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This book is a collection of poetry by 21st-century writer Kerry Hines, alongside images by 19th-century photographer William Williams. The wry, plainspoken but haunting poems sit alongside evocative photographs of settlement: landscapes, streetscapes, skyscapes; the escapades of a trio of flatmates; portraits of family and friends; burned bush and rising buildings. The book features many figures: Williams and his housemates Tom and Alex; ethnographer Elsdon Best; notorious criminals and the judges who sentenced them; the mythic creature Shellycoat who accompanied the Scottish settlers; wives, prostitutes, and "hallelujah lassies"; and visiting professor Robert Wallace, who cast an outsider view on this new society. Together, the stunning photographs and poems of Young Country offer a meditation on how we capture the present and re-present the past, on the parallels between building a community and authoring a text, and on the possibilities that expansive fiction offers to documented truth.
An authoritative history of combat photography and its cultural, emotional, and memorial roles, this collection is the first to examine the vernacular photos of World War I taken by its New Zealand participants. The book discusses how photography was used to capture and narrate, memorialize and observe, romanticize and bear witness to the experiences of New Zealanders at home and abroad. The first to argue for the importance of New Zealand photography to the history of war, this overview examines in depth the contradictions of war photography, as a site of remembrance and forgetting, nation and sacrifice, mourning and mythology, subjectivity and identity.
Vols. for 1853- include the transactions of the Royal Photographic Society of Great Britain.