David Howard Bibliography
Books and book reviews
In the First Place. Christchurch: Hazard Press, 1991
Guy Allan. NZ Herald (13 Jul 1991)
David Eggleton. Otago Daily Times (23 Nov 1991)
Riemke Ensing. Listener (23 Sep 1991)
James Norcliffe. Star Weekender (26 Oct 1991)
Kendrick Smithyman. Auckland Sunday Star (30 Jun 1991)
Tom Weston. Christchurch Press (29 Jun 1991)
Holding Company. Christchurch: Nag’s Head Press, 1995
David Eggleton. Landfall 190 (Spring 1995)
Harvey McQueen. Evening Post (26 Jan 1996)
Shebang: Collected Poems 1980-2000. Wellington: Steele Roberts, 2000
Nick Ascroft. Glottis 6 (2001)
Kapka Kassabova. Listener (2-8 Feb 2002)
Philip Mead. Jacket 16 (Mar 2002)
Harriet Zinnes. The Denver Quarterly (Winter 2002-03)
How to Occupy Our Selves. With Fiona Pardington.Wellington: HeadworX, 2003
Anna Livesey. NZ Books (Mar 2004)
Terry Locke. English in Aotearoa 
Peter Simpson. Jacket 25 (Feb 2004)
The Word Went Round. Dunedin: Otago UP, 2006
Head First : 8 poems.Mairangi Bay: Hard Echo Press, 1985
Iain Sharp. Landfall 161 (Mar 1987): 102-03
Harvey McQueen. Listener (2 Aug 1986)
[ ? ], Untold 6
Embargoed Letters : 2 poems. Dunedin: The Broadsheet Company, 2004
Edited by David Howard
Takahe1-16 (poetry section, with Mike Minehan/Bernadette Hall). Christchurch: Takahe Publishing Collective, 1989-93
Complete with Instructions . Christchurch: Firebrand, 2001
‘When you give so much’: Some Recollections of Alan Brunton.nzepc 2002
View of a Skipping Stone: Some Contemporary NZ Poetry. New York: Rattapallax, 2003
Prose by David Howard
Editorial. Takahe 1 (1989).
Note. From SOMETHING ELSE: Bernadette Hall, David Howard & Graham Lindsay. Christchurch, Aug 1990. Brochure text.
‘Seeing Through Roger Hickin.’ Art in New Zealand 105 (Summer 2002-03)
‘Here We Go.’ Preface to nzepc feature Capital of the Minimal. Jul 2004.
‘Holding Air, Changing Place: Notes on Virtual Poetry.’ nzepc DH author page. Apr 2006.
Garry Currin . ‘The Word Went Round,’ 2004. A diptych of dramatic monologues; a series of paintings; an exhibition for the Regional Maritime Museum, Port Chalmers.
These works, made for David's poem 'The Word Went Round,' are a meditative response to the process of words and painting; the notion of a journey and the spaces in-between. (Garry Currin, Dec 2005)
Raewyn Hill . ‘When Love Comes Calling,’ 2001. A solo dance, choreographed and performed by Raewyn Hill,
which explores six words: Regret, Denial, Trust, Temptation, Desire and Truth. Premiered in Christchurch, it subsequently toured New Zealand before moving to the Sydney Opera House, 18-21 Aug 2004.
I felt I couldn’t make a show around the subject of love without embracing the masculine. I therefore held interviews with men and through their honesty began to piece a story that surprised me. (Raewyn Hill, programme, Dec 2001)
Marta Jirackova. ‘There You Go,’ 2005. A musical setting of the long poem, this was part of a body of work (including ‘The Carrion Flower’) made possible by a 2002 Creative New Zealand project grant to develop pieces based in Eastern Europe.
Therefore I decided to do it with the whole poem in this way: there will be several parts for different voices and instruments - accordingly to the particular subject. I mean, the final result would be a chain of several spirituals by using the different devices. I don't know if I'll be able to explain it to you. I'm always sorry because of the language barrier among us, but it makes me happy to try [to] overcome it. (Marta Jirackova, 28 Nov 2004)
Mark McEntyre and Bridget Gaskell . ‘Ground Between Two Stones,’ 16-22 Nov 1992, Salamander Gallery, Christchurch Arts Centre.
Illustrations by Mark McEntyre and Bridget Gaskell for a book of poems by David Howard, ‘Ground Between Two Stones,’ are on show until November 22 at the Salamander Gallery. The show displays each poem with its drawings, which develop the themes and imagery of the text. The title refers to human intimacy – attempts to bridge the gap between people, and the idea that people in relationships are ground down into some new and finer material. (Justin Paton, Christchurch Press, 18 Nov 1992)
Mark McEntyre. ‘Subtitles,’ Oct 1993-Jan 1994, cnr Lichfield, High & Manchester Streets, Christchurch.
a vidi-wall that makes reference to New Zealand as the land of the long white cloud as well as New Zealand as a nation of (American) television watchers. (Vivienne Stone, ‘T’Arting Up Town,’ Christchurch Community Arts, 1994. Photographs: Belinda Drum)
Mark McEntyre. ‘Lifesized,’ 10 Feb-12 Mar 1995, McDougall Art Annex, Christchurch.
Both the collaborative work of Mark McEntyre and David Howard and the installation by Carolyn Menzies examine aspects of the role technology plays in people’s lives. A corollary of this media element is the function of time. Temporal distortion is experienced, as McEntyre and Howard suggest, as a result of the sheer quantity of fast paced and far-ranging information that enters every corner of our lives. (Elizabeth Cauldwell & Claire Regnault, ‘Inside the Solid.’ Caxton Press, 1995. Photographs: Grant Allen)
Kim Pieters. ‘theHeroinsuite,’ 2003. A suite of five drawings and eight paintings with reference to the poem ‘Heroin (New York, Washington, Pennsylvania 11 th September 2001).’ Exhibition history: ‘two drawings’ (‘The route you take....’ ‘Like the wind your dignity..’) Salamander Gallery, Christchurch, Jan 2004; ‘a female perspective’ group show, (‘this hair will cover whoever slaughters/whoever burns whoever/gathers the ash’) Bath Street Gallery, Auckland, Feb 2004; ‘Who, like the sailors, will come back to tell?’, ‘something has gone under the gentlest swell,’ Bowen Gallery, Wellington, May 2004.
Minna Sora. ‘Kind of a lasso to the world that isn’t true, yet.,’
2002. Also issued on CD in papertiger: new world poetry, ed. Paul Hardacre & Brett Dionysius (papertiger media, 2004).
I made this work for Print Australia's Dreams exchange in 2002. Besides artists also poets from PoetryEtc handled the theme Dreams, and so I got in touch with David Howard who wrote a poem referring to the world of ‘Lassos’ and we are planning to cooperate more in the future. (Minna Sora, 2005)