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This Saturday, I’ll be at LitCrawl. If you’re in Wellies, you should be too.
I shall be reading at Hashigo Zake 25 Taranaki St at 6pm with the stunning line-up of Chris Tse, Gem Wilder and Emma Barnes.
When you write from a minority perspective, whether it’s your sexuality, your gender, your mental health or something else about you, there’s an expectation you’ll perform those parts of yourself.
We choose what parts of ourselves we offer, reveal and share. We decide what we gift of ourselves to the audience. We’re not just queer writers. We’re writers. We’re not just genderqueer writers. We’re writers. We’re not just mentally ill writers. We’re writers. We’re all of these things and none of them. Come along to hear some writing loosely organised along non-heterosexual lines across genders and experiences. We’re wrapping up ourselves as gifts and we’ll rip the paper too.
Featuring Chris Tse, Janis Freegard, Gem Wilder and Emma Barnes.
There are rumours that at least one cape may be involved and I can neither confirm nor deny the possibility of a hat. But hey, if that doesn’t tickle your fancy, there are are many other exciting LitCrawl options to choose from and you can read all about them here:
A couple of weeks ago I posted a poem by Chris Tse from the recently released collection ‘AUP New Poets 4’. To find out more about his poetry, his trip to China and what else he’s doing these days, read on…
Your collection in AUP New Poets 4 is called ‘Sing Joe’ and this is also the title of two of the poems. Can you tell us a bit about that title.
‘Sing Joe’ is a transliteration of the Chinese phrase ‘to have the surname Joe’ (the family name on my Mum’s side). Also, music is a strong influence on my writing so it seemed appropriate.
Many of your poems draw on your own family stories and your great grandfather’s immigration to New Zealand. Some of the most poignant poems in the book (for me) were the ones about your great-grandmother, left behind in China. What led you to focus on these family stories and what sort of reaction have you had from family members?
In the first week of my MA year I wrote a poem about my great-grandfather as part of a writing exercise and from that point on my classmates encouraged me to explore this topic. It was an area I had consciously avoided writing about because I thought no one would be interested, but I soon realised that these stories deserved to be heard, and that there is an audience for them.
My family have been really supportive and generous with letting me share these stories. Hopefully they see that I’ve approached it with the utmost respect for my ancestors, especially since I have written about some fairly delicate moments in their lives. My great-grandparents’ situation wasn’t uncommon back then – many Chinese men remarried when they came to New Zealand because it was near impossible to bring their wives out too. My great-grandmother wasn’t mentioned much when we were growing up so these poems were a chance to give her a voice.
You spent a month in China as part of your research and you explore that experience in poems like ‘Deracinate’. Can you tell us more about your visit to China and how it shaped the poems in the book? Was it your first visit?
The NZ Chinese Association holds an annual tour to China for young Chinese New Zealanders. It’s a chance for them to visit China and connect with their roots in addition to experiencing Chinese culture on a number of levels. I was a member of the 2005 group along with 39 others, including my brother and a cousin. We left for China just weeks after handing in my final folio for the MA. It was my first time there, and though I enjoyed the trip I won’t be rushing back anytime soon – for now I feel like I’ve gained all I need from China. Maybe in a few years I’ll feel the need to reconnect or explore further.
My Aunty, Janet Joe, has been the tour guide since its inception and part of her job is to help people find where their ancestral villages are. That aspect of the trip was by far the most memorable experience for me and, having spent a year writing and thinking abut my ancestors, being in my great-grandparents’ house was like coming full circle. The experiences and memories I gathered on that trip helped to revisit the poems I’d written from a new perspective. For example, ‘Deracinate’, in its finished form, is actually a composite of material written before and after the trip.
What’s next on the agenda with your writing?
I’ve had a few ideas for future poetry collections, but I’ve settled on one to focus on this year. I’ve just been accepted into the NZSA’s mentor programme so that’s going to be the much-needed motivation to get on with it. In addition to poetry I’m also working on a feature film script that’s been brewing for a few years and I’ll continue tackling the scary world (for me at least) of short stories. My mum of all people keeps nagging me to move into fiction!
Do you set aside a particular time and place to write?
I’ve tried being one of those writers that sets aside time everyday but I find that it ends up being too much of a chore and counter-productive. Like most writers I have my lulls in output, but it doesn’t bother me as much as it did when I started writing seriously – I’ve always got so many projects in the pipeline that I always feel like I’m working towards something. With the mentor programme this year and the goal of finishing a new collection I’ll need to be a bit more disciplined but I guess knowing that someone will be expecting me to produce work will help.
What occupies your time when you’re not writing?
Aside from the shackles of a 9-to-5 job I’ve been working on an online TV series with my filmmaking friends. I’m constantly tinkering away with music too and have a few projects on the go at the moment. I’m an avid Ultimate Frisbee player too so one day I might have to try my hand at writing the definitive Ultimate Frisbee poem!
Thanks Chris! Great to see one of your poems in Wellington newspaper The DomPost today.
new roots and
shadows cast on past lives.
But shadows don’t erase
they just conceal and feed
the knot at the back of his head.
Strings across land and sea
tied to the feet of his first wife,
the new bride poised with scissors.
Chris Tse is a Wellington poet and one of three authors of the joint publication AUP New Poets 4 (Auckland University Press). Chris’ collection in the book, Sing Joe, is centred around family stories concerning his great grandfather’s migration to New Zealand from China, and his great grandmother who was left behind. The poem above gives us one peek into this story. You’ll need to read Sing Joe in its entirety to find out the rest – and it’s well worth the read.
As well as writing, Chris is an editor, actor, musician and occasional filmmaker. He studied English literature and film at Victoria University where he also completed an MA in Creative Writing. In 2009, he won the NZ Chinese Association/Listener short story competition.
Happy Birthday Tuesday Poem
The Tuesday Poem bloggers are celebrating our first birthday this week (thanks to the tireless efforts of Mary McCallum), by writing a collaborative poem. You can watch it unfold by clicking on the quill above.
AUP New Poets 4 will be out soon, featuring Harry Jones, Erin Scudder & Chris Tse (published by Auckland University Press). I don’t know the other two poets, but I was in a poetry workshop with Chris Tse a few years ago and he’s very good.
It will be launched at Te Taratara ā Kae in Victoria University’s Rankine Brown Library on 17th March 5pm – 7pm.
Here is a link to the event on Facebook http://www.facebook.com/event.php?eid=186779171356102
and here’s a description of the contents:
“This fourth in AUP’s New Poets series includes three very different voices. Chris Tse’s work draws fascinatingly on his family history and Chinese heritage. His selection, ‘Sing Joe’, includes narrative poems about his great-grandparents’ emigration to New Zealand and about his own childhood and his research to uncover their story. Erin Scudder writes sophisticated, dark and flavoursome poetry with close attention to the sound and shape of words. In its treatment of motive and emotion her work feels at once personal and universal, specific yet interested in archetypes and tropes. Harry Jones writes accomplished, elegant, formally adept work. He has a flair for the gorgeous lyric, but his selection, ‘Beyond Hinuera’, also has a subtle range. Together the work of these three writers feels substantial and pleasingly distinct.”
The series is a great way to get to know the work of new poets, three at a time. I was in AUP New Poets 3 with Katherine Liddy and Reihana Robinson; Volume 2 featured Stu Bagby, Sonia Yelich and Jane Gardner; and Volume 1 had Raewyn Alexander, Anna Jackson and Sarah Quigley. Here’s to the next volume!