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The voices of Tusiata Avia are infinite. She ranges from vulnerable to forbidding to celebratory with forms including pantoums, prayers and invocations. And in this electrifying new work, she gathers all the power of her voice to speak directly into histories of violence.Avia addresses James Cook in fury. She unravels the 2019 Christchurch massacre, walking us back to the beginning. She describes the contortions we make to avoid blame. And she locates the many voices that offer hope. The Savage Coloniser Book is a personal and political reckoning. As it holds history accountable, it rises in power.
Wild Dogs Under My Skirt (2004), Tusiata Avia's first collection of poetry, draws on two different cultures and charts the sometimes painful points of their intersection. These poems are both confrontational and entertaining, raw and lyrical, they occupy legend and history - yet break through into an urban landscape that is just as arresting and richly patterned. Avia's poetry is alive with the energy and rhythm of performance poetry and an oral tradition, but it also stakes out a unique physical life on the page, reshaping our language and our understanding of New Zealand culture.~~'Tusiata's poetry is quite revolutionary in the sense that, not only does it define the face of Pacific literature in New Zealand, but it redefines the face of New Zealand literature itself.' - Sia Figiel~--Book Cover.
An inspirational graphic memoir of growing up Pasifika in New Zealand, written and illustrated by our fast-talking PI Poet Laureate, Selina Tusitala Marsh. At school, Selina is teased for her big, frizzy hair. Kids call her 'mophead'. She ties her hair up this way and that way and tries to fit in. Until one day - Sam Hunt plays a role - Selina gives up the game. She decides to let her hair out, to embrace her difference, to be WILD! Selina takes us through special moments in her extraordinary life. She becomes one of the first Pasifika women to hold a PhD. She reads for the Queen of England and Samoan royalty. She meets Barack Obama. And then she is named the New Zealand Poet Laureate. She picks up her special tokotoko, and notices something. It has wild hair coming out the end. It looks like a mop. A kid on the Waiheke ferry teases her about it. So she tells him a story . . . This is an inspirational graphic memoir, full of wry humour, that will appeal to young readers and adults alike. Illustrated with wit and verve by the author - NZ's bestselling Poet Laureate - Mophead tells the true story of a New Zealand woman realising how her difference can make a difference.
Caroline Kearney faced a heartbreaking dilemma. Caroline was a thirty-one-year-old mother of six when her husband died in Melbourne, Australia in 1865. Having no legal rights herself to the sheep station in Wimmera, Victoria that her late husband owned, she had great hopes that her sons would inherit it. But that was not to be. Her husband’s will, written on his deathbed, offered a reasonable annuity to support her and the children, but it came with a catch. To get that money, Caroline had to move to Ireland with her children and live in a house of her brothers-in-law’s choosing. English-born, Caroline had migrated to Australia with her family when she was only seventeen. She had never even been to Ireland. Her husband and his family – unlike her – were Catholic. This extraordinary book combines storytelling with a historian’s detective work. Pieced together from evidence in archives, newspapers, genealogical sites, legal records and old-fashioned legwork, Caroline’s Dilemma sheds new light on the workings of colonial gender relationships and family lives that spanned the nineteenth century globe. It reveals much about women’s property rights, migration, settler colonialism, the Irish diaspora, and sectarian conflict. It shows how one middle-class woman and her family fought to shape their own lives within the British Empire.
A science educator in domestic chaos fetishises Scandinavian furniture and champagne flutes. A group of white-collar deadbeats attend a swinger's party in the era of drunk Muldoon. A pervasive smell seeps through the walls of a German housing block. A seabird performs at an open-mic night.Bug Week is a scalpel-clean examination of male entitlement, a dissection of death, an agar plate of mundanity. From 1960s Wellington to post-Communist Germany, Bug Week traverses the weird, the wry and the grotesque in a story collection of human taxonomy.
How can we rethink anthropology beyond itself? In this book, twenty-one artists, anthropologists, and curators grapple with how anthropology has been formulated, thought, and practised ‘elsewhere’ and ‘otherwise’. They do so by unfolding ethnographic case studies from Belgium, France, Germany, Italy, the Netherlands, and Poland – and through conversations that expand these geographies and genealogies of contemporary exhibition-making. This collection considers where and how anthropology is troubled, mobilised, and rendered meaningful. Across Anthropology charts new ground by analysing the convergences of museums, curatorial practice, and Europe’s reckoning with its colonial legacies. Situated amid resurgent debates on nationalism and identity politics, this book addresses scholars and practitioners in fields spanning the arts, social sciences, humanities, and curatorial studies. Preface by Arjun Appadurai. Afterword by Roger Sansi Contributors: Arjun Appadurai (New York University), Annette Bhagwati (Museum Rietberg, Zurich), Clémentine Deliss (Berlin), Sarah Demart (Saint-Louis University, Brussels), Natasha Ginwala (Gropius Bau, Berlin), Emmanuel Grimaud (CNRS, Paris), Aliocha Imhoff and Kantuta Quirós (Paris), Erica Lehrer (Concordia University, Montreal), Toma Muteba Luntumbue (Ecole de Recherche Graphique, Brussels), Sharon Macdonald (Humboldt-Universität zu Berlin), Wayne Modest (Research Center for Material Culture, Leiden), Bonaventure Soh Bejeng Ndikung (SAVVY Contemporary, Berlin), Margareta von Oswald (Humboldt-Universität zu Berlin), Roger Sansi (Barcelona University), Alexander Schellow (Ecole de Recherche Graphique, Brussels), Arnd Schneider (University of Oslo), Anna Seiderer (University Paris 8), Nanette Snoep (Rautenstrauch-Joest-Museum, Cologne), Nora Sternfeld (Kunsthochschule Kassel), Anne-Christine Taylor (Paris), Jonas Tinius (Humboldt-Universität zu Berlin) Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
WINNER OF THE 2021 PULITZER PRIZE IN POETRY FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY Natalie Diaz’s highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book Award Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.
This book explores the theme of violence, repression and atrocity in imperial and colonial empires, as well as its representations and memories, from the late eighteenth through to the twentieth century. It examines the wide variety of violent means by which colonies and empire were maintained in the modern era, the politics of repression and the violent structures inherent in empire. Bringing together scholars from around the world, the book includes chapters on British, French, Dutch, Italian and Japanese colonies and conquests. It considers multiple experiences of colonial violence, ranging from political dispute to the non-lethal violence of everyday colonialism and the symbolic repression inherent in colonial practices and hierarchies. These comparative case studies show how violence was used to assert and maintain control in the colonies, contesting the long held view that the colonial project was of benefit to colonised peoples.
An anthology of new New Zealand verse, which first appeared in the popular Friday Poem slot in The Spinoff website. It features some of the most well-known and established names in New Zealand poetry as well as new, exciting writers. It is a showcase of New Zealand poetry.
A vital Aboriginal perspective on colonial storytelling Indigenous lawyer and writer Larissa Behrendt has long been fascinated by the story of Eliza Fraser, who was purportedly captured by the local Butchulla people after she was shipwrecked on their island in 1836. In this deeply personal book, Behrendt uses Eliza's tale as a starting point to interrogate how Aboriginal people – and indigenous people of other countries – have been portrayed in their colonizers' stories. Citing works as diverse as Robinson Crusoe and Coonardoo, she explores the tropes in these accounts, such as the supposed promiscuity of Aboriginal women, the Europeans' fixation on cannibalism, and the myth of the noble savage. Ultimately, Behrendt shows how these stories not only reflect the values of their storytellers but also reinforce those values – which in Australia led to the dispossession of Aboriginal people and the laws enforced against them.