Wednesday, 24 June 2026

Message about Given Words in 2026

Kia ora,

In 2016 I set up Given Words for National Poetry Day and have been running the competition for ten years – dreaming up ways to collect the five words, receiving lots of poems in my inbox throughout August, reading every poem and selecting the winners alongside the other judges.

This year, 2026, I've decided to take a break, to give myself space to develop other projects. Sometimes a fallow year is needed for the weeds and wildflowers to grow, and it is a time to both look back at everything we have achieved together and wonder what will come next.

National Poetry Day is on 28th August 2026. You will be able to find all the information about events and competitions, once it's published, on the National Poetry Day website.

I can't seem to switch off though, recently updating the About Given Words section where you can find some interesting graphics – with participation across Aotearoa New Zealand and how we've grown over the years – and in the panel on the right you can find links, by year, to read poems from previous editions.

Over the past few years I have been preparing an anthology of poems from Given Words and approaching poetry presses for publication. I have also been contacting the selected poets to ask for their biographies. With the ten years of participation this has been a fascinating task where I am part detective, part secretary, and it made me chuckle when one of the poets said, 'it's like herding cats'. I've found that editing an anthology doesn't finish with the selection of poems – behind the poems are human stories; some funny, some surprising, others deeply moving, happy or sad.

I am going to be sharing some of our stories from the Given Words community on our Instagram @givenwords over the next couple of months, so you are welcome to drop in and browse!

Because Given Words is much more than just a poetry competition – it's about community, inspiring younger writers, exploring new media with 'Word Films', publishing winning poems in Spanish, and I have ideas for exhibitions and community outreach which have already begun taking shape. If you are in a position to support the publication of the anthology and the future of Given Words, you are very welcome to write to me at nzgivenwords@gmail.com.

Ngā mihi nui,
Charles Olsen

Given Words Instagram images

Friday, 12 September 2025

Given Poems 2025 – Winning Poems

Ngā mihi ki a koutou, thank you for sending us your poems for this landmark tenth edition of Given Words. We received over 160 poems and have chosen 64 to publish here on Given Words. The winning poems have been selected by Sophia Wilson, Pat White and Charles Olsen. (You can read about us here.) We have also awarded three Special Mentions in each category.

Charles Olsen comments on the poems on behalf of the judges: First, I’d like to say a special thank you to the filmmakers who created the word films for this year’s Given Words: Ebba Jahn, Tom Konyves, Cindy Stockton Moore, Ian Gibbins and Colm Scully. They are all well-respected filmmakers in the field of poetry film and videopoetry, and I find it fascinating the ways they use image and sound to add layers of meaning to words and poems. (You can find out more about them here.)

Choosing the five word films from all the submissions was tricky and Pat White beautifully expressed the risks we faced with the selection: ‘For 2025 the Given Words hold an interesting conundrum for the aspiring poet: justice, endure, pair, lightfast, hold, are words that invite judgement and confirmation. A lot of the best poetry is an exploration, launching into the wonder of the unknown, finding where language will take us. Judgement takes us to what we already think we know, in that way words like justice and endure are traps for the unwary in a world of poetry, image and metaphor.'

Choosing the winning poems and poems to share on Given Words is also fraught with difficulties! I’m very grateful to Sophia Wilson and Pat White for being part of this process with me again this year, picking up on poems I may have overlooked, sharing their impressions and wisdom. Each year I’m reminded of the importance of listening and being open to different ways of looking.

Judging a competition also gives a new perspective on ones own work not being selected. Sophia comments, ‘Some otherwise excellent poems were let down by lines or stanzas that felt extraneous, or effortful attempts to include a given word that interrupted the poem’s flow.’ I’ve often gone from ‘enduring the injustice of rejection’ to completely re-writing my text—learning a lot in the process—and being grateful it wasn’t chosen in its original form. This has even happened multiple times with the same piece of writing. Much as I’d like to, unfortunately I don’t have the resources to give feedback on all the poems sent in, but I recommend getting in touch with a local writing group where you can share, and get feedback on, your work. There are groups across the country listed on Te Puni Kaituhi o Aotearoa | The New Zealand Society of Authors NZSA or ask in your local library.

One of the lovely things about Given Words is the sense of a shared journey and seeing how others have taken different paths with the same five words. Sophia, Pat and I share our impressions below, but I recommend reading the selection of poems first and returning here to compare notes!

Please note: I’ve included the poet’s names below, but when we were judging the poems we didn’t know who had written them.

I thought Dessa BLUU’s poem Gatekeepers deceptively simple, with each given word giving form to a stanza adding to the poem’s arc, and I loved her use of lightfast: ‘lightfast as tapa in the Pasifika sun / Refusing to fade’. The lines ‘We hold our breath / At the gallery’s edge’ and ‘a pair of hands / Break glass to let light in’ subtly hint at the wiri and Hana-Rāwhiti Maipi-Clarke’s defiant protest in parliament.

Indigenous themes, politics and colonialism were also a feature in Elspeth Tilley’s Dotterel. It put me in mind of Te Kahu Rolleston, spoken word poet and educator with Writers in Schools, talking about how putting your classes into poetry can help you remember things. Here the complex story of naturalist, politician and land purchase commissioner, Walter Mantell, is brought to life in all its complexity. Central to the poem is the migration of the dotteral, how it usurps the bird’s Māori name and, like Mantell himself, ‘migrates south once more’. I enjoyed the wonderful language of this prose poem: ‘…and adze to slice whenua for clinker and topple rimu for corduroy planking’. I initially thought clinker and corduroy planking had to do with boats, but didn’t get its relation with whenua. Actually they are raw materials being extracted by Māori labourers for road construction.

A walk can become a poem and a way to reflect on our relationships. With its opening lines, a tribute to poet John Allison, who died last year—‘A pair of muscle-crusted black buoys, / sea biscuits by the dozen, a riddle of / three-pronged footprints. You taught me / to look, and look again.’Cataloguing the beach by Jenna Heller is, in Pat’s words, ‘a beautifully rendered poem’. I loved the physicality of the given words in: ‘time is / a myth that we agree to endure and justice / is salt in unseen wounds.’

‘A well-constructed response to a graveside experienced’, writes Pat of Larthia speaks by Denise O’Hagan, which is inspired by a visit to the Regolini-Galassi tomb (dating to c. 680-660 BCE) in Cerveteri, Italy, and, in wonderfully descriptive verse, gives a present-day voice to its occupant: ‘truth is, / I never wanted an afterlife’.

Pinhole by Renee Liang shows ‘restraint and skill’ says Pat, ‘a simple image is used to discuss the passage of time, and the way ageing occurs while we’re elsewhere’. I especially enjoyed the echoes of words across the poem—justice/held court and those suggesting birth (foetal, impregnated, baby) and death (buried, exhumed). Pinhole stood out for Sophia, as did Dose by Lincoln Jaques, 'in their economy of language, attention to structure, and the way the poet centred their work cleverly around a particular scenario.'

‘The seamless daring with which the poet highlights political and environmental dysfunction’ and ‘the juxtaposition of cynicism with covert optimism of the poem’s brilliant final lines’ wrote Sophia of Lightfast by Gail Zing, while Pat stated ‘Lightfast carries us along without a semblance of cohesion while each image adds to the theme critiquing our need for instant gratification in a culture of purchasing power.’ You’ll have to read the poem to see what they are on about!

Nō Te Paruparu, Nō Te Purapura | Of the Mud, Of the Seed by Cindy Kurukaanga is very visual and tactile, and I could imagine it in te reo as a waiata or even a haka. Pat comments the poem has ‘a timeless quality’ with its ‘idea of time healing, through the earth and what comes from it.’ He also praises the way it incorporates the word justice ‘without drawing attention to itself’.

We could continue discussing the charm and alive senses of Whalefall by Thalia Peterson, the impossibility of knitting the sea in Ashlee-Ann Sneller’s #584 The Treaty Principles Bill and More, ask who is speaking in of Mārama over Hauturu and palpitations of Matariki stars by Piet Nieuwland with its opening line ‘My secret occupation is to be human’—highlighted by Sophia alongside Varanasi Incantation by Lee Thomson, for their 'refreshing and unique portrayals'—, or delve further into Lincoln Jaques’ Dose where ‘This life each minute / is a pass-the-parcel / where it’s never your turn’

In the end it was ‘the adept tongue-in-cheek humour and irony’—as Sophia commented—of Sadie Yetton’s Venus, Don’t You Laugh At Me, which really made it stand out for us. Pat described it as ‘a powerful poem, it manages to capture a world of mistakes and miracles without explanation or self-pity, yet a picture emerges of someone growing into wisdom even while blundering through her days, loving and giving, receiving hurt and hope along the way, with a sort of courageous defiance’. It is very relatable and bounds along right up to the finality and ironic self-deprecation of the two-hundredth word: ‘Look at who you made / Love it’. Sophia praised the way the given words ‘harmonise with the subject matter and poetic tone’ and how ‘words and images are unleashed that simultaneously undercut, elevate, accuse and surprise’.

Sophia speaks for all of us when she says ‘I adore reading the Under 16's entries, but without a doubt it is the harder portion of the competition to judge. It's almost impossible to compare the work of a 15 year-old to that of an 8 or 9 year-old. I was so impressed this year by the variety and scope of emotions and topics featuring in the submissions. There was so much love, sadness, despair, grief, political, environmental and spiritual awareness and concern for the future expressed by our younger poets as well as cowboy duels, nightmare basements, shipwreck incantations and humour!’ She was particularly struck by the uses of the word pair: ‘There were pairs of birds, pairs of clouds, of opposite hands, lovers’ hands and monster’s hands, pairs of willows, of rusty hinges, fractured pairs, monochrome pairs, paired gummies and pairs of pixelated eyes.’

Lamenting that we don’t publish all the poems that we receive, Sophia highlighted some gorgeous lines from poems that did not make it in this time, such as: 'red and purple flavour in the air / Like a flipped fantasy' (Lily Malcolm, 10), ‘Hold yourself tall against the rain’ (Mila Furniss, 13), 'light tugging at my drenched dress' (Charlotte Gilbert, 13), 'justice slips off of me like a stick of butter' (Daisy Forster, 12), 'The slow unravelling of joy' (Alex Miller, 12), 'celestial army / that is dancing across the moon tonight' (Penelope Kerr, 13), ‘hope stays lightfast—a small, stubborn spark' (Lena Shinn, 13), 'you will lose limbs of your own in return for the feeling of being / complete' (Mika Delowe, 14), 'blackened trees branch out like veins' (Belle Fisher-Starzynski, 12), and 'waves rolled higher / The clouds land lower / A pair of birds chirped louder […] The rain poured harder' (Francesca Russ, 11). We could continue and create a collective poem of everyone’s work…

Sophia remarked on the ‘evocative and moving interweaving of dream and wake, personal and environmental’ in Colour blank by Lucia Sampson where ‘The world was lightfast, / I held 1000 colours in my palm’ is contrasted with ‘bleached sunrise, / blank paper, bed sheet, cornstarch’ and ‘monochrome pairs: / 2 leafless trees, / 2 boneless fish, / 2 songless birds’, and on the ‘beautiful imagery and environmental message’ of Claire Zhao’s poem The Stars Build Shadows, which tells of ‘paper-flower / candles lightfast in the moonlight. / Trees of kelp […] these broken seas.’

Pat highlighted I know everything but I know nothing by 9 year-old Charlie St John, writing ‘A set of vivid images hold this poem together, and they’re more striking by being commonplace or surprising by their juxtaposition. And to finish with the image of the apple, with all that signifies in our culture of sin and redemption, is very powerful. Repetition is a simple form, but handled so well here. Somehow it becomes of no concern that cats carry lunch money, or that detergent gets eaten, the images contain their own ironies and truths.’ And of Lilly Pan’s poem The painter who forgot to use lightfast paint, he points out ‘Using the structure of the courtroom holds this poem together, and handles the concept of justice easily. There is audacity in using Dae Vincy as a name… very droll. Why it works is because the poem ends without a judgement. Different voices are created, while the given words are incorporated seamlessly. And the entire piece is satisfyingly “different” in its vision.’

My purple life! by Gia Beckett (also 9 years old) is ‘a wonderful, short and well-formed poem’ says Sophia, and asks ‘where else could we read about “an indigo squish mellow named Justice”?’ Pat praises its ‘direct clarity and sense of playfulness’ and writes ‘This riff on the famous, “When I grow old I’ll wear purple,” is complete in its own right. Such a simple little idea, homely and vivid, yet adventurous at the same time.’ Gia even put her title in purple, and here we’ve taken the liberty to put her whole poem in purple!

As AI seems to inveigle its way into our lives, I was surprised only a couple of people admitted to using it in the writing of their poems, and even then only as a source of advice on word use rather than a partner in the creative process. Lily Richards takes on the theme of artificial intelligence in Thread of reality with reflections on truth and how we are complicit in our use of AI. Her playful use of symbols running through the poem give a visual parallel to the theme.

Sophia commented on Sabrina Li’s poem Photos Taken on the Day They Said It Was Over highlighting its ‘poetic allusion to personal, spiritual and environmental assault’. I found it abstract, spacious, thoughtful and subtle. This was taken up by Pat saying the poem ‘hints at knowledge which is cultural, ancient and private. At the same time, it opens in the commonplace of gender, with images that are intimate. The sense of tension between what is common knowledge, and in some way mysterious, attracts the readers attention. Subtle, yet powerful stuff to be penned by a fifteen-year-old.’

In the ten years of Given Words we’ve never had a unanimous decision on the winner—each poet-judge-reader bringing their own tastes and life experiences, finding poems that speak to them in different ways—so it was a lovely surprise to find we had all selected in first place The Menu by Miranda Yuan. It is succinct with each word perfectly integrated into the poem. Five dishes served with irony and social criticism. Sophia described it as ‘a beautifully structured poem which cleverly and understatedly expresses its opposition to political injustice, economic inequality, competition for resources, and animal exploitation.’ She highlighted ‘the final stanza/course/Dessert in which fraught love is brilliantly linked to an overheating world.’ Pat commented how ‘We’re sucked into a compelling set of images, because we like reading a menu’ and that it ‘manages to lightly say serious things that we’d gloss over in another setting. A most satisfying piece of poetry to dine on… as it were.’



Having read all the poems, made our individual choices, compared notes and agreed on the awards, we could finally look up the names of the poets. We are delighted to announce the winner of Best Poem is Sadie Yetton for her poem Venus, Don’t You Laugh At Me and the winner of Best Poem by Under-16s—for the second year running—is Miranda Yuan for her poem The Menu. They will receive books courtesy of The Cuba Press and Massey University Press.

For this 10th edition, and because there were so many wonderful poems, we would also like to award Special Mentions in the adults category to Gail Zing for her poem Lightfast, Cindy Kurukaanga for her poem Nō Te Paruparu, Nō Te Purapura | Of the Mud, Of the Seed, and to Renee Liang for her poem Pinhole. In the under-16s category, Special Mentions go to Sabrina Li for her poem Photos taken the day they said it was over, Gia Beckett for her poem My Purple Life!, and Lily Richards for her poem Thread of Reality. Congratulations to all on behalf of Given Words, The Cuba Press and Massey University Press.

Below are the winning poems and Special Mentions. We also invite you to read our selection of the rest of the poems from adults here and from under-16s here. All entries had to include the following five words: pair, endure, lightfast, hold, and justice.






Venus, Don’t You Laugh At Me

Venus, don’t you laugh at me
I’m your daughter, it appears you made a crooked one
Stilted in manner, steadfast in mania
Unjust in justice, your infinite amusement
Venus, you birthed a brute
You spat out a savage
You knew I’d fall on the way of love
Just as wolves fall on rabbits
Making a mess of how I eat it; blood, bones, brain
Clueless how to clean up after myself
What have I ever been if not your doing?
I was a child, then a child with a woman’s voice
I was lightning, lightfast, then lightless
I was a person, then somehow only parts of one
But I’ve always been of your blood
And you can’t bleed it out of me
A creature is still a child if it claims to be
A freak is due her worth if she endures
Venus, I know why you laugh at me
Because not feigning hilarity
At your own incompetence is worse than being so
Even with your back to me, we’re a pair of siamese souls
Because this rabid thing resembles its mother
And she wants you to hold her like you mean it
Look at who you made
Love it


Sadie Yetton
Tāmaki Makaurau Auckland





The Menu

Tonight’s Special: The Final Feast

Appetizer
Bread
And circuses
to entertain the masses.
Elevated rations
of what the poor had to endure.
Olive
A single fruit offered from the branch.
Starvation is minimalism,
and minimalism is art.

Main
Lamb
From the slaughter
with flesh that tastes like still-warm blood.
Pair it with red wine
lightfast on the lips.
Whose feet had juiced the grapes?
Let’s raise a glass to justice.

Dessert
Pomegranate
Six seeds to hold you–
sweet as the promise of love.
Brûlée
The world burns with a hint of orange.


Miranda Yuan, aged 15
Ōtautahi Christchurch





Nō Te Paruparu, Nō Te Purapura | Of the Mud, Of the Seed

They came to me while
barefoot in bitter mud, 
with aeons angry whakapapa,
they held me there.
 
Hands stretched through flesh soaked earth,
wrapped my feet in weighted expectation.
 
My soles a pair of seeds, husks
waiting to be pierced by
a justice of tīpuna, as steadfast as
            battle-blooded taiaha.
 
Hope takes root.
Lightfast, it endures
this bright white blaze.


Cindy Kurukaanga
Helena Bay, Northland





My Purple Life!

I have a pair of purple shoes
lightfast and lightning fast.
I have a lavender laptop case –
it endures knocks and drops.
My rabbit’s fur is indigo purple –
I stroke and hold her floof.
I have lavender flowers
on my purple nightstand.
I have an indigo squish mellow
named Justice.
Today, I’m getting my hair dyed
PURPLE!



Gia Beckett, aged 9
Ōtautahi Christchurch





Lightfast

Like the way gel polish from Barrington Mall lasts on your toenails
all month. Or the blades of wind grass hold silver-orange
against gathering skies dark as a male pūtakitaki’s head; some animals
know how to pair properly, dragging their plastic six-pack rings
across the ponds, at least one of them breathing.

The way the sun and rain threaten in equal measure. If
we brought back Māui, could he hold down the price
of cheese and butter in our big-gotten culture that’s lasted longer
than our short-term memory on reality, consequence looming large
as Erik Kennedy’s horse on the home stretch to justice.

The way some things endure, lines of a poem, or light beams
on aluminium window frames in new suburbs, or pop-up swamps.



Gail Zing
Ōtautahi Christchurch





Photos Taken on the Day They Said It Was Over
(in Polaroid captions)


One: the pairing room

                    Lightfast.

Violet sky,
     then pink.
               yellow,
               amber, then
Blue.

an odd pair of tūī and miromiro
cut the hush
with honey-throated cries.

and pepeketua harbouring
within the tangle of rimu roots,
fizzle.
                                                  watch them.

their melodies weave melted butter
into strands that lie
connected. Between our forests,


the tether is diaphanous.

               Two: the endurance chamber

The fan spun slowly,
slow, but not slow enough
to cool the heat between my ribs

                         with pooling light on cold tiles,
I smile without knowing why.

Already dressed,
his shirt half-buttoned, eyes elsewhere
but my eyes are direct.
                         The stained kōkōwai sheets are below
                         and finger-like ponga fronds
                         prod at my spine.
                                                       endure it,
               I will
               – but it’s just so funny
                         that I can live so insignificantly.

It made sense at the time,
So,     I stayed still like a ragdoll.
Disregarded.

limp body.

               soft body.

It’s what it truly means to be a woman.


kissing my forehead,
I thank him,
as if this ritual
was some kind of

justice.

                    Three: the photo


In order to hold me,
he gave me his condolences.


Sabrina Li, aged 15
Ōtautahi Christchurch





pinhole

for years this box
has waited
for justice

lightfast
but for that moment
paired momentarily
with sunlight

foetal-curled film
impregnated

its open mouth taped shut
tossed
in a box and buried
to endure

now it’s been exhumed.
the red room holds court.
the baby at last developed
and held to the light –

the class of 1973
grins from the time capsule.


Renee Liang 梁文蔚
Tāmaki Makaurau Auckland





Thread of reality

Hold onto the final threads of reality, ——
the world around you collapsed into the hands
of an unnamed artificial intelligence.
The line blurred bet/ween
the “truth” and the “lie”
pairs of pixelated eyes follow you
<Everywhere.>

Those who live in the world will watch in awe as
they realise the world isn’t
lightfast; it f a d e s.
It loses colour faster than you want it to.
You wonder
Why?
but you are the one draining life
and replacing it with grey,
you are the one allowing this to happen.

There is no way to justify what we are doing
to the world.
But you and I both know we can’t endure this much longer soon
the threads will sever — —
and you will have to let go. – – – – – –


Lily Richards, aged 14
Canterbury




About the Poets


Sadie Yetton is a writer, reader and poet based in Auckland. She has been writing ever since she can remember, with a focus on poetry and short stories, and she also hopes to publish a novel. She is a geek about post-punk and 80s music (looking at you, Echo & the Bunnymen) and this has inspired involvement in, and enjoyment of, songwriting and singing. She is interested in pursuing creative writing and publishing, but she doesn’t discriminate between creative mediums – she has also dabbled in acting, fronting bands and making pottery. You can find her on IG @joanofauckland.


Miranda Yuan is a year eleven student and aspiring writer at Burnside High School. Her works stand upon the shoulders of giants such as Donna Tartt and Lana del Rey, drawing inspiration from romanticisation and the critique of such. She specialises in conceptual prose that is rich in thematic imagery of beauty, obsession, and decay.


Cindy Kurukaanga (Ngāti Rangi, Te Āti Haunui a Pāpārangi, Ngāti Tūwharetoa) discovered a love for creative writing later in life. She lives in Whangārei with her husband and wonky-legged bob cat called Tūi. Cindy has poems published with Broken Spine Arts and work online in Flash Frontier and Voicemail Poems. She can be found on Bluesky @kakapowhakatoi.bsky.social


Gia Beckett loves purple and bouncing on her trampoline. It is her first year going to the Write On young writers class at Heathcote Valley School and her first time published.


Renee Liang 梁文蔚 MNZM has toured eight plays, is a poet and collaborates on visual arts works, dance, film, opera, community events and music. IG @piobird | LinkedIn Dr Renee Liang MNZM


Sabrina Li is a 15 year old aspiring poet who goes to Rangi Ruru Girls’ School in Ōtautahi Christchurch. She enjoys experimenting in her writing with themes of the environment or human nature for fun. Sabrina also enjoys spending time with her close friends at Write On School for Young Writers, and working with them to make a poetry chapbook. She’s also had her poetry published in the 2026 edition of the Poetry Aotearoa Yearbook, Write-On, and previously in Given Words.


Lily Richards lives in Ōtautahi, Christchurch. She attends the Write On School for Young Writers and enjoys experimenting with prose and poetry. She likes reading books by Elizabeth Lim and Jennifer Lynn Barnes. She also enjoys horse riding and going on holiday.


Gail Zing is an award-winning writer from Ōtautahi Christchurch, author of three collections of poetry, including Some Bird selected by New Zealand Listener for best poetry books 2024, and widely published in places such as Poetry Aotearoa, Cordite Poetry Review, Blue Nib, Landfall and others. When she's not dreaming up poems in the hills, she's editing them at the kitchen table or teaching them at Write On School for Young Writers. Website The Seventh Letter | IG @gail_zing_poet | FB




Continue reading our selection of poems from adults here and from under-16s here.


Given Poems – National Poetry Day 2025 – Adults

Here is our selection of the entries for Best Poem for the Given Words competition for National Poetry Day. They all had to include the following five words: pair, endure, lightfast, hold, and justice.


You can read the winning poem Venus, Don’t You Laugh At Me by Sadie Yetton and the poems Lightfast by Gail Zing, Nō Te Paruparu, Nō Te Purapura | Of the Mud, Of the Seed by Cindy Kurukaanga, and Pinhole by Renee Liang—which all received a Special Mention—along with the judge's comments here and the poems from the Under-16's category here.



❆ ❆ ❆



Cataloguing the Beach
for John Allison


A pair of muscle-crusted black buoys,
sea biscuits by the dozen, a riddle of

three-pronged footprints. You taught me
to look, and look again. The day you leave,

I begin cataloguing the beach. At the water’s
edge, a shark pup struggles as the tide goes

out. Thrashing in an inch of water, twisting
in on itself, hollowing out a sandy snare. I

grab its tail, hold firm, push it headfirst
toward deeper water. It doesn’t need much.

Just three-fingers of sea to re-float and swim
away. This is all fiction, and it is all true. I am

walking with the great mystery, tiptoeing
with shadows in the midst of a blue sun-

rise. Look up. The sky is ribbed in a chalice
of clouds v-ing out from beyond the hills. I know

our friendship is lightfast. The way time is
a myth that we agree to endure and justice

is salt in unseen wounds. What is there to see
this day? Tuatua shells scattered in the tidal path,

enough driftwood to build several beach huts,
waves tumble in, and the sun rises once again.

Jenna Heller
Ōtautahi Christchurch


❆ ❆ ❆



Whalefall

the days feel different now
and I wonder if that’s because of the concrete turtle.

a new addition, apparently. eight dollars of lightfast green and a virgin to my memory.
you turn it around and discover a snail chewing minerals
and agitated ommatophores retreat at your caress.

we hold hands around the garden.
they smell foul – geraniums we crumpled between eggshell nails. two fingers
are glued to my palm in a silent luck charm – a small justice
buzzing against their blossom milk trap.

‘My daddy’s gonna make my bedroom yellow,’ you tell me.
your words are stuffed between cranberry crackers and feta.
cute, I think, you’re cute. you’re my ninth birthday
teeth jammed into frozen eclairs and eyes bright in the summer sweat.

knees bowed, you surprise a pair of shubunkins.
their glowing fins vanish amidst weed and scum
as scales rot into stillwater. With every flash of apricot I feel foreign
and dead to this hobbyist pond. it was a flowerbed of my mother’s when I blew out the candles.
I’ll endure it. this golden world is the only one you know.

‘I used to live here,’ I say.
you may not smell the smoke,
but I still do.

Thalia Peterson
Aranui, Ōtautahi Christchurch


❆ ❆ ❆



Varanasi Incantation

Sunlight slivers across the river,
absorbed into oily waters of the Ganga.
The boat has a silent prow,
slipping through the mother river.

Being cleansed in turbid waters,
this holy immersion of daily karma,
merges Varanasi’s aliveness and death.
There’s noise enough from the river’s edge.
Bodies burned on the grim gravel,
ashes scattered, sinking to the slow dark depths
as we glide through the human flotsam
of this other-worldly stream.

This ceremonious day of dying;
the sparking justice of embers,
igniting flames of burning fires,
consuming bodies wrapped
in lightfast white cotton.
Seared flesh, cinders and fragmented scraps
of burnt cloth, blow into the wind.
Bodies, once of earthly living or holiness;
each holding a lifetime of karma,
consumed by the body burners,
reduced to ashes. Vishnu be merciful.

Mourners, in pairs, chant blessings,
Sadhus lay bindi on forehead chakras.
Families grieve and weep, enduring
the miasma of acrid palls of smoke,
and smouldering charred remnants.
Lord Krisna’s beautiful, wandering cows’
luminescence bring benign reminders
that life is measureless.

Descended from Heaven
this divine river flows; melding
generations in its godlike essence.
Strewn flowers, ash, bones,
prayers, and incantations
skimming murky tides of Varanasi Ganga Ma.

Lee Thomson
Ōtepoti Dunedin


❆ ❆ ❆



Gatekeepers

They speak of justice
As if it were theirs to give
Coins minted in back rooms
Never by hands of the makers

We hold our breath
At the gallery’s edge
Palms full of hues
Stories carved from ancestral bone

But the gate is gilded
With credentials and quiet nods
While our truths wait
Lightfast as tapa in the Pasifika sun
Refusing to fade

We endure
The silence between rejections
The echo of not quite
The ache of being almost

Yet somewhere, a pair of hands
Break glass to let the light in
And the mosaic begins
Not in permission
But in resolution

Dessa BLUU
Coromandel, Waikato


❆ ❆ ❆



of Mārama over Hauturu and palpitations of Matariki stars

My secret occupation is to be human
and overlook the enduring stretch,
the crossing flexing fabrics
of oceanic swell, wave beat and ripple shimmer
that joins Aotea to Taranga to Mokohinau to Te Whara
to Te Mangawhai through the hazy mist mask of mid-winter warm
at 430+ppm CO 2 and rising
when a pair of board riders feel the clean crisp rush
of the cool vibe, spooling out in threads of connection
and shared experience,
and in this instance, Kraft Heinz Wattie’s have captured the niche place
on a brightly colored lightfast ceramic brick picnic bench and table
that expresses our communality through baked beans in tomato sauce
(with or without sausages), a chance to hold on to moments
that will never come again;
as we listen to and celebrate the legal arguments and songs
of our Pacific Island neighbours at the International Court of Justice.

Piet Nieuwland
Whangarei


❆ ❆ ❆



Dose

In the morning, first thing
take two tablets to endure
the euphoria after surviving
another sleepless night.

That dream of spoke-shaving
clouds to fit them neatly into
the blue building block of sky
will haunt you later, unless
two more pills can sandpaper
out the jagged edges.

Your mother’s blood that
runs in you is thinning daily
from the warfarin her doctor
calculates on her abacus.

Your neighbour has cancer.
You father died of a burst
aorta. Your colleagues sneak
arsenic into your kale shakes.

The bus is a germ that moves
along a clogged vein leading
into the city’s last heartbeat.

Strike a match
to hide
your reflection.

There is no justice
in who gets shelter.

This life each minute
is a pass-the-parcel
where it’s never your turn.

Stop in the park next to
the homeless guy: that’s you
in 10 years. Hold onto your soul,
give him a pair of your pills
sit and re-draw the shape
and history of the trees
whose hearts are hidden
deep in the lightfast bark.

Lincoln Jaques
Tāmaki Makaurau Auckland


❆ ❆ ❆



Dotterel

Appointed superintendent of military roads at Porirua in 1845 Englishman Walter Mantell dons frock coat and mottled waistcoat, learns te reo Māori to instruct labourers bartered from Ngāti Toa and soldiers who have no choice in black-powder blasting, broad-axe, and adze to slice whenua for clinker and topple rimu for corduroy planking to hold back the mud.

He keeps a journal, field notes, observations of moa bones disinterred, birds half-seen. At Pāuatahanui he notes a nesting pair stooping and watching with cocked skulls, conspicuous on mid-grey legs. He dots his page with dotterel, dotterel, dotterel, the idiot Sussex bird of his youth that flies on lightfast wings halfway around the world but is always lost.

Walter’s roads endure. He ascends as commissioner for extinguishing native titles in Te Waipounamu, assigning Kai Tahu treasures to friends in government. His naming persists too; we miscall the tūturiwhatu still.

A hollowness in his bones pipes him back to Chelsea, where his doubts about justice seed repeated appeals asking where are the schools, the hospitals, the reserves he parroted in his promises? He migrates south once more to push for decency but it will be a century after his death before redress begins.

Elspeth Tilley
Te Whanganui a Tara Wellington


❆ ❆ ❆



we are a pair of apples
with soft spots –
yellowed flesh in
the gaps of your teeth.
we endure birds pecking
at our lightfast skin and
the noxious justice of
pesticide.
this tree holds us
until we are ripe.

Courtney Speedy
Tasman


❆ ❆ ❆



#584 The Treaty Principles Bill and More

In my hands I held justice
    as she danced like sands running
    down a Far North beach.
Her set of scales tipped and
                                            tilted,
clinking like a pair of singing tūī.

I moved like I was knitting
               the sea,

to endure was     to bring two
ends
    together     to weave and
flow. All of Kaitaia and beyond
waited, breath stiff like sappy honey
in our throats.

We’ve all been here before, the past
tells us so in lightfast pigments.
Change stood on the tips
                               of my fingers, toes curled

over the edge.
The finality of her decision
remained to be seen.

Ashlee-Ann Sneller
Paraparaumu


❆ ❆ ❆



12C

Most stars don’t go supernova
They go quietly, their light fast fading,
Dim red surface, white-hot center, as they
Exhale carbon into the universe.

Those atoms forms the basis of the
Base pairs of DNA twisting inside
Every living thing that will
Exhale carbon into the air.

We industrialized, star reaching,
But now a toll endures,
From the burning of fossil fuels that
Exhaust carbon into the atmosphere.

Is it just ice
That we lose in the melting glaciers
In the rising sea levels that threaten atoll nations

Is it justice
That the poor pay for the wealthy
And famine comes to the most vulnerable
And our gravest lightfast warnings fade

Resist exhaustion
Feel the anger in your center, white-hot
Hold tightly the tightness in your chest
Let us not go quietly

Exhale.

Erin Zampaglione
Ōtautahi Christchurch


❆ ❆ ❆



private space

I am not interested in lightfast
plastic I want faded I
want pretty I saw

a rusted motorcycle uncrashed
old house and gasoline can paint
peeling horseshoes pairs

of naked women taped to the
garage walls, I mean this without
judgement, the lack of justice
is cinema          if I
could climb through and become
a face on the other side,
brighten him, could be even prettier than

pairs horseshoes
peeling paint can
gasoline and house old
uncrashed motorcycle rusted

a saw he’d fade
smooth I could hold it, endure my own
incompatibility. I of clean rooms,
eternal plastic, Nothing

Bugs Sullivan
Ōtautahi Christchurch


❆ ❆ ❆



without

we were pair-bound, you and i
together for forty years           until
scraps of you           slid to the floor

i see your outline…
in the garden moving through the lemon
bite of midnight, your skin, once lightfast, i think

to reach through the kitchen
window, to pull you back from the void
           but my heart has been felled

to its knees & fears it will not
recognise your reflection

receding —


last sunday… i cradled cream
chrysanthemums, the cluster that cried
in a corner when

brilliant red freckled
the counter           i sat

in my car outside the cemetery
open-mouthed           wounded           feeling
fractured           for failing
to understand what you endured —

a mind unravelling as

darkness drew down & you
could no longer hold
life’s gleam           you contemplated…

                                                       nothingness.

did you wonder what it would taste like?

orange, bittersweet?

i sat on the seat among moss & earth
rearranging headstones, learning their names

but… i could not name yours, for we are split
apart now, my mouth is stitched & the
justice-oath we once spoke

is silenced           so i think instead
of summers to come

covering your absence.

Kim Martins
Kerikeri


❆ ❆ ❆



Remaining

Shower my eyes,
Cascade into the iris.
Each pupil dark,
One of a pair.
Ingressing,
Egressing.
My fingers bend fruitlessly,
Spilling carbon ink
To do justice
To your face.
Wet tongues to fingers,
A page flickers,
Dogear.
Will it be lightfast?
Will it last?
A precaution,
False hypothesis.
Cherry tomato,
Perched between rows,
Blistering like the sun,
Bursting like an avalanche.
Endure the throat,
Circle the lining.
We remain,
Still,
Continuously,
To be and to hold.
Lamplight;
I bask in inside glows,
Pale skin not so susceptible
Under beams.
All-nighter;
Ruthless bedsheets
Like performers' silk.
Weighted eyes,
Still those pupil pairs.
Parting,
An exodus,
And entering again.

Liberty Armstrong
Tāmaki Makaurau Auckland


❆ ❆ ❆



Octopoet

The octopoet sat
phone squelched in hand
tentacles groping for muses
in oceans of sand

diving down deep
justice, death?
hunting blubbery themes
truth’s salty breath.
to hold, and to carve
to shape into herds
of briny, sea-sweet
surges of words

avoiding drowned tropes
…of course.
self-indulgent, or meta-aware
like, poems on poems
or, youthful despair

first: punny pairs
‘ghoul friends’ fighting
with ‘venomous stairs’
then: similes piled high
till tables bent
a suckling feast
but scant nourishment
desperately: drenched clichés
enduring a flute out of tune
its meaning as dark
as lightfast noon

eventually: words lie
wasteland-white
snowflakes on snow
pale pointless echoes
with nowhere to go

and crowds sighed
at his woven tales
failing noise
screaming and whales.
they scratched heads
confused by meaning
that bled broken,
like eggs

for it hid there
from the start

felt, but unseen
the octopus thrashing
in the poet’s machine
twisting tropes, bloating lines
sliming each stanza
with wet clotted rhymes

so, with one last sip
of the desert breeze
he shrugged,
left the octopus roiling
in its alphabet seas

he’ll learn one day
rid of that weight
that one pen
crisp.
clean.
and dry.
is better than eight

James Riley
Masterton


❆ ❆ ❆



Mum Genes

Like clown trousers
this pair once dangled from bony hips.
Back in fashion, now they fit –
hide stretch-marked blubber
I’m meant to hate –
sometimes I do.

Pretty floral pockets
fray, lose lightfastness.
Heavy denim endured –
flung in top loaders
bashed by agitators
tumbled dry.
Warped ideas of love
trapped in the weft.

Weave submits, returns,
again.
Supports obstinate flesh that wants
to chuck a wobbly.
No elastane to degrade and snap
at unruly bellies that broke
the contract
to bounce back.

My 7 year old says
he’s strong, a ninja.
C-section, tumour excision scars
aren’t tough;
I couldn’t feel the cuts.

Mother-in-law achieved births correctly –
a caesar cheats.
Of course, she grants,
I didn’t mean to be weak, it’s my genes.
I want to shriek ‘What’s easy about a torn
womb?

What about my mother who laboured,
drug free, till male obstetricians
diagnosed failure
                               yanked
                                                my
                                                            body
                                                                         from
scalpel sliced guts?’

She taught me to smother rage.
Bite my tongue.
No justice in life, get on with it.
Fold laundry, wet into dry,
hold myself so needles pierce
straight through
no trace.

Dad snarled
‘I bet you’re fat,
just like your mother.’
Words leave no scars.

Rachel Douglass
Rolleston, Canterbury


❆ ❆ ❆



Larthia speaks
(After the Regolini-Galassi Tomb, in Cerveteri, Italy.)


                       truth is,
I never wanted an afterlife,
laid out resplendent as an oriental ibis
in my ornately carved sarcophagus
with my gilded bowls and perfume bottles,
my precious pair of painted ostrich eggs—
a scraping of what was tucked away with me
deep in the dark lungs of the earth,
             the hot day of my death

                       and yet,
my bones were fettered by gold
at my own request: lions and sphinxes
adorn the plate laid across my breast,
my necklaces hold weighted beads,
and I feel my belt and fibula
burn golden in the dark.
I’d chosen nothing but the lightfast best
             to prime me for eternity—

                       though I didn’t realise
eternity would last so long! I fancy
I can hear the dust accrue, distinguish
one shade of darkness from another,
feel the desiccating pallor of my bones,
the withering of the mind that happens when
there’s nothing new to think, and endure
a further closing in as I’m buffered
             by the mounds of my descendants

                       —but oh! that I could entreat the gods
to grant me one last small justice, to serenade me
back, just once, through the ever more distant
glittering threshold
             of my beforelife

Denise O’Hagan
Sydney, Australia


❆ ❆ ❆



Post-truth era

They shed truths’ meanings like psoriasis skin flakes,
mandarin hobgoblins run hither and thither
collecting those scaly truths as new synonyms,
in random pairs, pegging them together, throwing them
into their wonky word wheelbarrows;
justice and prejudice,
honesty, deceit,
integrity, evil,
kindness and ruthlessness,
wheeled away to the sorting hold,
maybe for re-pairing and reissuing,
maybe not.

Lightfast truths,
those huge irrefutables that will never fade,
that will endure for ever,
cannot be reframed;
birth, death, suffering, joy,
those they’ve stored in the inner vault
double-locked,
never again to see the light of day.
There is, however, a rumour,
a crack in that crypt
a slim version of hope
plans an escape

Sue Barker
Waipu


❆ ❆ ❆



Tell me something true
i.m. Jessie Riethmuller


These scour-end days of winter:
rebarbative.
We endure heel turns in the muck

of ground unfreezing. I say, spring,
hold!,
till narcissus remantles, till a close

and heated room hallucinates
fresh flare
to relumine our complaining.

It’s the view that irritates
or so I claim,
window to a window in a wall,

such a pair. I can be your eyes
here, girl, light
in the window, bulb in my throat,

while in the next street, protest meets
golden hour,
terraces aperitif to justice, breath

for those who love but see no more,
breath to fill
the forest floor, winter’s last breath

of body rising up to meet itself.
Revivify
the golden boy, pull him back from the

pond. I can be your eyes here girl,
signs and wonders
lightfast, even if (rebarbative) you’re gone.

Megan Clayton
Ōtautahi Christchurch


❆ ❆ ❆



Rough Justice

what can we make of the carved ivory elephants
enduring souvenir status
on everywoman’s mantlepiece
stood nose to tail
in descending fractals
like a lineup of heads of state

what can we make of the rare-as sea snail
everyman shelled out for
in a lightfast beach shack
boiled alive
shell etched into a fabulous
fishy scene

what can we make of Vlad the invader and stage-diver Donny
the pair of them
Disney on ice
holding the handshake for everyone’s screens
smile, go on, say ceasefire
Crimea river
laughs Vlad


Anita Arlov
Tāmaki Makaurau Auckland


❆ ❆ ❆



Tree Poem

While falling from the pine tree limb
The thought occurs to me
I cannot tell if I just fell
Or got thrown by a tree

Unsure of what I did to earn
The pine tree's lightfast ire
I contemplate on times my Dad
Has set its cones on fire

What justice is there to be had
From casting me away
I only thought you looked alone
And came outside to play

I know I had a solid hold
And my footing was sure
Perhaps the tree wanted to see
Whether I could endure

And then I realize that I
Have not yet hit the ground
Still bracing for the fall to end
I shyly look around

Expecting dirt and fallen cones
My landing felt too soft
A pair of branches underneath
Still holding me aloft

Levi Lewis
Palmerston North


❆ ❆ ❆



The lies we live by

What a pair we are:
You,
who lied
despite promising yourself
you never would…

and me,
the liar
I promised myself
I would never be…

We are raised
with promises
made by those
raised with those
same promises
and so know them to be a lie:

That
goodness endures.
That
justice is lightfast.
That
if you hold true
to principle
you will prosper…

And yet
goodness
disappears
as justice fades
and the principled
are left under the rubble
of indifference…

And still we will promise
our children
the same lies
because
our liars
also taught us to
coddle them
with fairy stories
thinking them too young
for the truth.

We think reality
is something
one should wake to
in their own time…

but that time is
too often
too late.

What a pair we are:
You,
who lied
despite promising yourself
you never would…

and me,
the liar
I promised myself
I would never be…

Russell 'Hazlito' Black
Nelson


❆ ❆ ❆



Sonnet on a faded sheet

These dyed cottons last a summer month
Before their lightfast lies are found by sweat
But parents’ parents’ twine endured the brunt
Of war and weeping, winters brash and wet,
The fables that we hold have stubborn root
And pray with twisting gesture at the cradle
Till blinded to the texture of the truth
We give dry justice to the choking cable.
If what we sow is never to suffice
Beneath the fuming wisdoms we are sold,
Forget how we outgrew the well-paired vice
Now dulled among the gleaming tales of old,
Has each new generation many threads
Some snap, but others lengthen in their stead.

Loredana Podolska-Kint
Tāmaki Makaurau Auckland


❆ ❆ ❆



Too familiar

We eschewed the matching three
piece suite ad instead collected
widely across the decades.

We banked on disarray and thumbed
our nose at Sunday best.

We buried all images of wars in the tv
commercials.

Hoping to slip out from underneath
reborn like a pair of newly minted
coins ready to make our way in the
world.

It turns out we were not as lightfast as
we had thought

To endure we find ourselves holding
on to shadows in the corners of the room.

Our eyes closed while politicians
continue to call for justice

And children still run screaming
under fire.

Rosana Vakatini
Perth, Western Australia


❆ ❆ ❆



Savage Tech

'Abandon hope all ye who enter here' Mum says;
In these last days of her good old age
we voyage together – to the computer room.
Here we find her cast in blue light.
We, who plague her buttons and ports come seeking > permission to re
enter the walled city of Mum’s email.
The servant printer sits dumb at her elbow. It is only she who decides when
he is to rouse, march.
She, the queen of our future > holds passcodes >in her hard drive belly.
She begins with a show of power dimming the screen.
We clamber over thorn covered walls. Reach settings.
I want to ask Mum why our Maoriness was buried;
Instead I must ask,
The password? The last one was Lightfast maybe 72?
‘What fresh hell is this?’ Mum says.
At the crossroads of good age and bad, captchas cover signposts.
Prove to us you’re human
‘There’s no justice in this beast’ Mum says.
My mother’s tech burden is my own. My swag is heavy with it.
Hold please the apple man says.
'You need to pair it with another device'
We endure.
In these last days of her good old age.

Claris Harvey
Tāmaki Makaurau Auckland


❆ ❆ ❆



Enduring

We are taught to hold our pain,
no matter the salted tang
on inner cheeks, or the epicentre
at our core.

The horse-hoof kick to a hip
the writhing snake
along a spine, the hop
of a gammy knee
melt skin and bone to pair with my brain,
eject my spirit as if this rocket
ride no longer needs me.

I want to perform its exorcism, tear
my shirt off, slice
through my freckled chest, crack
ribs open and inspect
the four chambers
beating at a rate I
have not decreed.

I splay my lightfast body
under the July and January sun,
but the clouds know
where to find me.
I try to dupe my nerves
but I am too frayed.
I reboot my mind
but am already disconnected.

I crawl across the carpet,
fingers as tentacles outstretched
seeking the foiled pack, seeking
a pill’s justice.

Anna Hoek-Sims
Ōtepoti Dunedin


❆ ❆ ❆



Independence Day

You are six-foot-four, but reduced
to the size of a calming pill.

I am anxiously tracking
your avatar, in its cruising disc.

Endure a terrifying moment when
you remain, briefly suspended –

a lightfast spot,
under laser focus –

stuck to the double-yellow
line outside your destination.

Calm myself with the 1980s
PBX switchboard mantra:

'Please hold
           while I connect your call.'


Back then, receptionists were
the witches who spellbound our unions.

Marie would have
talked me through this,

if she'd lived long enough
to embrace the digital world

(and I know she would
have done that, for you).


If there was any
justice for the lonely,

patchy cellphone coverage
would be obsolete already;

the twentieth-century office
girlfriends we partied with

would not die
in car crashes;

teenagers slipping off-grid
wouldn't trigger PTSD,

spark visions of flaming
chickens coming home to roost.


I am sucked into smoking,
pixelated stasis,

until our devices
pair again.

Bee Trudgeon
Porirua


❆ ❆ ❆



Kōtuku Moana II

On the deck of the last old fishing shack, we talk into the dark. Justice blaring Because we are your friends / You’ll never be alone again. Reefton gin.

Leo in his favourite pair of flannelette pajamas with his bottle of milt. Discuss collective consciousness, America, what Robert Haas said about loss. Invent a cocktail called Viscous Meniscus.

This lightfast tenderness. Kōtuku on the wing

Years later, the polaroid you took will bring a pang of nostalgia for this summer when we drove from Nelson to Lake Brunner listening to Badjelly and Dingle Dangle Scarecrow over and over and we won’t find words for that feeling it brings about what holds fast; endures. What falls away

(Someone said just the other day how you never know when it’s going to be the last. The last feed, the last afternoon they fall asleep on your chest, the last bottle of milk, the last time you pretend to be tuataras together…)

*

In the bath, Leo asks What if I give you my whole heart, and now you give me your whole heart? Tucking him in later, he whispers, When I am old, will you still be here?

How we tether. We tear—

Annabel Wilson
Swannanoa, Canterbury


❆ ❆ ❆



Questions at a Britomart Bus Stop at 5pm

How long has it been like this
for you, Sir?
Eggs cracked across the cream blue,
I quite like the runniness, Sir,
pairs well with the salt of the viaduct
but do you feel the yolk
fall on you?
Do the granules sting like venomous maggots?
Is that why you grate your ribs
against the concrete, or
is your skin coarse
enough to last, Sir?

Has it always been like this
for you, Sir?
Seeing the world on your side,
the divorced pair: the earth and sky, turning
a blind eye both bound by the concrete
kiss of infidelity that
you now
endure, Sir?

Do you know
we know
all about you, Sir?
Every 3 years I hear
about you, Sir,
through the radio and the mothers and the
skaters and the politicians in the prams,
they all talk
about plating justice
for you, Sir.

Perhaps you detest us for expecting
your gratitude, Sir?
When we flick and hurl gold booger
into lightfast plastic
post you on the net
holding you choking tears as the catch
of the day, letting you go,
saying water saves, but maybe
it feels more like
spit, Sir?

Joanne Kim
Tāmaki Makaurau Auckland


❆ ❆ ❆



the mess of the world

the aunties hold court
on the back doorstep
shelling peas, putting the world to rights
a thumbnail slices open a pod
plink plink plink
seeds drop like bullets
into copper bottom pot
empty shells chucked to the chooks
the kids run riot on the lawn

the aunties speak of politics, poverty, peace
this blimen’ useless government
(she’d use stronger language
but it’s the Lord’s day),
          who loves righteousness and justice
          the earth is full of his unfailing love

they speak of a cousin
who needs a haircut and a job
and to pull his trousers up
they speak of the cost of living
milk three ninety-nine at the corner dairy
and Shayla needs new schoolshoes

they speak of rich white men
strutting like a pair of puffed-up turkeys
shaking hands on red carpets
as cameras flash
as bombs drop
as babies die

an auntie’s bargain chemist boxed-dyed hair
shimmers in the sun, lightfast, fade-resistant
she rises, smooths out her Sunday dress
and puts on the roast
gives thanks to the Lord, for he is good,
          his steadfast love endures forever

I think, if there is a God
he should’ve put
the aunties in charge
of the mess of the world

Melanie Koster
Ōtautahi Christchurch


❆ ❆ ❆


Continue reading the winning poems along with the judge's comments here and the poems from the Under-16's category here.