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Ships lying idle in Wellington Harbour in 1951 (photo: NZ History)
Ships lying idle in Wellington Harbour in 1951 (photo: NZ History)

BooksApril 13, 2020

Lockdown letters #18, Renée: 1951 and the dictator’s to-do list

Ships lying idle in Wellington Harbour in 1951 (photo: NZ History)
Ships lying idle in Wellington Harbour in 1951 (photo: NZ History)

‘Illegal bulletins by Rona and Chips Bailey and cartoons by Max Bollinger continued in spite of police raids and were delivered by people to other people, all of whom knew if they were caught with a copy they’d go to jail.’

Read more from the lockdown letters here.

After the fifth listen I went for a walk. In Murder Most Foul, Bob Dylan uses ordinary language, the rhymes are sometimes a little awkward but Dylan does that anyway. He uses repetition, ideas, images, to fix it in the listener’s mind. Murder Most Foul is circular too – the words always come back to the event he’s focused on – the assassination of John F Kennedy. There had been terrible things happen before. The poor, black, powerless, killed by members of KKK is only one example of a racist and violent past. Kennedy was white, youngish, affluent, well educated, a good orator, Roman Catholic and married with two kids, had affairs with Marilyn Monroe and many others, par for the course probably, and in November 1963 America saw to its horror that not even this golden hero was safe. Sure there’d been presidents assassinated before – 1865 Abraham Lincoln, 1881 James A Garfield, 1901 William McKinley. But that was then – this was the ’60s, a new Camelot. Like the storybook one, JFK’s Camelot was a myth and it was blasted to bits by that shooter’s bullet on Dealey Plaza in downtown Dallas that day in November 1963.

Cavier’s music is perfect, the cello a rich mourning lament under the words.

It’s a sunny day in Otaki and if the virus likes damp cold conditions, it’ll be out of luck today.  I see a bike coming towards me and I step off the footpath into the entrance to the Kura. The cyclist waves, shouts, ‘Thanks,’ and I smile and walk on. 

What would I consider a seminal event in my lifetime? The Waterfront Lockout in 1951? Tangiwai Rail disaster Christmas Eve, 1953?  The sinking of the Wahine April 1968? The march led by Whina Cooper in 1975? Not one more acre. Eva Rickard and her stand against the Raglan Golf Club? Bastion Point? The Erebus disaster in 1979 and the subsequent attempted cover up? The 1986 Homosexual Law Reform marches?

Dick Scott’s 151 Days shows how the 1951 lockout affected journalists and freedom of speech. The emergency regulations forbade media to publish anything at all from the Wharfie’s side of the story. The illegal bulletins by Rona and Chips Bailey and cartoons by Max Bollinger continued in spite of police raids and were delivered by people to other people, all of whom knew if they were caught with a copy they’d go to jail. 1951 showed how easy it was for a government to clamp down on press freedom, but also demonstrated that courage and teamwork by freelancers could prevail. The emergency regulations stayed on the books until 1987, so  any government in those years from 1951 to 1987 could have invoked them had they wanted to. Controlling the press has always been high on a dictators to-do list.  

One of the things I get asked wherever I go is ‘where do you get your inspiration?’ It’s a good question that has a very disappointing answer. When I say, ‘I just keep working and it happens’, they nod and I know they’re thinking, she just doesn’t want to tell us the secret.

So here’s the secret – there is no secret.

If you mean that sudden illumination, that wonderful flash of insight then sorry, that only happens after you’ve been working on something for a while. And sometimes it doesn’t happen at all.

I write for the fascination and like Leonard Cohen said, “I’m a writer which means I go to work every day but I don’t get it every day’”. Like him and everyone else in the game I don’t always get it right on the day either. I’m lucky, I always had a teaching job to pay the bills and even luckier because teaching and writing are the jobs I enjoy most.

I write my way into a story, a poem, a play and I write my way out. One thing I know for sure – there’ll be sticking points, hurdles. Writing that flows like it was effortless and easy to write comes only after hard work. 

Bob Dylan wrote his way into an outstanding piece of work – a 15 minute meditation, not only on the assassination of a president but on the fallacy of the American dream. And today it’s underlined by what is happening in New York and in America generally. Yes terrible but it doesn’t mean us, seemed to be the mantra when the news of the virus first broke. That dream of invincibility still goes on. You have to wonder – how many times does a country have to be told?

Yes, we are so lucky to have Jacinda and her team.

Two strawberries, six tomatoes and let’s hear it, all together koutou  – homai te pakipaki – the broad beans are up.

Keep going!
(Photo: Getty Images).
(Photo: Getty Images).

BooksApril 11, 2020

Lockdown letters #16, Ashleigh Young: On going for a walk

(Photo: Getty Images).
(Photo: Getty Images).

‘It feels like there is an inner circle of walking that I can no longer break into, some pleasure I have become too stupid to feel. Maybe it’s the internet’s fault.’

Read more from the lockdown letters here.

There is a lot of talk about going out for a walk. If you are a writer, you have to love going out for a walk. It’s to do with the unspooling of ideas. “Methinks that the moment my legs begin to move, my thoughts begin to flow,” said Thoreau. Going for a walk changes your body’s chemistry: blood and oxygen flow more readily to the brain, promoting new connections and prompting new ideas to bubble up. The pace of your thoughts decides the pace of your feet, and vice versa. Your mind spreads out like a big trampoline mat above the streets. A lot has been written on the pleasures of “solitary trampling” (Virginia Woolf) and “long-distance walking as a means of dissolving the mechanised matrix which compresses the space-time continuum, and decouples human from physical geography” (Will Self). “You’re doing nothing when you walk, nothing but walking,” writes Frédéric Gros in his 2009 book A Philosophy of Walking. “But having nothing to do but walk makes it possible to recover the pure sensation of being, to rediscover the simple joy of existing, the joy that permeates the whole of childhood.”

Today I walk to the top of the driveway. Gordon is out there too, striding upwards with his cane. The driveway is steep and by the time I reach the top I am gasping. My body has grown too used to wheels and every time I force it out here on its own two legs, it takes fright. I continue on through a small park and onto the track by Zealandia’s fence line. It’s nice outside – properly autumnal. Some kākā are making gobbling turkey-like noises. I am struggling to breathe. I try to focus on the simple joy of existing. The writer James Brown emailed the other day and said he tried to go for a walk also, but after 100 metres he just turned around and went back to get his bike. Too many people were out there, he said.

I used to love walking, and the idea of walking. My brother JP once walked from Cambridge to Hamilton with friends after a party, sobering up uncomfortably along the way. I marvelled for years at this feat. There was a guy I heard about in our town, a retired rugby player, who walked something like 20 kilometres each morning, trying to fix his bad knees. I don’t know if it worked, and maybe it was urban legend anyway, but I didn’t care, because Old Bad Knees was a walking hero. People and animals covered great distances in many books I loved, like The Incredible Journey and The Silver Sword and The Lake, and, later, The Rings of Saturn and A Walk in the Woods and The Old Ways and The Road. To cover distance on foot was to break away from the places and rhythms that stifle us and to allow yourself to be propelled by the restlessness and trouble and desire in your soul. Walking oriented you to where you were and where you’d come from in a truer way than if you were covering that distance by car, train, bus, even bicycle. Remember when Geoff Chapple walked the entire length of New Zealand? I couldn’t believe it. He was out there for months, sleeping in sheds and cheerfully turning down offers of a ride from guys in vans. It was different from our other sporting achievements, if you could call it one. It was an achievement born of a sinewy frame and bent-over posture. The only thing it really had in common with our other sports was mud.

Chapple walked at night sometimes as well as day, moreporks gliding past his head. As Will Self tells us: “Any serious flaneur walks by night as much as by day; for by day it’s too easy to be drawn into a complacent acceptance of normalcy.” In the next paragraph, he confirms, sagely: “I walk by night.” Well, OK. To try to reinstate my old enthusiasm for walking, yesterday I read one of Self’s accounts of one of his “radial walks”, where he walked out of London and all the way to Fosbury in Wiltshire, accompanied by his 10-year-old son and their jack russell. I couldn’t concentrate on the account because I was worried about the dog, which got only a couple of mentions, and both times it seemed exhausted. I doubt the dog had much interest in dissolving the mechanised matrix that compresses the space-time continuum. What I should really be doing is ignoring all of these serious walking men and rereading Vivian Gornick’s The Odd Woman and the City, and following her as she walks around New York City, taking in all its drama and struggle, and remembering conversations she has had with her old friend Leonard, when she said things like, “I’m tired of apologising for being judgemental. Why shouldn’t I be judgemental? I like being judgemental. Judgemental is reassuring. Absolutes. Certainties. How I have loved them! I want them back again. Can’t I have them back again?”

Out walking, I wait for my mind to shimmy from place to place like a radioactive Mr Burns in the forest, I wait for the centuries-old connection between walking and thinking and writing to make itself known. It feels like there is an inner circle of walking that I can no longer break into, some pleasure I have become too stupid to feel. Maybe it’s the internet’s fault. How will I write another book if I can’t enjoy a walk? My thoughts circle me like sharks, reminding me of all the things I’ve messed up. Darwin put forward the theory that we evolved to walk upright on two legs because it freed up our hands to throw rocks at things; personally, walking upright on two legs just frees up my brain to throw anxieties at me. I grow impatient with how long it takes to get anywhere and how slow I am relative to a bicycle. In the distance, a corner – what’s around it? It could be anything! Bad news – you’ll have to wait a long, long time before you find out, because you have to walk to that corner. Who knows how much the world will have changed by the time you get there.

On a bike, or even running, you move fast enough that your worries, like so many hands outstretched to cyclists on the Tour de France, can’t get a firm purchase. The corners rush towards you and reveal what they’ve got waiting, over and over. Biking is less about the simple joy of existing and more about the simple thrill of avoiding another door swung open into your path. And just as you can speed away from anyone you don’t want to talk to, you can almost, almost, speed away from your own feelings. I am going to go for a ride now.