Michele Leggott – författare

In her latest collection, Michele Leggott speaks to the art and writings of nineteenth-century New Zealand painter Emily Cumming Harris. Face to the Sky tells stories of love and loss from two woman in the shadow the same mountain, more than a century apart.‘Voices sing from the archive: a choir of breakers on a North Taranaki beach. Two women born more than a hundred years apart tell stories of love and loss in the shadow of the mountain that is always there. One of them becomes a painter of botanically accurate native flora, and writes all her life. The other, now without sight, lives in a world of sounds caught into expanding webs of memory. She listens for the other, tracing the delicate shapes of what she cannot see, taking her cue from the words of others. She listens and travels, picking up connections over time and place. Mothers and fathers come and go, adding their voices to the tumult on the beach, the shadow of the mountain, the hills above Nelson where the first woman comes to rest. The second, living between two small volcanos in a northern city, waits for a miracle that might cure the lymphoma that has been tracking her days. Through it all, the familiar phrases of the weather forecast sound their ever-hopeful, ever-changing predictions.’— Michele Leggott

I stood in the dark with many others, some of them close enough to touch, some further away. One by one they turned, light fell on faces that were at once strange and familiar, and they began to speak or sing. Soon the riot of their voices was everywhere, the plane of memory tilted at 36,000 feet, fractals caught in the blink of an eye, the clearing of a throat. Heart us invisibly they said, and I saw the land waiting to invent its people. We walk into the clearing, we wait for light to saturate the eye, we remember. Michele Leggott’s new book of poetry follows on from her 2009 collection, Mirabile Dictu, in its exploration of light and of gathering dark. Leggott is a poet of the lilting, shining moment and the sections here follow some of her own moments and movements, experiments and experiences – to Devonport, to Australia, to the north – as well as reverberating with the stories and histories of others. The book’s final two sections take this exploration of character and narrative further as in one we see off a soldier – shadowed by Leggott – to the First World War; and in the other – set in an earlier, unspecified time charted for us by telegraphic weather reports – a family tragedy unfolds, until a body is finally brought home for burial. With her ‘dear shapes gone to sound’, Leggott’s textured poem-scapes are more aurally charged than ever, like a ‘piano in a dark room that is / quite what it is like and never the same’. A splendid, immersive collection of poetry, Heartland is also, Leggott says, ‘a destination and a song, a shadow and a single word with two chambers’.

A LUSCIOUS TRIBUTE TO AN EARLY NEW ZEALAND BOTANICAL ARTIST Part inspired creative endeavour and part determined detective work, this long overdue book brings to light one of New Zealand's most significant botanical artists of the nineteenth and early twentieth centuries. Just as Emily Harris's beautiful paintings occupy a liminal space between scientific botanical illustration and art, so this book occupies a shifting ground between biography and imagineered monograph. The result is often moving and always intriguing. Importantly, it restores to Aotearoa art history a figure who had almost disappeared. Emily Harris has been examined alongside her artist peers Sarah Featon and Georgina Hetley, but until this book neither her distinctive voice nor her almost 200 surviving images have been heard or seen in any quantity outside of archival or online spaces. Her life story is remarkable and her diaries, letters, poems and paintings constitute a fascinating legacy. In Groundwork, with its compelling text, they are lovingly brought together for the first time.