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Pounamu Pounamu is classic Ihimaera and also classic New Zealand literature. First published in 1972, it was his first book, which as he says in his new introduction 'fulfilled a childhood vow: to write about Maori using his own self and home place'. The vivid stories in this collection not only explore but also celebrate what it is to be a New Zealander, and they do so from a lively Maori perspective. The seeds of Ihimaera's later works were first sown in this ground-breaking collection: The Whale Rider in his story 'The Whale'; The Rope of Man in 'Tangi'; and the character of Simeon from Bulibasha, King of the Gypsies in 'One Summer Morning'. The book also covers the themes of aroha (love), whanaungatanga (kinship) and manaakitanga (supporting each other), which are so integral to Ihimaera's work.
A comprehensive study of the Maori in New Zealand, this book covers Maori history and culture, language and art and includes chapters on the following: · Basic concepts in Maori culture · Land · Kinship · Education · Association · Leadership & social control · The Marae · Hui · Maori and Pakeha · Maori spelling and pronunciation There is an extensive glossary, bibliography and index. First published in 1967. This edition reprints the revised edition of 1976.
Spanning nearly two centuries from first contact through to settlement and apology, ​this major work focuses on the human impact of the war in the Waikato, its origins and aftermath.
‘Te Wahi Pounamu’, translated from Maori to mean, ‘The place of Greenstone’, is a book that recounts the history of Greenstone, how it got this name and where it was created. It’s a book that describes in detail the various varieties of Greenstone that occur on the Jade fields of Westland, the South Island’s West Coast of New Zealand. The title pays homage to the link between Maori and Greenstone, and there is a chapter devoted to a story told to me by a local Maori, Wally Tainui, which talks about the place of Greenstone. Most of the information shared within the book, however, is from my own personal experience; things I’ve seen, things I’ve heard and people I’ve met. When reading about likely locations of Greenstone within this book, It must be remembered that in 1997 the New Zealand Government introduced the Vesting Act. The Act placed protection over New Zealand’s National Stone, including Serpentine and all related minerals of what is known as the Amphibole group of minerals. There are still some places, such as on Westland’s beaches, where Greenstone hunters can keep what they find but legally Ngai Tahu are now officially the custodians who own and protect what’s left of a squandered resource. Through their custody Pounamu will be preserved for future generations ake ake (forever and ever). Alfred Moreton
Pounamu is a celebration of jade in its many forms. It is a magnificent tribute to this New Zealand icon, the finest book on the subject ever published. Through the eyes of pounamu specialists Russell Beck and Maika Mason, we explore jade's powerful connection with the natural environment, its Mori myths and history, jewellery and taonga, geology and technical characteristics, places where pounamu is found, methods of working, cultural issues regarding the ownership and management of jade as a resource, contemporary carving, and its significance in the international arena. The text is enhanced by the exquisite, timeless landscape photography of Andris Apse, which sets pounamu firmly in the South Island mountain environment from which it emerges in its natural state. Through these unforgettable photographs we see pounamu in a new and fascinating way. Pounamu is a treasure in its own right, a sumptuous book to be adored for years to come.
Oceania has a rich and growing literary tradition. The imaginative literature that emerged in the 1960s often reflected the forms and structures of European literature, though the ideas expressed were typically anticolonial. After three decades, the literature of Oceania has become much more complex, in terms of style as well as content; and authors write in a multiplicity of styles and voices. While the written literature of Oceania is continuously gaining more critical attention, questions about the imposition of European literary standards and values as a further extension of colonialism in the Pacific have become a central issue. This book is a detailed survey of the expanding amount of critical and interpretive material written about the imaginative literature of authors from Oceania. It focuses on commentary and scholarship concerned with the poetry, fiction, and drama written in English by indigenous peoples of the Pacific Islands, New Zealand, and Australia. The criticisms have appeared in academic books and journals since the mid-1960s. They have developed to the point at which critical issues, related to decolonization and the expression of ideas without having to first satisfy foreign expectations, often determine the direction of such discussions. Entries are grouped in topical chapters, and each entry includes an extensive annotation. An introductory essay summarizes the evolution of Pacific literature.
Covering the two decades from 1972, Swiss scholar Otto Heim presents detailed readings of the novels and short fiction by Heretaunga Pat Baker, Alan Duff, Patricia Grace, Keri Hulme, Witi Ihimaera, Bruce Stewart, J. C. Sturm, Apirana Taylor, and Ngahuia Te Awekotuku. His book places the fiction by Maori writers in the context of a culture of survival and traces its textual engagement with violence between empathy and sacrifice, from the privacy of domestic violence to the public arenas of systemic violence and war. He argues that out of this confrontation with violence emerges a distinctive ethnic world view created by the construction of individual experience, the development of an ideological stance and the expression of a spiritual orientation. Heim's analysis shows works of fiction by contemporary Maori writers as challenging explorations of the constraints placed on the literary imagination by the urgent facts of the human condition and the imperatives of culture.
'Eleven years have passed since that winter of 1986 when I put down my pen on the story of the woman who wore pearls in her hair, my grandmother the matriarch, Riripeti Mahana nee Pere, whom some called Artemis . . .' So begins The Dream Swimmer, Witi Ihimaera's gripping sequel to The Matriarch, acclaimed winner of the Wattie Award. The Dream Swimmer continues the odyssey of Tama Mahana, grandson and heir to the matriarch, as he assumes the mantle of leadership and, with it, his grandmother's battles with the Pakeha. But at every step Tama is thwarted – by deception and intrigue, and by the woman whose destiny has intersected Riripeti's and his. She is the enigmatic Tiana, his mother, the woman of no account. Ihimaera continues to dazzle as he negotiates this story of great breadth and breathtaking climaxes, combining the heart of his early work with the deft experimentalism of his more recent novels and short stories. At once an incisive character study and a deeply moving family saga, The Dream Swimmer is sure to enchant and delight. 'Part oracle, part memorialist, Ihimaera is an inspired voice, weaving many stories together. The effect if epic, operatic., - David Eggleton, Metro Also available as an eBook
Striding Both Worlds illuminates European influences in the fiction of Witi Ihimaera, Aotearoa New Zealand’s foremost Māori writer, in order to question the common interpretation of Māori writing as displaying a distinctive Māori world-view and literary style. Far from being discrete endogenous units, all cultures and literatures arise out of constant interaction, engagement, and even friction. Thus, Māori culture since the 1970s has been shaped by a long history of interaction with colonial British, Pakeha, and other postcolonial and indigenous cultures. Māori sovereignty and renaissance movements have harnessed the structures of European modernity, nation-building, and, more recently, Western global capitalism, transculturation, and diaspora – contexts which contest New Zealand bicultural identity, encouraging Māori to express their difference and self-sufficiency. Ihimaera’s fiction has been largely viewed as embodying the specific values of Māori renaissance and biculturalism. However, Ihimaera, in his techniques, modes, and themes, is indebted to a wider range of literary influences than national literary critique accounts for. In taking an international literary perspective, this book draws critical attention to little-known or disregarded aspects such as Ihimaera’s love of opera, the extravagance of his baroque lyricism, his exploration of fantasy, and his increasing interest in taking Māori into the global arena. In revealing a broad range of cultural and aesthetic influences and inter-references commonly seen as irrelevant to contemporary Māori literature, Striding Both Worlds argues for a hitherto frequently overlooked and undervalued depth and complexity to Ihimaera’s imaginary. The present study argues that an emphasis on difference tends to lose sight of fiction’s capacity to appreciate originality and individuality in the polyphony of its very form and function. In effect, literary negotiation of Māori sovereign space takes place in its forms rather than in its content: the uniqueness of Māori literature is found in the way it uses the common tools of literary fiction, including language, imagery, the text’s relationship to reality, and the function of characterization. By interpeting aspects of Ihimaera’s oeuvre for what they share with other literatures in English, Striding Both Worlds aims to present an additional, complementary approach to Māori, New Zealand, and postcolonial literary analysis.