2013 CATALOGUE from Devil’S Henchmen and Newspaper Boys to Friendly Fire and the Howling Wilderness: Turn the Page on Another Year

Total Page:16

File Type:pdf, Size:1020Kb

2013 CATALOGUE from Devil’S Henchmen and Newspaper Boys to Friendly Fire and the Howling Wilderness: Turn the Page on Another Year AUCKLAND UNIVERSITY PRESS — 2013 CATALOGUE From devil’s henchmen and newspaper boys to friendly fire and the howling wilderness: turn the page on another year. Summer 2013 HOME IN THE HOWLING WILDERNESS: SETTLERS AND THE ENVIRONMENT IN SOUTHERN NEW ZEALAND Peter Holland During the nineteenth century European settlers transformed the environment of New Zealand’s South Island. They diverted streams and drained marshes, burned native vegetation and planted hedges, stocked farms with sheep and poured on fertiliser. In Home in the Howling Wilderness Peter Holland undertakes a deep history of that settlement to answer key questions about New Zealand’s ecological transformation. In its depth and breadth of research, its stories of rabbiters and ryegrass, Home in the Howling Wilderness is a major new account of Pākehā and the land in New Zealand. Peter Holland is professor emeritus of geography at the University of Otago. In 2008, Holland won the New Zealand Geographical Society’s Distinguished New Zealand Geographer Gold Medal, New Zealand’s highest honour for a geographer. February 2013, 230 x 165 mm, 256 pages, illustrations Paperback, 978 1 86940 739 1, $49.99 4/5 Summer 2013 THE YELLOW BUOY: POEMS 2007–2012 C K Stead C K Stead has always swum through literature, cultures, surroundings – both physical and social – with a deft stroke. Completed in his eightieth year, The Yellow Buoy sees the poet firmly attached to his memories, attuned to his craft and attentive to his world. In sonnets and syllabics, with settings ranging from Croatia and Colombia to Karekare and the Côte d’Azur, these poems urge the reader to stay alert, to pay attention to ‘the poetic moment / so easily missed, / so quickly lost’. From his green enclave and ‘avid for copy’, this poet is singing still – but also considering the acceptance of silence. C K Stead has published more than forty books and received numerous prizes and honours recognising his contribution to literature, including the Prime Minister’s Award for Fiction and a Montana New Zealand Book Award for his Collected Poems in 2009. He received our highest award, the Order of New Zealand, in 2007. mid-February 2013, 224 x 164 mm, 144 pages Paperback w/ flaps, 978 1 86940 735 3, $27.99, world rights except UK & Europe 6/7 Autumn 2013 EXTRA! EXTRA! HOW THE PEOPLE MADE THE NEWS David Hastings Rowing on the Waitematā to grab the latest news from incoming ships. Rushing out a special afternoon edition to the paper boys’ cries of ‘Extra! Extra!’ Crime and shipping news, the arrival of Governor Grey and the fall of Ruapekapeka Pā: the newspaper wars of nineteenth- century Auckland were life or death struggles – with the odds heavily in favour of death. Extra! Extra! tells the story of the newspapers, the editors, reporters and owners who made them, and the readers who determined what was news and which papers would live or die. David Hastings is the author of Over the Mountains of the Sea: Life on the Migrant Ships (Auckland University Press, 2006). He was until recently the editor of Auckland’s Weekend Herald. March 2013, 210 x 142 mm, 296 pages, illustrations Paperback, 978 1 86940 738 4, $45 8/9 Autumn 2013 PATCHED: THE HISTORY OF GANGS IN NEW ZEALAND Jarrod Gilbert From ‘bikie’ gangs to skinheads, the Mongrel Mob to Black Power, gangs have had a massive impact on our society. Based on intensive research within gangs, Patched is the first major history of gang life in New Zealand. Jarrod Gilbert traces the story through the early bodgies and widgies, the rise of the Hells Angels and other motorcycle clubs, the growth of Polynesian street gangs in the 1970s and the shifts towards organised crime over the past ten years. Throughout, Gilbert brings us the gang members, police and politicians in their own gritty and gripping words. Violent and sometimes horrifying, this book explores a tough but revealing facet of New Zealand life. Jarrod Gilbert spent ten years with New Zealand gangs researching this book. He received a University of Canterbury Doctoral Scholarship and a C Wright Mills Award, earning his PhD in 2010. Gilbert lectures at the University of Canterbury and is frequently sought by the media to comment on gangs. mid-March 2013, 230 x 165 mm, 384 pages, colour and b/w illustrations Paperback, 978 1 86940 729 2, $49.99 10/11 Summer 2013 12/13 Autumn 2013 THE BLUE COAT Elizabeth Smither A wind that only the widest gardens can hold. A lipstick stain on a poem. And a bee released – with recourse to a letter from the Inland Revenue Department. Whimsical and tender, this latest collection demonstrates Elizabeth Smither’s talent for illuminating the poetry in the everyday – an out-of-season daffodil, a chipped Limoges plate. She is a master of the unfolding poem, in lines that take you from a single image to the cusp of something larger. At times meditative, at times playful, even subversive, this collection impresses with its sure words, deft touch and polished harmony. Distinguished writer Elizabeth Smither was the 2001– 2003 Te Mata Poet Laureate. In 2004 she was awarded an honorary DLitt from the University of Auckland for her contribution to literature and was made a Member of the New Zealand Order of Merit. April 2013, 210 x 148 mm, 80 pages Paperback, 978 1 86940 736 0, $24.99 14/15 Summer 2013 How to release a bee tHe eye is badly designed Take a glass tumbler and hold it The closed eye is gone against the window and over the body of under the lid like the moon the bumblebee which is flailing and buzzing sliding under the sea. with a drone of despair rising ever higher. Open it and it slides down At first the wailing song continues close to like someone sliding down the glass but there is a chamber the bee the balustrade of a stair. will soon, with a little shake, descend to. Over the mouth of the tumbler quickly slip It makes thinking odd that the slide must come a letter from the Inland Revenue Department before the look or something equally importunate and official then, with your palm firmly pressed and how can it be wise over the letter, push open the window to disappear inside your own head leaving a blank screen? with your free hand to release the bee whose singing will instantly cease. Now The afternoon doze, the night’s sleep, turn on the concert programme and write: I am no longer here out soars the high C of Allegri’s Miserere. and vacate the scene. Slip away and slide back, how quickly we land back at the scene, on our feet. 8 9 16/17 Autumn 2013 HIS OWN STEAM: THE WORK OF BARRY BRICKELL David Craig & Gregory O’Brien, with new photography by Haruhiko Sameshima Potter extraordinaire, conservationist, railway enthusiast and iconoclast Barry Brickell is one of New Zealand’s most important ceramicists. A leading figure in the New Zealand pottery movement, for more than fifty years Brickell has shaped pots and sculptures that pulse with a humour, exuberance and eroticism rare in New Zealand craft or art. In essays by David Craig and Gregory O’Brien and with newly commissioned photographs, His Own Steam charts the ‘animated and vernacular’ body of work by this unique New Zealand thinker and craftsman. David Craig is a sociologist at the University of Otago. Gregory O’Brien won the 2012 Prime Minister’s Award for Literary Achievement. Haruhiko Sameshima is an award-winning freelance and art photographer. Includes a foreword by Hamish Keith. May 2013, 248 x 200 mm, 232 pages, colour illustrations Hardback, 978 1 86940 763 6, $65 In association with His Own Steam: A Barry Brickell Survey, curated by Emma Bugden and David Craig, The Dowse Art Museum, 4 May 2013 18/19 Summer 2013 20/21 Autumn 2013 THE LIFEGUARD: POEMS 2008–2013 Ian Wedde The Lifeguard, Ian Wedde’s laureate collection, shows the poet at his thoughtful, surprising best, building ‘these lattices and / filigrees of words through which / the light slips, where the shadow / stands up, and we remember’. Opening with a major new series, ‘The Lifeguard’, and finishing with a second long sequence, ‘Shadow Stands Up’, in which a world of Platonic memory and tidal recurrence is observed from a window-seat in Auckland’s Link bus, the volume collects five years of Wedde’s poetry. In poems that are a complex mix of rhapsody, fear, and humour, The Lifeguard stays on the lookout for ‘arms upraised / where the surf breaks against its own backwash’. Ian Wedde, ONZM, is New Zealand’s current poet laureate. He was the Robert Burns Fellow at the University of Otago in 1972, the Victoria University Writing Fellow in 1984, the Katherine Mansfield Fellow in Menton in 2005 and the University of Auckland Michael King Writer in Residence in 2009. May 2013, 228 x 148 mm, 96 pages Paperback, 978 1 86940 769 8, $27.99 22/23 Autumn 2013 FRIENDLY FIRE: NUCLEAR POLITICS AND THE COLLAPSE OF ANZUS, 1984–1987 Gerald Hensley In 1984, the newly elected Labour Government’s anti- nuclear policy collided with a United States foreign policy based on nuclear deterrence. After three years of ship visits denied, angry meetings, fraught diplomacy and freewheeling press conferences, this outbreak of ‘friendly fire’ led to the unravelling of the ANZUS military alliance, established in 1951. Based on previously classified government records in New Zealand, Australia, the United States and the United Kingdom, interviews with key protagonists from throughout the world, and the author’s own involvement in events, Friendly Fire tells the inside story of a dramatic confrontation.
Recommended publications
  • Beyond the Lens the Marti & Gerrard Friedlander Collection
    BEYOND THE LENS THE MARTI & GERRARD FRIEDLANDER COLLECTION Marti Friedlander’s contribution to the development of contemporary New Zealand art has been quite simply outstanding and it is with great honour that we bring you this catalogue, Beyond the Lens - The Marti and Gerrard Friedlander Collection. Celebrated and respected for her photography, but also for her generosity, in later life Marti became known to many of us through the causes that she and Gerrard supported with great passion. Breast cancer, issues of Māoridom and helping young people – all these were causes close to their hearts. Marti was an unforgettable character to those that knew her. Curious and direct, with a distinctive gravelly voice and an accent that gave away her Northern Hemisphere start in life. I was most interested to read Kathlene Fogarty’s account of Driving with Marti, mainly as I had previously assumed that Marti didn’t drive. Having lived and worked in Parnell for years, she was a most familiar figure to locals; striding purposefully up Brighton Road and determinedly around the village, frequently pausing to chat and always stopping for coffee. Known for her strong personality and love of people, Marti’s curiosity for the strange new land she came to with husband Gerrard in 1958 was borne out in the photographs she took. Over the next fifty years she famously photographed not only the landscape but it’s people – both the ordinary and the extraordinary - in a time well before the notion of celebrity existed. Her visual record of our country in a time of change and maturation is invaluable.
    [Show full text]
  • 2019 Annual Report
    New Zealand Portrait Gallery Te Pūkenga Whakaata Annual Report 2019 1 Chair’s Introduction On behalf of the Trustees and Management Board of the New Zealand Portrait Gallery Te Pūkenga Whakaata, it is my pleasure to present our Annual Report for 2019. Nick Cuthell, Portrait of Dr Alan Bollard. 2012. Collection, Reserve Bank of New Zealand. This is my first report to you as Chair, We are very grateful to all the artists and I am delighted to confirm the and curators for their work in bringing Gallery is in good heart despite the these remarkable exhibitions to the financial challenges we continue to Gallery. face. We are also very grateful to our The year’s exhibition programme has sponsors for their backing of this been a resounding success – from year’s programme. Without them John Walsh’s stunning Portrait of our exhibitions would not have been Ūawa Tolaga Bay with its massive possible. Special thanks must be mural of an East Coast community given to Chris and Kathy Parkin whose to the three innovative and diverse generosity provided a professional exhibitions which followed. The publicist to promote our exhibitions. range of experience represented As a result, visitor numbers are by these exhibitions, as well as running almost 6% ahead of last year. the small exhibitions in the front Our loyal Friends and supporters have gallery, encapsulate our evolving also continued to champion projects understanding of ourselves as New to improve the Gallery’s facilities, and Zealanders, our history and creativity. the Director and her team continue to 2 Cover image: Opening of Being Chinese in Aotearoa exhibition, 20 November 2019.
    [Show full text]
  • Imagination Is the Creative Use of Reality ~ Margaret Mahy
    ISSN 11750189: Volume 11: Issue 2: August 2012. Imagination is the creative use of reality ~ Margaret Mahy. When Storylines put the call out for tributes to Margaret Mahy, they came in thick and fast - long and short - from all walks of life. From close friends, colleagues, and fans. From people who had worked closely with Margaret, those who had met her once - or a few times - and from those who never met her. But, all of us have been blessed by Margaret's life and work. And, all of us were grateful to share our thoughts. We thank you all. We are sorry that we couldn't share ALL the photos... there were so many! Herewith - with little editing - are the words of Margaret's friends and fans... Margaret Mahy is my role model. She inspired me to start writing stories and I haven’t stopped since. She opened the gateway to my passion when I met her properly for the first time at a Storylines Festival. I was nervous when I waited in the (very long) queue for her autograph, I was speechless and I didn’t know what to say. But soon my nervousness went away when we started talking, she was warm and friendly and she drew a picture of one of her characters next to her eloquent signature. It was one of the greatest opportunities in my life meeting Margaret Mahy. My admiration for Margaret Mahy formed when I was six. She came to our school wearing a funky, rainbow-coloured wig; she performed a hilarious puppet show that I can still remember.
    [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]
  • 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]
  • 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]
  • JACQUELINE FAHEY B. 1929, Timaru
    GOW LANGSFORD GALLERY JACQUELINE FAHEY b. 1929, Timaru Jaqueline Fahey’s paintings collide portraiture with suburban landscapes to create riotously colourful compositions that revel in the chaos of domesticity. Married and a mother to three early in her painting career, the stifling gendered society of 1950s and 1960s New Zealand saw Fahey adopt unconventional colour, technique, and subject matter to reflect and actively challenge the status quo of the gender divide. Yet embedded in the artist’s pugnacious approach is a great level of affection for the women and relationships portrayed, evident in the careful detail bestowed on traditionally ‘female’ interests – clothing, interior textiles, bouquets- elevating the decorative female space above the austere settings more familiar to portraiture. Her distinctive painting style is recognisable for a raucous use of colour, with often haphazard use of perspectival space to force the viewer into the claustrophobia of the female experience. You can hear Fahey’s paintings. Expertly realised portraits are candid in their expressions – characters are shown mouth open, mid argument, or gazing off absentmindedly into the distance. Glimpses of TV sets, record players, and radios are combined with closely observed wine glasses, cups of tea, and bottles of gin. The clamour of crockery and conversation rings through the paintings and spills out into our space as they do into the painted gardens visible through open windows. Later bodies of work see Fahey applying her distinctive flare to urban environments and urban characters; translating domestic politics to their manifestation in the public environment. Born in Timaru in 1929, Fahey began her painting education in earnest at sixteen, at the Canterbury College School of Art, now Ilam.
    [Show full text]
  • Human Kind Transforming Identity in British and Australian Portraits 1700-1914
    HUMAN KIND TRANSFORMING IDENTITY IN BRITISH AND AUSTRALIAN PORTRAITS 1700-1914 International Conference on Portraiture University of Melbourne and National Gallery of Victoria Conference Programme Thursday 8 September – Sunday 11 September 2016 Biographies of Speakers and Abstracts of their Papers [In chronological order: Speaker, title of paper, organisation, bio, abstract of paper] Speakers: Leonard Bell, University of Auckland, Who was John Rutherford? John Dempsey’s Portrait of the ‘Tattooed Englishman’ c.1829 Bio: Dr Leonard (Len) Bell is an Associate Professor in Art History, School of Humanities, The University of Auckland. His writings on cross-cultural interactions and the visual arts in New Zealand, Australia and the Pacific have been published in books and periodicals in New Zealand, Australia, Britain, USA, Germany, the Czech Republic and Japan. His books include The Maori in European Art: A Survey of the Representation of the Maori from the Time of Captain Cook to the Present Day (1980), Colonial Constructs: European Images of Maori 1840–1914 (1992), In Transit: Questions of Home and Belonging in New Zealand Art (2007), Marti Friedlander (2009 & 2010), From Prague to Auckland: The Photographs of Frank Hofmann (1916-89), (2011), and Jewish Lives in New Zealand: A History (2012: co-editor & principal writer). His essays have appeared in Julie Codell & Dianne Sachko Macleod (eds), Orientalism Transformed: The Impact of the Colonies on British Art (1998), Alex Calder, Jonathan Lamb & Bridget Orr (eds), Voyages and Beaches: Pacific Encounters 1769-1840 (1999), Nicholas Thomas & Diane Losche (eds), Double Vision: Art Histories and Colonial Histories in the Pacific (1999), Felix Driver & Luciana Martins (eds), Tropical Visions in an Age of Empire (2005), Annie Coombes (ed), Rethinking Settler Colonialism: History and Memory in Australia, Canada, Aotearoa/New Zealand and South Africa (2006) and Tim Barringer, Geoff Quilley & Douglas Fordham (eds), Art and the British Empire (2007).
    [Show full text]
  • On the Repatriation of Māori Toi Moko Colleen Murphy a Thesis Submitted in Partial Fulfillment of the Requi
    Talking Heads: On the Repatriation of Māori Toi Moko Colleen Murphy A thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts with Honors in the History of Art THE UNIVERSITY OF MICHIGAN April 2016 Murphy 2 TABLE OF CONTENTS Whakawhetai (Acknowledgements) . 03 Text Introduction: Detached Heads . 04 Ta Moko Tattooing . 07 Early Contact with Europeans . 09 Changing Attitudes . 16 General H.G. Robley . 19 People on Display . 26 Western Displays of Māori Art and Artifacts . 30 The Māori Renaissance . 34 Repatriation Practices . 37 Legislation Related to Repatriation . 39 Conclusion: Ceremonial Repatriation . 41 Endnotes . 42 Bibliography . 46 Images . 50 Murphy 3 Whakawhetai (Acknowledgements) I would like to sincerely thank my faculty advisor Dr. David Doris for his indispensable guidance during this process. He continuously found time in his busy schedule to help me with my research, and I am incredibly grateful for his generosity, sense of humor and support. I am also grateful to Dr. Howard Lay for his assistance both in this project and throughout my career at the University of Michigan. He reaffirmed my love for the History of Art in his lectures both at Michigan and throughout France, and demonstrated unbelievable dedication to our seminar class. I am certain that my experience at Michigan would not have been the same without his mentorship. I am greatly appreciative of the staff at Te Papa Tongawera for their online resources and responses to my specific questions regarding their Repatriation Program, and the Library of the University of Wellington, New Zealand, which generously makes portions of the New Zealand Text Collection freely available online.
    [Show full text]
  • Words That Make Worlds. Arguments That Change Minds. Ideas That Illuminate. We Publish Books That Make a Difference
    AUCKLAND UNIVERSITY PRESS — 2012 CATALOGUE Words that make worlds. Arguments that change minds. Ideas that illuminate. We publish books that make a difference. Summer 2012 BA: AN INSIDER’S GUIDE Rebecca Jury BA: An Insider’s Guide is the essential book for all those considering study or about to embark on their arts degree. In 10 steps, Jury introduces readers to everything from choosing courses (just like putting together a personalised gourmet sandwich), setting up a study space and doing part-time work to turning up at lectures and tutorials and actually reading readings. In particular, she focuses on planning, work–life balance, study habits, succeeding at essays and exams and sorting out a life afterwards. Recently emerged from the maelstrom of university, Jury offers the inside word on doing well there. Rebecca Jury graduated with a BA (English and Mass Communication) from Canterbury University in 2008. Her grade average was excellent! Since completing her degree she has worked as a university tutor, a youth counsellor and a high-school teacher. February 2012, 190 x 140 mm, 200 pages Paperback, 978 1 86940 577 9, $29.99 2/3 Summer 2012 BEAUTIES OF THE OCTAGONAL POOL Gregory O’Brien In an eight-armed embrace, Beauties of the Octagonal Pool collects poems written from and out of a variety of times, locations and experiences. O’Brien’s poems have a thoughtful musicality, a shambling romance, a sense of humour, an eye on the horizon. On Raoul Island we meet a mechanical rat; on Waiheke, the horses of memory thunder down the course; and in Doubtful Sound, the first guitar music heard in New Zealand spills over the waves .
    [Show full text]
  • Tina Makereti, the Novel Sleeps Standing About the Battle of Orakau and Native Son, the Second Volume of His Memoir
    2017 AUTHOR Showcase AcademyAcademy ofof NewNew Zealand Zealand Literature Literature ANZLANZLTe WhareTe Whare Mātātuhi Mātātuhi o Aotearoa o Aotearoa Please visit the Academy of New Zealand Literature web site for in-depth features, interviews and conversations. www.anzliterature.com Academy of New Zealand Literature ANZL Te Whare Mātātuhi o Aotearoa Academy of New Zealand Literature ANZL Te Whare Mātātuhi o Aotearoa Kia ora festival directors, This is the first Author Showcase produced by the Academy of New Zealand Literature (ANZL). We are writers from Aotearoa New Zealand, mid-career and senior practitioners who write fiction, poetry and creative nonfiction. Our list of Fellows and Members includes New Zealand’s most acclaimed contemporary writers, including Maurice Gee, Keri Hulme, Lloyd Jones, Eleanor Catton, Witi Ihimaera, C.K. Stead and Albert Wendt. This showcase presents 15 writers who are available to appear at literary festivals around the world in 2017. In this e-book you’ll find pages for each writer with a bio, a short blurb about their latest books, information on their interests and availability, and links to online interviews and performances. Each writer’s page lists an email address so you can contact them directly, but please feel free to contact me directly if you have questions. These writers are well-known to New Zealand’s festival directors, including Anne O’Brien of the Auckland Writers Festival and Rachael King of Word Christchurch. Please note that New Zealand writers can apply for local funding for travel to festivals and other related events. We plan to publish an updated Author Showcase later this year.
    [Show full text]