Pieces of silver

0183a71c1097e9c67227ff136ec8546011d254af01 This technique is very similar to making samosas only there is no reward at the end.[/caption] [caption id="attachment_1466" align="alignnone" width="300"]010e5d7e6b9699f58c7cb8c00f9848ed44d5d5a2e6 The sock folding technique. I will say it is inside out which I think is a b it of a flaw.[/caption] On you-tube there are 133,000 hits for how to fold a fitted sheet. In my mind people simply don’t have enough to do. http://www.oprah.com/oprahshow/How-to-Fold-a-Fitted-Sheet-Video   Deb has some lovely silver and I took it upon myself to give them a shine up. It was very satisfying! I am now awaiting my Christmas day invitation to admire my labour.   01c9d345137f86a9d5dd99bb30713919274511dfb8  01d5237a133aea5019cb40a580a23e43b38c32dc82   However, Deb does not hold all the home-making secrets and awards. I have taught her to knit and her dog Millie, is now the proud owner of striped pajamas. 015ca6bd8becbae8db95d8c9a501cc3b40c8115615   We are always looking out for new walks to take Millie on and came upon this lovely area called Heron Park the other day that looks out on Pollen Bay Marine reserve . 01d5b95e3a4fb3ff00978ec2d36b8157f238739183 015fb6505e68cad2477a75e4bae71069ac41899665 0139cecef89609ca8d26f77feeaf2df76399c979b4 0187ee85dc7f181d8be52a14098cb8b613bedf1925 01440ba9c40c91495c680fc2abeba57e9666098b98 Hobsonville Point is growing apace and there are now new bits of the sculpture walk as well, so Millie took a turn around there as well. 01a3c180807b460e65bbe71aa6a00cf63a91977648 01c78f0fcdbeb0a5f54f247012cd86a40fb3c69b2d 01f545168601514658020af08cb6bbff556a956790 0140f2611bcf31b774b5df3534d5b4a66b155317c4 0150a9265b663ef99799baaa9a6a97a72acd53033b   My recommendations for the film festival so far are Grandma, Amy and The Fool. Amy is already out on general release and I’m sure Grandma will be as well. I am going to Mia Madre today as it is meant to be very good. Will let you know. And finally, From Scotland With Love- this left me swamped with childhood memories- ruched bathing suits, handstands, plastic folded rain bonnets, the thermette, and constant unsupervised play outside. How fit all the kids looked-no obesity problems in those days it seemed. (Possibly hungry tummies though. ) I was seated on my own and when I sat down beside an elderly gent I politely inquired whether he was Scottish. The dour and single response was, “Yes”. That terminated the conversation. Fortunately my Scottish ancestry kicked in and I took offence and turned away. Virginia and Grant answered questions from a full house. 01549b776cd1fac7727d2c21dc8585fb6a14c41bb2 My thought for the day. Have a good week everyone. FG 0104204742e88d2aa43abe7a09b0ffbee583022edb      ]]>

All at Sea

01d75e6a5032eb9b73f5af4b974cdb2a41441723ee 01c58760e1dc60841ac86881c4234ac83d7a76e2a7 [caption id="attachment_1456" align="alignnone" width="225"]01296515c9f4e5c4e7a9338cab00102ae057064d95 Pushing off from the wharf down town.[/caption] [caption id="attachment_1457" align="alignnone" width="300"]014731810ff99b11bc6b0aeed31010cfb0099e5611 The three musketeers.[/caption] The eel basket with Fiona’s poem (or some of it) at the base. [caption id="attachment_1453" align="alignnone" width="300"]010ca6b8abf31fbc9099e2a1cc19f5c2cd06d4b3f2 How much nicer than the motorway for getting to work.[/caption] 010bfa93aaff08cbd0599f455960a4f4cc2537848c 014b0934145c6a014765116a56ea03268a1fe26a8b We were especially interested in the sculpture below as Fiona wrote the poem which is at the base of the eel basket.

Hinaki / Guardian

Location: Ferry Wharf, The Landing Artist: Virginia King Materials: Stainless Steel The work was conceived as a symbolic eel-trap (hinaki) but also suggests the form of a female figure or a classical vessel. Historically the tidal flats were abundant breeding grounds for eels, fish and shellfish. The sculpture passes through a circular hole in the wharf and reveals views of water below. Two engraved rings, like ripples in the water, encircle Hinaki. The text is from the poem Eel, by Fiona Farrell. In sunlight the sculpture casts strong linear shadows. In mist and sea fog, the form becomes a looming figure. http://www.hobsonvillepoint.co.nz/community/public-art 011be1be24c0466805e9088c070284ee6ba04e069d Here is Fiona Farrell’s poem in its entirety:
Eel my youth was glass pip of my heart threaded on gut and vein for all to see dark currents bore me west then south to a place where waves shattered at a wall of grey shingle I wriggled through and dropped into my life bird pipe flax rattle mud suck green leaf spinning on water suspended in my small pond I lived my hundred years forgetful of the sea beyond the bar knowing only the dimple of rain soft blur of stars growing thick as your leg on shreds torn from dead sheep snapping at flies but never taking proffered bait I have lived as you have lived: cautiously but now I am old and the sea knocks at my head and there’s a taste to the water that was not there before I cannot eat cannot settle guts shrunk to dry rattle I turn head on to the current and swim against the stream drawn by the sound in my head my eyes see more clearly than they have ever seen they are rimmed with blue so that I may see in the dark that lies ahead I think more clearly than I have ever thought my brow flattens so that I may move without impediment through the dark that lies ahead my belly is heavy frilled with eggs 20 million strung on velvet I am become lean and full of purpose I cross the bar on a moonless night skin scraped blood raw on sharp shingle I drop back into the dark into the ocean where everything moves faster and the lights confuse I find my path my body freighted with millions I am heavy with the future I bear it along the dark path through forests of kelp and booming cavern following the taste in the water and the stars marking sharp left and right I swim north then east one undulating muscle one blunt head barking at the moon I swim to the place where it is time to burst I heave and writhe torn flesh egg dances to sperm the water glitters like broken glass and now that’s done I drift upon the surface empty old bag skin for gulls old bag
For those of you with a keen interest in the Christchurch quakes and their aftermath, Fiona has just published a non-fiction work called The Villa At The Edge of the Empire. I stole all of the words below from here as I found them fascinating. The reviews have all described this book as “indispensible” but I am also really looking forward to the second volume which is fiction. Please take the time to read the extract too as the whole remaking of Christchurch is a complex and fascinating subject for everyone in NZ. FG Christchurch rebuild: Welcome to Brownleegrad Fiona Farrell in pre-quake days. She says it is impossible to avoid politics when writing about the Christchurch rebuild. Fiona Farrell in pre-quake days. She says it is impossible to avoid politics when writing about the Christchurch rebuild. Kirk Hargreaves Fiona Farrell’s new book is a marvellous and wise account of life in Christchurch after the earthquakes, writes PHILIP MATTHEWS. Also, there’s a book extract at the bottom of this story. Fiona Farrell is a quiet and unassuming presence in the foyer of The Press building in central Christchurch, dressed in a heavy coat and scarf on another below zero morning. As she waits downstairs to be interviewed, she scrutinises an exhibition of historical photographs of troops leaving Christchurch during World War I. She explains later that she was looking in these pictures for one thing in particular, a detail that may be important in a work in progress. But you can also take it as expressing something about how novelists and poets see the world. They scan surroundings differently and they notice things the rest of us fail to see. And sometimes they help you find words for inexpressible emotions or difficult experiences. As this is Christchurch, these are usually earthquake stories, often pitched as icebreakers in conversations: where were you on September 4, 2010, or February 22, 2011, and what is the status of your house repair? Farrell has already covered this in her writing. She lives most of the time in what she calls a little hut on Banks Peninsula but on the cold morning of September 4, she was asleep in her flat in town. She writes about it so well: “The kitchen floor was covered in broken glass. It glittered like unseasonable frost. We swept up what we could. We walked out into the fragile morning. Sunlight dazzled and the very air seemed filled with dancing particles. We were tiny on the shimmering surface of the Earth.” We could keep on quoting but best to pick up your own copy of Farrell’s new non-fiction book, The Villa at the Edge of the Empire: One Hundred Ways to Read a City. Some of us have been waiting for a book like this about the earthquakes and the years after; a book this literate, considered and insightful. And not just Cantabrians. On the day we spoke, Auckland writer and editor Paul Little had just published a review in North and South magazine that called it the first indispensable book to appear after the quakes. Farrell has not yet seen the review and is chuffed to get the news. Once a book goes out into the world, there is no way of knowing how it will be received. “With a book, you fling it in the air and it lands in the most amazing places,” she says. An abandoned house in the Christchurch residential red zone. All of our houses have stories, says writer Fiona Farrell. Iain McGregor An abandoned house in the Christchurch residential red zone. All of our houses have stories, says writer Fiona Farrell. “It felt like I was hammering all these bits together and it made sense to me but I had no idea if it would be coherent to anyone else.” In a way, that speaks to the quake experience. It was an “egalitarian” event, in Farrell’s view, because we all went through the same disaster at the same time, but in the years since we have mostly suffered or stoically endured in isolation. There is a brilliant image for this in Farrell’s book. She talks about empires. The title describes the ruins of a Roman villa in Britain, a house reduced to pieces and fragments. But for us in New Zealand since Pakeha settlement, there has been the British empire, then a US empire and now an invisible, shapeless empire of global capital that only occasionally becomes obvious to us. We have had a few occasions to notice it lately. As Farrell puts it in the book: “In the empire of the insured, every man or woman is an island.” We are all on the end of the phone or writing emails at home, doing our own negotiations and our own project management. Many feel stranded or abandoned. Farrell’s book gets some of this communal experience and conveys the right sense of outrage. Yet it can also be funny. Her opening pages, in which she reviews the bombastic media launch of the blueprint in 2012, must be some of the sharpest writing about the rebuild so far (see extract). There is further good news. The new book is the first of two on the subject. The second will be a novel which may even have the same title, if Farrell’s publisher agrees. She likes the idea of two volumes in a box set, like an old-fashioned children’s book. “This is the foundation layer. I think of it as a bedrock of facts and history and then I am building this novel that sits on top of it.” A book about a house that is kind of like a house? Farrell talks in spatial metaphors, building metaphors. “It could be a really big novel. I’m not sure. I’m just going to leave it to take up the space it does.” She won the $100,000 Creative New Zealand Michael King Fellowship in 2013 for the two-book project. There has been a fair bit of poetry about the earthquakes, some written by Farrell. There has been tons of print journalism. But fiction? That has been slower to get going. Fiona Farrell says New Zealanders are very tolerant of change. We’re accustomed to it. “I think it’s because facts eclipse what you can imagine,” she says. Early on, to create fiction seemed “almost an affront to people who were going through very real, horrible, gritty things”. You heard incredible stories from your friends or you read them in the newspaper, so why invent? The subtitle “One Hundred Ways to Read a City” relates to the fragmentary structure of the book. There are 100 short sections. The novel will work in the same way. It is like a mosaic or maybe, she says, like nailing together a bach out of bits and pieces. Another building metaphor: the 100 pieces could be akin to bricks scattered on the ground. An architect would reassemble them one way, a journalist another and a novelist a third way. The fragmentary nature of it suits the quake experience too. There are some isolated pieces you may have forgotten in the blur of events: the Flockton basin flooding, the school closures. But it is still too soon for a smooth, tidy narrative. “I felt bewildered and puzzled. I had to make a kind of map for myself. That’s why I wrote the book, really.” Beyond Christchurch Writing a book is an isolating experience but festivals are one way of encountering a real live reading public. In July, Farrell will talk about her work at two events in the Marlborough Writers Festival. In August, she appears in a panel titled Imaginary Cities in the Christchurch Arts Festival. The session could be enlightening – as well as Farrell, there will be young novelists Anna Smaill and Hamish Clayton, urban design adviser Hugh Nicholson and art historian Lara Strongman. Fiction writers and town planners? But, then, what is the Christchurch blueprint other than an imaginary city brought to some kind of life? Another question the book prompts is whether people still want to know. Beyond Christchurch, anyway. One of the reasons why the North and South review was so pleasing to Farrell, and to those in Christchurch who have read the book, is that it shows some people still care. When Campbell Live was reviewed and cancelled by TV3, it was reported that management were sick of the show’s campaigns on the Pike River disaster and the Christchurch quakes. It was as though we had lost a national focus and could only think regionally. Or could no longer follow an ongoing, unresolved, depressing narrative. Farrell sees it as “a failure of empathy”. “You can make local events, like the Wahine storm, relate to the whole of New Zealand,” she says. “Maybe people [outside Christchurch] should be concerned. After all, they’re paying for it. Paying billions.” It is true to say that this is also a political book. Fair enough, too, as the recovery is a political story. Farrell sees the imposition of political control from Wellington as consistent with this Government’s approach even before the quakes, as we saw in the sacking of Environment Canterbury councillors. The Christchurch City Council’s plan was sidelined. Someone somewhere decided that the new Christchurch needs a big temple to rugby. That in itself could be considered a political act. She writes amusingly about the city of Brownleegrad, in the province of Rugbistan. One section of the book covers the Avon Loop where Farrell lived for a time. It was a site of radical and progressive thinking in the city. Elsie Locke was a local heroine. Later, talking about the Avonside red zone clearances, Farrell sees a departing resident write “Brownlee sucks” on a kitchen wall. “You can’t avoid politics. People talked about politicising the quake as a bad thing.” She is 67, she says, with a sensibility forged in the “personal is political” era of the 1970s. “I’ve always been very interested in the way New Zealand has been framed. I suppose it’s become more focused.” She thinks of herself as a citizen, not a consumer or an asset of insurance companies. The difference is important. The book is packed with thinking but the wisdom is, as reviewer Paul Little said, “laid lightly upon the page”. Everyone is sure to learn something. Roman philosophers are consulted. The lovely word “solastalgia” is cited. It was coined by an Australian philosopher, Glenn Albrecht, to describe “the psychic disturbance experienced by humans when their landscape has been destroyed or altered radically by manmade or natural causes”. He called it “the homesickness you have when you are still at home”. Albrecht was talking about the impact of mining in the Hunter Valley, but we know solastalgia in Christchurch. We are experts in it. Farrell leaps from the Avon Loop to Italy. That’s a big leap. The Italian city of L’Aquila is earthquake-prone; it was hit by a 6.3 quake in 2009 that killed 309 people. Farrell visited in 2014 and found a city that was still empty of people. Thousands were moved to temporary accommodation. She compares and contrasts. Is this better? Is this worse? Much of L’Aquila’s beautiful old city will be rebuilt, painstakingly and slowly. It will be built again and it will fall down again. Such reconstruction would be “inconceivable” to us, she believes. Instead, we wanted to clear away the debris and get the city back to business as quickly as we could. “We love pulling down and starting again. That’s the way we are. I think that New Zealanders are very tolerant of change. We’re accustomed to it. “A lot of us of Pakeha ancestry are not that far from a person who just said, ‘Right, I’m off’ and made this huge change. It means there is a tolerance for things shifting and moving. The image of a house put on a truck and taken somewhere else is such a part of our landscape.” Some of our post-quake arguments have been about the emotional necessity of keeping or restoring some of what we had before the disaster. It gets back to the idea that places are storehouses of memories, that buildings hold the historical record. “[A house] has all those little narrative hooks. That’s in my novel. The little crack in the window is where something happened or the nail hole in the bedroom wall means something. I think that when you take away all those narratives, you live in a kind of present. It’s very unsettling.” Which does not mean that Farrell is a diehard heritage traditionalist. She looks forward as well. Who would not feel curious about the final shape of the new Christchurch? She writes that she wants it to emerge as a beautiful city after its extreme make-over. “There is a bit of me that loves the history of things but I also love going to see new buildings. There is a bit of me that is curious to see what is going to happen. They fight against each other.” EXTRACT: THE FLYOVER OF HOPE Midwinter, 2012. The dark heart of the year. But in the city, a new sun is rising. There is music, a swelling of violins, a sonorous chorus of male voices. It could be the soundtrack to The Lord of the Rings, that moment where Bilbo catches sight of Mordor, when all chaos and pain will pass and order will be restored to Middle Earth. There is an image of a wide green plain. There’s a ring at its centre. From above it looks a bit like Stonehenge, some ancient site of ritual worship, but is more likely the circle left by an irrigator, rendering the stony soil fit for pasturing a thousand thousand dairy cows. Then there’s a little jetboat racing upstream between beds of shingle, heading somewhere and heading there fast, and the music swells and a voice-over announces “an unprecedented opportunity in the South Island of New Zealand”. A couple spin by on a tandem, a white boy on the front, a brown girl behind, both pedalling unsteadily through green trees, both laughing with delight at the prospect of their opportunity. Earthquakes have destroyed their beautiful city, 70 per cent of its major buildings have been or are about to be demolished. But 106,000 of the city’s residents have risen to the call! They have submitted their vision for a new city and here is the synthesis of their dreams, a “flyover of their hopes”. The music changes to something more percussive, the tempo accelerates and we begin to fly. We swoop over the city like supermen, up one street and down another. Over a Green Frame that will sweep away the vestiges of a Victorian mercantile past beneath 21st-century grass and trees. Over the blue and yellow rectangles that are to be new precincts. Health will be dispensed from a Medical Precinct around the existing hospital, justice from a Legal Precinct a little further east, just past a Sports Precinct, whose facilities will cater for all ages and levels of ability. We fly north and there’s the Performing Arts Precinct and a Cultural Centre and next to them, dwarfing all else, a Convention Centre, “purpose-built”, “state of the art”, the city’s throbbing cultural heart. We fly above it all. It’s so easy. Like those dreams of flight that are supposed to be something to do with sex. Weightless, effortless. The city lies beneath us in its shining geometry. There’s the tiny brown rectangle that will be the new public library, there’s the oval that is to be a new cricket ground, making proper, profitable use of the Victorians’ dull and undeveloped city park. We wheel unnoticed over the heads of all the people gathered to party in the Entertainment Precinct before a vast screen broadcasting a rugby match. Tracers of light race and dazzle, and what is that, rising in the east? That vast illuminated pleasure dome? Why, it’s a new Rugby Stadium, miraculously teleported here from its previous location on the light industrial periphery and come to rest like some alien spacecraft at the city’s core. And the voice repeats the invitation. Come! Be part of this opportunity! This vision that will inspire the world! It’s achievable! It’s affordable! And it’s ready to fly! The blueprint flashes across the television screen, three minutes and 22 seconds of glittering promise, product of 100 days (well, 103, actually) of frantic planning. It’s a video game with all its glitter and zing. Like some Deus Ex 3 vision of the city as futuristic wonderland, ablaze with light. Some bitchin’ imagery of a home fit for heroes blessed with heavy stubble, curious anatomies that are part flesh, part nano-tech augmentation, and in possession of a wide range of imaginative weaponry. Except that this is a design for the distinctly unaugmented. It is a plan for a small city on the edge of a narrow island at the foot of the Pacific. A blueprint for concrete, tarmac and cement. A map to an everyday future. Reproduced with permission from The Villa at the Edge of the Empire: One Hundred Ways to Read a City by Fiona Farrell. Published by Vintage, Penguin Random House NZ. RRP $40.00. Text copyright © Fiona Farrell, 2015.  ]]>


Have nothing in your house that you do not know to be useful, or believe to be beautiful.

William Morris

How I wish I could stick to the above. When I put the house on the market I did get rid of a lot of stuff and I did find it really liberating. However, when I had to finally move everything last week for final settlement, and I really thought I didn’t have much, I found I had to move everything from a small storage unit to a bigger one.

In the end I am a reluctant giver upper of stuff. I confess that I have kept the driftwood for my Christmas tree even though I have another one. It was a tradition for Sam and me to go and collect the lovely bone dry, white driftwood out at the wild Taumutu beach at the end of Lake Ellesmere and then we would spend the day propping it up around the fireplace and hang an assortment of Christmassy things on it. You just can’t get that white wood up here, or at least I haven’t found any.

[caption id="" align="alignnone" width="300"] This aint no sweet little swimming beach. The shelf drops steeply away and it is usually windswept and wild but a fantastic place for blowing away the cobwebs.[/caption] [caption id="" align="alignnone" width="320"] At Taumutu there is also this mystical little church and cemetery to visit.[/caption] [caption id="attachment_1444" align="alignnone" width="225"]IMG_7435 (600x800) My bits of driftwood. I think over the years there are fewer of them![/caption] Bruce is looking after a bit of my “stuff” but I know that when I open that storage locker in 6 months time there will be again, so much stuff I wish I had thrown out. My intention is to put most things in the garage and then only take out what I actually miss. I don’t want to burden my son, Sam with a pile of stuff he doesn’t know what to do with when I cark it. Maybe I will order and box my photos more sensibly or scan them or something. Good intentions….but I might just keep the driftwood. Meanwhile, there is the film festival to enjoy. It is a great line up and I found it hard to choose, especially as I can go to some of the day ones. I am staying with my friend Deb and her sister, Virginia Heath, is a film director so I am rubbing shoulders with the rich and famous…well the famous anyway as Virginia’s film is in the festival. Her partner , Grant Keir, is the producer. It is called From Scotland With Love and Virginia and Grant will be there for the Q and A after both screenings in Auckland.

The BBC says, “From Scotland With Love’ is a 75-minute film by award-winning Director Virginia Heath made from archive film material with a score by Scottish musician and composer King Creosote. Archive stills courtesy of the Scottish Screen Archive.”


Check out the making of it below: https://www.youtube.com/watch?v=JF0BFlEYRTs From what I’ve heard of it so far the music is stunning and the images beautiful. Hope to see you there. The weather is gorgeous, if a little chilly, and is going to be so for the rest of the weekend. The second floor is on my wee house so I will take some pics over the weekend. Have a lovely weekend, and clean out that crap you know you don’t need… 🙂 FG  ]]>

Dog day afternoons

010cc26f93335c5546b61812568048bb0a3537ccd9 014cb5b803b5380f9682ad5fb4a539e372082960a7 0187d1ff289ae3c0e073ebc3571008bfa2b92d208b Today I worked at the HP info centre and actually biked there and back but I do have a small confession…the bike has a battery for the hilly bits. 01f15e1090ef6492b5e090ae0037c1f23e24ced936 016746516789f42f5cd446f474e1ea77476268c42e I am exploring my local paths and walks and there are lots of interesting ones. We can complain about the council but I think they do a great job of maintaining paths and walk ways. This little diversion is just down the road from where I’m staying. 01a59b36b928d7a4ff11cb300f9e7fea6be03afbcf 01e695ff58faf5b93853cd73071ba452a40d075c4b The other day we went for a walk that encompassed a bridge over the motorway with lots of ceramic tiles on it. These are to mark the pottery industry that was a part of Hobsonville Point. Before European settlement the land was covered in kauri forest.The tidal flats on the southern and eastern coast were teeming with birds and shellfish, a source of delicious kai for local iwi (Ngati Whatua and Te Kawerau a Maki).They knew the Point and surrounds as ‘Onekiritea’ after the clay soil found in the area, which they used for its pigment and as a natural soap. In 1853, the Crown bought 600 acres on the peninsula from Ngati Whatua and renamed the area ‘Port Hobsonville’ after Captain William Hobson, the first Governor of New Zealand. The land was mainly used for farming, however in 1863 Rice Owen Clark, frustrated with his claggy, non-draining farmland, developed pottery works at nearby Limeburners Bay to commercially produce clay drainage pipes. Eventually seven companies operated until the clay ran out in the 1930s. Rice Owen Clark’s descendants went on to form Crown Lynn Pottery in New Lynn. I defy any kiwi to deny owning some Crown Lynn in their kitchen at some point in their lives! My sister had this set: Image result for crown lynn pottery nz And this hokey pokey number was definitely somewhere in a past life. Image result for crown lynn pottery nz and now these are highly sought after 🙂 http://www.nzhistory.net.nz/media/interactive/crown-lynn-pottery Anyway, back to the bridge. It is bright yellow and goes over the motorway near HP. It leads down to some protected workers’ cottages but has some interesting ceramic work on the way as a nod to the pottery works. 01e6da83355838d58be5a33bf88d5cf4f02bfc414d01b1af8935c552d5d170bd4c8ec6c8ca098b76e5c5010e7a2fd646586e9e69959641cd740e80d600aff8 012fed0baad51fa795a816cf5e5a73ada2d5606f12   [caption id="attachment_1435" align="alignnone" width="300"]01fe60baac16fb90d8174af85fbf14b56e977e49ef Still knitting. This is a rug for a dear friend who lives in chilly Dunedin. She is 80 at the end of the year but I hope to get it finished before then! The wool is divine.[/caption] 01e0568ef553a2eb4d0eed7f4e5dc57373c1b560e3   Have a happy week. FG    ]]>