in are finding a lot of this cultural amnesia. Wordsworth’s poetry, Keats’s literary modern editions.) However a Google search brings him up theories and admires Robert Bridges Inch writes 11 poems in regular rhymed as poet and lawyer, so he is not without and Rupert Brooke. stanzas, as well as a series of 8 trace on the New Zealand literary scene. There was nothing implausible about canzonets, 12 line poems. In these I got the following information on him presenting a Georgian manifesto in modes you can say Inch is an O from Rowan Gibbs. It is not official 1968. Exclamatory poet. As such he is hardly births/deaths information, but is Following on from New Zealand Poetry effective. reliable. Yearbook (1951-1964) which Curnow Probably because of his admiration for Lawrence Bates Inch was born 11 declared to be Georgian, Charles Doyle Shakespeare and Wordsworth whom he September 1904 and lived to 1991. His in 1965 issued his anthology Recent fails to match however, Inch writes 4 parents were Richard Thomas Inch and Poetry in New Zealand also blank verse poems, tending to rhetorical Emma Haigh/Haig. Lawrence’s wife intentionally Georgian, in which Fleur rhythms, and also one in free verse; the was Zera Emla Yorke, and they had a Adcock and C K Stead were presented latter expressing his critical views, all number of children with numerous as Georgian. the former his intellectual sense of descendants. A R D Fairburn and Lawrence Bates nature. Lawrence Bates Inch is the author of the Inch were born in the same year, 1904. The rest of Inch’s poems are sonnets, 21 book of poems and literary criticism, Inch indicates (page 84) that he knew of them using various rhyme schemes My Scrip of Joy, published in 1968 in Fairburn personally in 1948 when on seven rhymes. Auckland but bound in hard covers in Fairburn gave him an autographed copy If you are going to write sonnets, you Hong Kong. of He Shall Not Rise Fairburn’s 1930 have got to be prepared to load your Lawrence Inch in this his sole book is book of poems. lines with detail. Inch succeeds in doing trying to tell the truth about poetry, Inch mentions only two New Zealand this for perhaps a dozen sonnets, the which for him in his lifetime is poets by name, A R D Fairburn and best of which are XIII, XIV, XXIII, identified as Georgian. R A K Mason of whom he says on page XXVIII, XXX, XXXI. There is a growing sense of the presence 83: “The New Zealand scene? There are Inch does not mention any non English of the Georgians. Mark Pirie has or were two, and only two, who wrote speaking poets, but he does show identified Lawrence Inch whose 1968 anything approaching true poetry, similarities to Victor Hugo in his use of book My Scrip of Joy is a very late according to my appraisal. They were, words, very admirably so when at his Georgian manifesto and a very sharp of course A.R.D. (Rex) Fairburn and best. This is very high praise. anti-Modernist blast. R.A.K. Mason. Their craftsmanship was See my book on the text of A C Hanlon, Inch does not use the term Georgian but outstanding…” but both of whom he another poet apparently within A R D words like real poetry, true poetry, but sees as Georgians lost the plot early on. Fairburn’s circle. Hanlon also wrote and what Inch describes and prescribes as Inch was an intelligent and well-read published sonnets in quantity in the such is exactly the same as what all the man. In his prose commentary in My early 1930s. other Georgians say is poetry in the Scrip of Joy he quotes 37 poets or On evidence it certainly looks that four Georgian mode (since 1910). critics. He includes a set of 38 poems in young male Georgians poets with The key words in Georgian aesthetic are My Scrip of Joy with the impression contact between them in the early 1930s joy and human experience, so very given that it is his complete oeuvre; if in New Zealand had a failure of spirit much with Inch. However Georgian so he is the author of a monobiblion like leading them for whatever reason to fall poetry can also be mournful and Catullus, whom however he doesn’t silent or change their tune (in Fairburn’s abstract. This is the paradox of name. In page 3 of the preface Inch says case). A C Hanlon in his 80s reprinted Georgianism, depicted most strongly in the monobiblion published in 1968 was his sonnets from the early 1930s, but in Wordsworth’s sonnet ‘Surprised By already extant in 1933 when he was 29. garbled texts. Lawrence Inch alone 35 Joy’, a reflection on the death of his Mark Pirie comments that Lawrence years later upholds his Georgian daughter. It can be seen as the most Inch’s poetry lacks my humour. Is aesthetic by a critical manifesto, for humour an essential or only a graceful which he is to be thanked and feature of Georgianism? commended.

12 ...... Poetry Archive Inch does not name Curnow but to my Ōtaki and its legend must’ve consumed His fiction includes the rare cricket eyes he refers to him on page 89 by him thereafter. At the time of writing story ‘A Polynesian Cricket Match’. alluding disparagingly to the poem the memoir Wilson was a teacher at Martin Wilson retired to Kerikeri where ‘Wild Iron’. This passing reference does Murapara Rangitahi College, where he he died in 1980 aged 56 years. suggest that in 1968 Inch could not see may have received his tribal name. A search at the National Library far beyond Curnow’s three anthologies Details of his education are: Ōtaki State brought up the following Obituary in as setting forth New Zealand poetry as Primary (1929-36), Levin District High NZ Biographies from Northern News, 4 tendered from 1945 on. Inch states very School (1937-39), Horowhenua College September 1980: firmly on pages 103 and 108 that since (1940), and Victoria University of World War II precious few poems have Wellington (post-war) where he took a MR MARTIN GORDON WILSON been published to match the finest Master’s degree in English and a double The death occurred recently of Mr written prior to then. Bachelor’s degree in English and Martin Gordon Wilson, of Kerikeri, The significance of Lawrence Inch as a History. who was well-known as an English poet and critic and coeval and friend of In 1948, he married Prudence Joan teacher, singer, actor and a man of A R D Fairburn is that in 1968 he put on Milligan and the couple had four many talents in many fields. record his Georgian poetry and stated in children. He was Anglo-Catholic. Aged 56 years, Mr Wilson was a the strongest terms his detestation of Wilson’s stories and poems first former President of the Northland poetic modernism as evident in New appeared in the NZ Listener, Te Ao Hou Swimming Centre and a delegate to Zealand, a dismissal with which now 45 and the Weekly News (Auckland) in the the New Zealand Amateur Swimming years later with 80 years of New 1960s. His poem ‘Leaving for Association in Christchurch. Zealand modernism to judge by I may Aotearoa’ (NZ Listener, 17 July 1964) Born in Otaki, Mr Wilson went to in hindsight wholly agree. like his memoir In Search of the Great school there and later at Horowhenua Fleet appeared under his given Māori College. Dr Niel Wright is a Wellington writer, tribal name of ‘Rākamamao’. A story FLYING critic and publisher. He is a co-founder ‘All-Night Radio’ was in the Weekly He seemed to have a natural interest of and archivist for PANZA. News, January 1962, under another in flying and, while working for the pseudonym ‘Dominic Linton’. Union Company in Wellington he His first known publication aged 15 joined the Air Training Corps – a years, however, appears to be a letter to voluntary organisation – and was Comment on Martin the Evening Post’s “Postscripts” column proud to be in the first squadron to be Wilson in Papers Past. He sent in a sonnet by formed in New Zealand. Tennyson (on the Russian invasion of In 1942 he joined the RNZAF and Poland) that he likened to the outbreak eventually had his first solo flight in AN ACCOUNT OF THE of war in Europe and the German February 1943. AOTEAROA POET MARTIN invasion of Poland in 1939. A few months later he received his WILSON by Mark Pirie Much of his best poetry is collected in wings at Calgary, Canada, and was his self-published Collected Poems and then seconded to England in the 201 Martin Wilson (1924-1980) is a little Short Stories of 1969. (The book is held Flying Boat Squadron. known New Zealand writer of some by PANZA and the Turnbull, Hocken, After the war Mr Wilson went to interest and quality. A short fiction University of Otago, Victoria Victoria University for his BA writer and poet, he was a well-known University, University of Waikato and majoring in English and History and teacher and singer, excelling in many Auckland University Libraries.) It there he met his future wife Pru and fields. features work from 1939-69. The first the couple married in 1948. He published two books: his Collected poem in the book was written at Levin Graduating from Wellington Teachers Poems and Short Stories in Rarotonga, District High School aged 15 years and Training College, he worked at 1969, along with an earlier memoir In the collection takes in the Second World schools in that area and three years Search of the Great Fleet (1962), which War, as well as his teaching time in later achieved his Master’s degree in appeared under his given Māori tribal Sarawak, Malaysia, and Rarotonga, English. name of Rākamamao (‘god of winds’, cf Cook Islands. His poetry (as with It was in 1953, the same year, that Mr Journal of the Polynesian Society). Alistair Te Ariki Campbell’s) Wilson decided to do something he The latter is a work of non-fiction and noticeably moves from Elizabethan, had always wanted, and began taking interprets the voyages of the great Romantic and Georgian forms to free serious singing lessons from Mr Māori canoes to New Zealand. Wilson verse by the 1960s. His oeuvre also Stanley Oliver, in Wellington. dedicates his memoir to the late Chief includes a verse novelette Dominic and This led to a very distinguished Utiku Hapeta, of Ngāti Raukawa, Ōtaki. Laura, on the imagined taboo love singing career which included Hapeta clearly first told Wilson the relationship between a teacher and pupil winning gold medals in many story of the canoe landings as a child in based on an actual case in Cromwell. competitions. Mr Wilson was a ...... 13 Summer 2014 soloist in Oratorio Messiah on five TAPUHI search at the Turnbull says The great birds tremble occasions, and broadcast solo items similar: Their flashing foam-lashed pinions and radio operas. Dip and sway He also sang with the New Zealand Name: Wilson, Martin Gordon Clamour of voices from the ‘house’ Opera Company in two NZ premiers, 1924?-1980 A new invocation to the gods Amahi and the Night Visitors, and the Biography: School teacher, singer. Tangaroa the long-eared listens Consul. See New Zealand Biographies They leave no trail One of his biggest thrills was to be asked by Mr Oliver to sing in his As well as short fiction and poetry, They have made their choice Schola Cantorum firstly because this Wilson contributed historical articles, a A people committed they glide was by invitation only and secondly book review of Hone Tuwhare’s No On Pacific’s red flood-tide because they sang unaccompanied Ordinary Sun and correspondence to church music, which Mr Wilson Historical Review: Bay of Plenty In the bow-sheltered by Kura-head loved. Journal of History. They test their nets for other flying-fish PIPES Here are some examples of Wilson’s The shell-tipped hook gapes for the Mr Wilson, who was living with his poetry: the earlier more Georgian love shark family at Wainuiomata, taught at the lyric written in Canada during WWII Hutt Valley High School for nearly and the later 1964 free verse of With eyes that reach beyond the stars eight years and started the school’s ‘Leaving for Aotearoa’: The tohungas wait for the new ground- pipe band having played the pipes swell himself from an early age. HE ADDRESSES HIS GIRLFRIEND For the tremble beneath them In 1958 he was appointed head of They wait for the new sky overhead English at Waimate, first assistant at In days gone by, together we have The bright land firm beneath their feet Murapara Rangitahi College in 1961, swum and in 1963 first assistant in English With slanting shadows on the pool, the The birds the birds are on the wing at Te Aroha College. sun The year 1966 saw a move for his Above, the river dark below; or spun Mark Pirie, author of this article, is a family to Sarawak, when Mr By roaring, racing seas: when we were New Zealand poet, editor, publisher and Williams was appointed Head of young. archivist for PANZA. English at the Tanjong Lobang School, Miri, under the Colombo In days gone by, ’neath laughter- Plan. splintered sky Comment on John Ill health began to dog him, however, We’ve lain and watched the blind-flying and after a spell at Hawera, again as clouds go by O’London Literary head of English, he and his family Across the sky, and slept in sol’s fat- retired to Kerikeri where Mrs Wilson summered eye, Club, Wellington was appointed to Head of English. When laughter, love, and tears were It was in Kerikeri that Mr Wilson done. There is nothing written on the John became a co-founder of the Kerikeri O’London Literary Club (1937-1941) in Swimming Club, was its president for Canada 1943 our literary histories so any information two years and a competent time- on the formation and doings of this club keeper as well. is of interest. With swimming came an interest in LEAVING FOR AOTEAROA Based in Wellington (much like the life saving, as an examiner and other present New Zealand Poetry Society), ways. Last year he was awarded the E koro e ngaro the club had other members in rural Commonwealth Council certificate of he takere waka nui areas around the country. The club took thanks from the Royal Life Saving its name from the John O’London’s Society. They hoist their sails at last Weekly magazine in London and saw Mr Wilson is survived by his wife Huge raupo breasts that swell and strain themselves as a New Zealand branch. and four children. Lifting the red life over Kiwa’s Great They aimed high respecting the Ocean standards set by their London link. There is no mention of his teaching time Like-minded friends/literary activists as Head of English at Tereora College Red red the kura gleams co-founded the club at 98 Tasman Street 1968-69, Rarotonga, Cook Islands, or The incomparable the sacred ornament around July 1937 and it had its first his literary works in his Obituary, and I Red-feathered girdle of Taputaputatea meeting in August that year at 196 don’t know of any New Zealand Lead lead the Godwits forth Lambton Quay with Keith Kuring and anthology that picks him up. A Mary Kitching presiding. The first Chairman-Secretary of the club was 14 ...... Poetry Archive Bob Harrison d. 1939. The succeeding Mercury, NZ Mirror, NZ Women’s Queenslander, Christchurch Star, Chairman was Max Butterton, with Weekly. Radio Record, Evening Post and New Mary Kitching as Secretary. Zealand Dairyman. The members, self-confessed amateurs, M Butterton: Poems in Evening Post, used to meet once a month on a The Dominion, Public Service Esma Kuring: Poems and stories in Tuesday at the Beehive Chambers, 71 Journal and Centennial Anthology. Evening Post, The Dominion, The Courtenay Place, Wellington. Articles in Southern Stars and One Mirror and Point Blank. Occasional meetings were also at the Hundred Years of Astronomy. Turnbull Library 1940-41 where C R H Keith Kuring: Poems and articles in Taylor, the Chief Librarian, was a guest Mabel Clapson: Is an artist, whose the Free Lance, NZ Mercury and New speaker. The club held competitions for water colours have been exhibited in Zealand Yachtsman. stories, poems and book reviews using the New Zealand Academy, and outside literary judges. recently has been engaged on Bathia Luttrell: Poems and stories in The number of members (largely Centennial mural work. the Evening Post and Auckland Star. women) numbered in the 20s to begin with and steadily grew. From 1940- Dorothy Esher: Poems in Australian Review also included poems and short 1941 the club issued monthly letters to Woman’s Weekly. Articles in New stories by its members and comment members through their club secretary Zealand Railways Magazine. from some of the guest speakers. Mary Kitching; some of these are in the The 1940 issue for instance features Turnbull. Gwen Harrison: Illustrated poems in C R H Taylor on the recorders of New At each meeting, invited speakers and The Australasian and New Zealand Zealand history/literature, O N Gillespie members gave talks, and members read Herald. Article and illustrations in on New Zealand poetry and comment fiction and poems and reviewed copies New Zealand Railways Magazine. by Ian Gordon on the similarities of John O’London’s Weekly. There Second prize in NZ Women Writers’ between early American literature and were occasional performances of music and Artists Society’s competition for early New Zealand literature. Gordon and drama. the Donovan Cup (story). was soon to edit New Zealand New Guest speakers included George Writing. Nellie E Donovan writes on the Joseph (UK journalist), Ian Gordon, Roma Hoggard: Poems, stories, and New Zealand novel and J R Hervey (a C A Marris, P A Lawlor, O N Gillespie, articles in the Australian Women’s friend and judge of the club’s 1940 G Stewart (of New Zealand Railways Mirror, The Mirror, New Zealand poetry competition) on writing poetry. Magazine) and C R H Taylor. Railways Magazine, Dairy Exporter, Review of 1940 (now properly printed) Most members of the club are not Tui’s Annual, Auckland Weekly News, adds other new member names like known now, but like a number of other New Zealand Herald, Woman, New Patrice Morant (author of The Chaplet, groups from the 1920s-1940s, their Zealand Farmer, Women’s Weekly Hokitika, 1937), Stella Lee, R Morant, members were widely published. The and Free Lance. V May Cottrell and W R Davidson. well-known poet Gloria Rawlinson Formed close to the Centennial joined in November 1940. A M Taylor, Miss Hoggard published a collection celebrations of 1940, the club was another woman member of Berhampore, of her poems entitled Interlude optimistic for the future hoping to be was in the anthology edited by Helen recently. part of the Golden Age of New Zealand Longford, Here are Verses (1937). poetry. Ending in 1941, the club like Perhaps their leading member was Dorothy Jesson: Poems and stories in many things found itself disrupted by Roma Hoggard. the Free Lance, Dairy Exporter, the Second World War. A detailed summary of the club’s Taranaki Daily News, Auckland Star history is given in their first annual and Evening Post. Article by Mark Pirie Review for 1939, a cyclostyled booklet numbering 80 copies. The editor was The Club congratulates Mrs Jesson on Max Butterton. winning for the second year in National Poetry Day Also included in this annual is a list of succession the silver cup offered by members and their positions within the the Drama League for original one- poem 2013 club and a detailed summary of key act play. members complete with notes about their publication history. It’s worth Mary Kitching: Poems and stories in For National Poetry Day, 16 August reprinting here, to give an idea of the Tui’s Annual, Dairy Exporter, New 2013, PANZA posted a classic New outlets available to writers at that time: Zealand Railways Magazine, The Zealand poem on their website by John Dominion, New Zealand Mercury, Henry Dillon (1860-1922). Mary Beckett: Poems in Australian Auckland Star, Christchurch Sun, The Dillon was a New Zealand-born Women’s Mirror, Dairy Exporter, NZ Mirror, Sydney Sun, The Manawatū poet and builder, living in ...... 15 Summer 2014 Palmerston North. He was the son of For the fog was thick about them, All too late; one moment longer, o’er John Frederick and Maria Dillon. hanging like a winding sheet, the man beside the wheel, His only collection Echoes of the War And the waves beneath it murmured Quick to action, hears the order of the and Other Poems, appeared in 1897 sullen, as they hurried by; captain, comes the shock; printed by Wm. Hart, Caxton Printing And the winds with fiendish hissing With the dreaded awful grinding of the Works, Palmerston North, and J C round about the rigging bent, fated vessel’s keel, Andersen lists it in his 1936 Author’s As they swept towards the danger As she goes to helpless ruin on the Week bibliography. hidden from the keenest eye. jagged Barrier rock. As well as poems concerning the land wars of the 19th century (‘The Fall of Danger! what of danger was there when God can this be true! that blindly, on Von Tempsky’ for instance) and the ship was stout and tried, this wild temptuous night, pioneering bush-life, the book contains She had breasted many a billow, Far away from friend or succour, far a moving poem about the wreck of the passed unscathed through many a away from human care; steamship Wairarapa on the Great gale; Midst the heavy brooding darkness, Barrier Rocks in 1894. When the tempest in its fury swept with the tempest of its height, Andrew Fagan recently revisited this across the ocean wide, They have rushed upon destruction in tragedy of New Zealand’s past for TV She had kept undaunted onward, never their madness unaware. One’s series about New Zealand did her engines fail. disasters, Descent from Disaster. Was it madness! who can answer? Only Dillon’s poem further illuminates the Danger! yes, when darkness gathers on the Judgement Day, tragedy by offering a powerful insight o’er the bosom of the deep, When from silent depths of ocean shall into the ferocity of the ocean and And a heavy fog sinks slowly like a the dead return again; illustrates the helplessness of the pall o’er land and sea; And the veil that shrouds the future be passengers aboard at the time the ship Then ’twere better to be tossing on the for ever rent away, struck the rocks. wide expanse than keep Will those lost effects and causes, with The poem will register strongly for all Where the jagged rocks are jutting, and their issues be made plain. who lost family members in the tragedy. the shore is on the lea. PANZA recognises John Henry Dillon Ah, but then that scene of terror, as the as a rewarding and worthwhile poet of For she speeds across the billows, waves like wolves in chase, the 19th century. He doesn’t appear in cutting through the sheets of foam, Swept across the hapless vessel all any New Zealand poetry anthology that Still unchecked, though prudence unhindered as she lay; PANZA is aware of. whispers caution on so wild a coast; Like a worn-out panting quarry, in the And a sense of dire forebodings fill the long and weary race, John Henry Dillon anxious souls of some, Driven from its native refuge, hunted Though the captain keeps his vigil, and down and run to bay. THE WRECK OF THE each man is at his post. WAIRARAPA ON THE GREAT Then above the raging water, reaching BARRIER ROCKS Yet they watch with straining vision upward to the sky, through the darkness of the night, Mingled with the storm wraiths On a dark October evening, at the silent For the friendly beacon flashing o’er shrieking, burst that helpless frenzied midnight hour, the dense enfolding gloom; wail; Through the surge of maddened waters Hoping still to catch the glimmer of the Moan of mothers in their anguish, as they rush around her side; Mokohinui light, sending up the pleading cry, With her head towards the harbour, Never dreaming they are dashing Most for loved ones swept to ruin though the storm clouds darkly lower, madly onward to their doom. where no help could e’er avail. Sweeps the steamer Wairarapa like a giant in his pride. Sudden breaks a cry of warning from For like sheep without a shepherd, the look-out all too late, scattered impotent and frail, ’Twas a summer Sabbath evening that As with eager eyes down-bending Helpless in their awful peril, racked had lulled them to their rest, through the gloom he sees below with anguish and despair; Who were sleeping in their cabins, Whitened foam and curling waters; How they battle with the fury of the dreaming little as they lay telling of a coming fate, unabated gale, Of the danger just before them, as they And the startled winds give echo, Lifting still the heart’s petition in the broke the billow’s crest, breakers underneath the bow! broken voice of prayer. Ploughing onward in the darkness o’er the dawning of the day.

16 ...... Poetry Archive Flung in helpless dire confusion, on the But alas! no hand can ever reach to wave-washed slippery deck, rescue those whose life Recently received Hurled resistless from their foothold, Ended with that Sabbath sunset, never donations swept away across the side; more to see the light; Tossed like bubbles on the billows, as Lost amidst the briny waters in the vain they broke around the wreck, unequal strife, John Ellis – 22 titles. Till the living hope within them and As the billows broke above them in the the breath of courage died. death fogs of the night. PANZA kindly thanks these donators to the archive. Women frail of form and lacking Morning breaks, and through the strength to buffet with the wave, mistage looks the sun o’er sea and Reared in luxurious lap and nurtured in land, the midst of warmth and ease; On the wreck amongst the breakers, on About the Poetry Now the sport of angry waters where the wreckage on the beach; the strongest and the brave, On the lifeless forms now scattered in Archive Sink in helplessness and shudder in the the seaweed and the sand, trough of angry seas. Flung like refuse of the ocean up Poetry Archive of New Zealand beyond the billows reach. Aotearoa (PANZA) Tossed about amongst the wreckage, bruised and battered on the sand, Morning breaks to wails of sorrow from PANZA contains Caught upon the backward roller as it the hearts bereft that mourn, followed in retreat; Far and wide, in hall and cottage, A unique Archive of NZ published Lifted up upon the breakers, flung again waiting vainly evermore, poetry, with around five thousand titles upon the land, For the loved ones lost and sundered, from the 19th century to the present Till the spark of life was stifled and the riven from their lives and torn, day. heart had ceased to beat. Loved ones whom with greeting never The Archive also contains photos and shall they welcome at the door. paintings of NZ poets, publisher’s Never from the jaws of ruin, yawning catalogues, poetry ephemera, posters, ready to devour, Though mayhap when years have reproductions of book covers and other Struggled mortal in his peril, grappling ended, when the storms of life at last, memorabilia related to NZ poetry and fiercely with his doom; And the partings borne in anguish, and poetry performance. More than they who with the fury of the the waiting days are o’er; tempest in its power, Hands may join in tender greetings, Wanted Fought with death amidst the waters in while the memories of the past NZ poetry books (old & new) the almost stygian gloom. Cease for ever in the sunlight of that Other NZ poetry items i.e. critical books bright eternal shore. on NZ poetry, anthologies of NZ poetry, See those manly swimmers striking poetry periodicals and broadsheets, bravely for the wave-beat rocks, Poem © John Henry Dillon 1897 poetry event programmes, posters Where the slippery foothold threatens and/or prints of NZ poets or their poetry death e’er they shall reach the crest; books. Scarcely refuge there for human, where DONT THROW OUT OLD NZ the screaming seagull flocks, Donate to PANZA POETRY! SEND IT TO PANZA And amongst the ragged ledges high above them builds her nest. through PayPal PANZA will offer: • Copies of NZ poetry books for private Now they reach the place of safety, now research and reading purposes. the life-line stretches tight, You can now become a friend of • Historical information for poets, Down whose narrow way of rescue PANZA or donate cash to help us writers, journalists, academics, they who cluster on the deck; continue our work by going to researchers and independent scholars of And amongst the clammy rigging in the http://pukapukabooks.blogspot.com and NZ poetry. bitter blasts of night, accessing the donate button – any • Photocopying for private research Fain must pass to leave behind them donation will be acknowledged. purposes. all the perils of the wreck. • Books on NZ poetry and literary history, and CD-ROMs of NZ poetry and literature • CDs of NZ poets reading their work ...... 17 Summer 2014 • 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 Dr Michael O’Leary - Archivist (04) 905 7978 email: [email protected]

Visits welcome by appointment

Current PANZA Members: Mark Pirie (HeadworX), Roger Steele (Steele Roberts Ltd), Michael O’Leary (Earl of Seacliff Art Workshop) and Niel Wright (Original Books).

Current Friends of PANZA: Paul Thompson, Gerrard O’Leary, Vaughan Rapatahana and the New Zealand Poetry Society.

PANZA is a registered charitable trust

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