tag:blogger.com,1999:blog-9960080195664744722024-03-14T09:00:50.683+13:00An Angel @ My BlogNews and views from Janet Frame's literary estatePamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.comBlogger906125tag:blogger.com,1999:blog-996008019566474472.post-25300398110651530722024-01-29T15:10:00.000+13:002024-01-29T15:10:04.462+13:00Marking 20 years since Janet Frame died<div>
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</a>Janet Frame died in Dunedin 20 years ago today after a long and and eventful life. From working class origins she became a world famous author yielding her 'memory and a pocketful of words' with enormous talent and a disciplined dedication to her craft. She has often been called a genius but she herself attributed the secret of her success to "1 percent inspiration and 99% perspiration". đ</div><div>She is dearly missed by her loved ones đ but she lives on in her amazing work which continues to be reprinted around the world in English and many other languages. đ Still keeping me busy in the role she handed to me of managing her copyright and caring for her charitable trustđš<br><img border="0" src="https://blogger.googleusercontent.com/img/a/AVvXsEgE9BlUMl95YdErkn7hDYVv7ZwahD9rzW3GanOzAdKlvMkcVk-gtKvhAff6-zYypihgKah50frFEyX6cHdNV1uyeqK7-HLWbhvtLuyZ_OePsHnu12urwZbov9vXvBY1qhVpzgiqeELXBF03KqY_XKjqYXhlIFeOUYvdYTTfSkPJowQ_slE2KX79UFBPj5E" width="400"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgE9BlUMl95YdErkn7hDYVv7ZwahD9rzW3GanOzAdKlvMkcVk-gtKvhAff6-zYypihgKah50frFEyX6cHdNV1uyeqK7-HLWbhvtLuyZ_OePsHnu12urwZbov9vXvBY1qhVpzgiqeELXBF03KqY_XKjqYXhlIFeOUYvdYTTfSkPJowQ_slE2KX79UFBPj5E">
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</div>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-62590715344154500432023-09-30T16:30:00.000+13:002023-09-30T16:30:33.038+13:00Janet Frame Poetry Prize: essa may ranapiri (2023)<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLouEjhek8h8hqOTKqVwg2fLBjWDhx-birR_ubuKhrrYxjjqyb8Gq6iFe4NEge81L93TWPz7Gue2sE9KCx5KngGJOuqhT3LJDwD-7fiYzDa9rOL8qnNedTrSCpwPEEHI99o7UQ9NRRwdLvj_Zlcnkko5dtINY5lvbk7WtxV2M_A2K0j4Khq_wjmriONTE/s8192/0D7A2667.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="5464" data-original-width="8192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLouEjhek8h8hqOTKqVwg2fLBjWDhx-birR_ubuKhrrYxjjqyb8Gq6iFe4NEge81L93TWPz7Gue2sE9KCx5KngGJOuqhT3LJDwD-7fiYzDa9rOL8qnNedTrSCpwPEEHI99o7UQ9NRRwdLvj_Zlcnkko5dtINY5lvbk7WtxV2M_A2K0j4Khq_wjmriONTE/s320/0D7A2667.jpg" width="320"></a></div>
Poet essa may ranapiri (Ngaati Raukawa, Waikato Tainui, Te Arawa, Ngaati Puukeko, Clan Gunn, Horwood) has been awarded the 2023 Janet Frame Literary Trust Award for Poetry (worth $7,000).<div><br></div><div>Photo credit: Kelly Joseph (Ngaati Maniapoto) </div><div><br></div><div>"This prize means so much to me as another curly haired poet who likes to think their writing has some of Frame's spark in it. I'm so deeply honoured to be recognised in this way, and as a student, $7000 is such a meaningful amount of money. I picked up my partner from work today and she shouted at me "award winning poet!" and it's true now." </div><div><br></div><div>essa may ranapiri is a person who lives on Ngaati Wairere whenua near the old forest of Te Papanui. Their work has appeared widely including in <i>Mayhem</i>, <i>Poetry NZ</i>, <i>Brief</i>, <i>Sport</i>, <i>Starling</i>, <i>Mimicry</i>, <i>THEM</i> and <i>POETRY Magazine</i>. Author (of <i>ransack</i> and <i>ECHIDNA</i>) and PhD student (looking at how poetry by taangata takataapui engages with atua and thus enhances our mana takataapui), they have a great love for language, LAND BACK and hot chips. They will write until they're dead.
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essa may ranapiriâs second poetry collection follows the story of Echidna, their own interpretation of the Greek Mother of Monsters, as she tries to figure out life and identity living in a colonised world. Alongside this MÄui and Prometheus get into a very hot relationship.
Echidna contends with three strands of tradition; Greek mythology, Christianity and MÄori pĹŤrÄkau, and through weaving them together attempts to create a queerer whole. It is a book that is in conversation with the work of many others; from Milton and R.S. Thomas to jayy dodd and Joshua Whitehead to Hinemoana Baker and Keri Hulme. Situating and building its own world out of a community of queer and MÄori/Pasifika writing, it carefully places itself in a whakapapa of takatÄpui story-telling. </div><div><br></div><div> essa may ranapiri web page: <a href="https://essawrites.wordpress.com/" target="_blank">https://essawrites.wordpress.com/</a> </div><div><br></div><div>Congratulations to essa may ranapiri who joins the other excellent writers who have been recipients of the Janet Frame Literary Trust Awards that were created by Janet Frame herself who set up the endowment fund to encourage and support writers. The trustees of the Janet Frame Literary Trust are delighted to be able to present this very well deserved prize.
</div><div><br></div><div><a href="https://janetframe.org.nz/index.php/awards" target="_blank">https://janetframe.org.nz/index.php/awards</a><br></div>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-71004841487708543622022-12-07T06:56:00.001+13:002022-12-07T06:56:50.614+13:00John Summers receives 2022 Janet Frame Award for Prose<div>Janet Frame Literary Trust</div><div>Announcement</div><div><br></div><div>Award Celebrates 70th Anniversary of Janet Frame's Most Famous Prize</div><div><br></div><div><div class="separator" style="clear: both; text-align: center;">
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</div><br></div><div>Wellington writer John Summers will this week receive the 2022 Janet Frame Literary Trust Award for Imaginative Prose, worth $7000. John Summers has published two books of short non-fiction, The Mermaid Boy (2015) and The Commercial Hotel (2021). His writing has appeared in many publications and reviewers have used words such as âdazzlingâ, âbreath-takingâ, âsparkling and enduringâ to describe his genre-defying blend of essay, reportage and memoir delivered with the literary finesse of an accomplished short story. </div><div><br></div><div><div class="separator" style="clear: both; text-align: center;">
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</div><br></div><div>Janet Frame Literary Trust Chair Pamela Gordon compared the way that at his best John Summers raises non-fiction writing to the level of an art form, to Janet Frameâs own aspiration to do the same. âAutobiography is found fictionâ, said Janet Frame. The writer has applied the techniques of fiction writing to their true stories.</div><div><br></div><div>John Summers responded: âThis award is extremely encouraging. A bolt from the blue that says keep writing, we like what youâre doing. Itâs hard to overstate such a thing when, for the most part, writing is the act of sitting alone at a laptop. I am especially honoured to find myself amongst the talented people that have received this award, and that it comes in memory of Janet Frame, an incredible, original talent whose work has been important to me.â</div><div><br></div><div>Just before Christmas in 1952 Janet Frame received the life changing Hubert Church Award for the âBest Prose by a New Zealanderâ for her first book The Lagoon and Other Stories (1952). Notoriously Frame was languishing in a mental hospital, misdiagnosed with schizophrenia and only days away from a scheduled lobotomy. When the superintendent read a news report about the accolade he decided to cancel the operation. Out of gratitude for the support and encouragement she had received from the many honours bestowed on her during her long career Janet Frame founded the Janet Frame Literary Trust and bequeathed an endowment fund out of which awards could be given to New Zealand writers. The 2022 award commemorates the 70th anniversary of the date the certificate was signed by PEN New Zealand: December 10th 1952.</div><div> <div class="separator" style="clear: both; text-align: center;">
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</div></div><div><br></div><div>For more information see:</div><div><br></div><div>https://www.janetframe.org</div><div><br></div><div>https://www.johnsummerswriter.com/</div><div><br></div><div>Photo credit for portrait of John Summers: Ebony Lamb</div><div><br></div><div>THE COMMERCIAL HOTEL is published by Te Herenga Waka University Press </div><div>https://teherengawakapress.co.nz/john-summers/</div><div><br></div><div> Authorised by Pamela Gordon</div><div>Chair, Janet Frame Literary Trust<br></div>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-70000908247121045982022-11-29T18:17:00.000+13:002022-11-29T18:17:29.349+13:0070th Anniversary of THE LAGOON & Other Stories<div><div class="separator" style="clear: both; text-align: center;">
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</div><br></div>2022 marks the 70th Anniversary of the publication of Janet Frame's first book THE LAGOON AND OTHER STORIES in 1952. The first edition was printed with the incorrect publication date "1951" on the imprint page and to this day that mistake is widely perpetuated. Publisher Denis Glover had accepted the manuscript five years beforehand, in early 1947, but until he left Caxton Press in November 1951 the brilliant stories languished on a corner of his desk. Since 1952 almost every story in the book has been anthologised many times and the book itself is much admired and loved around the world. Pictured: some editions and translations. Some of the best known stories (every fan has their own favourite) are: The Lagoon, Swans, My Cousins who Could Eat Cooked Turnips, The Day of the Sheep, Keel and Kool, My Last Story, The Pictures, The Birds Began to Sing, Miss Gibson and the Lumber Room, A Note on the Russian War, My Father's Best Suit... which do you like best?<div><div class="separator" style="clear: both; text-align: center;">
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</div><br></div>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-47136866125487749352022-02-26T12:26:00.000+13:002022-03-01T14:43:33.861+13:00"War comes whatever you sing" ~ Janet Frame<div>A NOTE ON THE RUSSIAN WAR</div><div><br></div><div>By Janet Frame</div><div>(First published in The Lagoon and other Stories, 1952)</div><div><br></div><div><div class="separator" style="clear: both; text-align: center;">
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</div><br></div><div><br></div><div>The sunflowers got us, the black seeds stuck in our hair, my mother went about saying in a high voice like the wind sunflowers kiddies, ah sunflowers.</div><div><br></div><div>We lived on the Steppes, my mother and the rest of my family and I, but mostly my mother because she was bigger than the rest. She stood outside in the sun. She held a sunflower in her hand. It was the biggest, blackest sunflower in Russia, and my mother said over and over again ah sunflowers.</div><div><br></div><div>I shall never forget being in Russia. We wore big high boots in the winter, and in the summer we went barefoot and wriggled our toes in the mud whenever it rained, and when there was snow on the ground we went outside under the trees to sing a Russian song, it went like this, I'm singing it to myself so you can't hear, tra-tra-tra, something about sunflowers and a tall sky and the war rolling through the grass, tra-tra-tra, it was a very nice song that we sang.</div><div><br></div><div>In space and time.</div><div><br></div><div>There are no lands outside, they are fenced inside us, a fence of being and we are the world my mother told us â°we are Russian because we have this sunflower in our garden.</div><div><br></div><div>It grew in those days near the cow-byre and the potato patch. It was a little plant with a few little black seeds sometimes, and a scraggy flower with a black heart, like a big daisy only yellow and black, but it was too tall for us to see properly, the daisies were nearer our size.</div><div><br></div><div>All day on the lawn we made daisy chains and buttercup chains, sticking our teeth through the bitter stems.</div><div><br></div><div>All day on the lawn, don't you remember the smell of them, the new white daisies, you stuff your face amongst them and you put the buttercups under your chin to see if you love butter, and you do love butter anyway so what's the use, but the yellow shadow is Real Proof, Oh you love early, sitting amongst the wet painted buttercups.</div><div><br></div><div>And then out of the spring and summer days the War came. An ordinary war like the Hundred Years or the Wars of the Roses or the Great War where my father went and sang Tipperary. All of the soldiers on my father's side sang Tipperary, it was to show they were getting somewhere, and the louder they sang it the more sure they felt about getting there.</div><div><br></div><div>And the louder they sang it the more scared they felt inside.</div><div><br></div><div>Well in the Russian War we didn't sing Tipperary or Pack up your Troubles or There's a Long Long Trail A-Winding.</div><div><br></div><div>We had sunflowers by the fence near where the fat white cow got milked. We had big high boots in winter.</div><div><br></div><div>We were just Russian children on the Steppes, singing tra-tra-tra, quietly with our mother and father, but war comes whatever you sing.</div><div><br></div><div><div class="separator" style="clear: both; text-align: center;">
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</div></div><div><br></div><div><br></div>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com1tag:blogger.com,1999:blog-996008019566474472.post-27076387433091364992021-09-28T14:18:00.004+13:002021-10-18T21:58:16.141+13:0060th Anniversary of FACES IN THE WATER by Janet Frame<div><div class="separator" style="clear: both; text-align: center;">
<a href="https://lh3.googleusercontent.com/-_J6-uq5cfU8/YU61KaSAFcI/AAAAAAAAF9w/AF-n4ncFoSIenY_OAvhJOgeEaVOSA-VcgCNcBGAsYHQ/s1600/1632548132088693-0.png">
</a><img border="0" src="https://lh3.googleusercontent.com/-_J6-uq5cfU8/YU61KaSAFcI/AAAAAAAAF9w/AF-n4ncFoSIenY_OAvhJOgeEaVOSA-VcgCNcBGAsYHQ/s1600/1632548132088693-0.png" width="400"></div></div><h2 style="text-align: left;">Faces in the Water by Janet Frame was first published in September 1961. </h2><h2 style="text-align: left;">Sixty years later, it is as well appreciated and as relevant as ever.</h2><h3 style="text-align: left;">FACES IN THE WATER was published in the UK (WH Allen) the USA (George Braziller) and New Zealand (Pegasus Press)</h3><div><div class="separator" style="clear: both; text-align: center;">
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</div></div><div><div class="separator" style="clear: both; text-align: center;"><br></div></div><div><h3 style="text-align: left;">Current editions of Faces in the Water are available from Virago Modern Classics and Penguin Books. Ebooks also available in most territories.</h3><div>Virago Modern Classic:</div><div><a href="https://www.virago.co.uk/titles/janet-frame/faces-in-the-water/9780349006734/">https://www.virago.co.uk/titles/janet-frame/faces-in-the-water/9780349006734/</a><br><div><br></div><div>Penguin Books Australia: </div><div><a href="https://www.penguin.com.au/books/faces-in-the-water-9781741666083">https://www.penguin.com.au/books/faces-in-the-water-9781741666083</a><br></div><div><br></div><div>Here are some of the covers of the many English language editions and translations of FACES IN THE WATER:</div><div><div class="separator" style="clear: both; text-align: center;">
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</div><br></div>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-64547449325382742102021-09-11T23:42:00.000+12:002021-09-12T00:20:22.125+12:00Remembering Erica van Acker, WTC 9/11<div><br></div><div class="separator" style="clear: both; text-align: center;">
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</div><div><br></div><div><div>Remembering Erica van Acker who died at the World Trade Center 20 years ago today, on September 11, 2001. Erica was a close friend of Janet Frame's friend Barbara Wersba who lived in Sag Harbor, Long Island, New York.</div><div> When Janet Frame and I visited the Hamptons in late 2000, Barbara introduced us to Erica and her partner, and we enjoyed several dinner parties and outings in their company during our stay. Erica was an excellent chef and a stimulating conversationalist. We had a lot of fun and a lot of laughs. Janet was always much more relaxed when she was away from New Zealand where so many people unfortunately treated her like a 'freak' (her own words). New York is anything but narrow-minded, and Janet loved it there.</div><div><br></div><div>9/11</div><div><br></div><div>Erica had told me she worked part time at the WTC and so at first I hoped that she hadn't been there on the day of the attacks. Sadly, we soon heard from Barbara that Erica had lost her life there.</div><div><br></div><div><div class="separator" style="clear: both; text-align: center;">
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</div></div><div><br></div><div>The injustice of this sentence in Erica's NYT obituary (below) is heartbreaking: <br></div><div>"She has no immediate survivors." In that era same-sex partners of victims were seldom officially acknowledged.</div><div><br></div><div><a href="http://www.legacy.com/sept11/story.aspx?personid=146578">http://www.legacy.com/sept11/story.aspx?personid=146578</a><br></div><div><br></div><div><a href="https://www.nytimes.com/2001/12/15/nyregion/erica-van-acker-62-subject-of-tv-documentary-on-rape.html">https://www.nytimes.com/2001/12/15/nyregion/erica-van-acker-62-subject-of-tv-documentary-on-rape.html</a></div></div><div><br></div><div>In 2012 while on a trip to New York I made a pilgrimage to the memorial at Ground Zero and paid my respects to Erica. </div><div>(Photo: Christine White)</div><div><br></div><div><div class="separator" style="clear: both; text-align: center;">
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</div><br></div><div><br></div>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-57654342226181802392021-09-08T12:21:00.003+12:002021-09-08T13:28:25.206+12:00From the Archives: Burns Fellowship Reunion 2018<div class="separator" style="clear: both; text-align: center;">
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TODAY IN HISTORY: The Robert Burns Fellowship 60th Reunion </h3><h3 style="text-align: left;">AT THE UNIVERSITY OF OTAGO IN DUNEDIN 2018</h3><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;">
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</div><h2 style="text-align: center;">Tributes to Absent Fellows</h2>At the 2018 Burns reunion I appeared on Janet Frame's behalf at an event honouring the deceased Fellows. It was a pleasure and privilege to appear with the other friends and family members who took part in this moving tribute. <span style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px;">Each of the representatives of absent fellows gave a short speech and read an example of the author's work. I read Janet Frame's short story 'Between my Father and the King.'</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px;"><br></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-rtIBoQ_Cl7Y/YTf4_zaExhI/AAAAAAAAF8s/R8MV-KQ2YsAVdxuHlaKWogqnrG6dysWRQCNcBGAsYHQ/s810/absent%2Bfellows.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="810" height="266" src="https://1.bp.blogspot.com/-rtIBoQ_Cl7Y/YTf4_zaExhI/AAAAAAAAF8s/R8MV-KQ2YsAVdxuHlaKWogqnrG6dysWRQCNcBGAsYHQ/w400-h266/absent%2Bfellows.jpg" width="400"></a></div><br></div><div dir="ltr" style="text-align: left;" trbidi="on"><span face="system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif" style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px;">"It was such a treat to have these lovely souls read at our <i>Tribute to Absent Fellows</i> event on Sunday at the Dunedin Public Art Gallery. They did the 17 absent Burns Fellows right proud..." (Dunedin Writers & Reader Festival).</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span face="system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif" style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px;">Here is a list of the deceased fellows and those who saluted them. Publisher Rachel Scott was the MC:</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span face="system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif" style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px;"><div class="separator" style="clear: both; text-align: center;">
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</div><br></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><b>40th Reunion 1998</b><br></div><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;">
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</div><br></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;">I also attended some of the events at an earlier Burns reunion, this time with Janet Frame herself, when Janet joined the other former Burns Fellows at the 40th Reunion in Dunedin in 1998. </span></div></div><div dir="ltr" style="text-align: center;" trbidi="on">(Photo: Reg Graham)</div><div dir="ltr" style="text-align: left;" trbidi="on"><br></div><div dir="ltr" style="text-align: left;" trbidi="on">What is the Burns Fellowship?<br></div><div>see: <a href="https://www.otago.ac.nz/otagofellows/burns.html">https://www.otago.ac.nz/otagofellows/burns.html</a></div><div><br></div><div>The Burns Fellowship is alive and well and as relevant and prestigious as ever. The current 2021 Burns Fellow is<b> Becky Manawatu </b>whose 2019 novel <b><i>AuÄ</i></b> Makaro Press) won the 2020 Hubert Church Award prize for Best First Book and was also the overall winner of the 2020 Acorn Prize for Fiction at the Ockham New Zealand book Awards.</div>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-46397964714479643362021-08-28T09:03:00.001+12:002021-08-28T09:03:45.537+12:00Siobhan Harvey receives 2021 Janet Frame Literary Trust Award<h2 style="text-align: left;">JANET FRAME LITERARY TRUST ANNOUNCEMENT<br />Saturday 28 August 2021<b><br /></b><o:p> <br /></o:p><b>2021 Janet Frame Literary Trust Award for Poetry goes to Siobhan Harvey</b></h2><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-0PrYDtU7Z5g/YSlS7KsCxKI/AAAAAAAAF8E/mt9m8zipEq8lx851_mJwa7yhwkuSPGepgCNcBGAsYHQ/s920/SiobhanHarveyweb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="920" data-original-width="526" height="320" src="https://1.bp.blogspot.com/-0PrYDtU7Z5g/YSlS7KsCxKI/AAAAAAAAF8E/mt9m8zipEq8lx851_mJwa7yhwkuSPGepgCNcBGAsYHQ/s320/SiobhanHarveyweb.jpg" width="183" /></a></div></div><div><b><br /></b></div><h2><b>Gift for Auckland Poet on Janet Frameâs Birthday</b><span style="font-family: Calibri, sans-serif;"> </span></h2><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">The Janet Frame Literary Trust is delighted to announce the recipient<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">of the 2021 Janet Frame Literary Trust Award for Poetry. Auckland<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">poet Siobhan Harvey will receive $5,000 from a fund set up by Janet<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">Frame for the purpose of encouraging New Zealand authors âof poetry<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">and imaginative proseâ. The biennial award is timed to commemorate<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">Janet Frameâs birth date on the 28th of August. Janet Frame was<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">famously saved from an imminent lobotomy when a doctor noticed that<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">she had won a literary prize. She received many grants and prizes over<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">her long career and wanted to give back to her fellow writers.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">Siobhan Harvey is originally from England and made New Zealand her<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">home 20 years ago. She is the author of eight books of poetry and non-fiction.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">Her latest volume of poetry and creative non-fiction, âGhostsâ (Otago<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">University Press 2021), explores themes of migration, homelessness and<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">family trauma. The UK Poetry Archive describes her poetry as âthat of<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">a quester â a voyager â meditating on separation and discovery, on<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">time lost and time regained, on the tug of distant familial<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">connections, and the new global connectivity which means never being<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">out-of-touch.â Harvey is a lecturer in creative writing at the<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">Auckland University of Technology and her work is published widely in<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">New Zealand and international journals and anthologies.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">Siobhan Harvey said that she was humbled âto be honoured in a legacy<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">left by New Zealand's foremost authorâ as well as finding herself the<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">recipient of an award given previously to writers whose work she<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">admires, such as Peter Olds, Tusiata Avia, David Eggleton, Catherine<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">Chidgey and Alison Wong.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"> âIn this fraught time of a global pandemic and in an era in which the<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">financial earnings of writers in New Zealand are below the minimum<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">wage, this bequest allows me to fund writing time I would not have<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">been able to afford otherwise.â<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><i>Authorised by Pamela Gordon, Chair, Janet Frame Literary Trust<o:p></o:p></i></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><a href="http://www.janetframe.org.nz/" style="color: #954f72;">www.janetframe.org.nz</a></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">More Info on Siobhan Harvey:<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"> <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><a href="https://poetryarchive.org/poet/siobhan-harvey/" style="color: #954f72;">https://poetryarchive.org/poet/siobhan-harvey/</a><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><a href="https://www.anzliterature.com/member/siobhan-harvey/" style="color: #954f72;">https://www.anzliterature.com/member/siobhan-harvey/</a><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><br /></p>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-29807287793362838582021-07-14T23:48:00.000+12:002021-07-14T23:48:01.807+12:00Planting a tree at Janet Frame House<div><div class="separator" style="clear: both; text-align: center;">
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</div></div><div>Chloe Searle (Chair of the Janet Frame House Trust), Alison Albiston (founding house trustee and expert gardener), Pamela Gordon (Chair of the Janet Frame Literary Trust).<br></div><div><br></div>It's winter and the Janet Frame House is closed to the public until spring. A great time to plant trees though! I was honoured to be invited to help plant a cherry tree at 56 Eden Street, Oamaru which was Janet Frame's childhood home.<div>My late mother June had left a list of the trees that used to be in the backyard of the house. Thanks to a generous gift the house trust is able this year to plant a cherry, an apple and an apricot tree. </div><div>Planting the heritage cherry was poignant for me as it is the 13th anniversary this week of Mum's death.</div><div>While in Oamaru I also visited the Frame family grave where Mum and Janet are both buried, and left flowers.</div><div><div class="separator" style="clear: both; text-align: center;">
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</div><br><div><br></div></div>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-67533546925556269082021-07-11T23:00:00.001+12:002021-07-11T23:00:29.161+12:00'Meeting a Character': a short story by Janet Frame<div dir="ltr" style="text-align: left;" trbidi="on">
<b>Meeting a Character</b><br>
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A short story by Janet Frame<br>
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First published in <i>JANET FRAME IN HER OWN WORDS</i> (Penguin Books, 2011)</div><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;">
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I was drinking coffee in a place in downtown Whanganui when I was approached by a middle-aged man who insisted that we knew each other. He sat opposite me without even a polite, May I sit here? and when I denied knowing him he smiled,<br>
âOf course you do. Remember <i>Maniototo</i>?â<br>
He was referring to a novel Iâd written. I wondered if perhaps he had written to me about the book and perhaps I had mislaid the letter and not answered it.<br>
âIâm not very good at answering letters, Iâm afraid.â<br>
âYou donât remember, then?â<br>
He said his name.<br>
I repeated it. Certainly it was familiar. Then I remembered,<br>
âYou mean youâre . . .â<br>
âOf course. I donât know why novelists imagine that as soon as they finish with a character and the book is written and published, that character vanishes or dies. It was fashionable, once, to quote âIn dreams begin responsibilitiesâ.â<br>
âOh yes,â I said. âEveryone quoted that vogue phrase. But what do you expect me to do now youâre in Whanganui?â<br>
âNothing at all. It was by chance I saw you. But arenât you curious to find out what Iâve been doing since you last thought and wrote about me?â<br>
âOf course Iâm curious.â<br>
âThen let me satisfy your curiosity,â he said, âin a way that I know would suit you.â<br>
I looked questioningly at him.<br>
âYes. I observed and knew you, also, and Iâve known that youâve been longing to write one of those stories where the author meets a narrator who then takes over, and day by day (in a long train journey, or over a season of several days as guest in a house â I admit that in the modern age there are fewer opportunities for prolonged narration â perhaps even during a walk of the Milford Track or a Christmas holiday by the beach â O well, however it may arise), the story is told, the mystery solved, whereupon the author and the narrator part company and most likely neither sees the other again until, just by chance, a similar incident of meeting is repeated, where once again the author, curious to know of events since the last meeting, conducive to storytelling, listens once again â in a train, around a fire, on the sundeck of an evening overlooking the beach â perhaps that is the setting you would choose? Thereâs no escaping a story, you know . . .â<br>
I agreed. The time was between Christmas and New Year, with Victoria Street a waste of tinsel and unbought Christmas gifts gathering dust and insect spray in the shop windows. I had no train journey in mind, nor had I planned to walk the Milford Track, nor was I cut off by storms, nor had I a bach by the sea where I could sit on the sundeck of an evening, looking out over the bay, and listening to the narrator.<br>
âPerhaps youâd like to come to my place for the weekend?â I suggested. âIâve a spare room. And perhaps one evening we can go to the pavilion on the beach at Castlecliff and sit watching the sea while you continue the story? Itâs the nearest I have to that train journey across the Steppes or even across the Central Australian Desert or even the fourteen-hour journey between Auckland and Wellington.â<br>
He accepted my invitation. He did know as well as I did, how I had dreamed of writing the kind of story he described, the story with the classic treatment and theme, the set piece, like a dance or movement of music.<br>
There was one difficulty, however. Although I did recall his name, I had no idea of his character and actions. I therefore gave him my address, suggesting that he arrive about half-past five that evening (Friday), and everything would be ready for his stay. I then finished my coffee and hurried to the bus-stop in Ridgway Street just in time to catch a Castlecliff bus on the Alma Road or A route, and half an hour later I was home where my first action was to find a copy of <i>Maniototo</i> and look it up â so that later when he knocked on the door I at least knew something about him.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br></div><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;">
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Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-45327728291455056822021-07-11T11:34:00.001+12:002021-07-11T11:34:58.489+12:00Serbian edition of Janet Frame's Autobiography <div><br></div><h1 itemprop="name" class="product_title entry-title">ANÄEO ZA MOJIM STOLOM</h1><div class="separator" style="clear: both; text-align: center;">
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</div><div>The translations of Janet Frame's work continue. Here is the Serbian omnibus edition of her three-volume autobiography AN ANGEL AT MY TABLE, published by Karpos Books.</div><div>http://karposbooks.rs/shop/polyphonia/andeo-za-mojim-stolom/<br></div><div><br></div>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-54673986068584983032021-07-10T13:21:00.003+12:002021-07-10T13:31:30.486+12:00Janet Frame's Faces in the Water chosen for VMC40 13<div dir="ltr" style="text-align: left;" trbidi="on">
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This was a wonderful tribute to Janet Frame's classic novel <i><a href="https://www.virago.co.uk/titles/janet-frame/faces-in-the-water/9780349006734/" target="_blank">Faces in the Water</a></i>, to be included in the 13 novels chosen by Virago Modern Classics to celebrate their 40th anniversary.</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;">The anniversary edition, with an introduction by Hilary Mantel is still on sale around the world.</span></div>
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<span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><b style="box-sizing: inherit; caret-color: rgb(54, 54, 54); color: #363636; font-size: 16px; text-align: start;"><span style="font-family: inherit;">Books included in the VMC 40th anniversary series were: <i style="box-sizing: inherit;">Frost in May</i> by Antonia White; <i style="box-sizing: inherit;">The Collected Stories of Grace Paley</i>; <i style="box-sizing: inherit;">Fire from Heaven</i> by Mary Renault; <i style="box-sizing: inherit;">The Magic Toyshop</i> by Angela Carter; <i style="box-sizing: inherit;">The Weather in the Streets </i>by Rosamond Lehmann; <i style="box-sizing: inherit;">Deep Water</i> by Patricia Highsmith; <i style="box-sizing: inherit;">The Return of the Soldier</i> by Rebecca West; <i style="box-sizing: inherit;">Their Eyes Were Watching God</i> by Zora Neale Hurston; <i style="box-sizing: inherit;">Heartburn</i> by Nora Ephron; <i style="box-sizing: inherit;">The Dud Avocado</i> by Elaine Dundy; <i style="box-sizing: inherit;">Memento Mori </i>by Muriel Spark; <i style="box-sizing: inherit;">A View of the Harbour</i> by Elizabeth Taylor; and <i style="box-sizing: inherit;">Faces in the Water</i> by Janet Frame</span></b></div>
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<a href="https://3.bp.blogspot.com/-tAsUVd1wx6U/XAdGtQt_zJI/AAAAAAAAFoc/wesKjTdB32wsM0V-VY9zWcT0wBGHvIktwCLcBGAs/s1600/34822136_1902999353085594_2219625797059084288_o.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="839" data-original-width="1007" height="266" src="https://3.bp.blogspot.com/-tAsUVd1wx6U/XAdGtQt_zJI/AAAAAAAAFoc/wesKjTdB32wsM0V-VY9zWcT0wBGHvIktwCLcBGAs/s320/34822136_1902999353085594_2219625797059084288_o.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><b style="box-sizing: inherit; caret-color: rgb(54, 54, 54); color: #363636; font-family: Lora, serif; font-size: 16px; text-align: left;"><br /></b></div><div class="separator" style="clear: both; text-align: center;"><b style="box-sizing: inherit; caret-color: rgb(54, 54, 54); color: #363636; text-align: left;"><span style="font-family: inherit; font-size: large;">âJanet Frameâs luminous words are the more precious because they were snatched from the jaws of the disaster of her early life </span></b></div><div class="separator" style="clear: both; text-align: center;"><b style="box-sizing: inherit; caret-color: rgb(54, 54, 54); color: #363636; text-align: left;"><span style="font-family: inherit; font-size: large;">. . . and yet to read her is no more difficult than breathingâ </span></b></div><div class="separator" style="clear: both; text-align: center;"><b style="box-sizing: inherit; caret-color: rgb(54, 54, 54); color: #363636; text-align: left;"><span style="font-family: inherit; font-size: large;">Hilary Mantel </span></b></div></div>
Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-22490931111512428392021-07-10T13:02:00.008+12:002021-07-10T13:14:40.437+12:00An Upgrade for Janet Frame's Website!<h1 style="text-align: left;">Official Website for Janet Frame <a href="http://www.janetframe.org.nz" target="_blank">www.janetframe.org.nz</a></h1><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-hFsorgj4rIc/YOjwko-w9YI/AAAAAAAAF0o/LaS4sCe41_oPbU4p3ypRxTieSfD3fqmMACNcBGAsYHQ/s1437/newwebsite.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1437" data-original-width="720" height="320" src="https://1.bp.blogspot.com/-hFsorgj4rIc/YOjwko-w9YI/AAAAAAAAF0o/LaS4sCe41_oPbU4p3ypRxTieSfD3fqmMACNcBGAsYHQ/s320/newwebsite.jpg" /></a></div><br /><div><br /></div><p><span style="font-size: medium;">Upgraded and updated at last. Links available to the publisher websites and info pages for all Janet Frame's <a href="https://janetframe.org.nz/index.php/books-print-1" target="_blank">BOOKS IN PRINT</a> (in English).</span></p><p><span style="font-size: medium;"><br /></span></p><p><span style="font-size: medium;">If you have been a previous visitor you may need to refresh your browser.</span></p><p><br /></p>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-36410417241562042052021-07-04T21:15:00.001+12:002021-07-04T21:23:50.501+12:00Six of the Best <div><br></div>There's a new 'Classic' edition of this popular NZ short story sampler edited by Bill Manhire and first published in 1989.<div>In this case you CAN tell a book from its cover: there are 6 stories each, from 6 major New Zealand authors.<br><div class="separator" style="clear: both; text-align: center;">
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</div></div><div>The editor doesn't claim to have chosen the "best" stories for each writer (what headaches and arguments that would have led to!), rather he says he has "attempted to show individual range and development". All the stories are great, though.</div><div><br></div><div>The Janet Frame stories are:</div><div>Keel and Kool</div><div>Solutions </div><div>The Reservoir </div><div>The Bull Calf</div><div>You are Now Entering the Human Heart</div><div>Insulation</div><div><br></div><div>Good to see 'Insulation' there. It is as relevant politically today as when first published. 'Solutions' is a personal favourite of mine and 'Human Heart' is one of Frame's most sought-after stories internationally for educational exam prep permissions and anthologies. It's a PERFECT subject for student essays.</div><div><br></div><div>Six by Six shouldn't just be thought of as a textbook though. As well as the guaranteed reading pleasure, looking through the titles of the stories, there's <i>history</i> as well as <i>story </i>on offer. This is where we have been. Where are we heading?</div><div><br></div><div><br></div><div><br></div><div><br></div>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-46399847544581681502021-05-22T16:40:00.002+12:002021-07-10T12:30:17.614+12:00From the Archives: Goose Lays Golden Egg (2008)<p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><i><span style="color: red; font-size: 18pt;"><br /><o:p></o:p></span></i></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><i><span style="color: red; font-size: 18pt;"><br /></span></i></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-GrYQK63N80Y/YKh9SmP3h9I/AAAAAAAAFxQ/Foktdh0mNZ8w7AeU1p7IgJOePugTJdwuwCNcBGAsYHQ/s2048/20210522_153311.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1422" height="320" src="https://1.bp.blogspot.com/-GrYQK63N80Y/YKh9SmP3h9I/AAAAAAAAFxQ/Foktdh0mNZ8w7AeU1p7IgJOePugTJdwuwCNcBGAsYHQ/s320/20210522_153311.jpg" /></a></div><i><span style="color: red; font-size: 18pt;"><br /></span></i><p></p><p align="center" class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"><i></i></p><p align="center" class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"><span style="color: red; font-size: large;"><span style="caret-color: rgb(255, 0, 0);"><i><br /></i></span></span></p><h1 style="text-align: left;"><span style="color: red; font-size: large;"><span style="caret-color: rgb(255, 0, 0);"><i style="caret-color: rgb(0, 0, 0); color: black; text-align: left;"><span style="color: red; font-size: 18pt;">GOOSE LAYS GOLDEN EGG</span></i></span></span></h1><p align="center" class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"><span style="color: red; font-size: large;"><span style="caret-color: rgb(255, 0, 0);"><i><br /></i></span></span><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-i97wglThw-I/YOjqB3-nFvI/AAAAAAAAF0Y/3NoOndRfrAI7nP4eROQx4I6sMbXJDeGTQCNcBGAsYHQ/s1104/goldbestseller.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1104" data-original-width="1080" height="320" src="https://1.bp.blogspot.com/-i97wglThw-I/YOjqB3-nFvI/AAAAAAAAF0Y/3NoOndRfrAI7nP4eROQx4I6sMbXJDeGTQCNcBGAsYHQ/s320/goldbestseller.jpg" /></a></div><br /><p align="center" class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"><span style="color: red; font-size: 18pt;"><br /></span></p><p></p><h2 style="text-align: left;"><i>The Goose Bath achieves Premier New Zealand Gold Bestseller accreditation </i></h2><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><i><span style="color: red; font-size: 18pt;"> </span></i></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">From the Booksellers New Zealand website: "Books become Premier New Zealand Bestsellers when they achieve outstanding sales within New Zealand. Top-selling New Zealand books are recognised with accreditation to four levels of success...The total sales within New Zealand for each book, across all editions, are verified and, once confirmed, the book becomes an officially accredited Premier New Zealand Bestseller. Only accredited Premier New Zealand Bestsellers can wear the official platinum, gold, silver and bronze seals."</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">We are especially delighted at this recognition of the strong sales for Janet Frame's second poetry volume, given that Janet Frame's first book of poetry, <i>The Pocket Mirror</i>, has been one of the best selling collections of poetry by a single author in New Zealand history, locally and internationally, but has never been sufficiently acknowledged as such. This and several other of Frame's titles, although they have also sold extremely well within New Zealand, for various reasons are either not officially recognised as bestsellers, or their level of accreditation does not adequately reflect their actual sales history. (This anomaly is due to a chequered publishing history involving multiple publishers including foreign publishers whose sales are not counted in New Zealand, and multiple editions, and the consequent difficulty of collating sales figures.)</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><br /></p><p class="MsoNormal" style="line-height: normal; margin: 0in 0in 0.0001pt;"><span style="font-family: Arial;">Postscript: The Random House New Zealand edition of </span><i style="font-family: Arial;">The Goose Bath</i><span style="font-family: Arial;"> was published in hardback and paperback and eventually sold just short of </span><b style="font-family: Arial;">six thousand copies</b><span style="font-family: Arial;">, therefore qualifying for accreditation as a </span><b><span style="font-family: Arial;">Premier New Zealand Platinum bestseller</span></b><span style="font-family: Arial;"> but the scheme was discontinued shortly afterward.</span></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><br /></p><p class="MsoNormal" style="line-height: normal; margin: 0in 0in 0.0001pt;"><span style="font-family: Arial;"><i>The Goose Bath</i> was published in Australia by Wilkins Farago. The New Zealand and Australian editions are now out of print. In the UK the entire selection in <i>The Goose Bath </i>has been published by Bloodaxe Books in one volume along with a </span><span style="font-family: Arial;">selection from </span><i style="font-family: Arial;">The Pocket Mirror. This book is </i><span style="font-family: Arial;">entitled </span><b style="font-family: Arial;"><i>Storms Will Tell: Selected Poems</i></b><span style="font-family: Arial;"> by Janet Frame and is available to purchase online.</span></p><p class="MsoNormal" style="line-height: normal; margin: 0in 0in 0.0001pt;"><span style="font-family: Arial;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial;"><a href="https://1.bp.blogspot.com/-JJftEvpKsQs/UYhRuzCEjbI/AAAAAAAADY8/vt9w8sqTgckDN1JsxKFbOaad0ZRy81JPACPcBGAYYCw/s400/storms.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="258" height="320" src="https://1.bp.blogspot.com/-JJftEvpKsQs/UYhRuzCEjbI/AAAAAAAADY8/vt9w8sqTgckDN1JsxKFbOaad0ZRy81JPACPcBGAYYCw/s320/storms.jpg" /></a></span></div><span style="font-family: Arial;"><br /></span><p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><br /></p>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-54530636291147853892021-05-22T16:16:00.008+12:002021-07-10T12:37:15.092+12:00From the Archives: Top Poetry Prize Presented Posthumously (July 2007)<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-OK-QPyQjflE/YOjrqksdWxI/AAAAAAAAF0g/D7by-YEff5EpKWFa-vc969Lb4eaxlb7DwCNcBGAsYHQ/s1092/montanawinner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1092" data-original-width="1080" height="320" src="https://1.bp.blogspot.com/-OK-QPyQjflE/YOjrqksdWxI/AAAAAAAAF0g/D7by-YEff5EpKWFa-vc969Lb4eaxlb7DwCNcBGAsYHQ/s320/montanawinner.jpg" /></a></div><br /><div style="text-align: center;"><br /></div><div><h1 style="text-align: left;"><span style="color: red;"><i style="font-family: Arial; font-size: 18pt; font-weight: normal;">Janet Frame wins the New Zealand Book Award for</i><i style="font-family: Arial; font-size: 18pt; font-weight: normal;"> Poetry for the second time!</i></span></h1></div><div><br /></div><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">When Janet Frame died in January 2004 she had been unable to complete the arrangements to publish a book of poems she had been working on for some time. The compiling of <b><i>The Goose Bath</i> </b>was taken over and completed after her death by her literary executors with the assistance of eminent poet Bill Manhire. Not long before her death, while Frame and Manhire were both visiting Gore to attend an event at the East Otago Museum, Janet Frame asked Bill Manhire if he would help with the selection of poems for the new book, which she had already named <i>The Goose Bath</i>. The work was a part time labour of love by the editors, fitted into the demands of teaching, travel, fellowships and other commitments. Two years later (January 2006) the book was finally at the printers, and as such it qualified for entry to the Montana NZ Book Awards, which had long allowed a period of grace of two years after an author's death during which a posthumously published book already in progress at the time of death, is eligible for nomination for an award category. This period of grace for a recently deceased author has been invoked before, most notably when the popular historian Dr Michael King won two posthumous cash prizes (including "Reviewer of the Year") after his untimely death. In 2007 two books by deceased authors were named as finalists in the Book awards: Janet Frame's <i>The Goose Bath</i>, and <i>Cowboy Dog</i>, a posthumously published novel by Nigel Cox, another sadly mourned author. <i>Cowboy Dog</i> went on to win a cash prize as a runner up in the Fiction category. </p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">Having been named as a finalist, Janet Frame then won the poetry category of the 2007 Montana New Zealand Book Awards for her collection, <em>The Goose Bath</em>, three years after her death. As she was a previous recipient of NZ Book Awards (twice for fiction, twice for non fiction, and twice for Book of the Year) the win confirmed her place as one of New Zealand's most versatile writers. Janet Frame's prize of $5,000 was used by the Janet Frame Literary Trust to benefit other New Zealand writers. </p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">The win for <i>The Goose Bath</i> was announced on Montana Poetry Day, 27 July 2007, and the award presented at a gala dinner on 30 July 2007. Montana New Zealand Book Awards judgesâ convenor, Dr Paul Millar, says Frameâs edge is as we should expect, her use of inventive, imaginative and memorable language. âShe steps lightly and precisely across the surface of the swamp of words⌠She is also highly original.â </p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">Janet Frame's literary executor Pamela Gordon spoke about the win to Lynn Freeman on National Radio's <span style="caret-color: rgb(153, 153, 204);"><b><i>Arts on Sunday</i></b><span style="color: #9999cc;"> </span></span>(Sunday 29 July 2007). Gordon said that in her opinion the best thing about the posthumous recognition for the quality of her aunt's new poetry book was that the award would serve to remind New Zealanders that the famous author, who is a household name in their country, first became well known not because of her inspiring life story, but because she was quite simply a remarkably good writer. "I hope that the Montana publicity encourages some new Kiwi readers to look past the myths about Janet Frame and to pick up one of her books and find out for themselves why she was able to build such a huge reputation for her writing."</p>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-68522662644833373752021-05-21T14:05:00.004+12:002021-05-21T14:08:13.213+12:00From the Archives: CK Stead Apologises to Janet Frame's estate (25 June 2010)<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Q5a6ahYdzl4/YKcELIvYCAI/AAAAAAAAFxI/de5jp6CSAS0xgcAaNtDed1HAMA0WSFygACNcBGAsYHQ/s640/frontpagenews.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="371" data-original-width="640" src="https://1.bp.blogspot.com/-Q5a6ahYdzl4/YKcELIvYCAI/AAAAAAAAFxI/de5jp6CSAS0xgcAaNtDed1HAMA0WSFygACNcBGAsYHQ/s320/frontpagenews.JPG" width="320" /></a><b style="font-family: Arial; text-align: left;"> </b></div><p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><b> </b><b><i><span style="color: red; font-size: 14pt;">CK Stead apologised for using Janet Frame's work without permission<o:p></o:p></span></i></b></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><b><i> </i></b></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p align="center" class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"><b><span style="color: #993300;">"C K Stead, author of <i>South-West of Eden</i>, and its publisher, Auckland University Press, regret quoting from the work of Janet Frame without permission and apologise to the Janet Frame Literary Trust for doing so."</span></b><b><span style="color: #993300; font-size: 14pt;"><o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"><b><span style="color: green; font-size: 16pt;"> </span></b></p><p align="center" class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"><b>~ Auckland University Press Website, <o:p></o:p></b></p><p align="center" class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"><b>(retrieved 25 June 2010)</b><b><span style="color: green; font-size: 16pt;"><o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"><b style="font-family: Arial;">The apology was also published in the NZ Listener as a public notice.</b></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><b><i><u>A statement by Frame trustee Denis Harold was posted on the Janet Frame Literary Trust Web Page, June 25 2010</u></i></b><b><i><u><span style="font-size: 14pt;">:<o:p></o:p></span></u></i></b></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><b><i><u><span style="font-size: 14pt;"><br /></span></u></i></b></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"><b><i><span style="color: red; font-size: large;">CK Stead selectively quoted from a Janet Frame letter so that the meaning of the letter was seriously misrepresented. </span></i></b></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">C K Stead has included an unpublished poem by Janet Frame, and other works by her, and quotes from her personal correspondence, all without permission, in his recent memoir <i>South-West of Eden </i>(2010). <b>Stead also selectively quotes from a Janet Frame letter so that the meaning of the letter is seriously misrepresented. </b></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">Stead has apologised for using Frameâs work without permission after her estate took legal proceedings to seek an injunction against him and his publisher, Auckland University Press. He also has agreed to exclude the unpublished poem from any future edition, and either restore a missing part of a sentence to the extract from the letter, or else exclude the letter entirely.</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">These are the main facts of the matter, but underlying them are the issues of motives and effects. Why does Stead use Frameâs work in this way, and how does his use of her work enhance his memoir? </p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">Stead uses two of Frameâs poems as a basis on which to make judgments about her, but he then denies the poems are unequivocally hers.</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">A memoir by its nature is emotional writing, an author having their say about their life and times, but nevertheless the reader expects honesty. </p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">Stead in his portrait of Frame, which is a major aspect of the last section of the memoir, uses all his rhetorical skills to create an atmosphere that will support his summing up of Frame as someone âwho rejected the whole human orderâ, and whose work was âstructureless, directionlessâ, which âoffered not hope but a black holeâ. (<i>South-West of Eden, 2010).</i></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">The two Frame poems that Stead uses in order to carry out his âanalysisâ of Frame are exceedingly minor works â one poem Frame chose never to publish and the other she later withdrew from publication (she removed it from subsequent editions of her poetry collection <i>The Pocket Mirror</i>). Where is the academic rigour in this use by Stead of trivial Frame works to represent what he claims are her failings as a person and a writer? Surely if he wanted to give a genuine estimation of Frame, he would have used work that truly represented her? </p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">But of course this is a memoir and not a critical work, so therefore âfair dealingâ for the purposes of criticism or review is not Steadâs intention. He wants to characterise Frame as <i>childlike</i>, <i>nervous</i>, and <i>strange </i>(âthere was something intangibleâ), and interweave these observations with his demeaning comments on the two poems. </p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p align="center" class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"><b><i><u>Santie Cross<o:p></o:p></u></i></b></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">The unpublished Janet Frame poem that Stead has published without permission is derived almost word for word from the stream of consciousness prose poetry on the first page of Frameâs novel, <i>Owls Do Cry</i>. Frame, egged on by Frank Sargeson, recast this passage into a âhoaxâ poem that she sent under the pseudonym âSantie Crossâ to a London literary magazine, which turned it down. Frame then chose never to publish the poem in that form. After her death her estate refused permission for the display of a manuscript of the poem in an exhibition curated by Jenny Bornholdt and Greg OâBrien, at the Turnbull Library in Wellington. Frame and her estate have always considered this âpoemâ a curiosity piece, unpublishable unless explained within the context of its genesis. </p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">The poem is solely by Frame. She describes the story behind it in her autobiography (chapter 23 of the second volume, <i>An Angel at My Table</i>), as does Michael King in his biography of Frame (chapter 8). In neither book, tellingly, did Frame allow the poem to be published, either whole or in part.</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">Not only does Stead deny that his publication of this poem is an infringement of Janet Frameâs copyright, he has the effrontery to deny that the poem is Frameâs. On page 316 of his memoir, Stead claims that it was Sargeson who composed the poem by extracting lines from the opening pages (âshown to himâ by Frame) of <i>Owls Do Cry</i> and typing them as a poem himself. The law firm representing Auckland University Press later reiterated this claim in a letter to the Frame estateâs lawyer, Rick Shera, on 21 May 2010. </p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">Stead found a copy of this poem at the Hocken Library in Dunedin pinned to a letter Sargeson had written to Charles Brasch. There is also a manuscript copy in Frameâs own papers, and there is a third typed copy (signed "Janet") in the Frank Sargeson papers at the Turnbull Library.</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">In reproducing the poem, Stead has introduced a typographical error. He has added the word 'the' to the line âit said to plantâ, which he renders as âit said to <i>the</i> plantâ thereby changing the word 'plant' from a verb to a noun and therefore serving to reinforce his allegation that the poem has âno structure, no shapeâ. Stead goes on to make the amazing leap from his dismissive judgment of the poem to the intellectually untenable conclusion that this off-the-cuff âhoaxâ of a poem is a fair representation of Frameâs poetry, and that like this poem her work as a whole has âno structure, no shapeâ:</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt 0.5in;"><span style="color: blue;">âIt had no structure, no shape, but it was full of striking imagery and flashes of brilliance. That is what I thought; and I suppose, it is almost true to say, that is what I would go on thinking about the work of Janet Frame.â [page 315 of <i>South-West of Eden</i>]<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">But wait! We have already heard Steadâs claim that this poem is not the work of Janet Frame. Therefore, how can it represent her?</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p align="center" class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"><b><i><u>Our Town<o:p></o:p></u></i></b></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">To develop his thesis in regard to both Frame and her work, Stead then goes on to quote, without permission, from a Frame poem called 'Our Town'. This poem is composed of lines from poems by other poets, and is the result of a literary game similar to one played at Sargesonâs house. The poem was accidentally included in Frameâs only collection of poems published in her lifetime, <i>The Pocket Mirror</i> (1967), and in 1992 she withdrew it from subsequent editions because in itself the poem infringed the copyright of other authors. As of 2010 the poem 'Our Town' that Stead claims to be subject to 'fair dealing' "for the purposes of criticism or review" has been thus withdrawn from circulation and removed from Frame's canon by her own hand, for nearly 20 years.</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">'Our Town' is solely by Janet Frame. Stead acknowledges this in his 2002 book <i>Kin of Place</i> on page 275:</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt 0.5in;"><span style="color: blue;">âshe has taken [the first lines of poems] from what would have been, at a date prior to 1967, a modern anthology. The lines are managed, nudged, manoeuvred towards a recognisable Janet Frame statement about âour townâ,â<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">But now in 2010, Stead amazingly claims that he, his wife and Sargeson had a hand in composing the poem. Again we see Steadâs attempt to blur ownership. And again we see the curious double-think, the contradiction, that if this is not unequivocally a Frame work then how can it represent Frame?</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">Stead quotes ten lines from 'Our Town' (he does not reproduce an entire passage but cobbles together several excerpts) and inserts this as evidence into his evolving pattern of innuendo, which climaxes with his observation that Frame was someone: </p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt 0.5in;"><span style="color: blue;">âwho rejected the whole human order, and whose work, structureless, directionless, brilliant, with flashes of genius, offered not hope but a black hole.â [page 318 of <i>South-West of Eden</i>]<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">Saying that Janet Frame ârejected the whole human orderâ is absurd, an insult to her memory, her family, her friends, to all who knew her and loved her, an insult to truth. Frameâs work is not âstructureless, directionlessâ, as the countless scholarly studies of her work affirm, not to mention her growing international readership. The only black hole is that of envy and revenge, the black hole of being the last man standing, attempting the last word:</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt 0.5in;"><i><span style="color: blue;">âwhen youâre writing about such a long time ago there is in a way the advantage that so many people are dead and canât quarrel with your viewâ</span></i><span style="color: blue;"> [Stead speaking to Chris Laidlaw on his âSunday Morningâ programme on Radio New Zealand National on Sunday May 16, 2010]<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt 0.5in;"><span style="color: blue;"> </span></p><p align="center" class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"><b><i><u>The Letter<o:p></o:p></u></i></b></p><p align="center" class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">Just a few pages from the end of his memoir, Stead performs his last act of turning Frameâs own work against her. Stead, by his use of selective quotes from a letter Frame wrote to him creates the impression that she confirmed his claim that her story 'The Triumph of Poetry' was âtargetedâ at him.</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">Stead selectively quotes from the letter, leaving out vital parts so that he represents Frame as saying the opposite of what she is really saying. </p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">This is the final sentence from Steadâs extraction from the letter:</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt 0.5in;"><i><span style="color: blue;">But I want you and Kay to understand that Iâve never felt any malice towards you</span></i>.</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">Stead actually ends his extraction midway through a sentence (and in the process changes a comma into a full-stop). He leaves out Frameâs categorical statement that the story is not about Stead and his wife. This is what Frame wrote: </p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt 0.5in;"><i><span style="color: blue;">But I want you and Kay to understand that Iâve never felt any malice towards you, that the poet of the story is a certain elderly Scotsman who is now living in Dunedin, dividing his time between his garden and Shakespeare.<o:p></o:p></span></i></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">Not only does Stead use Frameâs work without permission, but, Janet Frameâs estate contends, also infringes Frameâs moral right (that continues for twenty years after death)<b> not to have a statement falsely attributed to her</b>.</p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;">Janet Frameâs estate initiated legal proceedings against Stead and his publisher, who have agreed to apologise for using Frameâs work without permission. They have also agreed to exclude the unpublished poem from any further edition. <b>Also, if Stead wishes to continue quoting from the letter, he has agreed to include the omitted clause.</b></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><b><i>Denis Harold<o:p></o:p></i></b></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><b><i>Trustee <o:p></o:p></i></b></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><b><i>Janet Frame Literary Trust<o:p></o:p></i></b></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><b><i>25 June 2010</i></b></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><br /></p><p class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p align="center" class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;">See news item: "CK Stead settles dispute with Frame's trust"</p><p align="center" class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"> <b><i><a href="http://www.nzherald.co.nz/books/news/article.cfm?c_id=134&objectid=10654227" style="color: #9999cc;" target="_blank">New Zealand Herald</a></i></b> 25 June 2010</p><p align="center" class="MsoNormal" style="font-family: Arial; line-height: normal; margin: 0in 0in 0.0001pt; text-align: center;"><a href="http://www.nzherald.co.nz/books/news/article.cfm?c_id=134&objectid=10654227" style="text-align: left;">http://www.nzherald.co.nz/books/news/article.cfm?c_id=134&objectid=10654227</a></p>Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-86488187994236789502019-08-28T12:00:00.002+12:002019-08-28T12:00:53.955+12:002019 Janet Frame Prize for Christchurch Novelist<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-family: inherit;">PRESS RELEASE Wednesday 28 August 2019</span></b></div>
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<b><span lang="EN-US"><span style="font-family: inherit;">Novelist and historian Stevan Eldred-Grigg receives
2019 Janet Frame Literary Trust Award<o:p></o:p></span></span></b></div>
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<a href="https://1.bp.blogspot.com/-CU8lJdXBpKk/XWXDh95g6qI/AAAAAAAAFrQ/EjKLm4_S8MUjG2g-PY8nQSCDbIfUjDWggCLcBGAs/s1600/Stevan%2BEldred-Grigg%2Bby%2BGareth%2BWatkins%2Bweb.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1024" data-original-width="683" height="320" src="https://1.bp.blogspot.com/-CU8lJdXBpKk/XWXDh95g6qI/AAAAAAAAFrQ/EjKLm4_S8MUjG2g-PY8nQSCDbIfUjDWggCLcBGAs/s320/Stevan%2BEldred-Grigg%2Bby%2BGareth%2BWatkins%2Bweb.jpg" width="213" /></span></a><br />
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<span style="font-family: inherit;">Janet Frameâs
estate has announced their biennial award to coincide with the celebrated
authorâs 95th birthday on the 28th of August. The award is currently worth
$5,000. Janet Frame founded the Janet Frame Literary Trust in 1999 and
bequeathed her ongoing royalty income to an endowment fund from which she
directed that occasional financial gifts should be given to established NZ
writers of fiction and poetry. Since Janet Frameâs death in 2004 her charitable
trust has awarded over $120,000 in grants and donations.</span></div>
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<span lang="EN-US"><span style="font-family: inherit;"> Janet Frame herself had benefited from
well-timed literary prizes over her long career, most famously the PEN prize in
1952 that saved her from an imminent lobotomy because her doctor at Seacliff
Mental Hospital read the newspaper report about it. The diagnosis of
schizophrenia hanging over Frame at that time was later discredited. Frame
understood that it was not just the award money that was welcomed but also the
boost in morale for an author who may have been feeling under-appreciated.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: inherit;">2019 recipient
Stevan Eldred-Grigg has echoed this
doubly welcome effect of an unexpected prize: <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: inherit;">âWhat
wonderful news! I was always aware of the way Janet would deflect, in her
characteristic dry way, all the pooh-bah-ish pomposities of book awards by
saying she was grateful for getting this or that grant because it would mean
she could leave the lights switched on a little longer.â<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: inherit;">âIt does feel
very much as though Janet has somehow reached out in encouragement.â<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: inherit;">âJanet has
been one of the brightest lights in my firmament of words, ever since I first
read A State of Siege at the age of sixteen. I keep coming back to Janet's
work. I learn new things each time I do come back. So it's very moving to think
that now she's reaching me in another way, too, by way of this award.â<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: inherit;">Stevan
Eldred-Grigg was born in a speeding taxi in 1952, somewhere between Blackball
and Greymouth Hospital. Just as his birthplace may be difficult to pinpoint, so
does Eldred-Grigg sometimes blur the lines in his work between fiction,
autobiography and social history. His prize winning first novel Oracles and
Miracles (1987) earned him high praise for the realistic portrayal of the lives
of working class women in Christchurch. His painstakingly researched work
Diggers, Hatters and Whores: The story of the New Zealand Gold Rushes (2008)
was cited by Man Booker winner Eleanor Catton as essential background reading
for her novel The Luminaries. Dr Eldred-Grigg has published 20 books and is
currently working on âa sort of memoir of the West Coastâ. He has been
described as âa natural story-tellerâ (METRO magazine).<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: inherit;"> Stevan Eldred-Grigg, like Janet Frame, exemplifies
the theme of âthe expatriate returnsâ. He has lived in many places in New
Zealand and around the world including China, Germany, Mexico, USA, Waiuku and
Wellington, but has recently decided to make the move back to Christchurch
where he grew up. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: inherit;">Portrait of
Stevan Eldred-Grigg Š Gareth Watkins <o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><a href="http://www.janetframe.org.nz/Awards.htm"><span lang="EN-US">http://www.janetframe.org.nz/Awards.htm</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><a href="https://www.penguin.co.nz/authors/stevan-eldred-grigg"><span lang="EN-US">https://www.penguin.co.nz/authors/stevan-eldred-grigg</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">Stevan
Eldred-Grigg </span><span lang="EN-US"> </span><a href="http://www.eldred-grigg.com/"><span lang="EN-US">http://www.eldred-grigg.com/</span></a></span></div>
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<span lang="EN-US"><span style="font-family: inherit;"> Pamela Gordon, Chair, Janet Frame Literary
Trust </span></span></div>
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Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-17931635747302989782018-12-05T17:35:00.002+13:002018-12-05T17:35:41.655+13:00An Anthology of VMC Introductions<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><i><a href="https://www.littlebrown.co.uk/books/detail.page?isbn=9780349008622">Writers as Readers</a></i></b>, the specially issued VMC40 anthology of introductions to Virago Modern Classics, is a wonderful read in itself, with the essays written by:<br />
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Margaret Drabble | Beryl Bainbridge | Angela Carter | Maggie O'Farrell | Elizabeth Jane Howard | A.S. Byatt | Penelope Lively | Sarah Waters | Jonathan Coe | Diana Souhami | Jilly Cooper | Elizabeth Bowen | Mark Bostridge | Alexander McCall Smith | Sarah Dunant | Rachel Cooke | Zadie Smith | Anita Desai | Sophie Dahl | Clare Boylan | Paula McLain | Diana Athill | Marina Lewycka | Claire Messud | Michèle Roberts | Simon Russell Beale | Amanda Craig | Hilary Mantel | Elizabeth Taylor | Ali Smith | Linda Grant | Jane Gardam | Julie Burchill | Carmen Callil | Helen Oyeyemi | Marian Keyes | Nora Ephron | Sandi Toksvig | Kate Saunders<br />
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<b><i>Writers as Readers </i></b>is a celebration of forty years of the Virago Modern Classics list.<br />
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"Started in 1978, Virago Modern Classics is dedicated to the rediscovery and championing of women writers, challenging the often narrow definition of 'classic'.<br />
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In this collection, forty of the most significant writers of the past century tell us about one of their favourite writers by introducing books from the Virago Modern Classics collection, offering a glimpse at the treasures that have been published over the past four decades: they may be great works of literature; they may be wonderful period pieces; they may reveal particular aspects of women's lives; they may be classics of comedy, storytelling, diary-writing or autobiography."<br />
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<b><i>Writers as Readers</i></b> includes the introduction <b>Michèle Roberts </b>wrote for Janet Frame 's <b><i>The Daylight and the Dust</i></b>, a collection of the best of her short stories.<br />
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Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-79245624159085157442018-12-05T17:00:00.000+13:002018-12-05T17:26:20.082+13:00Virago Modern Classics 40th Anniversary<div dir="ltr" style="text-align: left;" trbidi="on">
This year <b>Janet Frame</b> publisher <b>Virago Press</b> has been observing the 40th anniversary of its <b>Virago Modern Classics</b> imprint: 1978-2018. To celebrate, they have published "<a href="https://www.virago.co.uk/bakers-dozen-beauty-celebrating-40-years-virago-modern-classics/">a baker's dozen</a> of stunningly designed deluxe paperbacks by some of our most-loved authors". The list includes Janet Frame's novel <b><i>Faces in the Water</i></b>, introduced by <b>Hilary Mantel</b>.<br />
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Perks of the job: this delicious haul of VMC40 promo material (cotton book bag, postcards, bookmarks, catalogue) arrived in my post box along with the VMC40 special edition of <b><i>Faces in the Water </i></b>by Janet Frame and <b><i>Writers as Readers,</i></b> an anthology of forty VMC introductory essays.<br />
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The other authors in the VMC 40 edition include <b>Nora Ephron</b>, <b>Muriel Spark</b>, <b>Elizabeth Taylor</b>, <b>Rosamond Lehman</b>, <b>Angela Carter</b>, and Janet Frame's friend <b>Grace Paley</b>.</div>
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Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-78277047526588538392018-12-05T14:20:00.001+13:002018-12-05T14:30:56.915+13:00Our WÄhine: Janet Frame<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><b>Janet Frame</b></b></div>
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<b>Artist: Kate Hursthouse</b></div>
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<b><i><a href="http://www.ourwahine.nz/">Our WÄhine</a></i></b> is an illustrated history of New Zealandâs extraordinary women created by New Zealand artist Kate Hursthouse (<a href="http://www.katehursthouse.com/?fbclid=IwAR15KfZEl27pe5Nm2j3F6pEhHFJqK9TfcsBbLnvBwN2M2fHnC43S4RhGZbw">www.katehursthouse.com</a>).<br />
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"To celebrate the 125th anniversary of Womenâs suffrage in New Zealand, Kate will be illustrating extraordinary women from New Zealandâs history. The text is being researched and written by Kateâs mother Karen Brook. This passion project is done after hours with no funding and aims to create a visually exciting and accessible overview of the role of New Zealand women throughout history."</div>
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I love this image of Janet Frame because it avoids the stereotype that the occasional artist can fall into, of making their illustration resemble the actor Kerry Fox who played 'Janet' in the Jane Campion movie more than it looks like the real life Janet - who did live a happy fulfilling life and did grow old and wasn't by any means perpetually tormented.</div>
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Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-4458287394353682552018-12-05T13:47:00.001+13:002018-12-05T13:51:29.308+13:00An examplar of respectful quotation<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://pittstreetpoetry.com/book/goodbye-cruel/"><b><i>Goodbye, Cruel</i></b> by </a><b><a href="https://pittstreetpoetry.com/book/goodbye-cruel/">Melinda Smith</a> (Pitt Street Poetry, Australia 2017)</b></div>
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<span style="text-align: left;">I'm happy to recommend this book by Canberra poet </span><span style="text-align: left;"><b>Melinda Smith</b>, who is a previous winner of the Australian Prime Minister's Literary Award for poetry</span><span style="text-align: left;">. To learn more about the poet and the book, have a look at the excellent launch speech by </span><b style="text-align: left;"><a href="https://rochfordstreetreview.com/2017/05/04/tilting-at-poetic-windmills-john-foulcher-launches-goodbye-cruel-by-melinda-smith/">John Foulcher</a></b><span style="text-align: left;">.</span></div>
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"Smithâs newest collection is in part a paean to life even as it elegises several deaths. However, her primary concern is the binary opposition of scribing and erasure. She uses erasure to great effect in poems such as âDarkling with temazepanâ (44), her version of âOde to a Nightingaleâ and, through her inking and inscription, Smith forges a connection with the dead whom she memorialises and the living who read her work. That connection may be tenuous, a thread as short and slender as a line of poetry, but it is a link nevertheless, and one of great importance. This book is the work of a vivid, vitalic voice in Australian poetry." (from the <a href="https://pittstreetpoetry.com/poet/melinda-smith/"><b>Pitt Street Poetry</b></a> website).<br />
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In <b><i>Goodbye, Cruel</i></b> Melinda Smith has cleverly and movingly drawn from excerpts of poems by Janet Frame for two of her poems. Before she published this book she asked permission of the copyright owners (the Janet Frame Literary Trust). I'm glad she did because it has been good to get to know Smith's work. </div>
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It's always gratifying when an author does the right thing and asks permission (if a work is still in copyright) and also clearly indicates the source of the text they quote, enhance, chop up, play with or otherwise utilise for their purpose of following their own poetic vision. </div>
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Conversely, it is disappointing to come across, as I do now and then, examples of Janet Frame texts used for 'erasure' or other exploitative poetic formats without the Janet Frame copyright being properly acknowledged.</div>
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I wish that more of the creative writing schools in New Zealand would teach the basics of professional ethics and copyright law, surely it isn't so difficult! </div>
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Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-77903881118530735162018-12-05T12:52:00.001+13:002018-12-05T12:55:25.920+13:00A tasty smorgasbord of poetry<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><i>Poems from the Pantry: 135 years of food in poetry from New Zealand, 1863-1998</i></b> is an anthology of New Zealand poems that are either about food or that use food as imagery.<br />
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It is styled after the iconic Kiwi recipe book the <b><i>Edmonds Cookery Book</i></b>. It's even arranged in sections such as: 'Puddings and jellies', 'Bread, buns and rolls', Cakes and biscuits', 'Eggs' and so on.<br />
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Edited by <b>Judith Haswell</b> and <b>Janny Jonkers</b>. Ordering and other details <a href="https://poemspantry.wixsite.com/foodpoetry-nz">on the website</a>.<br />
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The included authors comprise a <i>Who's Who</i> of New Zealand poetry. Because the editors imposed a time limit ending in 1998, Janet Frame's posthumously published poetry wasn't considered for inclusion, but there is a piece of hers there from <b style="font-style: italic;">The Pocket Mirror </b>(1967). <br />
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Happy snacking!<span style="background-color: white; color: #1c1e21; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px;"><br /></span></div>
Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0tag:blogger.com,1999:blog-996008019566474472.post-10207305425096994692018-12-04T17:25:00.002+13:002018-12-04T17:37:20.467+13:00Playing the thought-game<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><i><a href="https://www.bwb.co.nz/books/matter-fact">A Matter of Fact: Talking Truth in a Post-Truth World</a></i></b></div>
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Jess Berentson-Shaw</div>
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BWB texts (2018)</div>
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Here is another of those <a href="https://www.bwb.co.nz/about-bwb">Bridget Williams Books</a> "short books on big subjects from great New Zealand writers" that I <a href="https://slightlyframous.blogspot.com/2015/05/bwb-texts-small-books-on-big-subjects.html">have talked about before</a>, because so many of them either quote Janet Frame and/or otherwise name-check her.</div>
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This book is about as topical as it can be, about being able to distinguish between good information and misinformation, and being able to communicate constructively about the gaps between.</div>
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The author of this recently published book has employed a relevant quote from Janet Frame in a chapter discussing how to encourage and develop critical thinking.</div>
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Janet Frame wrote so profoundly and so profusely on a vast range of topics and it's good to be reminded that her writings are appreciated as a rich historical and sociological resource as well as a literary one.<br />
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<b>"Unless we have the courage to use our inherited human riches to name, name, name things visible, things invisible, in our land, to play the thought-game from time to time, to raise a few more rich fat dreams and poems and get a fair price for them, weâll be spiritually hungry and poor; we may not even survive."</b></blockquote>
<b>~ Janet Frame</b><br />
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(from 'This Desirable Property', a talk broadcast on New Zealand YC radio stations and published in the NZ Listener, 3 July 1964, reprinted in JANET FRAME IN HER OWN WORDS)</div>
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Pamela Gordonhttp://www.blogger.com/profile/13581369727017085580noreply@blogger.com0