As promised in the previous commentary, in these variegated tangents away from the vast soft white underbelly of New Zealand poetry, I here focus on two non–New Zealanders and their valuable and vitally different representations of Kiwi poets and their mahi, or work. One is French, one is American; both have been keenly involved in publishing or producing New Zealand poems for quite some time now. Both are visual artists. Alphabetically, I now approach them — America to France.
As I strive to spread out any potential ingrained clench as to what makes for Kiwi poetry, any Kiwi poetic, away from ‘mainstream’ clutches that demand ‘appropriate’ ways of writing, presenting and publishing a poem, in this commentary I take into consideration what three expatriate Kiwi (aka Aotearoa New Zealand) writers think/reflect about Kiwi poetry from afar.
This commentary post features Robert Sullivan (Ngāpuhi and Kāi Tahu iwi). Robert is an important Aotearoa New Zealand poet/author, in that his work flows across several parameters. What do I mean by this? Firstly, Robert is Māori — his iwi or tribal affiliations are as listed above and indeed encompass the entirety of New Zealand in that Ngāpuhi is northern and Kāi Tahu is southern in locality. Being Māori necessarily incorporates a different epistemological outlook and ontological stance — as conveyed in many of his poems. Quite simply, then, Robert sees and senses differently to a majority of New Zealand poets; yet at the same time he is more than capable of writing poems in a ‘mainstream’ English-language fashion, should he choose to.
Kia ora ano [Hello once more].
This commentary post features Robert Sullivan (Ngāpuhi and Kāi Tahu iwi). Robert is an important Aotearoa New Zealand poet/author, in that his work flows across several parameters. What do I mean by this?
The creation of flash fiction/prose poetry is increasing exponentially in Aotearoa, New Zealand. It has always been around, but nowadays there are more exponents, more outlets, more coverage, more academic 'acceptance' of the form. It is a significant presence and — to me — a very valuable and viable method to further w i d e n the horizons of poetry and literature in this country. Which has always been the focus of these commentaries.
I am honoured and humbled to continue to commentate on poetry and poets in Aotearoa New Zealand, which swerve away from so-called ‘traditional’ ways to write a poem and concomitantly, away from traditional topoi.
In this commentary, I will extend from my final commentary post of March 2016, which was entitled ‘Coda 2,’ although that title is obviously a misnomer, as this country just keeps on producing poets of great ability, with serious credentials and a willingness to s t r e t c h the paramaters of what a poem is, should be.