when life gives you spoons, demand a refund, an inquiry
when life gives you spoons, scoop the innards, carve a heart
when life gives you spoons, collect a set
Alzheimer’s and a Spoon takes its readers on a tangled trip. Public stories – a conversation at the Castle of the Insane, online quizzes to determine if you’re mostly meercat or Hufflepuff. #stainlessteelkudos. Personal tales, of Liz’s babcia, a devout Catholic and a soldier in the Warsaw Uprising, who spent her last years with Alzheimer’s disease. There is much to remember that she so badly wanted to forget. What do you do when life gives you spoons?
A highly original first collection from this exciting voice.
'To find this kind of sheer brio and linguistic air in New Zealand writing, one inevitably goes back to Janet Frame.'
– Vincent O’Sullivan
Polly Plum is a biography of one of New Zealand’s earliest feminists, Mary Ann Colclough, whose publicly voiced opinions saw her described in the nineteenth century as ‘our own little stray strap of a modern female fanatic’.
In this fine biography, Jenny Coleman argues that Mary Ann Colclough’s contribution to the women’s movement in nineteenth-century New Zealand is at least equal to that of Kate Sheppard. A good two decades ahead of the organised women’s movement, ‘Polly Plum’ began politicising women by writing about the realities of their daily lives, what needed to change and how.
Coleman here reclaims Mary Ann Colclough’s place in New Zealand’s feminist history by bringing her life and contributions to a wider audience.
The ones who keep quiet for the longest are the dead, yet there are echoes of them everywhere. A turn of the head brings a glimpse of a Victorian banker retrieving his top hat from the gutter. A walk across a bridge lets you pass the ghosts of a Catholic saint, a Marxist martyr, and a boy with a tin drum. The dead are there to be heard; they are also listening to you.
The Ones Who Keep Quiet showcases David Howard’s ability to give our world a metaphysical mulling, which he achieves with memorable lyricism and an edgy attention to questions of identity and time, silence and isolation. Kathleen Grattan Poetry Award judge Emma Neale noted this new collection’s extraordinary range, from mordant puns and verse drama to unexpected polyphonic juxtapositions, ‘as if the poems have been internally pleated’.
Selected with an introduction and notes by Peter Simpson
This volume of Charles Brasch’s journals covers the years from late 1945 to the end of 1957, when the poet and editor was aged 36 to 48. It begins with his return to New Zealand after World War II to establish a literary quarterly to be published by the Caxton Press. The journals cover the first decade or so of his distinguished editorship of Landfall, a role that brought Brasch into contact with New Zealand’s leading artists and intelligentsia.
His frank and often detailed descriptions of these people – including Frank Sargeson, A.R.D. Fairburn, Keith Sinclair, Eric McCormick, James Bertram, J.C. Beaglehole, Maria Dronke, Fred and Evelyn Page, Alistair Campbell, Bill Oliver, Toss and Edith Woollaston, Denis Glover, Allen Curnow, Leo Bensemann, Lawrence Baigent, Ngaio Marsh, Colin McCahon, James K. Baxter, Janet Frame, Ruth Dallas and many others – are among the highlights of the book.
Unmarried and longing for intimacy, Brasch also writes with great candour about his relationships with Rose Archdall, Rodney Kennedy and Harry Scott, revealing a side of himself that has not been known about before.
Edited by Philip Temple and Emma Neale
A poem is a vote. It chooses freedom of imagination, freedom of critical thought, freedom of speech. A collection of political poems in its very essence argues for the power of the democratic voice. Here New Zealand poets from diverse cultures, young and old, new and seasoned, from the Bay of Islands to Bluff, rally for justice on everything from a degraded environment to systemically embedded poverty; from the long, painful legacy of colonialism to explosive issues of sexual consent.
Communally these writers show that political poems can be the most vivid and eloquent calls for empathy, for action and revolution, even for a simple calling to account. American poet Mark Leidner tweeted in mid-2016 that ‘A vote is a prayer with no poetry’. Here, then, are 101 secular prayers to take to the ballot box in an election year. But we think this book will continue to express the nation’s hopes every political cycle: the hope for equality and justice.
Two small but potent words. 101 potent poems.
Stand up, write back!
The first 10 Dominican sisters arrived in Dunedin in 1871. The congregation expanded rapidly, establishing schools throughout Otago and Southland, and eventually reaching as far north as Auckland. For most of their first century in New Zealand the Dominican sisters were teaching nuns, living in large enclosed convents cut off from the outside world. In the mid-1960s the Second Vatican Council ushered in a period of radical change. The sisters moved out of their convents and into small homes in their local neighbourhoods; out of their schools and into new roles in education, social justice, pastoral care and spirituality. Today they are an ageing congregation that is diminishing in size.
Susannah Grant was given full access to the congregation’s rich archives in order to write this book, from the point of view of an ‘outsider’. She has also completed a large number of oral histories with the sisters. In this moving and beautifully written book she chronicles the astonishing transformation of the New Zealand Dominican sisters from a strictly enclosed body of religious teachers to a congregation of religious women who are integrated in the wider community and engaged in a range of active ministries, while still remaining deeply committed to shared Dominican ideals.
This book is about disobedience. Positive disobedience. Disobedience as a kind of professional behaviour. It shows how teachers can survive and even influence an education system that does staggering damage to potential. More importantly it is an arm around the shoulder of disobedient teachers who transform people’s lives, not by climbing promotion ladders but by operating at the grassroots.
Disobedient Teaching tells stories from the chalk face. Some are funny and some are heartbreaking, but they all happen in New Zealand schools.
This book says you can reform things in a system that has become obsessed with assessment and tick-box reporting. It shows how the essence of what makes a great teacher is the ability to change educational practices that have been shaped by anxiety, ritual and convention.
Disobedient Teaching argues the transformative power of teachers who think and act.
The Yield is the vivid and lyrical new collection from award-winning poet Sue Wootton. These poems are sensorially alive, deeply attentive to language, the body, and the world around us.
Down in the bone the word-strands glimmer and ascend
often disordered, often in dreams,
bone-knowledge beating a path through the body to the throat
labouring to enter the alphabet.
– ‘Lingua Incognita’
Wootton addresses subjects as various as the fraught relationship between medical institutions and individual suffering, the disintegration of the polar icecaps, the energising power of solitude and the rewarding demands of creativity and love.
This is a collection about give and take, loss and gain; about sowing, tending and reaping.
Sue Wootton brings her characteristic linguistic dexterity, exuberance and versatility to every page.
The Yield is rich harvest.
Ronald W Jones
When Dr Ron Jones joined the staff of National Women’s Hospital in Auckland in 1973 as a junior obstetrician and gynaecologist, Professor Herbert Green’s study into the natural history of carcinoma in-situ of the cervix (CIS) – later called ‘the unfortunate experiment’ – had been in progress for seven years.
By the mid-1960s there was almost universal agreement among gynaecologists and pathologists worldwide that CIS was a precursor of cancer, requiring complete removal. Green, however, believed otherwise, and embarked on a study of women with CIS, without their consent, that involved merely observing, rather than definitively treating them. Many women subsequently developed cancer and some died.
In 1984 Jones and senior colleagues Dr Bill McIndoe and Dr Jock McLean published a scientific paperthat exposed the truth, and the disastrous outcome of Green’s experiment. In a public inquiry in 1987 Judge Silvia Cartwright observed that an unethical experiment had been carried out in large numbers of women for over 20 years.
Since that time there have been attempts to cast Green’s work in a more generous light. This rewriting of history has spurred Ron Jones to set the record straight by telling his personal story: a story of the unnecessary suffering of countless women, a story of professional arrogance and misplaced loyalties, and a story of doctors in denial of the truth.
Being a true history of the expedition that discovered the Snark and the Jabberwock ... and its tragic aftermath
David Elliot after Lewis Carroll
Gabriel Clutch was a thief and a liar but he was right about one thing. He told me he had a great secret in his collection that would shake the literary world to its roots if it ever got out ...
So begins the delightfully dark Snark, a tumultuous romp through worlds created by Lewis Carroll and here brought to life through the vivid imaginings and fabulous art of award-winning author and illustrator David Elliot.
What exactly did happen to the Snark expedition? Did his dagger-proof coat protect the Beaver from the Butcher? What befell the Boots in the Tulgey Wood? Who fell foul of the Jabberwock? The Bandersnatch? The Jub-Jub Bird? And, finally, the big question: what precisely is a SNARK ...?
David Elliot’s hero, the Boots, here reveals the whole truth for the first time, from his recruitment to the Snark expedition, to his return from a journey of unimaginable, death-defying adventure ...
In this charming book for grown-up children of all ages, David Elliot is at his spellbinding and artistic best.