vanessa crofskey poetry

Vanessa Mei Crofskey is an artist and writer based in Tāmaki Makaurau. Vanessa has 6 jobs listed on their profile. POETRY. I’m really interested in what you mean by ‘force of nature’. I guess it’s the bigness of the universe that I draw on to compare to the small moments that seem big. The commas thing: well, I don’t usually like using punctuation at all for a variety of reasons. STAY HOME DIARY. AUP New Poets 6 eBook: Crofskey, Vanessa, Kemp, Ben, Stewart, Chris, Jackson, Anna: Amazon.com.au: Kindle Store Yes. Post-it notes and shopping lists, Japanese monks and children's lungs: AUP New Poets 6 is a deep dive into the rich diversity of New Zealand poetry today. These ladies are not afraid to rage against the machines. Kerrin P Sharpe is a NZ poet who really goes to the limit of the whole ‘say no to punctuation’ thing. There is rawness to the point of wound, such as in the poem, ‘a tooth emerges’. Vanessa graduated from Auckland University of Technology with a Bachelor's degree in Visual Arts (2017). As she navigates form, she navigates being comfortable in her own skin. IDK whether that’s what you meant, though. His artistic work has often explored the nexus between Japanese and Māori/Polynesian culture. As an artist: I manage my time better! i’m so authentic i use chopsticks to eat macaroni, and go to ponsonby central to eat chinese, i don’t carry hot sauce in my bag but i do bring soy to the party, my favourite movie of all time is studio ghibli, and my dad is the white side of the family, every time auckland council says ‘diversity targets’, my phone vibrates, i get suggested ads for the national party in chinese, and that think piece on bubble tea is a redirect to my. Vanessa Crofskey is a young multidisciplinary artist whose practice spans the boundaries of text, performance and installation. Enter your email address to follow this blog and receive notifications of new posts by email. AUP New Poets 6 Ben Kemp, Vanessa Crofskey, Chris Stewart, edited and introduced by Anna Jackson, Auckland University Press, 2020. become that river and dissolve into the essence of I. I take the stance that writing is just words, rather than being in any way connected to, like, my spiritual essence or something. I think that most of the poetry I read comes from NZ poets; I like to keep up to date with the contemporary journals, and of course there may be some features of language that happen subconsciously in my poems that are just because I’m ‘a New Zealander’, but putting ‘New Zealandness’ into my poems is not something that is ever at the forefront of my mind when I sit down to write. Is that a mood / atmosphere thing? Vanessa Crofskey (born in 1996) is a writer and artist of Hokkien Chinese and Pākehā descent. AUP NEW Poets 6 is a glorious read. Vanessa Mei Crofskey reads ‘”Something in the Water” by Brooke Fraser’. The poem ‘dumplings are fake’ sits on the page with verses and measured space, moves with a conversational flow and that characteristic probe into self. What do you think your poems are saying about that? Chris to Vanessa: The poem PTSD memes for the anxious / avoidant teen: I find the grid form quite innovative. I do think that people must just have their own sense of rhythm that comes out in their writing style, in the same way as you can listen to some people talk, and others: not so much… I don’t set out to write ‘rhythmic’ poetry – I do try to work with symbolism and imagery purposefully, though. The poem ‘mummy’ is one example of where I’ve done that, though – I think that’s more about pace than meaning. Settle back with a glass of wine or a cup of tea and enjoy the launch. Vaughan Rapatahana presents Part 2 of his feature on New Zealand Asian women poets. For me his poems are deeply attached to home, to a way of grounding place, of establishing anchors. It moves from Ben Kemp’s slow-paced attentive readings of place and people, in a selection moving between Japan and New Zealand, to the velocity of Vanessa Crofskey’s fierce, funny, intimate and political poetry, which takes the form of shopping lists, post-it notes, graphs, erasures, a passenger arrival card and even *poetry*, and finally to Chris Stewart’s visceral take on the domestic, the nights cut to pieces by teething, the gravity of love and the churn of time. Here are the final verses: Ah. 23 April, 2020: Vanessa Crofskey. So I wanted to replicate that in my poems to be able to speak about how I felt about something personal, which was sexual trauma. I have also drawn on quotes, which allows me to go directly to the source, or the essence of the person who uttered them. What drives you? Known for being both “introspective” and “on fire”, her performance salon debut at the Auckland Fringe Festival […] I think writing is like putting a puzzle together, but you have to create the pieces yourself as well. Chris Stewart was born in Wellington but grew up in Christchurch. They are a staff writer at The Pantograph Punch, have a collection of poems out in AUP New Poets 6, and often write about the water. It is one I feel aware of in my everyday experience. I think I wanted to make my process of retraction and deletion visible, to show the process that occurs prior to a surface feeling smooth. I think ‘The Japanese Moko’ was my boldest attempt to blend. What parts of Walt Whitman appeal to you, and how do you think they appear in your poems? AUP New Poets 6 (English Edition) eBook: Crofskey, Vanessa, Kemp, Ben, Stewart, Chris, Jackson, Anna: Amazon.de: Kindle-Shop Wählen Sie Ihre Cookie-Einstellungen Wir verwenden Cookies und ähnliche Tools, um Ihr Einkaufserlebnis zu verbessern, um unsere Dienste anzubieten, um zu verstehen, wie die Kunden unsere Dienste nutzen, damit wir Verbesserungen vornehmen können, und um Werbung … I Don't Know the Word for Depression in Mandarin by Vanessa Crofskey Vanessa Crofskey is a mixed race Chinese poet, born and raised in New Zealand, who misses Malaysia often. Home About ART WRITING INTERVIEWS THE BIG IDEA Challenge It All In Your Artistic Practice ... POETRY SHELF AUP New Poets Six. Every word must serve a purpose and be innately linked to the whole of the poem. Poetry, for example, is a way of becoming. Volume 7 will be out in August, but first I want to mark the arrival of AUP New Poets 6: Ben Kemp, Vanessa Crofskey, Chris Stewart. Which poem were you most surprised by, in terms of what you wrote or gained insight around? This poem was published in the latest issue of Starling (Starling 10). The Fauvist movement, and particularly the paintings of Paul Gauguin also greatly influenced me. Vanessa Crofskey is an artist and writer interested in bodily architecture and swimming. The poem spins on the page, a spinning vignette of fatherhood, sharp, on edge, knowing. I mean, childbirth is kind of a cosmic experience. Her latest collection of poetry is available with AUP New Poets Volume 6. In saying that, as a secondary school teacher, I often feel I put more energy into other people’s kids than my own kids. The poem/vessel is so short/small, but I feel that I was able to get both Japanese and Maori words/images to snuggle into each other comfortably. You can order the book from your favourite bookshop once they are open. The sequence establishes a series of bridges between Japan and Aotearoa. We need poetry at a time like this and if we can’t buy books, we can read the books we have, and if we run out of books, we won’t run out of poetry on the internet, and if we have to self-isolate, we don’t have to be alone. How do you think your present surroundings/ being from Aotearoa New Zealand impacts the way you write? Post was not sent - check your email addresses! She graduated from Auckland University of Technology with a degree in Sculpture in 2017. This poem was published in the latest issue of Starling (Starling 10). However we are now at level one, the sun is shining after endless rain and thunder, the political point scoring is on mute, I am listening to opera divas in my earpiece, the bread is cooling, and I can return to the collection with more focus. Reading this, I am hoping there is a book in the making. Getting to hear the three poets read at the online launch expanded tha audience, and am keen to make online readings an ongoing feature on Poetry Shelf. I think it’s ironic that people own your identity more than you do yourself. Vanessa Crofskey’s poetry was already familiar to me but her sequence, ‘ Shopping List of Small Violences’ widens my appreciation of where and how her poetry roams. What is the place of food in your poetry? I suppose I’m writing from a place of only just beginning to know myself and yet it feels like that is such a public journey, people put things and assumptions on you before you even make the first step. Each volume features three poets, a number of whom have since published highly regarded collections of their own (for example Chris Tse, Sonya Yelich, Reihana Robinson). Read "AUP New Poets 6" by Vanessa Crofskey available from Rakuten Kobo. What work do you want juxtaposition and imagery to do in your poems? Tokyo was where he discovered his passion for Kabuki theatre and Japanese film and literature. The well was filled with embers, breathing smoke. Of course that was just the trigger, and you do tend to go away from the trigger a bit in the writing process. I’ve always been taught that small moments are powerful in writing, so I guess I do try to focus on moments in detail just because I think that’s what good writing does… A specific moment in real life can be a trigger, and I find once I start to unpack it in writing, a lot of symbolism and meaning can fall out of it, so unpacking a moment works for me. Perhaps the most  gripping poem is the longer ‘The Essence of I’, an ode to Walt Whitman. One poem fills a passenger arrival card, another completes a time sheet. In poems, we endeavour to express emotions in a new way, constantly exploring alternative perspectives and all the space in between. I am of mixed ethnicity and that has always created huge tension in me. I’ve started to have very little patience for people who waste my time, too, because having kids means you have to be efficient if you want to achieve anything. Paula Green is a poet, children's author, reviewer and anthologist living on Auckland's West Coast. I Take My Virtual Body to the Sistine Chapel; Mapping out The O.C. AUP New Poets 6, eBook pdf (pdf eBook) von Vanessa Crofskey bei hugendubel.de als Download für Tolino, eBook-Reader, PC, Tablet und Smartphone. Paula Green is a poet, children's author, reviewer and anthologist living on Auckland's West Coast. i’m so authentic i use chopsticks to eat macaroni watch hentai on my huawei and go to ponsonby central to eat chinese i don’t… Read More. Again I am very much hoping there is a book in the pipeline. Vanessa Crofskey is a Chinese/European artist whose practice spans the boundaries of installation, poetry and performance. It reminded me of some sort of neolithic wizardy person reading the rune stones, and I thought that I could write a poem about that kind of cosmic stuff. 0 Comments Leave a Reply. I enjoy the feeling of potential when I sit down to do a poem. I think there’s only a couple of poems that play with astronomical imagery. Chris to Ben: The essence of I seems to have some connection to song of myself by Walt Whitman. Vanessa to Ben: Writing from the perspective of being a Māori person living in Japan feels both curious and insightful, a place to discover both foreign and common cultural connections anew. Chris to Vanessa: ‘peak hour Kmart lines of salmon dancing’. We move from Kemp's slow-paced attentive readings of place and people, in a selection moving between Japan and New Zealand, to the velocity of Vanessa Crofskey's fierce, funny, intimate and political poetry, which takes … the poem oto (sound)). Just as with Chris’s sequence, the poet produces poems that matter greatly, that broadcast self along myriad airwaves. every time auckland council says ‘diversity targets,’ my phone vibrates). Anna Jackson took over as editor with AUP New Poets 5 (Carolyn DeCarlo, Rebecca Hawkes and Sophie van Waardenberg). Vanessa currently works for The Pantograph Punch as a staff writer, and as a curator at Window Gallery (University of Auckland). And listening. Turn over the page, and again there is a shift between light and dark, a sense of awe: This is poetry at its rejuvenating best. When I get home I’m often too tired to really give them the best of me. I do feel comfortable using a more relaxed style of punctuation because it opens bits of a poem more to interpretation – I don’t think my grammar is casual, though. This word stuck, that phrase, this image. The stories were mystical and deeply embedded in the natural world. He embeds the physical in order to evoke the intangible, the hard to say. This is a collection of poems that deserves a party so thank you to Paula Green for organising this poetry party on Poetry Shelf, and thank you to Time Out Bookstore who would have been hosting an actual launch with people actually at it, if we weren’t all now in lock-down. She is also a two-time poetry slam champion and award-winning theatre maker but we promise that doesn’t detract from the rest of her career and personality. Vanessa to Ben: Your writing is so beautiful! That’s the fun bit. It went waaaay better than the hospital birth for our first daughter – Jo (my amazing) said it was kind of a healing experience for her. I love the way the poetry moves into the truth of their experiences, thoughts, admissions. Thanks everyone – do mark this book on your list to buy once bookshops are back in business. She loves making spreadsheets and collages. I have always been drawn into Maori culture, but it has never really accepted me. It happens in fits and starts. The father is wakened by a teething baby at night. I want people to think about what’s been removed and hidden, and perhaps why. I find the poem deliciously quiet, slow paced, speaking of homeplace and ancestors, oceans and rivers. What motivates you to write about a specific moment in particular? Chris to Vanessa: In the poem ‘Beauty‘, I’m interested in the ‘redaction’ technique you’ve employed. being both Maori and Pakeha. Next (Claudia Jardine) > < Previous (Sophie van Waardenberg) Personifying the natural world enables me to express how poorly we treat it. I am reminded of Emma Neale’s power to deliver wonder and awe in a poem. : JULY; IF I’M A WATER-BEARING … Luckily, the midwife was there! It was one of those poems that was like an ice sculpture; the big block of ice was frozen in place quite early, and the chipping away of small pieces around the edges happened bit by bit over time until I kind of just knew it was done. What does the craft give you in return? I like using metaphor and imagery to surprise people, which makes them have to reorient themselves in a written landscape. Vanessa Crofskey Chris Stewart Anna Jackson Plus others to be announced In stores now: Post-it notes and shopping lists, Japanese monks and children's lungs: AUP New Poets 6 is a deep dive into the rich diversity of New Zealand poetry today. I had the attention span of a gnat. Each poem starts off with the phrase “I am”, working through whatever ‘I’ decides to be on that page. Vanessa Mei Crofskey reads ‘”Something in the Water” by Brooke Fraser’ This poem was published in the latest issueof Starling(Starling10). Vanessa to Ben: Your writing spans several languages through words and phrases – from English to Japanese to te reo Māori. Being a creative person, it’s really difficult to settle into a creative process. I suppose elevating the mundane is one way of putting it. What effect do you think that adds to the poem? Of how being human is neither formulaic nor flippant. I love humanity and hate it at the same time. The events and mahi that did occur during this time is pretty special. They can’t process orders now but please remember to support the bookshop and support the poets by placing an order that can be filled after the lockdown is lifted. Is there a particular poem that you think is a good example of that? The structure of this poem had to be split up to accommodate page sizing, but it is meant to be like a Bingo grid! Also a source of guilt. The collection was launched on Poetry Shelf during lockdown, level four, with a series of readings, poems and interviews. Once the words come out, I’m quite detached from them in the editing process; I just want to make them ‘work’ as a piece of writing, and sometimes that involves ‘deleting’ those lines and phrases that I may feel the most connected to – you’ve got to be a bit detached from the ‘forces of nature’ if you’re going to ‘kill your babies’ so to speak. ‘The Essence of I’ signals a way of becoming. I also often use space to replace punctuation because it declutters the page. Her writing has appeared in Cahoodadoodling, Uptalk Mag, Kate Mag, Dear Journal and The Machinery. “I didn’t realise that what I was doing could be termed poetry. As poets, we explore meaning, but the phonetic composition is equally as important, drawing from other languages broadens the palette. As a person: my priority is family. She is a staff writer for The Pantograph Punchand has a collection of poetry out in AUP New Poets 6. Vanessa is an artist and writer based in Tāmaki Makaurau. Years later, I came into contact with the films of Akira Kurosawa, and I was immediately struck by a familiar energy. So I’m sorry that our launch can only be virtual because I would have loved to see Vanessa and Chris in live action (and Ben coming in over the ether) but thanks to Paula for hosting us here and to the great team who made the book: editor Nic Ascroft and proofer Louise Belcher; designer Greg Simpson; Creative New Zealand for the funding and the lovely AUP team, Katharina Bauer, Sophia Broom and Andy Long. Between 2003 and 2010 he recorded three studio albums with his band Uminari and toured in Japan, Australia and New Zealand. Gravity was more drawn from the place and experience of the immediate post birth: The midwife was fiddling around with the placenta (we’ve still got them in our freezer!) as it stencils birth on the white page: The agile syntax (‘we glove the light’) signals a heightened state, the sense of miracle, the wonder. As she does so, writing poetry is testing and playing with form, discovering form. She advocates for complex trauma survivors and those with attention deficit disorder, plus is very funny and knows a lot about what snacks to eat. Food is a sensory experience, the transition from material, to the tongue, to chemicals in the brain, to emotion is mind-blowing to me. And in AUP NEW POETS 6 (our second in the new format, this time a book in rumpled bed sheets), the poets turn things inside out and upside down. Ben currently lives in New Guinea with his diplomatic wife and three children. Thank you to the poets for their poetry, to Sam Elworthy and all the team at Auckland University Press and to editor Nick Ascroft, for bringing this book into the world. She has performed across Auckland, and was the 2015 UoA's… carrying the burden of my impatience, they vent it. How is it different to other structural techniques that you could have chosen to separate the units of meaning within the poem? She was her last university’s former slam champion, and award-winning poet, and has performed and published a range of art and literature. She was a Rising Voices National Finalist and the 2015 UoA Slam Champion. Anna Jackson’s lithe introduction (which I read after reading the poems as is my habit) confirms her role as an astute and surefooted editor of this series, with her fine eye for poetry that holds and satisfies attention regardless of the world that bombards. To be reading at such a human and humane level is significant. He has a BA in History and Art History with minors in English and Education from the University of Otago and two graduate diplomas in teaching. Is it instinctual? Her work is informed by waterways, shifting identities and the resonance of trauma and intimacy. : AUGUST + SEPTEMBER ; IF I’M A WATER-BEARING AIR SIGN DOES THAT MAKE ME PERSPIRATION? She has a degree in Sculpture that she mostly spent performing and writing poetry. Every decision I make is about ‘how will this affect my family?’ That includes putting work and writing behind that. There is so much in this anthology, poems about whale strandings, teething, dispossession, loss, the pain of physical exercise, the embarrassment of swimwear, the gravity of responsibility, the love you feel with the shiver of your skin, friends to watch Ferris Bueller’s Day Off with a parent to the rescue, cherry blossom, the chatter of 10.000 sea-gulls, clean sheets, rice, bathing a child, white washed pages, red ink and more. His lens is so wide, but he is able to pull it all together into his single stream of consciousness. Chris to Ben: My favourite poem of yours is Ranginui’s tomb. Post-it notes and shopping lists, Japanese monks and children's lungs: AUP New Poets 6 is a deep dive into the rich diversity of New Zealand poetry today.Relaunched under the editorship of Anna Jackson in 2019, AUP New Poets 6 includes substantial selections from the poetry of Ben Kemp, Vanessa Crofskey and Chris Stewart. Gisborne-born Kemp arrived in the Pacific following six years in Australia and ten years in Japan. I loved the flow and sound of the sentences, but can you expand on what meaning the last line ‘the tree that grows in someone else’s garden’ has for you? Kiwi Asian women poets have strong opinions. Whitman is a celebration of everything that is light and dark in the human spirit. Vanessa Mei Crofskey is an artist, producer and writer of Hokkien Chinese and Pākēha descent. Astonishing. Vanessa to Chris: There is a force of nature that lies beneath your poems. As artists, we are all searching for new ground. You can read the full piece with poems here. Relaunched under the editorship of Anna Jackson in 2019, AUP New Poets 6 includes substantial selections from the poetry of Ben Kemp, Vanessa Crofskey and Chris Stewart. He was born in Gisborne, has Rongowhakaata roots, grew up in Manutuke and Matawhero, lived in Australia for six years and ten in Japan. I am hungry for poetry that offers facets of humanity, of humaneness. I used Maori gods and placed them in an unfamiliar setting, in order to sharpen a sense of displacement. Sorry, your blog cannot share posts by email. Through her practice she investigates social connection: how we form identities through intimacy, inheritance, location and violence. Crofskey creates award winning and impactful experiences, taking home the 2018 Auckland Theatre Company’s Here and Now award the 2019 Auckland Arts Festival Fringe award and the Auckland Fringe Best Spoken Word award 2 years running. He  considers rage and alienation but stresses these women write so much more. Ben Kemp’s ‘The Monks Who Tend the Garden with Tiny Scissors’ also assembles poetry as a way of listening. I think it is  a lot about the phonetic beauty of language and how they interact with English when placed alongside each other. Vanessa Crofskey began writing when she was struggling with mental health at 15. I did feel a bit like I really had to get it down; the initial brainstorm happened very quickly, but it took me about three months to work on it. requests entries for poetry., fiction, photography, drawings'or Continued on Page 4C Pounding the Pavement Has Never Been So Rewarding. Post-it notes and shopping lists, Japanese monks and children's lungs: AUP New Poets 6 is a deep dive into the rich diversity of New Zealand poetry today.Relaunched under the editorship of Anna Jackson in 2019, AUP New Poets 6 includes substantial selections from the poetry of Ben Kemp, Vanessa Crofskey and Chris Stewart. I love this collection, which brings together three such different poets as Ben Kemp, Vanessa Crofskey and Chris Stewart. OK so what happened with that was there was a very clear trigger for that poem, and it was the birth of my second daughter. Chris to Ben:  I like how you use space in your poems (e.g. Vanessa Crofskey, our first poet to lead us to include fold-outs and colour in a poetry book (and excel graphs and arrival cards). I get that when i’m in the middle of writing something and it gets to the point where the language I’ve gathered starts to fit together and it all seems to drive itself. And building bridges. The craft gives me what people often call ‘flow’. For that reason, I spend quite a lot of time on the editing and refining process. These poems are why I keep reading poetry, and why I very much hope Chris has a book in the pipeline. Why were you drawn there? ( Log Out /  Sorry, your blog cannot share posts by email. And Chris Stewart, well his poetry is from Christchurch as a husband and a father, which may or may not be a first for us but we like it very much. I am hard pressed to think of a poet who has evoked birth, fatherhood, parenthood, so beautifully. yes! This poem was published in the latest issue of Starling (Starling 10). There were opportunities to hear people read and talk about things beyond our local venues. I will often draw humanity in with affection, then in the next line, throw it away in disgust. Vanessa Crofskey (born in 1996) is a writer and artist of Hokkien Chinese and Pākehā descent. Do you mean they seem powerful in some way? The poetry welcomes both here and there. They are a staff writer at The Pantograph Punch, have a collection of poems out in AUP New Poets 6, and often write about the water. He carries Aotearoa into every poem, regardless of the setting, while his experience in Japan also deeply permeates his point of view. This was a challenging time for new books when many of us felt tilted as readers and writers, and our major contact with the world was via our screens. I’m not sure any poet truly accepts themselves! In poetry, I don’t think clarity is a primary purpose; there are a lot of interesting effects that happen in the reader’s mind as they read without punctuation. Walt Whitman, because he so acutely mined his own consciousness, both evolution and devolution. and commenting on what it looked like and what it meant. I guess the line is more a reflection of my own feelings of displacement i.e. For me, reading during level four was like collecting gleams and shards. I have definitely tried to write poems about being from Aotearoa, but I don’t think any of them have been good enough to be published! Ben to Chris: How do you develop the rhythm and structure of each poem? This poetry is witty, vulnerable, challenging, complicated …. 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