broadsheet 22 features Jeanne Bernhardt

The latest issue of broadsheet 22, November 2018, features the contemporary New Zealand author Jeanne Bernhardt, of Otago. Bernhardt has published seven collections of poetry and prose, and is the recipient of the Louis Johnson New Writer’s Bursary from Creative NZ in 1997 and the Earl of Seacliff Poetry Prize in 2016.

Poets included are: Sandra Bell, Jill Chan (1973-2018), Kay McKenzie Cooke, Michael Duffett (USA), David Eggleton, Bernadette Hall, Peter Olds, Michael O’Leary, Mark Pirie, Jenny Powell, Richard Reeve, Damian Ruth, and Laura Solomon.

The editor Mark Pirie writes in his Preface:

“Jeanne Bernhardt (b.1961), a contemporary New Zealand writer, has published seven books of poetry and prose, and has travelled extensively, working both in New Zealand and overseas. In 1997 she was awarded the Louis Johnson New Writer’s Bursary from Creative NZ and in 2016 she received the Earl of Seacliff Poetry Prize. Since her emergence in the Dunedin pub scene of the 1980s, she has forged a determined path staying true to her art. Early work of hers appears in Critic, Parallax and on a Dunedin poetry cassette directed by Luke Hurley. Hone Tuwhare was an early appreciator at the Cook pub readings.

I first read her work in the mid-1990s in the Dunedin Radio One newspaper, which I read as a night shift DJ at Radio Active in Wellington. Jeanne’s poems like ‘Fast & Slow’ and ‘th sex taste’ stood out, and I was at the time founding/co-editing JAAM magazine and also putting together The NeXt Wave, a collection of (mostly) younger Aotearoa/New Zealand writers. She also appeared in Takahe and Poetry NZ during the ‘90s and self-published the poem “Dereliction” and the book Vorare Lacuna (1996), an image/text collaborative work with a number of Dunedin artists.

Jeanne continued to feature in JAAM and Takahe magazines over the next decade as well as publishing two books with my small press HeadworX: baby is this wonderland? (1999) and The Snow Poems/your self of lost ground (2002). She left New Zealand for the States, and then returned to publish a series of well-received books: The Deaf Man’s Chorus (poetry, ESAW), Wood (short prose), 26 Poems and Fast Down Turk (a novel). These latter three were with Dean Havard’s hand-printed Kilmog Press.

Jeanne, a wholly individual artist, has long been admired by friends and writers in the Otago literary community. As a long-standing supporter, it gives me pleasure to feature her in broadsheet. Her writing is innovative, not afraid to take risks, and is energetic and highly charged.

Jeanne’s work in this issue is gathered together like small, polished stones, heartfelt and sinewy. Minimalist in technique, emotionally tense and highly personal, they are finely wrought and beautifully constructed.

As with previous broadsheet issues, some of Jeanne’s writing friends and editors appear here alongside her: Kay McKenzie Cooke, Michael O’Leary, Sandra Bell, Peter Olds, Jenny Powell, Richard Reeve, Bernadette Hall, David Eggleton, and myself.

A couple of poets like Damian Ruth, the late Jill Chan,  Laura Solomon, and Michael Duffett (USA) also appear in broadsheet outside of the main feature.

Mark Pirie
Wellington, November 2018

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issue 22 of broadsheet available now

broadsheet, no. 22, November 2018, featuring Jeanne Bernhardt, is available now.

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broadsheet 21 features Mark Young (Australia/NZ)

The latest issue of broadsheet 21, May 2018, features the Australian-based poet and editor Mark Young, who was born in New Zealand in Hokitika. Young is one of New Zealand’s most published contemporary poets overseas and the issue celebrates his contribution to world literature.

Poets included are: Tony Beyer, Alan Brunton (1946-2002), Thomas Fink (USA), Michele Leggott, Sheila E Murphy (USA), Michael O’Leary, Lisa Samuels, Pete Spence (Australia), Eileen R Tabios (USA), Mercedes Webb-Pullmann, and Ian Wedde.

The editor Mark Pirie writes in his Preface:

“Mark Young, the Australian-based poet and editor of Otoliths, is a poet originally from New Zealand and internationally published.  He is one of our most published poets overseas, where he has produced many collections of his poetry,  including the 600 page, ‘at least nine new books in one’, The Codicils.

He has been around in periodical form since the publication of his poem ‘Lizard’ in the New Zealand Listener in 1959. Other early work featured in Arena, Experiment, the New Zealand Poetry Yearbook and Argot in the early 1960s.

I first came across his work when Alan Brunton sent me a review copy of The Right Foot of the Giant as editor of JAAM magazine in 2000. Alan’s publication helped re-establish his reputation as one of our best contemporary poets. It included poems like ‘In Memoriam: Robert Desnos’.

It’s surprising that his work isn’t as known as that of his contemporaries like Ian Wedde, David Mitchell, Bill Manhire, Peter Olds and others,  in New Zealand, because that is the class of company he keeps.

He remains a fascinating literary figure on both sides of the Tasman, editing the online journal Otoliths, a magazine of many e-things, which includes a wide variety of poetry forms and features poetry as contemporary art and image texts from writers internationally.

An innovative practitioner, both in technique and methodology, he remains an elusive figure in New Zealand where he was born in Hokitika in 1941. I am lucky enough to feature his work in broadsheet and promote it to a New Zealand audience.

I would like to thank the writers who replied to the invite I sent out on advice from Mark Young himself, and indebted to writers like Ian Wedde, Michele Leggott, Thomas Fink (USA), Lisa Samuels, Eileen R Tabios (USA), Mercedes Webb-Pullmann, Pete Spence (Australia), and Sheila E Murphy (USA) for sending in work and appearing alongside Mark Young.

Two previously published poems by Alan Brunton also reappear with permission of his estate in recognition of the work Alan did in collecting Young’s work from the 1960s/1970s in his first major book, The Right Foot of the Giant.

Michael O’Leary’s recent unpublished poem on Paul McCartney’s December Auckland concert is another gem I have included outside of the main feature.

Mark Pirie
Wellington, May 2018″

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issue 21 of broadsheet available now

broadsheet, no. 21, May 2018, featuring Mark Young (Australia/NZ), is available now.

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broadsheet 20 features Ken Bolton (Australia)

The latest issue of broadsheet, No. 20, November 2017, features the Australian poet and art critic Ken Bolton, who has had influence on contemporary New Zealand poetry since 1996. The issue celebrates his work and includes poets with a lasting connection with Ken Bolton, both in New Zealand and in Australia.

Poets included are: Pam Brown (Australia), Jenny Bornholdt, Laurie Duggan (Australia/UK), Michael Farrell (Australia), John Forbes (Australia), Dinah Hawken, Cath Kenneally (Australia), Gregory O’Brien (Australia), Ella O’Keefe (Australia), Michael O’Leary, Mark Pirie, Dominic Symes (Australia) and Tim Wright (Australia).

Editor Mark Pirie writes in the Preface:

“Ken Bolton, the well known Australian poet and art critic, has had influence on contemporary New Zealand poetry since 1996. That year, through the recommendation of Gregory O’Brien, he was invited along with his partner, Adelaide poet/broadcaster/novelist Cath Kenneally, to appear as guests at the New Zealand International Festival of the Arts in Wellington. His readings were impressive. My father and I were in the audience then and we were gripped by his early, evocative and painterly inner city poems of the 1970s.

I went away from that reading purchasing his Selected Poems (Penguin Books) and collecting his other books via personal correspondence and wrote several early poems mimicking Ken’s style, such as Two Poems – An Impression of the Sea (ESAW, 2004) first published by Jack Ross in brief. Ken was certainly a good guide in my formative years of writing poetry.

Ken Bolton visited again to read at Wellington venues in 2006. A St Peter’s Hall, Paekakariki, reading included myself, Ken, Cath Kenneally and Dinah Hawken. Michael O’Leary was the MC that day, who had earlier met with Ken in 1996 with Iain Sharp and had published a mini book of Ken Bolton’s poetry that year in the ESAW Mini Series.

It’s nice to welcome Ken back by featuring him in a New Zealand journal. As with previous issues of broadsheet, I have invited and included work by poets that have formed lasting connections with Ken both in Australia and across the Tasman. Ken, also a small press publisher/editor (Otis Rush magazine, Little Esther Books and other imprints) has published Gregory O’Brien and other New Zealand poets in Australia and contributed an Australian poetry selection to my former magazine JAAM, No. 10 (1998) that included the two poems here by his late friend, John Forbes.

Ken recently retired from the Experimental Art Foundation and bookshop in Adelaide where he worked for many years. His musical interests such as jazz and blues music are reflected in my poem tribute.

Thanks to all those who sent in contributions and supported my idea of a special Ken Bolton issue in recognition of his influence on and goodwill towards New Zealand poetry from abroad.

Mark Pirie
Wellington, November 2017”

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issue 20 of broadsheet available now

broadsheet, no. 20, November 2017, featuring Ken Bolton (Australia), is available now.

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broadsheet 19 features Peter Bland

The latest issue of broadsheet, no.19, May 2017, features the major New Zealand poet Peter Bland, recipient of the 2011 New Zealand Prime Minister’s Award for Poetry.

The issue includes tributes by friends and colleagues and celebrates his contribution to New Zealand poetry.

Others included are: Fleur Adcock, Gordon Challis, Glenn Colquhoun, Marilyn Duckworth, Riemke Ensing, Michael Harlow, Kevin Ireland, Louis Johnson, Kapka Kassabova, Bob Orr, Vincent O’Sullivan, A G Pettet (Australia), Gus Simonovic, Elizabeth Smither, C K Stead.

Editor Mark Pirie writes in the Preface:

“Peter Bland (actor/writer) is one of the major New Zealand poets, and the recipient of the Prime Minister’s Award for Poetry in 2011. He was first known to me as an actor in Came a Hot Friday (1985) with comedian Billy T James, which I saw as a teenager. His poetry I discovered at age 19, when reading through an anthology in my father’s library: Recent Poetry in New Zealand (1965). The poets in this selection certainly interested me in writing poetry myself. James K Baxter, Louis Johnson, Fleur Adcock, Peter Bland, Alistair Campbell, Kendrick Smithyman, Gordon Challis and C K Stead were firm favourites. Peter’s lively poems of anger and experience spoke to me, with a suburban and domestic outlook, accessible and well crafted. Poems like ‘Death of a Dog’ live with me still.

I never expected to be featuring/publishing Peter, 20 something years on from first reading him, let alone some of the poets he has invited to be in this issue with him, who I first read in that above-mentioned anthology. It’s nice to make this issue a tribute to Peter’s poetry and contribution to our literature.

Peter has kindly sent a brief note as an introduction:

I’ve been writing poetry for over 60 years, so I’ve lived through all sorts of literary fashions and arguments that, at the time, seemed absolutely necessary to encounter, and probably were, particularly in terms of belonging, where the here-and-now of lived experience is the active field for all sorts of poetic possibilities, and is as open to the wayfarer as it is to the tribal chief, though both will inhabit it differently. But literary theories are nothing more than stimuli, and valuable as these are the origins of poetry are more elemental, primal, even sacred, than that. The Argentinian poet Borges admits that there’s a need among poets ‘to be familiar with the renowned uncertainties of metaphysics,’ but only in order to make the best use of staying open to experience, and ‘to help pass on what we don’t know as much as what we do.’ The sources of poetry are as ancient as cave paintings and the modern poet still has to have something of the shaman left in him in order to be able to indulge in a little cave talk and to commune alone with the deeper sources of his imagination.

Thanks to those who contributed to Peter’s issue and shared my feelings for celebrating his impressive oeuvre in New Zealand poetry.

A few poets outside the feature are included: A G Pettet from Brisbane, an editor of the international Bareknuckle Poet series, and Gus Simonovic from Auckland, an innovative entrepreneur, publisher and poet.

Mark Pirie, Wellington, May 2017″

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