. . . Poetry Notes

Autumn 2016 Volume 7, Issue 1

ISSN 1179-7681 Quarterly Newsletter of PANZA

research journal and I was paid a 6- Inside this Issue Welcome month bonus in cash every summer. So, 18 months salary for half a year’s work. Hello and welcome to issue 25 of The idea is not to make you a lazy, Welcome Poetry Notes, the newsletter of PANZA, privileged academic but a hard-working 1 the newly formed Poetry Archive of responsible one. It worked that latter Michael Duffett on Aotearoa. way with me. I settled down to write a New Zealand in 1979 Poetry Notes will be published quarterly book - The Variety of English and will include information about Expression - I had been contemplating Poetry by Eileen Van Trigt goings on at the Archive, articles on for years, wrote in my office, wrote in a historical New Zealand poets of interest, vacation cottage on the Izu Peninsula, 2 occasional poems by invited poets and a wrote at home and eight chapters a year record of recently received donations to In Memoriam: came out in the annual English and 1917-2016 the Archive. American Cultural Studies Research 4 Articles and poems are copyright in the Journal of the university. I went on to names of the individual authors. write a sequel - The Growth of English Ruth Gilbert’s The Luthier The newsletter will be available for free by Fiction - towards the end of my stay in download from the Poetry Archive’s 5 Japan and in what turned out to be my website: last year I also taught on an adjunct basis at The University of the Sacred Rachel Bush (1941-2016) http://poetryarchivenz.wordpress.com 7 Heart, an institution which decided to invite Father Frank McKay to come Comment on James K from New Zealand and lecture on a 8 Baxter’s Complete Prose Michael Duffett on guest basis on . I attended one of these with great Canterbury quakes New Zealand in 1979 pleasure and afterwards we got to know anthology each other. American-based Professor Michael Mindful, in the ludicrously expensive Donate to PANZA through Duffett recalls his visit to New Zealand world of Tokyo in 1979, of Frank’s 9 PayPal in 1979, when he met a number of need to economize, I invited him to stay leading New Zealand poets and writers. with me in the sprawling, book-ridden Recently received His poetry has recently been featured by bungalow I rented in those days on the donations Mark Pirie in broadsheet, issue no. 17. outskirts of the city. He settled down each night, humbly and happily on my

About the Poetry Archive I was extremely lucky, at the tender age couch amid my books and cats. There of 30, to be appointed to a full-time followed days of companionable Associate Professorship at a university breakfasts and luxurious lunches (I was for women in Tokyo. Such positions, a member of a swanky academic club) while not exactly sinecures, are plums. I and riotous anecdotal evenings. Frank PANZA was required to teach for about six had one of the most delicious senses of 1 Woburn Road months of the year (Japanese professors humour I had encountered and at the Northland have very long vacations) contribute height of heady laughter at a memory of Wellington 6012 lengthily and annually to the university James K Baxter or or

...... Autumn 2016 , he would raise his hands review when I returned, a piece called bellowed from inside the house, “Let to heaven and exclaim through tears of ‘The Pursuit of Petrol’ which Vincent the bloody man come in if he’s here!” hilarity, “Christ have mercy on us!” a O’Sullivan published in the Listener (27 Moments later, I sat with a cup of tea in prayer which I like to think of as not October 1979, page 66) along with a the living room, the bathroom door going unheeded for we continued to poem (1 September 1979, page 8) from opened and there was the great poet in regale each other with stories and laugh. my first book (Evolution - A Japanese his skivvies, giving me the naval salute As I drove him to the airport a few days Journal) entitled ‘Letters’ which an to his Russian Commander’s hat (a gift later he proposed a visit for me to New English critic had the grace to describe from the Soviets). I wish I had had a Zealand to give a lecture on Graham as “a poem perfect in conception and camera! Greene (featured in a chapter of The execution”. Here it is: After this, I went north to Auckland, Growth of English Fiction which he had met Stead and Curnow, who confessed just read) in “all the universities.” I There are two of all of us. to “borrowing” his neighbor Karl’s protested that I would not have time, Today I received two letters, “New Statesman” from time to time, thinking that since there were 300 One to each of me. spent a quiet afternoon with Kendrick universities in Tokyo alone, New The first was signed with “love” Smithyman, a great contrast to the more Zealand would have at least that The second mine “sincerely.” extroverted bards and flew back to number. “There are only five,” he said, Tokyo to my teaching with very so, a few months later, I took off for Friends who sign with love; positive memories. Wellington. Who would be without them? I ended up giving the lecture only at Banks which plead sincerity; Michael Duffett was born in war-time Victoria University of Wellington but in What would we do without them? London, educated at Cambridge, and my thoroughly enjoyable five weeks in has been a poet and professor all over the country, I visited all the campuses. I When we put pen to paper the world. He is currently Associate met Glover, Vincent O’Sullivan, To send our love and amity, Professor of English at San Joaquin Curnow, Karl Stead and Kendrick To which of him to whom we send: Delta College in California. Smithyman. I heard much more about Him with love or his sincerely, Baxter, whose biography Frank was in Can we be sure our note will end? the middle of and the country remains unique in my memory as the one land in On my return from the South Island, I my travels about which I have spent time in Wellington with Denis exclusively positive memories. Glover, to whom I instantly warmed. He What particularly struck me about the was a force of nature, a booming laugh, country was the fact (explained to me a great bright alcoholically-reddened by a geology professor at one of the nose like Mr. Punch and an irresistible universities) that it had been up and cheerful manner. I recall a visit to the down in the ocean five times in its bank with him and, on being asked by a geological history. Nobody is native; timid young lady bank clerk how he the Māori came from Polynesia and the would like his cash, he boomed in reply, Pākehā with Captain Cook. I wrote “Any way at all, my dear. It all goes Michael Duffett by Debra Duffett about this when I drove around the down the drain.” I have come to see that South Island in a yellow mini similar to as an absolutely accurate assessment of the one driven in the 1980 Kiwi film hit the meaning of money. Goodbye Pork Pie: On another occasion when Denis had Poetry by Eileen Van cajoled my services to drive him to the Trigt OFF HAAST PASS Alexander Turnbull Library, I drove to his home. Denis lived in a curiously- “No one has ever been here before,” designed house that had a bathroom on This issue we feature some poems by Was the thought I had as I descended one side of the living room and a Eileen Van Trigt of Greytown. From the car, “no one in geological bedroom on the other. As I arrived Eileen’s poems were recently Time.” No country I have been in has (early, or maybe Denis was late) his discovered by PANZA member Mark given wife Lyn hurried into the garden to meet Pirie. Me this gift and accompanied by me. I later realised it was to forestall me Eileen has a talent for succinct Human hospitality of these hills. from bumping into a semi-clad poet on description and evocative imagery, and the way from bathroom to bedroom. also a sly sense of humour, and well I wrote other things, a study, with Denis, to whom embarrassment was developed satirical skill. photographs of Katherine Mansfield unknown, knew what Lyn was up to and These poems form a selection from her which was published in a Japanese work up till 1995.

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The following biography is given by the So many birds; intent on Under the summer sun author: Perpetuating the species Leaves darkened, became full Performing their courtship rituals A canopy of English oaks “Born in England, Eileen has been On a green lawn Under a northern sky. writing all her life – poems, sketches, Beaks carry stick and straw pieces for radio, music and drama Fashioning nests in thorny hedges. Three months on and reviews. Living in the Wairarapa for Soft-eyed calves and Returned from north to south 50 years, she is much influenced by Frisky lambs soak up sun in lush A row of exotic oaks the natural attributes of the region. paddocks. Looked in my upstairs window Eileen has published three slim Honey bees drunk on nectar drone in the Wearing the same pale garb volumes – one of animal stories, a garden Those distant oaks had worn. book of sporty limericks, and Beneath The whole of Nature the Oak Trees, poems relating to the Opens up to the sun. Now, in December Wairarapa region. She was also a Full-leaved and dark contributor to the anthology Five They have taken the canopy Poets (South Wairarapa Poets’ GOLD AND SILVER From their northern sisters Corner), with Helen Jacobs and John Leaving them stark Horrocks, published in 1993. Eileen The day was hot And shivering founded this group.” As only a Wairarapa In the cold English air. Summer’s day Can be. Poems by Eileen Van Trigt After noon it was prudent WAIRARAPA To seek shade DAY LILIES From the sun’s blistering Tararua backdrop Rays. Presently snowcapped I saw them this morning When the earth cooled Holdsworth and Mitre Scarlet, tiger-dappled And evening came Presiding over all. Opened by stealth We emerged from the house Waiohine, Waingawa In the dawn’s Now too warm Smaller tributaries Early glow. And felt the soft air Pouring into Ruamahunga They will have their Caress both cheek and limb. Shining waters Brief moment. Sunset had left a golden glow In this fertile vale. No time to fade and To walk in. Lush paddocks Decay as other blooms On the country road Sheep and cattle-filled Lingering on the stem. We stood wordless Dairy cows In with a blaze of glory Before the black mountain ranges Producing creamy milk Shining all day long. Close enough it seemed Native bush and Out with petals furled To touch. Introduced exotics Against black night. Trees etched Gracing parks and Their lacy silhouettes Quarter-acre plots. Against the radiant sky Swamp, home to duck and SPRING Presently a sickle moon Blue and red pukeko And attendant first stars Ocean beaches Oak trees covering their nakedness Chased away the gold Wild with seabirds’ cries. With the palest of green frills. Bathing all in silver. Warming earth pushing up bulbs (From Beneath the Oak Trees, 1991) To burst into daffodil yellow And jonquil orange and white. OAK TREES Cherry and peach blossom OLD PHOTOS (CIRCA 1902) Waxy magnolias June in England Pressing their pinks and whites This year Spring came late. Nautical connections Against a blue sky. Native oaks in palest green On both sides Shadowy hills, half hidden now An abundance of them A smooth-faced young A.B. By leaf-clad trees In public gardens, road Rests a nonchalant arm Whose winter boughs And lake sides On the studio pillar Had lengthened the view. Spreading in field and The other on his hip Meadow. Unsmiling.

...... 3 Autumn 2016 Gilbert’s poetry dates from 1938 and as Equally serious In Memoriam: Ruth recently as 2009, 71 years later, was still Is the face of the Gilbert 1917-2016 being featured in PANZA member Youthful “Zeeman” Mark Pirie’s journal broadsheet, issue His hand rests on a no. 4, with a drawing of Ruth in Model sailing ship Western Samoa by Dr Michael Perhaps the type O’Leary. O’Leary has written vividly of That rode the high seas her in his doctoral thesis on New And confronted the A.B.’s ancestors Zealand women’s writing 1945-70. At a time when Holland As a poet, Ruth stayed true to her lyrical And England and musical impulse for rhyme despite Strove for naval supremacy. Modernist trends in New Zealand poetry since the 1960s, and was an early Now, they share a photo frame feminist poet. United in that land sought Gilbert published a number of volumes, By Cook and Tasman including her Selected Poems, 1941- Through a latter-day 1998 from Niel Wright’s Original Anglo-Dutch Books in 2008. Wright did much to Connection. publicise and keep in print Gilbert’s work in the past two decades. A.B. = Able seaman. Among the positions she held are: President of PEN (the Writers’ Union); (From Five Poets, 1993) Ruth Gilbert. Published in the New President of the New Zealand Women Zealand Free Lance, 23/6/1948, when Writer’s Society; and a member of the she won the 1948 Jessie Mackay (no New Zealand Literary Fund Committee. YACHT RACING relation) Memorial prize with a set of Gilbert was 99 at the time of her death. three poems entitled ‘Lazarus’. PANZA extends their deepest sympathy Den Connor sailed hard to catch up, Alexander Turnbull Library to her family and friends at this time. But turned to his crew and said “Yup, Now make no mistake, PANZA acknowledges the death of one Kiwis Coutts and Peter Blake, of New Zealand poetry’s major poets, Have pinched the America’s Cup.” Ruth Gilbert (real name Florence Ruth Mackay). Ruth Gilbert was awarded the CRICKET distinction of receiving the ONZM (New Zealand Order of Merit) for While seeking lost balls in a thicket, “services to poetry” in 2002. A batsman kissed Emily Bricket. Gilbert was well-known in her writing His ardour aflame, life and was widely anthologised in She cried, “I know your game major New Zealand anthologies. And believe me young man, it’s not She was educated at Hamilton High cricket.” School and graduated at the School of Physiotherapy in 1938. Chief among her works is The Luthier TENNIS sequence first published by Reed in 1966, a remarkable work detailing the A sporty young fellow called Will musical appreciation in her family Played tennis with consummate skill between the poet and her father, a But cried “Heavens above! maker of violins. The sequence shared What’s this scoring with love? the Jessie Mackay Memorial Prize for Ruth Gilbert in Samoa, drawing by Michael O’Leary Why can’t I just say “Forty Nil?” 1968 with James K Baxter. Three times

Gilbert won the award.

(From Sportin’ Life, c1995) Her other works such as her Lazarus sequence from Lazarus and Other Editor’s Note: In honour of Ruth Poems (1949) were widely acclaimed in Gilbert’s contribution to New Zealand New Zealand poetry circles. She also poetry, we would like to reproduce here wrote poetry on her experiences in New Niel Wright’s excellent critical article York and Western Samoa. on Gilbert’s The Luthier. 4 ...... Poetry Archive RUTH GILBERT’S THE LUTHIER gave the impression that Ruth would be poem: it was not an age for epic, he by Niel Wright less marketable in the 1970s. It was in said. Of course, he went on to make other words a book that published work increasing use of sequences himself, 1 of the decade 1956-1966 when that particularly in his last volume Towards I first got to know Ruth Gilbert in decade was about to seem outdated. Banks Peninsula. Of course Ruth had person about 1965 at the motion of The Luthier volume rather caught the previously written sequences of poems. J H E Schroder. By then most of the tide on the turn, and so in my opinion So any stimulus from me merely led her short poems that were published with failed to receive its due. For myself I back to her own practice. I had no doubt The Luthier in 1966 had already been was very pleased with it at the time. I from the first that ‘The Luthier’ written. While Ruth may seem a very have commented individually on every sequence was and would remain Ruth’s self-possessed and tradition centred poem in it in my critical study on Ruth. masterpiece. It has been very cordially poet, in fact she has always been As a collection, it was Ruth’s best to received by readers and reviewers. It responsive to the times and in contact that date. Its merits lay across its amazed Schroder; trying to read it in with the literary climate about her. She contents: on the one hand these shorter public he almost broke down with a has always participated in the literary poems to which I allude, on the other display of emotion not anticipated from organisations, been a president of PEN, hand ‘The Luthier’ sequence. I wish to a not very emotional man. Of course he judged prizes, and sat on committees. emphasise that the book had merit in had very deep and very strong emotions, The Luthier volume of 1966 reflects its both areas. The shorter poems loomed well buried, but this poem tapped them. times. The shorter poems have the larger than in Ruth’s earlier two books, I am not going to go through a list of quality noticeable in our poetry say since sequences whether longer or admirers of ‘The Luthier’ sequence, from 1957 to 1967: a tendency to short shorter have continuously predominated though it would be lengthy and direct poems that are perhaps a little in her work. These shorter poems, at impressive. spare. My own poetry of that time least 25 of which were not organised in ‘The Luthier’ is the sequence that any shows a good deal of this. But sequences but stand alone, really need knowledgeable reader would single out interestingly the same qualities can be to be valued for their own sake. I don’t as Ruth’s outstanding example. But seen in Baxter’s poetry from 1960 on as know how they got written over that after saying all this it remains that the presented in his Collected Poems. decade. At the time Ruth had a growing sequence has rarely if ever been given Brasch also at least in the 1960s family; perhaps lacked the time or its due as a remarkable, brilliant, totally cultivated the same spare approach. energy for longer efforts. Also, The successful work, quite unique, quite For whatever reason, it was in the air. Listener would have been a primary extraordinary in every regard. It is my My own practice had no influence in outlet; perhaps the form suited that ideal of what poetry should be. I this regard on Ruth, I am sure. But we medium. But of that 25 poems Ruth consider that not enough fuss has been were on a similar wavelength; I was does not reprint nine in her Collected made of it to date. This is a pity because able to admire then, as I do now, her Poems. In a poet who habitually writes lacking this broad whole-hearted short poems in this vein. Ruth has been sequences, such self-standing pieces enthusiasm among readers for the genre, rather severe on them in her later have a value simply by being rarities. Ruth has only written one other in the Collected Poems (1984), omitting a The short poems like these are a very same mode, ‘The Lovely Acres’. substantial proportion of them, not special genre, to be relished for their Finding it insuperable to get ‘The altogether justifiably. own inherent features. I have said Lovely Acres’ into print in its entirety, The Luthier volume of 1966 sold enough. she afterwards turned to more succinct, reasonably well, I gather, but perhaps When I got to know Ruth in 1965 ‘The punchy sequences in ‘Too Many did not win a wholesale approval as Luthier’ sequence had not been written, Storeys High’. She got a good reception Ruth might have wished. It was not or begun. I am particularly proud to with these punchier sequences; but it going against the grain at the time; but it think that I may have given just a little was at the expense of discontinuing a may still have tended to give Ruth a fillip to its composition. At the time I mode that is higher, and grander and staid and passé complexion towards the was quite alone in this country in more difficult in the literary scale. Had late 1960s, when the literary climate and wishing to write poems in sequences on this country had an audience that scene in this country made its most the epic scale. But it was a wish rather supported the poet on this higher level profound change of character for 20 an actuality, because the first six books of performance, Ruth might have years. Ruth responded to this change to of The Alexandrians (my epic poem produced a greater volume in the mode. a degree and in a way that surprised now complete at Book 120) were not It is a mode which calls for detail, most readers and myself. I will discuss obviously sequences; but my theoretical discursive treatment, elaborate these changes hereafter. But these comments advocated the longer, presentation of the topic, not just developments did tend to overshadow sequential poetical work in preference overall, but in the individual sections. The Luthier volume; so that instead of to short self-standing pieces. I But after two such performances, Ruth consolidating Ruth’s stature and remember Ruth saying at the time, or turned to the opposite kind of sequence: popularity as a poet, perhaps that some time thereafter, that Denis Glover one aiming for brevity, epigrammatic volume rather fell into the shade, and pooh-poohed the concept of the longer presentation, allusive even cryptic

...... 5 Autumn 2016 snapshots. There is no doubt that this natural world: ‘the secret grain’; the The implicit dimension is located in the later approach was well received, made ponga frond is ‘The perfect Scroll’; a tui confusion of persons. In ‘The a good impression, appealed to the taste shows ‘how a note should sound.’ Workshop’ the father’s remarks are of the audience, brought Ruth her The objects and qualities of the natural given in quotation marks. But the last greatest recognition in the 20 years world in turn are characterised by other seven lines are unquoted. They may be (1966-1986), but a great artist should objects. A sound has ‘Something of taken most naturally as the father’s still be supported in painting in oil on honey in it – yes, and sun.’ They are words. But are they not rather the large canvasses. Still we do have ‘The also compared to powerful biblical poet’s? In ‘Moulding the Sides’, the Luthier’ sequence, perfect in its way, symbols. So the maple back of the phrase ‘in the craft I chose’ is not and ‘The Lovely Acres’, even more violin is ‘The fabled water an angel quoted as if spoken by the father; they impressive in parts. stirred.’ This is by no means an obvious might be the poet’s self-reference. use of the Bible symbol. The angel This confusion of persons implies that 2 stirring the water is here made the the craft of the poet, Ruth, is ‘The Luthier’ sequence is about a child likeness of the maple back of the violin comparable to that of her father as observing their father making a violin. It giving rise to music. By implication the violinmaker; that Ruth in ‘The Luthier’ is of course autobiographical: Ruth is production of music; any art from the is describing not just her father’s art- the child, her father the violinmaker. natural world is an intervention of the working, but her own. The details of the setting match those in divine. In the last section called ‘He Plays’, the other poems about Ruth’s childhood, This I most devoutly believe. Even if violin maker speaks of himself: ‘I knew, particularly ‘The Lovely Acres’. ‘The nothing more is under consideration I knew,’ ‘I come at last;’ but addresses Luthier’ is quite thorough on the than the natural grain of the maple, the his violin in ‘when the years have technicalities of violin making: this same point is implied. What Ruth is mellowed you’ and ‘May other hands detail is not just drawn from memory, doing in both these cases is continually hold you as lovingly…’ but Ruth at the time of composition reinforcing the natural object or artefact But I find it inescapable that we are consulted an old violinmaker around by association with other natural objects required to equate the violin and the Wellington – possibly the one who used or biblical images. The artwork, the art daughter, Ruth the poet. The poet is to have a shop on Bowen Street. performance in the same way are mellowed by the years, evokes the ‘The Luthier’ at no time claims to be enclosed in a natural environment (‘one memories of the past, is held by other more than an account of violin making. moonlit night’ amid ‘the silence of the hands as lovingly as father held But the poem has two additional trees’) that surrounds them with further daughter, and ‘sweet-tongued, bird- dimensions, one explicit, the other associations of delight and beauty. throated’ sings. But Ruth only says this implicit. The explicit one is the The children similarly are equated to by an inescapable implication. In ‘The relationship of music, indeed art fantails observing the manufacture. Glue’ the question is asked: ‘Do you generally to the natural world. The ‘Three fantails … inquisitive as remember / As now I do…’ Later in the object in the natural world can be made children.’ poem the violin maker is addressed as into the artefact which embodies or Of course ‘The silver scraper flashing in You: ‘You laugh and say’ etc. expresses beauty: ‘…mere wood shall your hand’ is ‘Caught by the sun.’ One supposes that ‘The Luthier’ is an sing.’ ‘Summer, cicadas, and you, working elegy in part in memory of the poet’s But it requires craftsmanship to execute there’ make ‘in memory a timeless father a good few years following his the job specification: ‘Given: A log of place.’ Naturally ‘the glue’ is ‘Like death. I don’t know whether this is so in Wood; Make: A Fiddle’ with success. amber honey.’ The section called ‘Into fact. But Ruth at this point is addressing The children as observers learn this the Trees’ has the most intensive someone as if still alive. There are many lesson. For the father craft activity is a evocation of trees, particularly the trees references to the violinmaker as You, compulsion given the opportunity: of Ruth’s neighbourhood as a child: but these are in a context of historical ‘what sculptor’s fingers rest / Who sees ‘Fern-shadows … tall magnolia recollection. ‘Do you remember,’ his marble mute and beckoning?’ It is flowers.’ The manufacture occurs in the however, is in a different time frame. exactness that creates beauty: ‘in natural world: ‘the shadows gather … For one thing, it implies that the poet is exactness lies / That lovely tone by The shavings glimmer.’ The result of so borne back by memory as to be back which a wood will sing / And, lacking work adds interest to the evening. in the past narrated. Or for another it which, all song, all music dies.’ This is Work is seen here as an attractive implies that the violin maker and the a generality that holds true for all art. activity in the natural world. The middle poet are together once again in a The craftsman has a sylvan workshop. It sections of ‘The Luthier’ are devoted to timeless world. This timeless world has is close to trees. The workshop is the craft activities: bending the ribs, arisen out of the preoccupation with the frequented by bees, birds, children, and gluing, seasoning, varnishing. To the work. Work occurs in the sempiternal overhung with ferns. The workshop is child observing, the lesson that craft and world. It becomes the totally shared full of tools. What the craftsman with meticulous work are necessary to experience of craftspeople. his tools seeks to reveal and construct success is well taken. The episode of the rib bending (in exists in the wood or is exampled in the ‘Moulding the Sides’) also carries the

6 ...... Poetry Archive association of Jehovah making woman specifically religious deity, but to a out of the rib of Adam. The father in Master of Music, whoever that may be. Rachel Bush (1941- making the violin by bending ribs is by In the last section of ‘The Luthier’, the 2016) association making a woman. So far as violinmaker considers lifting his ‘bow / Ruth identifies her father’s violin In the final Evensong’ at death, again a making with her own development by Book of Hours image. New Zealand poet and teacher Rachel example and tuition as a poet she is the ‘The Luthier’ is a sequence that seems Bush died in March this year. woman made in this way by her father’s on the surface very simple. Those Rachel was born in on work. Ruth doesn’t say this in as many complications which enter into it are Boxing Day 1941, and grew up in words but the implication cannot be themselves simple. But the range of Hawera. Until her retirement in 2003, escaped. implications that arise seems to me she taught at Nelson College for Girls. The violinmaker has told his children elaborate, intense and rich. I want to add She made her name as a young woman that ‘Wood … is a living thing’ which one further turn, though I do not suggest in the 1960s, when her fiction was absorbs its surroundings. This may well it should be emphasised. ‘The Luthier’ published in Faber’s 1967 Introduction be a scientific truth. For Ruth it is a suggests that Ruth recognises a debt to 3, and published fiction in the New poetic truth that wood has special her father for making her an artist. All Zealand Listener, as well as co-editing qualities. The varnishes applied to wood the narrative specifies her father. But of Province: New Nelson Writing (1987), for Ruth as for many others have names course Schroder has some claim for but did not publish in book form till her ‘steeped in beauty.’ The varnish fostering Ruth’s development as a poet. 50s. improves the wood artefact in various Does then ‘The Luthier’ cryptically Rachel’s first collection, The Hungry ways, heightens the tone, preserves the commemorate Schroder’s role in Ruth’s Woman, was based on her student work wood, beautifies. In doing so, the life? I’m sure it does. The emotion the for the first Master’s in creative writing varnish produces the results, as it is poem occasioned in Schroder bears this intake at Victoria University of supposed to contain the qualities, of out. Schroder himself saw himself as Wellington in 1996. This programme magic/science. creating the artefact that gave rise to grew to become its own institute known At the end of the sequence, the beauty – not in fact, but in intention. as the IIML. violinmaker, referring to his death, says, Schroder was the poet’s father manqué Rachel Bush, widely published in ‘When, to these same trees, / Familiar, all his life, for as well as journals, published several books of strong, / I come at last / (O Night, be for Ruth. What Ruth’s own father, the poetry, including All patients report deep, be long)’ etc. Here again the wood violinmaker, achieved in fact, Schroder here; her last collection Thought Horses has profound significance. It is the desired to achieve. He certainly had (VUP) was launched after her death on concept of death into life in the natural some contributing role in Ruth’s case. 19 April at Vic Books. world that we have seen elsewhere. In passing, my own anticipatory elegy She featured in several New Zealand When work on the violin is finished, the on Schroder, written in 1967 poetry anthologies, including Big father walks in the silence of the trees. characteristically takes the form of an Weather and 121 New Zealand Poems. He does so ‘fiddle under arm’ – he is adaptation of the late Latin pastoral- Her poem ‘Voyagers’ was the title not playing, ‘light bow swinging’ – he funeral poem on Meliboeus by poem for the Vogel-award winning is not bowing. This jaunty movement Nemesianus. anthology Voyagers: Science Fiction expresses what? The poet tells her Poetry From New Zealand, edited by father he is here going to or in ‘The Niel Wright, a Wellington poet, Mark Pirie and Tim Jones and published shining instant in your Book of Hours.’ publisher and critic, is a co-founder of in Australia, 2009. A Book of Hours is a missal, prayer the Poetry Archive of New Zealand book, book of devotions. ‘The shining Aotearoa. instant’ is what? For Ruth ‘shining’ often connotes terror. Ruth’s language Editor’s Note: Ruth Gilbert’s comments here is hardly transparent; it asks us to on this essay: “The Luthier sold its 750 make the transition into myth. Indeed Edition. It received the Jessie Mackay the violinmaker is like Moses at Sinai, Award with James K Baxter’s volume, entering the presence the divine. So in Pig Island Letters. Not just my father’s the next section, in this instant, the craft and mine – all creative work – violin addresses the ‘Master of Music,’ music, painting, sculpture etc.” that the violin maker may be rewarded with the music he dreamed of. The Master of Music is not described as God/Jehovah. Is he Pan? In the Book of Hours of the violin maker the devotions are addressed by the artefact not to a Photo: New Zealand Book Council ...... 7 Autumn 2016 classified, so that in each case the Wellington). It’s worth including here Comment on James K reference has to be followed up to the publisher’s online information Baxter’s Complete Prose provide scale or bearings of the (found at the National Library of New treatment on show. Zealand catalogue): “James K. Baxter My name ‘F W N Wright’ appears in was a great twentieth-century poet. He ON J E WEIR’S JAMES K the index. Weir makes clear that once declared, ‘In contradiction . . . I BAXTER, COMPLETE PROSE by Baxter’s items are in chronological was born.’ Sometimes at odds with F W N (Niel) Wright order. When you follow up the index God, often at odds with conventional the reference to myself dates from 1955. society, he was, at the same time, a A few months ago I realised that there However a review by Baxter of a book profoundly religious man and a fearless was no point in publishing further of my poems appeared in the New social critic who insisted that love and commentary [by myself] on the New Zealand Listener, 4 November 1966, compassion were the only cure for Zealand poet A R D Fairburn, because under the heading ‘A COMPANY OF society’s ills. His Complete Prose he had dropped out of public POETS’. The case is that Weir’s book chronicles his life and times, his consciousness altogether by 2015. And gives Baxter’s prose items by preferences and prejudices, his crises this is true for all his contemporaries chronological date, but reference to and turbulent occasions. Its contents are younger and older. Volume 1 for the date 4 November 1966 remarkable for their range, coherence It is possible that a book of James K finds no review (under the title ‘A and passionate integrity. This four- Baxter’s Complete Prose (as Weir Company of Poets’), though such a title volume set contains over a million words his title) could lead to some sort is used for a 1960 item by Baxter. So words, in the form of reviews, essays, of revival of interest in that period of this may be inadvertence, or it may be lectures, journal articles, drafts and New Zealand culture. policy, since the full column review in rough notes, meditations, fables, stories, The great value of Weir’s work would which I appeared on 4 November 1966 a short novel, interviews, letters to the be that he has brought back to current also covered four notable overseas poets editor, correspondence with friends and attention the names of the dead and and the book of my poems was critics, and diary entries, covering forgotten in 20th century New Zealand published in the USA. Baxter’s entire career, from his first culture so far as Baxter picked up on I may be one of the few people still draft of ‘Before Sunrise’ as a teenager such people as in fact he must have alive with reviews or mentions by in 1942 to his ‘Confession to the Lord done given his contacts and outlets. Baxter and if I am one of the few it is a Christ’ shortly before his death in 1972. However making use of Weir’s edition long shot coincidence that I note an Edited with scrupulous care by John poses difficulties. The publicity omission in my case. So how many Weir, Baxter’s friend and the foremost associated with the book of Baxter’s omissions will come to light for the scholar of his work, it also includes an Complete Prose is hopelessly dead or forgotten, bearing in mind that extensive introduction, notes and uninformative. There is no editorial or most people prior to 2000 have in fact references, a glossary of Māori words publisher’s statement [included with the dropped out of academic or public and phrases, biographies of key people, volumes] as to what the contents cover. attention? an index and a bibliography. The See John Newton’s review in New So I am led to ask how many other Complete Prose is a testament to Zealand Books, issue 112, Summer reviews by Baxter have been omitted, Baxter’s huge contribution to New 2015. just this one, or others, if so what was Zealand literature, culture and society.” Weir’s collection of Baxter’s Complete the basis of selection? It is not obvious Prose is in 4 Volumes with all editorial to me Weir makes clear what information and annotation to be found ‘complete’ covers, all or just all he Canterbury quakes in the 4th Volume, so that to make sense could find, published or unpublished, of Baxter’s text it is necessary to have with apologies for any inadvertent anthology the 4th Volume open beside Baxter’s omissions. text in question. After an examination of the 4 Volumes I Editor’s Note: Niel Wright’s book in LEAVING THE RED ZONE give the following suggestion to making question is The Imaginings of the Heart, poems from the Canterbury use of the book. published by The Chiron Press, earthquakes In Volume 4 Weir includes his Short Lawrence, Kansas - hand-set and finely Biographies of the better known New printed. Baxter’s review is in the 1995 More than 400,000 people Zealand literary figures who were microfiche Index to the New Zealand More than 14,000 earthquakes Baxter’s contemporaries or of interest to Listener 1939-1987 at the National 5 years them. Library of New Zealand. As recently as There is also an index including names 2010, a quote from Baxter’s review People talked about quake brain, but the of such contemporaries and others, with appeared on the back cover of Niel Canterbury earthquakes, despite or references that are only broadly Wright’s The Pop Artist’s Garland: because of this, generated amazing Selected Poems 1952-2009 (HeadworX, bursts of creativity: music, dance, 8 ...... Poetry Archive astonishing street art; and poetry. • Books on NZ poetry and literary Leaving the Red Zone is a rich and Recently received history, and CD-ROMs of NZ poetry and wide-ranging collection showcasing donations literature. much of the best poetry: 148 poems • CDs of NZ poets reading their work. from 87 poets. You can assist the preservation of NZ Here are sorrow, resignation, defiance, Keith Nunes – Crashing the Calliope poetry by becoming one of the stoicism, humour black and wry, and by Keith Nunes. Friends of the Poetry Archive of New everything in between. Zealand Aotearoa (PANZA ). Other books will tell of the earthquakes Vaughan Gunson – Love Songs by If you’d like to become a friend or from the point of view of the geologist, Vaughan Gunson. business sponsor of PANZA, please the seismologist, the historian, or contact us. photographer; Leaving the Red Zone Mark Pirie – 20 titles. tells of the Canterbury earthquakes from Contact Details the point of view of the human heart. PANZA kindly thanks these donators to Poetry Archive of NZ Aotearoa the archive. (PANZA) Title: Leaving the Red Zone 1 Woburn Road, Northland, Wellington Editors: Joanna Preston/James Norcliffe Dr Niel Wright - Archivist ISBN: 978-0-9922517-5-8 (04) 475 8042 Price: $39.95 About the Poetry Dr Michael O’Leary - Archivist Extent: 180 pages (04) 905 7978 Publication: 29 February 2016 Archive email: [email protected] Published by Clerestory Press, PO Box 21120, Christchurch 8143, New Poetry rchive of New Zealand Aotearoa Visits welcome by appointment Zealand. Phone: 03 355 3588 or Email: (PANZA) [email protected]. Current PANZA Members: PANZA contains Mark Pirie (HeadworX), Roger Steele (Steele Roberts Ltd), Michael O’Leary A unique Archive of NZ published (Earl of Seacliff Art Workshop) and Niel poetry, with around five thousand titles Wright (Original Books). from the 19th century to the present day. Current Friends of PANZA: The Archive also contains photos and Paul Thompson, Gerrard O’Leary, paintings of NZ poets, publisher’s Vaughan Rapatahana and the New catalogues, poetry ephemera, posters, Zealand Poetry Society. reproductions of book covers and other memorabilia related to NZ poetry and PANZA is a registered charitable trust poetry performance.

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