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John Tranter’s 2012 Tapa Page —

page 099

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Text:
[ top, wide: old monochrome photo of Oneroa Beach from the air showing its half-moon shape, tinted yellow-green, titled nil. Below, two photos: left, Central right, photo of John Tranter hoeing sand, titled ‘jt-sand-poem-by-pam-brown.jpg’, with black ink following: photo by Pam Brown; below, two photos, left, people with sand-engraved poem, ‘f-words-in-the-sand.jpg’, right, distant people with words engraved in sand titled ‘g-shells.jpg’ pale blue ink: ]
tide to go out, not in, / during the / afternoon, so / our handiwork, / while not / immortal, was / able / to / survive / the / elements / until midnight at least. / /

Commentary:
No, it is not ‘f-words’ in the sand, it is more like ‘words-in-the-sand.jpg’ number five, that is, the letter ‘f’ begins the filename. As for evanescence (I once invented a character called Evan Escence) perhaps the disappearance of the poem suited its nature as the longest poem in the world. Which reminds me of the old popular song ‘Love Letters in the Sand’. From Youtube: ‘Love Letters in the Sand’ written by J. Fred Coots, Nick Kenny, and Charles Kenny in 1931 and recorded by Pat Boone on the Dot label spent 5 weeks at number one on the Billboard Top 100 chart during June and July 1957. Pat Boone was the second biggest charting artist of the late 1950s, behind only Elvis Presley. He is best known for his covers of R&B songs by black artists. Pat Boone, the Ronald Reagan of rock’n’roll. Even the very rich (note the yachts in the bay) have to die, as Shakespeare knew all too well. He writes in Cymbeline ‘Fear no more the heat o’ the sun, / Nor the furious winter’s rages; / Thou thy worldly task hast done, / Home art gone, and ta’en thy wages: / Golden lads and girls all must, / As chimney-sweepers, come to dust.’ The ‘as’ here means ‘like’.

Links: Cover: Cover Front Inner, Cover: Cover Front,
p.001, p.002, p.003, p.004, p.005, p.006, p.007, p.008, p.009, p.010, p.011, p.012, p.013, p.014, p.015, p.016, p.017, p.018, p.019, p.020, p.021, p.022, p.023, p.024, p.025, p.026, p.027, p.028, p.029, p.030, p.031, p.032, p.033, p.034, p.035, p.036, p.037, p.038, p.039, p.040, p.041, p.042, p.043, p.044, p.045, p.046, p.047, p.048, p.049, p.050, p.051, p.052, p.053, p.054, p.055, p.056, p.057, p.058, p.059, p.060, p.061, p.062, p.063, p.064, p.065, p.066, p.067, p.068, p.069, p.070, p.071, p.072, p.073, p.074, p.075, p.076, p.077, p.078, p.079, p.080, p.081, p.082, p.083, p.084, p.085, p.086, p.087, p.088, p.089, p.090, p.091, p.092, p.093, p.094, p.095, p.096, p.097, p.098, p.099, p.100, p.101, p.102, p.103, p.104, p.105, p.106, p.107, p.108, p.109, p.110,
 Cover: Cover Rear Inner, Cover: Cover Rear.

These are scans of pages of a Tapa Notebook, filled out by Australian poet John Tranter for the University of Auckland Library. It recounts his experiences in Auckland in March 2012 at the University’s symposium ‘Short Takes on Long Poems’. John has published an internet journal with similar material. This Notebook has the advantage of handwriting, doodles, decoupage and lots of colourful New Zealand stamps. Copyright Notice: Please respect the fact that all the material on this site is copyright © and the individual authors 2012 to 2016 et seq. It is made available here without charge for personal study and enjoyment by individuals only. It may not be stored, displayed, published, reproduced, or used for any other purpose.

 

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