Reviewed by Trevor Reeves

TAKAHE 49, August 2003. The Takahe Collective Trust. P. O. Box 13-335, Christchurch.

Some good contributions really make this issue sparkle. The selection of the fiction seems to be an improvement on past issues. The editorial by Derek Challis charts the life of Iris Wilkinson aka Robin Hyde, until her death in August 1939, and the recent biography published by AUP, by Challis and the late Gloria Rawlinson (d.1989). Hyde is one of New Zealand's most important poets and writers, and certainly one of the most prolific, in New Zealand's history. That biography is certainly a worthwhile, if not an essential read as is her selected poems, 'Young Knowledge' (2003). But back to Takahe. Tony O'Brien's story, 'Jack's Oak' is really inspiring, about the tree seedling from Timaru that found it's way back, in the Chancellor's hands, to Germany. Catherine Mair and Patricia Prime's shared poems always seem to work somehow, for me anyway. There are hits and misses in this issue but it is better to concentrate on what appeals. Raewyn Alexander's poems succeed with excellent description. Andrew McIntyre's story, 'The Hummingbird' is rich in characterisation and is a very easy read with not too many side issues. Elizabeth Smither's talent gleams. Real life stories like Adrienne Frater's story is dramatic (Adrift) - a recipe for disaster; there you have it. David Eggleton's work seems a bit overdone, but some nice evocative lines here. David Bath is a bit over-stressed but Tim Upperton's 'The Factory'. Lee Dowrick has some cute lines. Bronwyn Elsemore's 'Shells' is captivating. Takahe 49 is good holiday reading - in fact good reading at any time.

CATULLUS FOR CHILREN, poems by Anna Jackson. Auckland University Press, $21.99.
This is Anna Jackson's first book of poems since 'Pastoral Kitchen', short listed for the poetry section of the Montana Book Awards. A teacher of English at Victoria University of Wellington, her principal concern is in adapting some of Catullus's famous verses to the 'playground' of young children. No need to single out any of these. They are all delightful and a learning curve for grown-ups as well as an inspiration for children.

JAAM (Just another art movement)- literary magazine. October 2003. 26 Grant Road, Thorndon, Wellington.
This issue contains an extended interview with NZ-turned Australian poet, Stephen Oliver, who deserves to be better known in New Zealand. Oliver describes himself as a 'trans-Tasman poet' and alas, there are too few of them around. Stating that NZ poetry still holds on to a 'filigreed lyricism', Oliver says there is a sameness about what you can write about in all countries. Privacy, he says, doesn't exist in language these days. The Reviews section is a strong feature of JAAM, with no less than nearly five pages devoted to 'Favourite Monsters' by James Brown. Every poet of Brown's standing and worth should get in-depth treatment at some time or another. 45 pages of reviews makes JAAM an important journal to have for any devotee of NZ literature. Reflecting NZ journals increasing internationalism, JAAM features seven writers domiciled overseas. The interview between A & M Meklin and Witi Ihimaera shows the great clarity this accomplished writer displays when talking on any subject at all. One remark puzzles, however: “Maori language is sacred; the English language is profane, without sacredness or meaning” Really? To whom? Of the work herein, exiled Iraqi poet Majid Addam's 'Foreign Poems' impresses. Tony Beyer's work is, as usual, superb. Some of the stories were a bit gauche for me. I didn't care much for Scott Kendrick's rave, 'The Haul'. I preferred the concise, humorous subtleties of Martha Morseth in her poems. Perhaps it is that her experience tells. Michaela Hendry's work constantly misses the point, whatever that may be. Best of Hendry's is 'Night Rumour, ending: “But any kind of silence / has a sediment”. Tui Gordon's 'The Squatting Sonnets' impresses. For a good dose of stark realism try Rob Cover's 'Emergence'. Peter Olds' poetry has risen to a new maturity and worth. There's more; read Emily Dobson, Better Ann Matthews, Noel King, Raewyn Alexander et al.

WALKING THE LAND. Poems by Kevin Ireland. Hazard Press, $21.95.
This is Kevin Ireland's fifteenth book of poetry. He is one of New Zealand's best known poets, winner of a number of prizes and now an honorary doctor of literature at Massey University. These poems come out, fresh as a daisy, or a field of daisies, with consummate skill and wit. Always to the point, Ireland hunts down an idea and pushes it to its logical or illogical conclusion. In 'A Team Effort' blackbirds “hoisted girders of straw” and when its use was over (the nest) the sparrows got in and “all that remained / was the ruined frame / of a castle in the air”. This is good work, not cluttered with academic references to side issues. 'Morning Walk on North Head' is a word puzzle tour de force of the most witty mind meanderings concerning the sun, wind shadows that leaves your mouth hanging open in surprise. How to write nine convincing stanzas about rain - see 'Discover the Rain'. The rain chased away dismissively in the last stanza “to snuffle pathetically in the distance”. Kevin Ireland rides no bandwagons. You can see why in “An Objection to Leaning Over Backwards' when the cliché re-invents itself and becomes stunningly funny. This has been my best read for ages. Thoroughly recommended.

MAGAZINE. Issue Number One, November 2003. An annual available by direct mail: $25 to 45 Ivanhoe Road, Western Springs, Auckland 1001.
Edited by Raewyn Alexander: raewynalexander@hotmail.com This is the first of a hopefully long line of annuals of 'Magazine'. Deliberately offering a variety of work, 'Magazine' succeeds entertainingly, in my view. Definitely a leader in the new schools of literary expression, it has attracted some good writers. The reviews section is good with reviews that, although short, are eloquently written. From Richard Taylor, 'Poem for Tamasin' whose work is a little forced and formless to David Lyndon Brown's evocative description of his mother dying: “she's lost the gift of tears”, very pungent and meaningful. Raewyn Alexander's interview with playwright/director Patrick Graham was interesting. Not so much an interview but reportage. Patrick Graham grew up working class, becoming somewhat middle class, now he's an artist evidently accepted into any class or culture. Very nice; I think we should all become artists - it would be such an easier world to live in, for us and our peace of mind. Graham says that he is better able to explore the humanity of a character by writing 'evil' into him or her. What is evil anyway? This is a brave new attempt by this young man to touch the veins of our future, beset by such electronic forces. Watch this space. There is a lot of newness and originality here.

POETRY AOTEAROA. New Poetry from New Zealand. Vol.1. No.1. Picare Press, Box 853, Warners Bay, NSW 2282, Australia. Edited by Tony Beyer.
Some of the poems Tony Beyer has chosen for this first issue of 'Poetry Aotearoa' are nothing short of brilliant. Mark Pirie's two, 'Last Days and 'The Luck of the Drawer' stand out. Trawling the magazines for this Australian edition; Beyer seems to have got the very best of what's available. This is a short issue, of which only 26 pages are poems. Peter Bland turns in some great work as does our poet laureate, Brian Turner, with a workman-like piece called 'In the Barvarian Alps'. The late Simon Williamson's poetry 'Ataturk' should not be ignored, either. There are others but you must read for yourself. If you can get this magazine, it's got to be good for you.

MY GARDEN, MY PARADISE. The Garden in New Zealand literature. Edited by Christina Stackhurski. $29,95 hardback, Hazard Press, P. O. Box 2151, Christchurch.
Standing out, in this magnificently produced book, are some of the 'old hands' such as Lauris Edmond who left us such a vast legacy of sensitively good work. The 'unsaid' is the aim of many of the poems aided and abetted by the editors to put some garden to them. It is always a joy to see visual images used so well with poetry and here, so boldly. The white (later ragged) irises are an inspiration, from Robin Hyde, showing that trawling the older poets, can pay off so handsomely. Jane Mander (The Story of a New Zealand River) has not been overlooked either, and even Charles Brasch's formalism allows a glimpse of pulsating curtains and nature murmuring. Rachel McAlpine's town house with its skimpy but beautiful plants has something to say to all of us. Joy Cowley has always been good value. Elizabeth Smither, also. 23 out of the 29 poets are women. That's an interesting revelation regarding gardens. Don't let it put you off though. This is definitely a book anybody would be proud to own.

Return to CONTENTS