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Composting Arcadia Stories from Pākehā Women “Of the Land” in Wairarapa, Aotearoa New Zealand by Rebecca L Ream

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Composting Arcadia Stories from Pākehā Women “Of the Land” in Wairarapa, Aotearoa New Zealand by Rebecca L Ream Composting arcadia Stories from Pākehā women “of the land” in Wairarapa, Aotearoa New Zealand by Rebecca L Ream A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington (2020) Abstract I suggest that this thesis is a compost pile from Wairarapa that slowly turns over harmful but potentially fertile tales of arcadia. I narrate this thesis drawing on the fleshly stories of ten Pākehā (colonial settler) women “of the land’ and the ethico-onto-epistemology of Donna Haraway’s compost making. Composting is Haraway’s (2016) latest feminist call to trouble and queer the self-contained secular humanism of Western1 modernity. Uprooting the Western separation of ‘nature’ from culture, Haraway’s philosophy provides an earthly foundation in which to compost arcadia. Arcadia is an antique ‘nature’ myth that has been enmeshed in the process of Western world making from Classical Greece to the European ‘Age of Discovery’. Arcadia was used by the British to colonise Aotearoa New Zealand2 in the nineteenth century. As a Pākehā, I have been compelled to explore this myth because of the way it has seeped into transcendent understandings of land for descendants of colonial settlers like myself. Commonly known as a rural paradise, arcadia was a strategy for ‘normalising’ and ‘naturalising’ European occupancy in New Zealand (Evans, 2007; Fairburn, 1989). British arcadianism arrived on the shores of New Zealand, Victorian and romantic. Therefore, in this thesis I posit that through both settler and romantic ideals, Pākehā continue to use arcadianism to relate to land. For example, presently in Aotearoa there is a populist national debate that has, broadly speaking, pitted farmers and environmentalists against each other. Sparked by recent situations such as the ‘dairy boom’ and the decline in New Zealand’s water quality, tensions have mounted between those wanting to increase agricultural production and those who believe more environmental preservation is needed. After pondering such issues I realised these positions both express contrasting sides to the New Zealand arcadian narrative: A settler arcadia that promulgates the establishment of a small family farm and a romantic arcadia that envisions a pristine ‘natural’ paradise. 1 I capitalise ‘West(ern)’ to present it as a political proper noun and to distinguish it from the geographical determiner ‘west(ern)’. 2 Which will be henceforth known as such, Aotearoa, or New Zealand. i I worked through these issues on, in, and with, the ground of Wairarapa with Pākehā women who were engaged in various kinds of rural land practice. Using a critical autoethnographic voice and the idea of geography as ‘earth writing’ I draw on creative qualitative modes, visual approaches and ethnographic adventures to form fulsome stories that compost arcadia. The figure of Pan, the deity of the actual place of Arcadia, helps me with this composting project. Pan is a human-goat hybrid, queer trouble maker, and, as a trickster, has invoked in me my critical autoethnographic, fictional voice. My encounters with women and Pan showed me fertile ways in which Pākehā have inherited the histories of arcadia and how these histories are corporeally significant and fruitfully challenge the separation of ‘nature’ and culture. Such meaningful matter or matters have, in turn, provided verdant ways to discuss Pākehā becoming and response- ability. Through the material stories of trees, pasture, hills, mountains, waterways, animals and family, compostable arcadias emerged, yielding, what I call in this thesis, landhome making. Landhome making queers the essentialising qualities of ‘homeland’ and ‘homemaker’ but most importantly relates the significance of land in the making of home for the women of this thesis. Landhome making is about exploring, through everyday practice, what it means to be Pākehā for participants and myself that — resultantly — contributes to wider national discussions on how Pākehā might ‘become with’ land (Haraway, 2008; 2016; Newton, 2009). ii Acknowledgements Far from being a solo adventure, this project is a compost pile filled with creatures, human and not, that have contributed to the making of this document that deserve formal acknowledgment here. First and foremostly I want to thank the women who participated in this thesis. In different ways you have contributed to my becoming as a knowledge maker and a dweller of Wairarapa in wonderful gritty ways. Your words and lands have inhabited my mind and body for six years. They have continued to sustain my curiosity throughout my doctoral excursions. Gaye and your Finn wool. Lyn and your Forest Home. Carolyn with your sheep, dogs and cats. Lynne with your sheep and hills. Jocelyn and your cattle. Millie and the sincerely engaging discussions over agriculture and environmentalism in New Zealand. Jill and your Mangatarere Stream project. Mary, your sage advice and evocation of ancestry and inheritance. Penelope and your menagerie. Sarah and your affective family history and bond to land. To Gareth Winter and Jo Potangaroa, your lively detailed and vivid Wairarapa histories have contributed much to this thesis. I would also like to acknowledge the help I received in Wairarapa during fieldwork, in particular, Rangitāne o Wairarapa and The Wairarapa Rural Women’s Network. To my supervisors, Professor Sara Kindon and Dr. Lorena Gibson. Sara, my primary supervisor — there from the start. You took me on hoping we would find a supervisor more in line with my interests, but in the end it was you that was the best fit. I didn’t need someone directly in my research interest area, I just needed someone who was thorough, knowledgeable, philosophical, curious, kind, wise and insightful. Thank you for being that person. Lorena, you came onto the project when I was at a low point but you were encouraging from the outset. Your thoughtfulness, diligence, generosity, astuteness, honesty and integrity have guided me throughout. As it turned out all three of us were in for a much longer ride than any of us expected. But you both gave me the space and the boundaries to develop my own voice over a few years now. In a climate where I know iii supervisors are told to only supervise in their research area I am immensely grateful both of you worked that much harder outside of your fields to ‘listen’ deeply to me and my work. Associate Professor Avril Bell, kia ora e hoa. The process of writing together, my first formal collaboration, will be a highlight for me in my academic journey for years to come. You’re relentlessly critical about the trouble of becoming Pākehā but with a sense of sincerity, wisdom, love and care. Our conversations are always exciting and inspiring and you are a mentor for me that I treasure. Your maternal, humorous and incisive guidance has developed my confidence as an emerging scholar immeasurably. Miriam Potts, my Haraway friend. Our conversations over our shared devotion to the world of Haraway furthered my thinking and feeling each time. Thank you queer kin member and maker. CAE whānau: That conference — you know the one — finished me, ya’ll know that right ? Family at first sight and this is just the beginning. Thank you for your words Liz Mackinlay, Fetaui Iosefo, Jacqui Young, Phiona Stanley; and thank you to our wise and cherished leaders Stacy Holman Jones and Anne Harris. Patricia Stein I would like to acknowledge you formally for your kindness during each suspension and extension application. To my partner Martin Webby, AKA Mr Leo. You believe in me with a loving and unwavering sensibility. You privilege my work unquestionably. Our walks and talks in the leaves and trees of the Tararua Ranges were a seriously rich and critical part of writing my thesis. Thank you darling. Speaking of those forested mountains….Tararua Ranges….so many glorious times we have spent together and we have only just begun to infold in on each other. I will be always grateful for the traces of your being that made it onto these pages. To my most constant writing companions: Shadow, our most recent arrival. What a delightful beautiful gift you are, my heart lifts every time we talk. Bowie, your loyal companionship in the office and walking late at night on the streets of Masterton always gave me solace. Ged, my furry limpet. After a long hard day working it has been so heartening to cuddle up with you in bed. Scout, you have taught me so much about iv inheritance in the flesh. Your independence, sweet loving, and intuition continues to open me up into feline worlds. Flash…the first refugee and matriarch of the house. You have been the most loving, loyal and steadfast companion during this thesis. The queer love we make with each other routinely remakes me every time we touch. I would also like to acknowledge the heartfelt engagement, wisdom and rigour demonstrated by my three examiners: Dr Margret Grebowicz, Associate Professor Affrica Taylor and Professor John Overton. Lastly, Donna Jeanne Haraway. If you ever read this: I basically owe you everything that is written in this thesis. v For all the Chthonic ones vi Contents Abstract .................................................................................................................................................... i Acknowledgements ................................................................................................................................ iii List of figures and tables .......................................................................................................................
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