“No mud, no Lotus”

Everything comes together in November. The sun comes out and the house stays warm through the night. Cases in Victoria descend to zero and remain there for days and then weeks. Trump loses. There are no euphemisms for this and no hyperbole too great. It feels like the embarrassed silence after months of heated shouting, like waking up from a terrible night’s sleep, grateful it’s morning. We become giddy with these glimmers of okayness. I feel like crying when we meet up with friends at the beach after hundreds of days of isolation and when we first go to a cafe for lunch, we make friends with every wide-eyed person there. We book a holiday out of town – a rebooking of a twice cancelled trip from July. Everything went pear-shaped around July.

In the beginning, I felt a strange camaraderie with the world. We made jokes about running out of toilet paper and people across continents would laugh. The mention of isolation boredom and work pyjamas had wide reaching ripples of knowing nods. Suddenly everyone in the world had something in common. Then jokes gave way to fear and anger and things got worse, of course, before they got any better. Or they briefly appeared to be better before they got much worse. 

Relief that 2020 is coming to an end is understandable, the need to draw a line under it – through it even – as we collectively agree it was nothing like we’d planned, but I feel a pang every time someone says what a terrible year it has been, even though I know it has been devastating for so many. In our family alone we lost a dear parent and attended the funeral by zoom, we had illness, we had disappointment and we mourned the absence of friends and family as we tried to show our new baby the joys of the world we brought her into. But 2020 is special to me. When I mention this to a friend in the park, gesturing grandly towards my baby, she says “No mud, no Lotus, right?” and I google the phrase later at home.

This was the year that started with Lotus’ birth, my mum here for ten days prior and ten days after and my brother making a hasty appearance just in time to meet her minutes after she emerged. It’s the year my dad delayed his flight to Nepal so he could meet his new grandchild and the year so many other beautiful babies – Lotus’ friends – were born into villageless isolation. 

It’s the year Lotus learnt to crawl. First her own invention, a kind of dry-land butterfly stroke – flopping and dragging her body around the house we moved into in August, then figuring out the more energy efficient version on hands and knees, squeals of delight as she became mobile. It’s the year she learnt to clap her hands, eliciting praise and excitement from her parents, looking at us in turn as she does it, knowing we’ll be delighted. The year she learnt to sleep the entire night, settle herself back again on waking or stand in her cot to call out she’s ready to get up. 2020 will always be the year Lotus started pointing at things she liked, things she wanted, things she recognised and things we asked her to. Every day she shows us the patterns of light on the walls from windows covered with trees or lace curtains. Her full cheeks rise into the biggest smile when she finds even the faintest impression of shadow and bright. There are rainbows in our living room in the afternoon and she will find them before anyone else can. In the mornings, she pulls books off her shelf and hands them to me one by one to read to her as she turns the pages, points at the illustrations and sometimes says “baby!” if there’s a baby on the page. It’s the year she made friends with babies. This year is the year Lotus first called me “Mumum” and her dad “Papa”, the year she started singing along as I play guitar and nodding her head to her favourite songs.

2020 was terrible, but I won’t cross it off. It’s the year we realised how lucky we are, never again taking simple things like going out for breakfast or having visitors for granted. We hunkered down through winter, solving sleep issues with only as many tears as it took to scramble from our bed to hers. We never had to figure out the logistics of how to get baby, pram, nappy bag to this thing or that thing. There were no things to try and get to. 

Soon, and I’m sure of this, we will be able to see our families again. My mum will come from New Zealand the moment she’s allowed, my dad will have to find his way back from Nepal and our newish little family will have planes to catch to see Lotus’ uncles, aunts, cousins and grandmas. We have lost people and there will be time again to grieve and process this. Somewhere in the midst of this chaotic year I turned 40, quietly and with a carefully planned glass of champagne. Everything falls slowly into place in November and this blurry and intense, forgettable year is the most memorable of my life.

Borders

 

Sometimes I’m that puzzle you bought from an op-shop

five dollars. You looked so pleased holding it under your arm

a rubber band snapped tight around the cardboard box

seasonally appropriate image of red and yellow 

leaves above a thick black river.

 

When we spread it on the kitchen table and sifted

pieces through fingers, fingers through pieces 

we couldn’t find a single edge to get us started

– not a single edge or corner – five bucks, sure 

but it was hard not to feel let down.

 

There are times on the train when young men sit near 

and speak softly to each other in the familiar cadence

of my father’s language. I want to tell them I know

I’m related to them, just look at my name

but it’s a language I only recognise by sound.

 

Or when I hand over my keep cup and the vowels 

of the barista are clipped like mine, hanging pounamu 

and I want to say bro, we’re bonded, secret handshake

but there are hundreds of us here 

with nothing remarkable about our easy migration.

 

Anyway, it turns out you can still put a puzzle together

when the edges are missing, but it’s harder to trust the process

harder to immerse yourself in the task

when you don’t really know if the bit you’re looking for 

is lost in someone else’s living room miles from here.

 

The trick is to start from the middle.

Work your way from the bright centre of autumnal leaves

towards forested outskirts, like an ever-expanding universe 

trying not to think what will happen

when eventually

inevitably

there will be no spare pieces left.

Learning to be gentle

I keep my judgements to myself, mostly

a cat claw stuck in the baby’s sleeve

causes more tears

 

than her top teeth pushing through gums

those stubborn numbers

finally in sharp descent.

 

Clusters form from a reckless traveller

while we focus on enjoying bath time

and every playground we can walk to.

 

I turn the pram around so she faces

the world head on.

I must be feeling optimistic.

 

Not knowing about thresholds

the step into the sunroom becomes

a literal tipping point

 

each morning, firm pats on a patient cat

until the patience of the cat snaps too.

The numbers

Every morning I check the numbers:

Covid cases and hours of sleep.

 

Try to focus on the rolling average forest

not the trees, though they blossom and bud.

 

It’s been a year of seasons.

I mean, of course it has, but so much so this time.

 

We spent money on woollen things to wrap around us

and from this end of it all I’m glad

 

to have hunkered down through the worst of it.

Hair growing unruly and the same two outfits.

 

I buy sparkly skirts in preparation 

for whatever good things are surely about to happen

 

and on the morning after Lotus first sleeps

straight through twelve of the night’s twelve hours

 

I walk to the corner store for bread and eggs

feeling extraordinarily ordinary

 

back to some baseline normality

and the forest is not fogged, 

 

but a dappling canopied, mossy floored space

letting wind and light breathe through.

Waking life

Each night in the new house I farewell former lives

through broken sleep dreams.

 

Spot a high school crush, now mid-forties

soft about the jaw, the soft hue of his roots.

 

Old partners with mail they’d neglected to redirect

challenge me to a game in the penny arcade.

 

Night after night the past appears

asking if I’m sure, and I’m sure

 

I wake to my baby again and again

fall asleep to reply

 

I choose the life I wake to

I wake to this life and I choose it 

again and again and again.

Trust

The change table is a safe place, you learn
no longer protesting instead
laughing, finding your voice, kicking
to the edge raising eyebrows
until I respond.

You wake with a shout sometimes
then a smile when your dad or I
appear, faces goofy with love.
You’re all gums and drool.

One day soon you’ll sleep through
and I’ll miss our 4am meetings
when you feed with focus, then come to

that gummy smile again as you realise, I imagine,
I was here all along.

March 20th

The world is told to self-isolate just

as I might feel like mingling with the world again

I get Friday mornings off to shower, cut my nails

drink tea while it’s still hot. Rainbows in the living room

I walk around the block

 

collect two fallen frangipani flowers

an autumn garden inconsistency. Summer

a blur of pregnancy birth baby

two months measured out in feeds and naps

tears, each week I walk this walk a little quicker

 

each week things get better

before they get hard again, but mostly

there are more good days than tricky days

and never do I call them bad days.

One of my flowers blows to the ground

 

face-plants grass, stem to the sky

the other I hold as I write, bringing it to my nose

with each pause of the pen, sun-warmed

black-clad body, cheap kmart shapewear

holds my weakened core together

 

I swing my briefly baby-free arms about

the scent of good days and tricky days ahead.

Expectant / Morphology

Expectations and Reality

Here is a poem published ten years ago in my first collection, Wit of the Staircase. It is inspired by the form of Surrealist poet, André Breton’s ‘L’union libre’.

I wrote this poem from my imagination, looking up images and descriptions of what it might feel like to have a life growing inside me.

Expectant

after André Breton

Girl with the eyes of blown glass
With the limbs of a curled tadpole
With the thoughts of a startling gesture
With the breathing of a baroque organ.

Girl with the fingerprints of tiny forecasts
With teeth of tight buds and a harvest of rice
With the quickening of fists
With the heart of a fusible link
With the heart of a bicycle pump.

Maybe-boy with the eyelashes of ellipses
With the ears of fine bone drums
With the eyelids of swift translucent fish
With the fingers of quotation marks.

With the hair of hiccupping
And the ends of guitar strings
And of a shelter of bracken
With the bones of clay
With the weight of the world.

From Wit of the Staircase, 2009

There are images here which I love – the “eyelashes of ellipses” and “eyelids of swift translucent fish”, for example. But the last two lines feel awful to me and I wonder what feelings I had back then about having children. “Bones of clay” is vulnerable and soft in a terrifying way and “the weight of the world” feels devastatingly unfair.

Here’s a recent poem, this time based entirely on experience. She is a marvel and she is strong – I’ve seen and heard the four chambers of her heart beating and feel her movements deliberate and determined.

Morphology

We saw you on the fourth day of spring.
Still part of me and in ghostly black and white
but there you were, like a photo of the moon.

The sonographer chatted the whole way through
recommending nappy brands and hypnobirthing.
We could see your bones, your organs and eyeballs.

You are beautiful and perfect and even if you weren’t
you still would be. When we stepped outside
jasmine was everywhere, new blossom

on the otherwise bare twigs of winter. The next time we see you
you’ll be entering the world, exiting the world you’ve made inside me
and joining this marvellous place of birdsong and magnolia.

Each day the temperature rises gently, our body swells
ripples of your quickening strengthen your underwater dance
beating heart, undeniable presence of being.

September, 2019

Alt-Rock’s Demise

This piece was originally written in 2016, following the release of my first novel, Lonesome When You Go (Mākaro Press, 2016), hence some out of date references to “popular” music.

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Ed reckons Nirvana epitomised the peak of teenage angst, and the relevance of music to our collective consciousness has been going steadily downhill ever since.

Ed might be the fictional teenage drummer in my novel Lonesome When You Go, but he’s voicing a widely held opinion. Grunge died around 1996, taking the ‘alt’ of alt-rock with it and leaving us with highly processed, watered-down pop-rock –  much like the brightly coloured ‘alcopops’ of the late 90s that distracted us with their pretty bottles but did nothing to validate our true teenage feelings.

The years between the release of Nirvana’s Nevermind and Kurt Cobain’s death have often been described as the height of authentic alternative rock. Earlier this month Sean O’Neal at the AV Club wrote “The faux-graffitied writing had been on the wall for alternative rock’s attenuation into corporate-engineered dross since approximately two weeks after Kurt Cobain’s suicide, right around the time Live’s Throwing Copper was released.”

Cue vivid flashback to the most popular, mainstream, best-grades-and-hair-award-winning girl at my school proudly wearing her orange ‘Live’ t-shirt tucked into her brand new Levis. A completely puzzling image to me at the time in my op-shop altered clothes and wearing-thin Converses. Alternative rock was no longer the alternative, but thank god the 90s gave us what they did.

Rolling Stone has a terrible list of the 100 best albums of the 90s. 

It’s probably about 75 albums too long and although the top ten includes six alt-rock bands and only two albums released after 1996, it glaringly omits Radiohead’s The Bends and Smashing Pumpkins’ Mellon Collie and the Infinite Sadness, both from 1995. I was fifteen that year and am forever grateful for such perfect life-timing. If ever there was someone to take on the burden of voicing the complexities of teenage emotions for our entire generation, in the wake of Cobain’s passing, Billy Corgan was it. An unlikely hero by today’s standards, but a genuine one whose music burst straight from his own hurt soul to ours, making us realise we felt things, the names for which we had never known before.

Maybe one would argue that this new generation of teenagers have different emotions. Perhaps they don’t feel deep inexplicable sorrow or pure anger at the structure of society, and Ed Sheeran stating that falling in love is mysterious is just as meaningful to them as Corgan’s lyrics were to us. Or perhaps hearing over and over that Bruno Mars’ girlfriend’s face is amazing just the way it is is somehow empowering. But current teenage mental health is unfortunately not in good shape and Miley’s limited emotional vocabulary that reduces people and feelings to wrecking balls and Taylor Swift telling us just to “shake it off” can’t be helping. Emotions and love are much more deeply complex than that and 90s alt-rock allowed us to own those feelings and sit with them. On shuffle and repeat.

Music has always been hugely important to teenage culture and therefore holds a position of great power and responsibility. It’s not the teenagers’ fault it’s been doing a lazy job of connecting with them these last 20 years.

It’s not just the fault of the lyricists either. The need for rock music to speak an emotional truth to a generation appears to be woefully low on the musical agenda while production value and the dollar are high. Current music software is incredible and anyone with a laptop and a few hundred bucks to spare can set up a home studio. But the slick polished sound is a far cry from an authentic human voice, taking musicians yet another step away from their audiences’ hearts.

Back to the 90s and commercialism was already starting to break down the entire point of alternative rock before it had time to fully draw breath.

Some argue alternative music was doomed the moment it arrived. Like a baby born on the moon, emerging into a toxic context of an industry fundamentally devoted to the corporate dollar. Anger in the face of this brought us some of the best music we will ever hear, but the cage of capitalism was firmly locking in the passion and creative rage of not just Billy Corgan’s “rat”, but the whole spirit of the 1990s. A teen culture that was based on values of op-shopping and resisting the system, we were embracing feelings of hopelessness and frustration and sharing these through distortion pedals and low-slung guitar straps.

There’s much discussion about music in Lonesome When You Go – mostly in the form of sharing loved songs, finding the right album to fit a character’s mood, buying CDs and being completely precious about how other people handle your vinyl. It’s about having pride in your musical taste; being able to hold forth at a party and gain credibility from strangers. In one scene main character Paige says, “Music totally reflects the culture and societal perception of a particular time so even if we can completely dig the sound, since we weren’t alive during its inception, we can never really hold claim to the ideology – you know?” She’s perhaps defending why alt and indie rock can now only be emulated – covered and coveted – but never again will it be as truly authentic, pained, beautifully messy, sorrowful and angry, as it was in those heady days of 1995.

Listen to the Lonesome When You Go playlist here.

Buy Lonesome When You Go from Mākaro Press here.

Tātou tātou e

Feeling far from home.

I left work early on Friday afternoon vaguely aware that something had happened, but not yet able to engage. I was overwhelmed anyway – so much work to do, unexpected difficulties, the things I want in my future taking far too long.

When I finally found somewhere quiet to sit alone and read the news… well. We have so much work to do, I thought. This is taking far too long.

Would it be easier to be surrounded by others who are mourning? I walked into class on Tuesday, Year 8s stood awkwardly while Tūtira mai ngā iwi played through a UE Boom. I half expected them to sing along, sway or move in gentle wiri, but this is all completely foreign to them and Tuesday morning roll call is no time for my tears.

Distance, so I didn’t realise the connection between the song and those currently standing strong. I was transported instead to my childhood primary school in Auckland when all teachers could strum a guitar in that particular way, show us line by line how to sing waiata, never quite explaining what it meant.

‘80s kids belting out Aue! at the end of each line, kids whose names I could pronounce with ease (it was ‘Christopher’ I had trouble with, I mean just look at all those consonants!)

We have so much work to do, but young people haka in the street, write condolences, visit mosques with their families.

Young people stand awkwardly listening to a completely foreign song, watching me listen because whenever New Zealand is mentioned they think of their teacher, turn to catch a glimpse of me in a crowded assembly hall, because they know I’m usually smiling

when I’m reminded of home.