Boat People, my first poetry collection

Boat People is my first poetry collection. It was published in 2002 by HeadworX, the year after my first short fiction collection, Extreme Weather Events. There are forty poems in Boat People. The book is divided into four sections. As the HeadworX publicity blurb says:

“Boat People” is in four sections. The first is inspired by the poet’s childhood in Southland and adolescence in Otago. The second focuses on the Wellington region, and includes poems about the poet’s experiences of fatherhood. Section III takes in Russia – Tim Jones speaks Russian and has a longstanding interest in the country – while Section IV journeys to the alternate world of time and space also depicted in “Extreme Weather Events”.

A number of poems from Boat People dealing with parenting have already been posted on this blog. Here’s one more poem from Boat People, a personal favourite.

1917

A hard day’s plotting gives a man a thirst.
For Lenin, it’s something dark and strong,
a Black Mac for his blackest moods
Trotsky can’t decide: maybe an Export
maybe something brewed with ice.

“V. I. -“
“Wait on, Leon, just the dregs to go.” A pause,
the glug and swish of beer. “Aaah. That’s better.
You were saying?”

Trotsky looks up, face serious
above a thin moustache of foam. “V. I.,
why don’t we just take over?
The Tsar could never stop us. He’s
still chugging Lion Red from cans.”

It’s settled. Trotsky will inspire the workers
Lenin will fuel the revolution
with crates of Lowenbrau
smuggled in from Zurich by sealed train

Drink deep, Leon. Bottoms up, Vladimir Illyich.
Life will never look this simple or this clear again.

Boat People got some good reviews and I usually read a selection of poems from it when I do poetry readings. If you’d like a copy, you can order it from me for $5 plus postage & packing (in NZ, p&p will be $2, making a grand total of $7 for the book. I’ll need to work out the postage & packing for other territories). Please send an email to senjmito@gmail.com saying you’d like a copy, and we’ll take it from there.

UPDATE: One of the poems in Boat People, “Fallen”, is appearing in Wildes Licht, ed Dieter Riemenschneider, an anthology of New Zealand poetry translated into German. It should be coming out in October.

Going Back

My mother is the gap in the windbreak
the fallen macrocarpa
the flooded river and the flooded plain.

The radio, not tuned to any station
the rails removed from a siding
the gash in the mountain’s side.

My mother is the doorway
and the grip of my father’s hand
and the stubble of his cheek on mine.

The missing face in the kitchen
the absent chair at the table
the silence under all we say.

Remembering, unforgetting,
on the edge of sleep in the darkness
my mother is each toss and turn.

The need to leave in the morning
the long goodbye to my father
the driveway and the car I drive.

My mother is the corner
the anxious overtaking
the yellow lines that double in my eyes.

The last lap of the journey
the final tick of the engine
my mother is the road I travel home.

This poem is included in my latest collection, All Blacks’ Kitchen Gardens.

Mark Pirie’s New Poetry Journal broadsheet Makes Its Debut

broadsheet 1: New New Zealand Poetry

(May 2008)

Published by The Night Press, Wellington. Available from: The Editor, 97/43 Mulgrave Street, Thorndon, Wellington 6011. Subscriptions $12.00 for 2 issues.

Mark Pirie initiated, and was one of the founders and co-editors of, JAAM Magazine, and is a prolific poet and anthologist. Now he’s embarked on a new venture: a new poetry magazine called broadsheet (no relation to the famous New Zealand feminist magazine).

broadsheet #1 consists of a series of poems which were, in fact, originally intended, and in some cases issued, as broadsheets: double-sided sheets each containing two poems by the same author. Bookshops found these difficult to stock, however, so Mark has taken the broadsheets, plus some further poems, and combined them into a magazine.

Sadly, broadsheet stands as a memorial volume to two of its contributors, Victor O’Leary and Meg Campbell. The other poets included are shown on the cover.

My favourites from this issue: Tony Beyer’s “Ode”, with its superb last stanza which is both a masterpiece of economy, and expresses a sentiment with which I thoroughly agree; Alistair Te Ariki Campbell’s two poems – I still don’t believe his poetry has received as wide recognition as it deserves; Evelyn Conlon’s “For Yana”; Basim Furat’s “The Buraq Arrives in Hiroshima”; and Michael O’Leary’s “Sonnet for Victor O’Leary”. But to single these out is not to denigrate the other poems: there was no poem in this issue that I did not enjoy.

broadsheet isn’t open to submissions at this stage (which didn’t actually stop me from submitting, but hey, I didn’t know the rules then!). Poems for inclusion are solicited by the editor. If Issue 1 is anything to go by, future issues of broadsheet will be well worth reading.

Said Sheree

This story of love and literary funding appears in Transported.

Sheree and Miranda met at a party. Each left with the other on her mind.

Several weeks later, the Mexican Ambassador, a keen patron of the arts, held a reception. Miranda, ranked as a Tier Two poet for funding purposes, saw Sheree across the room. Miranda made a beeline for her – only to realise that Sheree was with a group of Tier Ones. Embarrassed, Miranda backed away.

That would have been that; but, a little to the north and far beneath their feet, Gaia shifted in her sleep. Poets and patrons alike rushed for doorways and crush-proof spaces. Sheree and Miranda found themselves pressed together against an antimacassar. Their mutual awkwardness was obliterated by fear. “You’re beautiful,” said Sheree. Miranda, plain and tall, was swept away.

Heads were counted once the tremor passed and the tumult subsided. Miranda and Sheree were missing. Separately, from Sheree’s bed, they phoned in their excuses.

Miranda went home. “I haven’t seen you for days,” her flatmate remarked. It wasn’t much of a flat, not really, and the flatmate held the lease.

“You can move in with me,” said Sheree.

Having lugged the last of her boxes up Sheree’s steps, Miranda went out on the deck. The harbour view, which she had admired since the first night she spent there, now felt like hers. The weather was grey and cold. Far below, hardy ants, gloved and muffled, scurried to and fro on the beach.

Between Miranda’s job and Sheree’s funding, they had enough to pay the rent, and a little left over. They each had time to write. Sheree wrote in the morning, after Miranda had left for work, and spent the afternoon completing grant applications and working on a project to deliver sonnets by mobile phone. Some platform-specific issues were still to be resolved.

Miranda wrote on Saturday afternoons, while Sheree played hockey.

They had other interests in common. They both collected earthenware. They both loved tramping. In summer, they joined a party heading south to Nelson Lakes. They were the only writers. It was bliss.

They dealt with literary functions by arriving separately and avoiding each other, though they exchanged sly glances when they thought no one was looking.

It worked for a while. But, inevitably, word got around. A small independent publisher agreed to bring out Miranda’s first collection. “I want to be with you at the launch,” said Sheree. “I’m not going to pretend.”

The publisher had hired a church hall. A few bankable names came along. When Miranda read, Sheree stood in the front row. When Miranda signed, Sheree sat next to her. “You must be so proud of her,” someone told Sheree.

Sheree’s third collection was launched at Unity. Sheree dragged Miranda along. That didn’t go so well. Miranda hung back, feeling like a fraud. Sheree talked with her friends and cast irritated glances Miranda’s way.

Miranda retreated to the outer shelves, looking at a bound edition of Ursula Bethell. Blanche Baughan was reassuringly close at hand.

Sheree forgave her. They forgave each other. They got drunk. They compared royalty statements. “It’s more about grants and residencies,” explained Sheree.

In the autumn, Miranda was up for reclassification. Without the support of a university press, Miranda had no realistic hope of moving up to Tier One, but she was still disappointed when the envelope came.

“Never mind,” said Sheree. “I love you anyway.”

Sheree’s status was secure for two more years.

Miranda came home from work a few weeks later to find Sheree bouncing off the walls. “Look at this!” she said.

It was an invitation from the Northern festival circuit: Nuuk and Norilsk, Vorkuta, Longyearbyen. Four weeks north of the Arctic Circle, reading, writing, workshopping. And watching out for polar bears – they could kill you. “I’m to be preceded by a man with a rifle,” said Sheree.

New Zealand literature had never before been represented so far north. It was a feather in everyone’s cap.

“I’ll miss you so much,” said Miranda. She clung to Sheree, tenderly, fiercely.

Sheree bought Miranda a video-enabled phone before she left. Four weeks of Sheree – blond hair poking out of her fur-lined hood – cavorting with new friends, silhouetted against snow, standing next to oil drums full of burning blubber to keep warm.

Nuuk, the capital of Greenland, was surprisingly cosmopolitan. Norilsk was one giant chemical dump. In Vorkuta, Sheree won the V. I. Morozov Prize for Best Recital of an Individual Work, for her declamatory piece in the style of Gregory Corso. The prize, thanks to a well-connected local businessman, was paid in US dollars. With the news, Sheree sent an air ticket. “I’m stopping over in the Caribbean on the way home to thaw out,” said Sheree. “See you in Basseterre!”

It took some nerve to ask, but Miranda’s boss was understanding. “I wish I could go with you,” Miranda’s boss said, and Miranda realised, suddenly, that she meant it.

Basseterre! Miranda had never heard of it. Palms shaded the beach, the locals talked about cricket, and once they had circumnavigated the island of St Kitts, there was nothing to do but eat, drink, sleep, and make love. Sheree kept Miranda entertained with tales from the frozen North. Longyearbyen had been the wildest of the lot. “Those Norwegians!” said Sheree. They were crazy up there. So were the bears.

They came home to the wind and the rain. Sheree set to work completing her fourth collection and editing podcasts from the festivals. She had secured funding for a G5 workstation, her latest pride and joy. Miranda had three poems published in Takahe and two more accepted by JAAM. She read at the Angus Inn. It was a wet night in the Hutt Valley, and some of the locals stayed away. Her collection, which was now heavily discounted, sold three copies. Not bad, considering. She was given a voucher for petrol, though she had conscientiously taken the train.

Sheree’s poem about their week together in the Caribbean is justly famous and much-anthologised.

Miranda’s boss gave her a promotion. Miranda and Sheree joined a soccer team. Sheree was the centre-forward. Miranda was a holding midfielder.

Delivering sonnets by mobile phone had not been a complete success, but the project hit the jackpot with haiku. Haiku were back, said Sheree.

People grow and change. It’s nothing to be ashamed of. A new funding category, Tier Four, was introduced. In consequence, Tier Two poets became eligible to be mentors, and Miranda took on a mentee. She was young, tiny, a wounded bird. Her name was Caroline. She lived in Johnsonville.

Nothing might have come of it, had Sheree’s success at Vorkuta not been noticed in high places. It took a public-private partnership, with a mixture of tagged funding, corporate sponsorship in three bands, and matching Government contributions, but at last the deal could be announced. Sheree would be New Zealand’s first poet in space! She would carry leading New Zealand brands to low earth orbit, and return with a three-book deal.

It was on for young and old. Sheree became public property, meeting the Prime Minister, appearing on Takatapui and Kiwifruit. In months, in weeks, in days, she was off to Star City to train for her mission.

“I love you,” she told Miranda, from the airport, from Moscow, from Star City. Photos: Sheree in a centrifuge, her compact body whirling round. Sheree hanging weightless in the hydrolab. The two cosmonauts who would be flying her to the International Space Station, Valentina and Vsevolod. Their brave little Soyuz spacecraft. I love you, Miranda, said Sheree.

Miranda’s mentee was promising but needy. Miranda allowed herself to engage in conduct that was inappropriate to the mentor-mentee relationship and breached the terms of her contract with the funding agency. She reproached herself late at night, as she watched Caroline sleeping.

Sheree appeared on BBC World, CNN, and Al Arabiya.

Miranda kept writing. A second published collection would be something. Not everyone made it that far.

Live streaming video of the launch, with Russian-language commentary, was available. Using high-speed broadband on Sheree’s G5, Miranda was able to hear the countdown, see the rocket on the launch pad, watch it vault upwards into space.

Sheree made contact. Docking had been successful, and she was aboard the space station. Three months to do nothing but write, and sleep, and float. (And help around the place; tidiness was especially important in space.) Every 92 minutes, she would pass overhead.

The mentoring period finished. Caroline could now be revealed as Miranda’s girlfriend. She had dependency issues, but that meant she was usually home.

Miranda broke the news to Sheree by scheduled uplink. Sheree did not respond immediately. One orbit passed, two. Then Sheree said she was sad, but not surprised. Also, two nights ago, she and Valentina …

Miranda had three poems published in Bravado. Sport and Landfall regretted to inform. Trout did not reply.

As a result of Miranda’s excellent mentoring, Caroline was reclassified to Tier Three. She sold a poem to North & South. You’re going places, girl, thought Miranda.

Caroline had an empty room and a double bed. Miranda decided she was going places too. She moved her boxes out of Sheree’s house, down the steps, and off to Johnsonville. She promised Sheree that she’d continue to water her plants. Sheree had already asked Miranda and Caroline to come for dinner the first weekend after she got home from Russia. I want to be your best friend, said Sheree.

When the last lot of boxes was safely in Caroline’s van, Miranda returned to stand on the balcony for one last look across the harbour. Oh, she would miss the view! On the promenade below, hardy ants rode skateboards, walked dogs, and ate products containing dairy, gluten, and traces of nuts.

Above, the stars shone steadily. Among them was Sheree. Miranda could see her clearly. She was looking out of a porthole, smiling fondly down.

Coverage and The Season

It’s blowing a gale outside. Here are two poems united by the wind. Both were first published in North & South magazine.

Coverage

He went south with the housing market
to a cottage facing the sea,

spent his last pay cheque
on Swannis and draught excluders.

Coverage was minimal.
He called his children

from the top of a nearby hill,
struggling through gorse, matagouri —
the visible teeth of the wind.
He got through at last

and begged until she put them on.
Given the chance, the kids talked

and talked: sports, school, when
they could fly down to see him.

That depends, he said, and then
they were breaking up —

fugitive crackles, then silence
under a polar sky.

Coverage was first published in North & South (May 2007) and is included in Swings and Roundabouts: Poems on Parenthood (Random House, 2008), edited by Emma Neale.

The Season

The mountains reconvene.
An avalanche of voices
thrums the heavy ground.

Precise, confidential,
the wind reports the news
it gleans from pavement tables:

the All Black’s private pain,
the public intellectual’s
ceaseless quest for vengeance.

The mountains shake their balding heads.
The culture of celebrity
has pushed them to the margins –

there are no peaks on the social pages.
Aspiring no longer, they allow the wind
to hustle away with the clouds.

Eroding, reminiscing, the mountains shake their
heads. Snow falls, forgotten dandruff,
through the ever-warming air.

The Season was first published in North & South (August 2007)

These are not the first poems I’ve written on the topic! The Weather and Wind Walks the Hand are other examples. Many of them seem to combine the wind with parenting: perhaps that’s because, the night my son was born at Wellington Hospital, there was a southerly snap and a power failure. The backup generators came on to power essential services, such as the incubator Gareth was placed in for a day or so. I remember standing by the end of Kay’s bed, feeling the cold and watching snowflakes swirl past the window. That sort of thing leaves an impression.

PS: I’ll be taking part in Montana Poetry Day events in Upper Hutt on Friday 18 July. The full schedule of events in Upper Hutt is available.

Winter Readings Series 2008 – Wellington, August/September 2008

News from HeadworX

This year’s readings celebrate 10 years of HeadworX Publishers in Wellington, and are a tribute to The Beatles’ White Album, with Beatles music played at the readings.

We will be announcing this year’s winner of the Earl of Seacliff Poetry Prize: Will Leadbeater, who will come down from Auckland to read. This will be a rare chance to see Will Leadbeater read, one of our unsung poets who has been writing away for years.

Wine/juice and books for sale. Venue is the City Gallery Theatre, Civic Square, Wellington.

THE WHITE ALBUM READINGS

AUG 20, Wednesday, 6.30pm-8pm
Reading 1 – Helter Skelter

Mark Pirie
Harry Ricketts
Richard Langston
Rob Hack

Plus launch of Mark Pirie’s new books Slips: cricket poems (ESAW) and Bottle of Armour and Trespassing in Dionysia (both Original Books).

MC Niel Wright

AUG 28, Thursday, 6.30pm-8pm
Reading 2 – Revolution

Niel Wright
Helen Rickerby
Evelyn Conlon
Will Leadbeater

MC Harvey Molloy

Plus launch of Helen Rickerby’s My Iron Spine (HeadworX)

SEP 3, Wednesday, 6.30pm-8pm
Reading 3 – Ob-La-Di, Ob-La-Da

Michael O’Leary
Gemma Claire
Marilyn Duckworth
Bill Dacker

MC: Nelson Wattie

Plus launch of Michael O’Leary’s Paneta Street (HeadworX)

Facing Pages

This article was originally published in a fine line, the magazine of the New Zealand Poetry Society.

Facing Pages

Translation is a strange business. Take these two translations of a four-line poem by Osip Mandelstam:

Into the distance disappear the mounds of human heads
I dwindle — go unnoticed now
But in affectionate books, in children’s games
I will rise from the dead to say: the sun!

(quoted as an epigraph to Gene Wolfe’s novel The Sword of the Lictor)

Mounds of human heads are wandering into the distance.
I dwindle among them. Nobody sees me. But in books
much loved, and in children’s games I shall rise
from the dead to say the sun is shining.

(from Osip Mandelstam, Selected Poems)

The first version is my favourite poem. The second – well, it’s OK. Yet they are both translations of the same four lines of Russian poetry.

What’s so special about poetry in translation? Well, for one, only the best poetry from other languages tends to be translated into English, so in picking up a volume of translated poetry, there’s a reasonable assurance that there will be some good stuff inside. For another, I like poetry to surprise me, and I’ve found that there’s more chance of being surprised by poets and poems from languages other than English. This isn’t to claim that poets in English are unimaginative; but the poetic tradition in other languages differs from the poetic tradition in English, and a good translation will preserve the “otherness” of the source poem. Beauty and strangeness — the perfect combination!

When the Iraqi poet Basim Furat lived in Wellington, I attended several readings at which he read in Arabic, and Mark Pirie then read a translation of the Arabic poetry into English. Arabic poetry is about as far removed from the unrhetorical, conversational tone of most New Zealand poetry as it is possible to get: Arabic poetry is rich in extended metaphor, imagery, and rhetoric. I couldn’t get the hang of it at all at first, but after hearing it a few times together with the translations, I have grown to appreciate the style. (Many of the translations into English of Basim’s poems are included in his collection Here and There.)

My favourite format for books of translated poetry is to have the original and the English translation on facing pages. This goes both for languages that I can puzzle my way through armed with a dictionary and dim memories of language lessons (Russian, and to a lesser degree French, Spanish and Maori); and those I’m completely out of my depth in (German, Norwegian). It’s like opening one Christmas present and finding another one inside: the poem in English on the right and, its riches less accessible, the original poem on the left.

Two of my favourite poets are Anna Akhmatova and Paul Celan. While Celan is notoriously cryptic, Akhmatova writes in clear, classical Russian. Nevertheless, her poetry presents the same problem for the translator as does most Russian poetry: to rhyme or not to rhyme. Russian is a very regular language, every bit as declined and conjugated as Latin, and sense does not depend on word order. This means that the rhyming resources available to the Russian poet are much greater than those available to the poet writing in English.

Many translators of Russian poetry attempt to preserve the rhyme scheme, or at least come up with an equivalent scheme. In even the most highly skilled hands, however, this creates the risk that the translation will stray too far from the sense of the original for the sake of finding rhymes. On the other hand, unrhymed translations are inherently less “Russian”. It’s a choice with no obvious right answer, and the translators of my Akhmatova Selected Poems have rhymed, or not rhymed, as seems best to them for each poem. It’s a fine collection and a good introduction to a wonderful poet.

But if the translator of Akhmatova faces problems, these pale beside those faced by the translator of Celan, a poet who exudes difficulty and breathes paradox. Michael Hamburger’s introduction to the Celan Selected Poems is a testament both to the difficulty of Hamburger’s task as translator, and to the zeal and commitment with which he pursued this task.

The previous paragraph reads like a “Danger-Keep Out!” warning posted on the approach to Celan’s poems, but I’m not trying to put you off. Despite their difficulty, these poems are wonderful: fascinating, endlessly inventive. I don’t speak German, but as I look between the translation and the original, the German roots of English words start popping out at me, and I can begin to see why the translator has made the choices he has, and how he has attempted to translate what many would regard as the untranslatable.

I was given book tokens for Christmas. I’ve just used some of them to buy a copy of Jorge Luis BorgesSelected Poems (read my subsequent review). Facing pages again, this time Spanish and English. I open the book and my eyes flick from right to left and back again. In the space between the facing pages, a new poem grows.

– Tim Jones

Books cited

Gene Wolfe, The Sword of the Lictor, Volume 3 of The Book of the New Sun (Arrow, 1992)

Osip Mandelstam, Selected Poems, translated by Clarence Brown and W. S. Merwin (Penguin, 1977)

Basim Furat, Here and There, edited by Mark Pirie (HeadworX, 2004)

Anna Akhmatova, Selected Poems, translated by Stanley Kunitz with Max Hayward (Collins Harvill, 1989)

Paul Celan, Selected Poems, translated by Michael Hamburger (Penguin, 1990)

Jorge Luis Borges, Selected Poems, edited by Alexander Coleman (Penguin, 2000)

More Poems on Being a Parent

Swings and Roundabouts: Poems on Parenthood

My son turns 12 soon. That, and the recent publication of Swings and Roundabouts: Poems on Parenthood, Emma Neale’s anthology of parenting poems, made me want to put up some of the poems I wrote while he was growing up. (My poem “Coverage” in Swings and Roundabouts is about an imagined father.). So here are four such poems, written from 1996 to 2002.

Publication note: “The Weather”, “At the Gate” and “Action Man Is Sleeping” appear in my first poetry collection, Boat People (HeadworX, 2002). Copies are available from me – please email timjones (at) actrix.co.nz for more information, or see my website orders page.

“Elfland” appears in my second collection, All Blacks Kitchen Gardens (which you can buy online), published in 2007.

The Weather

The weather is a matter of cultural safety
for us white Englishmen.

I talk about it with my father:
it’s fine up here, Dad, not a breath of wind
(so rare for Wellington)
how’s it with you?

Cloudy, he replies, and raining
wind from the south-west
I can’t get the garden done.
In his voice is the gloomy assurance
that more is on the way.

I talk about it with the barber.
We agree it’s
not such a bad day
for this time of the year.

We’re talking the prices of houses.
I tell him I’ll be a father come June.
I don’t tell him, the child will be born in winter
as the wind and the rain prowl outside.

I don’t tell him, we will carry the infant
back to our wooden house
shaken by the gale.

I do say, I’ll have to check the gutters
come spring.

At the Gate

This morning
at the kindergarten gate
my son said “You stop there!”

He didn’t want me to come in
He would place his bag
on Hook 22
put his nametag on the chart
go in to mat-time by himself

He opened the gate, turned, and waved goodbye
I waved back proudly
and started down the path
close to tears

He was so tiny once
that I could hold him in the palm of one hand
He starts school in two weeks’ time
His bag will fill with books
his heart with other friends.
Smiling and crying, I take the long road home.

Action Man Is Sleeping

Action Man is sleeping
wearing his yellow bobble hat
(taken from a fluffy bunny who won’t be needing it again)
blue underpants which keep him rated G
and two cloth nappies which serve him well as sheets.

His bed is a wheeled wooden trolley.
My son, who’s sleeping too, said Action Man should have
a bed with legs, like him — but Action Man
must always be ready for action
even in his jut-jawed dreams.

He (my son, that is — I wouldn’t
want you to get confused) has decided
he should not be kissed or hugged.
“Not by you — not by anyone!”
We blamed Action Man at first

but now the boy’s relented —
he can kiss us
we just can’t kiss him.

Elfland

Outside, the world is growing darker
counters clicking downwards to perdition.

Inside, the children bring me
cup-cakes, pizza, new and better clothes

all made from pure cheek
and six-year-old imagination.

I’m story-writing helper for today.
It’s not too hard:

“What’s that word? Let’s sound it out.”
“Nothing to write about? Let’s see …

what will you do tomorrow? What
would you rather do today?”

At the end we’re smiling: a whole page written!
Teacher, give these children praise.

As they start on Printing
I’m taking my leave, walking

out of the enchanted wood
back to the world’s long darkness.

Creative NZ Slashes Poetry Society Funding

Like Helen Rickerby, I attended the February meeting of the New Zealand Poetry Society, and enjoyed hearing Johanna Aitchison reading from her first collection, the excellent A Long Girl Ago. Only one thing marred the evening: the news that Creative New Zealand, the Government’s arts funding agency, has halved the level of the Poetry Society’s funding for 2008.

I was upset to hear this, for several reasons. The first is that it means that the Poetry Society’s hard-working coordinator, Laurice Gilbert, has had her paid working hours cut right back. This is tough on her, and also means that she’ll be able to put less time into updating the Society’s website, arranging guest poets, promoting meetings, editing the Society’s excellent newsletter a fine line, and generally advancing the cause of New Zealand poets and poetry. The Poetry Society is the only national organisation with that specific mandate, and as being a New Zealand poet is neither an easy nor a remunerative life, poets need the Poetry Society to continue its good work on their behalf.

But what bothers me most is that Creative New Zealand is completely unaccountable for this and other decisions. In the literary field, CNZ funds individual writers’ projects; subsidises literary magazines and the publication of New Zealand books; and funds literary organisations. Each year, the Poetry Society applies for funding; each year, they wait; and each year, they get a reply from Creative NZ which simply advises them how much they’ll be receiving. There’s no explanation of how that amount is arrived at, or what factors are taken into consideration. There’s no warning of an impending funding cut, and there’s no consultation before the decision is taken.

Because its decision-making process is so opaque, the recipients of funding – and those who apply for funding, but are turned down – have no grounds for confidence that decisions were arrived at fairly. In the case of the Poetry Society funding, was the funding cut the right decision, based on the merits of the Poetry Society’s case and of competing funding applications – or is it just that CNZ’s latest crop of literature advisors don’t like the Poetry Society? Only CNZ and its advisors know the answer to that, and until some transparency and accountability are brought to bear on CNZ’s processes, the rest of us can do little more than speculate.

[Disclosure: Funding applications for several books in which I’ve been involved have been made to Creative NZ. Some have been funded; more have not. I have not applied to CNZ for funding for specific new writing projects. I am a member, but not an officeholder, of the New Zealand Poetry Society. I am the guest reader at the Poetry Society’s next monthly meeting – Monday 17 March, 7.30pm, Paramount Cinema Lounge, Courtenay Place, Wellington]

I’m Editing JAAM 26

I’m editing Issue 26 of JAAM Magazine. The deadline for submissions is 31 March 2008.

JAAM (Just Another Art Movement) is a literary journal run by an independent publishing collective in Wellington, New Zealand.

JAAM publishes emerging writers alongside the work of established writers. It focuses on New Zealand writers, but overseas writers are also welcome to submit.

JAAM prints fiction, poetry, essays and black and white artworks. Payment is NZ$20 per contributor (rather than per contribution) for accepted work, plus a free copy of the magazine. There is no official word limit, but fiction and essays longer than 4000 words will have to be exceptional to be published.

JAAM publishes literary fiction and poetry. For JAAM 26, writing in other genres, such as speculative fiction and poetry (science fiction, fantasy and horror) will be considered on an equal footing to literary fiction and poetry. There is no set theme for this issue.

Submissions for JAAM 26 can be emailed to jaammagazine@yahoo.co.nz or posted to:

PO Box 25239
Panama Street
Wellington 6146
New Zealand

Make sure you enclose a stamped self-addressed envelope for reply.

Subscriptions within New Zealand are $24 for three issues (includes postage). Cheques can be sent to the address above.

For more information, see JAAM’s MySpace page.