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Twenty Contemporary New Zealand Poets

I was glad to receive, in the post, a new anthology from Carcanet, to be launched next week. It's Twenty Contemporary New Zealand Poets, edited by Andrew Johnston and Robyn Marsack. I think it is safe to say that Anglo-American poetry is more influential on, than influenced by, the Commonwealth poetries of Canada, New Zealand, and Australia, and that few poets from these important nations ever get the wider readersip they deserve.

New Zealand has not been that well-served in the past by major international collections, so this is a significant book I look forward to reading and commenting on this spring and summer. Some of the poets gathered here will be known already - such as Curnow, Manhire, Tuwhare, and of course C.K. Stead, the important critic of modernist poetics. One ominous sign, though - the Introduction speaks of ardent literary nationalism finally managing to free NZ poets from the "well-behaved and predictable" British models.

I myself think a lot of damage has been done, in Canada and elsewhere, to poetry, in the name of nationalism, especially the sort that thinks rootedness and sense of place trump sense of tradition and the canon - and doubly so, when the canon being defied or deflated is the one that runs from the Gawain poet through Chaucer, Milton, Donne, Wordsworth, Hopkins, Hardy, and on to Thomas, Larkin, Bunting, Prynne etc. - in short, no need to entirely break with "Britain" to define one's own poetics - and, more to the point - why does each nation require its own poetry signature or manner? Poetry is often best when transnational - the modernist model I prefer.

Comments

Andrew Shields saidā€¦
Thanks for the tip about this one, Todd. I've ordered it!
Anonymous saidā€¦
Todd, thanks for your post and for noticing the book.
The introduction actually says: "Until the 1960s -- despite several decades of ardent literary nationalism -- most New Zealand poetry was as well-behaved and as predictable as most British poetry... What turned things upside down was the injection of freedom that American models provided." So it's not the case that it argues for nationalism -- the opposite, in fact. It was the "new American poetry" of the 50s and 60s that did the trick.

Andrew Johnston (co-editor of the anthology)
EYEWEAR saidā€¦
Hi Andrew, Good hearing from you. I agree that my comments were not a direct quite from your engaged Introduction. However, what I wanted to underline is a danger for the poetics of settler-colony countries like Canada and New Zealand, who often figure their poetic self-discovery as being an emancipation from Mother England, aided by American versions of modernism and postmodernism (and the Donald M. Allen anthology is often cited as the main agent of change). Allen's anthology is supremely influential for good reason, but it is an error to read British poetry as being simply "well-behaved" and the Allen poetics as being the corrective that saves the day. There were alternate styles and poetics avilable at home (in Britain) - such as Lynette Roberts - as groundbreaking as any in the US at the time - but these were often sadly neglected, in favour of more exotic, Yankee flavours. I wanted only to indicate that, at least for Canadian poetry, much was lost by rebelling fully against all British poetry, by most Canadian poets, from 1960 onwards. George Bowering would be a prime example, as would Louis Dudek, of poets who took their course from Pound and Olson, and basically close the book on the UK and its traditions.
Hi Todd,

Since you've discussed NZ poets, I felt you might me interested in this New Zealand poet's work:
http://www.immortalmuse.com/listen.htm

Thank you,
Preeti
bathmate saidā€¦
This is wonderful posting. Thank you.


Bathmate

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