Journal articles on the topic 'New Zealand poetry'

In 1952, D'Arcy Cresswell published a verse play, The Forest, set in New Zealand's forested Southern Alps. In what Cresswell called a ‘tremendous defense of homosexuality’, The Forest depicts a pair of gay male poets pitted against the archangel Lucifer and women, who are in league together to force men to work the land and thereby desacralize it. Cresswell argues that the pressures on Pākehā men to be economically productive and heterosexually reproductive are manifestations of a literally Satanic plot to alienate men from one another and Nature. While many of Cresswell's New Zealand literary contemporaries espoused a Pākehā masculinity involving matey comradeship and a life spent working the land, Cresswell celebrates a New Zealand wilderness he perceives as the last refuge of male love and inspired poetry. Simultaneously queering Milton, inverting Judeo-Christian history by relocating Eden in the Antipodes, and reversing New Zealand history by undoing the modernity that settler colonialism had created, Cresswell counters the terms of his own exclusion from the literary canon by imagining a world upside-down – and inside-out.

Poetry is a major artistic expression in New Zealand and Pacific culture, including a longstanding tradition of indigenous oral literature. Besides its many functions, it can also have a crucial militant role. In the present climate emergency, the potential of oral and written poetry for environmental activism has been rediscovered: “poet-performers” have risen as militant figures that write verses and act them out on websites, during public performances and in important political venues. The effects of global warming are dramatically real in the Pacific region, especially in consequence of the sea-level rise that has caused the flooding of many atolls and is threatening the survival of populations and cultures. Aotearoa has always been sensitive to environmental problems, also thanks to the prominent voice of the Māori minority in the country’s politics. It is thus not surprising the recent publication of No Other Place to Stand (2022), the first New Zealand poetry anthology to deal with climate issues from a specifically New Zealand and Pacific perspective. The book forms a dedicated platform for creative work in response to the climate crisis. Half of the contributors are indigenous and a good number under thirty, giving voice to the people of the land and to those with the most at stake for their futures. My article will provide a critical analysis of the volume against the Pacific cultural and political background.

In researching the tutors working in alternative education centers in New Zealand, I sought ways to bring voice to their lived experiences through, initially, creating found poetry from interview transcripts. The poems helped bring their vital voices to the page. Even so, I found the emotion of tutors’ lived experiences buckled under the pressure of their compression into lines of poetry. Thus, I set the found words free to form nonlinear configurations in two and three dimensions. In the tradition of concrete poetry noted by Khlebnikov, I “loosed the shackles of syntax . . . to attach meaning to words according to their graphic and phonic characteristics.” In this article, I present concrete poetry deriving from my poetic inquiry and reflect on the value concrete poetry provides arts-based researchers.

Review of: No Other Place to Stand: An Anthology of Climate Change Poetry from Aotearoa New Zealand, Jordan Hamel, Rebecca Hawkes, Erik Kennedy and Essa Ranapiri (2022) Auckland: Auckland University Press, 220 pp., ISBN 978 1 86940 955 5 (pbk), NZ$29.99

This commentary was developed around two interconnected meditations sparked by Chris Milton’s paper: firstly on the idea of poetry as complementary to the healing alchemy of analysis and secondly on how the encounter with a new landscape and culture in Aotearoa New Zealand forms the ground of transpersonal life for Pākehā, especially those of settler descent. The language of poetry, with its capacity to connect us with the mythopoeic world, is offered as a way of contextualising the arrival of Jungian analysis in this land and imaginal ground. Waitara I whanake ake tēnei kōrero mai i ngā taumauri hononga takirua i pupū ake i te pepa a Chris Milton: tuatahi mai i te whakaaro me haere takitahi te ruri me whakamātau tūmahu o te tātarihanga, tuarua te huanga ake o te taiao hou me te ahurea hou i Aotearoa Niu Tīreni hai hanga papa whakawhiti ki te taha wairua mō te Pākehā, torotika nei ki ngā hekenga tauiwi. Ko te reo ruri me ōna pānga ki te hono i a tātau ki te ao atua, kua homai hai horopakinga i te taenga mai o te tātarihanga Hungiana ki tēnei whenua me te papa pohewa.

In 1995 I Taught a Course in New Zealand Literature at Tokyo University. The Students Were Attentive, and Curious About New Zealand, but they found my Kiwi English hard to follow, being accustomed to American or British varieties. I wondered about their seeming tolerance recently while teaching a similar course to undergraduates back home, at Victoria University, in Wellington, when one of the Maori students complimented a Pākehā (New Zealand European) colleague for her Maori pronunciation. Like most Pākehā, I have a rudimentary grasp of Māori, enough to be familiar with the words and phrases that have entered everyday speech and those in the poetry and fiction I teach. But I cannot conduct a conversation in Māori or read a Māori text, and I am as embarrassed by the irritation that my pronunciation of te reo (the Māori language) causes Māori speakers as I was by the difficulty my rising terminals and strange accent posed for competent English speakers in Japan.

Hone Tuwhare is the most well-known Maori poet in New Zealand. His poetry is mostly inspired by Maori culture; his bond with nature and his views on man's destructibility on both nature and himself, as well as mythical and political themes, are the most prominent subjects in his work. Tuwhare's innermost feelings and thoughts are passionately expressed in his poetry, whether it's a show of deep reverence for nature or an angry protest against mankind's cruelty. His use of poetic devices like a poetic apostrophe, personification, and onomatopoeia all contribute to his message being delivered strongly and effectively to his audience. Hone Tuwhare was a prominent poet who was well-liked by both Maori and Pakeha New Zealanders. The research explores the ways Tuwhare expresses the Maori island peoples, who see themselves as an extension of the land. This research focuses on a close reading of Hone Tuwhare, a New Zealand Maori poet who wrote in English from 1975 to 2000, providing insights into the poems' customary worlds, or "ritenga tangata." "Ritenga tangata" most directly relates to people's traditional behaviors and traditions. Hone Tuwhare collected works interconnected themes of tragic loss, questions of identity, and integral familial bonds, all of which cannot be divided from poetic representations of the natural world. The research sums up that Tuwhare is a lyricist with a distinct voice and a distinct affinity to his Maori ancestry. Traditional ocean voyaging principles and symbolic systems are employed to navigate the worlds of the poetry as he is described. This way of navigation aims to show cultural signals in work as well as a level of concern for the worlds depicted. This concern is manifested in political, social, and economic terms.

Back in early 1982, a mate in New Zealand wrote to me describing, in a very excited manner, his research into cultural aspects of Maori people, especially with respect to the poetry relating to funeral rites. Concurrently, I was completing the Multicultural Education Diploma, and fostering an infant interest in aspects of Australian literature dealing with the immigrant experience and cultural difference (viz. Judah Waten’s Alien Son, and Nancy Keesing’s Shalom). Whilst I had not at that stage successfully made the link between such literature and its effective use in the educational process of students of non-English speaking background, I remember thinking that perhaps I should soon pursue a course which would lead me to an understanding of Aboriginal Australians, in some way similar to Terry’s pursuit in New Zealand.

Ian Fookes, a New Zealander with an MA (Hons) in Philosophy from the University of Auckland, is a participant of the Japan Teaching and Exchange Programme (JET Programme) and is currently teaching English as part of this program in Ikoma City, Nara Prefecture, Japan. He is studying the Way of Tea and other aspects of traditional Japanese culture, and his interests include traditional cultures, philosophy, literature and garden design. Gareth Lochhead, a New Zealander with a BA in English Literature from the University of Canterbury in New Zealand and a JET participantin Ikaruga-cho in Nara Prefecture, is currently teaching English in Vietnam. His interests include poetry and photography. Makoto Tsujitani, from Osaka, Japan, is an independent computer specialist working in Osaka and Nara, and is interested in traditional Japanese culture and travelling. The text that follows is a slightly revised and edited version of a paper presented by the authors at the international symposion on "Globalization and Local Identity," organized jointly by the World Society for Ekistics and the University of Shiga Prefecture in Hikone, Japan, 19-24 September, 2005.

This is a review of the 6th International Symposium on Poetic Inquiry held at Bowling Green State University, and graciously hosted by Sandra Faulkner. This symposium meets biennially with presenters from many different areas of the world such as Nova Scotia, Canada, and New Zealand. The theme this year was poetry in/as/for social justice. In this review, I seek to think through some of the questions and uncertainties that arose over the course of the few days we met in November. We complicated meanings of social justice at this contemporary time and revisited formulations of social justice through past events. Within this review, I write a personal/theoretical piece embedded with citations from poets, and in the end compose a poem that is an amalgamation of language from presenters’ abstracts and my own ideas.

Prior to the March, 2020 COVID-19 lockdown in New Zealand I was invited to offer professional development on ways that the writing of poetry could be facilitated in a Rotorua primary school. In March/April of that year, I engaged around 18 teachers (including the school principal) in four, two-hour PD sessions using Zoom. A year on, in May 2021, I conducted a small-scale case study with teachers who had participated in all four of these sessions to find out what they had taken away from this PD. In part for my own instruction, I was interested in what “stuck” and what they saw as working in their classrooms. This article offers a brief overview of the shape of the PD that was offered and teachers’ views on its impact one year on.

Musing with Petric Bodies, Hanging on to Dear Life is an essay that critically reflects on the live performance work “Becoming Boulder”, which occurred on 31 January 2015 as part of the Science Communication Art New Zealand Intercreate Symposium at New Plymouth, New Zealand. I performed a contact improvisation with a large andesite boulder, in a king tide, on a stormy day, at a culturally significant place for an extended period of time. Written using the present tense and as a dialogical text, the essay employs ekphrasis and practices geo-poetry to colour the scene and critically contextualise the potentials and limits of empathetic engagement with another form of organic assemblage. Complexities that come with being a foreigner or immigrant, well-versed in contemporary New Materialist discourse, and dwelling in a land rich with indigenous knowledge are voiced amongst gestures to get close to, identify with, and perform as an ancient, far from dead weight, body. While musing and critically contextualising on the potentials and limits of empathetic engagements, the essay seeks to exemplify the value of material situated learning that occurs in the space of making or doing of durational, experimental, site-responsive performance works.

This poem was written for the University of Otago 2020 ‘Writer’ competition, and was awarded first place (Staff Poetry category) by judge Dr. Sue Wootten. The poem responds to the competition prompt ‘Only Connect…’, which is the epigraph from E. M. Forster’s novel, Howards End (1910). Given this prompt, and given the timing of the competition (shortly after New Zealand’s major national COVID-19 lockdown), I aimed to use poetic language and metaphor to evoke some of the themes of my academic research around embodiment, affect, and intimacy in digital spaces.The title of the poem refers to the Southern Cross Cable Network; commissioned in 2000 to become one of the major trans-Pacific communications networks, connecting Aotearoa New Zealand to the world, via a total of 28,900km of submarine and 1,600km of terrestrial fiber optic cables. The final line of the poem refers to the first words ever spoken on a telephone, in 1876, by Alexander Graham Bell speaking to his assistant Thomas Watson at a distance of 13 km.

This article presents a practice-led design project that asks how the effects of the lockdown can be articulated through illustration and poetry to narrate a personal story using an autoethnographic approach to retail high levels of dignity and originality? The research project aims to create a visual narrative, advanced through illustrations and poetry, that reflects the researcher’s experience of lockdowns imposed by COVID-19. The narrative adopts the form of an illustrated storybook to tell the story of the researcher herself, who faced restrictive experiences while being locked down in China during a homeland visit. As a result, the researcher was unable to return to New Zealand due to travel restrictions. During the time the researcher had to wait in China to be able to return to complete her study in New Zealand, the lockdown produced feelings of isolation, distancing, anxiety and other emotions. This design project is aimed to express these feelings, responding to their pressures using creatively illustrations and poems, created in a way to articulate the psychological pressures one can go through during this unprecedented time. The illustrations and poems encapsulate an artistic response to a historical moment, drawn into being through poetic writing and imagery. The project is a historical document of an era where all that is certain becomes uncertain. Illustrations are used through an autoethnographic approach to give voice to personal experiences through design. The research contributes to the exploration of poetic writing and illustration to document, understand and express a moment of crisis in human history.

Theorising about identity has become fashionable. During 1999 alone several conferences and seminars were dedicated to identities in Australia: “Alter/Asians: Exploring Asian/Australian Identities, Cultures and Politics in an Age of Crisis” held in Sydney in February, the one-day conference “Cultural Passports” on the concept and representations of “home” held at the University of Sydney in June, and “Asian-Australian Identities: The Asian Diaspora in Australia” at the Australian National University in September. To me as a Chinese who had his childhood and education in New Zealand this concern with identity is not exceptional: I remain a keen reader of New Zealand fiction and poetry in which Pakeha New Zealanders have agonised and problematised their search for identity as an island people living among an aggressive indigenous population and in an insecure dependent economy. New Zealand identity has always been problematised as has Chinese identity: what does it mean to be Chinese? Now Asian identity has become the current issue: “We're not Asians” was the title of the paper by Lily Kong on identity among Singaporean students in Australia. White Australians appear much more content and complacent with their identity and do not indulge as much in navel gazing. And yet it may be that it is the “Australian identity” that needs to be challenged and contested so that it becomes less an exclusively WASP-ish male mateship and more inclusive of women, Aborigines and Asians.

The study of Latin and Ancient Greek at tertiary level is crucial for the survival of Classics within the university sector. And it is not too much to say that the serious study of Greco-Roman antiquity in most, if not all, areas is simply impossible without the ancient languages. They are essential not just for the broad cross-section of philological and literary studies in poetry and prose (ranging at least from Homer to the works of the Church Fathers to Byzantine Chroniclers) but also for ancient history and historiography, philosophy, art history and aesthetics, epigraphy, and many branches of archaeology. In many Classics departments in Australia, New Zealand and elsewhere, enrolments in non-language subjects such as myth, ancient theatre or epic, or history remain healthy and cater to a broad public interest in the ancient Greco-Roman world. This is, of course, to be lauded. But the status of the ancient languages, at least in terms of enrolments, may often seem precarious compared to the more overtly popular courses taught in translation. Given the centrality of the ancient languages to our discipline as a whole, it is worth keeping an eye on how they are faring to ensure their prosperity and longevity.

What different kinds of festival are to be found on the ever-expanding international circuit? What companies are invited or gatecrash the events? What is the role of festivals and festival-going in a global theatrical economy? In this article Murray Edmond describes three festivals which he attended in Poland in the summer of 2007 – the exemplary Malta Festival, held in Poznan; the Warsaw Festival of Street Performance; and the Brave Festival (‘Against Cultural Exile’) in Wroclaw – and through an analysis of specific events and productions suggests ways of distinguishing and assessing their aims, success, and role in what Barthes called the ‘special time’ which festivals have occupied since the Ancient Greeks dedicated such an occasion to Dionysus. Murray Edmond is Associate Professor of Drama at the University of Auckland, New Zealand. His recent publications include Noh Business (Berkeley: Atelos Press, 2005), a study, via essay, diary, and five short plays, of the influence of Noh theatre on the Western avant-garde, and articles in Contemporary Theatre Review (2006), Australasian Drama Studies (April 2007), and Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition (2007). He works professionally as a dramaturge, notably for Indian Ink Theatre Company, and has also published ten volumes of poetry, of which the most recent is Fool Moon (Auckland: Auckland University Press, 2004).

Stories provide listeners or readers a doorway to understand the storyteller’s context and live in the telling. We, as Māori Indigenous scholars (doctoral students, researchers, and academics), bring together our stories, in the forms of creative nonfiction and poetry located in Aotearoa New Zealand and Te Whenua Moemoeā Australia, to tell the ways we navigate colonial spaces while also imagining our desired future. Centring Indigenous storytelling methods and sensory ethnography, we bring together the interrelatedness that situates our stories across time and place. The next wave of Indigenous researchers will be stepping into these spaces that we now walk, so it is timely and crucial that we find creative ways to provide clearer direction for them. We tell our stories in this paper as an act of hope that our stories might spark a fire in the reader’s heart to also tell theirs.

This article explores artistic production in the region of Oceania that resists the ahistorical and future-oriented temporality of climate change discourse, as it perpetuates colonial structures of power by denying Indigenous futures and ignoring the violent histories that have led to the current climate breakdown. In the video poem Anointed (2018), prominent climate justice activist Kathy Jetñil-Kijiner strategically combines spoken word poetry with visual montage in order to situate Cold War nuclear tests by the US military within the same temporal plane as rising sea levels currently threatening the Marshall Islands. Katerina Teaiwa’s exhibition Project Banaba (2017) similarly mobilizes archival imagery in order to visualize the genealogical relationship between Banabans and the settler landscapes of Aotearoa New Zealand and Australia. Sean Connelly’s architectural and design practice in Hawaii Futures, an ongoing digital design project that engages with the threats of sea level rise and coastal erosion in Hawaii, problematizes linear formations of time and favours a future structured around cyclical, ecological time instead. Interacting with vastly different sites, strategies and temporalities, these three multidisciplinary projects provide critical alternatives to the ahistorical framing of colonial climate change in Oceania and thus play a crucial role in constructing a more just future.

This article presents a practice-led artistic research project that asks: How to represent an international Chinese student’s sense of belonging (or not belonging) through the aesthetics of visual poetry? The project looked into concrete poetry as a visual strategy to develop a design outcome consisting of two publications using an experimental typographic layout and two corresponding posters. This research employs autoethnography and heuristic inquiry as a methodological approach to the creative process to achieve high levels of originality. Based on personal experience, this research project explores the lack of sense of belonging faced by a Chinese student in an unfamiliar place when initially studying in Aotearoa New Zealand. In a design response to this temporary loss of belonging, the project investigated profiled individuals to analyse two specific negative emotions: restless and lonely. In addition, the study applies poetic writing to self-narrative to enhance the potential of personal expression, metaphorically telling stories while creating a visual typographic artefact that breaks with the traditional written prose form. The project is a retrospective of the self, graphically articulating two unforgettable emotions arising from two of the most profound periods affecting the researcher. On the one hand, the project takes a further step towards self-understanding and helps the viewer understand the issues of belonging experienced by Chinese students in a foreign country. On the other hand, it contributes to the discussion of autoethnography and heuristic inquiry to achieve originality in graphic design.

Our search for collective meaning-making across spaces and places as Tongan global scholars carries intergenerational rhythms. This article is a diasporic collaboration between members of the Tongan Global Scholars Network (TGSN), an online cultural collective drawn together through creatively critical rhythms and a desire to make space for ongoing criticalities through Tongan concepts, knowledge, and approaches. Employing the art of e-talanoa in our search for ways of crafting meaning, we unfold our narratives about TGSN’s humble beginnings using a range of modalities expressed as words, images, screenshots, and poetry. Our desire to connect early career scholars of Tongan heritage across the diaspora of Australia, the United States of America, Aotearoa New Zealand, and Tonga via the online space, led to enabling intergenerational relational rhythms between more seasoned and emerging scholars, sharing their understanding of Tongan knowledge and its relevance in the dominant Western academe. Intergenerational rhythms are central to TGSN’s survival. As a global network, TGSN continues to provide meaningful spaces for creatively critical meaning- making and intergenerational collaborative dialogue.

In 1926 the new zealand artist, writer, and budding filmmaker len lye arrived in london by way of sydney, australia.Only twenty-five years old, Lye was still a few years away from his first breakthrough in film: Tusalava (1929), a nine-minute animated film composed of over 4,400 drawings that took nearly two years to complete (Horrocks, Len Lye 91). The artist would spend the next two decades in London, years in which his association with the General Post Office Film Unit would provide him with the resources he needed to create some of his most famous films, such as A Colour Box (1935), Rainbow Dance (1936), and N or NW (1938).In December 1925, a young American poet by the name of Laura Gottschalk—soon to change her name to Laura Riding—followed Robert Graves's advice and moved to London. While she had yet to publish a book of poems, her poetry had appeared in a number of literary journals, most notably the Fugitive (Jacobs xvii). Her first collection, The Close Chaplet, was published by Leonard and Virginia Woolf's Hogarth Press in October 1926.

Engaging with poetic inquiry as a way of being and knowing, the author uses autoethnography and poetry to explore identity and to lay open the ideas of self in relation to culture and biculturalism. In this paper the author explores her immediate Western cultural contextual understandings in relation to the ancestral, historical context that has shaped her, and how these might be revealed in the bicultural context of Aotearoa-New Zealand. The invitation to deepen these understandings begins with her encounters with te Ao Māori. The paper and the poems unfold how mātauranga Māori might foster an expanded horizon such that the author can no longer consider her Pākehā (non-indigenous) ‘self’ an isolated ‘I’, but rather as deeply embedded in the world. The kōrero tracks her shift to consider herself in relationship to her ancestors (whakapapa) and her place(s) in the world (tūrangawaewae) where she is most connected to those ancestors and the earth. Supporting and woven throughout the text is the spine of a poem. Written over the course of a decade the poem, Pepeha, continues to grow and evolve as the writer’s understandings change and develop.

In this paper, the authors review a single session in which a small group of participants from different countries within the Asian Pacific region used creative arts improvisation to develop collaborative expression of their subjective experiences during the COVID health crisis. During this review, the authors consider if meaningful communication could develop among the participants and how such exchanges might be expanded to contribute to communities and within an international context. The group was conducted online, and the members were from Guam, China and another woman from India currently studying in New Zealand. The improvisational expressions consisted of dance, vocal music, art, poetry, and fairy tale making followed by discussion. The general themes from this collection of images that emerged from the improvisations ranged from disconnection to positive connection towards each other and a renewal of hope. These developments occurred online and among people from different countries. Some of these participants did not know each other prior to the meeting and others did not share a primary language. The authors use this review to suggest some potential guidelines that might apply to other projects that address community responses to the current pandemic and possible cross-cultural connections during times of crisis.

Abstract The cultural study of water has seen a prismatic shift toward the color blue. This is often articulated as a move away from the terrestrial focus of green ecologies and environmentalism, toward blue aquatic inquiries. What happens when green becomes blue and the blue humanities take shape under the umbrella of the environmental humanities? This article examines the blue humanities to argue that its blues address colonial inheritances and critique colonial desires. Blue has long appealed to the colonial imaginary; it drew European ships across the seas to mine blue pigment from Afghan rocks and raise indigo plantations on stolen land, with stolen labor. The article analyzes the lapis lazuli series by Dutch artist Pieter Paul Pothoven and the performance of the poem “Unity” by Aotearoa New Zealand poet Selina Tusitala Marsh. Pothoven’s work shows how blue analysis accounts for the fact that the color blue has built empires, taken lives, and altered environments. Marsh’s poetry and presence in the heart of the British Empire visualizes blue resistance against imperial power and the persistent defiance of colonization in the Pacific region. The article argues that blue transoceanic European and Pacific colonial connections become disarticulated in the blue humanities and their aquatic encounters.

An unexpected failure of the Allied forces and a monumental victory for the Turks, the Gallipoli Campaign (1915) is thought to be the first notable experience for Australians and New Zealanders on their way to identify themselves as nations free from the British Empire. For the war-weary Turks, too, the victory in Gallipoli was the beginning of their transformation from a wreck of an empire to a modern republic. Despite the existence of a substantial body of research on the military, political, and historical aspects of the campaign, studies on the literature of Gallipoli are very few and often deal with canonised poets such as Rupert Brooke or national concerns through a single perspective. Aiming to bring to light underappreciated poets from Gallipoli, this paper is a comparative study of less known poems in English and Turkish from Gallipoli. While doing this, the study traces the signs of the nation-building processes of Australia, New Zealand, and Turkey with emphasis on national identity. To this end, the paper examines a number of Gallipoli poems in English and Turkish that were composed by combatant or non-combatant poets by using close reading analysis in search of shifts in discourse and tone. The study also underlines how poets from the two sides identified themselves and the ways the campaign is reflected in these poems. At length, the study shows that Gallipoli poems display similar attitudes towards the idea of belonging to an empire although they differ in the way warfare is perceived. With emphasis on less known poems and as one of the very few comparative studies of the poetry of the Gallipoli Campaign, this paper will contribute to the current research into the legacy and literature of the First World War.

Dr. Middle East Research Journal of Humanities and Social Sciences; -. DOI: Abstract|Download PDF As a comprehensive account of the European and American reception of George’s works and those of the appr. 40 members of his circle is - after the translation of all his poems in 1949 The Works of Stefan George by Olga Marx and Ernst Morwitz - yet to be written, the following article is an attempt to introduce George and his followers to the English-speaking world. It focuses on some exemplary, representative persons from a cultural and political point of view. As the male-bonded circle was conceived and perceived by George and his disciples as an aesthetic state within the state and as a quasi-religious sect, born of the opposition to trends of current society around the turn of the 19th/20th century, its antiestablishmentarian view had a politically significant influence on pre-Nazi world, reaching its zenith during the Weimar Republic, but even longer up to the recent past of Germany [ ]. George’s reaction to Hitler’s ascension to power has given rise to various and contradictory interpretations, and the question if his poetry was politically guilty or if is pure and timeless, decadent favouring ‘l’art pour l’art, has not yet been conclusively interpreted. As the circle was not a monolithic group, its influence was highly ambivalent. In 1924 the call was made that there is a demand for a strong man, feeling tired and making do with sergeants instead of leaders (“Heute, da das Bedürfnis nach einem starken Mann laut wird…, da man der Mäkler und Schwätzer müd sich mit Feldwebeln begnügt statt der Führer”) - the 1st sentence in Friedrich Gundolf’s book on the Roman statesman and general Julius Caesar, the most heroic man, as Gundolf said: The book appeared in the year when Adolf Hitler was tried for his Beer Hall Putsch. What does the call for seriousness, dignity and awe (“für ernst, würde und ehrfurcht” [ ]) and the fight against shallowness (“oberflächen-tendenzen”) voiced by Friedrich Wolters and Friedrich Gundolf, the most widely read scholar of German philology at the time, in 1910 mean? For Gundolf as for others George was the mixture of strong will and sensitivity, of hard deed and tender dream (“unerbitterlicher Wille und regsame Zartheit”, “harte Tat und zarten Traum”), and the transformative power of poetry to purify the German soul and to create new beings (“menschenbildende Weltkraft”/man-creating worldpower), thus becoming like Goethe before a shaper of Germans (“Gestalter der Deutschen”). Some of George’s disciples hoped that the Third Reich was or would become the realization of George’s “Neues Reich,” joined the National-Socialist Party or sympathized with the Nazi movement, some only initially, whereas others opposed the regime, and went into exile (e. g. Karl Wolfskehl (b. 1869, Darmstadt, Germany – d. 1948, Auckland, New Zealand) or saw themselves as part of the innere Emigration (Rieckmann). The concept of a secret Germany (“geheimes Deutschland”) played a decisive role that the circle was controversial about.

Omer Aijazi is a PhD candidate in the Department of Educational Studies, University of British Columbia. His research examines place based, community led micro processes of social repair after natural disasters. His research destabilizes dominant narratives of humanitarian response and disaster recovery and offers an alternate dialogue based on structural change.Jessica Marion Barr is a Toronto artist, educator, and PhD candidate in Cultural Studies at Queen’s University. Her interdisciplinary practice includes installation, found-object assemblage, drawing, painting, collage, and poetry, focusing on forging links between visual art, elegy, ecology, ethics, and sustainability. "In October 2013, Jessica curated and exhibited work in Indicator, an independent project for Toronto's Nuit Blanche.Gary Barwin is a poet, fiction writer, composer, visual artist, and performer. His music and writing have been published, performed, and broadcast in Canada, the US, and elsewhere. He received a PhD in Music Composition from SUNY at Buffalo and holds three degrees from York University: a B.F.A. in music, a B.A. in English, and a B.Ed.O.J. Cade is a PhD candidate in science communication at the University of Otago, New Zealand. In her spare time she writes speculative fiction, and her short stories and poems can be found in places like Strange Horizons, Cosmos Magazine, and Abyss and Apex. Her first book, Trading Rosemary, was published in January of 2014 by Masque Books.Kayla Flinn is a recent graduate from the Masters in Environmental Studies program, with a Diploma in Environmental and Sustainable Education from York University. Originally from Nova Scotia, Kayla is both an artist and athlete, spending majority of her time either surfing or trying to reconnect people to nature/animals through art she produces.Frank Frances is a playwright, poet, music programmer, artistic director, community arts and social justice activist, former jazz club owner, and believer of dreams of a greater humanity. Frank majored in English, creative writing, post colonial literature and theory, drama and theatre, and is a graduate of York University.Sarah Nolan is a PhD candidate at the University of Nevada, Reno, where she studies twentieth and twenty-first century American poetry. Her dissertation considers developing conceptions of ecopoetics and how those ideas contribute to poetry that is not often recognized as environmental.Darren Patrick is an ecologically minded queer who lives in a city. He is also a PhD candidate in the Faculty of Environmental Studies at York University in Toronto, Ontario.Portia Priegert is a writer and visual artist based in Kelowna, B.C. She completed her MFA in Creative Writing at UBC Okanagan in 2012, with funding from the Social Sciences and Humanities Research Council of Canada.Elana Santana is a recent graduate of the Masters in Environment Studies program at York University. Her research focuses on the intersections of feminist, queer, posthumanist studies and the environment. Her academic work informs her creative pursuits a great deal, particularly in her attempts to photograph the non-human world in all its agential glory. Conrad Scott is a PhD candidate in the University of Alberta’s Department of English and Film Studies. His project examines the interconnection between place, culture, and literature in a study of dystopia in contemporary North American eco-apocalyptic fiction.Joel Weishaus has published books, book reviews, essays, poems, art and literary critiques. He is presently Artist-in-Residence at Pacifica Graduate Institute, Carpinteria, CA. Much of his work is archived on the Internet: http://www.cddc.vt.edu/host/weishaus/index.htmMichael Young is presently the University and Schools advisor for Operation Wallacea Canada, a branch of a UK based biodiversity research organization. He is a recent graduate of the Masters in Environmental Studies program at York University (MES), where his culminating portfolio examined apocalyptic narratives and popular environmental discourse. He is presently in the process of developing an original television pilot, which he began writing as a part of his master’s portfolio.

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. References Alphonso-Karkala, John B. (1970). Indo-English Literature in the Nineteenth Century, Mysore: Literary Half-yearly, University of Mysore, University of Mysore Press. Amanuddin, Syed. (2016 [1990]). “Don’t Call Me Indo-Anglian”. C. D. Narasimhaiah (Ed.), An Anthology of Commonwealth Poetry. Bengaluru: Trinity Press. B A (Compiler). (1883). Indo-Anglian Literature. Calcutta: Thacker, Spink and Co. PDF. Retrieved from: https://books.google.co.in/books?id=rByZ2RcSBTMC&pg=PA1&source= gbs_selected_pages&cad=3#v=onepage&q&f=false ---. (1887). “Indo-Anglian Literature”. 2nd Issue. Calcutta: Thacker, Spink and Co. PDF. Retrieved from: http://www.jstor.org/stable/60238178 Basham, A L. (1981[1954]). The Wonder That Was India: A Survey of the History and Culture of the Indian Sub-Continent before the Coming of the Muslims. Indian Rpt, Calcutta: Rupa. PDF. Retrieved from: https://archive.org/details/TheWonderThatWasIndiaByALBasham Bhushan, V N. (1945). The Peacock Lute. Bomaby: Padma Publications Ltd. Bhushan, V N. (1945). The Moving Finger. Bomaby: Padma Publications Ltd. Boria, Cavellay. (1807). “Account of the Jains, Collected from a Priest of this Sect; at Mudgeri: Translated by Cavelly Boria, Brahmen; for Major C. Mackenzie”. Asiatick Researches: Or Transactions of the Society; Instituted In Bengal, For Enquiring Into The History And Antiquities, the Arts, Sciences, and Literature, of Asia, 9, 244-286. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.104510 Chamber’s Twentieth Century Dictionary [The]. (1971). Bombay et al: Allied Publishers. Print. Chatterjee, Dilip Kumar. (1989). Cousins and Sri Aurobindo: A Study in Literary Influence, Journal of South Asian Literature, 24(1), 114-123. Retrieved from: http://www.jstor.org/ stable/40873985. Chattopadhyay, Dilip Kumar. (1988). A Study of the Works of James Henry Cousins (1873-1956) in the Light of the Theosophical Movement in India and the West. Unpublished PhD dissertation. Burdwan: The University of Burdwan. PDF. Retrieved from: http://ir.inflibnet. ac.in:8080/jspui/bitstream/10603/68500/9/09_chapter%205.pdf. Cobuild English Language Dictionary. (1989 [1987]). rpt. London and Glasgow. Collins Cobuild Advanced Illustrated Dictionary. (2010). rpt. Glasgow: Harper Collins. Print. Concise Oxford English Dictionary [The]. (1961 [1951]). H. W. Fowler and F. G. Fowler. (Eds.) Oxford: Clarendon Press. 4th ed. Cousins, James H. (1921). Modern English Poetry: Its Characteristics and Tendencies. Madras: Ganesh & Co. n. d., Preface is dated April, 1921. PDF. Retrieved from: http://hdl.handle.net/ 2027/uc1.$b683874 ---. (1919) New Ways in English Literature. Madras: Ganesh & Co. 2nd edition. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.31747 ---. (1918). The Renaissance in India. Madras: Madras: Ganesh & Co., n. d., Preface is dated June 1918. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.203914 Das, Sisir Kumar. (1991). History of Indian Literature. Vol. 1. New Delhi: Sahitya Akademi. Encarta World English Dictionary. (1999). London: Bloomsbury. Gandhi, M K. (1938 [1909]). Hind Swaraj Tr. M K Gandhi. Ahmedabad: Navajivan Publishing House. PDF. Retrieved from: www.mkgandhi.org/ebks/hind_swaraj.pdf. Gokak, V K. (n.d.). English in India: Its Present and Future. Bombay et al: Asia Publishing House. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.460832 Goodwin, Gwendoline (Ed.). (1927). Anthology of Modern Indian Poetry, London: John Murray. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.176578 Guptara, Prabhu S. (1986). Review of Indian Literature in English, 1827-1979: A Guide to Information Sources. The Yearbook of English Studies, 16 (1986): 311–13. PDF. Retrieved from: https://www.jstor.org/stable/3507834 Iyengar, K R Srinivasa. (1945). Indian Contribution to English Literature [The]. Bombay: Karnatak Publishing House. PDF. Retrieved from: https://archive.org/details/ indiancontributi030041mbp ---. (2013 [1962]). Indian Writing in English. New Delhi: Sterling. ---. (1943). Indo-Anglian Literature. Bombay: PEN & International Book House. PDF. Retrieved from: https://archive.org/details/IndoAnglianLiterature Longman Dictionary of Contemporary English. (2003). Essex: Pearson. Lyall, Alfred Comyn. (1915). The Anglo-Indian Novelist. Studies in Literature and History. London: John Murray. PDF. Retrieved from: https://archive.org/details/in.ernet. dli.2015.94619 Macaulay T. B. (1835). Minute on Indian Education dated the 2nd February 1835. HTML. Retrieved from: http://www.columbia.edu/itc/mealac/pritchett/00generallinks/macaulay/ txt_minute_education_1835.html Mehrotra, Arvind Krishna. (2003). An Illustrated History of Indian Literature in English. Delhi: Permanent Black. ---. (2003[1992]). The Oxford India Anthology of Twelve Modern Indian Poets. New Delhi: Oxford U P. Minocherhomji, Roshan Nadirsha. (1945). Indian Writers of Fiction in English. Bombay: U of Bombay. Modak, Cyril (Editor). (1938). The Indian Gateway to Poetry (Poetry in English), Calcutta: Longmans, Green. PDF. Retrieved from http://en.booksee.org/book/2266726 Mohanty, Sachidananda. (2013). “An ‘Indo-Anglian’ Legacy”. The Hindu. July 20, 2013. Web. Retrieved from: http://www.thehindu.com/features/magazine/an-indoanglian-legacy/article 4927193.ece Mukherjee, Sujit. (1968). Indo-English Literature: An Essay in Definition, Critical Essays on Indian Writing in English. Eds. M. K. Naik, G. S. Amur and S. K. Desai. Dharwad: Karnatak University. Naik, M K. (1989 [1982]). A History of Indian English Literature. New Delhi: Sahitya Akademi, rpt.New Shorter Oxford English Dictionary on Historical Principles [The], (1993). Ed. Lesley Brown, Vol. 1, Oxford: Clarendon Press.Naik, M K. (1989 [1982]). A History of Indian English Literature. New Delhi: Sahitya Akademi, rpt. Oaten, Edward Farley. (1953 [1916]). Anglo-Indian Literature. In: Cambridge History of English Literature, Vol. 14, (pp. 331-342). A C Award and A R Waller, (Eds). Rpt. ---. (1908). A Sketch of Anglo-Indian Literature, London: Kegan Paul. PDF. Retrieved from: https://ia600303.us.archive.org/0/items/sketchofangloind00oateuoft/sketchofangloind00oateuoft.pdf) Advanced Learner’s Dictionary of Current English. (1979 [1974]). A. S. Hornby (Ed). : Oxford UP, 3rd ed. Oxford English Dictionary [The]. Vol. 7. (1991[1989]). J. A. Simpson and E. S. C. Weiner, (Eds.). Oxford: Clarendon Press, 2nd ed. Pai, Sajith. (2018). Indo-Anglians: The newest and fastest-growing caste in India. Web. Retrieved from: https://scroll.in/magazine/867130/indo-anglians-the-newest-and-fastest-growing-caste-in-india Pandia, Mahendra Navansuklal. (1950). The Indo-Anglian Novels as a Social Document. Bombay: U Press. Payn, James. (1880). An Indo-Anglian Poet, The Gentleman’s Magazine, 246(1791):370-375. PDF. Retrieved from: https://archive.org/stream/gentlemansmagaz11unkngoog#page/ n382/mode/2up. ---. (1880). An Indo-Anglian Poet, Littell’s Living Age (1844-1896), 145(1868): 49-52. PDF. Retrieved from: https://archive.org/stream/livingage18projgoog/livingage18projgoog_ djvu.txt. Rai, Saritha. (2012). India’s New ‘English Only’ Generation. Retrieved from: https://india.blogs.nytimes.com/2012/06/01/indias-new-english-only-generation/ Raizada, Harish. (1978). The Lotus and the Rose: Indian Fiction in English (1850-1947). Aligarh: The Arts Faculty. Rajan, P K. (2006). Indian English literature: Changing traditions. Littcrit. 32(1-2), 11-23. Rao, Raja. (2005 [1938]). Kanthapura. New Delhi: Oxford UP. Rogobete, Daniela. (2015). Global versus Glocal Dimensions of the Post-1981 Indian English Novel. Portal Journal of Multidisciplinary International Studies, 12(1). Retrieved from: http://epress.lib.uts.edu.au/journals/index.php/portal/article/view/4378/4589. Rushdie, Salman & Elizabeth West. (Eds.) (1997). The Vintage Book of Indian Writing 1947 – 1997. London: Vintage. Sampson, George. (1959 [1941]). Concise Cambridge History of English Literature [The]. Cambridge: UP. Retrieved from: https://archive.org/details/in.ernet.dli.2015.18336. Sarma, Gobinda Prasad. (1990). Nationalism in Indo-Anglian Fiction. New Delhi: Sterling. Singh, Kh. Kunjo. (2002). The Fiction of Bhabani Bhattacharya. New Delhi: Atlantic Publishers and Distributors. Spivak, Gayatri Chakravorty. (2012). How to Read a ‘Culturally Different’ Book. An Aesthetic Education in the Era of Globalization, Cambridge, Mass: Harvard University Press. Sturgeon, Mary C. (1916). Studies of Contemporary Poets, London: George G Hard & Co., Retrieved from: https://archive.org/details/in.ernet.dli.2015.95728. Thomson, W S (Ed). (1876). Anglo-Indian Prize Poems, Native and English Writers, In: Commemoration of the Visit of His Royal Highness the Prince of Wales to India. London: Hamilton, Adams & Co., Retrieved from https://books.google.co.in/ books?id=QrwOAAAAQAAJ Wadia, A R. (1954). The Future of English. Bombay: Asia Publishing House. Wadia, B J. (1945). Foreword to K R Srinivasa Iyengar’s The Indian Contribution to English Literature. Bombay: Karnatak Publishing House. Retrieved from: https://archive.org/ details/indiancontributi030041mbp Webster's Encyclopedic Unabridged Dictionary of the English Language. (1989). New York: Portland House. Yule, H. and A C Burnell. (1903). Hobson-Jobson: A Glossary of Colloquial Anglo-Indian Words and Phrases, and of Kindred Terms, Etymological, Historical, Geographical and Discursive. W. Crooke, Ed. London: J. Murray. 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This poetic critical autoethnography paper studies my own experiences of disrupted mobility as a Vietnamese doctoral student in New Zealand who was stuck in Vietnam. Through the lens of space and place, I investigate the issues of sense of belonging and sense of place that were reconfigured in different spaces. The article highlights my agency to reinforce and reconnect with my sense of belonging. As the article focuses on immobility, it challenges the mobility bias in international education scholarship, arguing that new forms of mobility can be produced out of immobility and that identity reconstruction can be enabled through respatialization.

Objective: Janet Frame (1924–2004) was one of New Zealand’s most celebrated authors. Much of her work stems from her experiences as a psychiatric patient. She was hospitalised for about eight years with a diagnosis of schizophrenia. Treatments included insulin coma therapy and unmodified electroconvulsive therapy. Her doctors then planned for her to have a leucotomy, which was cancelled upon discovery that one of her works had won a prestigious literary award. She subsequently moved to England and was assessed at the Maudsley Hospital by Sir Aubrey Lewis. She was found to never have suffered from schizophrenia; her condition was instead attributed to the effects of overtreatment and prolonged hospitalisation. She reflected profoundly on these experiences in her writing, and those who are interested in psychiatry are truly fortunate to have access to her autobiographies, fiction and poetry. Conclusions: Janet Frame has written both autobiographical and fictional accounts of her many years of psychiatric treatment, describing individuals, interpersonal relationships, and everyday life in these institutions. Her own life story demonstrates extraordinary recovery and achievement.

This article reports the findings of a study identifing modern artisans as potential harbingers of the hospitality fraternity, claiming an authentic sustainability consciousness embedded in the hospitality business DNA is a key ingredient toward success. The ‘DNA’ finding helps identify the importance and necessity for hospitality operators to reflect on their reasoning for pursuing a sustainable business model over the conventional equivalent. Artisans influence significant societal, economic and political change. With so much concern around sustainability, and the revival of artisan production, hospitality artisans are likely contemporary versions of their historic namesakes. History portrays artisans as entrepreneurial, status-quo disrupters, challengers of social problems, and positive influences on the well-being of society [1–3]. It is said that the radical artisan voice revolted against a dehumanised way of life, cared for its society and was instrumental in generating hope for a better future [3]. Similarly, modern-day artisans identified with their historic counterparts and described their potential contribution to societal change in a sustainability context as hospitality artisans. A research participant demonstrated this: And you look at where potential problems are in the food supply, you know if you want to create a dynamic food supply you need to encourage it. It’s the small artisan producers which are on the cutting edge that influence the major cultural values of a country. (Research participant) Indeed, the success of a hospitality sustainable business model lies in an operator’s ability to understand, generate and embed a mind-set in the business that insists on environmental stewardship, social well-being and economic success. All eight artisans interviewed in this study demonstrated high levels of perseverance, innovation and like-minded network building when faced with obstacles that threatened their sustainable business model. Sustainability was deeply entrenched in what one referred to as his ‘backstory’, and in the ‘DNA’ of their businesses, and this appeared to fuel their determination when faced with challenges. Their spheres-of-influence (customers, regulatory bodies, industry and education providers) were at times perceived as road-blocks, hindering their sustainability-focused intentions. When this occurred, the artisans moved from being impacted stakeholders within a sphere-of-influence and, instead, turned into agents of change. They created, used and developed innovative mechanisms, internal policies, educational processes, and built tribes of enabling like-minded others to foster their sustainability practices. The sustainability consciousness provides the fuel and resilience to navigate a new and progressive pathway to operational success. The artisans demonstrated an unrelenting drive to practice sustainable principles and found ways of overcoming any hurdles they came up against. The artisans, like their historic namesakes, were agents of change and the following research extract showcases the sustainability consciousness in action: I think the more you make something exciting and sustainable the norm that’s how you can change the world. You don’t change it by sitting back doing nothing and waiting for someone else to do it and sipping on your Coca-Cola hoping that some other person’s gonna save the boat, when it’s filling full of water. If you want to change the world you know you need to get off your arse and do it. (Research participant) This study sought to find practical solutions for hospitality operators considering the less-travelled road of sustainability. The artisans articulated why they were so intent on a sustainable business model, and this reasoning manifested as the sustainable DNA of their hospitality operation – the most important element enabling them to put this into action. This is important for operators because it illustrates the level of resilience and determination needed to embark on a less conventional business journey and to create, operate and maintain a successful and sustainable hospitality business. Most significantly, however, it suggests to operators that it may not be enough to know ‘how’ to operationalise sustainability in a practical sense. This study’s findings illustrated that a sustainable model demands so much more from an operator than the conventional equivalent. It must be recognised that it may not even be enough if the operator has an entrepreneurial mind-set. It is advisable that the operators reflect on ‘why’ they want to pursue a sustainable business model. The importance of an authentic sustainability consciousness is highlighted as a more favourable starting point from which to orientate the journey and realise success. Forward thinking hospitality operators will choose to navigate a sustainability-focused road, currently a road less travelled. Primarily, at the root of change, is the progressive thinking hospitality operator, an artisan producer with a sustainable consciousness that manifests as the resilience and fuel to carve a new road. More information about this study is in the master’s thesis document [4]. Pending examiners’ approval, the thesis can be accessed from AUT scholarly commons: https://tuwhera.aut.ac.nz/open-theses. Currently, a copy is available from the author. Corresponding author Maree Stansfield can be contacted at mareelouisestansfield@gmail.com References (1) Chartist Poetry. The Northern Star and Leeds General Advertiser Dec 4, 1841. British Library website. http://bit.ly/2l7LLKv (accessed Jun 15, 2018). (2) Howell, M. C. Fixing Movables: Gifts by Testament in Late Medieval Douai. Past & Present 1996, 150(1), 3–45. https://doi.org/10.1093/past/150.1.3 (3) Lucie-Smith, E. The Story of Craft: The Craftsman's Role in Society. Ithaca, NY: Cornell University Press, 1981. (4) Stansfield, M. L. Exploring How Hospitality Artisans Operationalise Sustainability: “How Do They Do It?”; Master’s Thesis, Auckland University of Technology, New Zealand, 2016.

ABSTRACT An 1842 letter from Benjamin Silliman, Jr., to Edward Hitchcock contains the only known text of a poem that was reportedly composed five years earlier by an anonymous ‘tutor’ at Yale College. The poem's light-hearted verses depicted how the recently-described three-toed fossil footprints (now known to have been produced by theropod dinosaurs) were supposedly made by “giant birds of old”, as Hitchcock's recent investigation had concluded. The poem's lines offered a verbal ‘reconstruction’ of that ancient scene, along with suggesting the existence of two marsupial animals which may have borne witness to the passage of the trackmakers; one of which was plausible while the other was not. These ‘witnesses’ provide evidence that the poem's author was well informed upon contemporary geology and paleontology in a manner far beyond that of the common person. This article first reviews Hitchcock's inferences derived from the fossil evidence that the footprints had been made by multiple species of extinct birds, one of which attained enormous size, and the subsequent controversies regarding those claims that arose in America and Europe. Description by comparative anatomist Richard Owen of fossil bones of the much younger Moa or Dinornis from Recent strata in New Zealand seemingly vindicated Hitchcock's arguments and brought those disputes to a close. While the true identity of the poet remains inconclusive, internal evidence from the poem itself points to it having been composed by Yale graduate James Dwight Dana. His placement as an ‘assistant’ within the chemistry laboratory under Benjamin Silliman, Sr., at that time appears to support Silliman, Jr.'s assertion regarding the poet's identity. Probable reasons for the apparent suppression of the poem's existence and its authorship are likewise explored. The former was finally eased after Dana's return from the U.S. Exploring Expedition in 1842, but the latter was not.

Wild Honey is an expansive anthology which covers the last 150 years of women’s poetry in New Zealand. Paula Green is widely known as an advocate of poetry and a generous and inclusive builder of community, as seen in her online blog NZ Poetry Shelf. This book continues her crusade to celebrate poetry in a way that is both accessible and welcoming. In Wild Honey Green has built a home for women’s poetry, a metaphor that she emphasizes in the structure of the book. The book is structured in the form of a house with different parts of the house providing the basis for each chapter.

Digital literary forms in and of Aotearoa New Zealand have yet to be adequately historicised, and such works – and their authors – risk being lost to New Zealand’s literary history. Addressing the added challenge of doing history in the digital age, I offer an analytical survey of early digital literary works in or of NZ based around the categories of fiction, poetry, performance, and videogames. Cultivating a digital literary history serves us well not only in situating individual works of creative media in our collective cultural heritage but also in situating New Zealand amid broader networked culture.

Documenting the publication of poetry in The Maoriland Worker, this essay considers the place of poetry and poetics in the Worker’s history and its political project. What was the place of literature in the early years of the New Zealand labour movement? What sorts of texts circulated, and how were they received and interpreted by socialist journalists and critics? Combining quantitative analysis with close reading, this essay offers the Worker as a case study in early New Zealand labour movement literary culture.Correspondence about this article may be directed to Dougal McNeill at Dougal.McNeill@vuw.ac.nz

Pacific queer scholarship is underrepresented within Pacific research communities in Aotearoa–New Zealand. What does exist is either hypervisible or centres on narratives of oppression, both of which are archetypes that can deny the complexity of Pacific queer communities. As two queer Samoan scholars raised in the Aotearoa–New Zealand diasporic setting, we offer a provocation that tests the opportunities (and limits) queer theoretics provide for Pacific research. Through a combination of poetry, vignettes, and theory (queer and straight), as well as reflections, we intentionally and generatively transgress heteronormative, exclusionary and static boundaries that still exists within Pacific research in New Zealand.

On the face of it, social pedagogy has no recognised presence in New Zealand. The education workforce, and society, are generally unfamiliar with the term ‘pedagogue’ and what that role entails. Despite this, a range of vocations in New Zealand reflect social pedagogical practices. In this article I explore one of those vocations: tutors who work in alternative education centres. Charged with caring for and educating students who become disenfranchised from conventional secondary schools, these tutors draw from their life experiences, cultural knowledges, sporting and arts skills and vocational skills to provide a holistic education. Based on the findings of a poetic inquiry in which I re/presented the experiences of tutors through creating found poetry, I present 21 attributes of tutors’ identity. In describing tutor character, tutor pedagogy and tutor achievement, I imagine these tutors as social pedagogues in New Zealand. I conclude by suggesting that these tutors play a vital role in helping students to navigate through education and life. In addition, tutors in New Zealand contribute to our global understanding of social pedagogical practice.