Showing posts with label 2020. Show all posts
Showing posts with label 2020. Show all posts

Wednesday

Acquisitions (39): Tara McLeod



Tara McLeod: A Typographic Journey (2020)




Tara McLeod (Otago University, 2013)


Tara McLeod: A Typographic Journey (2020)
[Acquired: Thursday, February 20, 2020]:

Tara McLeod: A Typographic Journey. Ed. Lesley Smith. Foreword by Keith Maslen. Essays by Riemke Ensing, Bronwyn Lloyd, Christine & Tara McLeod, Paul Thompson, Donald Kerr, Jürgen Wegner & Alan Loney. Photography by Liz March & Sean Shadbolt. Dunedin: Katsura, 2020.



This Thursday Bronwyn and I went along to the launch of this wonderful new book, celebrating the life and work of master printer and typographical artist Tara McLeod. It was a most festive occasion, with many old friends to catch up with at the Takapuna library, and a comprehensive exhibition of Tara's work - put together by his wife Christine with the help of librarian Leanne Radojkovich - as an accompaniment.



Bronwyn, of course, is in the book - she contributed a fine essay on Tara's time as successor to Alan Loney at Auckland University's Holloway Press. I can't tell you how exciting it was to look through the box of goodies Tara and Christine allowed us to borrow from their own private collection while Bronwyn was researching her piece. I own a few Holloway Press books myself, but the more expensive collector's editions I'd never even been permitted to handle before.



Tara McLeod, ed.: 8 Poems by New Zealand Poets (Orewa: Pear Tree Press, 2019)


What's more, as a direct result of this project, I was invited to contribute to Tara's latest chapbook of 'poems by New Zealand poets,' which I've already blogged about here.



Why are these things so important to us? Lesley Smith, the designer and publisher of the book, makes no secret of her own addiction to small press printing. She put out a series of exquisite poetry chapbooks for successive poetry day readings at Titirangi (I blogged about that, too, here), so it's no surprise that she understands the natural connection between typography and its associated arts and a certain attitude towards writing itself.

John Denny, owner-operator of the Puriri Press, whom I know well from my Poetry NZ days, put it best, I think, when he remarked to me on Thursday that one has to feel very attached indeed to a set of words if you're going to live with them, day in, day out, for six months or so.



Tara McLeod: Proceed and Be Bold: The Pear Tree Press (Christchurch, 2014)


Poets understand this. We spend a lot of time getting the words right in order not to waste the time of artists such as Tara and John. But there's a lot more to Tara McLeod's work than that - Georgia Prince, Principal Curator of Rare Books at Auckland Central Library, a long-time collector of his publications, who launched the book, remarked on the wit and humour displayed so often in Tara's art: not an especially common attribute of small press printers! She also pointed out his love of colour: not just in the backgrounds but in the words themselves.

You'd be well advised to go down to the Takapuna Library to check out the exhibition of Tara's work while it's still there. And, of course (it goes without saying) to invest in a copy of this beautiful book while it can still be obtained: it's selling out fast.











Saturday

Acquisitions (35): Michele Leggott



Michele Leggott: Mezzaluna: Selected Poems (2020)




Tim Page: Michele Leggott


Michele Leggott: Mezzaluna (2020)
[Acquired: Friday, January 3, 2020]:

Leggott, Michele. Mezzaluna: Selected Poems. Middletown, CT: Wesleyan University Press, 2020.

Yesterday Michele gave us an advance copy of Mezzaluna, her selected poems, due out from Wesleyan University Press on the 12th of February, and from Auckland University Press on March 12th.

Here's the equally styly cover design for the New Zealand edition:



Michele Leggott: Mezzaluna (2020)


The book includes substantive selections from Michele's nine previous books of poems:

  1. Like This? The Caxton Press New Poetry Series. Ed. Michael Harlow. Christchurch: Caxton Press, 1988.
  2. Swimmers, Dancers. Auckland: Auckland University Press, 1991.
  3. DIA. Auckland: Auckland University Press, 1994.
  4. as far as I can see. Auckland: Auckland University Press, 1999.
  5. Milk & Honey. Auckland: Auckland University Press, 2005.
    • Milk & Honey. 2005. Cambridge: Salt Publishing, 2006.
  6. Journey to Portugal. Collages by Gretchen Albrecht. Auckland: Holloway Press, 2007.
  7. Mirabile Dictu. Auckland: Auckland University Press, 2009.
  8. Heartland. Auckland: Auckland University Press, 2014.
    • Northland. Auckland: Pania Press, 2010.
  9. Vanishing Points. Auckland: Auckland University Press, 2017.

It's true that I did offer certain suggestions for inclusions at an early stage of the process, but Bronwyn and I also make our way into the acknowledgements as a result of Michele's chapbook Northland, which we published through Pania Press in 2010.

I have to hand it to the American designers of the book. They've done a wonderful job of navigating the difficult layouts of some of the earlier books - from the long lines of 'An Island' (Like This?, 1988); the collage layouts of 'Tigers' (Swimmers, Dancers, 1991) and 'Micromelismata' (DIA, 1994); all the way through to the prose poetry of 'The Fascicles' (Vanishing Points, 2017). They've also divided up the selections from each book with standardised pageworks, to facilitate moving from one to the next. It's an elegant solution to the problem of how to assert unity - this is all (now) one book - and variety - the fact that it consists of discrete sections from a number of other books, each ordered with at least as much care for precise detail.

I think it's safe to say that anyone with the slightest interest in Michele's poetry - or, really, New Zealand poetry in general - will have to buy this book. There are a few surprises here: an extra, previously uncollected poem in the Swimmers, Dancers section, as well as another new one at the end. The point for the enthusiast, though, will be to see how their own sense of Michele's poetic development over the past thirty years matches the graph of it provided by this, her own selection. Are there significant absences? Unexpected emphases? Certainly weighing the extravagant experimentation of a volume such as DIA against the more conventional layouts of her laureate verses, Mirabile Dictu, is greatly facilitated by being able to see, finally, these two seemingly disparate eras in her work together, side by side.



Michele Leggott: Vanishing Points (2017)


Michele never ceases to surprise. Her previous book, Vanishing Points (which I launched in October 2017), combined Borgesian game-playing with the growing perception of the sheer weight of history on these islands which has been gradually accreting in her writing over the past decade or so - certainly since Journey to Portugal (2007).

It was certainly high time for a backward glance o'er travel'd roads: 'Though much is taken, much abides.' More to the point, the next step forward requires a clear sense of where one has been - and now readers everywhere will be able to share Michele Leggott's own encephalogram of what she has gone through in composing these nine wonderful books.




  • category - New Zealand Poetry: Poetry