DOCSLIB.ORG

Greville Texidor, Frank Sargeson and New Zealand Literary Culture in the 1940S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Greville Texidor, Frank Sargeson and New Zealand Literary Culture in the 1940S All the juicy pastures: Greville Texidor, Frank Sargeson and New Zealand literary culture in the 1940s by Margot Schwass 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 2017 ABSTRACT The cultural nationalist narrative, and the myths of origin and invention associated with it, cast a long shadow over the mid-twentieth century literary landscape. But since at least the 1980s, scholars have turned their attention to what was happening at the margins of that dominant narrative, revealing untold stories and evidence of unexpected literary meeting points, disruptions and contradictions. The nationalist frame has thus lost purchase as the only way to understand the era’s literature. The 1940s in particular have emerged as a time of cultural recalibration in which subtle shifts were being nourished by various sources, not least the émigré and exilic artists who came to New Zealand from war-torn Europe. They included not only refugees but also a group of less classifiable wanderers and nomads. Among them was Greville Texidor, the peripatetic Englishwoman who transformed herself into a writer and produced a small body of fiction here, including what Frank Sargeson would call “one of the most beautiful prose works ever achieved in this country” (“Greville Texidor” 135). The Sargeson-Texidor encounter, and the larger exilic-nationalist meeting it signifies, is the focus of this thesis. By the early 1940s, Sargeson was the acknowledged master of the New Zealand short story, feted for his ‘authentic’ vision of local reality and for the vernacular idiom and economical form he had developed to render it. Yet he was at a turning point, increasingly constricted by the very tradition he had created. This thesis proposes that, in Texidor, he found the ideal reader for the writer he wished to become. More than merely a mentor-protégée relationship, this was an exchange that left its imprint on Sargeson’s work as much as Texidor’s. Moreover, their meeting enacted the moment at which international influences and modernist modes of expression collided with the literary nationalist project – refashioning, complicating and enlarging it in the process. Combining literary analysis, cultural and literary history, and biography, this thesis is divided into three parts. The first examines the narrative of invention and indigeneity constructed around the dominant Phoenix-Caxton writers, and the scholarship challenging that narrative and its totalising claims. Turning to the arrival of exilic artists from Europe and elsewhere, it argues that the nationalist and the exilic operated as unexpectedly compatible mentalities in i 1940s New Zealand. The second part considers the sources of Sargeson’s literary dilemma in the 1940s, his quest for artistic reinvention, and his problematic role as mentor to a generation of emerging writers. The final part comprises a close reading of Texidor’s published fiction and also (for the first time) her unpublished work. Her fiction is read not only as a record of a writer’s development, but also through the lens of intermodernist theory, suggesting an affinity with writers elsewhere using modernist methods to register the personal and social consequences of political commitment and war. This thesis is informed by extensive archival research, the author’s interviews with Texidor’s two daughters, and visits to significant locations in Spain. In the absence of any other significant literary or biographical accounts of Texidor, it seeks to reassess an author whose place in the New Zealand literary canon has been contested and whose influence on her contemporaries is little recognised. ii ACKNOWLEDGEMENTS Sincere thanks to: • My supervisors, Professor Harry Ricketts and Professor Mark Williams of the English Programme in the School of English, Film, Media and Theatre Studies at Victoria University of Wellington. Their ongoing interest, advice, thoughtful feedback and encouragement has been invaluable. • Cristina Patterson Texidor and Rosamunda Droescher for sharing family information and memories, for responding to numerous questions, and for their hospitality and kindness during my research visits to Spain and Australia. I am particularly grateful to Cristina for showing me Barcelona and Cantonigròs, and to Rosa for taking me to the Blue Mountains and Tossa de Mar, and guiding me (passport-less) through the small towns and former battlefields of Aragón. I would also like to thank their friends and family members in Spain for generous assistance with transport, translations and photography, especially Roger Suriol, Fernando Latorre and Alexis Rossell. • Fergus Barrowman, Mark Derby and Farrell Cleary for sharing their knowledge and putting me in touch with other helpful sources. • Victoria University of Wellington for the Doctoral Scholarship that has enabled me to work full-time on this thesis for three years, and the Research Committee of the Faculty of Humanities and Social Sciences for grants to undertake research in Spain and New Zealand. • Koichi Inoue, Subject Librarian at the VUW Library, for referencing and research help. • Librarians and archivists at the Alexander Turnbull Library and the National Library (Wellington), especially Jocelyn Chalmers; Auckland University Library; the Hocken Collections (Dunedin); the State Library of New South Wales (Sydney); the Wolverhampton Archives; the UCL Slade School of Fine Art; and Cheltenham Ladies’ College archivist Rachel Roberts. • The Frank Sargeson Trust for kindly granting me permission to consult papers held at the Alexander Turnbull Library. • My family – Graeme, Andrew and Katherine McIndoe, and my father Alex Schwass (1927- 2016) – for their unflagging interest and encouragement. iii iv CONTENTS INTRODUCTION ---------------------------------------------------------------------- 1 PART ONE: THE LITERARY LANDSCAPE OF THE 1940s --------------11 CHAPTER 1: Our favourite historical narrative: literary nationalism and the 1940s -- 13 1.1 The founding fathers ------------------------------------------------------------------------------ 15 1.2 The anthologies of 1945-------------------------------------------------------------------------- 23 1.3 The anti-anti-myth -------------------------------------------------------------------------------- 32 1.4 Untold stories: new critical perspectives on the 1940s -------------------------------------- 38 Overseasia ------------------------------------------------------------------------------------------ 39 Origins and inventions ---------------------------------------------------------------------------- 44 Literary commuters ------------------------------------------------------------------------------- 51 1.5 Contrapuntal narratives: the exilic and the nationalist --------------------------------------- 53 Exilic artists ---------------------------------------------------------------------------------------- 57 Meeting points ------------------------------------------------------------------------------------- 62 CHAPTER 2: And now Greville has turned up … ---------------------------------------------- 69 PART TWO: INVENTION AND REINVENTION -----------------------------81 CHAPTER 3: Il miglior fabbro ---------------------------------------------------------------------- 83 3.1 Introduction ---------------------------------------------------------------------------------------- 83 3.2 A new way of writing (and reading) ----------------------------------------------------------- 84 3.3 The exponent of a local tradition --------------------------------------------------------------- 93 3.4 The godfather-midwife: Sargeson as mentor-------------------------------------------------- 97 CHAPTER 4: Frank and Greville ----------------------------------------------------------------- 107 4.1 The beautiful Texidor -------------------------------------------------------------------------- 107 4.2 Daughter of Sargeson? ------------------------------------------------------------------------- 114 4.3 Towards reinvention ---------------------------------------------------------------------------- 122 CHAPTER 5: Speaking for Ourselves ------------------------------------------------------------ 133 v PART THREE: READING TEXIDOR ----------------------------------------- 147 CHAPTER 6: Unfirm environments: from Spain to Paparoa ------------------------------ 149 6.1 Introduction -------------------------------------------------------------------------------------- 149 6.2 The developing stylist -------------------------------------------------------------------------- 151 The European stories ---------------------------------------------------------------------------- 152 The New Zealand stories ----------------------------------------------------------------------- 164 Filled with world echoes ----------------------------------------------------------------------- 170 CHAPTER 7: “It was she who lost the war”: Diary of a Militia Woman ------------------ 173 7.1 A protracted gestation -------------------------------------------------------------------------- 173 7.2 Diary and the canon of war writing ---------------------------------------------------------- 179 CHAPTER 8: A book “one might not unfairly describe as ‘clever’”: These Dark Glasses --------------------------------------------------------------------------------------------------- 193 8.1 The product of a sick mind: the critical reception in New Zealand ----------------------
Load more

Recommended publications
  • A History of Music Education in New Zealand State Primary and Intermediate Schools 1878-1989
    CHRISTCHURCH COLLEGE OF EDUCATION LIBRARY A HISTORY OF MUSIC EDUCATION IN NEW ZEALAND STATE PRIMARY AND INTERMEDIATE SCHOOLS 1878-1989 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the University of Canterbury by Susan P. Braatvedt B.A. (Natal), Dip.Arts (Auckland), B.A.Rons (Canterbury) VOLUME II University of Canterbury 2002 Chapter Five 1950-1968 266 The growth ofschool music Chapter Five 1950 -1968 The growth of school music "music is fmnly established as an integral part of the school curriculum."l 5.1 Introduction This 18-year period was dominated by the National Party except for one term when Labour was voted back into office from 1958? When the National Party took office in December 1949, they inherited an educational system in which school music had not been particularly well served. Robert Chapman comments: The underlying changes in the golden 1960s were social rather than political, technological rather than legislative, individual rather than public ....The tertiary education boom, television, and the contraceptive pill were transforming family and personal relationships as well as the method by which politics were perceived. Government expenditure underwrote the surging development of health and education ... 3 In chapter one section 1.2 it was pointed out that the influence of English music education endured for many years. It is in this period that we begin to see a development of a more innovative approach which was more eclectic in its character. 1 AE. Campbell, Director-General of Education, AJHR. E-1, 1966, p.17. 2 R Chapman, 'From Labour to National,' The Oxford History ofNew Zealand, W.H.
    [Show full text]
  • A Survey of Recent New Zealand Writing TREVOR REEVES
    A Survey of Recent New Zealand Writing TREVOR REEVES O achieve any depth or spread in an article attempt• ing to cover the whole gamut of New Zealand writing * must be deemed to be a New Zealand madman's dream, but I wonder if it would be so difficult for people overseas, particularly in other parts of the Commonwealth. It would appear to them, perhaps, that two or three rather good poets have emerged from these islands. So good, in fact, that their appearance in any anthology of Common• wealth poetry would make for a matter of rather pleasurable comment and would certainly not lower the general stand• ard of the book. I'll come back to these two or three poets presently, but let us first consider the question of New Zealand's prose writers. Ah yes, we have, or had, Kath• erine Mansfield, who died exactly fifty years ago. Her work is legendary — her Collected Stories (Constable) goes from reprint to reprint, and indeed, pirate printings are being shovelled off to the priting mills now that her fifty year copyright protection has run out. But Katherine Mansfield never was a "New Zealand writer" as such. She left early in the piece. But how did later writers fare, internationally speaking? It was Janet Frame who first wrote the long awaited "New Zealand Novel." Owls Do Cry was published in 1957. A rather cruel but incisive novel, about herself (everyone has one good novel in them), it centred on her own childhood experiences in Oamaru, a small town eighty miles north of Dunedin -— a town in which rough farmers drove sheep-shit-smelling American V-8 jalopies inexpertly down the main drag — where the local "bikies" as they are now called, grouped in vociferous RECENT NEW ZEALAND WRITING 17 bunches outside the corner milk bar.
    [Show full text]
  • March 8 2012
    Vol. 22 No. 4 March 8, 2012 www.opunakecoastalnews.co.nz Published every Thursday Fortnight Phone and Fax 761-7016 A/H 761-8206 for Advertising and Editorial ISSN 1171-0624 Inside... Storms wreak havoc Knowing the Bains. A fascinating insight into the family from someone who knew them. page 2. Not happy about losing their pub. Page 7. Just one of the haysheds destroyed in the storm which swept the country last Friday night. This one was in Kina Road, Oaonui. Below all that remains of Diane and Russell Campbell’s haybarn at Pihama. We review Frank Sargeson’s Letters page 10. $270,000 raised for health centre $270,000 has been raised speaker. the room and a far from quiet of some vouchers. which excited a lot of inter- for the proposed Opunake The charity launch of the one at the front, on the stage. “That’s my favourite, be- est (No, it was not one of Health Centre with one sin- proposed health care facility The vocal auction was ably cause it is so interesting”, the items up for auction). Fiona Pears entertains gle donation of $200,000. for Opunake went off with conducted by Peter McDon- commented a man, who was Some people had their photos page 18. The remaining amount was a bang and was a night to ald of McDonald Real Estate, referring to a Roger Morris taken with the historic ‘log Gun amnesty in Eltham. raised in the charity auction remember at the Sandfords capably assisted by Sean (Remo) oil painting entitled of wood’.
    [Show full text]
  • Newsletter – 20 April 2012 ISSN: 1178-9441
    INTERNATIONAL INSTITUTE OF MODERN LETTERS Te P¯utahi Tuhi Auaha o te Ao Newsletter – 20 April 2012 ISSN: 1178-9441 This is the 180th in a series of occasional newsletters from the Victoria University centre of the International Institute of Modern Letters. For more information about any of the items, please email modernletters. 1. Victoria goes to the Olympics ................................................................................. 1 2. Victoria goes to Leipzig ........................................................................................... 2 3. Write poetry! No, write short stories! No, write for children! ............................ 2 4. Resonance ................................................................................................................. 2 5. We’re probably the last to tell you, but . ........................................................... 3 6. However, we'd like to be the first to tell you about . ............................................ 3 7. The expanding bookshelf......................................................................................... 3 8. Hue & Cry and crowdfunding ................................................................................ 4 9. Congratulations ........................................................................................................ 4 10. Fiction editing mentor programme - call for applications ................................. 4 11. Poems of spirituality: call for submissions .........................................................
    [Show full text]
  • Renato Amato's Literary Antipodes1
    FULL CIRCLE? RENATO AMATO’S LITERARY ANTIPODES 1 SARAH PATRICIA HILL (Victoria University of Wellington) Sommario Il titolo stesso dell'opera di Amato The Full Circle of the Travelling Cuckoo (1967) rivela il senso di dislocazione dello scrittore migrante ma, al contempo, ne indica la capacità di riconciliarsi con il proprio difficile passato e di adattarsi alla sua patria adottiva, la Nuova Zelanda. Amato (1928-1964) ha dato un contribuito significativo alla scena letteraria della Nuova Zelanda dei primi anni '60, pubblicando numerosi racconti in inglese e completando due romanzi ancora inediti. Attraverso l'analisi critica di questi manoscritti in particolare, questo articolo si propone di capire come essi riflettano le plurime identità di Amato come migrante e autore, facendo luce sulle sue esperienze come unico scrittore italiano in un ambiente letterario predominantemente anglo-celtico. “Possibile che a quarant’anni, e con tutto il mondo che ho visto, non sappia ancora che cos’è il mio paese?” Cesare Pavese, La luna e i falò The only published book by Italian New Zealand writer Renato ‘Michael’ Amato (1928-1964) is The Full Circle of the Travelling Cuckoo , a collection of short stories that appeared posthumously in 1967. Amato’s friend and literary executor Maurice Shadbolt – a key figure in the New Zealand literary landscape of the day – probably intended the title to suggest both Amato’s sense of displacement as a migrant writer and the 1 I would like to express my heartfelt thanks to Timothy Amato for generously making his collection of his father’s personal papers available to me, and to Dora Celeste Amato and Michele Amato for sharing their memories of their brother Renato.
    [Show full text]
  • 2013 ANZSI Conference: “Intrepid Indexing: Indexing Without
    Intrepid indexing: indexing without boundaries 13–15 March 2013 Wellington, New Zealand Table of Contents Papers • Keynote: Intrepid indexing: from the sea to the stars, Jan Wright • Publishers, Editors and Indexers: a panel discussion, Fergus Barrowman, Mei Yen Chua and Simon Minto • Māori names and terms in indexes, texts and databases, Robin Briggs, Ross Calman, Carol Dawber • EPUB3 Indexes Charter and the future of indexing, Glenda Browne • People and place : the future of database indexing for Indigenous collections in Australia, Judith Cannon and Jenny Wood • Indexing military history, Peter Cooke • Ethics in Indexing, Heather Ebbs • Running an Indexing Business, Heather Ebbs, Pilar Wyman, Mary Coe and Tordis Flath • Archives and indexing history in the Pacific Islands, Uili Fecteau and Margaret Pointer • Typesetting Dilemmas, Tordis Flath and Mary Russell • Can an index be a work of art? Lynn Jenner and Tordis Flath • Advanced SKY Index, Jon Jermey • East Asian names: understanding and indexing Chinese, Japanese and Korean (CJK) names, Lai Lam and Cornelia (Nelly) Bess • Intermediate CINDEX - Patterns for the Plucky, Frances Lennie • Demystifying indexing: keeping the editor sane! Max McMaster (presented by Mary Russell) • Numbers in Indexing, Max McMaster (presented by Mary Russell) • Japan's indexing practice, Takashi Matsuura • Understanding Asian Names, Fiona Price • Indexing Tips and Traps; Practical approaches to improving indexes and achieving ANZSI Accreditation, Sherrey Quinn o Indexing Tip and Traps — slides o Practical
    [Show full text]
  • Christchurch Writers' Trail
    The Christch~rch Writers' Trail I The Christchurch c 3 mitersy&ai1 Page 1 Introduction 2 Writers Biographies Lady Barker e Canterbury Settlement, right from 1850, was notable for its exalted ideals. The @settlement's early colonists lugged ashore libraries, musical instruments, paints, Samuel Butler William Pember Reeves easels and plans for a grammar school and university. Within the first decade they Edith Grossmann started a newspaper, founded choral and orchestral societies, staged plays and Jessie Mackay started a public library. A surprising number of these pioneers were competent Arnold Wall writers. The published memoirs, letters, journals and poetry left by Charlotte Godley, Blanche Bau han Edward and Crosbie Ward, James FitzGerald, Henry Sewell, Sarah Courage, Laurence Johannes An 8ersen Kennaway, Lady Barker, Samuel Butler and other "pilgrims" established a robust Mary Ursula Bethell literary tradition in Canterbury, particularly in non-fiction and poetry. From the Alan Mulgan 1930s to the early 1950s, during Denis Glover's association with The Caxton Press, Esther Glen Oliver Duff Christchurch was indisputably the focal point of New Zealand's artistic life. The N~aioMarsh town's cultural and literary importance - about 280 writers are listed in this booklet D Arcy Cresswell in a record which is by no means definitive - continues to this day. Monte Holcroft James Courage The Canterbury Branch of the New Zealand Society of Authors has, with generous Allen Curnow assistance from The Community Trust, now laid 32 writers' plaques in various parts Essie Summers of Christchurch. It is hoped that the process begun in 1997 of thus honouring the Denis Glover literary talent of our town and province, will long continue.
    [Show full text]
  • The One Story and the Four Ways of Telling
    The One Story and the Four Ways of Telling: The relationship between New Zealand literary autobiography and spiritual autobiography. A thesis submitted in partial fulfilment of the requirements for the Degree of Masters of Arts in English in the University of Canterbury DEPARTMENT OF ENGLISH UN!VEf,SITY OF c,wrrnmnw By CHRISTCHURCH, N.Z. Emily Jane Faith University of Canterbury 2001 ACKNOWLEDGEMENTS I would like to thank everyone who has given various forms of support during this two­ year production. Thanks especially to my Mum and Dad and my brother Nick, Dylan, my friends, and my office-mates in Room 320. Somewhere between lunch, afternoon tea, and the gym, it finally got done! A special mention is due to my supervisor Patrick Evans for his faith in me throughout. The first part of my title is based on Lawrence Jones' a1iicle 'The One Story, the Two Ways of Telling, and the Three Perspectives', in Ariel 16:4 (October 1985): 127-50. CONTENTS Abst1·act ................................................................................................................... 1 Introduction ........................................................................................................... 2 I. A brief history of a brief history: New Zealand literary autobiography (and biography) ................................................................................ 2 II. The aims and procedures of this thesis ................................................... 9 III. Spiritual autobiography: the epiphany .................................................
    [Show full text]
  • Towards 'Until the Walls Fall Down' an Intended History of New Zealand Literature 1932-1963
    Towards 'Until the walls fall down' An intended history of New Zealand Literature 1932-1963 LAWRENCE JONES Those inclusive dates point to two generations, and crucial to my intended history is the distinction Lawrence fones is Associate Professor of English at the Uni­ between them. The first is that of the self-appointed versity of Otago. He is the author of Barbed Wire and makers of a national literature, mostly born after 1900 Mirrors - Essays on New Zealand prose. The following and before World War I. They arrive in three waves. text was presented at a Stout Research Centre Wednesday First there is a small group beginning Seminar, on 5 October 1994. in Auckland in the mid- and late-1920s- Mason (born 1905), A.R.D. I would like first to look at the terms of my title. 'To­ Fairburn (1904), and, off to one side and associated wards' and 'intended' are the first operative terms. This by them with the maligned older generation, Robin seminar is given at the beginning of a process of inten­ Hyde (1906). Then come the Phoenix-Unicorn-Griffin sive research, and any writing beyond notes and an and the Tomorrow-Caxton groups in Auckland and outline is an intention at this point, and the outline is Christchurch, (and some of their outlying friends), something to work towards, modifying and filling in. arriving between 1932 and 1935, incorporating Fairburn Next there is 'New Zealand Literature, 1932-1963', and Mason, and including M.H . Holcroft (1902), Frank with those oddly specific dates. The first is probably Sargeson (1903), Roderick Finlayson (1904), Winston obvious enough, the publication of the Phoenix at the Rhodes (1905), E.H.
    [Show full text]
  • Katherine Mansfield Menton Fellowship Application Form 2019
    The Art Foundation Katherine Mansfield Menton Fellowship 2019 The Katherine Mansfield Menton Fellowship is for an established creative writer to spend three months or more in Menton in southern France to work on a project or projects. Tihe Mauriora, e nga iwi o te motu, anei he karahipi whakaharahara. Ko te Katherine Mansfield Menton Fellowship tenei karahipi. Kia kaha koutou ki te tonohia mo tenei putea tautoko. Mena he tangata angitu koe i tenei karahipi, ka taea e koe haere ki te Whenua Wiwi ki te whakamahi to kaupapa, kei te mohio koe, ko te manu i kai i te matauranga nona te ao. Ko koe tena? Amount $35,000 (includes travel and accommodation) Application closing date 5:00pm, Monday 1 July, 2019 The successful applicant will become an Arts Foundation Laureate. What can you write? The residency is open to creative writers across all genres including fiction, children's fiction, poetry, creative non-fiction and playwriting. What do we cover? The residency provides: • a grant of $35,000 to cover all costs including travel to Menton, insurance, living and accommodation costs. $15,000 is paid when your itinerary and insurance is confirmed, with $10,000 payments usually made in month two and three of the residency, assuming the Fellow remains in residency through this period. • a room beneath the terrace of Villa Isola Bella is available for use as a study. Accommodation is not available at the villa. Fellows make their own accommodation arrangements, often with advice from a previous Fellow. Katherine Mansfield spent long periods at Villa Isola Bella in 1919 and 1920 after she contracted tuberculosis.
    [Show full text]
  • Ka Mate Ka Ora: a New Zealand Journal of Poetry and Poetics
    ka mate ka ora: a new zealand journal of poetry and poetics Issue 4 September 2007 Poetry at Auckland University Press Elizabeth Caffin Weathers on this shore want sorts of words. (Kendrick Smithyman, ‘Site’) Auckland University Press might never have been a publisher of poetry were it not for Kendrick Smithyman. It was his decision. As Dennis McEldowney recalls, a letter from Smithyman on 31 March 1967 offering the manuscript of Flying to Palmerston, pointed out that ‘it is to the university presses the responsibility is falling for publishing poetry. Pigheaded and inclined to the parish pump, I would rather have it appear in New Zealand if it appears anywhere’.1 Dennis, who became Editor of University Publications in 1966 and in the next two decades created a small but perfectly formed university press, claimed he lacked confidence in judging poetry. But Kendrick and C. K. Stead, poets and academics both, became his advisors and he very quickly established an impressive list. At its core were the great New Zealand modernist poets. Dennis published five books by Smithyman, three by Stead and three by Curnow starting with the marvellous An Incorrigible Music in 1979.2 Curnow and Smithyman were not young and had published extensively elsewhere but most would agree that their greatest work was written in their later years; and AUP published it. Soon a further group of established poets was added: three books by Elizabeth Smither, one by Albert Wendt, one by Kevin Ireland. And then a new generation, the exuberant poets of the 1960s and 1970s such as Ian Wedde (four books), Bill Manhire, Bob Orr, Keri Hulme, Graham Lindsay, Michael Harlow.
    [Show full text]
  • Penguin History of New Zealand P.133
    CORE Metadata, citation and similar papers at core.ac.uk Provided by UC Research Repository ‘Like Iron Filings to a Magnet’: A Reappraisal of Michael King’s Approach to New Zealand History A thesis submitted in partial fulfillment of the requirements for the Degree of Master of Arts in History at the University of Canterbury by Halie McCaffrey University of Canterbury 2010 Contents Acknowledgements p.ii Abstract p.iv Introduction: Michael King: History Man p.1 Chapter One: ‘Being Pākehā’ in the Historiographical Dialogue of Nation and Identity in New Zealand p.9 Chapter Two: Mātauranga Pākehā: King’s Construction of a New Zealand Identity p.42 Chapter Three: Identity and the Landscape: Imagining New Zealand Through King’s Personal Experience of Place p.68 Chapter Four: King’s People: The Life Histories of New Zealanders p.92 Chapter Five: A Career Full Circle? A Discussion of The Penguin History of New Zealand p.133 Conclusion: Michael Row the Boat Ashore p.177 References Bibliography: Primary Sources p.181 Secondary Sources p.188 ii Acknowledgements The writing this thesis has been a difficult process: both academically and emotionally. The completion of this thesis has come down to a lot of support from different people in my life. I am very thankful to each one of them. At the beginning of this process I was diagnosed with dyslexia. SPLED Canterbury was great help to me during this process. Not only did they pay for my testing, they paid for a tutor to help me work on my weaknesses. I am so grateful to Christine Docherty who showed much compassion in re teaching me the basics of the English language.
    [Show full text]