To celebrate 50 years of publishing in Aotearoa New Zealand, this anthology brings together 50 enthralling stories from some of the country’s finest writers. From established authors to new, emerging names, these stories track the changing styles, voices and preoccupations explored through the short story over the past five decades. Read – and celebrate!
New Zealand was the last country in the world to be discovered and settled by humankind. It was also the first to introduce full democracy. Between those events, and in the century that followed the franchise, the movements and the conflicts of human history have been played out more intensively and more rapidly in New Zealand than anywhere else on Earth. The Penguin History of New Zealand, a new book for a new century, tells that story in all its colour and drama. The narrative that emerges in an inclusive one about men and women, Maori and Pakeha. It shows that British motives in colonising New Zealand were essentially humane; and that Maori, far from being passive victims of a 'fatal impact', coped heroically with colonisation and survived by selectively accepting and adapting what Western technology and culture had to offer. This book, a triumphant fruit of careful research, wide reading and judicious assessment, was an unprecedented best-seller from the time of its first publication in 2003.
Chosen by the author from his thirteen previous collections, this latest selection of stories includes 'Coming Home in the Dark', the inspiration for a new feature film. Owen Marshall is regarded as one of our finest living writers. His stories capture the imagination and refuse to let go. From dark to funny, acerbic to warm, they probe our national psyche with clear-eyed insight. This selection from a long career ranges across New Zealand and ventures overseas; the pieces explore both cruelty and love; they look back to childhood and also capture the world we live in today. Full of unexpected turns, lyrical writing, wry observations and intriguing plots, this sampling offers a provocative take on New Zealand. `I very much envy his ability to lay things down in such a way that each one has its natural weight and place, without any straining and heaving.' - Maurice Gee, Sport 'Owen Marshall has established himself as one of the masters of the short story' - Livres Hebdo, Paris
A remarkable anthology of queer New Zealand voices. We became teenagers in the nineties when New Zealand felt a lot less cool about queerness and gender felt much more rigid. We knew instinctively that hiding was the safest strategy. But how to find your community if you're hidden? Aotearoa is a land of extraordinary queer writers, many of whom have contributed to our rich literary history. But you wouldn't know it. Decades of erasure and homophobia have rendered some of our most powerful writing invisible. Out Here will change that. This landmark book brings together and celebrates queer New Zealand writers from across the gender and LGBTQIA+ spectrum with a generous selection of poetry, fiction, creative nonfiction, and much, much more. From established names to electrifying newcomers, the cacophony of voices brought together in Out Here sing out loud and proud, ensuring that future generations of queers are afforded the space to tell their stories and be themselves without fear of retribution or harm.
Sista, Stanap Strong! is an anthology of new writing from Vanuatu by three generations of women—and the first of its kind. With poetry, fiction, essay, memoir, and song, its narrative arc stretches from the days of blackbirding to Independence in 1980 to Vanuatu's coming of age in 2020. Most of these writers are ni-Vanuatu living in Vanuatu. Some have set down roots in New Zealand, Fiji, the Solomon Islands, and Canada. Some were born overseas and have made Vanuatu their home. One is just twenty; another is an octogenarian. The writers in this anthology have chosen to harness the coloniser's language, English, for their own purposes. They are writing against racism, colonialism, misogyny, and sexism. Writing across bloodlines and linguistic boundaries. Professing their love for ancestors, offspring, and language— Bislama, vernacular, and English. What these writers also have in common is a sharp eye for detail, a love of words, a deep connection to Vanuatu, and a willingness to share a glimpse of their world. Includes a foreword by Viran Molisa Trief. Cover art: Juliette Pita
This first volume of ASNEL Papers gathers together a broad range of reflections on, and presentations of, the social and expressive underpinnings of post-colonial literary cultures, concentrating on aspects of orality, social structure and hybridity, the role of women in cultural production, performative and media representations (theatre, film, advertising) and their institutional forms, and the linguistic basis of literature (including questions of multilingualism, pidgins and creoles, and translation). Some of the present studies adopt a diachronic approach, as in essays devoted to European colonial influences on African literatures, the populist colonial roots of Australian drama, and the intersection of exogenous and autochthonous languages in the cultural development and identity formation of Cameroon, Tanzania and the Swahili-speaking regions of Africa. Broadly synchronic perspectives (which nevertheless take cognizance of developmental determinants) range over dominant genres — poetry, short fiction and the novel, children's literature, theatre, film - and cover indigene literatures (Australian Aboriginal, Maori, First Nations) and regional creativity in West, East and South Africa, the Caribbean, India and the South-East Asian diaspora, and the settler colonies of Canada, Australia and New Zealand. Authors treated within broader frameworks include Chinua Achebe, 'Biyi Bandele-Thomas, Bole Butake, Shashi Deshpande, Louis Esson, Lorna Goodison, Patricia Grace, Bland Holt, Keri Hulme, Witi Ihimaera, Kazuo Ishiguro, Rita Kleinhart, Hanif Kureishi, Werewere Liking, Timothy Mo, V.S. Naipaul, Salman Rushdie, and Ruby Slipperjack. There are self-testimonies from the writers Geoff Goodfellow, Darrelyn Gunzburg and Don Mattera, poems by David Dabydeen, Geoff Goodfellow and Olive Senior. Of particular value to this collection are the perspectives offered by African, Caribbean and Eastern European contributors.
Australia and New Zealand, united geographically by their location in the South Pacific and linguistically by their English-speaking inhabitants, share the strong bond of hope for cultural diversity and social equality--one often challenged by history, starting with the appropriation of land from their Indigenous peoples. This volume explores significant themes and topics in Australian and New Zealand literature. In their introduction, the editors address both the commonalities and differences between the two nations' literatures by considering literary and historical contexts and by making nuanced connections between the global and the local. Contributors share their experiences teaching literature on the iconic landscape and ecological fragility; stories and perspectives of convicts, migrants, and refugees; and Maori and Aboriginal texts, which add much to the transnational turn. This volume presents a wide array of writers--such as Patrick White, Janet Frame, Katherine Mansfield, Frank Sargeson, Witi Ihimaera, Christina Stead, Allen Curnow, David Malouf, Les Murray, Nam Le, Miles Franklin, Kim Scott, and Sally Morgan--and offers pedagogical tools for teachers to consider issues that include colonial and racial violence, performance traditions, and the role of language and translation. Concluding with a list of resources, this volume serves to support new and experienced instructors alike.
" ... Documents the history and development of [Post-colonial literatures in English, together with English and American literature] and includes original research relating to the literatures of some 50 countries and territories. In more than 1,600 entries written by more than 600 internationally recognized scholars, it explores the effect of the colonial and post-colonial experience on literatures in English worldwide.
The New Zealand Wars of the 1840s and 1860s, other nineteenth-century military encounters, the South African War, the First and Second World Wars, Korea, Malaya, Vietnam, the Gulf War, modern-day peacekeeping . . . The Penguin Book of New Zealanders at War contains the best, widest range of published and non-published written material on our people in warfare. This is a soldier's book - thus letters, diaries, journalists' reports, memoirs. The focus is on actual experience and on human responses to war. A vast array of personal experiences is covered, including POWs, the home front, medical/nursing efforts, as well as coverage of conscientious objectors.
A unique and powerful look at a New Zealand experiment in social welfare gone wrong. From the late 1950s to the mid 1980s, when most of them were closed down, the New Zealand government maintained 26 residences for children and teenagers. Some of those children had the bad fortune to come from families with large numbers of children and who couldn't cope financially. Plucking a child out and putting him in a home to ease the burden was seen as a solution. Other children in came from profoundly dysfunctional backgrounds or were profoundly dysfunctional themselves. Could putting them all together in close quarters, supervised by staff with mostly inadequate training, ever deliver a positive outcome? In this powerfully written book David Cohen, who himself spent time at Epuni Boy's Home in the 1970s, argues not. He tracks down former residents and staff members, many of whom argue that boys'-home stints led boys to, rather than away from, lives of crime. It also led some into abuse. Evocatively and originally written, Cohen's research takes him back to the era of moral panic about juvenile delinquency that drove the creation of the homes and traces the sea change in ideas about the care of troubled adolescents, especially Maori, who were hugely over-represented in the muster, that spelled their eventual demise. Totally gripping, it is a unique insider account of a failed experiment.
