Tuesday

Breakdown by Author:




of 23 years / 56 issues of
brief
the magazine formerly known as:
A Brief Description of the Whole World / ABDOTWW / description / ABdotWW / Ab.ww &c.
(December 1995 – October 2018)



A [16]

  1. Pip Adam

    • Alan MacDiarmid Building / 42 (2011): 64

  2. John Adams

    • Did you hear the snicker ... / 42 (2011): 63
    • A buzzer sounds - Bonsai swimmer / 54 (2016): 85-88
    • sharing a bed with your mother on holiday/ 56 (2018): 74

  3. Raewyn Alexander

    • some man’s angels; i’m not the kind of woman / 29 (2004): 28-29
    • unuttered words are dark sideboards of china / 33 (2006): 133

  4. Ivy Alvarez

    • Penelope - Dry Pantomime - Continu, -ing, -ity / 55 (2017): 10-12

  5. Paul Amlehn

    • [& Olwyn Stewart] I write these despicable lines / 35 (2007): 60

  6. Anne Amundsen

    • Lost: a Literary Treasure, Last Seen in Tonga / 44-45 (2012): 217-18

  7. Aimee-Jane Anderson-O'Connor

    • For Further Understanding / 55 (2017): 91-92

  8. Anonymous

    • Leaflet distributed at Whenuapai Air Base in February 2003 / 34 (2007): 4-5

  9. Ben Ao

    • Cover: “One Tree Hill” (2007) / 37 (2009)

  10. W Ao

    • [& E Goodman] Translations of New Chinese Poetry / 37 (2009): 52-53

  11. Billy Apple

    • 0.31 – 0.50 – 1.32 – 3.44 – 9.02 – 23.61 – 61.80 / 1 (1995): 49
    • Axonometric drawings of the Gregory Flint Gallery, 1995 / 2 (1996): 23-26
    • 1.61 … / 3 (1996): 51
    • Pie Chart / 4 (1996): 67
    • Bar Graph / 7 (1997): 47

  12. Michael Arnold

    • from Cashlin / 23 (2002): 28-35
    • Learning Chinese (from Cashlin) / 25 (2002): 83-86
    • Two Poems / 27 (2003): 5-6
    • What Poets Should Know About Chinese / 29 (2004): 68-69
    • Shenyang / 33 (2006): 13-18
    • /cities.33 / 34 (2007): 120-54
    • Perspire / 35 (2007): 95-101
    • thrall / 37 (2009): 59-63
    • Editor's Note / 39 (2010): 2
    • from Cashlin (Shape) / 44-45 (2012): 166-68

  13. Stacey Arnold

    • Divya / 34 (2007): 155

  14. Nick Ascroft

    • The random infinite / 42 (2011): 45-47
    • Shortcuts to the Art / 53 (2015): 52
    • Euphoria, Hemispheres and Hair / 54 (2016): 14
    • A Kea's Tongue - To McKinnon - Its Beak and Breast in the Blossom / 55 (2017): 99-102
    • Academic Blurbomatic - Bring Me a Pie/ 56 (2018): 26-27

  15. Cassandra Atherton

    • Percussion - Spot - Hygrometry / 54 (2016): 33-35

  16. Aural Disclosures

    • Split Stick / Brief #36 CD (2008): track 10

B [47]

  1. Stu Bagby

    • Day 15 / 46 (2012): 69-75
    • Because I once went there - Inland forecast / 54 (2016): 109-10

  2. Grant Banbury

    • Cover: “Untitled photo-postcard: vacant lot, Colombo Street, Sydenham, Christchurch" (c. June 2011) / 46 (2012)

  3. Douglas Barbour

    • A Canadian Meeting Alan Loney / 17 (2000): 38-40
    • Rose / 38 (2009): 76-78

  4. Cassandra Barnett

    • Pitter patter, Papa-tū-a-nuku / 54 (2016): 66-75

  5. John Barnett [& Lesley Kaiser]

    • Oh Damn! / 1 (1995): 67-68
    • O / 3 (1996): 36-39
    • every wall / 4 (1996): 52-53
    • Better the blind man … / 5 (1997): 44-47
    • Cover design / 6 (1997)
    • Stone is more stony … / 6 (1997): 8-9
    • Losing improves your character / 7 (1997): 22-25
    • nothing is more certain than death / 8 (1997): 30-33
    • Translations from the Japanese / 9 (1998): 15-19
    • ANNOUNCEMENTS / 10 & 11 (1998): 20-21
    • These days... / 14 (1999): 86-87
    • INCREASE the PEACE / 15 (2000): 43
    • seeing is when you forget … / 16 (2000): 50-51
    • Everything is how it is … / 19 (2001): 35
    • adapted from ‘Here We Are Now” / 20 (2001): 30-31
    • ANAESTHETICS: a brief description of How the mind works / 21 (2001): 42-43
    • When ideas fail / 22 (2001): 10-11
    • Words come in handy / 22 (2001): 74-75
    • Never tell the trouble / 23 (2002): 52-53
    • When ideas fail... / 23 (2002): 64
    • Bat Masterson Said / 24 (2002): 14
    • What would you like to do? … / 25 (2002): 57, 59, 61
    • Shrewd Move / 27 (2003): 54
    • Know So / 28 (2003): 35-39 [+ 2]
    • Walking the crooked line / 31 (2004): 22-23

  6. Sarah Jane Barnett

    • The Picnic - Greece - Contours / 39 (2010): 80-81

  7. Miriam Barr

    • Out the World - Grid block / 47 (2013): 128-29

  8. Tom Beard

    • from Urban Songs / 1 (1995): 25
    • an abstract … / 9 (1998): 29-31
    • Shuttle 1 / 13 (1999): 50

  9. Dave Bedggood

    • A Modem Greek Tragedy / 33 (2006): 122-27
    • [& Owen Gager] from Towards a Socialist Polynesia / 44-45 (2012): 156-64

  10. Charles Bernstein

    • “Get Real”; [Untitled]; The Emotional Truth / 1 (1995): 56-58
    • It’s 8:23 in New York / 34 (2007): 34-39

  11. Vanessa Berry

    • Treasure Map / 47 (2013): 126-27

  12. Franco Bianciardi

    • Couronne I - Crown I - Personne - No one / 42 (2011): 18-21

  13. Sandra Bianciardi

    • Front Cover Image: “Terre et ombre” / 42 (2011)

  14. Victor Billot

    • zero hour - new seasons of the blue fields / 55 (2017): 84-85

  15. Judith Binney

    • Conversations with Kendrick / 26 (2003): 87-91

  16. Marty Blayney

    • Postrenku - Dust Pans / 41 (2010): 78-79

  17. VO Blum

    • An Interview and an Excerpt from DownMind / 44-45 (2012): 86-94

  18. Bobs for Jobs

    • Vaut Rien / Brief #36 CD (2008): track 24

  19. Ahimsa Timoteo Bodhrán

    • Honig / 37 (2009): 91
    • Du Bois before Accra - honey and vinegar/my first butch / 47 (2013): 26-27
    • Mint – Post / 50 (2014): 43-52

  20. Sarah Bogle

    • 4 Poems / 42 (2011): 3-6
    • (Law school/ dichotomy / then smile) / 43 (2011): 22-23
    • My Kin is the Dirt / 44-45 (2012): 41
    • 0 - 0 / 53 (2015): 122-23

  21. Ken Bolton

    • (Pinkham) / 4 (1996): 28-32

  22. Paula Booker

    • [& Angela Chirnside] Naomi Yang's Right Ear / 51 (2014): 38-40

  23. Mick Borrado

    • Turning Japanese / 42 (2011): 103-08

  24. Janice M. Bostok

    • The Edwin Fox / 29 (2004): 42

  25. Chris Bourke

    • The Commissioner for Enlightenment: AB talks to CB / 28 (2003): 44-57

  26. Tim Bowron

    • A Communication / 44-45 (2012): 222

  27. Sam Bracanov

    • Two Statements / 33 (2006): 137-38

  28. Tania Brady

    • Here Sleeps the Appetite / 30 (2004): 6

  29. Mez Breeze

    • <----[inter]Sections-A+B-> / 38 (2009): 17

  30. Libby Brickell

    • Invisibility / 46 (2012): 34

  31. Gareth John Brighton

    • Thank You For Keeping Me Safe / 47 (2013): 133

  32. Ross Brighton

    • Blue Light - Metallic / 38 (2009): 7
    • Reviews of Ted Jenner's Writers in Residence and Other Captive Fauna, Sandy Florian's The Tree of No, and Lara Glenum's Maximum Gaga / 38 (2009): 94-99
    • Review of Fragments Found in a 1937 Aviator's Boot by Kate Durbin / 39 (2010): 122-23
    • Birds / 40 (2010): 61-65
    • SINGULAR-MONAD-COVENANT-GODHEAD / 51 (2014): 75 -76

  33. Iain Britton

    • Touched by a Celestial Digit / 30 (2004): 7-8
    • Hiroshima and Freely do I Sing / 36 (2008): 81-82
    • The Scarecrow /40 (2010): 59-60
    • Gestures - Apparitions - Punctured Experimental / 41 (2010): 34-41
    • in zambia / like elsewhere - & all that tactile stuff / 43 (2011): 71-77
    • profile of a yellow circle / 44-45 (2012): 104-105
    • the list / 46 (2012): 114-17
    • ezra pound in parenthesis / 50 (2014): 53-55
    • 5th Symphony – In Totem – Risk Anything / 52 (2015): 11-25
    • Eve - Aviatrix - Textbook Drawings / 54 (2016): 17-23
    • Cosmic Attitudes - from Enclosed in Parenthesis (Love Songs by Number) / 55 (2017): 31-35
    • polarities/ 56 (2018): 63

  34. Isaac Brodie

    • coming back. / 54 (2016): 61-62
    • look / 55 (2017): 90

  35. Sarah Broom

    • Heat / 38 (2009): 26

  36. David Lyndon Brown

    • Decompression / 35 (2007): 78-82
    • Cavafy's Shoes, Lost Fragments from the Thief's Journal / 36 (2008): 96-100
    • from Marked Men / Brief #36 CD (2008): track 20
    • White Room / 37 (2009): 64-69
    • Sugartown 7 a.m. - Te Henga - Florilegium - Under the Museum - On the Jetty / 39 (2010): 94-99
    • Five Poems / 54 (2016): 5-12

  37. Dr Deidre Brown

    • Review of The Fellowship: exhibition by Ellen Portch / 35 (2007): 106-13

  38. Mary-Louise Browne

    • Inside covers / 21 (2001)
    • centrepiece pages / 21 (2001): 48-49

  39. Alan Brunton

    • An Objection to a Proposal / 1 (1995): 6-9
    • Fast Post / 2 (1996): 48-51
    • The Reading – from: Pendulum Swing / 3 (1996): 53-58
    • Night Time / 4 (1996): 55-58
    • The Stone of Changes / 5 (1997): 26-29
    • Amsterdam / 6 (1997): 27-30
    • Remarks on “The Future of Poetry” / 7 (1997): 19-21
    • Being Here (1) / 7 (1997): 53-57
    • Being Here (2) / 8 (1997): 34-39
    • Being Here (3) / 9 (1998): 40-45
    • Being Here (4) / 10 & 11 (1998): 14-19
    • Being here (5) / 13 (1999): 85-90
    • Being here (Last) / 14 (1999): 7-11
    • In Answer to the Question / 15 (2000): 38-42
    • Country Music / 16 (2000): 54-59
    • Selected Alchemical Letters / 18 (2000): 74-78
    • [& John Geraets] Questions and Answers / 19 (2001): 52-64
    • Illuminations / 20 (2001): 7-11
    • Prelude to an Afternoon / 21 (2001): 38-41
    • Who’s gonna pick up first? / 22 (2001): 6-9
    • Intrigue / 23 (2002): 94-98
    • Ten Days that Shook the World / 24 (2002): 5-9
    • Compostela / 25 (2002): 19-33
    • The Excursion / 28 (2003): 7-24
    • Their Diet Consists of Carrion / 28 (2003): 29-33
    • [& Michael O’Leary] Answers to the Small Press Questionnaire / 28 (2003): 42-43
    • Contributions to Raucous 65 & 66 / 28 (2003): 58-60
    • Symbols of the Unconquered; In Cali / 29 (2004): 13-15

  40. Owen Bullock

    • 22 / 29 (2004): 58-59
    • ‘Exile and Home’ / 33 (2006): 23-24
    • Song for X / 36 (2008): 28

  41. Andreas Bulow

    • Culture and Revolution in Venezuela / 33 (2006): 131-32

  42. Andrew Burke

    • Happy Hour / 38 (2009): 56
    • If the World is thought - Linfen Morning - From The Centre Out / 39 (2010): 100-07

  43. Brenda Ann Burke

    • Detachments / 33 (2006): 136
    • Participant Observer / 34 (2007): 59
    • Shift ending / 37 (2009): 89

  44. Berengaria Burns

    • Thesis Submission 2014 – The Blackening – A Bit Shit-house / 52 (2015): 80-84
    • Fiery One / 54 (2016): 51

  45. joanne burns

    • is pointing still considered rude - whom did you expect / 38 (2009): 50-51

  46. Zarah Butcher-McGunnigle

    • This would go on / 41 (2010): 53
    • from Autobiography of a Marguerite / 50 (2014): 39-41
    • Three poems / 53 (2015): 57

  47. Nicholas Butler

    • Jack in the Box/ 56 (2018): 46-53


C [23]

  1. Joseph Cahill-Lane

    • C a l i b u r n / 38 (2009): 8

  2. Greg Cairns

    • Actually I Have to Take that Picture Down (NB Common Attribution) / Brief #36 CD (2008): track 6

  3. Isobel Cairns

    • To know a place or a person / 53 (2015): 50-51

  4. Alex Calder

    • And then: the fortunes of a little magazine / 9 (1998): 3-7

  5. Brent Cantwell

    • Twitterference / 55 (2017): 80-81

  6. Samuel Carey

    • Experiments in the Necropastoral / 51 (2014): 14
    • leaving clean - cut-fessions - Janet Leigh/ 56 (2018): 30-31

  7. Joel Chace

    • Mouth Pieces 5-9 / 53 (2015): 115-17

  8. Jill Chan

    • Documenting Weakness / 30 (2004): 9
    • Prose Poems / 33 (2006): 40
    • After coming back from nowhere, / 42 (2011): 96-97
    • Changes - Dust to Dust / 56 (2018): 67-68

  9. Janet Charman

    • televisioner / 27 (2003): 7-19
    • fish and chips / 29 (2004): 16-18
    • Who do you See? / 37 (2009): 74-75
    • The Honeymoon Bath / 38 (2009): 38-45
    • 'look behind you' / 39 (2010): 10-15
    • on the sliding rack - i thought that visit would be - the anthology of women’s poetry / 42 (2011): 26-31

  10. Angela Chirnside

    • Just Desserts / 47 (2013): 43-45
    • Review of Cassandra at the Wedding by Dorothy Baker / 49 (2013): 126-28
    • [& Paula Booker] Naomi Yang's Right Ear / 51 (2014): 38-40
    • Arch Hill Kitchen, 10 am Wednesday, 3 flatmates waiting for the jug on the windowsill to boil / 52 (2015): 60-61

  11. Stephanie [Will Joy] Christie

    • Skinship / 23 (2002): 51
    • Just T.AKSING / 24 (2002): 50
    • G.race / 25 (2002): 82
    • Poetry from Black Lagoon / 27 (2003): 20-21
    • Arrest station; Negauche / 29 (2004): 21-22
    • Logo[cent] / 30 (2004): 10-11
    • Two Poems / 33 (2006): 38-39
    • Bolt; The Old Story / 35 (2007): 34-37
    • Review of Love in the Age of Mechanical Reproduction by Olivia Macassey / 35 (2007): 114-16
    • Exclaimants / 36 (2008): 16-18
    • Animals / Brief #36 CD (2008): track 8
    • Clotho on the Dancefloor - Wingettes / 37 (2009): 29-31
    • C/rea[c]t/e / 38 (2009): 86
    • Electroencephalographia / 39 (2010): 82-86
    • Mindnight - An Argument / 43 (2011): 55-57
    • Niue / 44-45 (2012): 84-85
    • grace notes / Revelations / 49 (2013): 56-59
    • Ambiviolence – Cure a Casino / 53 (2015): 53-54
    • Our Oasis / 54 (2016): 81-83
    • three visual poems / 55 (2017): 24-26
    • Three visual poems / 56 (2018): 58-60
    • Review of Vaughan Rapatahana, Atonement / 56 (2018): 108-12

  12. Craig Cliff

    • Space For A Thousand Secrets / 38 (2009): 73

  13. Moira Clunie

    • from Child That Mind #4 / 33 (2006): 27-30

  14. Jennifer Compton

    • A Small Town on the Coast / 38 (2009): 74-75
    • Bungundah Does Things A Little Differently / 39 (2010): 45-46
    • Against the Silences to Come / 42 (2011): 14-15
    • from Ungainly / 46 (2012): 8-10

  15. Owen Connors

    • Descent / 52 (2015): 38-58

  16. Cookie Brooklyn

    • Untitled / Brief #36 CD (2008): track 15

  17. Jacques Coulardeau

    • Bill Direen: Devonport, A Diary, Esplanade / 43 (2011): 96-98

  18. Jen Crawford

    • Primary School, Port Kembla / 34 (2007): 163
    • bad appendix / 35 (2007): 50-56
    • ALBUMBLATT / 36 (2008): 23
    • Editorial / 38 (2009): 2-3
    • Reviews of Built, project. by Emma Phillipps – Wood by Jeanne Bernhardt / 39 (2010): 124-26
    • Ahh - salt / 43 (2011): 99-101
    • on Celanie / 47 (2013): 130-31
    • from soft shroud / 49 (2013): 37-48
    • Review of Holly Painter, Excerpts from a Natural History / 55 (2017): 132-34
    • Review of Olivia Macassey, The Burnt Hotel / 55 (2017): 135-37

  19. Mary Cresswell

    • Figure 3a / 29 (2004): 79
    • Three Poems / 54 (2016): 96-98
    • Rats at midnight - Voices of change / 55 (2017): 8-9

  20. Peter Crisp

    • from ‘They’ (a short story) / 4 (1996): 59-63
    • Prudentius; 22nd Wedding Anniversary / 5 (1997): 30-31
    • The Day Of A Year; Quickly / 6 (1997): 44-47
    • goldfinches / 7 (1997): 41
    • A Few Things; Soft Talk / Big Spaces; moon never / 8 (1997): 58-61
    • The cables; the Lone poet Rides Again / 10 & 11 (1998): 9-12
    • poems / 13 (1999): 55-58
    • Five Poems / 14 (1999): 14-17
    • five poems / 16 (2000): 44-49
    • The Poetry of Alan Loney / 17 (2000): 26-30
    • Four Purification Poems / 18 (2000): 96-99
    • Poems / 19 (2001): 29-34
    • The Kid: a Venture into Poetry / 20 (2001): 53-65
    • Close to Home: Six Poems / 21 (2001): 87-92
    • The Difficulty of Writing Poetry / 22 (2001): 76-81
    • Lights of a Day / 23 (2002): 19-24
    • Four Pieces of a Foreign Landscape / 25 (2002): 49-52
    • About Time / 27 (2003): 22-27
    • Letter / 27 (2003): 97
    • Ikons & Afterglow / 33 (2006): 77-83

  21. Brett Cross

    • Reviews: Owen Bullock; Moshé Liba; Stephen Oliver/ 30 (2004): 112-13
    • Notice: William Direen, Jules / 30 (2004): 114
    • Notice: New Novellas from Titus Books / 32 (2005): 114
    • Entrances / 33 (2006): 105
    • 20th century/heist / 34 (2007): 60
    • senses scattered; through a window / 35 (2007): 76-77
    • [& Bill Direen & Richard Taylor] Editorial: Manifesta of (dys-)organised sound / 36 (2008): 3-5
    • [& Bill Direen] Brief CD track list / 36 (2008): 6
    • Jerusalem - return / 37 (2009): 76-77
    • Latona / 39 (2010): 87-93
    • shadow / slink / 43 (2011): 58
    • A Note and a Poem about the Kaipara / 44-45 (2012): 152-55
    • apple eye / 47 (2013): 132
    • Editorial / 48 (2013): 1-2
    • terrortory - time.decay / 55 (2017): 15-17

  22. Wystan Curnow

    • Details / 1 (1995): 41-48
    • Phonecard news; Portrait Galleries; Dutch Artists’ Planes / 4 (1996): 69-73
    • Sun Rises in the East … / 5 (1997): 55
    • Flowers of Giverny / 6 (1997): 32-37
    • Top 10 ‘hot’ artists / 7 (1997): 31-34
    • Lives of the artists / 9 (1998): 8-14
    • texts / 13 (1999): 32-35
    • from Lives of the Artist / 18 (2000): 68-73
    • Blue Tips / 38 (2009): 4
    • At the Hotel /40 (2010): 33-34
    • Altaussee / 41 (2010): 48-49

  23. Makyla Curtis

    • Mother / 51 (2014): 109-11
    • pomegranate / 55 (2017): 94
    • i am utterly a village/ 56 (2018): 8

D [20]

  1. Dora Dandolo

    • play / Brief #36 CD (2008): track 26

  2. Ben Daniels

    • Whatever You'd Call It / 47 (2013): 18-25

  3. Kate Davis

    • Aimee / 46 (2012): 106-13
    • Point and Shoot / 49 (2013): 95-101
    • The Tale Wagging the Dog / 51 (2014): 100-07
    • Property Values / 53 (2015): 22-29

  4. Leigh Davis

    • Willy’s Gazette [1983/99] / 12 (1999): 3-111
    • Pitch / 13 (1999): 52-53
    • The Bicycle / 14 (1999): 88-99

  5. Andrew Dean

    • Writing the South: Landfall, Baxter and Frame / 42 (2011): 65-69
    • An Interview and an Essay / 44-45 (2012): 42-48

  6. Michael Dean

    • Northern Portfolio / 26 (2003): 21, 24, 30, 35, 40, 44, 48, 50

  7. Steve Dean

    • “4ab”; / 28 (2003): 99

  8. Mark Derby

    • An Interview and an Essay / 44-45 (2012): 133-48

  9. Hamish Dewe

    • from ‘Manifesto [1.]’ / 13 (1999): 54
    • Four Poems / 14 (1999): 101-104
    • 3x4 / 16 (2000): 23
    • Seven / 19 (2001): 7
    • On Aesthetics / 22 (2001): 4-5
    • Notes In Exile Forming A Background To My Thesis... / 22 (2001): 96-99
    • 4 signed works / 23 (2002): 72-75
    • Three Poems / 27 (2003): 28-29
    • Bad Faith / 29 (2004): 70
    • Two Poems / 31 (2004): 50
    • [& Scott Hamilton] Opening the Green Door/ 31 (2004): 51-57
    • Parting Closure: Imogen and Unwrapping the Body / 32 (2005): 13-32
    • Blessings on Morandi / 32 (2005): 85
    • Poems from Onehunga-on-the-Yangtze / 33 (2006): 48-49
    • [untitled notes] / 34 (2007): 159-61
    • Sydney; remains / 35 (2007): 92-94
    • Shanghai - Eleven / 37 (2009): 48-49
    • Review of Free Fall by Rogelio Guedea / 39 (2010): 127-29
    • Head Table - Auckland Star - 2009 / 40 (2010): 56-58
    • 9 Poems / 42 (2011): 98-102
    • ‘This fortnight the evenings ...’ / 44-45 (2012): 95

  10. John Dickson

    • [& Ted Jenner] Front Cover: “After Hours Return” / 40 (2010)

  11. Belinda Diepenheim

    • Lake Rotoiti / 39 (2010): 71-73

  12. Frances Direen

    • Untitled / Brief #36 CD (2008): track 11

  13. William (Bill) Direen

    • Expatriation (non)-conclusions / 32 (2005): 99
    • Journal Entry on Repatriation / 33 (2006): 19-20
    • Misery / 34 (2007): 83
    • Rights of the Unknown Writer / 34 (2007): 110-12
    • Written out of existence / 35 (2007): 66-68
    • Review of Falling Through the Architect by K. M. Ross / 35 (2007): 102-103
    • Review of Marked Men by David Lyndon Brown / 35 (2007): 128
    • [& Brett Cross & Richard Taylor] Editorial: Manifesta of (dys-)organised sound / 36 (2008): 3-5
    • [& Brett Cross] Brief CD track list / 36 (2008): 6
    • An Interview with a Dunedin Artist / 36 (2008): 65
    • Twelve Songs from a Berlin Experience / 36 (2008): 101-10
    • [& Thom G'Shrey] Birds & Telephones / Brief #36 CD (2008): track 2
    • [& Scott Hamilton & S. Porter] Brief #36 CD (2008): track 4
    • [& S. Porter] Sunday Mix / Brief #36 CD (2008): track 13
    • 14.2-19.2 - Sam Johnson and the Widow / 37 (2009): 80-81
    • Extract from Hyperbaton / 38 (2009): 61-69
    • Hyperbaton [ctd.] / 39 (2010): 16-23
    • Hyperbaton or The Ballad of rue Belliard [ctd] /40 (2010): 35-41
    • Wednesday 9 / 41 (2010): 74-77
    • On 1st looking into Lisa Samuels’ Mama Mortality Corridos / 42 (2011): 9-12
    • Two Paris Exhibitions / 42 (2011): 79
    • Extract from Hyperbaton / 42 (2011): 83-84
    • Extract from Hyperbaton, or the Ballad of Rue Belliard (word 9692 to 10939) / 43 (2011): 90-95
    • The Ballad of Rue Belliard / 48 (2013): 3-132
    • A free-roam / 52 (2015): 107-08
    • For Alan Brunton / 55 (2017): 111-12

  14. Emily Dobson

    • Photography night class / 30 (2004): 13-14

  15. Lisa Docherty

    • Notice: Bumper Books – Forthcoming & Recent Releases / 25 (2002): 106

  16. John Downie

    • Headwound / 55 (2017): 64-73
    • from The Only Time / 56 (2018): 14-21

  17. Erin Doyle

    • How to break eggs / 49 (2013): 93-94
    • Epidermis / 53 (2015): 5-9

  18. Doc Drumheller

    • N + 7 / 27 (2003): 30-31
    • Adoxographi / 29 (2004): 46
    • Two palindromes from: 10 x (10 + -10) = 0 / 30 (2004): 15
    • Confessions of a Post-humous author / 31 (2004): 95
    • Letter / 31 (2004): 115
    • How to Tie a Knot Around the World / 37 (2009): 73
    • The Republic of Oma Rapeti / 46 (2012): 47
    • from 10 x (10 + -10) = 0 / 50 (2014): 56-58
    • The Lollipop Man - The Hagley Hub / 51 (2014): 45-46
    • Sing / 52 (2015): 90
    • Collect Calls Home / 55 (2017): 82
    • The Kids' War / 56 (2018): 76

  19. Kathryn Dudding

    • from H. H. tries to find for each thing its real place / 29 (2004): 24-25
    • This is not a Family Photo Album / 33 (2006): 75
    • The Return / 34 (2007): 62-69

  20. Grant Duncan

    • Western / 24 (2002): 15-16
    • Hot God Speaks / 26 (2003): 82
    • Passing Away / 30 (2004): 17-20

E [7]

  1. Margaret Edgcumbe

    • [& Jack Ross] Life with Kendrick / 26 (2003): 103-09

  2. Martin Edmond

    • an.aesthetic / 20 (2001): 36-40
    • from Chronicle of the Unsung / 21 (2001): 69-74
    • from Chronicle of the Unsung / 22 (2001): 82-88
    • Folk Tale / 24 (2002): 70-74
    • … among the ruins with the Poor / 25 (2002): 99-101
    • from Terminus Motel / 27 (2003): 32-36
    • [& Michele Leggott, Sally Rodwell] Bumper Books checklist / 28 (2003): 40-41
    • Lighting out for the Territory / 28 (2003): 61-76
    • from Luca Antara / 29 (2004): 33-41
    • from Luca Antara / 30 (2004): 21-26
    • Dungog - Rorschach Tests for Trees / 38 (2009): 24-25
    • from Eternities / 46 (2012): 119-30

  3. Murray Edmond

    • syzygy; Escape from Architecture into Landscape / 2 (1996): 16-18
    • Cash / 5 (1997): 48-49
    • Line; The Revue of the Re-view of the Review etc. / 6 (1997): 38-39
    • Millennium Meiosis Playlet; “Two or Three Things …” / 7 (1997): 44-45
    • Wholly Daze / 9 (1998): 20-23
    • Voyager (after Apollinaire) / 25 (2002): 7-12
    • The Excursion, New York 1982 / 28 (2003): 27-28
    • This One That One - Miniature / 38 (2009): 84-85
    • Ecstasy: A Short Film - The Animals of the Bed­, The Gates of Paradise /40 (2010): 20-23
    • The Steps Towards ‘Von Tempsky’s Dance’ / 44-45 (2012): 12-18
    • "live": A Review of Lisa Samuels' Anti M / 49 (2013): 118-25
    • Four poems / 53 (2015): 44-49

  4. David Edwards

    • from Overgrowth / 29 (2004): 47-50

  5. Tina Engels-Schwarzpaul

    • Between meaning and nonsense / 14 (1999): 23-33
    • [& D. Jotti] A red line: An Aesthetics of Process / 22 (2001): 47-52

  6. Riemke Ensing

    • snips / 31 (2004): 7-11
    • Ahmed Zaoui: He will come back … (5 versions) / 31 (2004): 12-21

  7. Michael Estabrook

    • 5 Snapshots in the Rain / 39 (2010): 108
    • The Rumba with Patti - goats Oklahoma and frozen 30 candles - during the snowstorm - The Continuity of Life /40 (2010): 30-32

F [15]

  1. Rangi Faith

    • Homage To The Pufferfish / 38 (2009): 49

  2. Michael Farrell

    • jill jones eyes - dear sincerely - cocoon /40 (2010): 42-47
    • thrills 2 - minimalism over two pages - simone de beauvoir / 41 (2010): 19-25

  3. Rachel Fenton

    • A Poem, and a Note about the Barnsley dialect / 44-45 (2012): 77-78
    • Songs from a Room / 47 (2013): 10-15
    • Through That Which Is Seen: Small Scale Replica of a Scene / 53 (2015): 109-14

  4. Simon Field

    • six poems / 18 (2000): 22-27
    • Three Poems / 19 (2001): 10-13
    • Zen Aesthete & Four Poems / 20 (2001): 16-20
    • Zen Aesthete & poem / 21 (2001): 32-35
    • poems / 22 (2001): 38-39
    • A star chart... / 23 (2002): 25
    • five from Gordon Belgrave / 23 (2002): 57-61
    • Five more from Gordon Belgrave / 24 (2002): 35-40
    • Bodhidharma’s Songs / 25 (2002): 77-79

  5. Ian Finch

    • Revolving Wormhole - Organ of Corti / 38 (2009): 87

  6. Padmanabha Fischlinger

    • Untitled / Brief #36 CD (2008): track 19
    • [& Jack Ross] The Cat / Brief #36 CD (2008): track 7

  7. Jan Fitzgerald

    • Te Puna / 30 (2004): 27

  8. Norman Franke

    • Looking for the poet David Howard on the Internet/ 56 (2018): 40

  9. Don Franks

    • Response to Vincent O’Sullivan / 34 (2007): 3

  10. Brentley Frazer

    • The Assumption … / 29 (2004): 51

  11. Janis Freegard

    • Coleoptera / 37 (2009): 90
    • Speaking of the Balloonist / 39 (2010): 43-44

  12. Fresh and Fruity

    • Fresh and Fruity manifesto volume i: Fresh and Fruity is a sexy new look / 53 (2015): 58-65

  13. James Fryer

    • Cover design / 28 (2003)
    • Cover design / 29 (2004)
    • Cover design / 30 (2004)
    • Cover design / 31 (2004)
    • Cover design / 32 (2005)

  14. Basim Furat

    • 1 March 1967 / 31 (2004): 110-113

  15. Bridget Furey

    • Brag Art / 6 (1997): 31

G [17]

  1. Bernard Gadd

    • Mr Wm Blake Esqu.’s apprised of the cell phone / 24 (2002): 58-59
    • Digging towards you / 26 (2003): 86
    • Sketch / 29 (2004): 45
    • Christ Carrying the Cross / 32 (2005): 86

  2. Owen Gager

    • [& Dave Bedggood] from Towards a Socialist Polynesia / 44-45 (2012): 156-64

  3. Jasmine Gallagher

    • Downers/ 56 (2018): 85

  4. Anthony Geraets

    • Cover Design / 14 (1999)

  5. John Geraets

    • [& Bruce Malcolm] Helix / 1 (1995): 59-62
    • Stepping: Two gateways / 2 (1996): 19-22
    • How-or-Whether New Poems Mean / 3 (1996): 62-65
    • Common fold / 4 (1996): 74-77
    • Review: Alan Loney, Envoy / 6 (1997): 52-55
    • Young Ludwig / 7 (1997): 26-30
    • Transposition is one thing to be about … / 9 (1998): 36-39
    • Dogen’s Box / 10 & 11 (1998): 39-42
    • Carousel / 12 (1999): [2]
    • Editorial Note / 13 (1999): 3-4
    • Coloins: / 13 (1999): 82-84
    • Book Notes: AUP; Bumper Books / 13 (1999): 91-92
    • Editorial Note / 14 (1999): 3-6
    • Book Notes / 14 (1999): 109
    • Editorial Note / 15 (2000): 5-6
    • Sidelines / 16 (2000): 3
    • AA Conversation / 16 (2000): 72-73
    • Book Notes / 17 (2000): 94
    • Editorial Note / 18 (2000): 5-7
    • Circumstantial Set / 18 (2000): 59-61
    • Editorial Note / 19 (2001): 3
    • Conglomerate / 19 (2001): 41
    • [& Alan Brunton] Questions and Answers / 19 (2001): 52-64
    • Editorial Note / 20 (2001): 5-6
    • Illustrative poem / 21 (2001): 51-52
    • Editorial Note / 22 (2001): 3
    • Editorial Note / 23 (2002): 3
    • Pierrot souffle / 24 (2002): 48-49
    • Notice: Sugu Pillay, The Chandrasekhar Limit and other stories / 24 (2002): 81
    • Tête-à-Text / 25 (2002): 87-98
    • Modals; Extensives / 30 (2004): 28-33
    • Two Poems / 33 (2006): 9-10
    • Igatpuri, Dhamma Giri / 37 (2009): 50-51
    • Colourless leaves / 38 (2009): 52
    • Extrapolations / 41 (2010): 62-65
    • Poems - Stunning Debut: Willy's return / 43 (2011): 6-21
    • Quite little ones - In Other Places / 47 (2013): 106-18
    • from Quite little ones / 49 (2013): 80-85
    • [& Alex Wild] an excerpt from Quite little ones / 52 (2015): 85-89
    • thirty2 (own) – thirty5 / 53 (2015): 10-12
    • Review of Edward Jenner, The Gold Leaves / 53 (2015): 144-46
    • anasuropa - absence of abruptness / 55 (2017): 23

  6. Michael Giacon

    • Open / 55 (2017): 55 (2017): 60

  7. Alison Glenny

    • Mandoline / 38 (2009): 32
    • The Red Flower / 46 (2012): 35-37
    • Night Light - sun - shade/ 56 (2018): 54-57

  8. E Goodman

    • [& W Ao] Translations of New Chinese Poetry / 37 (2009): 52-53

  9. Josh Goodwin

    • from tararu cemetery / 50 (2014): 94-95

  10. Rata Gordon

    • How I arrived / 55 (2017): 55

  11. Uddipana Goswami

    • Mother Goddess Kamakhya / 37 (2009): 54-58

  12. Paula Green

    • listing the breathless women / 1 (1995): 26-29
    • from the test kitchen / 3 (1996): 11-14
    • the house simply sparkling of itself … / 8 (1997): 24-29
    • Afternoon Tea with Gertrude Stein / 15 (2000): 27-29
    • in the dead of the night I hath inherited grace / 19 (2001): 20-21
    • in the teeth of poetry / 21 (2001): 9-16
    • Waitakere The Remarkables–Napoli / 25 (2002): 80-81
    • Afternoon tea with Joanna P / 32 (2005): 87-88
    • Review: Kendrick Smithyman: Campana to Montale / 32 (2005): 108-112

  13. Tony Green

    • If I were a painter; Body Constructs; For St. Valentine’s Day 1995 / 1 (1995): 38-40
    • On John Geraets, Sanage Adventure Field / 1 (1995): 63-66
    • Five poems / 2 (1996): 10-12
    • Four poems / 3 (1996): 59-61
    • I wandered lonely; Avalanche; Rough Draught / 4 (1996): 38-41
    • Driven – A Rage / 5 (1997): 50-53
    • The Tobacconist’s Windows / 6 (1997): 23-26
    • At Night / 7 (1997): 49-52
    • Something else … / 8 (1997): 20-23
    • The Bellori File / 9 (1998): 24-28
    • Los Angeles Notes; Dead Fingers Talk; Big Night Out / 10 & 11 (1998): 35-38
    • poems / 13 (1999): 77-81
    • New Space-Vehicles... / 14 (1999): 77-80
    • Five Poems / 15 (2000): 7-10
    • e-mails / 16 (2000): 12, 31, 80
    • poem / 17 (2000): 25
    • three pieces / 18 (2000): 64-67
    • from accumulation / 19 (2001): 18-19
    • 2 poems; splay / 19 (2001): 50-51
    • Aesthetics After Blackpool / 20 (2001): 12-15
    • Nymphs & Shepherds in Arcadia / 21 (2001): 36-37
    • accumulation / 21 (2001): 44-46
    • accumulations / 22 (2001): 59-62
    • accumulations, news &tc / 23 (2002): 14-17
    • news / 24 (2002): 54-57
    • Alien Weltanschauung / 25 (2002): 71-74
    • Accumulations, Walks & Broken Chain / 27 (2003): 37-40
    • A Miscellany [2006 -2008] / 38 (2009): 80-83
    • lines from SKETCHES 59–61 /40 (2010): 87-89

  14. George Griffith

    • from Outlaws of the Air / 44-45 (2012): 184-85

  15. Joanna Grochowicz

    • Estelle: Life Since I Lost My Job / 47 (2013): 83-88

  16. Thom G'Shrey

    • [& Bill Direen] Birds & Telephones / Brief #36 CD (2008): track 2

  17. Rogelio Guedea

    • from Free Fall (Tr. Peter Broad and Sandra Merill) / 37 (2009): 70-72
    • [Tr. Megan Saltzman] Timeline / 44-45 (2012): 115-19

H [33]

  1. Sylvie Haisman

    • Tendon / 1 (1995): 10-12

  2. Bernadette Hall

    • Bread for Isaiah / 32 (2005): 56-60
    • How they ran into each other again at the Old Girls' Reunion / 46 (2012): 21-23
    • Door / 46 (2012): 76-77

  3. Sherry Hamid

    • Rear Cover Image: “Sonar Hunter” / 42 (2011)

  4. Scott Hamilton

    • Two Letters / 16 (2000): 70-71
    • Six Homages on Six Pink Slips! / 16 (2000): 74-79
    • from Write / 18 (2000): 93-95
    • Review: Smithyman, Last Poems / 25 (2002): 103-105
    • i.m. Allen Curnow, 1911-2001 / 25 (2002): 111
    • Reading Kendrick Smithyman / 26 (2003): 51-55
    • To the Moon: in Seven Easy Steps / 27 (2003): 41
    • [& Claudia Westmoreland] Alan Brunton and the Counterculture /28 (2003): 84-89
    • Five Poems / 29 (2004): 66-67
    • Review: Tom Raworth: Collected Poems / 29 (2004): 89-92
    • My Back Pages / 30 (2004): 34
    • The Man in the Panama Hat/ 31 (2004): 45-49
    • [& Hamish Dewe] Opening the Green Door/ 31 (2004): 51-57
    • The Five Lives of Donald Crowhurst / 32 (2005): 90-94
    • Review: Jack Ross: Monkey Miss her Now / 32 (2005): 115-119
    • Three Philosophical Defences / 33 (2006): 50-53
    • More than Pain: Leicester Kyle 1937-2006 / 34 (2007): 12-18
    • Private Gurney / 34 (2007): 84
    • Bill’s Telescope / 34 (2007): 173-77
    • From First to Fourth Gear / 34 (2007): 178-81
    • Rescuing the Typewriter / 34 (2007): 182-85
    • Franklin District Field Trips; Dream / 35 (2007): 4-8
    • Review of To Terezin by Jack Ross / 35 (2007): 122-25
    • Te Kakano Information Centre, Tuwhare / 36 (2008): 24-27
    • Seeking 'a different reality principle': Review of The Rotten Elements by Edward Upward / 36 (2008): 119-24
    • [& Bill Direen & S. Porter] Brief #36 CD (2008): track 4
    • Shooting the Gods - To Wiremu Tamihana / 37 (2009): 41-47
    • Eripene / 38 (2009): 57-58
    • St. Joseph's - The Suicider - Self-criticism - The Inland Sea / 39 (2010): 59-67
    • Twenty Theses Against Space and Time / 40 (2010): 70-79
    • On the Island / 40 (2010): 90-97
    • An Annotated Guide to Mungo National Park / 41 (2010): 82-90
    • Crossing the Plains: a journey in twelve notes / 42 (2011): 89-95
    • Blackbirding - The Law of Equivalence - The Parachutist - Five Dreams - Osip - Invitation to a Stoning / 43 (2011): 24-37
    • Cover Photo / 44-45 (2012)
    • Editor’s Note - Never Mind the Frangipani / 44-45 (2012): 2-4
    • The Island of Exiles / 44-45 (2012): 26-35
    • Boarding Paul Janman’s Tongan Ark / 44-45 (2012): 187-92
    • [et al] Tapu, Pigs, and Power; Discussing Tongan Ark / 44-45 (2012): 193-97
    • A Preliminary Report on the End of the World / 44-45 (2012): 198-205
    • Alex Wild, Blogging, and the Curse of Coolness / 44-45 (2012): 213-156
    • The Kids are Alright / 44-45 (2012): 219-21
    • Review of Fallen Empire, a collaboration between Jack Ross and MOTH / 46 (2012): 142-48
    • Seven Urban Legends / 47 (2013): 95-98
    • from Fakapikopiko: a Tongan Journal / 49 (2013): 49-55
    • i.m. Keith Douglas - A Short History of Russian Cosmism / 51 (2014): 118-21

  5. Jessica Hansell

    • Supermarket Sex Poem / 47 (2013): 55

  6. Paul Hardacre

    • the shower-curtain you / 29 (2004): 32

  7. Michael Harlow

    • The Tower of Babel / 16 (2000): 4-11
    • poem / 17 (2000): 69
    • postcard section / 21 (2001): 67-68
    • [& Kit Powell] Devotion to the Small /40 (2010): 98-116
    • Take five: composition for words and music - Short talk on a Sunday afternoon with John Cage - Day­book of thought-songs - Sweeping the courtyard / 41 (2010): 14-18

  8. Ian Harnett

    • The Point of a Pin (i) / 13 (1999): 20-31
    • The Point of a Pin (ii) / 14 (1999): 63-76
    • The Point of a Pin (iii) / 15 (2000): 63-78
    • The Old Scaling Tree / 21 (2001): 25-31
    • The Castle of Olympus: Adventures in Mixed Genres / 22 (2001): 12-20
    • Strata Jumping in the Silky Vade Mecum / 23 (2002): 67-71
    • A Pair of Foxes Dressed in Drag / 24 (2002): 45-47
    • Rhizome Riders / 25 (2002): 65-68
    • Spam Spider Hack / 27 (2003): 42-45

  9. Geoff Harrington

    • Untitled / Brief #36 CD (2008): track 18

  10. Ngahuia Harrison

    • A Day of Visiting - Dirt / 41 (2010): 80-81

  11. René Harrison

    • Pinhole - Haunches / 54 (2016): 49-50

  12. Siobhan Harvey

    • Review: Paula Green: Crosswinds & Sonja Yelich: Clung / 30 (2004): 117-18
    • How To Survive Election Night / 33 (2006): 134

  13. Dinah Hawken

    • Where We Say We Are / 16 (2000): 17-22

  14. Dan Hedges

    • Poems / 47 (2013): 81-82

  15. Julie Helean

    • Night Shift / 47 (2013): 99-105

  16. Helen

    • Ephemeral / 21 (2001): 23

  17. Futa Helu

    • Letter to the New Zealand Herald / 44-45 (2012): 5
    • The Fakatangi (from the Tongan Poetry series) / 44-45 (2012): 130-32

  18. George Henderson

    • My Spunky Little Friend, or, the Suburban Sub-Umbra, The Nerve, The old songbook, The Last Original Song / 36 (2008): 88-95

  19. Mary Heney

    • [& SEP] Shade / Brief #36 CD (2008): track 5

  20. Vinay Hira

    • Nicholas / 47 (2013): 29

  21. Cameron Hockly

    • Watching / 38 (2009): 79

  22. Chris Holdaway

    • Entrance, entrance - To no one travels / 51 (2014): 41-44

  23. Joy Holley

    • They say "you are what you eat"/ 56 (2018): 82-83

  24. Bella Horlor

    • Junk / 51 (2014): 53-74

  25. David Hornblow

    • post modern girl / 30 (2004): 35

  26. Marie Horner

    • Cover : Familiar Monuments – Drawers / 4 (1996)

  27. Roger Horrocks

    • Takeaways / 4 (1996): 7-13
    • Review of Stunning Debut of the Repairing of a Life by Leigh Davis / 41 (2010): 94-102

  28. Mark Houlahan

    • Judith / 56 (2018): 86-87

  29. David Howard

    • There You Go / 24 (2002): 27-32
    • Overburden / 29 (2004): 52
    • [& Kim Pieters] The Harrier Suite / 30 (2004): 36-41
    • Joanna Paul at Wanganui / 32 (2005): 89
    • Call for Material: The Collected Poems of Iain Lonie / 32 (2005): 112
    • Unemployment - Paperwork / 43 (2011): 67-70

  30. Margaret Howie

    • The Knot / 47 (2013): 28

  31. Evelyn M Hulse

    • [& Greville Texidor] San Toni / 34 (2007): 85-109

  32. Janet Hunt

    • Land as text (1) & (2)/ 5 (1997): 32-35
    • the dog in St Kevin’s arcade / 6 (1997): 7
    • woman at the gate; palimpsest / 7 (1997): 16-18
    • So Long / 10 & 11 (1998): 13
    • Williamson Avenue, 1999 / 14 (1999): 12-13
    • Template for Persistence... / 16 (2000): 32-33
    • Alan Loney: Printer/Poet: Considerations / 17 (2000): 3-10
    • Lace / 18 (2000): 62-63

  33. John Hurrell

    • Cover art / 7 (1997)

I [4]

  1. Ibykos [trans. Ted Jenner]

    • 22 Love Songs / 10 & 11 (1998): 29-34

  2. Simon Ingram

    • design / 16 (2000): 42-43
    • inside covers: pageworks / 23 (2002)

  3. May Iremonger

    • Endpapers / 27 (2003)
    • Whaha mana hinanga / 29 (2004): 5
    • all hot air / 29 (2004): 80
    • they say that ... / 33 (2006): 135

  4. Mariana Isara

    • ink jet transfusion / 38 (2009): 59-60

J [11]

  1. Anna Jackson

    • Sidetracks / 17 (2000): 86-93
    • Correspondence / 18 (2000): 36-39
    • In and out of the museum. / 19 (2001): 4-6
    • poems / 21 (2001): 75-77
    • The sublime in New Zealand poetry / 21 (2001): 82-86
    • poems / 22 (2001): 45-46
    • Kindness to horses / 23 (2002): 65-66
    • Departmental Cats / 26 (2003): 75

  2. Simon Jackson

    • Question Mark - Apostrophe - The boy who didn't like bananas - 100 Years of the Poetry Society / 41 (2010): 3-5

  3. Paul Janman

    • The I Ching in the Eye of ’Atenisi Realism / 44-45 (2012): 169-83
    • Tokyo Summer drunk - Two Auckland Anthems / 47 (2013): 46-48

  4. Ted Jenner

    • Francis Ponge: Eight Prose Poems / 2 (1996): 5-9
    • Constellations; Writers in Residence / 4 (1996): 14-18
    • Francis Ponge: Three Prose Poems / 8 (1997): 54-57
    • Ibykos: 22 Love Songs / 10 & 11 (1998): 29-34
    • A Concise Natural History of Southern Malawi / 15 (2000): 44-50
    • WOMAN. CHILD. WATER. FULL MOON / 17 (2000): 41
    • Wishbone / 20 (2001): 21
    • Luminous Details: Malawi 1998-2001/ 21 (2001): 17-22
    • Aisthesis / 23 (2002): 11-13
    • Letter / 26 (2003): 114
    • The Gold Leaves / 27 (2003): 46-53
    • A Miller’s Chaff: Malawi 2002-2004 / 31 (2004): 38-44
    • Pieces / 34 (2007): 166-72
    • Impressions of Africa / 35 (2007): 91
    • PROPERTIUS 2.11 / 36 (2008): 41
    • Review of Papyri by Jack Ross / 36 (2008): 111-13
    • Spinning A Soft Endless Web / 37 (2009): 2-7
    • Mandolin - motuihe midden / 39 (2010): 74-75
    • [& John Dickson] Front Cover: “After Hours Return” / 40 (2010)
    • Editor's Note /40 (2010): 2-3
    • The Alimentary and the Anthroposcene: Review of Enclosures by Bill Direen /40 (2010): 119-22
    • No Problem but not Easy: Review of The Tramconductor’s Blue Cap by Michael Harlow /40 (2010): 123-30
    • Back Cover: “There We Go” / 40 (2010)
    • from Genius Loci / 42 (2011): 7-8
    • 'Wet traffic ghosting through the night' / 43 (2011): 78-83
    • The Arrow that Missed / 44-45 (2012): 126-27
    • Lonely Hearts / 46 (2012): 17-20
    • Plato's Academy / 47 (2013): 61-67
    • And now in this late afternoon ... / 49 (2013): 36
    • from Lonely Hearts / 50 (2014): 33-37
    • Heraclitus Pseudoscientificus?: Review of Futa Helu, Herakleitos of Ephesos, ’Atenisi University, Tonga, 2nd (facsimile) edition, 2012 / 50 (2014): 138-47
    • Meadowbank, One Evening / 53 (2015): 13-16
    • from Genius Loci / 54 (2016): 24

  5. Analeese Jochems

    • i saw the first dick i ever saw / 49 (2013): 103

  6. Dale Johnson

    • Permanent Change / 41 (2010): 91-93
    • Ashen Cones / 55 (2017): 86-89

  7. Mike Johnson

    • Commuting to Waiheke / 37 (2009): 8-9

  8. Tracey Johnson

    • Deconstructing the Pakeha Gaze: Whale Rider / 33 (2006): 115-19

  9. Marion Jones

    • Chest, Fence / 34 (2007): 165
    • Apparition / 39 (2010): 58
    • Degrees of Whiteness - Sasha / 41 (2010): 6-7
    • 4 Poems / 42 (2011): 16-17

  10. D. Jotti

    • [& Tina Engels-Schwarzpaul] A red line … / 22 (2001): 47-52

  11. Rae Joyce

    • Flip Flop and Try / 52 (2015): 5-8
    • Warkworth / 52 (2015): 113

K [13]

  1. Lesley Kaiser [& John Barnett]

    • Oh Damn! / 1 (1995): 67-68
    • O / 3 (1996): 36-39
    • every wall / 4 (1996): 52-53
    • Better the blind man … / 5 (1997): 44-47
    • Cover design / 6 (1997)
    • Stone is more stony … / 6 (1997): 8-9
    • Losing improves your character / 7 (1997): 22-25
    • nothing is more certain than death / 8 (1997): 30-33
    • Translations from the Japanese / 9 (1998): 15-19
    • ANNOUNCEMENTS / 10 & 11 (1998): 20-21
    • These days... / 14 (1999): 86-87
    • INCREASE the PEACE / 15 (2000): 43
    • seeing is when you forget … / 16 (2000): 50-51
    • Everything is how it is … / 19 (2001): 35
    • adapted from ‘Here We Are Now” / 20 (2001): 30-31
    • ANAESTHETICS: a brief description of How the mind works / 21 (2001): 42-43
    • When ideas fail / 22 (2001): 10-11
    • Words come in handy / 22 (2001): 74-75
    • Never tell the trouble / 23 (2002): 52-53
    • When ideas fail... / 23 (2002): 64
    • Bat Masterson Said / 24 (2002): 14
    • What would you like to do? … / 25 (2002): 57, 59, 61
    • Shrewd Move / 27 (2003): 54
    • Know So / 28 (2003): 35-39 [+ 2]
    • Walking the crooked line / 31 (2004): 22-23

  2. Greg Kan

    • 3 Poems / 42 (2011): 13
    • surface runoff / 47 (2013): 3-7

  3. Matthew [Matt] Kelly [aka Matty K.]

    • Cover: “Vet Cemetary” / 27 (2003)
    • Batfish / 30 (2004): 5
    • Collin the Animal / 31 (2004): 4
    • Cover image / 35 (2007)
    • untitled / 54 (2016): 63-65
    • Cover image / 54 (2016)
    • Cover image / 55 (2017)

  4. Jan Kemp

    • The past present/s / 29 (2004): 43-44
    • The Cook, the ‘Consul’ & the Crazyman / 30 (2004): 42-61

  5. Robert Kempen

    • mild weather in near winter / 54 (2016): 84
    • a landing a mooring a parking / 55 (2017): 83

  6. Erik Kennedy

    • Tentative Readings/ 56 (2018): 29

  7. Sid Khanzode

    • Imperfect from the Start / 53 (2015): 126
    • Inflicted, they took me to ... / 54 (2016): 55-56
    • Convinced forof) my ( self-less ( sect? - Basil Zaharoff-ed / 55 (2017): 58-59

  8. Wanjiku Kiarie

    • [& Martin Sanderson] From Oxford to Waimaramara / 33 (2006): 84-104

  9. Richard Killeen

    • Excursion poster / 28 (2003): 5
    • New Hope poster / 28 (2003): 34

  10. Geum Hye Kim

    • Ghost of Victorian Flat / 52 (2015): 27-30
    • S/he / 53 (2015): 102-04

  11. Thomas Pors Koed

    • Home Run / 49 (2013): 66-79

  12. Gyorgy Kostritsky

    • from 100 Days / 30 (2004): 62-63

  13. Leicester Kyle

    • Koroneho: Joyful News Out Of The New Found World / 6 (1997): 10-19
    • from Koroneho / 7 (1997): 35-40
    • from Koroneho / 8 (1997): 62-67
    • from Koroneho / 9 (1998): 49-54
    • Comparative Atmospheric Pressure …; On Forest Culture / 10 & 11 (1998): 43-47
    • Marlowe overwritten / 13 (1999): 36-39
    • On The Principle Of New Zealand Weather / 14 (1999): 57-62
    • Errata / 15 (2000): 86
    • Mr. Buller To... / 16 (2000): 84
    • A Voyge to New Zealand / 18 (2000): 12-21
    • On The Great Buller Coal Plateau / 19 (2001): 38-40
    • Sign-off/ 20 (2001): 66-67
    • Mr Muir and Mr Emerson / 24 (2002): 75-77
    • from Dancing in the Cave / 25 (2002): 58, 60, 62
    • On Birchfield Fen / 27 (2003): 55-56
    • Spawning Galaxis / 29 (2004): 57
    • Death of a Landscape / 31 (2004): 83-92
    • Peninsula Days / 32 (2005): 61-64
    • A Letter from Buller / 33 (2006): 44-45
    • Three Poems / 34 (2007): 27-29
    • The Life [from Breaker (2005)] / 44-45 (2012): 19
    • Bridge to the Sea [from Breaker (2005)] / 44-45 (2012): 165
    • Diary of a Country Cop / 46 (2012): 78-83

L [18]

  1. Kristy Lagarto

    • Blank Slate / 50 (2014): 59-60

  2. Daniel Larsen

    • Two Pages to Forget / 47 (2013): 60
    • Te Puna o te Ao Marama - Prayer to the Archangel Michael / 51 (2014): 17-21
    • Ubiquitin – Main-Stream Tele-Media / 52 (2015): 9-10

  3. Jenny Lawn

    • [& Mary Paul] Notice: Antipodean Gothic Conference / 24 (2002): 82

  4. Jessica Le Bas

    • the angel/nurse / 33 (2006): 109

  5. Rhiannon Leddra

    • 21.40.09/ 56 (2018): 84

  6. Michele Leggott

    • Dove; Hesperides / 2 (1996): 36-47
    • a woman, a rose, and what has it to do with her … / 7 (1997): 7-15
    • snake & jewel / 10 & 11 (1998): 3-8
    • Let there be couscous / 22 (2001): 21-37
    • Let there be couscous (part 2) / 23 (2002): 76-93
    • Angels and Oracles / 24 (2002): 10-13
    • m i l k o f a l m o n d s / w h i t e m a g n o l i a / 25 (2002): 34-38
    • [& Sally Rodwell] Notice: Alan Brunton, Fq / 25 (2002): 107
    • ‘An Egyptian day for the mandarin’: The Excursion 1982/2001 / 28 (2003): 26
    • [& Martin Edmond, Sally Rodwell] Bumper Books checklist / 28 (2003): 40-41
    • I dreamed your book was written and the great So praised it / 28 (2003): 103-04
    • Cairo Vessel / 29 (2004): 6-12
    • [& Sally Rodwell] Notice: Alan Brunton, Grooves of Glory / 30 (2004): 116
    • a brief history of time / 46 (2012): 5-7

  7. Schaeffer Lemalu

    • untitled / 51 (2014): 90 -94
    • In / 52 (2015): 59

  8. Graham Lindsay

    • Residence in silence; After-dinner speech; Mirror / 1 (1995): 30-33
    • Gulf; Legend of the cool secret / 6 (1997): 40-43
    • Sea of friends; Password; Russian dolls / 7 (1997): 42-43
    • Taxi / 9 (1998): 46-48
    • Dance of the apple pickers / 13 (1999): 59-67
    • making lovE / 14 (1999): 38-41
    • Four Poems / 15 (2000): 51-54
    • big feet: the ballad of fanny gracE / 16 (2000): 34-39
    • talking to Alan Loney... i, ii, iii / 17 (2000): 11-17, 31-3, 80-85
    • four poems / 18 (2000): 8-11
    • eyebrighT; chinK; particle and wavE / 19 (2001): 65-69
    • ‘Dear John’ / 21 (2001): 6-8

  9. Barry Linton

    • Red Mole posters / 28 (2003): 77 & 82

  10. Rosalie Liu

    • we dreamed her / 55 (2017): 93

  11. Bronwyn Lloyd

    • Editorial / 46 (2012): 3-4
    • A preposition shows relation / 47 (2013): 8-9
    • from A Slow Alphabet / 50 (2014): 21-30
    • Afterlife / 56 (2018): 11-12

  12. Alan Loney

    • On Clarity / 1 (1995): 3-5
    • The Path of the Text / 2 (1996): 3-4
    • Defamiliarizing the Familiars / 3 (1996): 3-5
    • Who do I write for? / 4 (1996): 3-6
    • Parallax revisited / 5 (1997): 1-5
    • A place to go / 6 (1997): 3-6
    • “What are poets for?” / 7 (1997): 3-6
    • The Other Tradition / 8 (1997): 3-6
    • from Fragmenta Nova / 13 (1999): 5-13
    • from Fragmenta nova / 15 (2000): 18-26
    • A BRIEFE DISCRIPTION of the whole WORLD … / 15 (2000): 37
    • endless beginnings / 17 (2000): 61-68
    • Alan Loney talking to Graham Lindsay... i, ii, iii / 17 (2000): 11-17, 31-3, 80-85
    • Megaphonos / 22 (2001): 53-58
    • a propos(ition / 23 (2002): 54-56

  13. Mike Love

    • At the gates of conscious; construction zone / 30 (2004): 65-66
    • Notes from Dunedin to Blenheim and Back / 33 (2006): 25-26

  14. David Loving-Molloy

    • Three recent poems / 30 (2004): 67

  15. Lucebert [trans. Ricci van Elburg]

    • Poems / 31 (2004): 58-71

  16. Elmar Ludwig

    • Review of Kingdom of Alt by Jack Ross / 41 (2010): 103-06

  17. Pete Lusk

    • Leicester on the Coast / 34 (2007): 25-26

  18. Len Lye

    • from “Night Tree” / 3 (1996): 6-10

M [39]

  1. John McCaffery

    • [& Judy Taligalu McFall-McCaffery] Complaint to the Human Rights Commission / 44-45 (2012): 36-40

  2. Olivia Macassey

    • Otesánek / 24 (2002): 24-26
    • The uncanny truth about Abelard / 25 (2002): 39-41
    • Review: Jack Ross, Chantal’s Book / 27 (2003): 101-102
    • love in the age of mechanical reproduction: 1 / 29 (2004): 19-20
    • Chinchillas … / 30 (2004): 4, 8, 12, 27, 35, 41, 64, 81, 97
    • You Are My Sunshine / 30 (2004): 68-69
    • Two Poems / 34 (2007): 55-58
    • The Internal Eel; The reflecting pool; Dissent / 35 (2007): 9-13
    • Review of Free Range Poems; ed. Miriam Barr / 35 (2007): 104-105
    • Persephone / 36 (2008): 44-45
    • The Death of Porthos / 40 (2010): 117-18
    • Death of Hoskuld / Death of Bird / About that Monk / 49 (2013): 31-35
    • Your eyes are like the stars – The Burnt Hotel / 53 (2015): 98-101
    • Editorial / 54 (2016): 3-4
    • Review of Roger Horrocks, Song of the Ghost in the Machine / 54 (2016): 125-29
    • Editorial / 55 (2017): 4
    • Editorial/ 56 (2018): 3-4

  3. Heather McCann

    • Tale Telling and the Construction of Identity / 26 (2003): 76-81

  4. Judy Taligalu McFall-McCaffery

    • [ & John McCaffery] Complaint to the Human Rights Commission / 44-45 (2012): 36-40

  5. Nathan MacGregor

    • Pages from a Journal / 33 (2006): 110-14
    • Drawings / 35 (2007): 41, 59
    • Wolf Moon Rising / 35 (2007): 64-65
    • For Don / 37 (2009): 39-40

  6. Sally McIntyre

    • Jeanne d’Arc; stations / 35 (2007): 42-49

  7. Caoimhe McKeogh

    • Five Ways To Be Okay / 55 (2017): 74
    • Christmas - Anxiety / 56 (2018): 45

  8. Laura McLauchlan

    • Cow / 50 (2014): 42
    • The Back Neighbours Backyard / 51 (2014): 108

  9. Robert McLean

    • A Review of Geoffrey Hill’s ‘Speech! Speech!’ / 33 (2006): 76

  10. John Macnamara

    • portrait of the artist threatened by his breakfast / 29 (2004): front cover
    • The Marquis de Blok-ma exhibits at the Salon Merde / 29 (2004): inside front cover
    • Adam and Eve hiding from the Angel / 29 (2004): inside back cover
    • Letter / 31 (2004): 116-17

  11. Dougal McNeil

    • In the Gap: Review of Kendrick Smithyman, Private Bestiary, ed. Scott Hamilton / 44-45 (2012): 208-12

  12. Harvey McQueen

    • A Nativity Week Leave Taking / 27 (2003): 57-60
    • Reading Howe’s The Quest for Origin … / 31 (2004): 93-94

  13. Magnetic Pain

    • Sold in China / Brief #36 CD (2008): track 25

  14. ’Okusitino Mahina

    • An Essay and Two Poems / 44-45 (2012): 21-25

  15. Bruce Malcolm

    • [& John Geraets] Helix / 1 (1995): 59-62

  16. Kelly Malone

    • crafting tension between lyric and narrative – line of the signs / 46 (2012): 44-46
    • nanny's place / 51 (2014): 4

  17. Bill Manhire

    • old song new song / 21 (2001): 59-61

  18. Marineville

    • Here I am / Brief #36 CD (2008): track 21

  19. Marty Mars

    • Two Poems / 44-45 (2012): 79

  20. Alan Marshall

    • Where did all those years go? / 34 (2007): 61

  21. Theresia Liemlienio Marshall

    • Kendrick Smithyman / 26 (2003): 94-100
    • yarn-spinning / 27 (2003): 61-62
    • Review: Paul Sharrad, Albert Wendt and Pacific Literature / 29 (2004): 93-100
    • harbour-bridging / 30 (2004): 70

  22. Cameron Ah Loo-Matamua

    • "traffic" / 47 (2013): 17
    • Self-portraits / 52 (2015): 36-37

  23. Cat Matteson

    • Glen Has No Soul ... / 47 (2013): 38-42

  24. Chris Matthews

    • O My Soul / Brief #36 CD (2008): track 3

  25. Mario Melendez

    • Black Symphony; The Daughter of Rimbaud / 35 (2007): 58-59

  26. Mercator's Map

    • Kieran Monaghan / Brief #36 CD (2008): track 14

  27. Isabel [Haarhaus] Michell

    • Go Home Stay Home / 46 (2012): 48-60
    • Review of Bronwyn Lloyd's The Second Location / 46 (2012): 149-50

  28. Antony Milton

    • PseudoArcana / 36 (2008): 7-15
    • A Brief Tenure / Brief #36 CD (2008): track 1

  29. Miles Mina

    • Mashin' / Brief #36 CD (2008): track 17

  30. Thomas Mitchell

    • Next to El Proximo / 25 (2002): 42

  31. Barry Moffatt

    • transparencies III / 46 (2012): 102-05

  32. Gjoko Mohabihr

    • Alas Glas / Brief #36 CD (2008): track 12

  33. Harvey Molloy

    • Il est Minuit / 36 (2008): 87
    • At the Armageddon Expo – Grand Theft Aotearoa / 53 (2015): 120-21
    • Overburden - Return - Aiutaki Installation / 54 (2016): 76-80

  34. Nick Monks

    • Postcard from Wigan, (Lancashire, UK) / 50 (2014): 74

  35. Joshua Morris

    • [see under essa may ranapiri]

  36. Michael Morrissey

    • Reading about Poland / 35 (2007): 75
    • Pre-Posthumous Meditation on Keats /40 (2010): 19
    • 52 Questions in the Reel Life of a Stone Washed Man / 41 (2010): 66-73
    • The (My) House / 42 (2011): 48-57
    • Between Two Pacific Islands / 44-45 (2012): 49-51
    • Landing on the Moon / 46 (2012): 62-68
    • On the difficulty of meeting Susan Sontag / 52 (2015): 64-79
    • Waiting for Becketo / 55 (2017): 36-46

  37. Jun Moungboon

    • Benzo & Bunny / 53 (2015): 39-43

  38. Edward Mulete

    • Subject: Urgent Assistance / 25 (2002): 70

  39. Robin Murphy

    • The Afton Arms / 52 (2015): 31-35

  40. Sheila E Murphy

    • Two poems / 3 (1996): 48-49

N [9]

  1. Di(ana) Nash

    • There are gardens / 1 (1995): 34-36
    • Moon above … / 2 (1996): 13
    • Valkyrie Poems / 4 (1996): 19-23
    • A shimmer crescent … / 5 (1997): 56-57

  2. Christopher Neilson

    • Alchemical Introduction; Crane-Women, Fox-Men / 1 (1995): 23-24
    • Susan / 4 (1996): 64-65

  3. Stefan Neville

    • [& Clayton Noone] from "City of Tales" / 47 (2013): 16
    • [& Clayton Noone] from "City of Tales" / 47 (2013): 37
    • [& Clayton Noone] from "City of Tales" / 47 (2013): 68
    • [& Clayton Noone] from "City of Tales" / 47 (2013): 89
    • [& Clayton Noone] from "City of Tales" / 47 (2013): 119-21

  4. Janet Newman

    • Europa / Green Cathedral / 49 (2013): 104-8
    • Skywreck / 50 (2014): 38
    • Tamariki - lemon love / 54 (2016): 105-08
    • How to construct a tent / 55 (2017): 61

  5. Piet Nieuwland

    • Three Poems / 54 (2016): 25-27
    • Cliffs / 55 (2017): 98
    • Lucid / 56 (2018): 88

  6. Andrew Maximillian Niss

    • Loud full journey in the everybody's land / 55 (2017): 95

  7. Clayton Noone

    • [& Stefan Neville] from "City of Tales" / 47 (2013): 16
    • [& Stefan Neville] from "City of Tales" / 47 (2013): 37
    • [& Stefan Neville] from "City of Tales" / 47 (2013): 68
    • [& Stefan Neville] from "City of Tales" / 47 (2013): 89
    • [& Stefan Neville] from "City of Tales" / 47 (2013): 119-21

  8. Nina Su Noong

    • Mundane endeavours / 49 (2013): 109-12

  9. Keith Nunes

    • Harry’s wife – The Cold Up Here / 50 (2014): 31-32
    • disturbed - Lady Unprecedented / 51 (2014): 98 -99
    • Breathless among the beatless / 52 (2015): 91-92
    • The World as Pirated by Limousine Jones / 53 (2015): 55-56
    • Two poems / 54 (2016): 15-16
    • disquiet among the unloved - take this shovel and dig deep / 55 (2017): 13-14
    • Walking on by / 56 (2018): 89

O [11]

  1. Gregory O’Brien

    • On Aesthetics / 20 (2001): 50-52
    • Guide to Provençal Usage / 30 (2004): 71-77

  2. Denis O’Connor

    • Cover: Big Aitche, Little Aitche / 3 (1996)
    • MAANE / 6 (1997): 21

  3. John O’Connor

    • Two Poems / 15 (2000): 79-80
    • Four poems / 24 (2002): 60-61
    • The Orchid; Goblet / 27 (2003): 63
    • Haiku: Public Health Warning / 32 (2005): 100-102

  4. Michael O’Leary

    • [& Alan Brunton] Answers to the Small Press Questionnaire / 28 (2003): 42

  5. Stephen Oliver

    • One Night at the Duke, c.1969 / 28 (2003): 97-98
    • Containing a broken column; Industrial tableau / 30 (2004): 78-79
    • O Say Can You Hear? / 34 (2007): 32-33

  6. Rachel O'Neill

    • Embarking on her other names / 38 (2009): 27-29
    • Finder of the Furthest Galaxy / 46 (2012): 61

  7. Michael Onslow-Osborne

    • two poems / 16 (2000): 40-41
    • #9 Imperatives / 18 (2000): 52-54
    • Pre-Millennial Tinnitus: Noise-bytes 1999-2000 / 18 (2000): 79-90
    • poems / 21 (2001): 78-81
    • Review of Stephanie Christie, Carbon Shapes and Dark Matter / 54 (2016): 121-24

  8. Sze Ning Ooi

    • Memories of a Prawn / 47 (2013): 52-54
    • Blind Date with Tabucchi / 51 (2014): 6

  9. Eli Orzesseck

    • Front cover image / 47 (2013)

  10. Vincent O’Sullivan

    • Homecoming / 34 (2007): 30

  11. Jacqueline Crompton Ottaway

    • Roman Numerals / 30 (2004): 80-81
    • Arrival or Departure / 46 (2012): 118

P [20]

  1. Fiona Pardington

    • Five Pieces / 14 (1999): 81-85
    • Four Poems / 15 (2000): 81-84
    • Job Description / 16 (2000): 82-83
    • I like, I don’t like / 18 (2000): 91-92

  2. John Parkyn

    • Night of the Elephants / 39 (2010): 47-57

  3. Alistair Paterson

    • Two after Randall Jarrell / 24 (2002): 62-63

  4. Joanna Margaret Paul

    • HEAD caput CUP; NEURON NERVE thread; haematopoetic / 5 (1997): 20-25
    • Cover drawing / 8 (1997)
    • Colour Diary / 8 (1997): 18-19
    • front cover: “Beta Street” (1981) / 32 (2005)
    • back cover: “Inventories;” “Inventories (bedroom);” “Inventories VI (living)” (1977) / 32 (2005)
    • Illustrations from “Rooms and Episodes” / 32 (2005): 5, 12, 33 & 119
    • A Passionate Pilgrimage in Time / 32 (2005): 6-12
    • Rooms and Episodes: 1 – Album / 32 (2005): 34-41
    • from Rooms and Episodes: 2 – Written at St Omer / 32 (2005): 42-55
    • from Songs of Seven Seasons / 32 (2005): 65-84

  5. Mary Paul

    • [& Jenny Lawn] Notice: Antipodean Gothic Conference / 24 (2002): 82

  6. Kathleen Peacock

    • Foreign Bodies in the Ear; Rosemary Touches Elizabeth / 25 (2002): 43-44

  7. Sarah Penwarden

    • Tinderness/ 56 (2018): 90-93

  8. Graeme Perrin

    • Saltworks (extract) 9th work - Down South (i) / 37 (2009): 88

  9. Frank Pervan

    • To Ron Riddell / 33 (2006): 59

  10. Emma Phillipps

    • that we move from plastic / 38 (2009): 5-6

  11. Kim Pieters

    • [& David Howard] The Harrier Suite / 30 (2004): 36-41

  12. Chris Pigott

    • The Dispossessed/ 56 (2018): 9-10

  13. Sugu Pillay

    • Not a Love Story / 1 (1995): 15-18
    • Work in Progress / 2 (1996): 27-31
    • The Daughters of Kunti / 3 (1996): 40-47
    • Work in Progress / 4 (1996): 42
    • A Krishnapallavi for Hari / 5 (1997): 6-19
    • Work in Progress / 6 (1997): 48-51
    • reading the tradition … / 7 (1997): 62-65
    • The Lungs of the Globe / 8 (1997): 68-75
    • The Word Pitcher / 13 (1999): 40-49
    • The Lungs Of The Globe / 14 (1999): 42-56
    • Lovers Discourse / 15 (2000): 11-15
    • two poems / 16 (2000): 60-61
    • two poems / 18 (2000): 50-51
    • Two Poems / 19 (2001): 36-37
    • Two Poems / 20 (2001): 41-42
    • 1st January 2003 / 27 (2003): 64
    • Tradition & the Poet II / 30 (2004): 82-87
    • 9/11 and Me / 34 (2007): 113-15
    • The Tree in its Setting - Lindis Pass /40 (2010): 15-16
    • Pohara Beach, Golden Bay / 53 (2015): 118-19
    • Gulf / 54 (2016): 52
    • The Painter's Window/ 56 (2018): 64-66

  14. Mark Pirie

    • White Wash / 24 (2002): 51-53
    • call guy / 25 (2002): 69
    • Notice: HeadworX – New Releases in 2002 / 25 (2002): 105
    • Kendrick Smithyman and Louis Johnson / 26 (2003): 83-85
    • Two Poems – An Impression of the Sea / 27 (2003): 65-70
    • Alan Brunton as Publisher; The Day A.B. died; Flâneur / 28 (2003): 93-96
    • Sonnets to Spam; After Bataille / 29 (2004): 26-27
    • More Sonnets to Spam / 31 (2004): 72-75

  15. Bill Pitt

    • Aranda Snow, Village, End / 36 (2008): 19-22
    • Native Poet / Brief #36 CD (2008): track 22

  16. Francis Ponge [trans. Ted Jenner]

    • Eight Prose Poems / 2 (1996): 5-9
    • Three Prose Poems / 8 (1997): 54-57

  17. Ellen Portch

    • Cover images / 34 (2007)
    • Cover image: “Green” / 39 (2010)
    • Cover: “untitled", from the series Wall (2010) / 43 (2011)

  18. S. Porter

    • Word In Your Ear / Brief #36 CD (2008): track 27
    • [& Scott Hamilton & Bill Direen] Brief #36 CD (2008): track 4
    • [& Bill Direen] Sunday Mix / Brief #36 CD (2008): track 13

  19. Kit Powell

    • [& Michael Harlow] Devotion to the Small /40 (2010): 98-116

  20. Ian Prior

    • The Last Days of Mankind (1979) / 28 (2003): inside back cover

Q [1]

  1. Andrea Quinlan

    • 2 Poems from Sedmikrásky /41 (2010): 8-9
    • A History of Haarige / 42 (2011): 38-39

R [19]

  1. Michael Radich

    • diptych / 1 (1995): 13-14
    • Chapter 1; three footnotes to an MA thesis; shibboleth / 1 (1995): 51-55
    • heretical si(g)nologies (1) & (2) / 3 (1996): 24-29
    • Across / 4 (1996): 78-80
    • Etude #1: How to Say in English / 5 (1997): 36-39
    • truth, will, out; me and things; the grass again / 7 (1997): 58-61
    • he zhizhang: sing willow … / 8 (1997): 7-17
    • pine; matins at the ok coral; oh no, not lyric! / 10 & 11 (1998): 22-24
    • two views / 13 (1999): 14-19
    • What is the reference / 13 (1999): 76
    • the ruins of anchor what / 14 (1999): 105-108
    • Read the paper / 15 (2000): 55
    • four pages / 16 (2000): 13-16
    • sayonara, say your not a / 18 (2000): 55-58
    • noise lyric / 19 (2001): 42-47
    • writing2 / 20 (2001): 43-46
    • ‘Do Not Write In This Space’ / 22 (2001): 92-95
    • what the snow said / 23 (2002): 26-27
    • Open letter to Jack Ross / 26 (2003): 112-13
    • Prosaic Times; so-so / 27 (2003): 71-73

  2. essa may ranapiri [aka Joshua Morris]

    • lynchpin - fuckedinamachine / 55 (2017): 77-79
    • O|r - gender dysphoria - agonies-Eternity/ 56 (2018): 5-7

  3. Mel Rands

    • 4 Texts / 42 (2011): 85-88

  4. A. Rankin

    • untitled / 51 (2014): 85-89

  5. Vaughan Rapatahana

    • Aotearoa blues, baby - Encounter – Rata villa, Ngawhatu – wharenui / 39 (2010): 24-32
    • old Tom - from father through son to son / 40 (2010): 24-29
    • no surface - pestilence - at Waikanae / 41 (2010): 26-33
    • 4 Poems / 42 (2011): 33-37
    • ko mutu inaianei - no kai - Whetumatarau / 43 (2011): 50-54
    • An Interview and Three Poems / 44-45 (2012): 6-11
    • Two Visits to Nauru / 44-45 (2012): 106-114
    • Announcing the Publication of English Language as Hydra / 44-45 (2012): 223-25
    • he whatinga / 46 (2012): 84
    • jacky marmon / 46 (2012): 140
    • macau on a tuesday - Turanga-nui-a-Kiwa - trapped in manila, / 47 (2013): 69-73
    • nihil unbound / 50 (2014): 108
    • Review of Waiheathens by Mark Derby, with paintings by Bob Kerr (Atuanui Press, Aotearoa-New Zealand, 2012) / 50 (2014): 148-51
    • blocked - last hill in matakaoa - leaving hong kong - sloop of discourse - so the snide sky / 51 (2014): 22-27
    • Three poems / 53 (2015): 105-08
    • he wāhine - she caught me - night moves / 54 (2016): 36-40
    • Down at the Schooner Tavern - He kanikani ki te kura - delicious irony / 55 (2017): 51-54
    • the raw man - poet in his castle/ 56 (2018): 36-39

  6. Sahanika Ratnayake

    • Whakapapa - Blameless - Bird Song / 55 (2017): 18-22
    • Case Study #1: Vocabulary Lesson - Case Study #2: Cognitive Distortions - Case Study #3: Chariot/ 56 (2018): 41-44

  7. Jacques ReBrellion

    • Madeleine / Brief #36 CD (2008): track 9

  8. Sean Redmond

    • The Love Particles of Eye Tracking / 54 (2016): 111-20

  9. Richard Reeve

    • Uptake /40 (2010): 14

  10. Nicholas Reid

    • Ill-Clothed But Widely Read / 33 (2006): 128-30

  11. Manon Revuelta

    • Meadowable - Voice, The - Re-veal / 41 (2010): 45-47
    • sleeve red of milken bees ... / 43 (2011): 5
    • i-vi / 53 (2015): 124-25

  12. Naomi Richards

    • Talofa Miss Brown / 44-45 (2012): 96-99
    • Ocean Songs / 46 (2012): 38-43
    • Mrs. Mossaidis Flies through the Air / 47 (2013): 74-80
    • Paper-chase / 50 (2014): 96-100

  13. Ron Riddell

    • In El Teatro Exfanfarria / 28 (2003): 100

  14. Lisa Robertson

    • two from Debbie: an epic / 2 (1996): 32-35

  15. Sally Rodwell

    • [& Michele Leggott] Notice: Alan Brunton, Fq / 25 (2002): 107
    • Excursion Production images / 28 (2003): 6, 8, 12, 16, 18, 20, 25
    • [& Martin Edmond, Michele Leggott] Bumper Books checklist / 28 (2003): 40-41
    • [& Michele Leggott] Notice: Alan Brunton, Grooves of Glory / 30 (2004): 116

  16. Anne Ross

    • Three fragments / 46 (2012): 27-33
    • Christmas Card / 50 (2014): 109

  17. Jack Ross

    • The Great Hunger / 14 (1999): 34-37
    • Jack’s Metamorphoses / 15 (2000): 57-62
    • Dieting / 16 (2000): 62-69
    • An Inside Narrative: Recent Works by Alan Loney / 17 (2000): 70-79
    • In the Cave of Henry James / 18 (2000): 28-35
    • Jack’s Metamorphoses (Part 2) / 19 (2001): 70-79
    • Case Studies / 20 (2001): 23-29
    • Alan Loney : John O’Connor : John Geraets / 22 (2001): 63-73
    • Tahiti in 1978 / 23 (2002): 36-50
    • Editorial / 24 (2002): 3
    • Hybrid Art / 24 (2002): 41-44
    • Review: Alan Loney, The Falling: A Memoir / 24 (2002): 78-79
    • Editorial / 25 (2002): 3-6
    • Hong Kong – 2001/ 25 (2002): 13-16
    • Notice: brief Writer’s Award / 25 (2002): 109
    • Editorial / 26 (2003): 3-4
    • Kendrick Smithyman: A Chronology / 26 (2003): 5-8
    • Jack’s Hole / 26 (2003): 9
    • The Firpo Essay / 26 (2003): 56
    • Occasional Verses / 26 (2003): 92
    • [& Margaret Edgcumbe] Life with Kendrick / 26 (2003): 103-09
    • Review: Smithyman, Imperial Vistas Family Fictions / 26 (2003): 115-116
    • Editorial / 27 (2003): 3-4
    • Anamorphoses / 27 (2003): 74-76
    • Review: Leicester Kyle, Five Anzac Liturgies / 27 (2003): 98
    • Editorial: In the Spirit of Crazy Horse / 28 (2003): 3-4
    • Review: F**y you, Faerie Queene – Alan Brunton’s Fq / 28 (2003): 116-22
    • Editorial: The Secrets behind my Smile … / 29 (2004): 3-4
    • Postcards / 29 (2004): 62-65
    • Reviews: Paul Hardacre; Howard & Pardington; Anne Kennedy; Graham Lindsay; John O’Connor & Eric Mould; Alistair Paterson; Mark Pirie; John Pule / 29 (2004): 81-84
    • Editorial: WARUM die KUNST? / 30 (2004): 3-4
    • Days Under Water / 30 (2004): 88-91
    • Reviews: Murray Edmond & Joanna Forsberg; Harvey McQueen; Basim Furat; Guyon Neutze & Jürgen Waibel; Mark Pirie; Niel Wright / 30 (2004): 109-11
    • Review: William Direen: Jules / 30 (2004): 115
    • Editorial: brief goes political … / 31 (2004): 3 & 5-6
    • Citizens of the People’s Republic of Freaktown / 31 (2004): 76-79
    • Editorial: i.m. Joanna Margaret Paul (1945-2003) / 32 (2005): 3-4
    • Muses (for Joanna Margaret Paul) / 32 (2005): 95-98
    • Reviews: Brian Bell; Alan Brunton; Sue Fitchett; Michael Harlow, Anne Kennedy; Michele Leggott; C. K. Stead / 32 (2005): 103-107
    • In Defence of Tracey Slaughter / 33 (2006): 35-37
    • Smithyman Goes Online / 33 (2006): 60-62
    • From the Twilight Kingdom / 33 (2006): 106-108
    • Ancestral Voices (part one) / 33 (2006): 139-48
    • For Leicester Hugo Kyle / 34 (2007): 6-11
    • The Purloined Letter / 35 (2007): 14-33
    • Extract from EMO / 36 (2008): 31-40
    • Climbing off the Barricades: Review of Dream Boat: Selected Poems, by Tony Beyer & A Good Handful ed. Stu Bagby / 36 (2008): 114-18
    • [& P. Fischlinger] The Cat / Brief #36 CD (2008): track 7
    • In Love with the Chinese Novel / 37 (2009): 10-28
    • The Assassination Weapon - Anzac Day / 38 (2009): 46-48
    • Review of Martin Edmond's The Supply Party / 38 (2009): 89-93
    • from The Puppet Oresteia / 39 (2010): 33-42
    • Memoirs from beyond the Grave - Badges - Sor Juana lnés de la Cruz /40 (2010): 9-13
    • Celanie: 5 Versions from Paul Celan / 41 (2010): 54-59
    • Johnsons or Shits: Mike Johnson’s Travesty / 42 (2011): 40-44
    • The Great White Silence / 44-45 (2012): 56-76
    • Leicester Kyle’s Koroneho / 44-45 (2012): 206-07
    • Interpreting Paul Celan / 46 (2012): 85-101
    • from "the Jay Poems" / 47 (2013): 32-36
    • 3 Mayan Poems / 49 (2013): 60-65
    • Confessions of an Unrepentant Anthologist / 49 (2013): 129-45
    • Editorial: Misha’s Project / 50 (2014): 3-5
    • Reviews in brief: Lisa Samuels, Wild Dialectics (Bristol: Shearsman Books Ltd., 2012) / Richard von Sturmer, Book of Equanimity Verses (Auckland: Puriri Press, 2013) / 50 (2014): 152-56
    • Leaving Town / 51 (2014): 5
    • Leaves from a Diary of the End of the World / 53 (2015): 80-97
    • Brothers / 54 (2016): 99-104
    • How Many Miles to Babylon? Three Faces of Mike Johnson's Lear / 55 (2017): 113-31
    • General Grant in Paeroa / 56 (2018): 97-107

  18. K. M. Ross

    • The Demon Home / 24 (2002): 17-18
    • from Falling Through the Architect / 25 (2002): 45-48
    • Rambo; Dumped / 27 (2003): 77-82
    • Sun’s Lid / 29 (2004): 53-56
    • Tripping / 30 (2004): 92-95
    • Out and Out / 31 (2004): 80-82
    • Exile and the Wolf / 33 (2006): 41-43
    • The Art of. .. / 34 (2007): 116-19
    • Te lka / 35 (2007): 83-87
    • Review of Song of the Brakeman by Bill Direen / 35 (2007): 120-21
    • The Clay Monster / 36 (2008): 83-86
    • Venusian Transit / 37 (2009): 32-38
    • Thrash / 39 (2010): 3-9
    • The Headless: Lucy /40 (2010): 66-69
    • The Headless: Coleop / 41 (2010): 10-13
    • Ballad of the Kitchen Corner / 42 (2011): 58-62
    • The Last Great Road Race / 46 (2012): 133-39
    • from The Blinding Walk / 50 (2014): 75-93

  19. Anna Rugis

    • Four Poems / 30 (2004): 96-97
    • Travelling Light / 38 (2009): 72
    • She tries to explain that thing she doesn't do ­ Exploding the Myth - Shift – Humidity ­ Marmalade Pudding /40 (2010): 51-55

S [29]

  1. Megan Saltzman, tr.

    • Rogelio Guedea: Timeline / 44-45 (2012): 115-19

  2. Lisa Samuels

    • Coop / 38 (2009): 18-22
    • Envoi - Love story - adorno - from Tender Girl / 39 (2010): 109-15
    • Haptic radio / 41 (2010): 42-44
    • from Life Sentence / 43 (2011): 59-66
    • Nervous Water / 44-45 (2012): 149-51
    • Group Hug / 47 (2013): 30-31
    • Syllabus / 50 (2014): 101-04
    • Commute - A walk in the park / 51 (2014): 95 -97
    • from Mariology/ The Book of Joy / 55 (2017): 62-63
    • from Symphony for Human Transport / 56 (2018): 69-73
    • Review of Jen Crawford, Koel / 56 (2018): 113-16

  3. Martin Sanderson

    • [& Wanjiku Kiarie] From Oxford to Waimaramara / 33 (2006): 84-104
    • Transport / 34 (2007): 162

  4. Daniel M. Satele

    • My Sculpture, Strong Spirit / 47 (2013): 56-59

  5. Maryann Savage

    • If Thou Longst so Much to Learne / 47 (2013): 90-94

  6. L. E. Scott

    • Broomstick – Realisation / 46 (2012): 131-32
    • Blues x 5 – Room without a View / 50 (2014): 105-07
    • [Greetings / 51 (2014): 52]

  7. SEP

    • [& Mary Heney] Shade / Brief #36 CD (2008): track 5

  8. Sarah Shieff

    • Transports of delight: wonder and the time-based arts / 21 (2001): 53-58

  9. Michael Shield

    • Review: Sugu Pillay, The Chandrasekhar Limit / 27 (2003): 99-100
    • Review: Mason: Four Short Stories & Duggan: A Voice for the Minotaur / 29 (2004): 87-88

  10. Erena Shingade

    • the poetics of infinity revisited (a flarf manifesto) - Celestial Maps of a Novice Mystic / 56 (2018): 22-24

  11. Ron Silliman

    • What is to be Done / 34 (2007): 40-45

  12. Gus Simonovic

    • One of Us / 38 (2009): 70-71

  13. Jane Simpson

    • the desert is / 49 (2013): 102

  14. Peter Simpson

    • The Smithyman Papers: A Preliminary Description / 26 (2003): 11-18
    • Fq: Roadman’s last Quest / 28 (2003): 78-83

  15. Owen Slatraigh

    • Cover photo / 48 (2013)

  16. Tracey Slaughter

    • 31 reasons not to hear a heartbeat / 50 (2014): 6-20
    • The Box of Phantoms / 50 (2014): 122-37

  17. Carin Smeaton

    • Five poems / 53 (2015): 30-38
    • Shorty - St Kev's Arcade / 54 (2016): 41-43
    • shamans n curtains - Frances had no hammer even / 55 (2017): 56-57
    • what to do with them all / 56 (2018): 25

  18. Emma Smith

    • Cover: “Wolfwhistler” (2007) / 38 (2009)

  19. Phoebe Smith

    • Duckpond / 36 (2008): 42-43

  20. Alexandra Smithyman

    • Kendrick Smithyman / 26 (2003): 110-11

  21. Kendrick Smithyman

    • The Hole that Jack Dug / 26 (2003): 10
    • Uncollected Northland Poems / 26 (2003): 19-49
    • Beginnings, Golden Weathers, and Firpo / 26 (2003): 57-74
    • Occasional Verses / 26 (2003): 93
    • Imitations of Neruda / 27 (2003): 83-86
    • Te Kopuru / 33 (2006): 66-74
    • Haworth Parsonage / 33 (2006): 120-21
    • Three War Poems / 34 (2007): 76-82
    • Three Poems / 44-45 (2012): 52-55

  22. Ruby Solly

    • That / 54 (2016): 53

  23. Sponge

    • Moon in the Moog / Brief #36 CD (2008): track 16

  24. C. K. Stead

    • The Real Thing / 4 (1996): 54

  25. Melissa Steiner

    • Journey in the Dark / 47 (2013): 122-25

  26. Michael Steven

    • Anthology; Brutes; Aubade / 35 (2007): 38-40
    • Review of To the Moon, In Seven Easy Steps by Scott Hamilton / 35 (2007): 117-19
    • Silver Paint, Custody / 36 (2008): 29-30
    • Six Poems by Samuel Beckett / 37 (2009): 78-79
    • Here, the Lovers - Blackburn's Last Strut /40 (2010): 48-50
    • The Panel Shop / 47 (2013): 49-51
    • Walking to Jutland St / 55 (2017): 47-50

  27. Fiona Stevens

    • Beholder's Eyes / 54 (2016): 57-60
    • the great New Zealand poem / 55 (2017): 75-76
    • Lamb Spit/ 56 (2018): 77-81

  28. Chris Stewart

    • My father the elephant/ 56 (2018): 75

  29. Olwyn Stewart

    • [& Paul Amlehn] I write these despicable lines / 35 (2007): 60
    • Review of Marked Men by David Lyndon Brown / 35 (2007): 126-27

  30. Judi Stout

    • Andy Warhol’s Diaries / 3 (1996): 15-20
    • On the feast of Stephen / 8 (1997): 40-45
    • The Muscles / 14 (1999): 18-22
    • The Muscles / 15 (2000): 16-17
    • Rods and Cones / 19 (2001): 8-9
    • Artifice of Absorption / 19 (2001): 48-49
    • Intent / 23 (2002): 62-63

  31. Chris Stroffolino

    • Inner Cone & Ant / 25 (2002): 75-76

T [8]

  1. Henry Talbot

    • Milk / 33 (2006): 31-34
    • Native / 34 (2007): 164
    • Sunshine / 35 (2007): 88-90

  2. David Taylor

    • All things being equal / 50 (2014): 120-21
    • The Ploughboy/ 56 (2018): 28

  3. Richard Taylor

    • Review: Nights with Giordano Bruno / 19 (2001): 14-17
    • The Infinite Poem (Part One) / 24 (2002): 64-69
    • from Chains / 25 (2002): 63-64
    • Letter; from Chains (2) / 26 (2003): 101-02
    • The enclosed “work” / 27 (2003): 87-90
    • On Moonshine / 28 (2003): 90-92
    • re: brief submissions etc / 29 (2004): 60-61
    • from Hospital / 30 (2004): 98-108
    • Class 4AcA, Tamaki College (1963) / 32 (2005): 113
    • The Panmure Tavern Songbook / 33 (2006): 54-58
    • A Refusal to Explicate Te Kopuru / 33 (2006): 63-65
    • Leicester Kyle (Friend, poet, and scientist) / 34 (2007): 19-24
    • The Policeman Still Has Two / 34 (2007): 156-58
    • from The Infinite Poem; Untitled / 35 (2007): 61-63
    • Eyelight / 36 (2008): 46-64
    • [& Brett Cross & Bill Direen] Editorial: Manifesta of (dys-)organised sound / 36 (2008): 3-5
    • The Things Smiling / Brief #36 CD (2008): track 23
    • from Eyelight / 37 (2009): 84-87
    • Marchenbilder / 38 (2009): 23
    • Cold Moving Coldness - It Would Be a Mistake Not to Rise / 39 (2010): 68-70
    • Review of EMO by Jack Ross / 39 (2010): 116-21
    • Reading Things /40 (2010): 80-86
    • again) - we did the Name Thing (when she was certain) / 41 (2010): 50-52
    • from Eyelight / 44-45 (2012): 100-103
    • Ongoing Story I-III / 46 (2012): 24-26
    • from What we have been reading / 49 (2013): 3-30
    • Review of Toa by Vaughan Rapatahana / 49 (2013): 146-51
    • The Secret of Being Unpopular / 50 (2014): 61-73
    • Transport, Machines, Links and "Chains" / 51 (2014): 7 -13
    • Transport, Machines, Links and "Chains" part 2 / 51 (2014): 77 -84
    • Transport, Machines, Links and "Chains" part 3 / 51 (2014): 112 -17
    • And – Drawing–A Sequence Poem – Repetition is truth – Eye / 52 (2015): 93-106
    • I Am Become Death the Destroyer of Worlds / 53 (2015): 66-79
    • Review of K. M. Ross, The Blinding Walk / 53 (2015): 132-43
    • from On the Face of The No One / 54 (2016): 89-95
    • you, too, have three heads. - Absolute blackness - Amphisbaena / 55 (2017): 5-7
    • My Voyeur - The Question of Entrance - Being is Seeing / 56 (2018): 94-96

  4. Greville Texidor

    • [& Evelyn M Hulse] San Toni / 34 (2007): 85-109

  5. Loren Thomas

    • Wrists/ 56 (2018): 13

  6. Orchid Tierney

    • 4 Poems / 42 (2011): 22-25

  7. Giovanni Tiso

    • Too Loud a Solitude: Bohumil Hrabal / 42 (2011): 80-82
    • The Canto of Ulysses / 43 (2011): 84-89
    • Six Inches to a Mile / 44-45 (2012): 80-83

  8. Denys Trussell

    • A Letter and a Poem / 44-45 (2012): 128-29
    • Breaking Down Love / 55 (2017): 97

V [6]

  1. Ricci van Elburg

    • Lucebert / 31 (2004): 58-71

  2. Gareth van Sambeek

    • from Transgender Horse / 38 (2009): 33-37

  3. Various Artists

    • Field Recording at Galbraith’s Alehouse / 33 (2006): 4-7

  4. Paul Veart

    • In lieu of flowers - John Logan’s Long Shadow / 42 (2011): 70-78

  5. Alex von Huhen

    • the poem / 35 (2007): 57

  6. Richard von Sturmer

    • Winter at Chapin Mill / 15 (2000): 30-36
    • Seclusion / 16 (2000): 24-30
    • Across the Tasman / 16 (2000): 52-53
    • The Desert / 18 (2000): 40-49
    • In Transit / 19 (2001): 22-28
    • Mysterious Beauty / 20 (2001): 32-35
    • Antonello da Messina / 20 (2001): 47-49
    • Some Minor Disturbances / 21 (2001): 62-66
    • Myths / 22 (2001): 89-91
    • Working with Nagarjuna / 23 (2002): 4-10
    • Blue Mountains / 24 (2002): 19-23
    • Red Mountains / 25 (2002): 53-56
    • Sentient Dreams / 27 (2003): 91-93
    • Great Barrier Notes; Barrier Crossings / 28 (2003): 105-15
    • Fits and Starts / 29 (2004): 71-78
    • While You’re Away / 31 (2004): 106-109
    • Walking / 33 (2006): 11-12
    • Old Ezra / 34 (2007): 70-75
    • This World (and None Other) / 35 (2007): 69-74
    • Plague Days, Bus Notes / 36 (2008): 66-80
    • from Fabulae / 37 (2009): 82-83
    • Train Notes / 38 (2009): 53-55
    • Yes / 39 (2010): 76-79
    • Conversations with Clarice /40 (2010): 4-8
    • Cover: from "Straps on Railway Freight Carriages” / 41 (2010)
    • Editor's Note / 41 (2010): 2
    • Six Book of Equanimity Verses / 41 (2010): 60-61
    • Crossing the Mind / 42 (2011): 32
    • We Batten On / 43 (2011): 38-49
    • Message / 44-45 (2012): 226
    • from the Notebooks of Hector Velasco / 46 (2012): 11-16
    • This Explains Everything / 50 (2014): 110-19
    • This Explains everything / 51 (2014): 28-37
    • Ten Days up North / 53 (2015): 127-31
    • Clock Tower, Preston Park / 54 (2016): 13
    • Resonating Distances 3 / 55 (2017): 103-10
    • Four Seed Stories/ 56 (2018): 32-35
    • Review of Ted Jenner, The Arrow That Missed / 56 (2018): 120-21

W [18]

  1. Noel Waite

    • Alan Loney’s shifting texts / 17 (2000): 51-60

  2. Barrett Watten

    • What is to be criticized / 34 (2007): 46-52
    • War = Language / 34 (2007): 53-54

  3. Ian Wedde

    • Beauty, Sex, Heroism / 22 (2001): 40-44

  4. Lorraine West

    • The Yellow Room / 27 (2003): 94-96
    • The Inorganic Collection / 29 (2004): 23

  5. Claudia Westmoreland

    • [& Scott Hamilton] Alan Brunton and the Counterculture /28 (2003): 84-89

  6. Lydia Wevers

    • & Reading Alan Loney / 17 (2000): 18-24

  7. Gabriel White

    • Alphaghetti - The Imaginary Museum of Atlantis / 37 (2009): 96-114

  8. Anya Whitlock

    • Cover image / 33 (2006)
    • from Anya’s Sketchy Zine / 33 (2006): 21-22

  9. Alex Wild [Jespersen]

    • from The Constant Losers / 37 (2009): 92-95
    • from “There is No War Here” / 44-45 (2012): 120-25
    • Editor's Note / 47 (2013): 2
    • The Final or The Semi-Final or Something / 49 (2013): 86-92
    • News in brief / 49 (2013): 113-117
    • Editorial: The Outer Link / 51 (2014): 3
    • Editorial / 52 (2015): 3-4
    • [& John Geraets] an excerpt from Quite little ones / 52 (2015): 85-89
    • April 2014 / 52 (2015): 109-12
    • Print News / 52 (2015): 114-15
    • Birthday Editorial (Party World) – Anniversary Editorial (Straight) / 53 (2015): 3-4

  10. Florence Wild

    • Albatross -- how I get around / 51 (2014): 47-51
    • Looking for the hook / 52 (2015): 26
    • Roy Orbinson’s types of dreams / 52 (2015): 62-63

  11. Daniel Williams

    • Review of Two chapbooks by Denys Trussell & Robert Kempen / 56 (2018): 117-19

  12. Mark Wills

    • To – Michael Radich / 1 (1995): 37
    • Cover / 2 (1996)
    • Michael and I are still … / 3 (1996): 21-23
    • from The Clystergame / 4 (1996): 33-37
    • from The Cleistogame / 9 (1998): 32-35
    • Bonfire / 5 (1997): 40-43

  13. Elizabeth Wilson

    • FOR WE GO AHAWKING … / 1 (1995): 19-22
    • ‘If this can be called thinking’ / 2 (1996): 14-15
    • X / 3 (1996): 30-35
    • aninsistentmaterialism … / 4 (1996): 24-27
    • mouth to mouth / 8 (1997): 47-53
    • Mare Superum / 10 & 11 (1998): 25-28
    • Speaking Volumes / 13 (1999): 69-75
    • In Anticipation / 17 (2000): 42-50

  14. Janet Wilson

    • Review: Jackson: Catullus for Children & Kassabova: Someone Else’s Life / 29 (2004): 85-86
    • Alan Duff: Brown Man’s Burden / 31 (2004): 96-105

  15. Bill Wolak

    • Five Collages / 54 (2016): 44-48

  16. E Wen Wong

    • Spoon in the mirror / 55 (2017): 96

  17. [F W] Niel Wright

    • Letter / 13 (1999): 51
    • Letter / 31 (2004): 118

  18. Joe Wylie

    • Stairway to the Stars (1977) / 28 (2003): inside front cover

Y [1]

  1. Mark Young

    • Two poems / 24 (2002): 33-34
    • Two translations / 25 (2002): 17-18
    • December 6, 2002 / 28 (2003): 101-02
    • The Armory Show / 29 (2004): 30-31
    • [& Martin Edmond] Q & A / 31 (2004): 24-36
    • The bride stripped bare by her bachelors, even / 31 (2004): 37
    • Country of Origin / 33 (2006): 8
    • Exile and the Middle Kingdom / 33 (2006): 46-47
    • from Genji Monogatari / 38 (2009): 30-31
    • Five poems / 53 (2015): 17-21
    • Three Poems / 54 (2016): 28-32
    • the turn of the screw - w/heel - The Aspects / 55 (2017): 27-30
    • sugarloaded - The Boas ficcione / 56 (2018): 61-62

Z [2]

  1. S. Nadja Zajdman

    • Nana / 40 (2010): 17-18

  2. Ahmed Zaoui

    • [trans. Riemke Ensing et al.] He will come back … (5 versions) / 31 (2004): 12-21
    • Letter / 31 (2004): 114


•

23 years [1995-2018] /
56 issues [3 double issues (10/11, 30/31 & 44/45) + 2 book-length issues (12: Leigh Davis's Willy’s Gazette & 48: Bill Direen's The Ballad of Rue Belliard)] /
387 contributors




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Manifestos & Reviews:




A selection from some of the write-ups which have appeared to date:

Contents:


  1. Pander 9 (1999): 14-16 (16/10/99)

  2. brief 24 (2002) (26/2/03)

  3. A Brief Poetics (4/7/11)



•

[Pander 9 (1999)]




A Brief Description of the Whole World:
A Review Symposium of the first twelve issues of this Journal of Experimental Writing, founded by Alan Loney in December 1995,
and thereafter issued by him (in stapled, xeroxed, A4 format) until
October 1998, when the editorship passed to John Geraets.


“Our criticism is littered with overviews – the year’s poetry, the year’s fiction, a review of seven magazines in one to two thousand words, five new books from a new press, or yet another anthology to tell us who’s in charge of canon building.”
- Alan Loney, ABDOTWW #8 (1997): 3


“It is in the zone of hyper-bowl that we will have to stand.”
– Jacques Derrida, Auckland Town Hall, 18th August 1999


* * *

Dear Jack,

You mentioned perhaps I might send some comments which you may be able to use in the retrospective review of Brief D. I did this the other night, but lost it, damn!, so v. briefly let me try again:

1. ABDOTWW looks to publish not simply material that is experimental, or material that is simply new, but material which is newly experimental.

2. Such work is intrinsically related to language, but is not necessarily “literary.”

3. The term “literary” is always retrospective. Novelty is not an interest.

4. Newly experimental is always to do with a self-questioning, although these questions are not necessarily ones that are asked. They address a reflexivity that may be strangely extended, extensive.

5. As well performing a special questioning, ABDOTWW questions its and its material’s performance.

6. Its “material” includes its contributors, subscribers and readers, and editor, as well as its physical properties.

7. ABDOTWW is not any one of these.

8. In all this there is subtlety involved, to be sure.

These tenets have nothing to do with, yet are contingent upon more mundane practicalities: all but special guest contributors must be also subscribers; material is accepted on an issue by issue basis, each issue having its own definition; the continuity may be in terms of regular contributors, or perhaps not, perhaps it may be in its restless unfolding; contributions, past issues, subscription requests and enquiries should be addressed to THE WRITERS GROUP, 11-20 POYNTON TCE, AK 1001.

– John Geraets


* * *

Dear John,

Thanks for getting back to me about the Pander review. I’ve collected some views already, and am gradually working my way through the issues (in both senses).

There’s a rather missionary tone in some of the editorials which slightly grates on me, I must admit. I don’t really see being “non-referential” as either inherently wicked or inherently virtuous, I must admit. What appeals to me most is the ludic cleverness of so much of the work I read there.

The purpose of the review – or review-symposium – is to describe and celebrate more than critique, though. There’s too much there which would need to be dealt with in isolation, and I really just want to bring our readers’ attention to the existence of this submerged continent of innovative text-work.

I take your point about not particularly wishing to expand your market. I just think it would be nice if people who would like it got to know about it.

I did this the other night, but lost it, damn!, so v. briefly let me try again:

That, of course, makes me muse on the immense mana of the lost message. What brilliance must have been there! So only this skeletal residue remains ...

The term “literary” is always retrospective. Novelty is not an interest.

No, kinda twentieth-century, really, all that stuff about innovation and “newness,” isn’t it?

Newly experimental is always to do with a self-questioning, although these questions are not necessarily ones that are asked. They address a reflexivity that may be strangely extended, extensive.

I’d add including an implicit challenge to the reader’s ontology – though I quite understand that you might see this as a heretical return to something resembling the affective fallacy …

As well performing a special questioning, ABDOTWW questions its and its material’s performance.

I like this mystic apotheosising of your magazine, and the HLAH-like initials are fun, too.

In all this there is subtlety involved, to be sure.

To be sure – but “don’t rely on subtlety / frighten them or they won’t see” (Tim Rice: Jesus Christ, Superstar)

– Jack Ross


* * *

Alan Loney’s magazine, ABDOTWW, is contributed to by members of a writers’ group. This group, and the $20.00 p.a.sub, helps to keep in print a fairly wide range of talented N.Z. poets. They are not all of Loney or Wystan Curnow’s generation. Included are such relative newcomers as Tom Beard, Paula Green, and Mark Wills. While the writing styles are diverse, there is an emphasis on experimental, or original writing. Anyone wanting to see new developments – significant developments – in N.Z. writing should buy or subscribe to it.

Before anyone accuses me of bias, I must make it clear that I’m not a member of the group. I did ask Loney if he’d look at my long poem “Chains,” but he wouldn’t. So, in urging people to look at ABD, I’m not pushing my own barrow. Nor am I of any “school” or “camp”. I don’t know if I’m a Postmodernist because I don’t know (exactly) what the term means.

Not every issue was equally good, but there has always been (for me) interesting data in each issue. Loney’s editorials were always stimulating. Rarely, by contrast, do I find anything of comparable interest in the mainstream magazines. In fact, the only other magazine I would recommend in such terms is Salt, put out in Auckland by Scott Hamilton and Hamish Dewe. (Please note that I don’t support Scott’s letters of abuse – otherwise it’s a very exciting magazine).

If you’re bored with stuffy, bourgeois-liberal-humanist crap, take a peepers at ABDOTWW and Salt.

– Richard Taylor


* * *

A Brief Description exists to encourage the radical, fringe, exploratory, innovative in N.Z. Literature. Other journals may say they do, but when it comes to the point will only take the “received radical” – that which already has some degree of critical imprimatur. The bafflingly new, that which in no way conforms to the existing critical templates, has nowhere to go. One can try sending one’s work overseas but (speaking for myself) much of my work is so entirely N.Z. in content, depending so heavily on our history and cultural ironies, and so seemingly eccentric, that such moves have been only occasionally successful.

It is probably correct to say that none of our publishing firms are dedicated to the advance of N.Z. poetry. Their customary reply: “It’s good but it will not sell,” has the effect of keeping our poetry in a tame or domesticated state, and existing for the sake of the institution. At present, it is only A Brief Description that lets in new vigour from the wild. Many poets frequently published in the journal rarely appear elsewhere – writers such as Peter Crisp from Napier and Michael Radich, a New Zealander who lives in Japan. Others, such as Joanna Paul, Murray Edmond, Wystan Curnow, Alan Brunton, Tony Green, present work that might hardly be acceptable elsewhere. Such an openness is a great gift to a writer who has met with continual frustration from other publishers, and who is about to lose confidence.

The journal is now edited by John Geraets, and is supported by the Writers’ Group. Its list of subscribers is not large, but one would like to think its influence is profound.

– Leicester Kyle


* * *

Leigh Davis. Willy’s Gazette. Auckland: A Brief Description of the Whole World 12 (1999).

To appear in a different time and a different place is more than just to reappear: it is to happen again, fresh and self-brightening.

So John Geraets, taking over from Alan Loney, frames this dual reissue/issue 12 of ABDOTWW – which prompts the question: do we need it? Unfortunately, we do.

Unfortunately, because we should have paid more attention the first time round. Willy’s Gazette is just as luminous now, self-brightening, as it was when it first appeared in 1983. The fact that this book remains practically unknown attests to how much writing, of even the most mildly experimental nature, becomes marginalised in NZ literary culture. The possible charge that this is due to wilful obfuscation fails in light of the fact that the Gazette, and ABDOTWW in general, works towards an understanding of community. That this community seems small, hermetic, is the result of a general ignorance among readers of, and commentators on, NZ poetry. Community in writing does not depend upon lists of the author’s drinking buddies, nor upon generalised sermons on the nature of nationhood: it rests in allowing readers to co-operate within the space of the text.

Willy’s Gazette lays itself open, straddles the illusory divide between the traditional and the avant-garde. It is a series of sonnets, but only in that each poem has 14 lines. The Gazette is provisional, a tentative assaying of various fields: local, international, literary, artistic, formal, political. This sheer variety enables the Gazette to interrogate the local without indulging in a protectionist poetics, without defaulting to the ubiquitous paysage moralisé. The book is “implosive, paratactical,” it registers, gestures:

We editors and cartographers face that fact
daily maps age post-modern printing isn’t
miraculous predictive of political outcomes
borders stay where history last placed them


The Gazette acknowledges the impossibility of containment, while employing the infinity of gesture: closure, that raptorial illusion, is endlessly deferred.

That deferral determines my own. I defer talking about the text. I find myself circling it, swooping to raid some fleshy piece, only to find myself compelled to return – to get the whole thing. This is, of course, impossible. Is that a scary notion? It should be. Where’s that sense of communication I’m looking for, that community? Well, it’s around here someplace – you’ve just got to accept that the thing’s not static, not linear, it’s not a command: it’s just as mutable and unstable as the world itself. Communication is communion, a sharing. There’s a place for you in this text. Go play.

the cabbage tree claps
its swords over the setting sun
turning as if to say
mouth open, exclamatory
so armature you were ready
so gestetner, old and dizzy,
& your line so charcoal grey and endless


– Hamish Dewe


* * *

“Go play,” says Hamish. But what said Alan Loney, ABDOTWW’s onlie begetter? Here are extracts from various of his editorials:

I ever hope for words clear as these, on a sign on a lamp-post I saw last year – “Our cockatiel has flown away. We miss him” … a search for clarity among the literally unimaginable welter of words we live in, would be useful.
- “On Clarity” #1 (December 1995): p.3.

We want answers. The culture wants answers, the media wants answers, any answers, where all answers are all too equally valid. The ‘unexplained’ is then reserved for the strange, the weird, the spooky, the ‘paranormal’ …
In my own work, the sentence “Nothing like it exists everywhere” still haunts me, as an enigmatic unsolvable puzzle, several years after writing it.
- “Defamiliarizing the Familiars” #3 (June 1996): pp.3-4.

While I think that all information is privileged information, it’s hard to see that it’s necessary for information that is not readily available to stay hidden. One reason for the apparent ‘obscurity’ of some writing will be that it has not been spoken for …
- “Who do I write for?” #4 (November 1996): p.6.

[from a review of Tony Green’s NO PLACE TO GO printed by Tara McLeod:] … if Green mourns the loss of some of his line-endings, or if McLeod mourns the loss of options that would have been given by different types and papers, and if I myself mourn for the loss of the opportunity signalled by the term ‘collaboration’, then are we doing any more than what we’d do by being faced, as in this book we most concretely are, with the vagaries of reading that are inevitable when the work goes out ‘into the world’, with no place to go but into the hands of those who will read it.
- “A place to go” #6 (July 1997): p.6.

… one of the most interesting things I learned from my years as a psychiatric nurse and an orderly in a geriatric wing of a general hospital, was that very many people, even most perhaps, die without ever enjoying classical music, looking at fine art, or reading great literature, yet believed absolutely that they had lived a full life … This flies in the face of one of our most cherished assumptions about the quality of life …
- “What are poets for?” #7 (September 1997): p.3.

… there is only one Tradition, and everything whatsoever is in it, like it or not. But if everything is in this Tradition, what can being ‘marginal’ mean?
…. What is, for instance, ‘postmodern poetry’? By the mainstream it tends to be taken as a kind of ‘thing’, which one can have to deal with or not as one chooses. Postmodern poetry is then seen as a kind of poetry, a sort of style, as if it’s an option on the menu that we can click on or pass by, take it or leave it. But what if postmodernity is … the name of the condition in which we [as a culture] find ourselves?”
- “The Other Tradition” #8 (December 1997): pp.3-5.

“Those who specialise in generalist overviews that mention oppositional writing in passing lack the credibility that only published close readings can provide …” (#4 (1996): 6). Point taken, Alan. This rather scrappy collection of views and re/views is the result. One could hardly hope to consider so varied, so textually adventurous and visually challenging a body of work otherwise. What’s more, “reviews do not necessarily stimulate a lot of sales, but negative reviews almost always stop sales in their tracks.” (#7 (1997): 3). Perhaps it is invidious to single out one from so many examples, but how can I refrain from finishing by quoting this page of Lesley Kaiser / John Barnett’s (#6 (1997): 9)?

Stone is
more stony
than it used
to be

– Jack Ross


•


[brief 24 (2002)]



brief
the magazine formerly known as:
A Brief Description of the Whole World / ABDOTWW / description / ABdotWW / Ab.ww &c.


brief1, n. Pope's letter on matter of discipline to person or community (less formal than bull); (Law) summary of facts & law-points ofa case drawn up for counsel (hold ~ for, be retained as counsel for, argue in favour of); size of writing-paper, typewriter, etc.; instructions given to air crews etc.; watching-~, of barrister who watches case for client indirectly concerned; ~-case, small leather handbag; a ~, piece of employment for barrister, whence ~’LESS a. [ME & OF bref f. L breve dispatch, note, neut. of brevis short]
brief2, v.t. (Law) reduce (facts etc.) to a brief; Instruct (barrister) by brief, employ; Instruct (air crews etc.) with regard to raid etc. (~ing-room, where such instructions are given); Instruct thoroughly in advance. [f. prec.]
brief3, a & n. Of short duration; concise; be ~, speak shortly; in ~, in short; (pl., colloq.) shorts, women’s panties. Hence ~'LY2 adv., ~'NESS n. [ME & OF bref f. L brevis short]


… matter of discipline …

The facts: The magazine was founded in December 1995 by Alan Loney. Its format was simple: A4 sheets, copied exactly as their authors wrote them, stapled together, then distributed with bio notes and a cover.

… less formal than bull …

John Geraets took over as editor at the beginning of 1999. This initiated an immediate shift in names and styles. His first issue (12) was a re-issue of Leigh Davis’ 1983 book Willy’s Gazette. He devoted special numbers to Loney (17) and Aesthetics (20-21), and greatly increased the range and number of contributors.

… Of short duration; concise …

Jack Ross succeeded Geraets as editor in 2002. To date he's put out four issues (including #28: Smithymania, a special Kendrick Smithyman number), and an index of the first seven years of the magazine’s contents. There’s been some controversy (conducted both inside and outside brief correspondence columns) over his attempts to open up our pages to new contributors, but hopefully this is now dying down. Our latest project is an issue (#28: Spring 2003) devoted to the late Alan Brunton, poet, performer, playwright, and all-round cultural phenomenon.

As he sees it, brief’s mission is to provide an alternative to the somewhat monochrome fare of the other major New Zealand literary magazines. He prefers to print work which he suspects could not find a home in Landfall, Sport, JAAM, Takahe or any of the others. Not that I mean to disparage those magazines – I simply feel that there is a significant constituency of experimental and technically adventurous writers who don’t find full expression in them.

We specialise in page-works, articles/poems/stories, photomontages. As we reprint work exactly as it sent, so this enables our contributors to pay close attention to the design and layout of their pages. Otherwise, the look of the magazine remains the same: A4-size, perfect-bound, with bio-notes and a card cover.

The existing contributors (Loney’s original twenty, for example) can always feel confident of a welcome, but we also want to extend an open invitation to the disenfranchised to come on in ...



•


[Leigh Davis: Macoute (June 1998)]


[This paper was originally delivered at the “Poetry and the Contemporary” Symposium (Deakin University, Melbourne: 7-10 July, 2011]:


Prologue: the first four years

What purpose does a literary journal serve? Why do so many people spend so much time, at such lousy rates of pay (nothing – or less than nothing – in many cases) editing and contributing to small magazines – or (more to the point) founding new ones? No doubt there are many reasons. As a general rule, though, I think that a journal comes into existence as the voice of some interest group or coterie which believes itself to be significantly under-represented by existing publishing outlets. There may be other, more individualistic, motives for founding a print (or online) periodical, but unless it continues to be perceived as providing a valuable alternative to the status quo, it’s unlikely to survive beyond the first few issues.

The magazine I’d like to talk about today is brief – aka A Brief Description of the Whole World / ABDOTWW / description / ABdotWW / Ab.ww / or brief. It was founded in 1995 by the poet Alan Loney, who was then writer-in-residence at Auckland University, as a response to a refusal on the part of the central government funding agency – now known as “Creative New Zealand” – to back John Geraets’ recent (1993) application for financial support for a new magazine.

In his essay “Power and the Scandal of Editing: the Case for A Brief Description of the Whole World,” Loney attributes this refusal to a desire to control both the means and the content of “Arts” publication in New Zealand, and discusses in detail the structure of the magazine he set up in response, A Brief Description of the Whole World, as an attempt at a counterblast against this continuing dominance of the mainstream in all aspects of New Zealand writing.

To maintain liberty from this influence, he decided, it was necessary to have a publication “in the conduct of which external funding had no part to play.” His decision had a number of practical consequences. Although Loney is a master printer, the magazine would be photocopied in order to keep down costs. Money for the Xeroxing would be provided by a list of subscribers – a hundred or so was the desired number – who would pay $20 each per annum for four copies of the magazine. There was also provision on the subscription form for those who could afford to it to increase this figure to a larger donation + subscription. In accordance with this desire for complete financial independence, contributors to the magazine must also be subscribers.

Which brings us to the content of the magazine. Loney decided that the fairest way to represent what he termed “the ‘other tradition’” in New Zealand Poetry was to reserve “four pages, in every issue of the periodical” for “25 people whose work I wanted to read regularly.” This act of “positive discrimination” was intended to provide a alternative paradigm of editorial control to the predominant “merit-by-works model” (again, Loney’s phrase), which involves an individual decision by the editor over each submission and published piece.

A Brief Description of the Whole World was accordingly set up as it was in order to bypass the traditional notion of a gatekeeper (in this case, Alan Loney himself) and to guarantee the appearance of precisely what a designated group of dedicated experimentalists chose to include in each issue, in exactly the same font and format that they sent it. Loney did express a preference for works which could be ongoing from issue to issue, and thus achieve the kind of totality within the library or archive which might well be denied them by more conventional publishing outlets, but (again) the decision was left up to the various contributors. As it turned out, some supplied serial instalments of larger, ongoing works; some did not.

Alan Loney’s experiment was undoubtedly a bold and original one, and there’s a distinct unity in the contents of the first ten issues of the magazine, from issue 1 in December 1995 to his final double-issue 10/11 in October 1998. Was it also a success in practical terms? His issues varied in size from 82 pp. to 52 pp., but the last “double-issue” contained only 47 pages. Was this a sign that the initiative had run its course, and the necessity to collect materials from the designated list of contributors was becoming increasingly difficult? Some anecdotal evidence would suggest so, though the initial list of 25 had received a few additions by 1998.

The main factor in Loney’s decision to stop editing the magazine in 1998 was, however, undoubtedly his desire to leave for Melbourne, where a series of new artistic and publishing challenges awaited him. Somewhat surprisingly, two of the initiatives he’d pioneered at Auckland during the three years he was working in the English Department there – Holloway Press fine publishers (run with Peter Simpson), and A Brief Description of the Whole World (run with the cooperation of what was officially described as “The Writers Group”: essentially, the existing list of subscribers / contributors) – survived his departure. Both are still operating to this day.

It was almost a year before A Brief Description of the Whole World (now called ABDOTWW) started up again. In the meantime, though, a special issue (no. 12), consisting of a reprint of Leigh Davis’s 1983 sonnet sequence Willy’s Gazette, had appeared, financed by Davis himself (hence its unusually high production values).

The new editor was John Geraets, who’d been a contributor from the very beginning, and whose failure to get state financing for his own magazine had inspired the whole venture in the first place. His first independent issue (no. 13) showed little change from the prevailing temperature of the Loney era, but from issue 14 onwards a distinct shift in tone and direction became apparent.

As Geraets himself put it in his editorial for issue 15:
The magazine is not exclusionary, though that is what some who have felt excluded from it in the past may complain. It provides the mechanism for a forthright, rigorous, tendentious, experimental, robust, progressive, open, unsentimental, proud, reflexive, urgent literary practice.
He went on to explain:
ABDOTWW welcomes submissions from all interested persons, each submission will be considered in terms of the relation of intrinsic interest (a tricky matter!) to the context of assemblage outline. On occasion the magazine does solicit or invite material, perhaps related to a specific issue, or for the mere pleasure in having certain writings or writers included.
In effect, this statement of Geraets began an entirely new magazine, one which no longer privileged the status of a preset list of 25-+-certain-additions-by-contributors four-or-so pages by whom might be confidently anticipated in each new issue.

In practice, one must admit, this had never really constituted the sole contents of the journal, even in its first three years. One notes, for example, the inclusion of C. K. Stead in issue 4, of Brigid Furey in issue 6, Leicester Kyle from issue 6 onwards. What Geraets was saying, in effect, though, was that the experiment was over. It had run its course.

The original contributors were never subsequently excluded from the magazine’s pages, but they were no longer necessarily dominant within each issue. ABDOTWW was now to be just one more “merit-by-works” magazine, though it kept its list of subscribers, its cheap production methods, and its freedom from external funding. One might argue, in fact, that it had become more truly the voice of its constituency be ceasing to define that constituency so rigidly in advance.

So much is history. The facts behind what I’m telling you can be easily checked by visiting the brief website, which includes a complete index of the magazine’s contents over the 16 years of its operation, together with a breakdown of the 271 authors and artists who have contributed to it over that period.

What I would like to argue here, though, is that a good deal of the ongoing vitality of brief (or whatever you wish to call it: the choice of a name has a good deal to do with whether you see it as a single magazine or as a set of separate, chronologically-bounded journals) is based on the arguments and controversies which have found expression in its pages.

New Zealand is a small place. “Great hatred, little room”, as W. B. Yeats remarked of his own isolate state. The local literary set has never been an exception to this rule, though there’s always been a tendency on the part of governments and state-funded Arts bureaucrats to try and smooth over the cracks in the interest of providing some kind of officially sponsored state literature (the centenary celebrations of 1940 are one notorious case, with Allen Curnow and Douglas Lilburn roped in as unofficial laureates for some cultural concensus – the more recent Poet Laureate scheme might be seen as another example).

Some of these arguments have taken place in public, some in private. From the information given above, it’s clear that Loney’s A Brief Description of the Whole World was meant to stand as the embodiment of one of these ongoing disputes: the clash between the (so-called) “mainstream” and Loney’s “other tradition” in New Zealand Poetry. The choice of contributors was intended to reflect this, and there was no confusion possible over the implications of the contents of each issue, given that they were prefaced by a series of critical reflections by Loney (many of them subsequently reprinted in his Selected Essays, edited by John Geraets, and issued (by the new book-publishing arm of the Writers Group) in 2001.


Flags in the Dust: the Leigh Davis affair

Something new happened in 1999, though. In only his second issue as editor, John Geraets included a review by Tina Engels-Schwarzpaul (now Associate Professor of Design at AUT) of Wystan Curnow and Leigh Davis (eds) Te Tangi a te Matuhi (Auckland: Jack Books, 1999). The book was a record of Davis’s exhibition Station of Earthbound Ghosts, held at Gisborne and Auckland in March 1999.

The review was, to say the least, somewhat critical of this exhibition and its sumptuously designed and printed catalogue (published by Leigh Davis’ own self-funded publishing house, Jack Books). Among other things, she included a map of appropriations of Maori land by Europeans between the years 1860 and 1939, with the caption “happy biculturalism’, in the context of what she deemed the book (and, by implication, the exhibition’s) alignment with “New Zealand Tourist Board rhetorics”: which (she further remarks) “smacks more of a taking of sides for artistic effect, than a contribution to the culture which has already paid the price.” (p.30)

She also objected strongly to the appropriation of Hauhau and Ringatu flags and emblems in the book and exhibition (even going to the length of quoting certain opinions on the subject which she had solicited from Maori elders). Engels-Schwarzpaul concluded her review by saying:
You might think that I am taking things too seriously, that the game is not really that dangerous and the stakes for Davis not that high either. In that case, you might choose to sit back and enjoy the sensuous presentation of this book, and the pleasant shivers of watching a revolution with blank ammunition. (30)
The immediate consequences of this hostile review can be charted in a fairly straightforward manner. Leigh Davis never again contributed work to brief, though he’d earlier financed an entire issue devoted to his own work, and sent work for both of John Geraets’ first two issues: 13 and 14. Wystan Curnow, who had been a regular contributor throughout the Loney era, published one further piece in brief 18, but then did not appear in the magazine again until Jen Crawford guest-edited an issue in 2009.

Brief had, in other words, ceased to be the house journal of the official New Zealand “oppositional” (to borrow another Loney term) avant-garde.

It’s hard to believe that Geraets can have been unaware of the implications of what he was doing. The precise terms of Engels Schwarzpaul’s indictment of Davis (and, by implication, Curnow) accused them of conducting “a revolution with blank ammunition” – appropriating indigenous cultural materials in the interests of a naïve and impotent politically-correct attitudinizing.

Whether Engels Schwarzpaul was right or not, whether she might be thought to have missed the point of the exhibition and conducted an inquisition into the political bona fides of two intensely serious and committed artists with no real knowledge of the background of their work in general, is largely beside the point. Brief had published the review, and therefore – at least in some sense – endorsed this set of accusations as worthy of being heard. It was, to say the least, a watershed for the magazine.

The fact that Leigh Davis, as well as being an avant-garde poet and critic, was one of the financial success stories of New Zealand’s monetarist 1980s could no longer be deemed an irrelevant aside in assessments of the net effect of his work: particularly of this exhibition. Tina Engels-Schwarzpaul had placed such matters firmly on the agenda, where they’ve remained ever since (so far as brief is concerned, at any rate; less so in the rest of New Zealand’s anaemic and mealy-mouthed literary scene).

The real hero of this controversy, though (if it needs one) would have to be John Geraets. His editorial to issue 14 consisted of a reprint of a correspondence he’d been having with writer and political maverick Scott Hamilton, where Scott spells out in detail what he terms “the Leigh Davis paradox”:
The paradox of Leigh Davis goes something like this: a poet who is regarded as important (and, dare we say it, avant-garde) by a number of other poets and theorists who valorize words like ‘oppositional’, resistant’, and ‘destabilizing’ – who, in short, consider themselves a subversive group, an opposition – works as a merchant banker for Fay Richwhite. Sorry if I’m being obtuse, but I see a contradiction between being an important member of a ruling class which has in the last fifteen years devastated this country – a group of people which has destroyed or besieged many of the institutions of this country, including crucial cultural institutions like the Public library system, Public radio, Maori news, the system of free tertiary education etc. – and writing ‘oppositional’ poetry. Oppositional to what? To the thousands of jobs that disappeared after Fay Richwhite bought and gutted NZ Rail, perhaps?

Several years ago, in an interview in the NZ Herald, Leigh Davis said, “I love capitalism ... the movement of goods and services, surpluses an deficits, people’s wants and needs and their expression” Not exactly the words of a young ‘voyant’, are they? (p.4)
John Geraets had a number of points to make in reply. One stands out at this distance in time, however: “You conflate my magazine with the one that Alan started.” Just so. The magazine had indeed moved on, and by doing so, had asserted its right to be seen as still lively and relevant. His letter continues:
In the upcoming issue of ABDOTWW there is a challenging review essay on the Davis, Curnow et al flags project publication, Read that. (p.6)


Le Grand Lustucru: The Ross / Loney dispute

Rather than trying to summarise even the main points about the magazine’s growth and development under John Geraets, I’d like to jump ahead now three years to 2002, when I inherited the job of managing editor from him.

What happened next can perhaps best be summarized by quoting from my editorial to issue 25 (2002). Although I have no doubt that some of the participants in this controversy might well regard me as a somewhat partial witness, this procedure has at least the merit of confining the discussion to published sources:
Many of you will be aware by now that Alan Loney, the founder of our magazine, has issued a “Letter to All Original Authors in A Brief Description of the Whole World” in which he says (among other things):
… when I set up the magazine it was to serve a number of writers I respected and wanted to see published much more regularly than they were. I confined the list of authors very specifically, and sought subscribers in the clear understanding that the magazine was there to represent what I have elsewhere and very provisionally termed ‘the other tradition’ in New Zealand letters.

The original intention and that faith have been almost completely unravelled with Jack Ross’s first issue. He seems to have no respect for or even understanding of the magazine’s purpose, and, as one of the original authors has written to me, it’s “gone mainstream,” and my work’s undone.
Hard words, especially after just one issue under the new dispensation … certainly words which require a response. “He seems to have no respect for or even understanding of the magazine’s purpose.” I guess I would see a fallacy in the tacit assumption that that purpose (any purpose) can remain static – that printing a group of under-represented writers in 1995 has the same implications as printing those same people, “the original authors” (assuming their willingness to be so characterised), seven years later, in 2002. …

Loney continues:
… the more mainstreamers are in the magazine, the fewer of the original authors of A brief description of the whole world are able to occupy the limited number of its pages, and I regret that deeply.
… To answer the point … I should have to reverse Loney’s statement – the fewer “original authors” choose to occupy its pages, the more additional contributors must be sought. I’ve always thought the idea of reserving a default space of four pages for each of the original group of contributors to use as they saw fit an ingenious way of obviating (inevitable) editorial bias. Nor do I think it’s lost its point. The practice of accepting submissions as well (announced formally by John Geraets in ABDOTWW 15) was not adopted lightly, however. It was no longer possible to gather sufficient material for a challenging literary quarterly by adhering strictly to the old policy.

To be frank, it’s hard for me to think of a magazine (and I have worked on a few) where pressure of space has ever been less of a priority than it is in brief. The number of pages is limited only by a sense of our audience’s tolerance (and the costs of binding and copying). If the magazine slims down it’ll be because we’re not receiving enough material which – I believe – needs to appear.
… all I can do here is to dissociate myself from it, saying I won’t support it or Jack Ross, and will never publish in it again.
All I can do here is to thank Alan Loney for reminding me to make my editorial policy for brief much clearer (I’m afraid that the untimely death of Alan Brunton just as #24 was going to press rerouted the editorial which I had originally intended to devote to the subject). Loney goes on to suggest that I should either (1) “change the title so it does not relate to its predecessors, and … relinquish the name ‘The Writers Group’ as the publisher,” or else (2) “I think he should give it up.”

I’m sorry, but I don’t think that’s his decision to make. Nor is it really mine. It’s yours. You, the readers/ contributors / subscribers to this magazine need to decide what you think it exists for. You can do this through the work you send me (or decide not to send me); through paying – or withholding – your subscriptions (perhaps the simplest way of spiking my guns); and by writing in (privately or for publication) to tell me your views.

My mission statement is simple:
  • I want to edit an interesting, stimulating literary magazine which specialises in the innovative and technically ambitious work which I also believe to be underrepresented in other New Zealand literary journals.
  • I want to provide a place where writers and artists can see their work precisely as they created it: fonts, formatting, spacing and accidentals. Xeroxing, in this sense, can be seen as democracy in action: cheap, coarse, but effective.
  • I intend to keep on soliciting contributions from the “original authors” of the magazine. Continuity has always been one of its strengths. I don’t see any contradiction in combining this with a quest for new talent and new approaches, however.


It all sounds a bit pompous to me ten years on, but I went on to conclude my editorial tirade by saying:
Aesthetics, for me, is not an end in itself. If any of our artistic projects (this magazine among them) have value, that value has to be assessed, finally, on the human and ethical level.
It may sound a bit hypocritical of me to say so, but (in retrospect) I have a lot more sympathy for Alan Loney’s position. He wrote to me after the appearance of my first issue to say that, while he thanked me for my favourable review of his latest book, The Falling, he’d had to consign the rest of the magazine to the dustbin, given some of the authors I’d seen fit to include in its pages.

It would be invidious to mention precisely which names he went on to mention, but suffice it to say that they must have seemed actively calculated to make him see red. It’s hard enough to keep up with your own literary feuds at times, though, let alone taking on other people’s – I can honestly say that my offence was completely inadvertent. As to the quality of the work submitted by those authors, I cannot but feel (now) that he may have had a point.

At the time, though I saw the issue as centred firmly on the fact that a previous editor was claiming the right to veto the magazine’s contents in the future. Perhaps I should simply have borrowed John Geraets’ words” “You conflate my magazine with the one that [you] started.” So far as I was concerned, I was continuing the magazine which Geraets had created – while attempting to put my own stamp on it.

Whatever the rights and wrongs of the controversy, I continued to edit the magazine for another two years. I did receive a few letters of protest from Loney’s original set of contributors – but, by the same token, I received a number of letters of support both from that group and from other people (including one from Leigh Davis, interestingly enough). I’m not aware that any of them (with the exception of Alan Loney himself) ceased to contribute material.

So, while at the time I saw it as a battle between politically quietist formalists, determined to stamp out the socially-concerned positions being staked out by the new-look brief, I now think that it was more of a consolidation of an argument already partially articulated in Tina Engels-Schwarzpaul’s review of the Flags project.

On the positive side, though, it did confirm that brief had now become a magazine where the (so-called) cultural “avant-garde” could expect to be held responsible for their works and opinions, rather than the automatic rubberstamp supplied by a dedicated interest-group.


Epilogue: Pandora’s box: Michael Arnold and Lulu.com

The saga has, of course, continued. I still feel a certain perverse pride at having been the first to publish a series of translations of a poem by imprisoned Algerian refugee (and suspected terrorist) Ahmed Zaoui in issue 31 (2004) – nicely combining the aesthetic and the political, I thought (that double issue, the largest in brief history, was entitled Kunst / Kultur).

When Scott Hamilton took over as managing editor, in 2005, he shifted the magazine firmly into the political side of that equation. The subsequent rash of guest and short-time editors, though, has guaranteed a wide diversity of views, ranging from the more aesthetic focus of a Jen Crawford or a Richard von Sturmer to the maverick opinionatedness of a Brett Cross or a Bill Direen.

Recently, though, the last bastion of Loney’s design for his independent, self-funding magazine has come under attack. Scott Hamilton shifted it from the A4, pagework-friendly Xerox format to its present form: an A5, perfect-bound chapbook. Its present managing editor, Michael Arnold, has succeeded both in attracting Creative New Zealand funding for the magazine and in listing it for sale both as a file-download and a print-on-demand book on the website Lulu.com.

This has given rise to the complaint (from some contributors) that they weren’t consulted before having their work reproduced in this form, which was – at the very least – a breach of literary etiquette. Once again, one feels below the surface of this dispute over copyright and literary punctilios a larger dispute over the ownership and commercial status of non-commercial, “literary” writing. It’s one thing to publish it for free in a small magazine. It’s quite another to put it up online to be copied freely by anyone with a pdf decoder.

I’ve been watching this argument unfold with a great deal of interest: on the one hand I’m grateful – for once – not to be in the direct firing line; on the other hand, I’m concerned that it might be the last straw for brief, that without a vital internet presence the magazine really has reached its use-by date.

Is brief magazine still relevant now? Who can say? It’s only ever reached a very small audience of subscribers and literary experimentalists, which would seem to demonstrate that its influence cannot be compared to more conveniently accessible publications such as Landfall or Sport. But is that really a useful criterion for judgement?

I’d prefer to think that the proof that brief remains relevant lies in the fact that, despite all odds, it continues to come out. Its actual value, though, in my opinion, lies in this precious, hard-fought-for ability to act as a lightning rod for flashpoint cultural issues.

If it ever stops doing that, it might as well die – in my opinion, at least. So far, though, it shows no signs of ceasing to piss people off and generally be rambunctious and irresponsible. That’s why I, for one, intend to continue to support its (at times) bizarre and offputting inclusiveness.


Works Cited:

Engels-Schwarzpaul, Tina. “Between meaning and nonsense: review of W. Curnow / L. Davis (eds) Te Tangi a te Matuhi (Auckland: Jack Books, 1999).” ABDOTWW 14 (1999): 23-33.

Geraets, John. “Editorial Note.” ABDOTWW 14 (1999): 3-6.

Geraets, John. “Editorial Note.” ABDOTWW / description 15 (2000): 5-6.

Loney, Alan. “Power and the Scandal of Editing: the Case for A Brief Description of the Whole World.” Reading / Saying / Making: Selected Essays. Auckland: The Writers Group, 2001: 126-33.

Ross, Jack. “Editorial.” Brief 25: Trains at a Glance (2002): 3-6.

Zaoui, Ahmed. “He will come back …”: 5 versions. Trans. Riemke Ensing (et al.). Brief 31: Kultur (2004): 12-21.


– Jack Ross (4/7/11)

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Preface



Let’s begin with some basic details. The Writers Group, and its quarterly magazine A Brief Description of the Whole World (now brief) were founded in December 1995 by Alan Loney. Now, some twenty-odd years later, we’ve reached issue #54, albeit with five changes of name, and seven different managing editors: Alan Loney (1995-98), John Geraets (1999-2002), Jack Ross (2002-05), Scott Hamilton (2005-07), Brett Cross (2007-9), Michael Arnold (2009-12), Alex Wild (2013-15) and now Olivia Macassey (2016- ).

In that time, the magazine has published over 333 authors & artists in 53 issues -- 10/11, 30/31 & 44/45 were double issues, and numbers 12 & 48 were single book-length issues. The Writers Group has also published five books: Alan Loney’s Reading / Saying / Making: Selected Essays (2001), Sugu Pillay’s The Chandrasekhar Limit and other stories (2002), Jack Ross's A brief Index (2003 / Supplement 1, 2005), Kendrick Smithyman’s Campana to Montale: Versions from Italian (2004) and K. M. Ross’s novel Falling through the Architect (2005).

As it has throughout this period, the magazine continues to specialise in technically adventurous literary and graphic work, by acknowledged (and newly discovered) innovators. Pageworks, critical articles, poems and fictional texts are all equally welcome.

Enquiries are welcome, and can be directed to the present managing editor, Olivia Macassey, by email, or by post to the following address:

brief
1416 Kaiaua Road
RD 3
Pokeno 2473
Auckland
New Zealand


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Sunday

Contents:




Books:

  • K. M. Ross. Falling Through the Architect. ISBN 0-476-01578-2. Auckland: The Writers Group, September 2005.

  • Kendrick Smithyman. Campana to Montale: Versions from Italian. Edited by Jack Ross. ISBN 0-476-00382-2. Auckland: The Writers Group, October 2004.

  • Jack Ross. A brief index: A breakdown by issue & author of 7 years / 26 issues of brief, the magazine formerly known as: A Brief Description of the Whole World / ABDOTWW / description / ABdotWW / Ab.ww / brief. &c., December 1995 – January 2003. ISSN 1175-9313. Auckland: The Writers Group, February 2003.

    • --. Supplement 1. A breakdown by issue & author of 3 years / 7 issues of brief ... June 2003 – May 2005. Auckland: The Writers Group, 2005.

  • Sugu Pillay. The Chandrasekhar Limit and Other Stories. Auckland: The Writers Group, December 2002.

  • Alan Loney. Reading / Saying / Making: Selected Essays. Auckland: The Writers Group, 2001.




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