Melting the canon – Explosive Archaeology: WORD Christchurch Festival 2018

This fantastic session included no stripey jumpers or whips or trowels – the archaeology was metaphorical, asking us to look back, elevate, uncover and dig up those who have been excluded from the literary canon. Poet Tayi Tibble, academic Erin Harrington, novelist Brannavan Gnanalingam and curator Jennifer Shields were asked by session chair Pantograph Punch editor Lana Lopesi to wrestle with the canon and to share their favourite underappreciated artists and genres.

Jennifer Shields. Image supplied.
Jennifer Shields. Image supplied.

Jennifer told us about Wellington-based emerging musical talent Hybrid Rose and Christchurch contemporary art collective The Social, who specialise in making cheap, accessible and engaging public art in a post-quake environment.

Brannavan Gnanaglingam. Photo credit: Lucy Li
Brannavan Gnanaglingam. Photo credit: Lucy Li

Brannavan talked about Merata Mita, also the subject of a recent documentary, who made protest documentaries like Bastion Point: Day 507 and Patu! which do not fit with the ‘man alone’ narrative of the emerging New Zealand film industry. Someone else who doesn’t fit into an established narrative is political journalist and social realist Robin Hyde. Unlike the ‘Mansfield narrative’ she didn’t need to leave New Zealand in order to find her purpose. Let’s widen out the canon so people don’t have to ‘fit’ and can be as they are.

Dr Erin Harrington. Image supplied.
Dr Erin Harrington. Image supplied.

Erin spoke about children’s material, and how formative influences can be left out of the canon, referencing Karen Healey‘s article about absences in the New Zealand Book Awards. She talked about Aotearoa’s special relationship with Badjelly the Witch, played regularly on Sunday morning kids’ radio and how this helped learn to be listeners and to understand story and narrative. BTW, childhood influences are something that I have explored on Library Whisperers with Christchurch’s good friend Matt Finch.

Tayi Tibble. Image supplied.
Tayi Tibble. Image supplied.

Tayi introduced us to two up and coming poets Jessica Thompson Carr and Joy Holley, advocating for their work by reading us some of their poetry. Finally Lana spoke about artist Leofa Wilson who has mentored and opened so many doors for Pasifika women.

Opening doors was a big theme of the questions that followed. How do people get to that place where you become an overnight success? How can doors be left open for the people that come after? What are the best ways to advocate and champion others and build networks and relationships? This was an interesting debate, suggesting that we must be mindful of who we promote, always have our wings open so people can be taken under them, keep making connection, and above all speak about the the things, and the people, we love.

“Everything else is just filler” Sex and Death Salon: WORD Christchurch Festival 2018

Host Victor Rodger warned that this session was going to be dirty and lowbrow. I intend to make this blog as dirty and lowbrow as the editors will let me! Featuring poets Tayi Tibble and Chris Tse, and authors Stacy Gregg and Emily Writes, this was a no holds barred, late night sessions about things you might not want to mention at the dinner table. Or if you do mention them you might there might be awkward questions and emergency visits to Urban Dictionary.

Stacy pointed out that after sex and death everything else is just filler. Which is a little tricky for her given that she writes books aimed at children, therefore she has to feature death. Her subject is horses and she feels little frustrated that horses are often associated with sex. Jilly Cooper has a lot to answer for…

Emily brought the house down with a reading of *that* review of The Legend of Tarzan, explaining that she had just stopped breastfeeding when she wrote it and how a low tolerance for alcohol. Frankly, given the deliciousness of Alexander Skarsgård I think it a masterly and appropriate hymn to the male form.

Chris also brought the house down with his wonderful poem ‘Fun until it gets weird’ about playing Cards Against Humanity with your mum and aunties and having to explain bukake to them (do not Google this on a work computer). And then writing a poem about the experience that your family ask you to read out at Christmas. However, Chris also reminded us that we shouldn’t put older people in a box – they’ve been round the block themselves a few times. He also revealed that he felt dragging up took him most out of his comfort zone, and that his drag name is Angela Merkin, which I love!

Tayi read us her gorgeous poem ‘Johnsonville Cindy Crawford’, about the realities of growing up with an attractive mother, and remembering playing Tomb Raider, with Lara Croft and her big triangular boobs. If she could go back in time she would like to 1975 to take part in the Land March.

I don’t know if this session quite explored sex and death and taboo quite as much as I anticipated – death didn’t really get a look in, not even a petite mort. However, I do know that I laughed a lot, heard some great writing, discovered some cool people, and was rather envious of Stacy’s silver boots.

Follow our coverage of WORD Christchurch Festival 2018

“We’ve all been through a lot” Chessie and Chris Henry: WORD Christchurch

I doubt there are many literary – or related – events where you have the author, one of their subjects and an audience made up of people who have been through many of the events described, to a greater or lesser extent, in the place where one of the events took place.

Cover of We can make a lifeThis was the setting for ‘Earthquakes and Family Ties’, a discussion about Chessie Henry’s new book We can make a life, which was also officially launched on Thursday night. Bronwyn Hayward was hosting and Chessie’s dad, Chris, was also part of a fascinating and moving conversation.

This was they first time that Chessie and Chris had talked about the book in public, [pause while I take a call from someone requesting this very book] a memoir of their family, their relationships, brushes with disasters, and a reflection on grief and loss in its many forms.

Chris is a GP and worked in Lyttelton a few years back before taking his family to Tokelau. Unfortunately Chessie and her brothers caught dengue fever and were very seriously ill – and Chris was pretty much the only doctor. Serious at the time, they now laugh about the experience, a powerful shared family memory.

The nucleus of the book is a conversation between Chessie and Chris that took place when they were driving down from Kaikōura in early 2017, where Chris is now based. In it Chris finally tells his story of the work he did as an early responder at the CTV building on 22nd February 2011, working to rescue those trapped. You can read an extract in The Spinoff, but tread carefully as it is a powerful story.

There are so many stories of that time, many that are still being uncovered and shared. It is so important to record these events, not just as history, but – as Chris says – as a practical response to disasters. We learned so many lessons and it’s crucial to record and share them.

Chris received a bravery award for his work at the CTV site. Yet doing so was confusing for him – he was glad to have this this difficult experience acknowledged, but he didn’t like being singled out and felt some kind of impostor syndrome. This huge event had, not surprisingly, a big effect on him. The conversation with Chessie forced him to open up and was like a dam bursting. Chris wasn’t okay. He was burnt out. But by acknowledging that and admitting vulnerability he was able to work through things.

I could easily write a lot more – about lost homes and Kaikōura, about advocating for rural GPs, and about the CTV families who spoke afterwards – reminding us that no one has been held responsible for the disaster. This was an incredible session. Kia ora Chessie, Chris and Bronwyn.

Chessie was interviewed on Radio New Zealand if you want to hear more.

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