Te Herenga Waka University Press – förlag

In these rigorous and challenging essays, writers from Aotearoa and Turtle Island (Canada and the United States of America) explore the well-being of takatapui, two-spirit, and Maori and Indigenous LGBTQI+ communities. Themes include resistance, reclamation, empowerment, transformation and healing. Central to Honouring Our Ancestors is the knowledge that, before colonisation, Indigenous peoples had their own healthy understandings of gender, sexual identities and sexuality. Some of these understandings have survived the onslaught of colonisation; others require decolonisation so that our Indigenous nations can begin to heal. Through this lens, the writers gathered here contribute their knowledge and experience of structural and social change.This collection was inspired by two major research projects: the HONOR Project, which investigated well-being in American Indian and Alaskan Native two-spirit communities, and the Honour Project Aotearoa, which investigated Kaupapa Maori strengths-based understandings of the health and well-being of takatapui and Maori LGBTQI+ communities.Edited by Alison Green and Leonie Pihama, Honouring Our Ancestors upholds the independent authorities and languages that distinguish our Indigenous nations and celebrates the relationships that bind us. Decolonised Indigenous knowledges are offered as a wellspring of unlimited potential for Indigenous communities and nations everywhere.

Did I disturb ye good people? I hopes I disturb ye, I hopes I disturb ye enough to want to see this, your house, in ruins all around ye! Have you had enough yet? Or do you still have time for chaos? — Words spoken in court by Temperance Lloyd when she was tried for witchcraft in Devon in 1682Do You Still Have Time for Chaos? tells the story of poet and teacher Lynn Davidson'' s late-life decision to leave Aotearoa New Zealand, with scant resources, to build a life in Scotland. In 2020, in the frightening quiet of a Covid-emptied Edinburgh, she begins her memoir; temporarily at home at the Randell Cottage residency in Wellington, she completes it.Lynn Davidson'' s long look back at what made and fractured her includes an account of single parenting with its shadows of poverty and stigma, and is interwoven with the ghostly presence of her uncontainable and courageous great aunt, and the long reach of witch hunts.Do You Still Have Time for Chaos? is a love letter to the literature of Scotland and Aotearoa New Zealand. It has an ear to the land and its stories. It is a celebration of choice. It is an act of resistance to the persistent idea that women are safer to stay at home.

Geoff Cochrane (1951– 2022) was a poet and fiction writer who was born in Wellington and lived there almost all his life. The author of nineteen collections of poems, two novels, a novella, and two collections of short stories, he was the recipient of an Arts Foundation Laureate Award, presented as part of the 2014 Westpac New Zealand Arts Awards. He was awarded the Janet Frame Prize for Poetry in 2009, and the inaugural Nigel Cox Unity Books Award in 2010.This Selected Poems presents the best of Geoff Cochrane''s many published collections, from Aztec Noon (1992) to Chosen (2020).

Performance is a self-portrait like no other. David Coventry takes us into his experience of ME, a debilitating systemic disease which took hold in March 2013 but has roots in his childhood.For Coventry, ME radically overturns the rules of time, thought and embodiment – an experience which has shaped the writing of this book. Through an illuminating blend of life transcription and deep imaginative projection, he shows how placing fiction into the stories of our damaged lives can remind us of who we are and who we might have been, even when so much of us has been taken away by illness. From a mountaineering disaster in Kaikoura to a literary encounter in Austria, a country mansion to a volcanic archipelago, this novel is a strikingly vivid, at times disorienting series of journeys, stopovers and emergencies that take in the world, one in which Coventry is often an outsider, even when at home in Wellington. With purposeful unreliability and flashes of humour amid pain and searching, Performance takes us into a space where ‘ reading'' itself fails as a description of how we meet the text. This is a generous, unforgettable vista of life within illness.

''From the outset, the social space of the essay is involved with the text'' s readers to the degree that conversation is implied – more or less intimate, even argumentative. The essay will often have originated in conversation, or the conversations of groups gathered around an event. Its long form may both contain and measure the extended time of face-to-face conversation or imply that extent; in this it will differ from social media, email and instant messages. These forms are often both dynamic and distanced, with the immediate energy of in-the-moment exchanges. The essays collected here, though, hope for the pleasure of extended conversation, both in their content and in the critical participation of their readers.'' Celebrated poet, novelist and critic Ian Wedde'' s third collection of essays follows How to Be Nowhere: Essays and Texts 1971– 1994 and Making Ends Meet: Essays & Talks 1992– 2004, and ranges widely through Aotearoa New Zealand, the Pacific ocean, and the libraries and museums of the world. Artists considered in depth and often from multiple perspectives include Bill Culbert, Ralph Hotere, Tony Fomison, Judy Millar, Peter Black, Anne Noble, Yuk King Tan, Elizabeth Thomson and Gordon Walters, while writers including Allen Curnow and Russell Haley are remembered.

First memory. First going hitchhiking.First seeing my father angry. First shotgun. First poem.In First Things, Harry Ricketts chronicles his early life through the lens of ‘ firsts'' : those moments that can hold their detail and potency across a lifetime. Set mostly in Hong Kong and Oxford, these bright fragments include the places, people, writers, encounters and obsessions that have shaped Ricketts'' world, from his first friends and rivals to his first time being caned by a teacher and his first time dropping acid. There are other, more enigmatic firsts here too, like the first time he realised what really mattered, and the first time he began doubting God. ‘ I wanted to believe in God and, even more, wanted God to believe in me.'' Who really were we, back then? Which parts of ourselves get to be remembered and carried along with us, and which parts are gone forever? In First Things, the gaps in between shine as brightly as the memories themselves.

Here are the cards. Put your hand on them,Close your eyes. You don'' t want to?But you are blind with them open.Jake Arthur'' s beguiling second poetry collection opens with a tarot reader coaxing us into a reading over a cup of tea. And in a rush of vivid scenes and impressions, we begin to imagine episodes from different lives – a woman tries to train a robin; parents anxiously attend a teacher– parent interview; a man is cast overboard and wonders if he will ever be found. Each card prompts a new character to mull over their uncertainties, hopes, obstacles and joys.Loosely inspired by the illustrations of the famous 1909 Rider-Waite tarot deck, with its riotous depictions of magicians, occultists, lovers, fools and angels, these poems have us grappling our way towards a clear path.

A system of government primary schools for Maori children created by Parliament in 1867 was regarded as a temporary measure until they learnt English and were Europeanised. But it lasted for 100 years despite criticisms of ‘ separatism'' and ‘ pampering'' of Maori.Official policies for the schools reflected European attitudes towards Maori, including the view that they were particularly suited to a practical, non-academic type of schooling leading to manual and domestic occupations. The policy of assimilation, designed to turn Maori into brown Europeans, was not modified until the 1930s when a cultural renaissance led by Apirana Ngata, combined with influences from anthropology and Britain'' s African education policies, contributed to a limited form of bi-culturalism.