I SAW HER ONCE/ HOP FORTY PACES THROUGH A PUBLIC STREET/ AND HAVING LOST HER BREATH, SHE SPOKE, AND PANTED/ THAT SHE DID MAKE DEFECT PERFECTION/ AND, BREATHLESS, POWER BREATHE FORTH -- Anthony and Cleopatra, Act II Scene 2

Contributors to 2004 Anthology

Wednesday, November 15, 2006

Littlejohn Douglas was born in a little town in a little country (NZ) a little under half a century ago. He left school at first opportunity (aged fifteen) having learned a smattering of French and Latin and spent the next thirty years living throughout New Zealand and Australia working bum jobs and living in squats. Having collected the information, now he's going to write about it.

Anna Jackson is a graduate of Auckland and Oxford Universities, and has published three stand-alone collections of her poetry: The Long Road to Teatime (2000), The Pastoral Kitchen (2001), and Catallus for Children (2003) as well as pieces of her poetry and fiction in numerous anthologies and journals. Anna was born in Auckland, and has lectured at the University of Otago, the University of Auckland and at Oxford University. Jackson also works in the visual arts with screenprinting, etching and aquatint.

Kerri Mullen is an undergraduate at the University of Illinois, Urbana-Champaign. This is her first publication, largely due to the fact that up until now all of her submissions have been written in Sanskrit or an obsolete vernacular. She hopes to someday rule the world with a doughy fist. Iron seems decidedly uncomfortable.

Gregory O'Brian was born in Matamata in 1961 and currently lives in Wellington, where he writes and paints full-time. His recent publications include Lands and Deeds: Profiles of Contemporary New Zealand Painters, My Heart Goes Swimming: New Zealand Love Poems, co-edited with Jenny Bornholdt, and An Anthology of New Zealand Poetry, co-edited with Jenny Bornholdt and Mark Williams. He has also published a novel and collections of poetry, and he has exhibited his painting at the Bowen Galleries, Wellington, and RKS Art, Auckland.

benshaol is okay, he's finding university weary and is getting eager to open his shoe shop with his pal reginald schoefield when he returns from india. he may or may not be writing an essay about originality, no not the overwrought subject of authenticity, but rather the flavour, bublegum, beer, etcetera etcetera, but he's finding the religious overtones a little heavy going.

Steven Williamson was born in Scotland and bred in Christchurch. He has lived here for most of his life except for three years spent in the UK discovering his roots. After completing his BA this year Steven hopes to travel through Asia to further expand his knowledge and experience of the human condition.

Hamish Win is working on his masters in English at the University of Canterbury. He is also involved with the High Street Project, which is an artist run space in Christchurch that promotes emerging artists and experimental work. He was recently published in Natural Selection. We wish we knew more about him but he drank us under the table.

New Zealand’s Indigeneity Problem

I write a lot of the time for The Package which is a weekly gig guide has leaning pretensions as a pulse and market place of youth culture. Which is telling enough in numerous ways, but the biggest problem I’ve ever really encountered is their tendency to swap the word New Zealand for Aotearoa. The surprising thing here though is that this tendency comes from a different source than the biculturally earnest hangover of the eighties that most people in academic circles would so inevitably reach for. The Package’s preference for Aoetaroa is much the same as another eighties fad in which a kiwi and triangle tired to make us “buy New Zealand made”. For inside its cache, the appellation Aotearoa is working to set about a pride bearing commodity within the youth market place. A prime example is the clothing label Huffer, who in their upsurge, as relative unknowns in 1997 to sheer ubiquity come the turn of the millennium, are leading runners in the ground swell precociousnes of this Aotearoan pride. Effectively nothing more than Anglo-American leisure wear with NZ-Aotearoa icons plied on top, Huffer went big with their “I love NZ” iconography, which was accompanied by an effective marketing drive which endorsed wife beater tees, crate bottles and the borrowed Maori pride of their skateboarders ex high schools such Takapuna and Tokoroa, two polarities in the socio-economic streams of New Zealand. Such strategies effectively flattened such diversity into the one feel good millennial moment of the youth cultures: Aotearoan pride as a self supporting consensual “massive”.
But if Huffer have the clothing range stitched up, then one little record label in Wellington has cornered that other precious marker of the youth; music. Loop recordings is an outfit that has been happy enough to use the Aotearoa label as a load bearing structure in a marketing campaign that has sold product through that consensual inducing lore of a localised ‘pride’. Like most things youth this has always been carried along by the social problematics of coolness and stigmatised lameness. Albums like their “Wai Wahine” are such commodities, never so much selling the music, as they are the idea of the producer as a localised, feminine entity we should all be proud of. At its time of release, the company, in a synergistic marketing one-on-one moment teamed up with Staple to run a cover story on this ‘young, able, and willing’ bounty. Which in its come-hither appeal begins to seem really similar to the unproblematic days of Maoriland and those Hinemoa pin-ups which beckoned in New Zealand as a localised happy-go-lucky land of pleasure. But anyway back to The Package.
On the whole there’s never been that much of a problem in The Package’s editorial right to change New Zealand into Aotearoa. But when they did it to my Tony De Lautour article what emerged was a whole different set of priorities that really do shed light on that unstable ground of production that is New Zealand. For when De Lautour’s work is so preoccupied by New Zealand as a sort of primal myth which is constantly shifting about upon its own myopic platform of subterfuge and conceit, then changing the terms of approach, by simply swapping Aotearoa into New Zealand starts to look like New Zealand’s programmable revenge. Which is frustratingly problematic, for the very thing you are trying to uncover in writing about De Lautour’s work is this consumable frenzy. So when editorial impacts, for the sake of consensual market place politics start swapping words around on you, you do almost realise that you’re starting to get somewhere. For whilst New Zealand, on a pure marketing level, has never been hipper, its sublimation and requisition of Aotearoa needs to be read inside its own consortment with that happy ‘cool’ homogeneity of New Zealand’s surface. Because it is this very homogeneity which is so appealing to a consumer-able market, this Aotearoa boosterism needs to be read as the latest in a long running continuum of load bearing structures. For in its feel good indigeneity we fail to realise that just when New Zealand might tell us something, we have simply requisitioned another sycophantic mirror which does nothing more than continue to reinforce the pastoral propriety New Zealand has always been so predicated upon.

Hamish Win.

Nut

If inside that shell
A universe could fit,
And all of stuff, all stories, songs and stars,
All weight and store, all ways, signs, lightness, waste and wars,
Could in there dwell,
While we two sit
Outside, with only you and I
And breath, to wait and wonder why
We were not lost
Inside that nut-bound ever-widening sphere.
Yet even then, despite its host,
Eternity that could not boast.

But if instead I chose
To wait within those walls,
And near them could, tending ever more close,
Ever stay but near or, closing, all knowledge lose;
Then, though enclosed,
I’d know no walls.
I’d no outside perceive,
And could with ease believe
That ball to hold I
nside all, and all inside;
Then, your palm feeling that form told,
You might my boundless all enfold.

Thus (knowing none to wait
Beyond) as our live set
Expands in time, our space of days to fill,
We sense each second’s sequence to a timeless null
Converge. Though late,
They’ve never met,
For to close is to close all sense
And to meet there is to close, hence
Our mortal trap
Is gird around by none but dust:
We both within our lifetime’s gap
A tight eternity enwrap.

Michael Bycroft

Santa III – V

III
The walk back is long and hot but I make it. I find the door that says manager. Duty is written with black marker on a card in front. I knock and go in. His name’s McMasters.

“Where the hell you been,” he says. “It’s 9:30 already. I run a tight ship an’ this ain’t a good start.”

“I missed my stop,” I say.

“The hell ya did,” he says. “ya can’t miss it. Biggest bloody stop for miles. What, ya thought there was another mall down the road?” I shrug and he goes on. “You’re a bit small for a Santa aren’t ya. Shit… I asked for someone fat. Wha’do I get? Another scrawny fucker.” He looks at the bag. “That your suit?

“Yeah,” I say.

“Here…pad yourself out with these.” He throws me some small pillows and bulky material. They’re clammy and smell of stale sweat. “We had a skinny runt yesterday too for fucks sake.”

I ask if there’s a place to shower and change.

“Nah,” he says, “it’s out of order, but you can change in here. I’ll get some water so ya can wipe yourself down on your breaks,” he says. “ But understand, I’ve gotta be in here at all times.”

I look round, wonder what I’d steal, and ask about the pay.

“One-twenty paid at knock-off,” he says. “So long’s you got a tax number. Otherwise, withholdin’, and it’s down to ninety.”

“Any chance of half up-front?” I ask.

“Look mister,” he says, trying to be hard-arsed, “there’s no bars in this mall, an’ the one down the road don’t open till after midday. I catch ya drinkin’, I’ll make sure you don’t see your money for weeks.” He’s found my weak-point. “There’s bottomless-cup at the Coffee House and a fountain in the atrium,” he goes on, “jus’ tell em who you are.”

I know about the fountain. I’d stopped on my way through. Drank a gallon and need a piss. It’s twenty degrees cooler in the mall, I’m feeling better but still need a drink. McMasters shows me round; Toilets, Coffee House, fountain. Next he wheels out some kinda barrel. It’s covered with a sheet.

“This is the lucky-dip,” he says. “The kids with the blue tickets get one go. If the ticket’s yellow, it’s hohoho – merry fucken Xmas an’ all that crap an’ ya push the button for the picture. Got it…? An’ don’t let the little bastards double-dip. Last years Santa was too soft. Don’t be soft. That barrel’s gotta last all day.”

I tell him I understand, then back-track to the toilet and Coffee House. I order two long-blacks, plenty of sugar, say put it on McMasters tab. The young thing behind the counter hands them over.

“You’re way to skinny to be a Santa Claus,” she says. “How come they never get fat guys to be Santa Claus anymore. Like when I was a kid.”

I tell her I don’t know, maybe it’s because all the fat people are too happy to be working Xmas in some shitty mall. They’ve got husbands, wives, families, kids I tell her. Probably hohohoing in their deck-chairs at home.

“Listen,” I say, “your boss hasn’t got a bottle stashed out back anywhere? Could ya splash a bit in each. Stop it bein’ bitter. It bein’ Xmas an’ all eh?”

She looks at me kinda funny. “You’re miserable, aren’t ya,” she says.

“Yeah. I’m miserable,” I say.

She sizes me up. I don’t flinch. She goes out back. Comes back and takes the coffees. I hear a screw-top and healthy splashes. She gives back the coffees.

“I like miserable people,” she says. “Happy people are so boring, don’t you think?”

I tell her yeah, and to keep the bottle handy.

IV

Back in the office, I change in front of McMasters. There’s no mirror so he helps with the padding and straightens the beard. When he asks about the wet patch I don’t answer. I’m glad there’s no mirror. It’s hard to walk and I stroll about to get a waddle going.

“Fuck me,” says McMasters, shaking his head. Instilling confidence doesn’t seem his strong point. I’m waddlin’ round and that padding waddles with me, my sympathy for fat people going up a notch from zero.

“I’ll be right once I’m sitting,” I try to convince us, but McMasters looks like he needs a wee lie-down.

“C’mon. Let’s get this fuken show on the road,” he says. He leads me out through the mall, and shows me to the seat. Those two coffees had taken some drinking but I’d persevered and now the whiskey’s kicked in, I’m starting to feel okay. Maybe I’ll survive afterall.

Then I’m on the seat. Santa’s seat. It’s big and makes me small. Fear, whiskey, and caffeine fight for my attentions, and fear’s ahead by a nose. I’m placed central, surrounded by gaudy lights and business signs, three types of music waft about and four sign-posted tunnels begin the labyrinth of consumption. I’m starting to heat-up again. It’s the bloody suit. The extra padding stifles circulation and as I squirm into the seat I take a look around. The young thing at the Coffee House delivers more coffee.

“Two long-blacks,” she says. “Lots of sugar.”

“You do understand misery,” I say to her.

She places them steaming beneath the chair, turns and walks back to her job. I watch the wiggle of her buns. She’ll make lots of men miserable with buns like those. They’ll get too much then not enough, then get none at all. Now that’s misery. I drink the first coffee before it’s cooled and burn my mouth. A small price to pay.

The mall’s getting busy. I’ve been on the seat about an hour I guess. There’s no clocks anywhere and I wonder about that. I’ve had half a dozen kids up on my knee, all about four or five. They complain I didn’t bring them what they wanted and have blue tickets. They go to the barrel and I keep watch for double-dippers. Hell – if some kid wheeled that whole barrel away I would’ve let it go.

I’ve finished the fourth coffee and I’m all light-headed. The flash-bulb hurts my eyes and there’s a strange ringing in my ears. Between the next two kids I catch the eye of the girl at the Coffee House. A few minutes later she slides two more steaming cups under Santa’s chair.

“Listen,” I say. “This coffee’s makin’ me weird. Hows about next time, more from the bottle, less the machine?” I don’t plead but know what too much coffee does to a mans insides.

I’m watching her disappearing buns when I catch sight of Amberlee. Her and the kid are in the food court but not eating. No doubt saving themselves for Xmas dinner. I’m thinking about that when I hear McMasters voice.

“Listen,” I hear. I swing my head, go dizzy, my vision’s gone and he’s out of focus, “I’ve been watchin’ you,” he’s saying amidst the blur, “an’ I don’t like it,” his two shapes settling into one, “That last kid was cryin’ when it got back to it’s mother. What the fuck ya say to it?” He’s got an ugly face to go with his demeanor and I’m glad. I can’t remember what I’d said to the kid.

“You told me don’t let ‘em double-dip,” I say.

“For christs sake,” he says. “You’re fucken Santa Claus, not fucken Don Brash.” He looks at his watch but doesn’t tell me the time. “I’ll be back in half an hour. You can have a break. I’ll find some one to watch the barrel.” He strolls off looking every bit a duty manager.

Out of now where, four kids are lined-up, each with a mother, none with a father, but I don’t have time to think about that.

“Mummy said I gotta thank you for the stuff you give me,” the kid on my knees started, “but I don’t like much.”

“Hohoho,” I say. “Sorry ‘bout that little girl but I was very busy this morning. What was it you wanted? I get mixed-up there’s so many of ya’s to visit.”

“I wanna Barby an’ a shaker-maker an’ a house for Dolly and Rupert an’…”

“Whoa now…gee…” I say, “that’s a lotta stuff for a little girl to be wanting. Crickey. Now…did ya send a letter? You know…me an’ Mrs Claus we… and the elves an’ stuff…you know…we’re kinda busy…an’ if you didn’t send a letter then…well… you know. Talk to your mum about it. She’ll explain.”

The kid doesn’t say anything, just looks at me funny, and I spose I am, so I move right along, pointing, “See the camera, big smile…” and take a picture. She’s got a blue ticket so I send her to the barrel. Sweat runs down the inside of the suit and settles in the crack of my arse.

John Nuttall

Out of Season

There's a bunch of plump
Green strawberries
In my garden.
They'll never ripen.
Not in May.
They'll go the way of the last tomatoes
Fall, slushy, to the damp earth.

But the tiny green buds
I noticed on my banksia
When I hefted
My new backpack
Heavy with new textbooks
And set off for my first lectures,
They have survived the early frost.

A few days ago I saw
A lone young mother mallard
Head bravely high
Leading her newly hatched family of six
Through the mouldering leaves
Where the university trees are
Undressing for winter.

Will she make it?
I fretted as I strode home to my
Nightstore-warmed home.
Where will she find shelter?
I would take my grandchildren
To scatter our stale bread for her
If I knew where she settled.

My English tutor
Told me that she began teaching
In 1949.
Fifty five years of teaching
And still young at heart.
Each one of us warms and grows a little
As she prods, cajoles and cheers us.

This morning the sun shone again.
I lifted my head on the way
Out the gate
And saw against the blue of the May sky
A scatter of gold
Where those out-of-season banksia buds
Have opened to full bloom.

Marion McLean.

Correspondence

hey ben, hows the shop going? Do you still want those
shoes? My skills drawing on ms word are sufficient to
give you an impression,

-----------
I \ -\-\--\--\
I \\
I----------------------------\
------------------------------

Is there any way to draw a better picture?

Ben Shaol

A False Life

The woman stared deep into the man’s eyes and realised how much she loved him. The man held her close and whispered in her ear, making her giggle a little. He briefly kissed her cheek and neck, then apologised to her because he had to leave. She longed for him to stay, but understood that he had lots to do. He pulled the door shut behind him and left her counting down the hours before he would return again.

The wife of the man stood over the kitchen sink with her cousin, washing up the remnants of lunch. They spoke of travel, love, the new baby and the old boyfriend. The cousin cried, the wife consoled, and then together they laughed. Just as the final dishes were put away, the man came through the door and kissed the wife and cousin in turn on the cheek. They all spoke of their day, and then the man cooked dinner while the wife went to check on the baby. The man and cousin made small talk as the rice cooked and the mince fried and the vegetables were peeled. The cousin found something about the man’s manner mildly off-putting, but decided to ignore it and blame it on stress.

The woman, too, was cooking her meal, and at the time she sat down to eat, the wife was preparing the small dining room table for their meal. The man, the wife and the cousin all enjoyed a good meal, good wine, good music and exceptional company. When the cousin cleared the table, the woman put her last pot away in the cupboard. She went through to the living room and turned on the late news. A glance at the marble clock about the TV showed 8.45. Two and a quarter hours to go.

At almost 10pm, after the cousin had long ago left, the husband received a phone call. He profusely apologised to his wife, but work had insisted he go immediately to the office, with no promised returning time. She accepted what he must do and had a pang of regret for marrying a journalist. She kissed him goodnight as he walked out the front door.

At 10.35 the wife headed for bed but spotted some papers on the coffee table. Picking up the first (a telephone bill) she got a paper cut on her thumb. Like the girls she has been 30 years ago she sucked her thumb and continued leafing through the pile. She spotted a letter addressed to her husband, intended for her eyes to never see it. She guiltily removed the single sheet of paper and read its contents. She then stuffed the page back into the envelope noted the address; somewhere in the city, an hour’s drive away. Putting the baby into the car she hastily pulled out of the driveway and onto the motorway.

At 11.43 she pulled up outside the address that was on the envelope. She grabbed her bag out of the glove box, locked the baby in the car and snuck in through the open front door.

Upon her arrival in the bedroom, the wife, the man and the woman all stared speechless at each other and no one but I saw the gun.

Pieta Pemberton

Badminton

It’s not a dumb game, you’re dumb
at it. Though it doesn’t help
to say that, and you’re getting
better. This is probably
the only day we’ll ever get
to play like this, you realise,
this is Wellington. We
don’t have a net, we’re just
counting volleys, pretty
good to hit three, then
we hit five, then our world
record of seven. We’re
going for eight,
even if the clothesline
gets in the way, even if
that lunge back has me falling
backwards over the wall
that came down in the storm,
into the compost, trying to get up
in time for your next shot,
stepping further back
down the bank, stumbling
over the blackberry vine,
feeling for the concrete steps
buried somewhere under the grass,
because we’ve got to beat
eleven now, and although
it is getting dark, there is still
the thwack of something
on the strings I’ve hit,
and I can hear someone
stumbling down the bank
after me, hitting
something, coming
at me, and who
could it be except
for you?

Anna Jackson

Watercress Jumper

Tree by submerged tree you travel
a flooded province
and this jersey you are knitting

will retain something of the swaying
bus, the barns adrift
in twilight, and the speed at which

this vehicle takes you
both towards
these things and away from

them. Each bump and detour
and unsealed stretch
knitted in episodes

of wool. Every tree and drowned
tree. Contentment
will impress itself upon you

in the shape of a jumper. Disappointment,
regret, the same article.
You will always either be catching up

or ahead of yourself, here at the outer
extremity, the border of this
luxuriant province, in this darkness

you light up like a christmas tree or
fireworks
above a river woven

endlessly of watercress.
This cold jersey
this flooded province, forever stitched, unstitched.

Greg O’Brien

And the Point of the Exercise Was. . .

Harold grinned with pride. Not with the kind of pretentious, comparative, my-life-is-better-than-yours-because-of-what-I-just-did kind of pride – the variety normally associated with small children and politicians however; – this was a far more self-satisfied form of pride, the kind that makes you happy, even if nobody else ever finds out what it was that you’re proud of. Harold was grinning – with self-satisfied pride – because he had just finished stacking an entire bag full of marshmallows on his kitchen table, one on top of the other– all twenty-three of them. It had taken him over an hour, and he had dealt with over half a dozen gravity-related incidents; but there it was… Harold’s tower of marshmallows. He had even managed to alternate the colours of the confectionary between pink and white the whole way up.

He stood back and admired his masterpiece.

“What are you doing Adam? Why are your cheeks all puffy like that? Why are you changing colour? Why are you turning blue? Adam, you’re turning blue, why are you turning blue Adam? Adam? Adam, what are you doing? What are you doing Adam? Come on Adam answer me. Adam? Adam? Why aren’t you answering me Adam? Adam, say something. Come on Adam, why aren’t you saying anything? Say something Adam. Adam, you’re still turning blue, you’re getting bluer. Why are you turning blue? Are you dying Adam? Do you need a doctor Adam? Come on Adam, say something. Adam what are you do…”

“BGAHHH! ––– HFIII – HUMMPPH! HFIII – HUMMPPH! HFIII – well – HUMMPPH – I – HFIII – HUMMPP – did - HFIII – HUMMPP – it.”

“Did what Adam? What did you do Adam? Adam, what was it that you did?”

“I managed to HFIII – hold my HUMMPPH – breath for HFIII –two – HUMMPPH – HFIII – whole – HUMMPPH – minutes.”

“Really, two minutes? That’s a long time to not be breathing.”

“Yeah, I know.”

“What’s the point in doing that?”

“Because now I can say I’ve held my breath for two minutes.”

“So what’s the point in that?”

“’Cause I’ve held my breath for two minutes.”

“So?”

“Ummm…”

With a flick of her duster, and a kick of her broom, Ann proceeded to remove whatever evidence she could find that would link her to living in the same house as two teenage sons. Realignment of furniture, a few tweaks of the sofa cushions, strewn papers piled neatly and efficiently. Television remote placed carefully on top of the television set, as seemed so obvious to someone as cleanly as Ann. Dishes washed and stacked, stove scrubbed, bench-tops wiped. Beds made, clothes picked up off the floor, lampshades re…

“Mum! We’re home!” The sound of a schoolbag being roughly thrown into a corner with the accuracy and finesse of a blind, thumbless chimpanzee wielding a hand gun. Something toppling off a shelf, an innocent casualty in the hunt for a glass, or a mug. Or a water-bowl. A splatter, a thump, a crash, a squealing animal.

Ann looked at the bottle of window cleaner in her hand.

“Why do I bother?”

Harold’s face fell. He had to remain focused on his original objective. This tower of marshmallows, no matter how impressive, was merely a precursor to his original purpose. With a distinct air of intention, Harold climbed onto a chair beside the table, opened his mouth as wide as the give in his lips would allow, and began to slowly lower his open mouth over the spire of marshmallows. The occasional tweak of his head was necessary to push some of the tower’s components aside and into the expanding pouch to either side of his jaw, and even after that; by the time he reached the bottom of the tower, Harold was unable to close his lips around the twenty-three marshmallows in his mouth. Just after he had begun chewing – slowly; and carefully – his mother walked into the kitchen, to find her son with cheeks bulging, face open, a pink marshmallow threatening to leap out of his mouth onto the floor.

“Harold, what in the world are you doing?”

Harold hoped the question was rhetorical.

“Is that an entire bag of marshmallows in your mouth?”

Another rhetorical question? Harold nodded meekly just to be sure.

“Why did you do something like that?” The look in her eyes indicated that this probably needed an answer. Or at least whatever Harold could do to imply one.

“Aai ushh aaea eeo eee aai iih aasss aiie.” Fearing that this explanation would be insufficient, Harold tried to back his reasoning with elaborate gestures, and impromptu sign language.

“Harold, you amaze me sometimes, what was the point in doing that?”

“…”

“Three point one four one five nine two six five three five eight nine seven nine three two three eight four six two six four three three eight three two seven nine five zero two eight eight four one nine seven one six nine three nine nine three seven five one zero five eight two zero nine seven four nine four four five nine two three zero seven eight one six four zero six two eight six two zero eight nine nine eight six two eight zero three four eight two five three four two one one seven zero six eight!”

“Wow, was that…?”

“Yup, the first one hundred digits of pi.”

“Wow.”

“Yeah, I know…”

“Umm…”

“What?”

“Yeah, well…err…”

“Mm?”

“– Why?”

“Why what?”

“Why do you need to know the first one-hundred digits of pi?”

“Everyone’s gotta know something.”

“Mmhmm…”

Robert climbed out of bed at the shrill command of his alarm clock. A little over sixteen hours later, he drew the covers of his bed back, and climbed in again.

“What was the point in that? I could have just stayed here.”

Oliver Burns.

Rules of Poetry Safety

Treat every poem as if it were loaded

I tried to tell you

I to you

I ---- you

but the

words were

empty

Identify your target

and missed

by inches

anyway

Only use a poem if you intend to kill and

each time

I found them

and aimed them

and sent them

to you you’d

move anyway

‘Never point a poem at someone you love.’

The words were I, ---- and you

S.C.Williamson

Processor

This is the preface.

There was a girl ten years ago in a coffee shop who was lonely. This was Carin. She pulled out a huge array of papers and fanned œthem out. She pretended to work.

Carin found a husband who was in the Marines and had homophobic dreams, and they were married. That was Jeff. Later, she left him, and a dented gray word processor, and moved to another town where she finished school in other coffee shops. She studied this time. She had a baby which she kept on a leash.

There was a garage sale advertised in the newspaper. I went. I bought the dented word processor for five dollars. The woman who sold it to me said it worked, that she wrote her thesis on it a long time ago.

He’s been sleeping in the tent for ten days, where it smells like plastic lining instead of the slightly sour strawberry skin behind her ears. He’s been taking long bike rides for ten days, since she left him for political science and gender studies, since he laughed and she left. The house has gotten progressively more his, and more empty, and more full of pizza boxes and Chinese takeout white cardboard cartons. He sleeps in a sweatshirt and sweatpants and socks up to his knees, covering himself from night air and backyard monsters that could get him. This is better than sleeping in boxer shorts and bare skin in her bed, letting her get him.

She started to hate him a little bit before they even got married, gave him a tight smile at the altar, all lips and no teeth. She saved the teeth for later, for the big angry grin that looked like sharks when they tear a chunk out of some passing tuna and smile and eat. She looked smug. He smelled like cheeseburger grill smoke and generic lotion.

Buried on my yard sale computer are Carin and Jeff. They were married once. I learn about Carin after I’ve met her, after she sold me this sun-faded gray machine, not much more than a typewriter. She said it works, that she wrote her thesis on it. She did not say anything about Jeff, and how she left him, and his bad poems, and his journals, detailed descriptions of making waffles, eating waffles, and getting annoyed at his neighbor who shows up uninvited to bottle homemade beer.

She didn’t look like the type of woman who would leave.

She looked average, with her kid on a leash. I wonder if Jeff has seen this house, on Busey and Race, deep in Urbana normalcy. I wonder if he has seen this child, if he would approve of the child-leashing, or whether he would comment on the philosophical implications of imprisonment at a young age, with mediocre prose. His journal entries are milk toast and boiled eggs thinking about paprika.

She sold me this computer for five dollars. I talked her down from ten. It was labelled word processor, and came with a faux leather case, a mouse with a bulky connection, and a battery pack that would look comfortable on a villain's utility belt. It is heavy to carry, it carries like a briefcase for a mason, for a bricklayer.

Jeff does not mention wanting her to have his children in his journal entries detailing yard work and bedtime. The kids I saw at the sale are not as old as her 1990 thesis, as her times with Jeff must have been. These kids are Microsoft Word 1998 at least, not an offbrand computer with Windows 3.1.

The first time I opened it, a desktop screen showed briefly: bricks, a simple grayscale brick wall which I broke through, chipping away at Word Perfect files saved under names like journal2 and carin and weddingplan, files left behind. The next time I open the screen, instead of the brick wall there is a Paintbrush file, I LOVE CARIN written by cut fingers, by slit wrists, by a finger on a mouse. This JPEG file replaces the brick wall and I don’t remember changing it. The computer is haunted by Carin and has her political science essays interspersed with Jeff’s bad poems, saved in the same place.

He writes that he has nothing to write, except novel ideas that are not found in this file. He goes on to describe his dream from last night: I was in a hotel room. There was a girl there who left, and I went to take a shower, when I got out of the shower there was an old man with white hair and a red face in tropical uniform. He was drunk and had a shiny face and he stared at me when I was naked. He dropped his pants and I could see his erection which was red like his face. I stabbed him in the gut with a pair of scissors. Then I woke up.

This file was named journal3. These files were sold to me.

The dream is abrupt and intact. After this, it is hard to like him, poor Jeff, who sleeps in a tent without his wife. The next is named carin:

Today I carved your name into a table in a coffeeshop. It was already scarred with other people’s names, obscenities, the crudest American flag I’ve ever seen. I put your name right by the edge, right where it is in danger of falling off, right where you would see it, if you had your laptop out. You would see it, and I would earn you back. Carving your name on a table. It’s so stupid. So small. It’s nothing.

There is no closure with this. He wrote in a journal, a laptop journal, from August 2 to August 7, 1990. Five days, he carved her name into a table, then nothing.

I drive past that house in Urbana, on my way to a softball game where the object of the game is to get to second base, which is a cooler, and chug a beer. We smoke cigarettes in the outfield. We run, careful not to spill. The oldest of us is 26 and we are not married, we are barely real, playing fake ball with these beers, with these smokes, with these popups straight into the pitcher’s hand.

This sad little laptop life is not mine. I run outside and suck down coffees, laughing at these files I inherited, bad poems detailing his wife’s “warm, sweet meat,” and pretend there’s no way anyone could ever read the files that I add to this hard drive; this computer is already obsolete and no one could inherit it. My teeth are grinding as I read.

Carin has written a paper on the Freudian analysis of sex and violence. It is an obvious first draft, full of typos and quotes with question marks next to their authors. But it is so bad, so drivel. Do I want to add more to this? Do I want to put more thought into these people who talk about guns as phallic symbols? I do. I bury myself in Jeff and Carin again. A detective studying what went wrong ten years ago. I treat them like celebrities, like their lives belong to me. And they do. Five dollars, including the faux leather case, attachments and personal histories. It is hard to know they live in my town, sending Christmas letters to their neighbors:

Happy Holidays from the Bowers: Carin, Jeff and Howard. No, we did not sneak a pregnancy past you; Howard is our dog. This is a quick letter extolling the wonders of married life, or at least married life as we have lived it since our wedding in May. Our European honeymoon was a whirlwind tour of Germany, Poland, the Czech Republic and Austria. In Poland we visited Auschwitz, yes the not very romantic death camp. Prague was our favorite, even though it rained on us almost the whole time.

Carin is now working on her Master’s degree in Political Science. September through November were busy months for Jeff. I cannot tell you what was going on, but if you watched CNN in late November then you know what I am talking about. As a reminder, Jeff’s job is evaluating Anti-Submarine aircraft.

We both hope your holidays are joyous, and the New Year brings good things your way.

I try not to grimace as I save my files in the same folder, on a dinosaur machine that has retained its memory, a fossil with disks for my revisionist additions. I could erase their files, save more hard drive space.

I scavenge out a pixelated portrait of Jeff. He looks like Art Garfunkel, watery eyes and blonde hair, wailing about his love melodically but sounding a little crazed without a partner to harmonize with. This is a Jeff without a Carin, without balance, a normal guy who enjoys yard work but has startling homophobic dreams of murder.

There is a detailed wedding plan, done by Jeff. The telling detail is the keg party on the beach the night before the wedding. “What is left of the keg can be used at the wedding.” As gross as it sounds to have flat Icehouse served at a wedding reception (giving him the benefit of the doubt that he didn’t mean the church service), it is romantic to have a $500 wedding weekend on a California beach, with 35 guests maximum, 29 minimum. This list of invitées includes the “happy couple.”

I am that middle aged woman in a bathroom who never leaves her apartment, who has groceries delivered, a weekly supply of cat food and peanut butter. I can’t tear myself away from my telescope, looking in old text files for when the marriage failed. I am anything but twenty and young and looking at a laptop life lived in 1990.

One file demonstrates Jeff’s desire to be a writer. He says “I want so badly to tell you a story. I promise that it is a good story, despite the words in which it may be written.” This is the preface, saved under carin2:

Carin I really miss you. Last night I slept in our bed for the first time since you have left. The first thing I noticed was a complete absence of my wife. It truly was awkward. I stretched out my feet and that is when they found the socks at the bottom of the bed. Immediately the tears came. I miss you Carin.

Keri Mullen

Interview: Graham Lindsay II

What kind of audience do you write for?

An audience that's interested in the sorts of things I'm interested in, I suppose. I got interested in Zen Buddhism because I saw in it a description of the world that suited my sense of how it should be described. I got interested in George Oppen for the same reason. Ditto Baxter. Everyone has their enthusiasms and looks to bat them back and forth with someone. One of poetry's functions is that it has this capacity to talk about things that it might not be possible to talk about in any other way.

So do you hope to convey ideas, like those of Zen Buddhism, to readers who were neither knowledgable nor interested in them beforehand?

Yes, but discreetly. What I meant was getting away with talking about them, without getting laughed out of home, off the stage, etc. They’re the kind of ideas that can probably only stand being hinted at, or they come across as being new agey, gimlet-eyed, proselytizing. Some kinds of poetry seem to model the force that drives everything.

What does that last sentence mean?

“The force that through the green fuse drives the flower” (Thomas)

Is it possible to be too widely read? You say, for example, that "art is something you tell your secrets to" - does having too many hearers ruin the secret, or do you simply aim to be read by as many people as possible?

Most poets would rather have a larger audience. Maybe we’re all just frustrated rock stars who just want to break into song and dance? Poetry is a more meditative activity, that’s the way it is. The printed page is its ideal venue: it’s a private viewing, a comic book opera, the theatre of the brain. The more people in on the secret the merrier.

At the other extreme, would you still write if you never had an audience (except yourself, of course)? ie. how much is your writing a personal, self-justifying activity, and to what extent does it need to be read by others to make it worthwhile?

Poetry is a message-in-the-bottle kind of activity; we're all marooned on our own desert island to some degree. It's a way of being part of and hopefully forwarding a conversation that’s been going on for aeons about what being human means and what time means and so on. It's a method of exploring and testing thought, and recording it with a view to contributing something to the culture.

Yes, although, from your poetry, you don’t seem always completely convinced that words/writing/language is the best way of experiencing/recording the world – writing “comes//between us/and the world”, the writer is “in control//and out of touch”, and it’s possible that there are “no ideas but in things.” Any thoughts here? Also, do you ever find yourself avoiding writing about things for fear that the act of putting them in words might belittle/reduce them, or is this what poetry is for - to find expression for everything?

My sense of the way it works is that you have this idea/feeling which you attempt to translate into some kind of communicable form (talk, poem, song, dance, painting). The trouble is it can sometimes seem much more ‘meaningful’ than the translation. Nevertheless, that’s the business you’re in, so you give it a go, hoping that someone will get the message, maybe even experience an idea/feeling of a similar order to the one that got you going. Another concern is that in reaching for a translation you could be turning the tap off, losing the innocence and purity of the pre-verbal experience (which might be what the story about the apple, the serpent, and the tree of knowledge is about?) It’s the idea of the origin of the world in each moment, and is not to say we can’t or don’t feel this in language. Maybe it’s about going back and forth between these functions, going out on the thin ice of the unsayable, coming back to language to talk about it, each informing the other? There’s little nicer in the way of sensation than writing out a feeling, riding the breath or wave of a feeling all the way in to the beach.

What first brings a poem into existence for you? Ie. do you deliberately set times aside to write, or do ideas and words just come involuntarily?

Usually it’s an idea or a feeling, sometimes it’s a word or a phrase, which I collect in notebooks. I also like to set aside times at the end of the week for catching-up on the things I’ve been thinking about during the week.

Do you ever think you will run out of poems? Would you mind if you did? Is there anything you do to help force forth a poem when they seem to be hard to come by?

I hope not. I'd like to keep on writing till I cark. I used to do a lot of walking, go out for a walk and take my notebook with me, stop and make a note as the words came, it was a way of forcing a poem. These days I’m happy enough to sit in my backyard with a pile of books and my notebook and write and read.

Or in your office, perhaps, which mustn’t have a very poetical sort of view – a bedraggled willow, maybe, or concrete slabs - so does your physical environment have much influence on what you write, and on the amount you write?

The environment is a good subject to write about, to practise writing on. Depending on where you are, sometimes it can be so stunning it’s hard to write about anything else, or to tear yourself away from it (I’m thinking about Dunedin here). If you do manage to do this, of course there are plenty of other things to write about. The view out my window here is fine. I really like the native plantings. I sometimes like to think of my office as an overhang in a rock in a field of stone, somewhere like Castle Hill maybe.

You are writing a novel at the moment. Is this a natural thing for a poet to do?

The reason I'm writing a novel is because the story I'm telling is too big to cast as poetry, it would take forever – it’s taking long enough as it is. It is a different way of writing. While I've been writing prose for as long as I've been writing – my notebook jottings are in prose – it’s still taken me quite a while to get the hang of it. It’s that thing of learning how to do it as you go.

What’s the novel about, and what kind of devices do you borrow from your poetry, when writing your prose?

It’s about the same thing as my poetry is about. It’s something I’ve been thinking about it since the early 80s when I tried to write a sequel to a poem I wrote then called ‘EXIT’. I think a lot of the devices used in poetry also work in prose, though my novel is probably what’s called a poet’s novel.

In a few words, how can we avoid writing bad poems?

Maybe most poems are pretty awful to begin with and it's a matter of resisting the urge to publish them, so as to give yourself time to fix them up, or realise they might have to be shelved indefinitely.

Yes, but that leaves the matter of assessing one’s own work, and finding the bad bits – what are some common bad bits?

Saying more than you need to, I mean something that’s already implied. Otherwise: contradicting yourself, muddled syntax, ‘clever dick’ or ‘smartarse’ writing, pretentiousness, humourlessness. But a little of these can also be leavening, like the Persian carpet with its woven-in imperfections. Sometimes I wonder if ‘bad’ writing isn’t ‘better’ than ‘good’ writing, because the mistakes can be disarming, can relax the reader into thinking maybe this isn’t going to be so difficult after all.

Can you teach people how to write poetry? Obviously you can tell people what alliteration is, and what a metaphor is, and what rhythm is, and how to achieve them all, but there must be a bit more to it than that, or else everyone who knew those things would be superb poets. Is it possible to teach people that "bit more"? Any ideas as to what that "bit more" is?

It's a partnership: the teacher shows the student something and the student finds it out all by themselves. All sorts of things teach, including poetry, especially the student's own poetry. The bit more could be about inspiration, being moved.

Can you be more specific there, or is “being moved” as precise as you can hope to get about something like writing?

Each poem is an attempt at a definition of what being moved means.

Interview: Graham Lindsay I

Graham Lindsay is the Writer in Residence at Canterbury University, having taken up the 2004 Ursula Bethell Residence in Creative Writing. Mr. Lindsay has published seven volumes of poetry (his latest the 2003 Lazy Wind Poems) and he is currently working on a novel. He was interviewed by Michael Bycroft.


What exactly do you do as a Writer in Residence?

It's pretty straightforward; I come into the university each week day and work on my novel in a room in the English department.

Does it work like that, though? – ie. do you find yourself writing, finding material for, and thinking about your novel in your “spare time”?

Yes, it works like that, and I also get ideas for story details and structural organisation when I’m not at my desk.

Presumably being a writer in residence means you are obliged to produce a certain amount of material. Does this kind of pressure effect your approach to writing? Ie. do you find yourself forcing ideas when they might not necessarily be there?

There are no obligations to produce, and because I'm rewriting I'm not sweating over a first draft. It’s not a matter of forcing ideas, so much as trying them out, seeing if they work, and if they don't trying something else.

Are writers themselves good judges of “what works”? ie. working on something frequently, do you find yourself losing your objectivity a bit, and viewing things as a writer, rather than a reader? Is that a problem?

It’s a big problem. A writer is a reader too of course (I know you mean a reader who has little understanding of how writing is made). I think you’ve got to trust your own judgement, and work on developing its acuity, because very few readers are going to read your manuscript as closely as you have to. Getting distance on it helps you see what works and what doesn’t, and there are all sorts of ways of getting distance. For instance, you can work on a folder of poems, do what you can on one poem and then move onto the next, go round and round. All the usual breaks help: meals, sleep, weekends, holidays, movies, parties. Emptying your mind helps, regularly practising some form of meditation. Different moods: if you can write when you’re feeling tired or a bit despondent about your ability, you can sometimes produce better writing than when you’re feeling bright-eyed and bushy-tailed. It’s all about getting lots of different angles on your work.

You were a student once, I think. What was your attitude to University at the time? Were you a studious/ambitious/reluctant/rebellious student?

All of the above. I put in lots of hours in my first year (a lot of them not very effective). By my third year I’d started smoking and was more active politically.

Was that due to disillusionment about putting “lots of hours in”, or due to excitement at the possibilities of “smoking and protesting.”? Which part was more fruitful, from an artistic point of view – the hard study or the hard living?

Part of growing up. I was never attracted to ‘hard living’ per se, though I’m sure like anyone I’ve made life hard for myself at times. I think ‘hard living’ can be a kind of procrastination, like travel.

Do you think your Uni experience shaped you poetry at all? ie. would you be writing in much the same way, about much the same things, if you hadn't gone there at all?

One of the options I considered instead of the 7th Form was the Forest Service, but you had to have a science degree to get anywhere with that, and I wasn't very interested in science. I was already thinking I might like to be a writer and continuing to study literature turned out to be the right thing to do. Writers like James K. Baxter and John A. Lee and Denis Glover and Vincent O'Sullivan came to the university to read and talk. Baxter had a big impact.

So you were aware of your will and ability before you got to uni – how long had you had this ambition to be a writer, and what stimulated it originally?

What started me thinking about writing was when we had to read two poems by Dylan Thomas for homework. It was a mammoth struggle trying to follow the syntax of one of them (‘Poem in October’), I pored over it for hours. At about 11.00pm or something it opened up, and I peered into this magic world. The syntax wasn’t resolved; I think the poem had an effect on me a bit like what Zen koans are supposed to.

Do you think the academic study of literature is worthwhile? Ie. it’s easy to say that "such study is a dry, passionless task that produces only dry, passionless analyses, and that this smothers the real spirit of literature." Any opinions on that?

Academic study is close reading. Close reading is a one-to-one relationship with a text that requires concentration. It can be hard work putting aside other thoughts and homing in on the meaning before you. If you're excited by something, however, getting to know it better is hardly going to be a dry, passionless task. So I'd say academic study can uncover the real spirit of literature, and allow that the complex pressures of being a student can be unsettling and misleading.

Do you go back and read your own volumes at all, and do you see yourself improving over time?

Usually only to select things for readings, though I might go back as a result of a review or a remark or an anthologist's choice – it can be a curious experience seeing your work through someone else's eyes. I think I'm getting better, not that that makes writing any easier, I think it just means there are more bases to cover. Maybe it’s a matter of having a bigger bag of tricks to dip into?

Have you written anything that makes you cringe when you go back to it?

Sure, I’ve written things that have made me cringe, and I’ve gotten past this by ignoring those pieces, or becoming more forgiving of them. On the other hand, occasionally someone says something nice about them.

And what tends to be cringe-inducing – the naiveté of ideas or the clumsiness of expression?

Yes – naivete, clumsiness. Getting the music of poetry to work can be hugely time-consuming. Adding and subtracting material can throw the music into disarray, so that you have to start all over again. Going back and forth between prose and poem formats can speed this process up; it’s much easier with prose to add and subtract, I find, and also to get the syntax and logic sorted (if you want these things sorted, of course).

As for your successful poems, do you find yourself seeing things in them that you had missed before, or hadn’t intended when you wrote them?

It is gratifying to reread something and find yourself thinking, ‘that’s bloody brilliant!’ But I won’t be reading it with a view to improving it by then, I won’t be reading it as critically. It’s not often I see things I missed, or which were unintended, which might be for the same reason, or it might be because I hang onto work for an unconscionably long time so this won’t happen. If it does, I have a chuckle. Not getting readily published can be a great opportunity.

You write in a fairly free-looking verse. Have you experimented with other, more structured forms, and can you say why you prefer the ones you do?

My attempts at more structured forms have been disheartening, so I haven’t persisted. If there hadn’t been an alternative, I might’ve gone straight to prose. The few sonnets and haiku I’ve published have mostly been accidental. I appreciate that they make writing easier for some people, I also admire and enjoy reading them sometimes, but they're not for me.

You cite George Oppen as an influence on you. What particular bits of Oppen appeal to you/do you try to imitate? Who else are you influenced by? Which poets do you dislike/object to/abhor?

For a decade from the mid-eighties I read and reread everything by and about George Oppen I could get my hands on. What appealed to me about it was a sense of what I'll call the imminent present, a feeling similar to what I get listening to some music. Now there's a whole lot of new stuff on the internet on George Oppen, which I haven't kept up with. I didn’t try to imitate him, but I didn’t mind if my work looked like his either. Usually I’ve got to reread something to realise what I've been influenced by. So I’ve discovered that other influences have been Baxter, Curnow, Wedde, and Manhire. I won't say whose work appals me because in the past when I've done this and then gone back to see if I was justified, I’ve found that I wasn't or that I've changed my mind.

This phrase “imminent present”: what does it mean, (is it something to do with the “act of listening to the world”, or the “feel of nothing…knowing what it’s like to be human”, as you have written?) and do you try to bring it into your own poetry (or does the act of writing itself give you a sense of the “imminent present”)?

It’s hard to get a handle on this, to know if the present is something we fall in with or is something that has lately happened, because the idea of its currency is in a precise sense after the event it refers to. It’s certainly in the same territory as what I mean by ‘the feel of nothing’ etc. It’s the idea of being on the brink or lip or crest of the wave of time moment after moment. I find the business of time endlessly fascinating, and sometimes wonder if that's fundamentally what art is about. I especially love notions such as that time is this gaping void (sort of like a hole, if you like, that threads the universe, ((the gulf in the cave in, is it Passage to India?)) which you can sort of get an understanding of through practises such as meditation, or otherwise, less stably, more riskily, through drugs. But the point is to stay in touch with such a feeling, 'the void eternally regenerative', because it's a little like a seam or a vein, it produces thought artefacts which themselves may be interesting, inasmuch as they may give us hints as to our nature, as to purpose, and so on.

2004 Anthology: Editor's Note

This edition marks the end of our first year in creating a creative writing journal for the University of Canterbury. Our aim to provide a creative forum for student artists was well received and we hope this will set a pattern for future years. The journal has brought together a range of writers, including the work of students from such diverse backgrounds as Engineering to English. In this edition, we feature works from both established, published writers as well as new up and coming artists: published poets Anna Jackson, Greg O’Brien, and John Newton have gracefully allowed us to showcase one of their poems alongside the efforts of us students. This edition also contains an interview with the current writer in residence at Canterbury University, Graham Lindsay, who kindly spoke to an interviewer and offered up some insights into his time at Canterbury University and into the creative writing process. A selection of students’ stories, poems and essays round out this edition; and with continued interest from the students body, continued support from the English department staff, and a bit of luck, we hope to publish collections of a similar kind in the years to come.