Bernadette Hall’s Fancy Dancing: New and Selected Poems 2004–2020 and Geoff Cochrane’s Chosen are two compelling poetry collections recently released by Victoria University Press. Reviewed by Lynley Edmeades, these books offer distinct yet equally engaging poetic experiences. Hall’s collection, Fancy Dancing, invites readers into a world rich with lyrical intensity and playful observation, while Cochrane’s Chosen presents a contemplative and urbane exploration of aging and mortality.
Friends at Bernadette Hall’s Dunedin launch for Fancy Dancing noted an Irish quality in her poems, a sentiment that resonates throughout this New and Selected collection. It’s a subtle yet palpable characteristic, perhaps stemming from the poems’ inherent lyricism, capable of making even the most casual reader pause and reflect. This Irish influence might also be found in the humor and humility present in Hall’s work; she embraces laughter, both in company and at herself. Furthermore, the significance of place, particularly Ireland, weaves through her poems, traversing from Amberley Beach to Antarctica, her Dunedin upbringing to Rathcoola, Ireland, where she participated in a residency in 2007. This sense of place is vividly rendered, making the reader feel transported across these diverse landscapes through her evocative verses.
Beyond any perceived ‘Irishness,’ Fancy Dancing showcases Hall’s poetic dexterity, drawing together the strongest pieces from her extensive body of work. This curated selection ensures that readers encounter only the most refined and impactful poems. Within this collection, patterns and recurring themes emerge, revealing Hall’s unique poetic voice. One notable stylistic element is her masterful use of simile. Hall elevates the simile to an art form, creating comparisons that are both surprising and deeply resonant. She is a true kuia of the New Zealand simile, crafting arresting and unparalleled images. Phrases like “the pine forest looms like a collapsing / building,” “they stand there / braced like a locked gate,” and “the rain is like mice scrabbling in the ceiling” exemplify her skill. Her similes are not mere comparisons; they are vivid sensory experiences, transforming the mundane into the extraordinary. Even everyday occurrences are imbued with poetic significance, such as “It’s like walking into a room that’s full / of McCahons, you know, the way the air changes…” and “Waves bunch up / like Christmas.” These are not just descriptions; they are invitations to see the world anew, to experience familiar sensations with fresh eyes.
Hall’s poetic toolkit extends far beyond simile. Her work is characterized by playfulness and tenderness, culminating in a final sonnet sequence in Fancy Dancing that delves into the depths of memory and the subconscious. This concluding section acts as a Proustian exploration of remembrance, where Hall meticulously examines small moments, transforming them into expansive narratives. She invites the reader into intimate spaces and memories: “Now it’s time to expand the narrative. So come / with me into a dimly lit corridor in the Mayflower / Student Hostel beside the Mississippi River / in Iowa.” Through the use of the second person, Hall creates a sense of intimacy, drawing the reader into personal recollections populated by past selves, lovers, and confidantes: “I remember you in your scarlet tights”; “the way I had that other / question for you as I buttoned up your coat.” This autobiographical thread is further emphasized by Hall’s own comment that Fancy Dancing is “as close as I’ll ever get to writing an autobiography.” The collection becomes a tapestry of lives and stories, far exceeding the sum of its parts. Reading Fancy Dancing is, as the reviewer aptly puts it, like choosing a single malt whiskey over a blend and then being offered seconds—a truly enriching and layered experience.
Geoff Cochrane’s Chosen arrives as a swift follow-up to his previous collection, The Black and the White (2019). At his Wellington book launch, Cochrane declared Chosen his final poetic offering, suggesting a retirement from poetry. However, given his playful contradiction at the same event—vowing never to wear track pants in public while sporting them—one suspects his poetic journey may not be over. Chosen, like its predecessor, grapples with themes of aging and death, reflecting Cochrane’s ongoing contemplation of mortality. Poetry, it seems, is intertwined with his very existence, a vital force even amidst reflections on “the end”: “the ping of my own existence,/ping of my own existence,/ping of my own continuing existence” (from ‘Sundries’).
Despite its brevity, Chosen continues Cochrane’s exploration of urban landscapes. He guides us through Wellington, from Marion Street to Victoria Street Café and Island Bay, documenting his daily routines—New World trips, doctor’s visits, breakfast at home: “Insulin and Weet-Bix for Breakfast. Three Weet-Bix with / a teaspoon of sugar. And I sit here perking like an old / Cona coffee percolator” (from ‘Shoot’). Echoing peripatetic literary figures, Cochrane engages in a dialogue with literary predecessors: Donald Barthelme, Nicolson Baker, George Saunders, John Berger, and John Updike, among others. Frank O’Hara’s influence, though unmentioned, is palpable, resonating with Cochrane’s clipped, diaristic style reminiscent of the New York School. Cochrane himself acknowledges this affinity for brevity and portability in poetry: “I like what’s slim./ I like what’s portable./ I look to what I’ve read before with pleasure” (from ‘Summer’), a sentiment that aligns with O’Hara’s poetic approach.
Chosen, like O’Hara’s Lunch Poems or Barthelme’s Paradise, is, in Cochrane’s own words describing Barthelme, “a zestful wee caprice as light as cake.” While it might not fully satisfy readers seeking profound depth, Chosen offers a comforting familiarity, suggesting a New Zealand counterpart to O’Hara, perhaps enjoying coffee outside Victoria Street Café or riding the number 2 bus to Miramar. Both Fancy Dancing and Chosen present compelling and distinct voices in contemporary New Zealand poetry, offering readers rich and rewarding literary experiences.
