Canterbury University Press – förlag

The Southern Alps/Ka Tiritiri o te Moana are New Zealand's largest structural feature. Running north and south for most of the length of the South Island, they cross the Roaring Forties and divide the island into two distinct regions, east and west, each with its own unique climate, landscape and lifeforms. In this new book, geologist Glen Coates joins with the artist and author Geoffrey Cox to tell how the Alps were formed from ancient marine sediments, how they were uplifted to become mountains, and how they are being eroded down to produce the spectacular landscape seen today in the South Island. Even in just the past few million years vast blocks of land have been shunted incredible distances, and today frequent earthquakes remind us that this is a restless part of the earth where mountain-building is still in full swing. Rivers and glaciers, past and present, carve out a multitude of valleys and ranges, and wide plains have spread out at the mountains' feet. All this is told in vivid, non-technical language and copiously illustrated with colour photographs and artwork. The result is a book suitable for use in schools and by all who take an interest in their landscape and heritage.

Scottish-born Charlie Douglas ranks as one of the great early European explorers of New Zealand. From 1867 to 1916 he recorded the geography and topography of South Westland, its ecology and conservation, at a time when this was scarcely known. This book is a revised edition of the 1957 account of Douglas by John Pascoe. A third of it details Douglas' life and the rest presents Douglas' own journals and sketches.

The Canterbury Society of Arts dominated the cultural life of Canterbury for nearly a century, and played a vital role in the development of New Zealand art. Where art societies are often assumed to be conservative and reactionary institutions that failed to nurture the work of younger or more radical artists, this fascinating and entertaining history reveals a different story. The CSA was formed in 1880 by European settlers resolute in their vision to nurture serious New Zealand artistic talent. From the start, the institution emerged as a vital and sometimes uncompromisingly progressive arts organisation that had, over its life, a total of 2259 working members. For almost 100 years the CSA provided valued support for the arts, exhibiting the early work of generations of leading New Zealand artists, including Petrus van der Velden, Raymond McIntyre, Margaret Stoddart, Rhona Haszard, Frances Hodgkins, W. A. Sutton, Colin McCahon, Michael Smither, Neil Dawson, Andrew Drummond and Pauline Rhodes. Directors and committees came and went, numerous obstacles and controversies were encountered, yet the CSA secured Christchurch's reputation as the artistic capital of New Zealand in the middle years of the 20th century. 'CSA: The Radical, the Reactionary in the Canterbury Society of Arts 1880-1996' invites readers to reconsider the history of the arts in New Zealand.

Providing a rare female perspective on life in colonial Canterbury, New Zealand, this collection of letters--discovered in 2008 and published here for the first time--from four middle-class women to their families in Britain presents a picture of daily colonial life. Though separated by distance and the long wait for post, the women of the Hall family sought to remain close to Britain while life in their new province took form. The collected letters focus on children, household duties, health, housing and servants, church, shopping, and social events. Preceding the annotated transcriptions of the letters is an enlightening introduction to the Hall family, which places them and the correspondence in an appropriate historical context that will appeal to history enthusiasts and casual readers alike.

This unique account of community-based theatre - theatre created by professionals working with communities - challenges the mainstream history of New Zealand theatre. 'Rebellious Mirrors' looks at the early production of theatre in Aotearoa/New Zealand, investigates the experimental period of the 1970s, which is seen as searching for an authentic role, portrays the beginnings of Maori theatre, and gives a comprehensive portrait of a field of work during the period 1990-2010: work that took place within the contradictory framework of neo-liberalism.

Aotearoa New Zealand is renowned among biologists worldwide for spectacular ecological restoration work over the last 50 years, through advances in pest eradication and native species translocation. This book documents the development of these world-leading technologies. It uses examples from throughout the country, but has a special focus on one island group - the Mercury Islands off Coromandel, of which Ahuahu (Great Mercury Island) is the largest. The story is told through the eyes of pioneer conservation biologist David Towns, who was there from the start. It is a story of triumphs and setbacks, of opportunity and innovation, of teamwork and emerging bicultural collaboration. Today, all seven islands of the Mercury group are free of mammalian pests, providing a haven to native plants and animals. This book is the story of how that was made possible.

More than 350 men were imprisoned in New Zealand during World War I for sedition or resisting military service. Among them were numerous Canterbury pacifists, motivated to resist the tide of militarism and imperialism that was sweeping the world. ‘I Don’t Believe in Murder’ is an alternative history of the years before, during and after New Zealand’s involvement in World War I. It depicts the strong response made by Canterbury’s labour, socialist and women's movements to pre-war compulsory military training and wartime conscription. Most importantly, it tells the stories of the people who made Christchurch the leading city in the peace movement, and of the young men who refused to fight, enduring imprisonment, hardships and loss of civil rights – all determined to follow their consciences and take a religious, humanitarian or political stand against war. Drawing on archives, newspapers and family collections, this is a crucial narrative for understanding the moral dilemmas posed by a country’s participation in armed conflict.

The concept of a braided river – he awa whiria – inspired the creation by pioneering educational researcher Professor Angus Macfarlane of a framework connecting Indigenous and Western perspectives. The He Awa Whiria framework has been used to support bicultural partnership approaches to policy development, research initiatives and practices in a broad range of sectors, such as tertiary institutions, iwi locations, private corporations and government ministries. Through the 12 chapters in this book, the authors explain their rationale for adopting He Awa Whiria, and detail how they have operationalised it in their respective fields of expertise. They report on the positive impacts that the framework has had at each stage of their work – from the conceptual design stage (which includes thinking and planning activities), during the application phase (which includes implementation and monitoring), through to the conclusion of activities (which includes reflection and review). Providing both an overview of the concept of He Awa Whiria and ‘real world’ case studies, this new volume illustrates the importance and value of drawing on two rich streams of knowledge – mātauranga Māori and Western science.

For decades, whenever a heritage building in Christchurch has been under threat, especially in the aftermath of the 2010–11 earthquakes, one woman has consistently defended this city’s architecture and history against shortsightedness and the threat of bulldozers – Dame Anna Crighton. Fearless and articulate, she has fought tirelessly and passionately, not only for the heritage of her hometown, but for the built past of Aotearoa New Zealand.But behind this well-known persona, the city councillor and heritage advocate, lies an extraordinary and unexpected life story, now told publicly for the first time. In 'Still Standing', Anna recounts, with her usual unflinching honesty, a childhood bereft of parental affection, a wild adolescence that included a stay at the Mount Magdala Convent ‘to straighten her out’, unsuitable relationships clung to in a desperate search for love, an unplanned pregnancy that led to adoption, and a violent marriage. Not many people would survive all this, let alone rise above it, to bring up a beloved son, to restore a magnificent Victorian home, to begin university study as an adult and end up with a PhD, to travel the world and, in 2020, to be appointed a Dame Companion of the New Zealand Order of Merit for services to heritage preservation and governance.'Still Standing' will delight anyone interested in history, architecture and the arts, but, even more than that, it is a riveting story of a life lived with courage, and of triumph over adversity.

'Pakiaka', the lean, essential debut volume by Gabrielle Huria, isa timely reminder of how good poetry can be at storytelling. The stories Huriatells are local and cosmic, firmly rooted in Ngai Tahu whakapapa and TeWaipounamu history but always attuned to the wide, interconnected world. Theseare accounts of stolen land and agricultural negligence, but also of tradition,connection, kaitiakitanga, birds, eels, rivers and winds. Of sharing kai andresponsibilities. These are poems that scoff at our complacencies and ask avital question: 'Is this what Maori women do? Carry the world on their backs?'

For most New Zealanders, Manapouri is associated with the country's largest and most successful environmental protest, but there is another, less well-known narrative of this time. The struggle to drill a tailrace tunnel under a rocky mountain at Manapouri, blast out a cavernous machine hall at West Arm and carve a road over the treacherous Wilmot Pass is a powerful tale of those who worked and lived in extreme and punishing conditions, and faced many hazards. Eighteen men died and many were injured during the construction. In The Middle of Nowhere, the men and women of the Manapouri project tell their compelling stories. They describe the long, noisy hours underground, battling gushing water and the constant threat of explosion, the unrelenting hardship of atrocious weather, life on the Wanganella, brought in as a floating hostel, and the challenges faced by women raising children in the barren hydro village. But there is affection, too, for this extraordinary place and its unique wildlife, and plenty of the black humour and Kiwi stoicism required in adversity. Calling on a wide range of oral and written accounts, and richly illustrated, The Middle of Nowhere reveals a fascinating and often overlooked part of New Zealand history.

What if thedead – our dead – never feel to us that they have gone? If family stories,fragments of their lives, continue to nag and haunt us? Lily Hasenburg was justsuch a figure in Holman’s growing years. She was whispered into his ear bygrandmother Eunice – in memorable stories of her older sister, who married andmoved to Germany at the turn of the 20th century, and was later caught up inthe Nazi web spun by Adolf Hitler. Unable to shake loose this story, Holmanpursued her to Berlin, Hamburg and Dresden. Here, we have an account of hispilgrimage; the kind of family history we might bury, and forget – to our loss.

in thecracks of light, Apirana Taylor's seventh book of poetry, shows one of AotearoaNew Zealand's most prolific and versatile writers at his best. Theseventy-three short poems here challenge our conceptions of poetic form. Theyare minimalist in construction but ambitious in emotional impact. They burstout of their small spaces like gas expanding in a cylinder and pushing apiston. They expertly inhabit both the natural and the political worlds,sometimes simultaneously, because Taylor is wise enough to know that they can'tbe separated, especially in a colonised land. A new volume by Apirana Taylor isan occasion. Relish it.

Frankie McMillan is one of the leading writers of the short-shortform in Aotearoa New Zealand, and Eddie Sparkle's Bridal Taxi, her seventh book, seesher at her best. The prose poems and small stories here demonstrate exceptionalrange, examining the tiniest psychodramas but also meditating on drownings andshootings and infidelities and nuclear warfare. McMillan finds the unusual inthe everyday, and she is equally at home with lovers embracing in the fieldsand with reclusive aunts fading away in poky old houses. This is writing thatreveals humans working out how to be their ridiculous and beautiful littleselves. This is writing that feels like thinking.

Jack Remiel Cottrell's second book of short fiction ushers thereader into a liminal world of grief and dreams. Stories of heartbreak andbetrayal jostle with incisive cautionary tales about self-aware AI, derangedalgorithms, memory transplants and bionic enhancements. The Emotion Dealer isa kaleidoscopic exploration of technology, art, cities, capitalism,disinformation, loneliness and greed. It is a guide for our troubled moment anda book that will make you wonder what - if anything - we are leaving for thosewho come after us.

The goldfields of nineteenth-century Aotearoa New Zealand havelong been talked and written about as almost exclusively male places. Manyhistorians have either ignored women completely or mentioned them only as wivesor as prostitutes. But they could and did make their way to these tough,unforgiving environments, often very early on, and not just as the givers ofsexual favours, either via marriage or for money, but as adventurers,entrepreneurs and, most of all, as survivors. Until now too little has been knownabout these remarkable women, who journeyed to Golden Bay, Otago, Marlborough,the wild West Coast and the Thames – or, in the case of Māori, were oftenalready on the fields. But this ground-breaking book changes all that. Based on30 years of extensive research, Digging Deep tells the stories of thewomen who set up stores, ran (and often owned) hotels and became wealthybusinesswomen, who worked as barmaids and dancers, who raised their children inchallenging conditions, sometimes as widows or deserted wives, and who wereminers themselves. There were characters aplenty, including Porpoise Maria,Sugar Annie, Dirty Mary and the notorious Mrs Swords, but also many women whowere victims of alcoholism and illness or suffered the trauma of rape and theshame of unwanted pregnancy. In Digging Deep Julia Bradshawhas given a voice to the fascinating and forgotten women of the New Zealandgoldfields. This lively account, rich in memorable images, fills along-neglected and significant gap in the social history of our country.

Across the world, organisations and public systems are understrain - facing rising demand, constrained resources and reforms that seldomdeliver lasting improvement.One System tells the inside story of a rareexception. Over more than a decade, Canterbury radically reimagined how itshealth system could work. The aim was simple: to act as one system, organised aroundpeople rather than institutions. This new way of working was tested under the most difficultconditions: the Canterbury earthquakes, the Christchurch mosque attacks and theCOVID-19 pandemic. Written by two of those who led the work, One System offersa candid and practical account of enabling transformation in real conditions, underconstant pressure and without the illusion of a perfect master plan. Grounded in health care but relevant far beyond it, One System isfor leaders, clinicians, governors, policymakers and anyone grappling withchange in a complex system.

Everything starts somewhere. Emergence, a book of creative work from TeWhare Wananga o Waitaha University of Canterbury's Master of Writing degree,shows us how many different forms beginnings can take. This volume's fictionwriters, poets, and essayists tell resonant stories of the present moment, theywrestle with crucial questions of love and influence and abandonment, and theyhandle challenging material using approaches ranging from lyric memory to tightanalysis.Emergence is a vivid demonstration of the healthof one of Aotearoa's newest and most dynamic writing programmes.