The poems in this first full collection from New Zealand's Janis Freegard are categorized by Linnaean taxonomy: the six sections Mammalia, Aves, Amphibia, Pisces, Insecta, and Vermes are interspersed with a seven-part poem on the topic of Carolus Linneaus himself. Here Freegard catalogs the various fantastic and artistic, anthropomorphic and objective, rational and self-serving ways that humans draw on the animal world: as symbol and allegory, food and friend, ravening enemy, and sacred icon. From surreal prose poems to gorgeous lists—featuring a stuffed Maori dog, murderous magpies, and cake-shop cockroaches—Freegard's verse reflects the diversity of the animal kingdom and its light-hearted fancifulness belies a strong commitment to conservation.
The poems in The Glass Rooster explore the spaces inhabited by humans and other creatures—from natural ecosystems to cities and even to outer space. Our guide on this journey is a glass rooster—observer of stars and lover of hens—who first popped up in Janis Freegard's poetry years ago and wanders unchecked through the book. Each of the eight sections (or "echo-systems") in the book—the Damp Places, Forest, Cityscape, the Alpine Zone, Space, Home & Garden, Underground, and In the Desert—is introduced by a triolet: a French poetic form with repeated lines. Other poems are arranged in pairs, each echoing something about the other, whether desert plants, the presence of balloons, or the dangers of working in a mine. The result is a tremendous, riotous exploration of an interconnected world.
The humorous free verse poetry in this labyrinthine web of words introduces the character of Alice Spider, a metaphoric character and source of inspiration to the poet who embodies the contradiction of a woman's desires as she grows up in the modern world. Alice Spider spins the words into a prose-like story, dancing them around until they spill onto the page. Alice is both a true friend and a trollopy little tart—the webster who weaves herself a wild, wild life. This prose-poem sequence, reminiscent of the beats' style but written with more economy, includes drinking champagne in a hot air balloon, an exploration of surrealism, and an unusual encounter with a burglar.
When the porcelain dolls start turning up on Selina's doorstep, she knows it's a bad sign. Shortly afterwards she embarks on an ill-judged affair with a celebrity TV chef. Both events, and the lies and untold truths at their heart, precipitate a spectacular fall from grace for high-flying graphic artist, Selina. Enter Smith: the sister who saved Selina once before. But this time Smith's life is complicated by a small boy called Ragnar, and she's almost too late"--Publisher website.
The latest in the series, this third volume showcases Janice Freegard, Reihana Robinson, and Katherine Liddy, three poets with vastly different yet complementary styles. Freegard writes quirky and often surreal poems about a Wellington inhabited by strange animals, art, and people. Robinson's poems are tropical but gritty, with many set on Pitcairn Island and interspersed with touching lyrics about family and identity in fractured English. Liddy is a promising young poet who has an unusual interest in and an ear for rhyme and rhythm; while some of her poems are texturally dense, she has an impressive range and a pleasing variety.
Swedish naturalist Carolus Linnaeus (1707-1778) believed that it was his mission in life to catalogue everything on the planet: animals, plants, minerals - even a few mythological creatures. Janis Freegard, contrariwise, is a poet trained in botany who has arranged the poems in her witty and engaging first collection by Linnaeus' six animal classes. Featuring a stuffed kuri, murderous magpies and cake-shop cockroaches, Freegard's work reflects the diversity of the animal kingdom and a commitment to conservation - while chronicling the adventures of her hero Linnaeus with a critical but admiring eye.
The latest in the series, this third volume showcases Janice Freegard, Reihana Robinson, and Katherine Liddy, three poets with vastly different yet complementary styles. Freegard writes quirky and often surreal poems about a Wellington inhabited by strange animals, art, and people. Robinson's poems are tropical but gritty, with many set on Pitcairn Island and interspersed with touching lyrics about family and identity in fractured English. Liddy is a promising young poet who has an unusual interest in and an ear for rhyme and rhythm; while some of her poems are texturally dense, she has an impressive range and a pleasing variety.
Sometimes touching, sometimes troubling, these adventures introduce us to women who don't stand still: scandalous women, runaway women, daring women. From a teenage fugitive seeking safety in an Auckland strip club to a biologist on her way to Moeraki to reconnect with an old flame, Freegard's female characters take agency. They try to enlarge their own lives. Sometimes their choices delight; sometimes their wildness leaves heartache in its wake. A tea leaf reader sets someone on a fresh path; a friendship is tested by unreasonable behaviour; a lesbian couple argue over grammar; a woman swims laps for a stranger. Startling and at times surreal, Janis Freegard's stories are wise, weird, wonderful and wild."--Publisher's description.
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