Angel Escobar’s awareness of motion is one of the many elements that make his poems undeniably powerful. To me, as I translate his poems, there is no doubt that Escobar (1957-1997) created multivalent, energetic work, and that a quick reading of one or two poems at least hints at his range. Other writers, at the very least other poets, must recognize the surety of his movements.
In te ao Māori [the world of the Māori] everything is intensely interrelated, which is why all of these conversations-commentaries keep on interconnecting. So when Alison Wong writes about Pauatahanui, it segues into what I wanted to write next. It was once the home of a poet who is mainstream, but has never been any favourite of this country’s academic mainstream.
At some point, yesterday or long ago, you read a poem and something happened to you: and you thought, or you didn’t quite think: yes. And this affirmative recognized a need, or a touch, or more precisely an answer to a question you hadn't even asked. The question hadn’t existed until the work appeared to create it, opening that space, revealing a gap.