Anna Jackson – författare

Children’s literature today is dominated by the gothic mode, and it is in children’s gothic fictions that we find the implications of cultural change most radically questioned and explored. This collection of essays looks at what is happening in the children’s Gothic now when traditional monsters have become the heroes, when new monsters have come into play, when globalisation brings Harry Potter into China and yaoguai into the children’s Gothic, and when childhood itself and children’s literature as a genre can no longer be thought of as an uncontested space apart from the debates and power struggles of an adult domain. We look in detail at series such as The Mortal Instruments, Twilight, Chaos Walking, The Power of Five, Skulduggery Pleasant, and Cirque du Freak; at novels about witches and novels about changelings; at the Gothic in China, Japan and Oceania; and at authors including Celia Rees, Frances Hardinge, Alan Garner and Laini Taylor amongst many others. At a time when the energies and anxieties of children’s novels can barely be contained anymore within the genre of children’s literature, spilling over into YA and adult literature, we need to pay attention. Weird things are happening and they matter.

In this study, Charles Ferrall and Anna Jackson argue that the Victorians created a concept of adolescence that lasted into the twentieth century and yet is strikingly at odds with post-Second World War notions of adolescence as a period of "storm and stress." In the enormously popular "juvenile" literature of the period, primarily boys’ and girls’ own adventure and school stories, adolescence is acknowledged as a time of sexual awareness and yet also of a romantic idealism that is lost with marriage, a time when boys and girls acquire adult duties and responsibilities and yet have not had to assume the roles of breadwinner or household manager. The book reveals a concept of adolescence as significant as the Romantic cult of childhood that preceded it, which will be of interest to scholars of both children’s literature and Victorian culture.

From creepy picture books to Harry Potter, Lemony Snicket, the Spiderwick Chronicles, and countless vampire series for young adult readers, fear has become a dominant mode of entertainment for young readers. The last two decades have seen an enormous growth in the critical study of two very different genres, the Gothic and children’s literature.The Gothic, concerned with the perverse and the forbidden, with adult sexuality and religious or metaphysical doubts and heresies, seems to represent everything that children’s literature, as a genre, was designed to keep out. Indeed, this does seem to be very much the way that children’s literature was marketed in the late eighteenth century, at exactly the same time that the Gothic was really taking off, written by the same women novelists who were responsible for the promotion of a safe and segregated children’s literature.This collection examines the early intersection of the Gothic and children’s literature and the contemporary manifestations of the gothic impulse, revealing that Gothic elements can, in fact, be traced in children’s literature for as long as children have been reading.

From creepy picture books to Harry Potter, Lemony Snicket, the Spiderwick Chronicles, and countless vampire series for young adult readers, fear has become a dominant mode of entertainment for young readers. The last two decades have seen an enormous growth in the critical study of two very different genres, the Gothic and children’s literature.The Gothic, concerned with the perverse and the forbidden, with adult sexuality and religious or metaphysical doubts and heresies, seems to represent everything that children’s literature, as a genre, was designed to keep out. Indeed, this does seem to be very much the way that children’s literature was marketed in the late eighteenth century, at exactly the same time that the Gothic was really taking off, written by the same women novelists who were responsible for the promotion of a safe and segregated children’s literature.This collection examines the early intersection of the Gothic and children’s literature and the contemporary manifestations of the gothic impulse, revealing that Gothic elements can, in fact, be traced in children’s literature for as long as children have been reading.

In this study, Charles Ferrall and Anna Jackson argue that the Victorians created a concept of adolescence that lasted into the twentieth century and yet is strikingly at odds with post-Second World War notions of adolescence as a period of "storm and stress." In the enormously popular "juvenile" literature of the period, primarily boys’ and girls’ own adventure and school stories, adolescence is acknowledged as a time of sexual awareness and yet also of a romantic idealism that is lost with marriage, a time when boys and girls acquire adult duties and responsibilities and yet have not had to assume the roles of breadwinner or household manager. The book reveals a concept of adolescence as significant as the Romantic cult of childhood that preceded it, which will be of interest to scholars of both children’s literature and Victorian culture.

The diary is a genre that is often thought of as virtually formless, a "capacious hold-all" for the writer’s thoughts, and as offering unmediated access to the diarist’s true self. Focusing on the diaries of Katherine Mansfield, Virginia Woolf, Antonia White, Joe Orton, John Cheever, and Sylvia Plath, this book looks at how six very different professional writers have approached the diary form with its particular demands and literary potential. As a sequence of separate entries the diary is made up of both gaps and continuities, and the different ways diarists negotiate these aspects of the diary form has radical effects on how their diaries represent both the world and the biographical self. The different published editions of the diaries by Katherine Mansfield, Virginia Woolf and Sylvia Plath show how editorial decisions can construct sometimes startlingly different biographical portraits. Yet all diaries are constructed, and all diary constructions depend on how the writer works with the diary form.

Bringing together more than 100 items of clothing, this book reveals the intricacies of Japanese dress from the 18th century to the present. Including garments for women, men and children, the details have been selected both for their exquisite beauty and craftsmanship, and for how much they impart about the wearer’s identity, be it age, status or taste. A comprehensive introduction, illuminating the main periods and key themes of Japanese fashion history, is followed by thematic chapters that cover all aspects of clothing, from hair accessories and necklines to hemlines and shoes. Each garment or object is accompanied by a short text exploring its structure and the fascinating range of decorative techniques employed, including embroidery, weaving, lacquering, stencilling, dyeing and digital technology. Specially commissioned detail photography and line drawings provide an invaluable resource for Japanophiles, students, collectors, designers and lovers of fashion and world dress.

The diary is a genre that is often thought of as virtually formless, a "capacious hold-all" for the writer’s thoughts, and as offering unmediated access to the diarist’s true self. Focusing on the diaries of Katherine Mansfield, Virginia Woolf, Antonia White, Joe Orton, John Cheever, and Sylvia Plath, this book looks at how six very different professional writers have approached the diary form with its particular demands and literary potential. As a sequence of separate entries the diary is made up of both gaps and continuities, and the different ways diarists negotiate these aspects of the diary form has radical effects on how their diaries represent both the world and the biographical self. The different published editions of the diaries by Katherine Mansfield, Virginia Woolf and Sylvia Plath show how editorial decisions can construct sometimes startlingly different biographical portraits. Yet all diaries are constructed, and all diary constructions depend on how the writer works with the diary form.

Children’s literature today is dominated by the gothic mode, and it is in children’s gothic fictions that we find the implications of cultural change most radically questioned and explored. This collection of essays looks at what is happening in the children’s Gothic now when traditional monsters have become the heroes, when new monsters have come into play, when globalisation brings Harry Potter into China and yaoguai into the children’s Gothic, and when childhood itself and children’s literature as a genre can no longer be thought of as an uncontested space apart from the debates and power struggles of an adult domain. We look in detail at series such as The Mortal Instruments, Twilight, Chaos Walking, The Power of Five, Skulduggery Pleasant, and Cirque du Freak; at novels about witches and novels about changelings; at the Gothic in China, Japan and Oceania; and at authors including Celia Rees, Frances Hardinge, Alan Garner and Laini Taylor amongst many others. At a time when the energies and anxieties of children’s novels can barely be contained anymore within the genre of children’s literature, spilling over into YA and adult literature, we need to pay attention. Weird things are happening and they matter.

I want to know what it was like to have crossed into the realm of madness. After all, I did it. I went mad. Why can't I have the secret knowledge that comes with it? How do you write a memoir when you have lost your memories? She awakens in hospital, greeted by nurses and patients she doesn't recognise, but who address her with familiarity. She decides to untangle the clues. How to Knit a Human is about the splintering of memory from psychosis and Electroconvulsive therapy that Anna Jacobson experienced as an involuntary patient in 2011. Through knitting and assemblage, weaving experiences around the gaps of memories that are not accessible, the memory barriers begin to crumble. This book is a reclamation of memory and self.

In journals and pubs, on TikTok and the bestsellerlists, the current generation of New Zealand poets is finding new voices, newplatforms and new readers. It is a poetry of now: of emojis and hashtags, ofbodies and flesh, of identity and aspiration.How to takethe measure of this new rush of poetic energy, invention and disruption? Whatnew aesthetics emerge alongside these new voices? How might old forms and oldquestions take the pulse of the new? Te Whāriki provides a first readingof this exciting moment by weaving together the work of ten contemporary poets fromAotearoa with new critical writing that makes sense of these poets and theirpoems.Pulling these strands together in one volume, TeWhāriki is as dynamic, various and engaging as New Zealand poetry is today.Featuring poets Sam Duckor-Jones, Tayi Tibble,Claudia Jardine, essa may ranapiri, Rebecca Hawkes, Chris Tse, Oscar Upperton,Joanna Cho, Ruby Solly and Nafanua Purcell Kersel, with new critical writing byAmy Marguerite, Tru Paraha, Anna Jackson, Robert Sullivan, Mark Masterson,Stephanie Burt, Dani Yourukova, Dougal McNeill, Sophie van Waardenberg, BrigidQuirke, Robin Peters and David Eggleton.

V&A Pattern: Kimono showcases the staggering breadth of textile designs associated with Japan's most iconic garment. A source of inspiration for designers from William Morris to Alexander McQueen, the V&A holds over three million designs for textiles, decorations, wallpapers and prints. Now beautifully re-presented, the bestselling V&A Pattern series invites you to appreciate the work of some of the greatest names and styles in design history, highlighting interesting and imaginative works that are all too rarely seen. Each pocket-sized book features 66 carefully selected patterns, and has a concise expert introduction, making these an invaluable source of inspiration for creatives - and the perfect gift for pattern-lovers.

This sumptuous book explores the important role that woodblock prints played in the fashionable world of Edo-period Japan (1603-1868). 140 ukiyo-e - 'pictures of the floating world' offer us a vivid view of the culture of entertainment, style and glamour that developed in bustling urban centres. Expert curators bring to life the scenes and figures depicted, and highlight the fashions, dress accessories and hairstyles shown in these colourful and compelling images by artists such as Utagawa Kunisada and Utagawa Hiroshige. Benefitting from the V&A's world-leading collection and including many rarely seen prints, this is a fascinating glimpse into an exciting world of celebrity actors, courtesans, kimono retailers, fabric workshops, makeup brands, theatre managers, brothel keepers and restaurant owners.

Shortlisted for the Textile Society of America's R.L. Shep Award 2020. The kimono is the ultimate symbol of Japan, revered within the country as the embodiment of national culture and regarded internationally as an exotic fascination. The iconic garment is often viewed as traditional, unchanging and timeless, but this book counters that conception, presenting the kimono as highly dynamic and fashionable dress. The cultural and sartorial significance of the kimono is explored in historical and contemporary contexts, both in Japan and the West, where its impact on clothing styles has been felt since the seventeenth century. Beautifully illustrated, the book features over 250 kimono and kimono-inspired garments from the V&A and collections around the world, revealing its sartorial influence on pop stars from David Bowie to Bjoerk and examining the ways in which fashion designers such as Issey Miyake, John Galliano and Alexander McQueen have reworked its legacy.

Uneasy nights out with dead Russian poets, dalliances with German gasfitters and emotionally fraught games of badminton are brought together for the first time, along with a brand new body of work, in this time-spanning selection of Anna Jackson's poetry. Local gothic, suburban pastoral and answerings-back to literary icons are all enhanced by Jackson's light hand and sly humour. Pastoral yet gritty, intellectual and witty, sweet but with stings in their tails, the poems and sequences collected in Pasture and Flock are essential reading for both long-term and new admirers of Jackson's slanted approach to lyric poetry.

Relaunched under the editorship of Anna Jackson in 2019, AUP New Poets 6 includes substantial selections from the poetry of Ben Kemp, Vanessa Crofskey and Chris Stewart. We move from Kemp's slow-paced attentive readings of place and people, in a selection moving between Japan and New Zealand, to the velocity of Vanessa Crofskey's fierce, funny, intimate and political poetry, which takes the form of shopping lists, Post-it Notes, graphs, erasures, a passenger arrival card and even *poetry*, and finally to Chris Stewart's visceral take on the domestic, the nights cut to pieces by teething, the gravity of love and the churn of time.AUP New Poets 6 is an arresting introduction to the rich diversity of contemporary New Zealand poetry.

From Apia to Parnell, ancient Rome to Aro Park and on to the furthest reaches of the internet, AUP New Poets 7 takes readers on an eye-popping journey through contemporary New Zealand poetry.The collection opens with Rhys Feeney's passionate take on contemporary global politics and ecological collapse. Next, Ria Masae leads us from a fale in Samoa to the pulsing streets of Auckland city in a voice rooted in the spoken word. And finally Claudia Jardine makes the startling images and unlikely facts from the classical world echo around inner-city Wellington. We see scars and tattoos, mutilated barbie dolls and deep-fried bananas, fat-soluble poisons and indestructible pumpkins as each poet's distinctive vocabulary and sense of rhythm combines in one powerful volume.

In AUP New Poets 8, Lily Holloway, Tru Paraha and Modi Deng come together to produce a volume of remarkable inventions and intoxications.Lily Holloway leads off with her collection 'a child in that alcove', using an inventive approach to form to lead the reader into the ordinary extraordinary events of daily life, her poetry filling them with dazzle and dread, questions and memories. Then Tru Paraha takes us inside 'my darkling universe' - a world 'perpetually astral' and 'utterly spaghettified', a poetic universe of unexpected letters and words and forms, where te reo Maori collides with atomic chemistry. Finally, Modi Deng travels through time and space into the lives of Brahms and backpackers, where uneasy conversations between mothers and children, between 'the subjects and myself', between Beijing and London, provide beauty and solace.Three new voices, three compelling visions, all bound together in AUP New Poets 8.