Summer rain

Our two week holiday ends with rain. Lotus calls it ‘mist rain’ the stubborn drizzly stuff that won’t be moving on until it has emptied the clouds entirely. No wind to push it along, or sun to sizzle it away. It’s been doing this for two days now and it makes me want to go to bed early. So I do.

But rain highlights some of my best moments in the last two weeks: Jumping into the pool the night before Christmas once the kids are in bed, a gentle thunderstorm rolling past. A sprinkling of rain and a boom or two nearby. The sun goes down as I float lazily and a few bats flap overhead. I wonder if the thunder messes with their echolocation, confuses their navigation. For me it does the opposite and I feel grounded by this very Melbourne phenomenon of a summer thunderstorm.

It rains all Christmas Day too, but on Boxing Day I strap Finch to the back of the bike and ride ride ride through park after park in the sunshine while he squeals and shouts. I turn briefly to see him pointing at it all, his whole body alert with amazement at trees and people and dogs and cars and just the details of the world really. It makes me laugh out loud. We’re chased back by a proper storm though – thick dark clouds wading through the sky, pushing their way towards home where the washing has already dried in the hot wind of morning. I pedal as fast as I can and I’m the one whooping now, laughing as the big ploppy drops start to fall and loudly reassuring the little guy that we’ll make in time, it’s my mission to get us back inside in time and I do. Buckets upon buckets of rain plummet down and we watch from the safety of the front porch.

There are warm days and cool days and days where nothing much happens, but we’re happy together and what at first felt like a daunting prospect: daycare closed and having to manage the big feelings and big energy of an almost four year old and a just turned one year old, turns to feelings of precious one on one time, making adventures of going to the supermarket together, building duplo towers and going to our favourite playgrounds.

In the last few days we have family visit, bundle ourselves into cars and drive to the museum where Finch again points at all of it with curiosity and astonishment, confusion and concern. There are dinosaur bones and bugs and giant crystals found within unassuming rocks. Lotus is fascinated by it all and I wonder if I’ve ever seen her so excited, engaged with everything, asking questions, pushing all the buttons. She’s wearing her gumboots so on the way to dinner, with our colourful umbrellas above, she finds the best puddles and stomps stomps stomps. Gutters run like rivers and her small hand is warm as she tugs me to the next big splash.

Today the sun is out. We’re up early and ready to go quicker than we ever have been. All of us on the bikes, but the ride to daycare is less than five minutes. Lotus is in the four year old kinder room now, meeting up with her friends and making new ones. Finch spends one hour getting used to the nursery where he will be three days a week.

Last night in bed the drizzling rain reminded me of home, of other homes I’ve had where it rains depressingly often. The thought of these wonderful little people – loud and brave, curious and intense – going out into the world had me in mist tears, tears that won’t be moving on until they’ve emptied me out. But right now the sun is shining and we have stories to tell our friends.

An Interview with my Self-Publisher

After having four books published through small independent publishing houses in New Zealand I have just released my first self-published title. My experiences have all been positive, but have ranged widely from the quintessential bookstore book launch, to crowd funding, to author collaboration and carrying boxes of books home to sell myself.

I decided to self-publish Learning to love Blue as it’s the sequel to my debut YA novel Lonesome When You Go and was proving tricky to find a home for. I was also curious about the self-publishing process.

Thanks to some very supportive Facebook groups and an inheritance from my grandparents, I was able to figure out an approach that seemed, well, approachable. I chose to use Ingramspark’s print on demand service, and set up the imprint Record Press

I was interviewed by my self(publisher) over on Medium – have a read!

11 Tracks from Learning to Love Blue

1.

Taylor brings me a drink and then takes a guitar off someone mid-strum. He starts playing out a familiar riff – The Strokes’ ‘Someday’ and soon we’re all singing it together, tapping out accompanying beats. I wonder if it’s like this here every night.

2.

Why didn’t I just go back to sleep and catch the tram to work in the morning like a civilised normal person? I’ve slept on couches before. I could have handled it.
I start humming ‘Don’t Think Twice, It’s All Right’ to myself, walking along my own road, taking comfort in the ‘it’s all right’ part. It’s also the best song about moving on ever written.

3.

I’m humming, and it takes a few minutes to recognise the tune as one off Blue. The one about a flight, set to a frenetic beat that I tap out anxiously on the armrest. I watch the animation of the plane creeping to the edge of the Tasman Sea, closer towards Wellington. The familiar shape of New Zealand on the screen gives me a strange surge of patriotic comfort.

4.

As I park my bike and lock it to the railing, I hear a busker outside the shopping centre. He’s playing The Smiths, ‘There Is a Light That Never Goes Out’– one of the darkest and yet most optimistic songs ever. I walk closer and realise that not only are the lyrics familiar, but the voice is too. It’s Taylor.

5.

‘Bridge Over Troubled Water’ is blaring out of Lou’s room. She’s been playing Simon and Garfunkel all day and I have reached my absolute limit.
I storm through her door.
She’s sitting cross-legged on her bed with her eyes closed and the most blissed-out expression on her face. Is she meditating? With this racket going on? She seems to sense my presence and holds up a hand to silence my not-yet-uttered protest. Then, as if conducting me, she moves her hand in a welcoming gesture, drawing me into the room and pointing to the seat next to her. There’s half a beat’s pause in the song and then the next verse starts, the crescendo rising again. There’s no use trying to speak, so I sit and close my eyes with Lou, let the song fill me. God, I hate Simon and Garfunkel.

6.

Lou flips through some CDs and puts one in her chunky old Sony stereo.
‘I love that you have a CD collection,’ I tell her, my voice calming.
‘I love CDs. They’re so old school. Listen to this.’ She hits play and something familiar, yet strange and synthy starts playing.
‘What is this? Is that an accordion?’ Drums burst out like controlled explosions.
‘This is “The Boy In the Bubble”, from Paul Simon’s Graceland. This is his best solo album.’
His choir boy voice has changed into something stronger, and there’s a sense of urgency and an optimism in the rising major shifts.
‘After he split with Art Garfunkel, his career was dwindling and he got very depressed, but then he had a stroke of genius in the mid-80s and wrote this album in South Africa. It’s my number one top favourite album of all time,’ Lou says.
I raise my eyebrows at her. ‘Really?’

7.

I pull out Blue. ‘Now this is one I’m still learning to love,’ I say as I slide the vinyl out of the sleeve and place it gently on the turntable. ‘Last year when my mum came to visit, she gave me this album. It’s her favourite. Dad must have said something about me liking records, but I was surprised she liked something so folky. She says it’s poetry.’
I set the needle down and ‘All I Want’ jangles out with the determined, sweet, melancholic first chords.

8.

‘Too cheesy?’ I ask.
‘Just cheesy enough. Where is he? He should be throwing himself into your arms after that.’
I bend down to retrieve my scarf. ‘I don’t know.’
‘Ah,’ Caz’s tone changes.
‘What?’
‘It’s like a Pixies song,’ she says, nodding towards something behind me.
I turn and there he is. Caz pats my shoulder and slips away.
He’s gorgeous, a dimply smile twinkling like the fairy lights. ‘Paige …’ he starts.

9.

I’m on the brink of pulling out of the Alanis tribute show when I turn up to work and Jagged Little Pill is playing.
‘Who put this on?’ I ask, before I even greet anyone.
‘It’s on random,’ Caz winks at me.
‘No it’s not. And this would never be on a Vinyl playlist anyway. It’s nowhere near Triple-J enough for us.’ It cheered me up a bit though. Caz starts singing along to the chorus of ‘You Learn’ rather melodramatically. I laugh and join in.

10.

I’m listening to Blue and tapping on my phone when Spike appears in my bedroom doorway.
‘Is this Joni Mitchell?’ He puts down his guitar case and lies next to me on my bed.
‘Yeah, ‘My Old Man’. One of my favourites.’

11.

We’re pretty messy and I don’t blame the passers-by for passing on by, but it’s so much fun. We run through our living room repertoire: Dylan, Nirvana, our Alanis song. I try the opening chords of Joni’s ‘All I Want’, but give up. That one’s going to need more practice. We sing our way through Ryan Adams’ ‘To Be Young’ – Spike loses it trying to do falsetto in the bridge and I get the lyrics all mixed up.

Learning to Love Blue is available 31st July 2021

Masks

Before we took our masks off

we took them on and off

off when out and on when in…

before we took them off when out

we wore them all the time.

Who knows how fresh the air was

as we walked around the block

well-practised smise

in case we encountered

another half concealed self.

But before we wore them all the time

our masks weren’t even real

we carried them with us as

a cliched metaphor, lazy

description of the nuances

of human interactions

O, the masks we wear, they’d say

and you’d be too bored

to even roll your eyes.

Before it was a cliche though

it was probably quite a good metaphor.

Not brilliant, but apt enough

to be used into a cliche we could hide

more subtle, smising thoughts behind.

“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.

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.

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.

2018 Literary Highlights

‘Tis the season for highlights and reflections! In a busy year of school camps, public speaking competitions, parent interviews, marking, reporting writing and teaching, I managed to squeeze a few literary moments into my calendar. Here are some that stood out, including events, books and my own small endeavours.

Top 5 Events

1. Tim Winton on Toxic Masculinity

Promoting his latest book, The Shepherd’s Hut, Tim Winton spoke with his usual mix of humility, intelligence, heart and humour. I always enjoy hearing him speak and this topic felt especially relevant. Here’s my good friend Alex Bisley interviewing Tim for Macleans.

2. Neko Case at Melbourne Writers Festival

I enjoyed many events at MWF and finding them in strange and unfamiliar corners of the city was fun too. I heard Neko Case first as part of a panel on the texts that influenced panel members’ feminism, then saw her again solo at ACMI. I’ve been a fan of her music for a long time and always love hearing artists talk about their craft. Neko’s latest album is Hell-On.

3. First Chapters Series at Brunswick Bound

I feel so lucky to have this amazing bookstore just around the corner (and down the road a bit) from my house. In this series, the store celebrates the work of local authors on the first Friday of each month, by inviting them to read a chapter from their work and engage in a Q&A afterwards. Highly recommended, and more information here.

4. Launch of Close to Home by Alice Pung

Another wonderful event from Brunswick Bound. Alice’s new collection of essays was launched by amazing Helen Garner and is such an insightful and engaging collection. I enjoyed chatting to Alice afterwards and she assured me her young adult novel, Laurinda is NOT based on the school I teach at, despite the suspiciously similar names. If you don’t know Alice’s work, definitely check it out!

5. Melbourne Writers’ Group Anthology Launch

The Melbourne Writers’ Group know how to throw a party! I was so proud of my friends who worked so hard to launch this book as writers and editors, readers, speakers and book sellers. This is their third anthology and they keep getting better. Find out more about the Melbourne Writers’ Group and come along to the weekly social nights and writing times here!

Top 5 Books

1. Night Sky with Exit Wounds, Ocean Vuong

This is such a beautifully crafted collection, where poems shift form and are experienced through all senses. I was totally captivated by it. You can read ‘On Earth We’re Briefly Gorgeous’ here.

2. The Shepherd’s Hut, Tim Winton

I never miss a chance to remind you all how much I love Tim Winton’s writing. In fact I’ve already mentioned this book here.

3. There but for the, Ali Smith

I’ve read so many good books this year, but this one stands out as it stuck with me: the quirky conversations and lack of resolution. Ali Smith might not be for everyone, but I think she’s a master of dialogue, voice, structure. I trust her completely and enjoy being taken for the ride. Here she is talking about the power of the novel.

4. Solar Bones, Mike McCormack

This was a startling book. Written in one gasping breath without a single full-stop, I suspect I read it with my mouth open. The style might seem gimmicky, but it’s completely in fitting with the theme and plot and works surprisingly well. Stream of consciousness is not technically correct for this book … anyway, it won Mike McCormack the International Dublin Literary Award.

5. Take Three Girls, Cath Crowley, Fiona Wood, Simmone Howell

A shout out to the many young adult novels I read this year. This one stood out as it had three strong and distinct female characters who work together to fight the system. Very cleverly and convincingly created by three awesome Australian writers.

Top 5 Writer Moments

1. Photos of the Sky launch week

Obviously launching my third poetry book and spending a week reading it to small crowds of people was the highlight of my own writerly year. I was thrilled that Tim Jones was able to launch the book, and greatly enjoyed reading at Unity Books with Nicola Easthope and again at Volume in Nelson. There’s even a lovely review of Photos of the sky by Sarah Lin Wilson here.

2. Girls on Key Open Mic

When Nicola Easthope and I knew we were going to be reading together in Wellington, we made sure to meet in Melbourne first! Luckily, Nicola was on her way to the Tasmanian Poetry Festival, so we had the chance to catch up, meet with the lovely Jennifer Compton and read poetry together at an open mic night. Girls on Key is a monthly event hosted by Open Studio.

3. Bonsai: Best Small Stories from Aotearoa New Zealand

I was unable to attend any of the launches for this, but I loved being included in the anthology. There’s a new poem from Photos of the Sky in there and an old one from Wit of the Staircase. The anthology is edited by Michelle Elvy, Frankie McMillan and James Norcliffe.

4. BBC Culture: The 100 stories that shaped the world

There’s something pleasing about adding my top 5 into my top 5 and something even more satisfying about being quoted in the BBC. I admit there are many names on this list, but being asked to contribute was a nice writerly moment for me.

5. Teaching and Writing balance

I still haven’t nailed it 100%, but this has been an excellent year for me in terms of balancing my teaching and writing life. I am so lucky to work at a school that supports me with a day off each week, constant queries about how the writing’s going (!), acknowledgement of my achievements and actual promo from the marketing team. Watch this space for more news from my school, but in the meantime here’s a small fun, thoughtful, creative corner of the school I’ve enjoyed helping create.

Launching Photos of the Sky

I really love and value the process of launching a book into the world – reading it into life and physically passing the poems into the hands of readers. When I sign a book for someone and hand it back to them, I really do feel that the work belongs to them now.

I’ve been trying to figure out how to write about the week I spent in New Zealand, catching up with friends, family, writers, publishers, booksellers and people I hadn’t seen in years. I enjoyed all of it, and grew more proud of and confident about this collection, which was mostly written in secrecy, bar the few poems blogged here to my loyal audience. I think I’ve said before that it’s a deeply personal collection, something that became particularly apparent as I stood in front of my final crowd in Nelson (my home town) and felt teary farewelling some pretty hard feelings that existed as I wrote this book.

My friend and fellow poet Tim Jones, was kind enough to launch Photos of the Sky at the event at Thistle Inn, Wellington. His endorsement was another lovely and valuable aspect of sending this book into the world.

Tim used the words “confident” and “charismatic” to describe the new collection, and I’m incredibly grateful for his generous comments. Before reading from the book, Tim said:

Tim Jones

There’s so much to identify with in this collection, how could I not love it? Cricket bats, Game of Thrones, Bowie. Slugs sneaking inside to feast on cat food. Love, lust, rueful confessions. Taika Waititi – he gets a whole poem! Midland Park. Melbourne. Preston! The mention of that magical suburb makes me think of Courtney Barnett – and this collection is musical poetry from a musician who writes so well about music and many other things as well.

Photos of the Sky is yours now. I hope you like it!

Available from The Cuba Press and local bookstores, or feel free to contact me here.