The Finding Persephone Poetry Contest has now closed
The Finding Persephone Poetry Contest has now closed
First Place
Cancer szn
by Hannah Mettner
Second Place
My phone was a portal into the water
by Maja Robertshawe
Third Place
The Pūmotomoto is a Soft Spot in the Skull
by Aroha Matchitt-Millar
Runner Ups
Ngā wai e
by Abby Hauraki
joan of arc i am speaking to you
by Emma Norman
Teaching my child to stare wistfully at the
ocean in inclement weather
by Grace Shelley
Mum Earth
by Neve Hopman
Yesterday
by Belinda Diepenheim
Ham Picnic
by Githara Gunawardena
Overwinter
by Elliot Harley McKenzie
WHAT I’M THINKING ABOUT WHEN YOU
ASK FOR MY PRONOUNS
by Derrin Smith
HORSE_RUNNING_TOWARDS_OR_AWAY.gif
by Lily Holloway
I’ve waited my whole life for someone to tell me I’m special, but not like this. Hearthside — the world on fire and I’m dying just like everyone else, except I’m dying faster. The surgeon spreads his hands and for a moment I think he wants me to take them, till he lifts them to my breasts. Free boob job, people say when I tell them, or free top surgery, depending on where they think I fall on that spectrum of butch to femme. I never thought I cared that much, but now I find myself obsessed with breasts — the susceptibility of them. Jennifer Ehle as Elizabeth Bennet, breathing so hard she might bust out of her dress. Marble Artemis at the Vatican, hung all about with boobs like little pouches. Agatha of Sicily, her breasts on a platter like a pair of panna cottas, the patron saint of desserts. At intermediate school, the cool girls said that you needed to punch yourself in the chest to encourage your breasts to grow. Nightly, in the scantly filled bath, winding my arm up like a cartoon. I’d fall back on the porcelain slope and dream of waking with perfect breasts. God, such a willingness to make violence against myself. And for what? Monstrous lights of the theatre — the spectacle of my body spread open. Pink inside like a gender reveal cake. Just the usual gore of girlhood, all grown up. For some reason, when I picture the surgeon’s hands inside me, I never picture a glove, nor his little knife. Instead, he reaches into the pouch of my breast to pinch out the bad coin, stealthy as a pickpocket. After, pink iodine glaze like a donut over the purple swirl of bruising from armpit to hip. I cannot raise my arms to wash my hair, but I can raise them enough to shield myself when I leave my bed. If I had to, I can raise them enough to throw a punch.
I used to send naked pictures
to men on my phone when I was fifteen.
I have a boyfriend now.
Want him to smack the shit out of me
like those videos you see online.
Those girls with the big dolly eyes,
looking up through the low frame rate.
A man from the internet
once told me that
he would fly all the way from Florida
to my backwater island.
Watching me kick my feet in the grass
drought-dry in the yard
behind my Dad’s house.
He said he could stop me from putting
my head under for too long,
and he’d always fish me out of the sea
when I drifted towards the rip.
He reeled me in
A big catch.
Overhead, I am just a dot in the ocean.
Helicopter above, catching my hair in the wind.
My mum has one
A red mole on the very top of her head
She said it got bigger after having kids
I like to imagine
That Rangi kissed her head softly
Leaving some red lippie behind
As he passed his knowledge down the heke of our whare
Through my mother
Then through me
And down to Papa
I can see a small red mole on my scalp too
At the very top of my head
Where my mother used to kiss me
After putting on her red lippie
Mā Ngā wai hono i te pō
Ko te Moana Nui a Kiwa tērā
e tauhere ana i a tātou ki motu kē
he wai whakatere, he wai whakapapa
he wai hono - pēnei i tō ingoa
ko ō roimata
he tohu o te aroha o te tamahine ki tōna pāpā
he wai mokemoke e maringi nei,
e mōhio ai tātou ahakoa he ariki koe,
he tangata hoki koe
mā runga i te tai e timu atu nei
ka rere a Moana, a Tariana, a Iritana, a Tūheitia mā
mā runga i te tai e pari mai nei
ka tatū tō waka ki uta
ara mai rā he tētēkura
ko ngā au o Waikato
he puna ora mō ō tūpuna, mō tō iwi
pēnei i a koe e rere nei
i ngā au o Ōhanga
he piko, he taniwha, he piko, he oranga e
ko ngā tai o anamata e papaki mai nei
kei te ihu o te waka, ko koe, ko tō iwi Māori hei tuarā mōu
Ko tō au, ko te au o Waikato
Ko tō arikitanga, he wai ariki
Ko tō mana, manawa whenua ake nei.
never was clear on the difference between cervix and cervical
turns out cervix is what he jams his fingers against and cervical
is for the needle staked in my meringue-warm skull
i dream you come to me as lace curtain holy tongue embers
humming occipital he flips a coin you know
some women are born on the butcher’s block serrated and
raw what you do in the heat is yours alone
back home the salt flats are smoking come season’s end
ripe with buccal fat thorn-fed ongaonga leaf i chew ginger
drip cerebral fluid
through
my
aching
life
my daughter’s butter ringlets singing in the pan
am i so greedy for wanting to tuck her somewhere temperate
eggs in my cupboard are turning joan black-spotted shell-sick
when you said god built you for this how were you so sure
marrow grows teeth bone spurs simmering in the cathedral
of an unset table do not join me without a mouthful
he wants me good cripple patron saint of coal-fed girls
i want i want i want out of this burning house
You never shiver. The sand crisps under the
pram’s wheels and the wind has bared its
teeth but I couldn't know that you’re cold
except that I am. We crawled home
from hospital through winter’s ligature,
pitch of night, keen rain. And, in the months
since, I have spent my body on yours. It must
be spring now. The shore is neither truncated
by full tide nor yawning itself back out. Knowing
our luck for life in general and weather in particular,
I have prepared: stuffed in the basket
under the pram are blanket and cardigan and
socks and hat though getting you to keep a hat on
is a battle I'm weary of losing. The wind bites,
but the crouch to pick up your woollens is an
arduous journey. I take off my jacket
and tuck it around you. I’m sorry
we haven’t come to the beach. It's a short walk,
but while holding you inside, my muscles forgot
how to hold me and they are only just learning.
I have been tired. There is a hill.
But we are here and the wind is cold around
us and my jacket is warm around you. Fluorescent
yellow sails dot the grey, and I turn you
and click the brakes so you watch the ocean,
the way you always watch the world: eyes wide,
brow clear, arms forever stretching forward
Our thighs are fractal
like the lines made by shells
as the tide goes out
and mum, the skin around your eyes
matches the sand dunes.
Carved by the wind and sun
into crevices for me to crawl in.
My freckles are yours
and you got them from the rocks in the river.
Our lumps and ridges are the hills of Papatūānuku
that my legs carry me over.
I once told you you had
heels like a pumice stone.
I meant it as an insult
but now I have callouses that hold
every place I’ve walked
and I don’t think that’s ugly anymore.
My body is the one you grew
and I’m learning to love it how I love
the earth and you.
Mum,
when you look in the mirror
I hope you see a kauri tree
like the ones in Puketī,
like the one you see when you look at me.
Yesterday I drove into the sea with Sharon
in the passenger seat and her fox terriers
in the back. We were in my blue Mercedes.
She yelled, We’re not bloody Thelma and Louise!
She screamed, Help me get the dogs out!
She pushed me, Get out or you’ll drown!
She said, once we were standing on the sand,
What the hell is wrong with you?
I told her the day job was making me
question my own sanity because customers
came in and abused the staff. I told her
I’d learnt to grey rock them but my fleshy
heart was turning to stone.
I asked her if I looked old, tired, irrelevant
and she said, Well, if you put it like that
perhaps you need a holiday.
I apologised about the dogs, I could see
they were shivering and she said her husband
was on his way with towels.
She was one of the few people I knew
who hadn’t got divorced.
She asked me what I was going to do
about the 1980 Honda Civic.
You mean the Mercedes?
And she laughed and said, I think
You have too many houses in Aquarius.
I told her that was all shite, that
I didn’t believe in anything anymore.
Maybe it’s the war in Iran
or the price of oil that’s getting to you?
I had to disagree, It’s the price of Whittaker’s.
The thing is, and we both know it, that
no matter what’s going on out there
it’s getting easier not to care.
Life’s all about our pets and not our kids.
It’s the videos and programmes
about making an orange polenta cake
or the knowledge that Eleanor of Aquitaine
may not have invented courtly love
that litters our conversations
because all the rest is too hard,
too military,
too man-made.
I told Sharon as we walked
to the car that I used to be
soft on the inside and firm
on the outside and this is why I had
attracted lovers, but now I was
Rocky terrain on the inside/
Blancmange on the outside,
Unworthy of the male gaze.
There’s a hell
of a lot of freedom in that, she said
and I knew then that we were
fine, we just needed a hot
drink and a sandwich
while we waited
for the kindling to light
and give us 2160 years
of matriarchal heat.
The Western girls eat picnics on TV, kneeling on the red, checked cloth
in white pinafores, feeding amorphous teddies from tiny pink teacups.
I ask Ammi for ham- appropriately American but forbidden in our household
since 2002, when they made the vow at the temple for her safe pregnancy- but
she tells me I can’t “eat it raw”, and to take it outside quickly. My ham, now
a few un-American discs, crisped edges from the coconut oil, my old Graduation Barbie
and I, under the bougainvilleas. On Seeya’s palm frond “praying mat”, peeling off
small chunks of the meat, tapping them against Barbie’s PVC lips,
I make a secret prayer to the dying sun. Creativity wouldn’t stretch the lengths
of the amla- scented locks on the girls at school, wouldn’t peel the skin from me.
Sweet. Too round. Mangoosteen girl. Dark all over, from the 5 AM chlorine. Never
measuring up to Graduation Barbie, her new lip gloss, flecked with pink, fried ham,
and her endless resourcefulness in the face of the economy’s plummeting health; or
to the boys, who never fear the blade and scissors, the naked ache about the shoulders.
Futile, the bowl-cut. I’d get the lice anyway. Crush the eggs in between my nails-Ammi
comes walking, barefoot, across the uncut grass with a handkerchief drenched in
4711. We left Barbie out in the rain that day, smiling anyway under the bougainvilleas,
and the crows took home the ham, to feed their ugly babies.
Sweet-meaning friends say they don't understand the application of she. He says I'm giving boy. She says I'm giving they. To me, she is inextricable. Because I am a good boywife, I cook breakfast for you. I make your coffee and forget the sugar, stack the dishwasher and send it for a spin. After all, I am so dutiful. Mired in my own possessions, yarn spools from my every surface. You say you haven't always liked being a girl as we cuddle under Nana's kitschy-to-the-max quilt. When I wake, you are there in the space between me and my windowsill, where a person-shaped lump of clean laundry used to lie. You touch the impression of bedsheets on my cheek. I try to wrap myself around the fact that you will be gone before the southern-hemisphere winter begins. The following week, I phone you while you wait for your ferry south. You watch a man washing dishes through your binoculars. We laugh at the wrongness of it. I call you a voyeur, a peeping tom. I can taste the apart-ness that will be ours come May. You strum your guitar and sing: I've got something to tell you, something so important to tell you…
You should take me out back to the barley field
and fuck me until I can’t forget there was a softer time
back when the days were fire quick,
it was soda chased by lime.
angels would loiter ‘bout in the back garden
to catch pockets of that windchime laugh
and the sunshine falling from the palm
where it pressed flush into hers.
shake their heads a little, amused, when we picked up cigarette stubs
pretending there was something classy
to the dusty scraped knees
and red apple cheeks.
she looked a better, easier version of me
and felt it too
as we swung ourselves to the edge of what a hometown could be:
bramble and creek, thickets of wet sand
and of hot crackling concrete,
tic tac toe smeared onto faded pavement
with oil poured off the cheap Wednesday pizza deal.
girlhood scraped itself through
week by week just like this
We clumped together against the swelling of age
as it swept up; grabbing at our thighs, nipping
at elbows, and sparkling in that thin divide
separating your mouth from mine
the ease to love what I had begun to hate about her
as long as it lived in some other body.
what was that weird gulf between summer and autumn for, if not:
melting off whatever troublesome persona
I’d bit my way into this time, or
beating back the sky as it bore on down
through heat and atmosphere, cradling the body too close
cotton scratching at the collar bone,
and hands too, clammy and now calloused.
sweat soaked straight through fabric while she braved the river bank,
sprinted and slid and slung her body up into cloud
and brutally back down again and again into gentle water
I gripped the moment hard, wildly aware of how much
I’d become last spring.
stuck now in some shirt, or else in the tall barley grass,
only one or two toes dipping into the current as it stripped its way past
free and so fucking cool
considering what it might be like to not have something built in
that clings to the skin.



Hera Bird is a writer and school librarian from Dunedin. She has two books of poetry, a self-titled collection 'Hera Lindsay Bird' published in 2016 with Te Herenga Waka University Press, Penguin UK & Deep Vellum Press US (US title 'Juvenilia') and 'Pamper Me To Hell & Back' published with The Poetry Business in 2018. She was the 2011 Ada
Hera Bird is a writer and school librarian from Dunedin. She has two books of poetry, a self-titled collection 'Hera Lindsay Bird' published in 2016 with Te Herenga Waka University Press, Penguin UK & Deep Vellum Press US (US title 'Juvenilia') and 'Pamper Me To Hell & Back' published with The Poetry Business in 2018. She was the 2011 Adam Prize Winner, and the 2019 editor of Best NZ Poems. She writes an advice column for The Spinoff & is working on a fantasy novel for children.

Tayi Tibble is an internationally published, award-winning poet and writer from Te Whanganui a Tara, Aotearoa. She descends from the tribes Te Whanau a Apanui and Ngati Porou. She is the author of two poetry collections Poukahangatus and Rangikura published by Te Herenga Waka University Press (NZ), Knopf (US) and Penguin (UK). Her work ha
Tayi Tibble is an internationally published, award-winning poet and writer from Te Whanganui a Tara, Aotearoa. She descends from the tribes Te Whanau a Apanui and Ngati Porou. She is the author of two poetry collections Poukahangatus and Rangikura published by Te Herenga Waka University Press (NZ), Knopf (US) and Penguin (UK). Her work has won various awards including an Ockham for best first book, a Voyager Media Award, the Adam Foundation Prize and The Poetry Foundation’s Bess Hosking Prize. She was the first Maori writer to be published in The New Yorker. Her work has been featured in publications such as The New York Times, Poetry Magazine, Granta, Alta, Dazed, Interview, The Atlantic, and The Nation. In 2025, she was a resident of the International Writing Programme at The University of Iowa.

Cadence Chung is a poet, mezzo-soprano, and composer, currently one of the resident artists at Te Pae Kōkako - The Aotearoa New Zealand Opera Studio. She has released three books: anomalia (Tender Press, 2022), Mythos: an Audio-Visual Anthology of Art by Young New Zealanders, (ed.) (Wai-te-Ata Press, 2024), and Mad Diva (Otago University
Cadence Chung is a poet, mezzo-soprano, and composer, currently one of the resident artists at Te Pae Kōkako - The Aotearoa New Zealand Opera Studio. She has released three books: anomalia (Tender Press, 2022), Mythos: an Audio-Visual Anthology of Art by Young New Zealanders, (ed.) (Wai-te-Ata Press, 2024), and Mad Diva (Otago University Press, 2025). She also edits Symposia Magazine and the New Zealand Poetry Society's quarterly magazine, a fine line.
We use cookies to analyze website traffic and optimize your website experience. By accepting our use of cookies, your data will be aggregated with all other user data.