In this lavishly illustrated book, author Graeme Lay presents the lives of twenty-three of the finest artists and writers to have been inspired by the South Pacific, and a rich selection of their works. In Search of Paradise is a compilation of memorable visual and literary journeys, covering two hundred years of European contact with the South Pacific islands and the people who inhabited them at a unique period in the region's history.
The author of The Great Railway Bazaar explores the South Pacific by kayak: “This exhilarating epic ranks with [his] best travel books” (Publishers Weekly). In one of his most exotic and adventuresome journeys, travel writer Paul Theroux embarks on an eighteen-month tour of the South Pacific, exploring fifty-one islands by collapsible kayak. Beginning in New Zealand's rain forests and ultimately coming to shore thousands of miles away in Hawaii, Theroux paddles alone over isolated atolls, through dirty harbors and shark-filled waters, and along treacherous coastlines. Along the way, Theroux meets the king of Tonga, encounters street gangs in Auckland, and investigates a cargo cult in Vanuatu. From Australia to Tahiti, Fiji, Easter Island, and beyond, this exhilarating tropical epic is full of disarming observations and high adventure.
Discusses the makings of the "American Pacific" locality/location/identity as space and ground of cultural production, and the way this region can be linked to "Asia" and "Pacific" as well as to "American mainland"
The enduring popularity of Polynesia in western literature, art, and film attests to the pleasures that Pacific islands have, over the centuries, afforded the consuming gaze of the west—connoting solitude, release from cares, and, more recently, self-renewal away from urbanized modern life. Facing the Pacific is the first study to offer a detailed look at the United States’ intense engagement with the myth of the South Seas just after the First World War, when, at home, a popular vogue for all things Polynesian seemed to echo the expansion of U.S. imperialist activities abroad. Jeffrey Geiger looks at a variety of texts that helped to invent a vision of Polynesia for U.S. audiences, focusing on a group of writers and filmmakers whose mutual fascination with the South Pacific drew them together—and would eventually drive some of them apart. Key figures discussed in this volume are Frederick O’Brien, author of the bestseller White Shadows in the South Seas; filmmaker Robert Flaherty and his wife, Frances Hubbard Flaherty, who collaborated on Moana; director W. S. Van Dyke, who worked with Robert Flaherty on MGM’s adaptation of White Shadows; and Expressionist director F. W. Murnau, whose last film, Tabu, was co-directed with Flaherty.
The Oxford Studies in Postcolonial Literatures series offers stimulating and accessible introductions to definitive topics and key genres and regions within the rapidly diversifying field of postcolonial literary studies in English. The first book of its kind, Pacific Islands Writing offers a broad-ranging introduction to the postcolonial literatures of the Pacific region. Drawing upon metaphors of oceanic voyaging, Michelle Keown takes the reader on a discursive journey through a variety of literary and cultural contexts in the Pacific, exploring the Indigenous literatures of Polynesia, Melanesia, and Micronesia, and also investigating a range of European or Western writing about the Pacific, from the adventure fictions of Herman Melville, R. L. Stevenson, and Jack London to the Päkehä (European) settler literatures of Aotearoa/New Zealand. The book explores the relevance of 'international' postcolonial theoretical paradigms to a reading of Pacific literatures, but it also offers a region-specific analysis of key authors and texts, drawing upon indigenous Pacific literary theories, and sketching in some of the key socio-historical trajectories that have inflected Pacific writing. Well-established Indigenous Pacific authors such as Albert Wendt, Witi Ihimaera, Alan Duff, and Patricia Grace are considered alongside emerging writers such as Sia Figiel, Caroline Sinavaiana-Gabbard, and Dan Taulapapa McMullin. The book focuses primarily upon Pacific literature in English - the language used by the majority of Pacific writers - but also breaks new ground in examining the growing corpus of francophone and hispanophone writing in French Polynesia, New Caledonia, and Easter Island/Rapa Nui.
At the age of twenty-six, Maarten Troost—who had been pushing the snooze button on the alarm clock of life by racking up useless graduate degrees and muddling through a series of temp jobs—decided to pack up his flip-flops and move to Tarawa, a remote South Pacific island in the Republic of Kiribati. He was restless and lacked direction, and the idea of dropping everything and moving to the ends of the earth was irresistibly romantic. He should have known better. The Sex Lives of Cannibals tells the hilarious story of what happens when Troost discovers that Tarawa is not the island paradise he dreamed of. Falling into one amusing misadventure after another, Troost struggles through relentless, stifling heat, a variety of deadly bacteria, polluted seas, toxic fish—all in a country where the only music to be heard for miles around is “La Macarena.” He and his stalwart girlfriend Sylvia spend the next two years battling incompetent government officials, alarmingly large critters, erratic electricity, and a paucity of food options (including the Great Beer Crisis); and contending with a bizarre cast of local characters, including “Half-Dead Fred” and the self-proclaimed Poet Laureate of Tarawa (a British drunkard who’s never written a poem in his life). With The Sex Lives of Cannibals, Maarten Troost has delivered one of the most original, rip-roaringly funny travelogues in years—one that will leave you thankful for staples of American civilization such as coffee, regular showers, and tabloid news, and that will provide the ultimate vicarious adventure.
This book examines how the South Pacific was represented by explorers, missionaries, travellers, writers, and artists between 1767 and 1914 by drawing on history, literature, art history, and anthropology. Edmond engages with colonial texts and postcolonial theory, criticising both for their failure to acknowledge the historical specificity of colonial discourses and cultural encounters, and for continuing to see indigenous cultures in essentially passive or reactive terms. The book offers a detailed and grounded 'reading back' of these colonial discourses into the metropolitan centres which gave rise to them, while resisting the idea that all representations of other cultures are merely self-representations. Among its themes are the persistent myth-making around the figure of Cook, the western obsession with Polynesian sexuality, tattooing, cannibalism, and leprosy, and the Pacific as a theatre for adventure and as a setting for Europe's displaced fears of its own cultural extinction.
In 1916, William Somerset Maugham (1874-1965) travelled to the Pacific to research his novel "The Moon and Sixpence," based on the life of Paul Gauguin. This was the first of those journeys through the late-Imperial world of the 1920s and 1930s which were to establish Maugham forever in the popular imagination as the chronicler of the last days of colonialism in India, Southeast Asia, China and the Pacific, although the books on which this reputation rests represent only a fraction of his output.---Maugham reused elements of his Pacific diaries in "The Trembling of a Leaf" (1921), which contains one of his most recognized stories, "Rain," adapted to the stage by John Colton and Clemence Randolph in 1922.
