Auckland University Press – förlag

I muri i tētahi raumati pōuri i te taha o ngā weriweri Tūhiri, ka ora a Hare i te taenga mai o Rāna me tana motokā rererangi. Ka hoki anō ia ki Te Kura Matarau o Hōwata mō tōna tau tuarua, engari kei te tatari mai ngā āhuatanga e whakatīwhetahia ai, e wiwini ai hoki ngā tauira: he ahorangi hou, he tangata ihu tū, ko Kiriroi Rakahata; he wairua i tapaina ai ko Matangi Meme, e poke ana i te rūma kaukau wāhine; tae atu ki te aro mātāreka a Tini, a te tuahine o Rāna.Mai i ngā peka ngangare o te Whiro Whiuwhiu, tae atu ki te papa kuitiki i te ua tātā, e whakanuia ana te pukapuka tuarua o te huinga pukapuka rongonui a J.K. Rowling, kua whakamāoritia ināianei mō tētahi reanga kaipānui hou e Leon Heketū Blake rātou ko Hona Black, ko Donovan Te Ahunui Farnham, ko Helen Parker, ko Paiheretia Aperahama, ko Te Aorangi Murphy-Fell.After a summer with the hideous Dursleys, Harry is rescued at last by Ron in a flying car and returns for his second year at Hogwarts School of Witchcraft and Wizardry. But fresh torments and horrors await: a stuck-up new professor, Gilderoy Lockhart, a spirit named Moaning Myrtle who haunts the girls’ bathroom, and the attentions of Ron Weasley’s younger sister, Ginny.Taking us from the waving, walloping branches of the Whomping Willow to the thrills of a rain-streaked Quidditch pitch, the second volume of J.K. Rowling’s acclaimed series is now translated brilliantly into te reo Māori by Leon Heketū Blake, Hona Black, Donovan Te Ahunui Farnham, Helen Parker, Paiheretia Aperahama and Te Aorangi Murphy-Fell for a new generation of readers.***After a summer with the hideous Dursleys, Harry is rescued at last by Ron in a flying car and returns for his second year at Hogwarts School of Witchcraft and Wizardry. But fresh torments and horrors await: a stuck-up new professor, Gilderoy Lockhart, a spirit named Moaning Myrtle who haunts the girls’ bathroom, and the attentions of Ron Weasley’s younger sister, Ginny.Taking us from the waving, walloping branches of the Whomping Willow to the thrills of a rain-streaked Quidditch pitch, the second volume of J.K. Rowling’s acclaimed series is now translated brilliantly into te reo Māori by Leon Heketū Blake, Hona Black, Donovan Te Ahunui Farnham, Helen Parker, Paiheretia Aperahama and Te Aorangi Murphy-Fell for a new generation of readers.

Part philosophy thesis and part psychosexual Ancient Greek fever dream, Dani Yourukova’s Transposium adapts Plato into poetry, featuring queer longing, a choose-your-own-adventure apocalypse, Les Misérables slash fiction and love poems about dead philosophers.Shameless, witty and hot with curiosity, these poems are preoccupied with the refashioning of gender, logic, language and form. Through relentless cross-examination of Socrates and associates,Yourukova combines reckless affection for the past, and a shimmering spectrum of anxieties around an uncertain future.Alternately intellectual and irreverent, this collection is a playful take on the concept of the dialectic, weaving across text and time and the aching yawn of distance between us.

Filled with hickeys puttanesca and tart wit, BITER is an apt title for Claudia Jardine’s debut collection of verse. Fresh translations of erotic Greek epigrams are threaded through boozy sonnets, ecstatic odes and startlingly vulnerable love poems. Jardine weaves ancient and modern together into a rich, glitzy, idiosyncratic tapestry – and in doing so crafts a poetic voice that is at once classical and frisky.

In her latest collection, Michele Leggott speaks to the art and writings of nineteenth-century New Zealand painter Emily Cumming Harris. Face to the Sky tells stories of love and loss from two woman in the shadow the same mountain, more than a century apart.‘Voices sing from the archive: a choir of breakers on a North Taranaki beach. Two women born more than a hundred years apart tell stories of love and loss in the shadow of the mountain that is always there. One of them becomes a painter of botanically accurate native flora, and writes all her life. The other, now without sight, lives in a world of sounds caught into expanding webs of memory. She listens for the other, tracing the delicate shapes of what she cannot see, taking her cue from the words of others. She listens and travels, picking up connections over time and place. Mothers and fathers come and go, adding their voices to the tumult on the beach, the shadow of the mountain, the hills above Nelson where the first woman comes to rest. The second, living between two small volcanos in a northern city, waits for a miracle that might cure the lymphoma that has been tracking her days. Through it all, the familiar phrases of the weather forecast sound their ever-hopeful, ever-changing predictions.’— Michele Leggott

‘In 2012, following his investigation of the deaths of two babies in childbirth at Waikato Hospital, Hamilton coroner Gordon Matenga asked, ‘Does New Zealand have the safe, world-leading system the Government says we do, or are we losing babies because the balance has swung too far towards the idea that because childbirth is natural, then the philosophy of “non-intervention” is best?’ ‘Babies’ deaths reignite maternity row’, the New Zealand Herald announced.’— from the introduction by Linda BryderIs New Zealand ‘the best country to give birth’? Historian of medicine Linda Bryder explores how New Zealand developed a unique approach to the role of midwives in childbirth in the 1990s, and analyses the consequences of that change for mothers and babies.The Best Country to Give Birth? traces the genesis of the 1990 Nurses Amendment Act, which allowed midwives to practise alone in the community, back to the homebirth movement of the 1970s, and explores the aftermath of the Act including the withdrawal of GPs from maternity care. In investigating the consequences of the reforms, it uncovers repeated criticism of services – and what were deemed preventable deaths – from coroners, commissioners for health and disability, other health professionals including some midwives, academic researchers, and parents and families.How and why does maternity care in Aotearoa differ from other countries? How has it shaped the equitable care of our mothers and babies? Why have critical reports had so little impact? This is a major historical account of an issue at the heart of our maternity care.

Cookhouses and wharekai, hāngī pits and coal ranges, boil-ups and mutton – this book tells the hearty story of sustenance and manaakitanga in rural New Zealand. The rhythms and routines of country life are at the heart of this compelling account of the rural kitchen in Aotearoa. Historian Katie Cooper explores how cooking and food practices shaped the daily lives, homes and communities of rural Pākehā and Māori throughout the nineteenth and early twentieth centuries. Delving into cooking technologies, provisions, gender roles and hospitality, the story of New Zealand’s rural kitchen highlights more than just the practicalities of putting food on the table.Thoroughly researched and richly illustrated, Rēwena and Rabbit Stew reveals the fascinating social and cultural milieu in which rural people produced, cooked and shared food in Aotearoa.

Since 1980, the peoples of Aotearoa New Zealand have fundamentally changed through new policies and new patterns of migration - from a largely Pakeha population with 10 per cent Maori in 1980 to today's megadiversity, with new residents from Asia, the Pacific and the rest of the world. Immigration has had a profound impact on New Zealand's society, economy, and place in the world.Edges of Empire is an in-depth account of the social, political and economic context within which these transformations in policy and population took place. Drawing on interviews with fifteen former Ministers of Immigration, this book reveals the intricacies of politics and policy-making that have led to New Zealand's relatively open and economically driven approach towards migration.Written by three leading social scientists, Edges of Empire provides an insightful account of who is included in Aotearoa New Zealand and under what conditions.

In this majorwork, one of our leading historians offers a new account of the origins of NewZealand: how Pakeha settlers - nurtured on Enlightenment thought andevangelical humanitarianism - encountered Maori, and how the two peoples togetherdeveloped a distinctively experimental society.With James Cook'sarrival in 1769 and the subsequent colonisation, New Zealand became one of thefew post-Enlightenment experiments in creating a new nation anywhere in theworld. The Europeans who settled these islands brought with them a belief inthe power of reason and experience to improve peoples and societies. Encountersbetween Maori and these new arrivals profoundly shaped the thoughts andbehaviours of both peoples.Olssen arguesthat the people who settled New Zealand planned two experiments in making abetter society. They hoped that, in contrast to earlier colonial projects, theindigenous New Zealanders would not be driven to extinction but eventually taketheir place as equals in a modern commercial society. And they aimed to createa society that was fairer and more just than the one they had left behind; a'Better Britain'. While both experiments were first conceived by savants and philosophers,they gained ongoing support, by lodging in the hearts and minds of the settlers:whalers and missionaries, mothers and farmers. In turn, Maori adapted these newideas to their own ends, giving up slavery and inter-tribal warfare, and adaptingthe institutions of the colonisers in ways that would re-define theexperiments.This then is anethnography of 'tangata Pakeha', a people of European descent changed by theirencounters with 'tangata Maori' and their land - just as Maori were themselveschanged - and the story of the society they built together. Ranging acrossintellectual and cultural history, from the beach at Paihia to the coffeehouses of Paris, Olssen enables us to understand the origins of New Zealandanew.

After rejoining social media, Robert Sullivan wrote and posted a poem a day over two and a half months – the poems collected in Hopurangi—Songcatcher. Inspired by the cyclical energies of the Maramataka, these poems see the poet re-finding himself and his world – in the mātauranga of his kuia from the Ngāti Hau and Ngāti Kaharau hapū of Ngāpuhi; in his mother’s stories from his Ngāti Manu hapū at Kāretu; in the singing and storytelling at Puketeraki Marae, home of his father’s people of Kāti Huirapa, Kāti Māmoe, Waitaha and Kāi Tahu Whānui in Te Tai o Āraiteuru; and in the fellowship of friends on Facebook. Tīhei mauri ora!

Distinctive, fresh and compellingly present, AUP New Poets 10 features three exciting new voices.Looking out from today at a landscape peopled with her tūpuna, Tessa Keenan (Te Ātiawa) writes poems filled with quiet rage and remarkable lyricism. Meanwhile romesh dissanayake plays with language to explore food, family and edgy romance, from post-war Sri Lanka to Aotearoa. And, at just 20, Sadie Lawrence reveals the excitement and anguish of being young in a complicated world: ‘My love stands in the laundromat, Sunday best with blistered hands.’

Racism. There, we said it. You can let your shoulders drop now that youknow we will say the word and not sidestep it to protect people’s comfort. Or,you can raise your shoulders in preparation for tension as you realise thatthis book will not talk about unconscious bias or other terms that enable us toexcuse ourselves from our own complicity in, inaction on, or upholding ofracist structures. — SereanaNaepiSalt water carriesthe weight of powerful stories – of migration, struggle and survival. It is inthe sweat of labour, the tears of grief and joy, and the waves that have shapedgenerations. Like the ocean, racism has carved deep scars in the landscapes wenavigate. In this collection, thirteen Pacific scholars rise to turn the tide,dissecting the racism embedded in New Zealand’s core systems, from educationand health to justice and climate. Through ten essays rooted in the vā – therelational space of story, dialogue and environment – each chapter builds onthe next, weaving together lived experiences and sharp insights.Oceans Between Us is both a testimony and a call to action. It documents the struggles ofPacific peoples and envisions a world beyond now. A rallying cry for justice, ademand for equity and a catalyst for change, this book is not about survivalalone – it’s about thriving.

In the Atlas of the New Zealand Wars, five decades of maps and plans from 1834 to 1884 provide remarkable new insight into the deepconflicts running through nineteenth-century Aotearoa.Beginning with early skirmishes off the Taranaki coastand at the Chathams, Volume One followsthe tracks inland from the Bay of Islands towards the Hokianga in the NorthernWars; it reveals the web of Te Rauparaha's influence radiating out from Kapitito Port Nicholson and across Cook Strait to the Wairau; it takes us inside thebarracks and ramparts of the colony's new towns; and concludes as the brewing unrestaround Waitara in Taranaki explodes into war.Through the maps, we meetthe people: Hone Heke and FitzRoy, Te Rangitake and Pratt, warriors and missionaries; and we go where they went:from the flagpole at Kororareka to Kawiti's pa at Ruapekapeka, up the HuttRiver to Boulcott's farm, across Taranaki from Waitara to Kaitake pa. Throughboth tangata and whenua we understand the conflicts and their consequencesanew.Based on thirty years of research, the Atlas of the NewZealand Wars reveals acomplex series of challenges and misunderstandings, skirmishes and negotiations,battles and wars that have profoundly shaped the lives of Maori and Pakeha onthese islands ever since.

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.

For over thirty years Shane Cotton (Ngāpuhi, Ngāti Rangi, Ngāti Hine, Te Uri Taniwha) has developed a rigorous and evolving painting practice, using the medium to layer the visual languages through which Aotearoa can be seen and understood.In this book leading art writer Anthony Byrt takes us on a voyage into Te Tai Tokerau to unravel the relationships, landscapes and histories that are the wellspring of Cotton’s art – the world of Kororāreka and Hongi Hika, of mission stations, revolutionary religious ideas and Te Tiriti. By travelling deep into Cotton’s visual universe, Byrt helps us make sense of the paintings and the world-changing collisions that occurred in the nineteenth-century North – collisions that still shape Aotearoa today.Working through the remarkable range of Shane Cotton’s work, this is a vital, expansive and necessary account of one of the country’s most important living artists.

In June 2003, New Zealand became the first country to decriminalise sexwork. Through the lived experiences of twenty-five individuals who worked onthe ships and the streets, in massage parlours and as private escorts, UntoldIntimacies tells the story of sex work and its transformation in Aotearoaover thirty critical years.This history carries readers from the regulation of brothels with the MassageParlours Act of 1978, through the struggle for decriminalisation to the legallymandated national review of the law in 2008. Drawing on new and archivalinterviews, the story is told through the first-hand experiences of sex workersthemselves – how they dealt with police, violence and health risks, and howthey organised to change their world.Untold Intimacies presents an in-depth historical investigation into the lives of some ofthe first people in the world to experience the transition to thedecriminalisation of sex work.

An old friend, a new character - C. K. Stead is scribe to love and grief in this beautiful new collection.In two sequences the poet plays with the lines of history and love, the fictional and the autobiographical. Reflecting on a long career and familiar faces, the first sequence walks the reader from classical Rome to contemporary Aotearoa. Then in the shade of Parnell begins a tender address to a new character, Kezia, lover and friend just lost.Lyrical and deeply moving, In the Half Light of a Dying Day is a late-career masterpiece.

Ko Te KootiTe Turuki Rikirangi tetahi o nga maunga teitei o te wa - he kokorangi i nga ra pouri, he tokotoko i te awakopaka. I tu ia hei toa i te whare o Tumatauenga, engari ki te Hahi Ringatu, heporopiti - he matakite nana i hapai nga moemoea, ngatumanako, me nga wairua o te iwi i nga tau o te ngarohanga: te whenua, teoranga, te mana motuhake.I tona ringamatau te pu me te riri, i tona ringa maui te whakapono, nga kupu whakaari, mete tohu rangimarie. Na Te Kooti i hora atu enei kupu ki nga marae o te motu,hei karere poropiti, hei tohu whakatupato, hei maramatanga mo nga uriwhakatipu. He kupu e korero ana ki te manawa, ki te wairua, ki te whenua.Ko teneipukapuka na Ta Pou Temara - he mema o te KauniheraTekau ma Rua a te Kuini, he ahorangi, he tohunga mo te kupu, mo te whakaaroMaori. Ka wanangahia e ia nga korero a Te Kooti: nga whakakitenga i tukuna kinga marae, nga waiata i tuhia hei huna i te mohiotanga, nga korero i poipoia iraro i te maru o te atua. Ka panuitia, ka wetewetehia, ka uia: kua tutuki raneinga kupu a Te Kooti? Kei te ora tonu ranei i enei ra?Ko ngawhakaaro o Ta Pou i ahu mai i nga korero tuku iho o Te Whanau-a-Apanui, o TeArawa, o Ngai Tuhoe - nga iwi i whakatupu i tona ngakau kia mohio aiki te ha o te kupu, ki te wairua o te whakapono, ki te tapu o te korero tukuiho. Na kona, ka rere mai tenei pukapuka hei puna matauranga mo te hunga e kimiana i te maramatanga ki te Hahi Ringatu, ki te poropititanga Maori, ki te reo,ki te hitori o te motu - mai i teuma o nga marae, mai i nga whakapono o nga tipuna, mai i te kore ki te aomarama.Te Kooti Te Turuki Rikirangi stands as a toweringfigure of his time - a storm in dark days, a staff for those adrift. A warriorin the house of Tumatauenga, yet to the Ringatu Church, a prophet - one whocarried the dreams, hopes and spirit of the iwi through years of loss: land,life and sovereignty.In his right hand, the gun of battle; in his left,the word of God. Te Kooti spread these words across the marae of the motu; amessenger, a guide, a beacon of understanding for generations to come. Hiswords speak to the heart, to the spirit, to the land.This book, by Ta Pou Temara - a member of the MaoriQueen's Council of Twelve, a professor, and a tohunga of Maori language andthought - offers a deep exploration in te reo Maori of Te Kooti's propheticmessages: his visions, teachings and songs. Through these pages, Ta Pou asks:have Te Kooti's words been fulfilled? Do they still live today?Ta Pou's insights, grounded in the ancestralknowledge of Te Whanau-a-Apanui, Te Arawa and Ngai Tuhoe, illuminate theessence of the word, the spirit of belief and the sacredness of tradition. Thisbook is a rich source of knowledge for those seeking understanding of theRingatu faith, Maori prophecy, the Maori language and the history of the land -from the heart of the marae, from the wisdom of ancestors, from the shadows tothe light.

He rangatahi ngākau whiwhita ki ngā waka tetere. He kairapuhara wahine Māori e mahitahi ana ki roto i te ao kikokiko me te ao atua. He kaihoahoa hūmārie ka tukirae atu ki tētehi manuwhiri i te rārangi harirū.Nā te kairīpoata rongonui a Atakohu Middleton tēnei kohikohinga tuatahitanga o ngā pakipoto ka tuhia katoatia ki te reo Māori. He rerekē ngā wā. He matatini ngā momo pakipoto. He tini ngā reo. Ka kite ngā kaipānui i ngā kōrero pirihimana, ngā paki ā-whānau, ngā kōrero pohewa me ngā pakipoto e pā ana hoki ki te huringa taiohi hei pakeke. He mea tuhi ki te reo ngāwari kia pai ai mā ngā tauira wharekura me ngā tauira kua eke ki te taumata waenga. He pakipoto whakaihiihi, he mea titi ki te ngākau hoki mō Aotearoa o nāianei.Mā te tuhinga a Atakohu Middleton ka ngahau ngā tāngata matatau ki te reo tae atu ki ērā anō tāngata i runga i tō rātou ara reo Māori.—A car-crazy rangatahi with a need for speed. A tenacious wahine Māori detective whose work straddles the worlds of humans and gods. A mild-mannered architect who headbutts a manuwhiri in the harirū line.From well-known journalist Atakohu Middleton comes Aotearoa’s first collection of short stories written entirely in te reo Māori. The stories span time, genres and voices – readers will find police procedurals and family dramas, fantasy stories and coming-of-age yarns. Written in accessible reo Māori aimed at wharekura students and language learners from intermediate level up, this is gripping and exciting writing for contemporary Aotearoa.

"I lay strips of pale peachcotton and cloud-printed cloth side by side.Each becomes a strange,asymmetric quilt block.Each block like a sentence,each sentence an island, all the islands loosely touching."In her second book of poetry, Nina Mingya Powles skilfullythreads together themes of belonging and material inheritance against abackdrop of verse, collage and textile. From shorelines in Aotearoa, the UK andacross Asia, this collection moves through words and images to explore waterand the body, sewing and artmaking, personal histories and multiculturalidentities. In the Hollow of the Wave questions the possibilities ofwhat a poem can be.

"If sometimes I think of thoughts as being behind the eyes, sometimes I think of them more as floating, in a kind of cloud around the outside of my head."Part autobiography of thought, part philosophical tract, part poetics, a book about chickens and family and seasons, Terrier, Worrier is a literary sequence to be relished as language and as thought.

Aotearoa has at least 2,200 native species of flowering plants that have evolved in our unique conditions, and the vast majority of them grow nowhere else on earth. This has made New Zealand a natural laboratory for studies of flower biology and a vibrant wonderland of gardens and bush for Māori and Pākehā to enjoy.He Puāwai is a natural history of New Zealand flowers, focusing on 100 native species to represent the full range of flower phenomena of Aotearoa – from familiar iconic flowers of kōwhai, mānuka and pōhutukawa to oddities like the water-pollinated flowers of eelgrass, bat-pollinated blossoms of kiekie, and the world’s smallest flowers, Wolffia. Each flower’s text describes and explains its structure and functions, alongside over 500 remarkable photographs that enable the reader (with the viewer included in the book) to view the flowers miraculously in 3D.For gardeners and foragers, for bush walks and coffee tables, He Puāwai is an inspirational natural history of the native flowers of Aotearoa.

Memoir, myth andcritical theory weave through Xiaole Zhan’s essay-poem ‘Arcadiana’ as theyexplore their Pākehā-Chinese family. Meanwhile, Margo Montes de Oca’s‘intertidal’ combines rich, elemental imagery – water, light, colour – with aworld of feeling and poetic homage. In an affecting conclusion, J. A. Vili’s‘Poems Lost During the Void’ pays tribute to family and friends, reaching outbeyond grief to show the beautiful intensity of community and connection.AUP New Poets 11 introduces threedistinctive and compelling voices to contemporary poetry.

Ngāti Kuia are tangata whenua of Te Tauihu-o-Te-Waka-a-Māui (the northern South Island). Descended from the ancestress Kuia, their whakapapa sits within a rich and complex Māori lineage, connecting with the stories held by neighbouring iwi – particularly the other Kurahaupō waka groups. Their networks also stretch towards the head of the country, linking to iwi originating from the East Coast of Te Ika-a-Māui (the North Island), such as Ngāi Tahu, Ngāti Kahungunu, Muaūpoko, and ultimately back to the Polynesian homelands, Hawaiki.Drawing on hundreds of whakapapa, pūrākau, waiata and karakia recorded in nineteenth-century tribal manuscripts and court records, Madi Williams presents Ngāti Kuia history in Ngāti Kuia voices. From the stories of such tīpuna as Kaikaiāwaro and Hinepopo, through early encounters with neighbouring iwi and European settlers, to recent events such as the Treaty settlement process, this expansive account places Ngāti Kuia at the heart of the region’s living, layered history.As Te Kenehi Teira observed during the Ngāti Kuia Treaty claim, the history of the iwi resembles ‘one huge jigsaw puzzle – you have to find all the pieces and put them together’. In this book, the pieces finally sit alongside one another.

In summer when I picked dandelionsfor the geriatric guinea pig I changed the world.I killed a weed. I filled a mouth with gold.In this debut poetry collection, Sophie van Waardenberg considers girlhood and grief, love and its loss, distance and the return home, including at its heart a sequence of emotionally raw ‘Cremation Sonnets’. In its essence, this collection is the poet exploring ‘goodness’: ‘I am unbegrudging. I am the openest pair of arms’, she tells us. ‘I am a large dirty lake, a tepid naughty heart.’ I cannot accept this ending. I have fallenfrom the highest ledge. I will never land.So what if I am safe? I am not.

From mānuka honey to haka, and across patents, trade marks, copyright and geographical indications, the protection of traditional knowledge, cultural expressions and genetic resources is one of the most complex legal and political challenges of our time.On the fifteenth anniversary of Ko Aotearoa Tēnei, the Waitangi Tribunal’s landmark report on the Wai 262 claim, sixteen leading legal scholars offer new perspectives on how authority over and guardianship of traditional knowledge, cultural expressions and genetic resources might be recognised and protected in contemporary legal systems.Ko Aotearoa Ināianei takes up the wero laid down by the original Wai 262 claimants and extends their kaupapa into the present. The chapters confront pressing and unresolved questions. How should offensive or derogatory uses of taonga be remedied? Could legal personhood be applied to intangible Māori taonga such as waiata, and what would that recognition require? What might knowledge governance grounded in tikanga Māori involve, and how might it challenge or reshape Western intellectual property frameworks?Through wide-ranging essays engaging with law, policy, theory, science and culture, the authors advance aspirational visions of cultural ownership, control, inheritance and identity, grounded in the shared whakapapa of people, land and knowledge. Ko Aotearoa Ināianei contributes to global debates on Indigenous authority and knowledge protection.

I am an unmade bed. I am a single thing made up of many other things. I am a reason, a raising, a roof to be raised. I am a song you sing in your sleep. I am a collection of dots. I am a need you buried in the back garden. I am a literal spray of light across a wooden floor in a house where the sun has only just returned. I am a musical phrase. I am a lead light. I am a host. I am seven different names. I am all the fat in my body. I am the sky when it is early spring and I can’t believe I exist in this colour range. I am so blue.If We Knew How to We Would answers a question nobody asked: How many thoughts can you work into a single poem?Through breakups and a pandemic, health issues and deaths, Emma Barnes’s second collection is a riveting, overflowing and grief-stricken reckoning with the ordinary: a skinful of spit; insides scooped out with a melon baller; cracked like an egg and nothing inside. ‘It is too much to say nothing about. It is nothing to say too much about.’

Ko te kupu i tīkina rawatia i te ngākau, i te whatumanawa hei kōpaki i te whakaaro o te tangata, ahakoa rere taua whakaaro rā ki hea, he kupu kua āta tāraia e tōna kaitārai.Katoa ngā āhuatanga kua whakarārangitia e Wiremu Hakipia ka rangona mai i ngā kaupapa e ngau tonu ana i ēnei rā. Ko Matapēhi he whakaari mō te mauri whakakite, te hiahia, te tōwhare; mō ngā whaea rangatira me ngā kīngi; mō ngā ruahine taki i te ‘rererua, matarua, maikiroa ē’; mō te ao i kīia ai te kōrero ‘he pai te kino, he kino te pai’.Nā, kua ora mai anō te pakitūroa pōuriuri, whakawai i te hinengaro, kua tuhia ki te reo Māori e te mātanga kaiwhakamāori, e Te Haumihiata Mason. Nāna anō i puta ai Te Rātaka a Tētahi Kōhine, me te reo aroha o Rōmeo rāua ko Hurieta ki te reo Māori. He tamāhine nō ngā maunga tapu o Ruatoki, he atamai ki te raranga rerenga. Nāna i whakahauora ngā kupu a Hakipia kia kawea ake ai a Matapēhi ki tētahi ao hōu.He taonga tēnei mā te hunga kaingākau ki te reo o Hakipia, ki te reo rangatira, ki te korakora hoki ka rere i te pānga o ngā ao e rua. I tēnei putanga reorua, ka takoto ngātahi te reo Māori me te reo Pākehā; e rere tahi ana te ia o te kōrero, me he awa rua: motuhake te ia, tūhono te rere, kī tonu i te mauri o te kupu. He aho mārama kei ia reo, e kitea ai he hōhonutanga hōu i tērā rā. Shakespeare’s Scottish play is a tale of prophecy, ambition and murder; of lairds and ladies and kings; of witches, cauldrons and of ‘double, double, toil and trouble’ – all in a world where ‘fair is foul and foul is fair’.Now, this dark and captivating classic is brought to life in te reo Māori by the doyenne of reo Māori translators – Te Haumihiata Mason. The force behind the translations of The Diary of Anne Frank and Romeo and Juliet, a daughter of Rautoki and a master of her craft, she breathes new life into Shakespeare’s language and carries Macbeth to a new realm of rhythm, power and poetry.This book is a treasure for lovers of Shakespeare and te reo Māori alike, and of the alchemy that sparks where they meet. This dual-language edition places Māori and English side by side, moving through the play like twin currents: distinct, entwined and alive with meaning. Each language casts its own light, revealing fresh depths in the other.

In 2021, psychology professor and atheist Niki Harré spent a year as a self-appointed secular priest. She attended church, immersed herself in Christian writing created bespoke vows, and delivered regular Sunday services.It didn’t go as planned. Her secular friends largely stayed away. She formed new relationships. And she slowly developed a sense of what it means to regularly turn towards humility, the unknown, reflection, listening to and caring for the other, and an awareness of the world as it is rather than as we wish it was: qualities of a religious orientation as she experienced it.The Calling details Niki Harré’s year as a priest without God. A year does not last forever, but it is long enough to gain a sense of what it is to see and live in the world differently from the way one did before.

Responding to the terrorist attack on a Christchurch mosque and a global pandemic, the volcanic eruption at Whakaari/White Island and the occupation of Parliament grounds, for six years Dame Juliet Gerrard stood next to Prime Minister Jacinda Ardern and her successors to provide the insights that science might bring to decisions on issues of public importance.Sometimes these were emergencies: How fast will Covid spread? How many people are likely to die under different policies? Will the mosque terrorist produce copycats? And sometimes they were longer-term issues: What does the science say about cannabis? Should we worry about 5G or genetic engineering? Will it be easy or hard to get rid of plastic bags? Through case studies like these, Gerrard reflects on the realities of providing evidence to inform policy in the political arena – unpacking the tensions and drawing out general principles.For anyone interested in evidence and public policy, Front Row Seat is a readable insider account of how science can (and can’t) help us solve big public issues.