As a brief coda to last year's series of commentary posts regarding Aotearoa New Zealand poetics and poetry, I am privileged to be able to feature three fine women poets: Ivy Alvarez; Reihana Robinson; Grace Taylor. All three fit, if you will, the parameters I claimed would establish the future direction of an increasingly multicultural country. None of them could be classified as pākehā middle-class poets and all tend towards the experimental and/or performance and/or indigenous striates of poetry. Significantly and obviously, all three are women. Theirs is the future of poetry in the skinny country of Aotearoa — inevitably, for as I have stressed several times previously — the demographic of Aotearoa is rapidly and rather radically on the move into major diversity. More, these three writers involve themselves in shared self-reflections about their own layered identities — ethnic, linguistic, cultural — in this zone of change, that is Aotearoa. Just like the inevitable future national flag transformation here, away from union jacks and governor-generals, poetics here will inevitably reflect more and more female, multiethnic poets of spirit; who swerve off in directions from so-called mainstream verse, while writing and performing in forms of English far from so-called standardized English, if indeed they even write in that language at all.
Kia ora.
He hokinga ki tēnei whare o ngā whiti! [A return to this poetry house!]
As a further brief coda to last year's series of commentary posts regarding Aotearoa New Zealand poetics and poetry, I am privileged to be able to feature three fine women poets: Ivy Alvarez; Reihana Robinson; Grace Taylor.
CODA #2: The future of Aotearoa New Zealand poetry?
CODA #2: The future of Aotearoa New Zealand poetry?
As a brief coda to last year's series of commentary posts regarding Aotearoa New Zealand poetics and poetry, I am privileged to be able to feature three fine women poets: Ivy Alvarez; Reihana Robinson; Grace Taylor. All three fit, if you will, the parameters I claimed would establish the future direction of an increasingly multicultural country. None of them could be classified as pākehā middle-class poets and all tend towards the experimental and/or performance and/or indigenous striates of poetry. Significantly and obviously, all three are women. Theirs is the future of poetry in the skinny country of Aotearoa — inevitably, for as I have stressed several times previously — the demographic of Aotearoa is rapidly and rather radically on the move into major diversity. More, these three writers involve themselves in shared self-reflections about their own layered identities — ethnic, linguistic, cultural — in this zone of change, that is Aotearoa. Just like the inevitable future national flag transformation here, away from union jacks and governor-generals, poetics here will inevitably reflect more and more female, multiethnic poets of spirit; who swerve off in directions from so-called mainstream verse, while writing and performing in forms of English far from so-called standardized English, if indeed they even write in that language at all.
Kia ora.
He hokinga ki tēnei whare o ngā whiti! [A return to this poetry house!]
As a further brief coda to last year's series of commentary posts regarding Aotearoa New Zealand poetics and poetry, I am privileged to be able to feature three fine women poets: Ivy Alvarez; Reihana Robinson; Grace Taylor.