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A photographe of the Mount Street Cemetery in Wellington, with the book cover of over under fed overlaid, with two sparrows.
Sparrows feature heavily in this new poem from over under fed by Amy Marguerite

BooksFebruary 26, 2025

How to read a poem: mount street cemetery by Amy Marguerite

A photographe of the Mount Street Cemetery in Wellington, with the book cover of over under fed overlaid, with two sparrows.
Sparrows feature heavily in this new poem from over under fed by Amy Marguerite

The latest in a semi-regular series that breaks down a poem to analyse what it’s really trying to tell us.

over under fed is Amy Marguerite’s first collection of poetry. The poems range in length, form and tone, but together they build an intense body of work and thought. I use the word body deliberately as the physical is always there in Marguerite’s poems. There’s pain in the poetry; terrible struggles with physical and mental health. There are heartaches and states of “limerence”, an intense longing for someone who may not reciprocate those feelings. The word is cruelly close to limerick.

In and around the spikes and agonies the poetry is dazzlingly. They almost have all the qualities of fairytale: pretty, dark and sometimes dangerous. There’s a heady quality to Marguerite’s work: you want to gobble the images up, layer them, get lost in them.

A note on lower case: over under fed is all in lower case. This might drive some people mad. But I find it pulls attention to itself: deliberately throwing away rules of dominance and hierarchy between letters. There’s a devil-may-care attitude in lower cases but also fluidity. Somehow the lack of the upper case to begin a sentence lets the eyes fall down the poem more easily. You also take more notice of the ‘i’, too, like the voices of the poems are looking at you as you read.

mount street cemetery

each time i contemplate

loving her

another cigarette is lit

in the wind.

 

am i supposed to be

laughing

because it’s happening

so hard right now

 

like all the sparrows

are suddenly having

affairs in my mouth. they are

so caught up

 

in the optimism 

of my plaque

they can’t wonder why

hell is no longer

 

the clearing. but i am 

just a corridor

for the reunion

of joints and why

 

shouldn’t i be

proud of my ability

to tunnel?

my mother broke

 

a tooth on a shitty

liquorice strap.

she was watching tv

so it didn’t really matter.

– Amy Marguerite

Reading notes:

Mount Street Cemetery is the oldest cemetery in Wellington (with the Bolton Street Cemetery). It is leafy, spacious and grassy. It’s also windswept, very close to the University, and high on a hill. Marguerite’s title gives us a precise setting to begin with: gothic, romantic, hovering between life and death.

each time i contemplate

loving her

another cigarette is lit

in the wind.

Once we’ve got the image of an historic cemetery in our heads, this first stanza works beautifully inside it. A person in a graveyard, in contemplation, a cigarette, the wind. It’s a restless and uneasy image: lighting a cigarette in the wind is frustrating. Flames get wobbled away, blown out if you’re using matches. The image is directly related to the thought of loving “her”, whoever she might be. This is starting to feel like a story about the pain of desire, or being bothered by a crush. The flame is not thriving.

am i supposed to be

laughing

because it’s happening

so hard right now

 

like all the sparrows

are suddenly having

affairs in my mouth. they are

so caught up

The contemplation of love in the first paragraph now expands. “am i supposed to be / laughing / because it’s happening / so hard right now.” There’s no question mark so the tone could be read as sarcastic, droll. The ‘i’ of the poem is uncomfortable. This contemplation of loving is difficult.

The phrase “so hard right now” is colloquial. It makes the voice of the poem close and familiar. Young, too. It’s not a phrase you often hear from many people post-40. From this dry, cigarette-smoking voice the poem flows rapidly into a simile: “like all the sparrows / are suddenly having / affairs in my mouth”. This is so startling, so original, it stops a reader in their tracks. If you bring sparrows to mind you think, small, quick, alert, chatty. There’s chaos and there’s animalistic back and forth. Imagine a hoard of sparrows tweeting and jumping at each other, inside a mouth … The image conveys a deeply felt confusion, anxiety, noise. Language is replaced by alien chattering both familiar and incomprehensible. This is a serious crush. It’s invading the body in surprising, even horrifying and perverse ways. I love the idea of sparrows having affairs, though. They don’t mate for life so they’re always cheating on someone. The idea lends a charm to the image, even as it makes your skin crawl.

in the optimism 

of my plague

they can’t wonder why

hell is no longer

 

the clearing. but i am 

just a corridor

for the reunion

of joints and why

This is where the poem becomes beguiling and we have to do some hefty interpretive work (the fun part of poetry). “they are / so caught up / in the optimism / of my plague / they can’t wonder why / hell is no longer // the clearing.”

What does that mean? The “they” could be the sparrows. Their chatter sounding encouraging (sparrows rarely sound concerned, or forbidding), fuelling the inherent optimism that lies in thoughts of love. The “plague” could be the trickiness: a crush can feel like a plague: a consuming, physiologically challenging, and psychologically bullying state. “they can’t wonder why / hell is no longer // the clearing.” This is an interesting idea, “they can’t” is very different to “they don’t” or “won’t”. If we’re still on sparrows then this fits: these creatures, who are standing in for a particularly energetic and obstructive feeling, can’t be anything other than what they are. Sparrows can’t wonder just as a feeling can’t wonder. But what is the hell? And the clearing? It’s useful to think of what hell is not. If hell is no longer the clearing, then what could it be instead? Is the poet’s state of mind hell? This sparrow-mouth? A clearing gives an impression of space, calm, tranquility. If hell was emptiness once, now it’s the opposite: it’s high-intensity activity, it’s density (sparrows having affairs in a mouth reminds me of one of Bosch’s ghastly yet brilliant and surprising landscapes of hell in his painting The Garden of Earthly Delights).

“but I am just a corridor / for the reunion / of joints and why”. Another startling image: a corridor for the reunion of joints. This is a reduction of the body down to a series of connections as if all it is is to hold our bones together so they can remain locked in place. The word “reunion” is interesting. As if bones have been separated once but are now put back together. It gives the sense of being broken. That this poet, or the voice of the poem, has been broken and is left feeling like a passageway for hell to pass through.

shouldn’t i be

proud of my ability

to tunnel?

my mother broke

 

a tooth on a shitty

liquorice strap.

she was watching tv

so it didn’t really matter.

The poet wrestles. The contemplation has taken on a questioning: “and why / shouldn’t i be / proud of my ability / to tunnel?” The word “tunnel” reflects the “corridor”. But the word tunnel also carries ideas of digging through, going deep, going underground. Should the voice of the poem be proud? Is this an admirable quality? The voice of the poem sounds defensive here, or even defiant. As if they are fighting another voice that thinks they shouldn’t be tunnelling, shouldn’t be thinking of themselves in this hollowed out, functional way.

The final image of the poem marks a drastic departure from the image of a person in a graveyard, smoking and struggling. “my mother broke / a tooth on a shitty / liquorice strap. / she was watching tv / so it didn’t really matter.”

We’re still with the body here: teeth. Breaking teeth is a powerful image. Like that common nightmare where teeth have gotten wiggly again, like in childhood, and fall out. But here it’s untimely and unfair: a shitty liquorice strap. Teeth should be stronger than that. And what makes the liquorice shitty? Quality? Or does the voice of the poem think liquorice is an inferior treat? How old is the mother? Liquorice strap sounds old-fashioned. So did this happen in childhood? The final couple of lines really pack a punch: “she was watching tv / so it didn’t really matter.”

TV is a great distractor. Especially for children. Especially when they have lollies, too, even if it’s a shitty liquorice strap. Bad things can take place to the body while the brain is focussed elsewhere, on other sensations and senses. How does this relate to our plagued graveyard-wanderer? There’s almost a sense of justification. That because the mother broke her tooth and was so absorbed in other activities that made up for it, then maybe it’s alright for the voice of the poem to take in shitty things, and get broken by them, too. Because there’s always distraction, there’s always the idea that we can justify our small pains so long as there is something else out there to focus on, to pull us away from ourselves. Is it alright to become funnels for shitty treats? To be a portal for hell? Is that what a crush is?

I hope that this crush is requited just so the sparrows can leave and the mind and body can feel better. But this poem isn’t a resolution. It’s a series of captivating images told by a voice who is deeply in it. I think anyone who’s ever had an all-consuming crush will relate.

over under fed by Amy Maguerite ($25, Auckland University Press) is available to purchase from Unity Books. 

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Image: The Spinoff

BooksFebruary 22, 2025

The Unity Books children’s book review roundup for summer

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Image: The Spinoff

The booksellers of Unity Books Auckland and Wellington review a handful of children’s books sure to delight and inspire readers of all ages.

AUCKLAND

Reviews by Elka Aitchison, Issy Walker and Roger Christensen, booksellers at Unity Books Auckland

Are We There Yet? A Journey Around Australia by Alison Lester (Age 4+) 

Any chance to go on a road trip with Alison Lester, grab it. This is a lovely picture book where you get to explore the breadth of Australia with Gracie and her family as they take off on a camping holiday around the country. Full of the warmth and hilarity of a not-so-perfect family, this is a playful account with wonderful detail in the illustrations and is based on a trip Alison took with her own family. Alison Lester is a phenomenal author and illustrator responsible for some classic Australian titles too numerous to mention. Read this and you’ll be itching to pack your bags and drive off for your own family adventure. / Roger Christensen

The cover of Are We There Yet.

Our Beautiful Darkness by Ondjaki and illustrated by António Jorge Gonçalves (Ages 14+)

Originally published in Portuguese, this is a forceful illustrated YA novel. Very cinematic in feel and tone, thanks to the white on black page illustrations and text, we are thrust into a tender moment in war torn Angola during the 1990s. A city in blackout is the backdrop for a young couple meeting in darkness in a garden, talking and discovering each other through story, memory, tentative touches and an almost-first-kiss. This is a totally immersive read and the whole feeling of the book is beautifully summed up by the boy explaining to the girl the words of his grandmother when he asked her what poetry is… “Poetry isn’t the rain. It’s the sound of the rain.” / RC

Pepper & Me by Beatrice Alemagna (Ages 3+)

A little girl falls on the street, scraping her knees, and a scab forms. “Since it followed me everywhere, I named it Pepper, after the puppy I’d always wanted but never got.” The scab she hated, for the way it came to be, and the way it stopped her knee from bending when climbing trees became a friend (of sorts). The narrator’s speech is earnest and familiar, it appears alongside dynamic, dreamy illustrations that evoke her emotions so vividly. That’s what makes this book special: Beatrice Alemagna understands the things that loom large for children and reminds an adult reader of that beautiful, slightly sideways way of looking at the world. Pepper & Me is witty, absurd and bittersweet, it explores letting go, change, and the curious surprises that our bodies and environment hand to us. / Elka Aitchison

The Strange and Unlikely Tale of Montgomery the Mysterious Bird of Mystery by Antony Elworthy (Age 7+)

A book as playful and imaginative as its title. Gramps has lived what seems like a thousand full, adventurous lives and on a Wednesday his sceptical grandson sits and listens to tales of his youth. The longest and most enthralling is his time as ‘The Astounding Alfredo’, famous for his trick with ‘Montgomery the Mysterious Bird of Mystery.’ The tale of the vindictive, fame-hungry dove is captivating, funny and full of intrigue, but it’s the relationship between Gramps and Boy which is the star of the story. Antony Elworthy talks about how the book blossomed from stories he would tell his children on long car trips and before bed and this shines through. The rapport between the two characters is so lovely and natural, and the whole tale reminds readers of the joy and importance of storytelling. A merry and gripping book perfect for a 7-to-10-year-old with a vivid imagination and a great sense of humour. / EA

Amazing Jellyfish: Mysterious Dweller of the Deep by Michael Stavarič and illustrated by Michele Ganser (Age 8+)

Did you know that jellyfish have been about millions of years before the dinosaurs? Or that some jellyfish have travelled to space? Most importantly, jellyfish are actually pretty cool. This is a compelling and beautifully illustrated under-the-sea adventure full of our strangest and deadliest deep-sea dwellers. Michael Stavarič is a compelling narrator who captivated us with Amazing Octopus. You really get a sense that Stavarič cares about the world and getting us equally excited about his discoveries. This is a fun, fact-filled book full of incredible images and extra activities to test your curiosity. I was totally absorbed. / Issy Walker

‘He mea tautoko nā ngā mema atawhai. Supported by our generous members.’
Liam Rātana
— Ātea editor

And the Unity Books Auckland children’s bestsellers from October 2024 – January 2025:

2 Where Is It? A Wildlife Hunt for Kiwi Kids by Ned Barraud (Potton & Burton, $22)
3 Hot Mess: Diary of a Wimpy Kid #19 by Jeff Kinney (Puffin, $18)
4 Midnight Adventures of Ruru and Kiwi by Clare Scott (Puffin, $21)
5 Dear Moko by Hinemoa Elder (Penguin, $30)
6 Atua: Maori Gods & Heroes by Gavin Bishop (Puffin, $40)
7 Bear’s Lost Glasses by Leo Timmers (Walker Books, $30)
8 Edmonds My First Cookbook by Goodman Fielder (Hachette, $28)
9 What Feelings Do When No One’s Looking by Tina Oziewicz and illustrated by Aleksandra Zajac (Pushkin, $30)
10 Lot of Silly: A Book of Rhymes & Nonsense by Joy Cowley and illustrated by David Barrow (Walker Books, $35)

WELLINGTON

Reviews by ​​Rachel Pilois and Eden Denyer and Lisa Adler, booksellers at Unity Books Wellington.

The Café in at the Edge of the Woods by Mikey Please (All ages) 

This book is so phenomenal it’s hard to believe it’s the author’s picture book debut. The Café at the Edge of the Woods is, to put it plainly, stunning. Please’s background as an animator shines through, with his unique and enchanting illustration style, that blooms with colour and warmth. The rhyming lyricism of the story is perfect for children starting their solo reading journey or as a fun bedtime read for parents and kids alike. Full of mythical creatures, monstrous meals and a very unusual duo, I’ve never wanted to visit the setting of a book more. Brimming with charm and cosy-vibes, The Café at the Edge of the Woods is my top pick picture book from 2024. / Rachel Pilois

The Book of Bill by Alex Hirsch (Ages 14+) 

“Weird” is the first word that comes to mind when thinking of this book. Hilarious, mysterious and terrifying are the next three. Based on the hit animated TV series Gravity Falls, this book reacquaints us with the pyramidical demon we all know and love, Bill Cipher. Written from Bill’s perspective, we learn more about this villain’s bizarre origins, the sinister effects he’s had on human history, some embarrassing stories about the Pine family and his secret to over-throwing the world. Perhaps the best fan-guide book ever written, The Book of Bill is full of beautiful but chaotic illustrations that will bend your mind and warp your reality. I could not love it more! (Beware: This book travels to dimensions meant for older readers.) / RP

Thunderhead by Sophie Beer (Ages 10+) 

Thunderhead’s titular protagonist is a hilarious, spunky, too-cool tween who lives for music. They’re also losing their hearing. Told through a series of diary style blog posts in a dead online forum, this disarmingly delightful book perfectly balances its humour with reality gut punches. I’ve seen this marketed as Australia’s answer to Wonder, and while I don’t want to compare two showstopping divas, Thunderhead has my heart. Beer writes from her own lived experience of nerve surgery and hearing loss, and this authenticity really shines through. Every chapter begins with a mini playlist of recommendations from Thunderhead to match the mood or events, and Beer sprinkles in fabulous doodles throughout. This book is positively bursting with heart – I laughed, cried and jammed along the whole way through. / Eden Denyer

‘If you value The Spinoff and the perspectives we share, support our work by donating today.’
Anna Rawhiti-Connell
— Senior writer

Landovel Trilogy by Emily Rodda (Ages 8+) 

I’m thrilled to report that Rodda continues her reign as Empress of Children’s fantasy. With a new cast of immediately iconic characters, strange lands to explore, and tyrannical rulers to topple – you know you’re in for a good time. After being rescued from slavers, Poison Taster Derry finds himself amid a conflict between the twin island nations of True and Free Landovel. While the militantly oppressive and anachronistic True Landovel seem to be the cut and dry baddies, nothing is ever so simple with Rodda. I found the integration of more modern and futuristic technology in Free Landovel a really fresh and interesting addition to the setting; not to mention the magic system and political machinations, which are sure to set kids imaginations ablaze! I know if I was reading this in school my margins would have been full of drawings of Derry, Num, Straw, and Cat. (If you draw Landovel fan art PLEASE send it to Eden at Unity Books!) / ED

All Better Now by Neal Shusterman (Ages 14+) 

Set in a near post-Covid future, the world is ravaged by a second pandemic. Crown Royale has a 4% fatality rate and leaves recoverees with a strange side effect… true and profound happiness. While some want to catch and spread the disease as fast as possible, many others wish to eradicate it, not only to prevent the death toll but because altruism and contentment are bad for business. Happy people don’t fill the voids in their lives with consumerism! Shusterman does ethical dilemmas like no one else. I kept finding myself thinking “OK, but what about this?” only for that exact concept to be explored, often with angles that I didn’t even consider. You are never told what is right or wrong but invited to form your own opinions after viewing all the extremes and shades of grey from a myriad of different perspectives. I wish I could be a fly on the wall for classroom and bookclub debates on its contents. It’s impossible not to be drawn into this world and interested in what it has to discuss. Books like this make you a more thoughtful person, and I would highly, highly recommend it.

And the Unity Books Wellington children’s bestsellers for October 2024 – January 2025.

1 The Wild Robot by Peter Brown (Piccadilly Press, $19) 

2 Dear Moko by Dr Hinemoa Elder (Penguin, $30)

3 Dazzlehands  by Sacha Cotter and Josh Morgan (Huia, $22) 

4 The Raven’s Eye Runaways by Claire Mabey (Allen & Unwin, $25) 

5 The Little Yellow Digger & the Helicopter by Peter Gilderdale, illustrated by Fifi Colston (Scholastic NZ, $22)

6 Howl’s Moving Castle by Diana Wynne Jones (HarperCollins, $20)

7 The Adventures of Mittens by Silvio Bruinsma, illustrated by Phoebe Morris (Puffin, $20)

8 Percy Jackson and the Olympians: Wrath of the Triple Goddess by Rick Riordan (Puffin, $30)

9 The Book of Bill by Alex Hirsch (Disney Publishing, $55)

10 Wings of Fire #8 Escaping Peril, The Graphic Novel by Tui T. Sutherland (Scholastic, $22)