Albert Wendt – författare

An epic spanning three generations, Leaves of the Banyan Tree tells the story of a family and community in Western Samoa, exploring on a grand scale such universal themes as greed, corruption, colonialism, exploitation, and revenge. Winner of the 1980 New Zealand Wattie Book of the Year Award, it is considered a classic work of Pacific literature.

This early collection of eight short stories and a novella is vintage Wendt. Stories convey the unease of traditional island community caught up in the rapid changes of the modern world. Wendt writes with enviable directness and with deep feeling: comedy and tragedy are often hard to distinguish as his characters struggle to come to terms with their changing world.

Few novelists of the Pacific islands could be less derivative in terms of the real vision into the life and character of non-Western society.... Even fewer novels, Western or Third World, can reach the strength and artistic power of Pouliuli."" – World Literature Today

An epic spanning three generations, Leaves of the Banyan Tree tells the story of a family and community in Western Samoa, exploring on a grand scale such universal themes as greed, corruption, colonialism, exploitation, and revenge. Winner of the 1980 New Zealand Wattie Book of the Year Award, it is considered a classic work of Pacific literature.

An Ocean of Wonder: The Fantastic in the Pacific brings together fifty writers and artists from across Moananuiākea working in myriad genres across media, ranging from oral narratives and traditional wonder tales to creative writing as well as visual artwork and scholarly essays. Collectively, this anthology features the fantastic as present-day Indigenous Pacific world-building that looks to the past in creating alternative futures, and in so doing reimagines relationships between peoples, environments, deities, nonhuman relatives, history, dreams, and storytelling. Wonder is activated by curiosity, humility in the face of mystery, and engagement with possibilities. We see wonder and the fantastic as general modes of expression that arenot confined to realism. As such, the fantastic encompasses fantasy, science fiction, magic realism, fabulation, horror, fairy tale, utopia, dystopia, and speculative fiction. We include Black, feminist, and queer futurisms, Indigenous wonderworks, Hawaiian moʻolelo kamahaʻo and moʻolelo āiwaiwa, Sāmoan fāgogo, and other non-mimetic genres from specific cultures, because we recognize that their refusal to adopt restrictive Euro-American definitions of reality is whatinspires and enables the fantastic to flourish.As artistic, intellectual, and culturally based expressions that encode and embody Indigenous knowledge, the multimodal moʻolelo in this collection upend monolithic, often exoticizing, and demeaning stereotypes of the Pacific and situate themselves in conversation with critical understandings of the global fantastic, Indigenous futurities, social justice, and decolonial and activist storytelling.In this collection, Oceanic ideas and images surround and connect to Hawaiʻi, which is for the three coeditors, a piko (center); at the same time, navigating both juxtaposition and association, the collection seeks to articulate pilina (relationships) across genres, locations, time, and media and to celebrate the multiplicity and relationality of the fantastic in Oceania.

Albert Wendt’s new collection of short stories explores the nature of family, tradition and culture through the eyes of those seemingly caught between the realities of modern contemporary life and the ancestral ties of their heritage. With a deft touch, he draws us into his characters’ lives and with equal parts wisdom and wit, he exposes them to us. This is a masterful meditation on the ties that bind people together across time and place.The unpublished manuscript of Ancestry was overall winner of the University of the South Pacific Press Literature Prize in 2011.

A dynamic group has emerged in Auckland whose members refer to themselves as the Tribe. Mainly Polynesian, they grow up together, rise from poverty and become successful professionals, bound by love and fierce loyalty.At the centre, is Aaron, who lives at the edge of danger, shady dealings and self-destruction. When Daniel, receives a call in Hawaii telling him that Aaron has been killed, he returns to New Zealand, and steps into the most dangerous crisis the Tribe has faced. They must confront the truth about who Aaron is and what they, as the Tribe, have become, while facing the infidelity and greed that threatens to tear the group apart.

Ultimately a book about ageing and the consideration of death, this collection moves from the warm valley winds of Hawai‘i to the seasons of a garden in Auckland. In Hawai‘i Wendt watches the changing shadows of the Ko‘olau mountains from his verandah; considers the nature of mauli , the seat of life; walks protected in his partner’s perfumed slipstream to work; and writes to fellow poet Hone Tuwhare from the excesses of Las Vegas. In the second half of the book we move to the garden in Ponsonby in 40 vivid ‘garden’ poems that are the triumph of the collection. Here joints need replacing, poets grow older, tsunami destroy and friends slip away, but a spirit of renewal and humour pervades – along with prowling cats, baking muffins, flashing kingfishers and visiting mokopuna. And scattered among the garden poems will be some of Wendt’s inky, drawn poems – the best are about the Sāmoan tsunami or galu afi . From Mānoa to a Ponsonby Garden is an extraordinary, alert and confident book by one of our most celebrated writers.