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International Katherine Mansfield 100 Festival
* Online *
17-19 November 2023
pm NZ Time + Repeat 12 hours later at 9pm-3am)
Sherry Grant

Marama Hall Photo.jpg
A KM100NZ project for NZ composers to compose new art songs for mezzo soprano & piano, setting Katherine Mansfield's words to music
Tickets available HERE
(free for students with ID at the door)

2 - 3:30pm, Saturday 17th September 2023,
Marama Hall, Otago University, Dunedin

KM100NZ presents NZ music

mezzo soprano: Tessa Romano
piano: Sherry Grant

1.-3. Anthony Ritchie: Exquisite Spirit - Katherine Mansfield Songs (Op.222, 2023) - To L.H.B. / The Sea-child / Loneliness

4. Warwick Braithwaite: Fragment (1915) (PIANO SOLO)

5. Janet Jennings: Jangling Memories

6. Nigel Keay: Voices of the Air

7. Michael Norris: In the Rangitaki Valley

8. Douglas Lilburn: From the Port Hill (1942) (PIANO SOLO)

9.-11. Andrew Perkins:  The Gulf / Very Early Spring / The Earth-child in the Grass

12. Thomas Goss: Across the Red Sky


13. Yvette Audain: Malade

14. Peter Adams: The Secret

15. Kenneth Young: The World is Beautiful Tonight

16. Ben Fernandez: Covering Wings

17. Alfred Hill: Prelude ‘Through a Veil of Mist’ (1924) (PIANO SOLO)

18.-20. David Hamilton: His is Just a Little Song / The Lonesome Child / A Day in Bed

21. Mary Brett (1887-1974): Nocturne (PIANO SOLO)

22.-23. Ross Carey: Two Poems of Katherine Mansfield - There is a Solemn Wind Tonight / Sea Song 


NZ Composer
Short Biographies
Programme Notes

Andrew Perkins

ANDREW PERKINS was born in Warkworth, New Zealand. 1992 he was appointed Auckland Philharmonia’s third Composer In Residence, writing for them. Andrew completed his PhD Music at Melbourne University, graduating in 2013. He now resides in Dunedin, NZ. Andrew has had a number of significant works recorded and performed in New Zealand and internationally, Symphony Der Bote for mezzo soprano and orchestra, Waltz-Fantasia for orchestra (2012), Vespers for Pentecost for soprano, choir, tambura, and orchestra (2012), The Radish and the Shoe for narrator and orchestra, Three Spanish Songs for mezzo and orchestra, and Concerto Grosso for flute, harpsichord and strings (2015). 

Andrew Perkins – Three Katherine Mansfield Songs
9. Very Early Spring
10. The Gulf
11. The Earth-child in the Grass

Andrew has chosen three poems by Katherine Mansfield that make use of the imagery of nature. These works offer readers, and now listeners, insight into the complex nature of her relationships with men and women. Although each song is based on a different scalar formation, the scales share common characteristics. Similar melodic shapes and intervals also help to unify the three songs. In Very Early Spring, Mansfield personifies the sun as a male figure, and the wind as female, interacting but remaining separate. The song is full of contrasting musical gestures – some strong and cool, and others delicate and warm. In The Gulf, the lovers are separated by a gulf, but no mention is made of the identity of the two. The idea of bridging the gulf is usually viewed as a metaphor for Mansfield’s constant searching for fulfilment. The gulf is represented in the music through the extreme registers in the piano and vocal part, and between voice and piano. An ever-shifting ostinato creates an air of tension in the music throughout the song. In The Earth-child in the Grass, the lovers are represented by the counterpoint between the voice and piano part. The sensuous use of metaphor in the poetry, such as the green blades of grass, the move from coldness to warmth, and from weeping to laughter is likewise reflected in the music. I have added another impersonal witness to this natural scene in the form of a bird whose song can be heard in the piano part.


Anthony Ritchie

ANTHONY RITCHIE is a renowned composer whose works have been performed by ensembles such as The Takacs Quartet, and soloists such as Bella Hristhova. His many commissioned works include concertos for piano, violin, viola, flute, guitar and euphonium, six symphonies, six operas and chamber music. In 2016 he was joint winner of The NZ Classical Album of the Year. His Symphony No.5 ‘Childhood’ was rated one of the recordings of the year by MusicWeb International, 2022. Anthony is currently Professor of Music at The University of Otago in Dunedin, and Head of the School of Performing Arts.

Anthony Ritchie – Exquisite Spirit

1 - To L.H.B.

2 - The Sea-Child

3 - Loneliness

Exquisite Spirit comprise three songs for mezzo soprano and piano, based on poems by famous New Zealand writer, Katherine Mansfield. The songs are To L.H.B. (1894-1915), The Sea-Child, and Loneliness, and are symbolic evocations of Mansfield’s own life experiences. The first song is about her brother who died in World War I, and the longing to be reunited. Some fo the tragic darkness in Mansfield’s life is captured in the music of these songs.


Ross James Carey

A native of Te Awa Kairangi/Lower Hutt, ROSS JAMES CAREY's explorations of words and music include accompanying Chinese, Indonesian and western art songs, composing poetry (his meditation on a 2020 lockdown, 'Xinzheng Couplets' is published online by SOUNZ), music theatre ('Kate Kelly', libretto by Merrill Findlay) as well as art songs.  The latter includes settings of Ruth Dallas and Fleur Adcock and a current project setting poems by Rina Ombara in the original Bahasa Indonesia.  Ross has performed his own and other contemporary composers' works around the Asia-Pacific while his compositions have been performed by interpreters including pianist Gao Ping, Continuum Ensemble Toronto and the Aroha String Quartet. A list of his published scores can be found at

Two Poems of Katherine Mansfield

22. Sea Song

23. There is a Solemn Wind Tonight 

The two poems of Katherine Mansfield’s I’ve chosen both resonate for me on a very intimate level. ‘There is a Solemn Wind Tonight’ speaks of that elemental force of nature that every born and bred Wellingtonian feels in their bones, and that perhaps continues to have a mysterious kind of hold upon our psyches. Sea Song likewise is an ode to memory, those bittersweet echoes of a more carefree existence that Mansfield seems to acknowledge begrudgingly: ‘Memory dwells in my faraway home/She has nothing to do with me’. ‘Sea Song’ concludes with an extended passage for piano solo during which our poet/protagonist attempts to reconcile her alienated present with an idealised yet ultimately out of reach past. Two Poems of Katherine Mansfield were composed in Xinzheng, China in May & June 2023 and are dedicated to their first interpreters, Tessa Romano and Sherry Grant, and to John Sharpley, like K.M. a fellow traveller across cultures and a chronicler of imaginative power.


Kenneth Young

As one of New Zealand’s foremost composers, Kenneth Young’s works are performed regularly throughout Australasia, Europe, and America. For over twenty years until 2019 he was a lecturer in composition and conducting at the New Zealand School of Music at Victoria University Wellington, before moving to Dunedin to take up the Mozart Fellowship at the University of Otago. Young is also one of New Zealand’s leading conductors. He has worked with all the major orchestras in New Zealand and Australia while also making appearances in the United Kingdom and Japan. His numerous recordings of New Zealand and Australian orchestral music have been recognised internationally.

15. The World is Beautiful Tonight

The contrast of wonder at the beauty of the night and all who glow in it, alongside the poet’s self-despair, appealed to me very much in this short verse. One of Mansfield’s most poignant.


Michael Norris

MICHAEL NORRIS is a composer, software developer and music theorist. He teaches composition at Te Herenga Waka—Victoria University of Wellington, is editor of Wai-te-ata Music Press, and directs Stroma New Music Ensemble. He is the recipient of the Mozart Fellowship in 2001, the Douglas Lilburn Prize in 2003, the CANZ Trust Fund Award in 2012, and has won the SOUNZ Contemporary Award four times, in 2014, 2018, 2019 and 2020. He has had works performed at festivals such as Donaueschingen, with performers such as the Hilversum Radio Chamber Orchestra, Soundinitiative, Ensemble Nikel, the NZSO, Roberto Fabbriciani, the NZSQ, NZTrio, the Viennese Saxophonic Orchestra, Ensemble Offspring, Ensemble Reconsil, and the Ensemble Pierrot Lunaire Wien. Michael's suite of real-time audio effects, 'SoundMagic Spectral', is widely used in both industry and academia worldwide, by artists such as Aphex Twin and Brian Eno. Michael’s other research interests include post-tonal theory, New Zealand music and the intersection between maths and music. For more information, visit,

7. Michael Norris: In the Rangitaki Valley

In November 1907, Kathleen Beauchamp (later Katherine Mansfield)—then aged 19—joined friends on a lengthy camping trip through the heartland of the North Island, travelling by caravan from Hastings through to Rotorua, along what is now State Highway 5. At the Waipunga Falls near the settlement of Rangitaiki (sometimes misspelled ‘Rangitaki’) on the border of Hawke’s Bay and Bay of Plenty, she experienced one of those typical shimmering summer days, where the boisterous winds placed the world into constant motion around her. A year or two later, after she had left New Zealand never to return, she would look back on this day and capture her impressions in the unabashedly romantic and joyous poem ‘In the Rangitaki Valley’.


Thomas Goss

THOMAS GOSS is a professional composer and orchestrator whose scores have been performed and recorded in 9 different time zones, in a variety of genres from film and crossover to ballet and the concert stage. He has held the position of Education Composer-in-Residence with Orchestra Wellington for 16 years, creating long-running schools tours and education concerts. He also directs the internet community and YouTube channel Orchestration Online, with an estimated 100,000 followers across several social media platforms. His orchestrations of Pasifika songs for NZSO’s “Mana Moana” concerts with Signature Choir were premiered in Wellington in 2022, with a repeat performance coming this November in Auckland.

12. Thomas Goss: Across the Red Sky

Thomas Goss' setting of “Across the Red Sky” manifests the cries of birds, the cool uncertainty of the evening sky, and the gentle flapping of bird’s wings. The vocal line looks back across a century of art song in its character, shaping the melodic curve along the arc of Mansfield’s reflective disquiet and wonder at the beauty of nature.


David Hamilton

DAVID HAMILTON i(b.1955) was Head of Music at Epsom Girls Grammar School until the end of 2001. He has been Deputy Music Director of Auckland Choral (1996-2011) and Composer-in-Residence with the Auckland Philharmonia Orchestra (1999). He works part-time in music education as a composition tutor and choral conductor. He is well-known as a choral composer and conductor, workshop leader and adjudicator. His choral music is widely performed, and is published in the UK, USA, Germany, Spain and Finland. His music has won numerous competitions in New Zealand, and also internationally (Italy, USA (6 times), Israel, Spain, Australia. and the UK). For more information, visit



18. This is Just a Little Song

19. The Lonesome Child

20. A Day in Bed


These three settings were written for a centennial concert of songs setting the poetry of Katherine Mansfield (1888-1923). Mansfield wrote short stories, poetry, letters, journals and reviews, and is regarded as a central figure in British modernism.Three story collections were published while she was alive and two posthumously. She spent much of her life in England and Europe, eventually succumbing to tuberculosis. These children’s poems, from the 1907 collection “Children’s Book of Verse”, are early examples of her writing and not as widely known as her later poetry and short stories.They have a charm all of their own, while following the conventions of similar writers of the period such as Robert Louis Stevenson, Hans Christian Andersen, andWalter de la Mare. The three poems set here all have a bittersweet tinge - from the child suffering illness, to the lonely child desperately wanting playmates, and the child confined to bed with a cold wondering if she’s been abandoned. “Three Children’s Songs of Katherine Mansfield” was written for pianist Sherry Grant and mezzo-soprano Tessa Romano       


Nigel Keay

Originally from New Zealand, NIGEL KEAY today lives and works in Paris, France as a composer and violist. Throughout his musical career he has always been an active participant in presenting his own music either as a violist or on occasions as conductor. Before leaving New Zealand in 1998 Nigel Keay had held several fulltime composer-in-residence positions; the Mozart Fellowship in Dunedin, Nelson School of Music and the Auckland Philharmonia Orchestra.

His music has been broadcast by Radio France on several occasions; in October 2013 Nigel Keay was the featured guest on Radio France Musique's Tapage Nocturne programme. Nigel Keay's works are increasingly being presented in prestigious concert venues in Europe and further afield. These include:  Diversions for Quintet at the Graz Opera, Austria, at Casa da Música, Porto, Portugal, at the Paris Oboe Festival. His Introduction and Tarantella was premiered at Weill Recital Hall at Carnegie Hall, NYC.

6. Nigel Keay: Voices of the Air (2023)

Voices of the Air is a setting of the poem by Katherine Mansfield for mezzo-soprano and piano, and was composed in July 2023 for Sherry Grant and Tessa Romano. Between each stanza is a micro-interlude for the piano alone, thus as a consequence the song has a somewhat undulating form, where the music of the verses tends toward the minimal, and that of the piano generates more activity, in effect a wave motion in reference to the "sea and wind" of the text. Concurrently with working on Voices of the Air I was preparing a work by Arnold Trowell for an upcoming performance, a work that was almost certainly composed in Katherine Mansfield's lifetime, and we know that Mansfield would've been familiar with Trowell's music, so it seemed appropriate, while setting the poem, to be immersed in this particular sound-world.

Voices of the Air was written in 1916. Katherine Mansfield's brother, Leslie Heron Beauchamp died 6 October 1915 aged 21 years old and is buried at Ploegsteert Wood Military Cemetery, Belgium.


Ben Fernandez

BEN FERNANDEZ is a classically trained jazz pianist, composer and arranger. He has a Masters’ Degree in Music majoring in Jazz performance from the University of Auckland. He also has degrees in Physics, Computer Science and Business
Management. Ben has performed at concerts and events in over 25 countries and is an award-winning composer for jingles, TV shows and short films. He has released 8 Albums of his music here in NZ. Ben is also an educator and teaches music at schools and colleges in Auckland. He conducts regular workshops on improvisation in New Zealand and overseas. Ben has just finished composing music for a new rock musical that will be staged early next year. He is also one of the creatives selected to be a part of the Ockham Collective 2023 Visit for further details about Ben and his music.

16. Ben Fernandez: Covering Wings

In song form the tune is a jazz ballad with 2 verses followed by a bridge and then a final verse.

The tune tries to convey the feeling of searching for love , for acceptance, for understanding. Each section has a constantly changing key centre that signifies dealing with change and trying to find one's way as we journey through life. However in the final verse we return back to the original key and it is like a 'homecoming' in some ways. The tune has a very playful nature and implores us to find the inner child in each of us.'


Peter Adams

PETER ADAMS is a Professor of Music at Otago University and a well-known conductor and composer. Peter has guest conducted all around New Zealand and Australia with orchestras, brass bands, and choirs. As a composer, Adams has written many works and arrangements that have been performed throughout New Zealand and in the UK and North America. He has written orchestral pieces, several works for brass band and concert wind band, and chamber music for woodwind and string combinations. His music has been published and his two string quartets have both been recorded by the Jade Quartet on Rattle Records CDs. For more info visit

14. Peter Adams: The Secret

The Secret’ is one of the poems in Katherine Mansfield’s collection of poems written from
1911-1913. It speaks of a ‘rainbow shell’ to be found in ‘the profoundest ocean’ and this
colourful shell has always been there silently singing whether the water is stormy or quiet.
Peter Adams’s music has gentle ripples of upward semiquavers in the piano in a simple
setting where the piano symbolizes the water and the voice ‘sings’. The rippling semiquaver
figure is turned upside down in a section in 7/8 time where the music gains a little momentum
before ending as it began in simle timeless modality.


Yvette Audain

YVETTE AUDAIN is equally happy composing and arranging for various combinations of instruments as she is simply improvising in the moment. She is an experienced orchestrator who has also written plenty for herself to perform as a woodwind player such as in her 2014 album release Grooves Unspoken. A recent development in her compositional process is to improvise and record at the instrument, later transcribing into a written piece, as was the process for Wera, a commission for pianist Sharon Joy Vogan Cawston's upcoming Suite Aotearoa album project.

13. Yvette Audain: Malade

Malade was suggested to me by Sherry Grant and after a quick read I accepted. It may be short in length but to me it provided a perfectly potted little vehicle for a juxtaposition of wit and pathos. At times it is a cheeky, nonchalant tango; other times it casts a melancholic glance over its shoulder at the man in the adjacent room...


Janet Jennings

DR JANNET JENNINGS writes for a wide range of forces including instrumental ensembles (chamber and orchestral music), voices (solo and choral music), and for stage (opera and dance). Her intention in setting texts by Katherine Mansfield and is to communicate and celebrate the words of the poet. Janet’s works have been supported by Creative NZ, performed nationally and internationally, recorded by Radio NZ, SOUNZ Resound, toured for Chamber Music NZ, and are broadcast regularly on RNZ Concert. Atoll Records has released five albums of her music – all available for purchase from Marbecks Records.

5. Janet Jennings: Jangling Memories

The text is the 32 nd poem in Katherine Mansfield’s 35-poem collection, The Earth Child, sent to a London publisher in 1910. She was 22 years old.The collection was not published, but this poem, Jangling Memory, appeared in a 1911 edition of the literary magazine Rhythm, edited at the time by John Middleton Murry. The challenge for the singer is to convey the layers of mood and meaning expressed in the text.The “old tie” symbolizes the bond between the narrator and her companion and a lost time of youthful innocence.The narrator’s mocking laughter is superficially cheerful but the memory is "jangling"; she laughs but her tears are close to the surface throughout the song.The tears should be almost, but not quite, hidden. Address the audience directly; act the part - you could even use a tie as a prop. Telling the story and acting the part are more important than exact pitches and rhythms.

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Anthony Ritchie Photo.jpg
Ross James Carey Photo.jpg
Michael Norris Photo.jpg
Ben Fernandez Photo.jpg
David Hamilton Photo.jpg
Kenneth Young Photo.jpg
Peter Adams Photo.jpg
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Child of the Sun

Tessa Romano


Mezzo-soprano DR. TESSA ROMANO is Head of Voice at the University of Otago in Dunedin, New Zealand. They hold a DMA from the University of Colorado Boulder, an MM from the University of Michigan, and an AB in Music and Italian from Princeton University. Dr. Romano has held opera fellowships at Aspen Opera Center and CU New Opera Workshop. They have performed with the Syracuse Symphony, Hartford Symphony, Dunedin Symphony Orchestra, Auckland Philharmonic and American Handel Society. Past awards include first place in the Florida Grieg Voice Competition, Winner of the Art of Art Song Competition, and Winner of the Franco-American Vocal Academy’s Grand Concours Prize. Dr. Romano is Co-Vice President of the New Zealand Association of Teachers of Singing and a Board Member of the New York Singing Teachers’ Association.


Sherry Grant



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Sherry Grant Photo.jpg
Tickets available HERE
(free for students with ID at the door)
Child of the Sun
Programme Notes

Katherine Mansfield Poems

(1)-(3) Anthony Ritchie: Exquisite Spirit, 3 songs

(1) To L. H. B. (1894–1915)

Last night for the first time since you were dead

I walked with you, my brother, in a dream.

We were at home again beside the stream

Fringed with tall berry bushes, white and red.

“Don't touch them : they are poisonous,” I said.

But your hand hovered, and I saw a beam

Of strange, bright laughter flying round your head

And as you stooped I saw the berries gleam.

“Don't you remember ? We called them Dead Man's Bread !”

I woke and heard the wind moan and the roar

Of the dark water tumbling on the shore.

Where-where is the path of my dream for my eager feet ?

By the remembered stream my brother stands

Waiting for me with berries in his hands …

“These are my body. Sister, take and eat.”

(2) The Sea- Child


Into the world you sent her, mother,

Fashioned her body of coral and foam,

Combed a wave in her hair's warm smother,

And drove her away from home

In the dark of the night she crept to the town

And under a doorway she laid her down,

The little blue child in the foam-fringed gown.

And never a sister and never a brother

To hear her call, to answer her cry.

Her face shone out from her hair's warm smother

Like a moonkin up in the sky.

She sold her corals; she sold her foam;

Her rainbow heart like a singing shell

Broke in her body: she crept back home.

Peace, go back to the world, my daughter,

Daughter, go back to the darkling land;

There is nothing here but sad sea water,

And a handful of sifting sand.

(3) Loneliness

Now it is Loneliness who comes at night

Instead of Sleep, to sit beside my bed.

Like a tired child I lie and wait her tread,

I watch her softly blowing out the light.

Motionless sitting, neither left or right

She turns, and weary, weary droops her head.

She, too, is old; she, too, has fought the fight.

So, with the laurel she is garlanded.

Through the sad dark the slowly ebbing tide

Breaks on a barren shore, unsatisfied.

A strange wind flows… then silence.  I am fain

To turn to Loneliness, to take her hand,

Cling to her, waiting, till the barren land

Fills with the dreadful monotone of rain

(4) Janet Jennings: Jangling Memory

Heavens above! here's an old tie of your—

Sea-green dragons stamped on a golden ground.

Ha! Ha! Ha!  What children we were in those days.

Do you love me enough to wear it now?

Have you the courage of your pristine glories?

Ha! Ha! Ha!  You laugh and shrug your shoulders.



Those were the days when a new tie spelt a fortune:

We wore it in turn—I flaunted it as a waist-belt.

Ha! Ha! Ha!  What easily satisfied babies.



"I think I'll turn into a piano duster."

"Give it to me, I'll polish my slippers on it!"

Ha! Ha! Ha!  The rag's not worth the dustbin.


"Throw the shabby old thing right out of the window;

Fling it into the faces of other children!"

Ha! Ha! Ha!  We laughed and laughed till the tears




(5) Nigel Keay: Voices of the Air

But then there comes that moment rare

When, for no cause that I can find,

The little voices of the air

Sound above all the sea and wind.


The sea and wind do then obey

And sighing, sighing double notes

Of double basses, content to play

A droning chord for the little throats—

The little throats that sing and rise

Up into the light with lovely ease

And a kind of magical, sweet surprise

To hear and know themselves for these—


For these little voices: the bee, the fly,

The leaf that taps, the pod that breaks,

The breeze on the grass-tops bending by,

The shrill quick sound that the insect makes.

(6) Michael Norris: In the Rangitaki Valley


“O valley of waving broom,

O lovely, lovely light,

O heart of the world, red-gold!

Breast high in the blossom I stand;

It beat about me like waves

Of a magical, golden sea.

“The barren heart of the world

Alive at the kiss of the sun,

The yellow mantle of Summer

Flung over a laughing land,

Warm with the warmth of her body,

Sweet with the kiss of her breath.

“O valley of waving broom,

O lovely, lovely light,

O mystical marriage of Earth

With the passionate Summer sun!

To her lover she holds a cup

And the yellow wine o'erflows.

He has lighted a little torch

And the whole of the world is ablaze.

Prodigal wealth of love!

Breast high in the blossom I stand.”

(7)-(9) Andrew Perkins: 3 Songs

(7) Very Early Spring

The fields are snowbound no longer;

There are little blue lakes and flags of tenderest green.

The snow has been caught up into the sky--

So many white clouds--and the blue of the sky is cold.

Now the sun walks in the forest,

He touches the bows and stems with his golden fingers;

They shiver, and wake from slumber.

Over the barren branches he shakes his yellow curls.

Yet is the forest full of the sound of tears....

A wind dances over the fields.

Shrill and clear the sound of her waking laughter,

Yet the little blue lakes tremble

And the flags of tenderest green bend and quiver.

(8) The Gulf

A Gulf of silence separates us from each other.

I stand at one side of the gulf, you at the other.

I cannot see you or hear you, yet know that you are there.

Often I call you by your childish name

And pretend that the echo to my crying is your voice.

How can we bridge the gulf?  Never by speech or touch.

Once I thought we might fill it quite up with tears.

Now I want to shatter it with our laughter.

(9) The Earth-Child In The Grass

In the very early morning

Long before Dawn time

I lay down in the paddock

And listened to the cold song of the grass.

Between my fingers the green blades,

And the green blades pressed against my body.

"Who is she leaning so heavily upon me?"

Sang the grass.

"Why does she weep on my bosom,

Mingling her tears with the tears of my mystic lover?

Foolish little earth child!

It is not yet time.

One day I shall open my bosom

And you shall slip in—but not weeping.

Then in the early morning

Long before Dawn time

Your lover will lie in the paddock.

Between his fingers the green blades

And the green blades pressed against his body . . .

My song shall not sound cold to him

In my deep wave he will find the wave of your hair

In my strong sweet perfume, the perfume of your kisses.

Long and long he will lie there . . .

Laughing—not weeping."



(10) Across The Red Sky

Across the red sky two birds flying,

Flying with drooping wings.

Silent and solitary their ominous flight.

All day the triumphant sun with yellow banners

Warred and warred with the earth, and when she yielded

Stabbed her heart, gathered her blood in a chalice,

Spilling it over the evening sky.

When the dark plumaged birds go flying, flying,

Quiet lies the earth wrapt in her mournful shadow,

Her sightless eyes turned to the red sky

And the restlessly seeking birds.


(11) Yvette Audain: Malade

The man in the room next to mine

Has got the same complaint as I

When I wake in the night I hear him turning

And then he coughs

And I cough

And he coughs again —

This goes on for a long time —

Until I feel we are like two roosters

Calling to each other at false dawn

From far away hidden farms

(12) Peter Adams: The Secret

In the profoundest ocean

There is a rainbow shell,

It is always there, shining most stilly

Under the greatest storm waves

That the old Greek called "ripples of laughter."

As you listen, the rainbow shell

Sings--in the profoundest ocean.

It is always there, singing most silently!

(13) Kenneth Young: The World is Beautiful Tonight

The world is beautiful tonight

So many stars shine in the sky

And homeward, lightly, hand in hand

The happy people pass me by

I lose my way down ev’ry path

I stumble over ev’ry stone

And ev’ry gate and ev’ry door 

It’s locked ‘gainst me alone

(14) Ben Fernandez: Covering Wings

Love! Love! Your tenderness,

Your beautiful, watchful ways

Grasp me, fold me, cover me;

I lie in a kind of daze,

Neither asleep nor yet awake,

Neither a bud nor flower.

Brings to-morrow

Joy or sorrow,

The black or the golden hour?

Love! Love! You pity me so!

Chide me, scold me--cry,

"Submit--submit!You must not fight!"

What may I do, then?Die?

But, oh my horror of quiet beds!

How can I longer stay!

"One to be ready,

Two to be steady,

Three to be off and away!"

Darling heart--your gravity!

Your sorrowful, mournful gaze--

"Two bleached roads lie under the moon,

At the parting of the ways."

But the tiny, tree-thatched, narrow lane,

Isn't it yours and mine?

The blue-bells ring

Hey, ding-a-ding, ding!

And buds are thick on the vine.

Love! Love! Grief of my heart!

As a tree droops over a stream

You hush me, lull me, dark me,

The shadow hiding the gleam.

Your drooping and tragical boughs of grace

Are heavy as though with rain.

Run! Run!

Into the sun!

Let us be children again.

(15)-(17) David Hamilton: Three Children’s Dongs of Katherine Mansfield

(15) This is Just a Little Song

This is just a little song

That a child once sang to me.

(O the bitter years and long

Since she sat upon my knee.)

Mother when we take a walk, you and I along the

Shore I can scarcely ever talk.


O Mother Mine, O mother mine

Snuggle me close and hold me fast

When will the weather again be fine

Shall I really get well at last?



(16) The Lonesome Child

The baby in the looking-glass

Is smiling through at me;

She has her teaspoon in her hand,

Her feeder on for tea.

And if I look behind her I

Can see the table spread;

I wonder if she has to eat

The nasty crusts of bread.

Her doll, like mine, is sitting close

Beside her special chair,

She has a pussy on her lap;

It must be my cup there.

Her picture-book is on the floor,

The cover's just the same;

And tidily upon the shelf

I see my Ninepin game.

O baby in the looking-glass,

Come through and play with me,

And if you will, I promise, dear,

To eat your crusts at tea.

(17) A Day In Bed

I wish I had not got a cold, The wind is big and wild,

I wish that I was very old, Not just a little child.

Somehow the day is very long Just keeping here, alone;

I do not like the big wind's song, He's growling for a bone

He's like an awful dog we had

Who used to creep around

And snatch at things--he was so bad, With just that horrid sound.

I'm sitting up and nurse has made Me wear a woolly shawl;

I wish I was not so afraid;

It's horrid to be small.

It really feels quite like a day Since I have had my tea; P'raps everybody's gone away And just forgotten me.

And oh! I cannot go to sleep Although I am in bed.

The wind keeps going creepy-creep And waiting to be fed.

(18)-(19) Ross James Carey: Two Poems of Katherine Mansfield

(18) There Is a Solemn Wind Tonight 


There is a solemn wind to-night

That sings of solemn rain;

The trees that have been quiet so long

Flutter and start again.



The slender trees, the heavy trees,

The fruit trees laden and proud,

Lift up their branches to the wind

That cries to them so loud.



The little bushes and the plants

Bow to the solemn sound,

And every tiniest blade of grass

Shakes on the quiet ground



(19) Sea Song

I will think no more of the sea! 

Of the big green waves 

And the hollowed shore, 

Of the brown rock caves 

No more, no more 

Of the swell and the weed

And the bubbling foam. 

Memory dwells in my far away home, 

She has nothing to do with me. 

She is old and bent 

With a pack 

On her back. 

Her tears all spent, 

Her voice, just a crack. 

With an old thorn stick 

She hobbles along,

And a crazy song 

Now slow, now quick, 

Wheeks in her throat. 

And every day

While there's light on the shore 

She searches for something; 

Her withered claw 

Tumbles the seaweed; 

She pokes in each shell 

Groping and mumbling

Until the night 

Deepens and darkens, 

And covers her quite, 

And bids her be silent, 

And bids her be still. 

The ghostly feet 

Of the whispery waves

Tiptoe beside her. 

They follow, follow 

To the rocky caves 

In the white beach hollow . . . 

She hugs her hands, 

She sobs, she shrills, 

And the echoes shriek 

In the rocky hills. 

She moans: "It is lost! 

Let it be! Let it be! 

I am old. I'm too cold. 

I am frightened . . . the sea 

Is too loud . . . it is lost,

It is gone . . . Memory 

Wails in my far away home.


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