Michael Wilson of Access Radio in Masterton (formerly Radio NZ) is working on a documentary about migrant taxi drivers, and is interviewing some of the drivers from Migrant Journeys. It’s a great initiative to support – the more ways in which we hear these stories the better. Immigration is a much-debated topic at the moment, and it’s not only about the larger issues, it’s also about the ways we live together and understand each other.
I was really delighted, and very surprised, to find Keel and Drift in the NZ Herald best books of 2016. I was surprised, because I’d deliberately made it a broader-appeal collection of poetry, rather than a literary collection – a bit risky, I thought, when I thought about reviewers (which I don’t usually think about much at all). So I was very pleased that one reviewer thought well enough of it to include it in the best books of 2016.
And equally pleased that a tiny new press, with one book to its name, was noticed. A great endorsement of small presses!
I’ve just had the launch of Keel & Drift, a new collection of poetry. Grace, who is four, (who features in one of the poems) was asking her mother if I actually made this book. Then she said, “Did she cut out all the poems and stick them into a book with glue stick?” That’s the best way to make a book! Anyway, we’ve launched this glue stick collection, which I hope will be a collection for people who love poetry and those who don’t.
October was also a month for speaking about Migrant Journeys, both at the Kapiti Literary Festival, and with Liz Grant at the national oral history conference in Christchurch. Each time, it’s a chance to revisit these powerful stories, which I think can shift our heads a little, make us see things just a little differently.
In October Keel and Drift, my third collection of poetry, is being published. Emily Fletcher is the cover designer. She’s provided about 6 different designs, and there are opinions about all of them! The discussion around covers is interesting: what cover will make a person pick up the book in a bookstore, how does it reflect the nature of the book, will it appeal to a range of readers (important for this book), and which cover do I love? The problem is that I love several. Emily is a great designer. Wait and see which cover makes it through!
I’ve just had a few weeks in Europe, and took a couple of days in Bulgaria to research a character in a new novel (which is a kind of sequel to The Score). With the help of a small tour company, a pre-arranged itinerary, a driver, and a guide, I created the imaginary life of a boy growing up on Sofia and returning there as an adult. I spent a couple of hours with a very eminent violin professor at the National Academy of Music, visited a small monastery, and spent time in various neighbourhoods in Sofia. This new novel is primarily based in New Zealand, but understanding where characters come from is so fundamental. Now I just have to finish the novel!
Here’s a postscript to Migrant Journeys, the stories of migrant taxi drivers in NZ. Helmi Al Khattat, one of the drivers in the book, was interviewed on Radio NZ. His story is particularly moving and poignant. When he came to New Zealand as a refugee from Iraq, he did everything a country might want him to do. He was a fluent English speaker, but he studied more. He was an experienced mechanic, but he did a mechanic’s qualification. But he could not get a job. He loves New Zealand, he wants his kids to grow up here. I always had an idea that if Helmi could be interviewed when the book was published, maybe someone would offer him a job. And it happened. After the interview someone contacted me about a mechanic’s job. But it was too late. Helmi had already moved to Australia – where he got a job straight away. New Zealand welcomed him generously, then shut its door on him. A lot to think about..
Over the last few months I’ve been working on a collection of poetry, to publish later this year. I’m so dependent on the help of others – Michael Keith, who helped me out of my confusion over the selection and order of poems, and James Brown who has done a great editing job. I’ve resurrected The Landing Press, which just had a couple of e-books to its name, as the publisher, and the Publishing Course at Whitireia are doing the production. I’m always interested in ways to make poetry more accessible, so here’s a real opportunity! (By the way, The Landing Press takes its name from the place where my Hayward ancestors first arrived in NZ, in the Catlins area)
We’ve just launched Migrant Journeys, interviews with migrant taxi drivers in New Zealand. Liz Grant and I have done this book, and we hope it will drive more discussion about how New Zealand receives migrants (especially in employment), racism, and a fair few other subjects. These drivers have such astonishing stories, we’re very grateful to them for being willing to tell them.
At the same time, I have in my arms both ways, which ten immigrant women and I published in 1990, was republished. How extraordinary, that it’s been republished after 25 years. But maybe the stories don’t change much. Five of the original ten women came to the launch, and we went out for dinner afterwards – it was an occasion worth marking. We remembered how when the book was first published, and the first royalty cheque came through, we all decided to blow the whole lot on going out for dinner!
It’s been a very unusual year! In October Mary-Jane Duffy, my colleague on the Whitireia Writing Programme, and I spent two weeks in Indonesia. This is part of a literary project aimed at producing more picture books for Indonesian kids which show things familiar to them. Most of the time we spent in Semarang, in Central Java, running a writing workshop for about 30, mostly early childhood teachers. It’s hard to imagine a group with more enthusiasm or a greater sense of humour. They were funny, great story-tellers, and worked really hard. It was very hot, very interesting, a lot of fun, and very exhausting. Such a lot I could say about that. It’s an ongoing project, so there might be more to come!
In July/August I went back to Penang to finish the Indian Muslim exhibition and be there for the opening, which was part of the George Town arts festival. The exhibition featured photos of about 25 members of the Indian Muslim community in George Town, with a small personal story about each person, and was shown alongside a selection from The Crescent Moon, which was a similar exhibition about the Asian Muslim community in NZ. I hadn’t realized how differently the NZ text would read in a new setting. It was all illuminating.
As part of the George Town Festival we went to a show called 100% Penang. It’s produced by a German company called Rimini Protokoll, which has done similar shows in a number of cities. Look it up – it’s extraordinary.