Otago University Press – förlag

This book looks at the lives of New Zealanders during the greatest armed struggle the world has ever seen: the Second World War. It is not a political, economic or military history; rather it explores what life was like during the war years for ordinary people living under the New Zealand flag. It questions the war as a story of good against bad. All readers know that the Axis powers behaved ruthlessly, but how many are aware of the brutality of the Allied powers in bombing and starving enemy towns and cities? New Zealand colluded in and even carried out such brutal aggressions. Were we, in going to war, really on the side of the angels? Contrary to the propaganda of the time -- and subsequent memory -- going to war did not unite New Zealanders: it divided them, often bitterly. People disagreed over whether or not we should fight, what we were fighting for and why, who was fighting, who was paying, and who was dying. In this provocative and moving book, Stevan and Hugh Eldred-Grigg explore New Zealanders hopes and fears, beliefs and superstitions, shortages and affluence, rationing and greed, hysteria and humour, violence and kindness, malevolence and generosity, to argue that New Zealand need not have involved itself in the war at all.

The first 10 Dominican sisters arrived in Dunedin in 1871. The congregation expanded rapidly, establishing schools throughout Otago and Southland, and eventually reaching as far north as Auckland. For most of their first century in New Zealand the Dominican sisters were teaching nuns, living in large enclosed convents cut off from the outside world. In the mid-1960s the Second Vatican Council ushered in a period of radical change. The sisters moved out of their convents and into small homes in their local neighbourhoods; out of their schools and into new roles in education, social justice, pastoral care and spirituality. Today they are an ageing congregation that is diminishing in size. Susannah Grant was given full access to the congregations rich archives in order to write this book, from the point of view of an outsider. She has also completed a large number of oral histories with the sisters. In this moving and beautifully written book she chronicles the astonishing transformation of the New Zealand Dominican sisters from a strictly enclosed body of religious teachers to a congregation of religious women who are integrated in the wider community and engaged in a range of active ministries, while still remaining deeply committed to shared Dominican ideals.

When Dr Ron Jones joined the staff of National Womens Hospital in Auckland in 1973 as a junior obstetrician and gynaecologist, Professor Herbert Greens study into the natural history of carcinoma in-situ of the cervix (CIS) -- later called the unfortunate experiment -- had been in progress for seven years. By the mid-1960s there was almost universal agreement among gynaecologists and pathologists worldwide that CIS was a precursor of cancer, requiring complete removal. Green, however, believed otherwise, and embarked on a study of women with CIS, without their consent, that involved merely observing, rather than definitively treating them. Many women subsequently developed cancer and some died. In 1984 Jones and senior colleagues Dr Bill McIndoe and Dr Jock McLean published a scientific paper that exposed the truth, and the disastrous outcome of Greens experiment. In a public inquiry in 1987 Judge Sylvia Cartwright observed that an unethical experiment had been carried out in large numbers of women for over 20 years. Since that time there have been attempts to cast Greens work in a more generous light. This rewriting of history has spurred Ron Jones to set the record straight by telling his personal story: a story of the unnecessary suffering of countless women, a story of professional arrogance and misplaced loyalties, and a story of doctors in denial of the truth.

The vivid and lyrical new collection from award-winning poet Sue Wootton. These poems are sensorially alive, deeply attentive to language, the body, and the world around us. Down in the bone the word-strands glimmer and ascend often disordered, often in dreams, bone -- knowledge beating a path through the body to the throat labouring to enter the alphabet. -- 'Lingua Incognita'. Wootton addresses subjects as various as the fraught relationship between medical institutions and ndividual suffering, the disintegration of the polar icecaps, the energising power of solitude and the rewarding demands of creativity and love. This is a collection about give and take, loss and gain; about sowing, tending and reaping. Sue Wootton brings her characteristic linguistic dexterity, exuberance and versatility to every page. "The Yield" is rich harvest.

Writers: Aimee-Jane Anderson-OConnor, Nick Ascroft, Claire Baylis, Miro Bilbrough, Victoria Broome, Iain Britton, Owen Bullock, Christine Burrows, Brent Cantwell, Marisa Cappetta, Joanna Cho, Stephanie Christie, Makyla Curtis, Doc Drumheller, Mark Edgecombe, Lynley Edmeades, Johanna Emeney, Riemke Ensing, Ciaran Fox, Michael Gould, Sarah Grout, Shen Haobo, Paula Harris, René Harrison, Stephen Higginson, Jeffrey Paparoa Holman, Amanda Hunt, Anna Jackson, Ted Jenner, Anne Kennedy, Erik Kennedy, Jessica Le Bas, Wes Lee, Michele Leggott, Carolyn McCurdie, Robert McLean, Fardowsa Mohamed, Kavita Ivy Nandan, Emma Neale, Piet Nieuwland, Claire Orchard, Bob Orr, Jenny Powell, Chris Price, Helen Rickerby, Ron Riddell, L E Scott, Iain Sharp, Charlotte Simmonds, Peter Simpson, Tracey Slaughter, Laura Solomon, Barry Southam, Matafanua Tamatoa, Philip Temple, Dunstan Ward, Elizabeth Welsh, Sue Wootton, Mark Young, Karen Zelas.

How does a city make a writer? Described by Fiona Kidman as a ravishing, immersing read, A Strange Beautiful Excitement is a wild ride through the Wellington of Katherine Mansfields childhood. From the grubby, wind-blasted streets of Thorndon to the hushed green valley of Karori, author Redmer Yska, himself raised in Karori, retraces Mansfields old ground: the sights, sounds and smells of the rickety colonial capital, as experienced by the budding writer. Along the way his encounters and dogged research -- into her Beauchamp ancestry, the social landscape, the festering, deadly surroundings -- lead him (and us) to reevaluate long-held conclusions about the writers shaping years. They also lead to a thrilling discovery. This haunting and beautifully vivid book combines fact and fiction, biography and memoir, as Yska rediscovers Mansfields Wellington, unearthing her childhood as he goes, shining a new lamp on old territory.

At the end of the first volume of Elspeth Sandys absorbing memoir, What Lies Beneath, an adult Elspeth has solved the riddle of her birth parents and begun to piece together the events of her early life and find her place in the world. The book begins on the eve of Elspeths first marriage. She and her husband will soon depart New Zealand for England, joining a throng of Kiwis who chose to uproot themselves from their native land. New attachments will be formed: new loves -- of people; of places -- will take the place of the old. But the home country will continue to exercise a pull. Backgrounding the personal story in this deeply satisfying memoir is the story of the Thatcher years and the creeping virus of neo-liberalism, the sexual revolution of the sixties, the beguiling world of books - reading and writing - and theatre. Elspeth Sandys refreshing honesty and her skill as a writer of fiction and drama propel the reader through an absorbing life story that is equally a commentary on the meaning of memoir and the peculiarities of memory.

In 1966 Michael Illingworth, whose oil painting Adam and Eve appears on the front cover of this book, was awarded the inaugural Frances Hodgkins Fellowship. For the first time in New Zealand a practising artist was given a studio and paid a salary to make art for a whole year. Such support, as Frances Hodgkins herself wrote from her own experience, was capable of yielding up riches undreamed of . Poet and critic David Eggleton has described the fellowship as an emblem of cultural endeavour which ... holds a legendary status in the public imagination. The initiative and much of the early funding for the fellowship is thought to have come from poet, editor and arts patron Charles Brasch, and it was set up by the University of Otago Council. Fifty years later, the Frances Hodgkins is still going strong, one of five arts fellowships offered through the University of Otagos Humanities Division. This sumptuous book brings together the art and the stories of half a century of Frances Hodgkins fellows. Arts commentator Priscilla Pitts writes about their work, while journalist Andrea Hotere interviews the artists about their lives and sources of inspiration. The result is a vibrant celebration the of talent fostered through New Zealands foremost visual arts residency, showing how the artistic wealth created has flowed back into the culture of the small country that nurtured it.

This book tells the fascinating story of New Zealands endemic Huttons shearwater, a species that breeds only at two remote locations, high in the Kaikoura Mountains. Amateur ornithologist Geoff Harrow is the person most closely associated with the story of Huttons shearwater, for it was Geoff who discovered the two remaining nesting sites in the 1960s. For five decades he visited the mountains whenever he could to observe and record the birds, and to encourage the Department of Conservation and its predecessors to take steps to conserve this endangered species. As a result, scientist Richard Cuthbert was to spend three years living with 200,000 Huttons shearwaters and their neighbours, studying their behaviour, observing their interactions, measuring and recording facts and figures to build a detailed picture of why and how these birds had survived. The discoveries over time of Richard and his co-workers turned received wisdom on its head and revealed a whole new predator story. Richards beautifully written, witty account of the challenge and exasperation, the heartbreak and hardship, and the sheer joy of conservation fieldwork in a remote environment is beautifully interwoven with other fascinating stories of the discovery of the species by nineteenth-century scientists and collectors, and Geo Harrows discovery of the nesting grounds and subsequent long involvement with this species.

This book explores contemporary ways of reading some important New Zealand literary works, all produced between 1910 and 1940. Interpretations of these texts have had a significant impact on New Zealanders' ideas of themselves. The author argues that interpretation is a process which can never be completed, although at any one time there will be readings that are more significant than others. To illustrate her argument, Mary Paul discusses key works by two authors: Katherine Mansfield's 'Bliss' and 'Prelude', Jane Mander's The Story of a New Zealand River , and the work of Robin Hyde, poet, novelist and journalist. She opens up ways of reading these and other writers, using a variety of approaches and encouraging a greater self-awareness in the interpretation of New Zealand literature and culture.

The life stories in this book are by people who, at some point in their lives, have been diagnosed with a mental illness which they have learned to deal with. They have found the courage to speak publicly about their experience in a world which is still prejudiced against people with mental illness. The book is a source of inspiration for anyone with mental illness and their family and friends, a unique teaching tool for people working in the mental health area, and a way of opening doors on mental illness and letting in some light, for us all.

Twelve short stories by one of New Zealand's best-loved poets are collected here. Set in the south, they are spare pieces of prose, showing an eye for detail and for the ironies of life.

In this fine collection of poems and drawings Cilla McQueen traces the lives and voyages of her ancestors, and the living history of her husband's people. She herself travels through the fire that destroys her home at Otakou, the autoclave of the central poem, tying together the separate threads of her journey and moving from one harbor to another. The sea is a constant element and balancing this are the poet's precisely observed images of domestic life and her fascination with the forms and inhabitants of the land.

Dom Felice Vaggioli wrote this autobiography between 1909 and 1911, after the publication in Italy of his History of New Zealand and its Inhabitants. One of the first Benedictine monks to be sent to New Zealand, he arrived in 1879 and returned home in 1887, having worked in Gisbourne, Auckland and the Coromandel. A Deserter's Adventures is Vaggioli's title, as he was a concientious objector, or "draft-dodger," as a young monk and so termed himself "a deserter." This is typical of the individual who emerges from these pages: always questioning, and always applying a strong sense of justice and fine logic to the many dilemmas he found himself in as a missionary priest in New Zealand.

Soundings is another landmark in the development of an important and widely read New Zealand poet. This collection continues and develops the themes of homeland and loss, colonisation and displacement that have been constantly important to McQueen. She writes as a descendant of both the colonized - on far Scottish Islands - and those who colonise - in exploring Richard Greynvile's handling of the colony at Roanoke in Virginia. Her writing also reflects the history and present reality of the Maori in southern New Zealand.

The period 1995 to 2004 was the UN's International Decade of World Indigenous Peoples. This reflected the increasing organisation of indigenous peoples around a commonality of concerns, needs and ambitions. In both New Zealand and Canada, these politics challenge the colonial structures that social and political systems are built upon.

As American critic Tom Disch quipped of many vintage poets: 'friends and pets die, the garden takes on a new significance.' There are poems in this collection about Dutch Masters, the remembered voice of a deceased soprano, a waterfall, ancient Chinese artefacts, victims of the World Wars, kites and flowers; but each piece is sensitively imbued not only with the poet's awareness of impending death but also with the incorrigible fragility of life. While Dallas is at home in a number of different modes, her high regard for literary tradition as a form of spiritual realism makes her eminently readable as a disciplined watcher of the seasons.

Summer, 1981. A youngish Neville Peat set out from Cape Reinga on his imported 10-speed bike 'Blue', aiming to cycle through small-town New Zealand from north to south, all the way to Stewart Island. The week before Easter, he reached his destination. He wrote a book about it, Detours: A journey through small-town New Zealand , which sold lots of copies and was broadcast on radio. Many times in the intervening years, usually on anniversaries of the journey -- ten years, fifteen years, twenty years -- he wished to try a repeat journey, but life held other challenges. Now, as a leading author and in the age of the personal computer and cell phone, a very different world, he has revisited many of the towns and regions, not on a bicycle, but by car. In Detours -- A generation on , he reflects once again on how small-town New Zealand is doing.

In 1907 Dr T.M. Hocken of Dunedin - historian, bibliographer and collector - undertook to gift to the University of Otago his magnificent collection of books, manuscripts, paintings and other historical documents relating to New Zealand and the Pacific. Published to celebrate the centenary of the Hocken Collections' Deed of Trust, this book documents almost 200 items, dating from the seventeenth century to the present day, photographed by Bill Nichol. These include historical and modern paintings, photographs and drawings, maps and plans, books, newspapers and posters, sheet music, sound recordings, and early New Zealand manuscripts. Many items relate to Maori history.

Dan Davin, one of New Zealands 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 IrishNew 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.

Reflecting in 1769 on the manners and customs of the South Sea islands, Joseph Banks remarked that 'in every expedient for taking fish they are vastly ingenious.' Hence the title of this book on Pacific material culture, past and present, with broad themes of origins, the movement of peoples and the development of their technologies.

In May 2006 some fifteen artists from New Zealand took over the Museum of Archaeology and Anthropology in Cambridge (UK) as part of Pasifika Styles, a groundbreaking experiment in the display of contemporary Pacific art. Installing their works in cases next to Taonga or treasures collected on the voyages of Cook and Vancouver, the artists flung open the stores of the museum to bring more of the museums unparalleled Oceanic collections to light. At the opening of the exhibtion, the song of ancient instruments played by contemporary musicians called historic artefacts to life, heralding a new era of collaborative curatorship to enthnographic museums. Over the next two years, visiting artists continued to bring vitality to the collections, offering workshops, seminars, public activities and a festival of performing arts. This book describes the making of Pasifika Styles, from the perspective of the artists, museum professional and scholars involved in this pioneering project, placing it in the context of current debates about museums, cultural property and art.

This book illustrates the contribution made to New Zealand letters by our oldest and most prestigious literary fellowship. Edited and introduced by Professor Lawrence Jones, the anthology, by turns playful and serious, celebrates the Fellowship's golden jubilee. Beginning with novelist Ian Cross in 1959 and ending with the 2008 Burns Fellow, poet Sue Wootton, Nurse to the Imagination showcases the output of leading New Zealand literary figures such as James K. Baxter, Michael King and Janet Frame alongside newer voices, with pieces written at the time of the Fellow's tenure. There are lots of interesting trends here, of which the shift from male-dominated literature up to 1980 to the rich representation of women writers since then is just one.

The Summer King tells stories, exploring the world we inhabit and our relationships with the other. Myth, catastrophe, family, strangers, sex, sport - all feature in this 'fine and fierce first collection' (Gillian Clark). The book contains two sequences: 'Cowarral', about Preston's family farm in the Forbes Valley of NSW, and 'Venery', which was inspired by the collective nouns that first appeared in the Book of St Albans.

During the eighteenth and nineteenth centuries large numbers of Scots emigrated to seek their fortunes abroad. Better educated than the English and with a strong Presbyterian ethic, they were unusually successful in business and politics. This was true for New Zealand as elsewhere. Ross & Glendining Ltd was founded in Dunedin in 1862, during the gold rush, by two contrasting characters: Caithness-born John Ross and Robert Glendining, from Dumfries. Initially a drapery importing business, it opened branches throughout New Zealand and warehouses in all the main centers. Careful management and efficient systems enabled the business to grow, despite strong competition from Australia. After the investment boom of the seventies, R&G began to diversify, investing in sheep runs, a woollen mill, other manufacturing, and even a coal mine. This history offers not only a portrait of a firm but a window on the development of the New Zealand economy and the emergence of a manufacturing sector.

In the past two decades, cuisine and culinary history have attracted increasing attention, with both popular and academic books reflecting the growth of interest. Recipes are both sensitive markers of the socioeconomic conditions of their times and written representations of a culture's culinary repertoire yet, despite the vast number of cookbooks that survive, they have not been the primary focus of research projects. Acknowledgement of their potential contribution to our understanding of culinary history has been slow. This book is a first in its field.

Indigenous Identity and Resistance brings together the work of Indigenous Studies scholars working in Canada, New Zealand and the Pacific in research conversations that transcend the imperial boundaries of the colonial nations in which they are located. Their lucid, accessible, and thought-provoking essays provide a critical understanding of the ways in which Indigenous peoples are rearticulating their histories, knowledges, and the Indigenous self. Hana O'Regan discusses a programme of language regeneration initiated by members of her iwi, Kai Tahu. Chris Andersen describes the power of Canada's colonial nation-state in constructing categories of indigeneity. Brendan Hokowhitu problematises the common discourses underpinning Indigenous resistance. Janine Hayward compares Indigenous political representation in Canada and New Zealand. This is just a snapshot of the forward-looking research in this reader. Taken together, it heralds some new ways of thinking about Indigenous Studies in the 21st Century.

The twentieth century was a time of great change in early years education. As the century opened, the use of Froebel's kindergarten methods infiltrated more infant classrooms. The emergence of psychology as a discipline, and especially its work on child development, was beginning to influence thinking about how infants learn through play. While there were many teachers who maintained Victorian approaches in their classrooms, some others experimented, were widely read and a few even travelled to the US and Europe and brought new ideas home. As well, there was increasing political support for new approaches to the "new education" ideas at the turn of the century. All was not plain sailing, however, and this book charts both the progress made and the obstacles overcome in the course of the century, as the nation battled its way through world wars and depressions. It's an interesting story as the author discusses changes in school buildings, teaching practice and teacher education, the teaching of reading and other curriculum areas, Maori education and the emergence of kohanga reo and the teaching of Maori language in primary schools. Along the way we meet a range of individuals, including C.E. Beeby, Sylvia Ashton-Warner, Gwen Somerset, Don Holdaway, Elwyn Richardson, Marie Bell and Marie Clay and the many less well-known but significant people who worked in or influenced early years education. We also meet many well-known New Zealanders who have recounted their first days at school. This is a fascinating account of a rich history that has involved us all. And yes, school milk gets a mention.

SIMPLE BROKEN BEAUTIFUL is the title on a notebook of poetry written by Leigh Davis in 2008. This was during radiotherapy treatment following surgery for a brain tumour, which was affecting his ability to express himself in words. The notebook writing was the beginning of a work that developed into a long poem called 'Stunning debut of the repairing of a life'. The resulting manuscript won The Kathleen Grattan Award for Poetry 2009, judged by Ian Wedde.