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As Far as I Can See
As Far as I Can See is a beautiful and moving collection from a prizewinning New Zealand poet. Leggott writes with passion, tenderness and courage about her deep sorrow at losing her sight. The sharpness of images so characteristic of Leggott and her wonderful ear for the musical sounds and rhythms and pauses of language reach a new poignancy, a tragic tension, in these poems.
Milk and Honey
Milk & Honey is a dance to the music of that future time. It looks back and remembers. It looks forward and tries to see what will happen next. Its theatre is the world turning round and what can be saved each day from a life of the imagination. It builds tentative structures from smaller parts that come and go like thought itself. It is a lamentation, the universe as circus. It is a pattern of doors opening. It counts and it listens. It is a series of border-crossings between light and dark, old world and new, history and desire, body and soul, life and death, yes and no. It is a attempt on happiness, another search for the oh of transformation. It is in three parts with a gateway at either end. It can be read from the front or the back and there is seriousness but also songs along the way. Why is it called Milk & Honey? Because of a song. Why are there two clowns on the cover? Because one morning they were front-page news.
Mezzaluna
Mezzaluna gathers work from Michele Leggott's nine books of poetry. As reviewer David Eggleton writes: "Leggott shows us that the ordinary is full of marvels which... stitched, flow together into sequences and episodes that in turn form an ongoing serial, or bricolage: a single poem, then, rejecting exactness, literalism, naturalism in favor of resonance, currents, patterns of ebb and flow." In complex lyrics, sampling thought and song, voice and vision, Leggott creates lush textured soundscapes. Her poetry covers a wide range of topics rich in details of her New Zealand life, full of history and family, lights and mirrors, the real and the surreal. She focuses on appearance and disappearanc...
Vanishing Points
It's an optical amusement, a punctured surface letting light pour through holes cut out of the picture. Moon, army tents and the windows of houses and St Mary's church glow or flicker with luminance. Between them move women and children as well as soldiers. Steamers, a brig and a schooner ride on the moonlit sea. Part and not part of the scene is the artist's son, who lies three days buried in the churchyard at the foot of the hill where his father sits sketching the arrival of imperial troops. Now walk away from the painting when it is lit up and see how light falls into the world on this side of the picture surface. Is this what the artist meant by his cut outs? Is this the meaning of ever...
Face to the Sky
In her latest collection, Michele Leggott speaks to the art and writings of nineteenth-century New Zealand painter Emily Cumming Harris. Face to the Sky tells stories of love and loss from two woman in the shadow the same mountain, more than a century apart. 'Voices sing from the archive: a choir of breakers on a North Taranaki beach. Two women born more than a hundred years apart tell stories of love and loss in the shadow of the mountain that is always there. One of them becomes a painter of botanically accurate native flora, and writes all her life. The other, now without sight, lives in a world of sounds caught into expanding webs of memory. She listens for the other, tracing the delicat...
Mirabile Dictu
In 2008 Michele Leggott wrote a poem a week to record her term as the inaugural New Zealand Poet Laureate. In her collection of poems Mirabile Dictu (amazing to say), she relates the wonders of those 12 months, which took her to Matahiwi Marae in Hawke's Bay to receive her brilliant sky-blue, specially carved tokotoko, Te Kikorangi; through a time of mourning for and celebration of former poet laureate Hone Tuwhare; to Florence, across a 'poetic bridge'; and to Wellington 'hand to hand' with four other laureates. With her is Te Kikorangi as guide and companion - 'almost as good as the blue from Kapiti / we eat when the good times roll'. Leggott also delves back into the past, layering poems ...
Heartland
Michele Leggott's new book of poetry follows on from her 2009 collection, Mirabile Dictu, in its exploration of light and of gathering dark. Leggott is a poet of the lilting, shining moment and the sections here follow some of her own moments and movements, experiments and experiences - to Devonport, to Australia, to the north - as well as reverberating with the stories and histories of others. The book's final two sections take this exploration of character and narrative further as in one we see off a soldier - shadowed by Leggott - to the First World War; and in the other - set in an earlier, unspecified time charted for us by telegraphic weather reports - a family tragedy unfolds, until a body is finally brought home for burial. With her 'dear shapes gone to sound', Leggott's textured poem-scapes are more aurally charged than ever, like a 'piano in a dark room that is / quite what it is like and never the same'. A splendid, immersive collection of poetry, Heartland is also, Leggott says, 'a destination and a song, a shadow and a single word with two chambers'.
Making Ends Meet
Passionate, witty, and erudite, these essays by a radical curator describe how museums approach their sometimes conflicting missions to sponsor scholarship, generate popular appeal, and claim social significance. This analysis includes discussions of art and ethnology, the failure of late-Modernist art history, the construction of official culture, the intellectual history of European exploration in the Pacific, problems with cultural studies of the Pakeha Maori, and the conservation of archives and narratives.
Swimmers, Dancers
Swimmers, Dancers is a second collection of poems from Michele Leggott and is a tender evocation of family in free open verse that is full of colour, movement and light. The poems remember her parents and childhood, celebrate the birth of Leggott's second son and offer glimpses of art and literature amidst endless inventive games with words, sounds and spaces.
Crabtracks
The essays in this collection celebrate the signal achievement of Dieter Riemenschneider in helping found and consolidate the study of postcolonial anglophone literatures in Germany and Europe. As well as poems, a short story, drawings of the Indian scene (the first, and abiding, focus of this scholar’s work), and ‘letters’ of reminiscence (one quite grave), there are revealing contributions of a literary-historical nature on the establishment of anglophone (especially African) literatures as an academic discipline within Germany, the UK, and Northern Europe generally, as well as a group of searching reflections on such topics of postcolonial import as globalization and the applicabili...
