Böcker utgivna av Otago University Press

The Pistils is a dispatch from the cusp of change. It appears at the severing of a 40-year relationship following the illness and death of poet Janet Charman's partner during the Covid restrictions. Here, she chronicles her experience with transition--to the digital age, to single life, to carbon neutral. She dissects her Pakeha sensibilities towards colonizing privilege as well as her gender-critical feminist's astonishment at attacks from allies in the realm of sexual politics. In The Pistils, Charman regards her separation from her grown children in the light of her own parents' deaths. And she looks to a future in which the crises she anticipates, both personal and environmental, are treated as no less inevitable than they will be mysterious.

Writing from the eighth and ninth decades of his life, Alan Roddicks third collection of poetry, Next, examines the past, observes the present and speculates on the future. Anchored in the action of daily life whether it be a ride in a mirrored elevator or a roadside conversation with a friend his poems speak of migration, family, friendship, aging and mortality. Next is marked by a rare blend of uncompromising vision and deep compassion. Here is poetry that delights in warmth, humour, wit and grace, that revels in the beauty of the world, that insists on anticrepuscular rays at twilight even as its asking the niggling question: Tomorrow, though''?

Landfall is New Zealand's foremost and longest-running arts and literary journal. It showcases new fiction and poetry, as well as biographical and critical essays, and cultural commentary. Each issue brims with a mix of vital new work by this country's best writers. There are reviews of the latest books, art, film, drama, and dance. Landfall is a high-quality production, with artist portfolios in full colour.

"This remarkable second collection by award-winning poet Joanna Preston charts a course for the journey from child to woman. Her bold and original voice swoops the reader from the ocean depths to the roof of the world, from nascent saints, Viking raids and fallen angels to talking cameras and an astronaut in space. Always, the human heartbeat is at stake, as Preston explores love, loss, longing and lust - how we stumble, how we soar. tumble is a beautifully crafted collection that traverses traditional forms, the lyric and free verse. It is earthy and embodied, while at the same time woven through with myth and magical realism."--Publisher's information.

New Zealanders have produced a rich body of literature about tramping, with writing spanning nearly two centuries and ranging from poetry and songs, journals and newspaper pieces to magazine articles and books. The pieces in Across the Pass, as selected by Shaun Barnett, range from epic tales to stories of strolls. Some writers celebrate the intricacies of nature and the strong bond forged when facing challenges together, while others talk of treading the trails first pioneered by their ancestors. All say something about the many textures and colours of the experience we call tramping. Across the Pass includes writing from New Zealanders such as writer John Mulgan, mountaineers Sir Edmund Hillary and Lydia Bradey, adventurer Graeme Dingle, public servant Bill Sutch, MP Eugenie Sage, and photographer Craig Potton.

In Unseasoned Campaigner, poet Janet Newman uncovers territory ripe for exploration. Juxtaposing the often-troubled realities of commercial farming with ever-unfolding family relationships, these beautifully crafted poems speak to blood, sinew, and sweat, as well as to matters of the conscience and heart. Unseasoned Campaigner declares the arrival of an exciting new voice in New Zealand poetry.

"Come Back to Mona Vale is a beautifully written, compelling narrative/memoir that sets about unravelling the mysteries and anomalies behind the public history of a wealthy Christchurch business family in the first half of the 20th century. The author-as narrator gradually becomes aware that his family heritage isn't necessarily the norm, nor what he expected. He realises that family members don't speak to each other about the most private events. The story unfolds like a crime or detective tale, and also delves into the history of the Canterbury settlement, contrasting Christchurch's public values, aspirations and beauty with its murkier private behaviour. And yet the story is told with a graceful touch and an eye for the vivid, comic and telling detail. Alexander McKinnon's exploration of his family's past is the record of a beautiful and grand (yet gradually crumbling) manor interwoven with social history - with a sense of the Gothic, of obsession, and of a tight-knit circle where secrets wreak a terrible climax leading to a form of inter-generational haunting"--Publisher's website.

Science can be as wondrous as the explanations that come out of earth-rooted cultures. Polynesians, like the inhabitants of Oceania generally, have always lived in a state of heightened awareness of the profundity and subtlety of natures moods and interrelationships. Theirs was a holistic view of the world and their place in it. In this beautifully written and stunningly illustrated book, David Young focuses on the increasingly endangered resource of freshwater, and what so-called developed societies can learn from the indigenous voices of the Pacific. Combining nineteenth century and indigenous sources with a selection of modern studies and his own personal encounters, Young keeps a human face on the key issue of water. He confirms that the gift of indigenous people to their colonisers is that they offer systematic and different concepts of being in, and experiencing, nature. It is time people woke up to the dangers and began to embrace possible solutions, Young argues in this inspiring and deeply moving study. Current trends in water management are not only wasteful and destructive but also ultimately deadly. He concludes, however, on a hopeful note, arguing that there is potential for change. The future rests on developing the discipline of deep respect for place, for planet and for life in its myriad forms.

Award-winning poet Bryan Walpert's fourth collection of lyric poems ranges in its focus from flowers to infinities, from laundry to eternity, but is founded most fully on what it is to move into middle age - to wait for life's promised brass band to arrive. Whether writing from the perspective of a parent watching childhood slip away or ventriloquising the 17th-century scientific language of Robert Hooke and Robert Boyle to craft surprising love poems, he engages the world with a keen and often witty perception, a deft juggling of the sentence, and a sense of wonder. Frequently playful in approach, the poems are always serious in their engagement with the bewildering nature of time passing - of growing up and growing older.

Strong Words #2 showcases the long-listed entries for the 2019 and 2020 Landfall essay competitions. The contents, often poetic and psychologically insightful, gave editor Emma Neale a 'hell of an intriguingly hard time' deciding which sparkling explorations would knock off the others for the top three places in each year. This anthology gives readers a chance to sample the high-quality work entered, without the agony of having to choose the winners. Including well-known names and promising newcomers, the contents roam far and wide over a number of subjects, such as Sarah Harpur's irreverent, laugh-aloud essay about death; Siobhan Harvey's potent essay about the memories of an abusive childhood stirred up by current house renovations; and Tan Tuck Ming's essay about technology and how it mediates, enables, and impacts intimate relationships. Strong Words #2 also includes the joint winners of the 2019 essay prize: Tobias Buck's 'Exit. Stage Left, ' which explores issues of prejudice and bias through the experience of someone 'the colour of cotton candy or pink marshmallows, ' and Nina Mingya Powles' work 'Tender Gardens, ' exploring Chinese cultural and poetic heritage.

New Zealand author James Courage was born in Christchurch in 1903, and he became aware of his homosexuality during his adolescent years. He moved to London in 1927 and began writing novels, plays, poems and short stories. He was much more sexually open than most of his homosexual writer contemporaries Frank Sargeson, Eric McCormick, Charles Brasch and Bill Pearson. A Way of Love, published in 1959, was the first gay novel written by a New Zealander, and some of his other seven novels (including Fires in the Distance and The Call Home) contain queer characters.

Landfall is New Zealand's foremost and longest-running arts and literary journal. It showcases new fiction and poetry, as well as biographical and critical essays, and cultural commentary. Each issue brims with a mix of vital new work by this country's best writers. There are reviews of the latest books, art, film, drama, and dance. Landfall is a high-quality production, with artist portfolios in full colour.

Dan Davin, one of New Zealand's acknowledged masters of the short story, was born in Invercargill in 1913. The Gorse Blooms Pale gathers together twenty-six stories and a selection of poems reflecting his experiences while growing up in an Irish–New Zealand family in Southland. Comic, haunting, poetic, profound, and lyrical, the stories have a regional flavour quite unlike any other body of work in New Zealand literature. They insightfully capture the character of a close-knit rural community and its post-British social relationships and tribulations, with a flair equal to such other New Zealand writers as Sargeson, Frame, Middleton, or Marshall. The Gorse Blooms Pale is a rare treasure in the landscape of twentieth-century New Zealand literature.

In 1877, Kate Edger became the first woman to graduate from a New Zealand university. The New Zealand Herald enthusiastically hailed her achievement as the first rays of the rising sun of female intellectual advancement. Edger went on to become a pioneer of womens education in New Zealand. She also worked tirelessly to mitigate violence against women and children and to fortify their rights through progressive legislation. She campaigned for womens suffrage and played a prominent role in the Womens Christian Temperance Union and in Wellingtons Society for the Protection of Women and Children. Later in life she advocated international diplomacy and co-operation through her work for the League of Nations Union. Diana Morrow tells the story of this remarkable New Zealand womans life and, in the process, provides valuable insights into the role of women social reformers in our history and Edgers place within a distinctive strand of Christian feminism.

"Poet Siobhan Harvey's latest collection is about migration, outcasts, the search for home, and the ghosts we live with, including the ones who occupy our memories, ancestries and stories. It begins in a contemporary inner-city suburb where a poet starts to chart the regeneration she witnesses, its difficulties and opportunities. Along the way, the collection moves across time-zones, oceans and continents, breaking down personal and political walls, and unleashing ghosts everywhere. Ultimately, Ghosts is a work concerned with dislocation, rejection, homelessness, family trauma and how we can give voice to the lost souls inside us all"--Back cover.

"We Will Not Cease is the unflinching account of New Zealander Archibald Baxter's brutal treatment as a conscientious objector during World War I.In 1915, when Baxter was 33, he was arrested, sent to prison, then shipped under guard to Europe where he was forced to the front line against his will. Punished to the limits of his physical and mental endurance, Baxter was stripped of all dignity, beaten, starved and left for dead by the New Zealand military. In the final attempt to discredit him authorities consigned him to a mental institution, an experience that would haunt him for the rest of his life.Long regarded as a classic, We Will Not Cease is as relevant now as when it was first published in 1939. This revised edition has a new foreword by Kevin Clements (foundation director of the National Centre for Peace and Conflict Studies), a brand new cover, and a full index"--Publisher's website.

David Eggleton, Poet Laureate of Aotearoa 2019-21, has published nine poetry collections, and now, finally, comes a 'Best Of '. The Wilder Years: Selected Poems is a hardback compendium of the poet's own selection from 35 years of published work, together with a handful of new poems. Cover art by Nigel Brown.

The Handbook of New Zealand Mammals is the only definitive reference on all the land-breeding mammals recorded in the New Zealand region (including the New Zealand sector of Antarctica). It lists 65 species, including native and exotic, wild and feral, living and extinct, residents, vagrants, and failed introductions. It describes their history, biology, and ecology, and brings together comprehensive and detailed information gathered from widely scattered or previously unpublished sources. The description of each species is arranged under standardised headings for easy reference. Because the only native land-breeding mammals in New Zealand are bats and seals, the great majority of the modern mammal fauna comprises introduced species, whose arrival has had profound effects both for themselves and for the native fauna and flora. For this third edition, the text and references have been completely updated and reorganised into Family chapters. The colour section includes 14 pages of artwork showing all the species described and their main variations, plus two pages of maps.

The Sets returns again and again to the ever-present sea--as a metaphor, a mirror, a companion, and an otherworld that contains our dreams and nightmares. Dunedin poet Victor Billot finds in the South Pacific Ocean an oracle of the future and a keeper of our histories. The Sets begins with reflections on the domestic world and the fragility of the family and personal relationships that sustain us, the necessity and refuge of love, and the sometimes catastrophic effects of failure in these relationships. The collection then shifts towards political and social satire, punching out mashups of fake news and rogue algorithms that mix mordant wit with compressed rage at the banality of humanity's descent towards oblivion. From the poet's coastal childhood to the turbulent post-1980s experiences of his generation, we end with a series of meditations on the ocean as a site of the brutality of globalised capitalism, and a representation of the complex and difficult worlds we carry within us. In love with language, entangled in the world, Victor Billot's poetry draws on post-punk music and spoken word performance to create a panoramic extravaganza firing on all cylinders.

Landfall is New Zealand's foremost and longest-running arts and literary journal. It showcases new fiction and poetry, as well as biographical and critical essays, and cultural commentary. Each issue brims with a mix of vital new work by this country's best writers. There are reviews of the latest books, art, film, drama, and dance. Landfall is a high-quality production, with artist portfolios in full colour. FEATURED ARTISTS: Nigel Brown, Holly Craig, Emil McAvoy. WRITERS: John Allison, Ruth Arnison, Emma Barnes, Pera Barrett, Nikki-Lee Birdsey, Anna Kate Blair, Corrina Bland, Cindy Botha, Liz Breslin, Mark Broatch, Tobias Buck, Paolo Caccioppoli, Marisa Cappetta, Janet Charman, Whitney Cox, Mary Cresswell, Jeni Curtis, Jodie Dalgleish, Breton Dukes, David Eggleton, Johanna Emeney, Cerys Fletcher, David Geary, Miriama Gemmell, Susanna Gendall, Gail Ingram, Sam Keenan, Kerry Lane, Peter Le Baige, Helen Lehndorf, Kay McKenzie Cooke, Kirstie McKinnon, Zoe¨ Meager, Lissa Moore, Margaret Moores, Janet Newman, Rachel O'Neill, Claire Orchard, Bob Orr, Jenny Powell, Nina Mingya Powles, Lindsay Rabbitt, Nicholas Reid, Jade Riordan, Gillian Roach, Paul Schimmel, Derek Schulz, Michael Steven, Chris Stewart, Robert Sullivan, Stacey Teague, Annie Villiers, Janet Wainscott, Louise Wallace, Albert Wendt, and Iona Winter.

"In this beautiful and transformative book, 24 Maori academics share their personal journeys, revealing what being Måaori has meant for them in their work. Their perspectives provide insight for all New Zealanders into how måatauranga is positively influencing the Western-dominated disciplines of knowledge in the research sector. It is a shameful fact, says co-editor Jacinta Ruru in her introduction to Ngåa Kete Måatauranga, that in 2020, only about 5 percent of academic staff at universities in Aotearoa New Zealand are Måaori. Tertiary institutions have for the most part been hostile places for Indigenous students and staff, and this book is an important call for action. 'It is well past time that our country seriously commits to decolonising the tertiary workforce, curriculum and research agenda,' writes Professor Ruru"--Back cove

Common Ground: Garden histories of Aotearoa takes a loving look at gardens and garden practices in Aotearoa New Zealand over time. While a lot of gardening books focus on the grand plantings of wealthy citizens, Matt Morris explores the historical processes behind 'humble gardens'--those created and maintained by ordinary people. From the arrival of the earliest Polynesian settlers carrying precious seeds and cuttings through early settler gardens to 'Dig for Victory' efforts, he traces the collapse and renewal of home gardening culture, through the emergence of community initiatives to the recent concept of food sovereignty. Compost, Maori gardens, the suburban vege patch, the rise of soil toxin levels, the role of native plants, and City Beautiful movements...Morris looks at the ways in which cultural meanings have been inscribed in the land through our gardening practices over time. What do our gardens say about us, and where we have been? Matt Morris digs deep in Common Ground.

One of New Zealand's most versatile writers, Fiona Farrell has published four collections of poetry over 25 years, from Cutting Out (1987) to The Broken Book (2011). Noun, verbs, etc. collects the best work from these books and intersperses them with other poems thus far 'uncollected.' The themes are wide ranging: political and personal, regional and global, including love and birth and death, war and emigration, history and landscape. The poems mix lyricism with the flat and plainspoken mode of Kiwi vernacular; they channel voices infrequently heard in poetry in traditional song and ballad forms. They are well crafted but unpretentious, jokey yet illuminating, self-deprecating but wise, sad, funny, and deeply human.

"Oh Christ, a bloody 1/2 witted student, for purposes of an essay, has just come in to ask me what I and Baxter write verse for, and if we mean what we say, or is there something deeper; could we write better verse in England, or here; or do the critics and professors just read a lot into what's said that isn't there? So much. And I have been very rude indeed. - Letter to John Reece Cole, 16 August 1949 Nothing about this excerpt from a letter by Denis Glover will surprise anyone who knows him by reputation. He - and his letters - could be witty, intelligent, alarmingly frank and frequently highly entertaining. A widely admired poet, honoured naval commander, gifted printer and typographer, Denis Glover was founder of the Caxton Press in Christchurch. For 15 years from 1935 he directed a publishing programme that did much to define New Zealand literature for its day, and for much of the rest of the century. His literary work was suspended for war service in the New Zealand Division of the Royal Navy, during which he earned a DSC for his activities in the Normandy landings. But he was also a serial philanderer and prodigious drinker, and his private life increasingly disintegrated around him, more and more publicly. And yet his energy as a correspondent appeared never to wane, and almost to the end he confided openly, prolifically and entertainingly to hundreds of acquaintances and confidants. In this magnificent volume Sarah Shieff presents around 500 of Glover's letters to around 110 people, drawn from an archive of nearly 3000 letters to over 430 recipients. Many now recall Glover as little more than a misogynistic old fart, a court jester. These letters should give readers the opportunity to revise - or at least complicate - those dismissive categorisations."--Nationwide Books Distributors website.

To live in Central Otago is to come to terms with the dominance of nature. Writer Jillian Sullivan set out to walk the hills and mountains of the Ida Valley where she lives, and follow the Manuherekia River from the mountains to its confluence with the Clutha/Mata-au. Her aim was to explore not only the land and river for themselves, but the ways in which we grow in intimacy with where we live; how our histories, and those of the people who went before us, our experiences of loss and love, our awakening to what is around us, bring us closer to community-closer to a meaningful life. Map for the Heart is a haunting collection of essays braiding history and memoir with environmentalism amid an awareness of the seasonal fluctuations of light and wind, heat and snow, plants and creatures, and the lives and work of locals. In writing that is psychologically nurturing and deeply attentive to all that's around, Sullivan leads readers to the core of the questions that persist throughout a life: who to love, how to love, how to be independent and yet how to live a moral life that also cares for others. The land reminds us, she writes, that we are not in charge.

In the aftermath of the Christchurch terrorist attacks of 15 March 2019, Prime Minister Jacinda Ardern declared: 'We are all New Zealanders.' These words resonated, an instant meme that asserted our national diversity and inclusiveness and, at the same time, issued a rebuke to hatred and divisiveness. Ko Aotearoa Tatou We Are New Zealand is bursting with new works of fiction, nonfiction, poetry, and visual art created in response to the editors' questions: What is New Zealand now, in all its rich variety and contradiction, darkness and light? Who are New Zealanders? The works flowed in from well-known names and new voices, from writers and artists from Kerikeri to Bluff. Some are teenagers still at school; some are in their eighties. Maori, Pakeha, Pasifika, Asian, new migrants, young voices, queer writers, social warriors...Aotearoa's many faces are represented in this unique and important compendium. In a society where the arts, especially marginalised arts, are under threat, this anthology shows that creative work can explore, document, interrogate, re-imagine--and celebrate--who we are as citizens of this diverse country, in a diverse world.

"As cultural history, [this] book gives us a participant's-eye view of the early years of Alan Brunton and Sally Rodwell's avant-garde theatre troupe Red Mole. Formed in 1974, Red Mole performed Dadaesque cabaret, agit-prop, costume drama, street theatre, circus and puppetry, live music--and became a national sensation. They toured the country with Split Enz and travelled internationally. One of Red Mole's five founding principles was 'to escape programmed behaviour by remaining erratic.' They ticked that one off. In [this book], Martin Edmond offers ... a rich and entertaining picture of the high times and low lives of Red Mole"--Back cover.