Fourth NZ Haiku Anthology

It’s getting closer, folks. My co-editor Margaret Beverland and I have been working away steadily at this new volume and are now quite close to engaging with the print process.

Haiku have been selected and shuffled into some sort of narrative flow; biographical notes have been collected (alas, there’s a couple still dragging the chain); an ISBN number has been applied for; fore and aft papers created; permission gained for the re-use of illustrations on section separators; and a title selected.

Once we have a quote we feel happy with, then begins the process of cover design, choosing a paper weight and colour, typeface, perhaps an adjustment of the type sizes we’ve chosen, page numbering style and, doubtless, a few other things I’ve forgotten about.

In about September we gave ourselves permission not to have to have it out by Christmas and I think that has helped the process immeasurably. If it’s being feted somewhere on February 6, that would seem about right (Waitangi Day, the closest New Zealand comes to a national day).

Waitangi Day squall –
         the Governor-General’s representative
              grips his necktie

Eric Mould, winner of the 2002 NZPS Haiku Contest
published in A Savage Gathering (NZPS, 2002)

By the way, our anthology surveys New Zealand haiku from 2008-2018 so this haiku won’t be part of it … but we are very excited about the poems we do have. More anon.

 

 

Advertisements

Armistice centenary

We split up yesterday to mark the centenary of the end of World War 1. Haiku Husband and I were in Wellington (where the weather was absolutely, positively gorgeous) and Haiku Son was in Tauranga.

I went to a LitCrawl session at the National Library: The Eleventh Hour on The Eleventh Day, where writers young and old – and including two teenage Syrian refugee brothers – responded to the topic.

Haiku Husband headed off to the National Ceremony at Pukeahu National War Memorial Park and came back speaking of it in glowing terms, and with an official programme.

armistice wreath - Copy

The cover of the beautifully produced programme.

The inside back cover records the plant material used to make the Wreath of Remembrance: Olive, pohutukawa, Turkey oak (Quercus cerris), northern rata, a native fern (it doesn’t specify which one), Chinese elm (Ulmus parvifolia), eucalyptus, kōwhai, rosemary, and mānuka flowers.

sprigs of rosemary
something about the tea urn
makes me cry

– Beverley George, from Pearl Beach Village Hall April 25, 2006, a haiku sequence (Blithe Spirit 16.2, 2006).

Haiku Son was minding the hacienda and went to a Tauranga screening of They Shall Not Grow Old, Peter Jackson’s compilation of documentary footage from London’s Imperial War Museum that has been cleaned up and colourised.

It doesn’t start or end in colour, instead it’s only when the soldiers get to France that it becomes colour. He described it as informative, thought-provoking and very moving. (I’m going tonight.)

In case you have an interest in reading about Haiku in the Great War, please click on the link to visit a 2015 article I wrote on the topic.

Des croix de bois blanc
Surgissent du sol,
Chaque jour, ça et là.

– Julien Vocance (1878-1954), read more of his haiku (in French).

white wooden crosses
bursting from the soil,
each day, here and there