Five First Volumes From New Poets (Press, 31 July 1982)

In a review published on 31 July 1982, Peter Simpson discusses a collection of recent poetry publications from New Zealand, highlighting a growing interest in poetry within the country. There has been a notable revival of poetry readings, drawing enthusiastic audiences in various cities, including Christchurch. The surge in publications is unprecedented, with established poets like Allen Curnow and Alistair Campbell releasing new works, alongside several promising debut collections from lesser-known writers. Margaret Bingham’s “Wavelengths of the Sea” features poems inspired by dolphins and whales, conveying the author’s deep admiration for these creatures. The work is characterised by straightforwardness, likely appealing more to marine life enthusiasts than to poetry aficionados. Erick Brenstrum’s “Thalassa” showcases his maturity as a poet early in his career, presenting a unique idiom and distinct style. His poems, including the lyric "Late April," demonstrate precise natural observations, strong rhythm, and impactful diction. Brenstrum’s work reflects his wide reading and engagement with both local and international themes, coming across as an accomplished writer with affinity for New Zealand’s geographical nuances. “Orange’s Skins Are Free” is a collaborative project by Pascall Burton, photographer Warwick Smith, printer Alan Loney, and publisher Brick Row. While the book features high-quality printing and attractive layout, the poems do not match the formal coherence of the photographs. The synergy between text and image varies but is most effective when the relationship is direct and literal, enhancing the overall discipline of the poetry. Heather McPherson brings a powerful feminist voice in her work, having redefined her poetic identity to align with her feminist beliefs. Her collection includes significant sequences that explore themes of womanhood and spirituality, striving to articulate female empowerment in ways that challenge conventional portrayals. Her strong, vivid language presents a radical perspective that invites a broader audience beyond feminist circles. Finally, Harvey McQueen’s “Against the Maelstrom” marks his transition to poetry in his forties after years of conventional pursuits. The poems reveal a personal side of the poet, including engaging observations and emotional depth, though some fail to rise beyond this personal realm. McQueen’s work is characterised by sporadic clarity, with moments where he successfully transcends self-awareness, producing clear and resonant poetry. Overall, the review emphasizes the vibrant and diverse landscape of New Zealand poetry emerging in 1982, with a mix of established and emerging voices shaping the current literary scene.

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