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Diana Bridges subjects are reflected through a range of cultural lenses. To engagement with Western and New Zealand literature should be added her immersion in the great Asian cultures of China and India. Her poetry is an intricate meshing of realities and possesses a remarkable depth and richness of perspective. These are poised, elegantly wrought poems, full of lively intelligence and verbal deftness. Since Baxter, most New Zealand poets have shied away from the use of myth in their poetry. In this collection, Bridge mines this vein for its deeply traditional and personal resonances. She knows, as firmly as did Jung, that myths give us pictures for our emotions. Here, the poems that openly glance off myth are brief, fresh takes that centre on the heroines of Western Classical legend. They begin in an irony that is needed to cope with the sometimes shocking stories, then range through time to alight with radical brevity on Shakespeare and English history. The book concludes with The Way a Stone Falls, 22 poems set in Southeast Asia. The sequence takes on board the Cambodian tragedy of last century by way of headless statues -- taking a sideswipe at French colonialism. It confronts the hardest decision in the whole Hindu tradition, that of Arjuna in the Bhagavad Gita. This is how Bridge finds her way in the world -- a place of trees and people and noise and contingency -- with the assurance that myth tells her story as well as its own.

Emma Neale creates shape-shifting poems that confound prejudices and subvert expectations. The striking imagery and emotional range of her work challenge the open and latent violence of contemporary life, from refugee crises to rape, poverty, and mental illness to climate change, while revealing the extraordinary in the everyday. Whimiscal typographical experiments and prose poems sit next to reimagined fables, deliciously light-handed satire, and quietly powerful insights into the contemporary political terrain.

Landfall is New Zealand's foremost and longest-running arts and literary journal. It showcases new fiction and poetry, as well as biographical and critical essays, and cultural commentary. Featured artists: John Z Robinson, Justin Spiers, Susan Te Kahurangi King. Awards and competitions: Results and winning essays from the Landfall Essay Competition 2018, with judge's report by Emma Neale, and results from the Caselberg Trust International Poetry Prize 2018, with judge's report by David Eggleton. Writers: Philip Armstrong, Jane Arthur, Tusiata Avia, Antonia Bale, Tony Beyer, Victor Billot, Madeleine Child, Thom Conroy, Jodie Dalgleish, Doc Drumheller, Breton Dukes, Ciaran Fox, David Gregory, Michael Hall, René Harrison, Siobhan Harvey, Trevor Hayes, Kerry Hines, Joy Holley, Elizabeth Kirkby-McLeod, Megan Kitching, Jessica Le Bas, Therese Lloyd, Jess MacKenzie, Frankie McMillan, Alice Miller, Michael Mintrom, Lissa Moore, James Norcliffe, Heidi North, Jilly O'Brien, Vincent O'Sullivan, Aiwa Pooamorn, John Prins, Lindsay Rabbitt, essa may ranapiri, Sudha Rao, Richard Reeve, Harry Ricketts, Alan Roddick, Derek Schulz, Di Starrenburg, Jillian Sullivan, John Summers, Jasmine Taylor, Angela Trolove, Iain Twiddy, Bryan Walpert, Susan Wardell, Rose Whitau, C.A.J. Williams, Briar Wood, Helen Yong

Bound together by myth and music, Michael Harlow's 'The Moon in a Bowl of Water' is a stunning new collection from a poet in complete control of his craft. Harlow is the maestro of the prose poem. Here he presents a collection of small human journeys, with a strong emphasis on narrative. The work is consciously rooted in Greek mythology and in the idea of storytelling as a continuous river, flowing from the ancients to the present, telling one story on the surface, but carrying in its depths the glints of ancient archetypes, symbols and myths. Each poem is studded with associations that hark back millennia. Harlow delights in the airiness of the imagination and the magic of transformation, especially through the power of language. Words become 'thought-birds' that can be caged, coaxed to sing, or allowed to fly, and the poems' sonic after-effects echo and re-echo in the reader's mind and ear.

This book explores contemporary migration to New Zealand through an examination of 200 personal essays written by 37 migrants from 20 different countries, spanning all ages and life stages. The first book to examine migration through the lens of the personal essay, The Braided River presents migration as a lifelong experience that affects everything from language, home, work, family, and friendship to finances, citizenship, and social benefits. Throughout, Diane Comer, both migrant and essayist herself, demonstrates the versatility of the personal essay as a means to analyze and understand migration, an issue with increasing relevance worldwide.

In 1918, a miner on the run from the military wrote a letter to his sweetheart. Two months later he was in jail. Like millions of others, his letter had been steamed open by a team of censors shrouded in secrecy. Using their confiscated mail as a starting point, Dead Letters reveals the remarkable stories of people caught in the web of wartime surveillance. Among them were a feisty German-born socialist, an affectionate Irish nationalist, a love-struck miner, an aspiring Maxim Gorky, and two mystical dairy farmers with a poetic bent. Military censorship within New Zealand meant that their letters were stopped, confiscated, and filed away, sealed and unread for over 100 years. Until now.

This is a biography of one of New Zealands most colourful and persuasive politicians. When James Macandrew arrived in Dunedin from Scotland in 1851, other settlers were impressed by his energy and enthusiasm for new initiatives. With his finger in a lot of commercial pies, he set about making himself a handsome income which he eventually lost, declaring himself bankrupt and ending up in a debtors prison for a time. Politics became another enterprise at which he threw himself with a passion. Macandrew was a member of Otago Provincial Council for 10 years, during which time he held almost all the elected positions in that body. He was superintendent of Otago for a further decade, and at the same time he was a member of parliament for 29 years. This is the warts-and-all story of a Victorian settler who was a devoted family man, a staunch Presbyterian and a consummate politician. It examines the numerous local institutions that benefited from Macandrews touch the University of Otago, the Art School (now Otago Polytechnic School of Art), the Normal School (later the College of Education) along with his contributions to the building of roads, railways, wharves, harbours, schools and churches. Macandrew made plenty of enemies along the way, and has been severely judged by history. This re-examination of his life and political work reveals a man who both inspired and infuriated the citizens of Otago, and New Zealand, for almost four decades.--

Pushing against the boundaries of what poetry might be, Alison Glennys The Farewell Tourist is haunting, many-layered and slightly surreal. In The Magnetic Process sequence a man and a woman inhabit a polar world, adrift in zones of divergence, where dreams are filled with snow, icebergs, and sinking ships. Their scientific instruments and observations measure a fragmented and uncertain space where conventional perspectives are violated. In a series of histories of the Atmosphere, of the Honeymoon footnotes reference vanished texts. By turns mysterious, ominous and evocative, they represent connections to an obscured narrative of disintegration and icy melancholy.

Previous edition published as Wanaka: the Lake Wanaka region. 2002.

Understanding the history of care requires attention to personal narratives, such as a Maori grandmother's story, a Rarotongan leader's concept of duty to her people, or the sense of service that drove a long-term social worker. The case studies examined focus on the everyday nature of care operating across domestic, institutional and political spaces, and build upon areas of strength in women's history with its interest in family, motherhood, health, welfare, education and employment.

"When a new influenza virus emerges that is able to be transmitted between humans, it spreads globally as a pandemic, often with high mortality withus social disruption and substantial economic cost can result. The 1918 Spanish influenza pandemic was undoubtedly the most devastating influenza pandemic to date, and it has been Webster's life's work to figure out how and why. In so doing he has made a remarkable contribution to our understanding of the evolution of influenza viruses and how to control them. A century on, Flu Hunter is a gripping account of the tenacious scientific detective work involved in revealing the secrets of this killer virus. Could a global influenza pandemic occur again?"--Provided by publisher.

Born in 1949, Bluff-based Cilla McQueen is one of New Zealands best-loved poets. Poeta: Selected and New Poems brings together a definitive selection of her poetry spanning five decades, arranged by the poet in a thematic narrative that elucidates abiding themes while maintaining a loose chronology of her creative life to date.

Landfall is New Zealand''s foremost and longest-running arts and literary journal. It showcases new fiction and poetry, as well as biographical and critical essays, and cultural commentary. Writers: Aimee-Jane Anderson-OConnor, Nick Ascroft, Joseph Barbon, Airini Beautrais, Tony Beyer, Mark Broatch, Danny Bultitude, Brent Cantwell, Rachel Connor, Ruth Corkill, Mark Edgecombe, Lynley Edmeades, Johanna Emeney, Bonnie Etherington, Jess Fiebig, Meagan France, Kim Fulton, Isabel Haarhaus, Bernadette Hall, Michael Hall, Rebecca Hawkes, Aaron Horrell, Jac Jenkins, Erik Kennedy, Brent Kininmont, Wen-Juenn Lee, Zoë Meager, Alice Miller, Dave Moore, Art Nahill, Janet Newman, Charles Olsen, Joanna Preston, Jessie Puru, Jeremy Roberts, Derek Schulz, Sarah Scott, Charlotte Simmonds, Tracey Slaughter, Elizabeth Smither, Rachael Taylor, Lynette Thorstensen, James Tremlett, Tam Vosper, Dunstan Ward, Susan Wardell, Sugar Magnolia Wilson.

"The poetry in David Eggletons new collection possesses an intensity and driven energy, using the poets recognisable signature oratory voice, strong in beat and measure, rooted in rich traditions of chant, lament and ode. Mashing together the lyrical and the slangy, celebrating local vernaculars while simultaneously plugged in to a global zeitgeist of technobabble and fake news, Eggleton recycles and repurposes high visual culture and demotic aural culture. Edgeland offers a tragicomic and surreal skewering of the cons, swindles, posturings and flaws of damaged people on the make, dislocating the reader with high speed jinks and swerves. A satirical eye interrogates data, media bilge, opinion, social change, extreme experience, and worst case scenario extrapolations. A menagerie of vivid characters burst off the page including the man who mistook the moon for a candy bar, instigators, prestidigitators, procurators, promulgators, Zorro and Governor Grey alongside a survey of 35 types of beard, an ode to ooze, metadada, Gordon Ramsays pan-sizzled bulls pizzle, a Baxterian moa, and various other waka jumpers hailing from Jafaville to Jacks Blowhole. Edgeland is a dazzling display of polychromatic virtuosity, teeming with irrepressible wordplay, startling imagery and anarchic wit, from one of New Zealands best loved poets. Illustrations and cover art by New Zealand artist James Robinson."--Publisher information.

The New Zealand Wars were defining events in the nation's history. Filming the Colonial Past, an engaging new book from Annabel Cooper, tells a story of filmmakers fascination with these conflicts over the past 90 years. From silent screen to smartphone, and from Pakeha adventurers to young Maori songwriters, filmmakers have made and remade the stories of this most troubling past. When Rudall Hayward went to Rotorua, Whakatane and Te Awamutu to make his two versions of Rewis Last Stand (1925, 1940) and The Te Kooti Trail (1927), he quickly found that the tangata whenua he relied on for making his films would help to shape the stories. By the time of the renewed interest in the New Zealand Wars in the 1970s and early 80s, thinking about race, nation and empire was undergoing a sea-change. The makers of television drama (including The Governor) and independent film (Geoff Murphys Utu) set out actively to engage with Maori advisers and performers. In the late 1980s and 90s, screen industry deregulation brought a new set of challenges. Filming the Colonial Past shows how documentaries notably the New Zealand Wars series of 1998 and feature films Vincent Wards River Queen and Rain of the Children negotiated these hurdles. Meanwhile, Maori working on Pakeha-led productions honed their skills. Today, the growth of Maori creative control, enabled by the diminishing cost of digital media and the expansion of platforms, signals a new era. From these sources come documentaries from Maori perspectives and new ways of exploring the past, from music videos to online histories. Each of these productions is a snapshot of a complex cultural moment. In examining this history, Annabel Cooper illuminates a fascinating path of cultural change through successive generations of filmmakers.

"The University of Otago has always taken pride in its status as New Zealands first university. Starting a university in 1869 was a bold move: other regions observed Otagos action with a mixture of surprise, scepticism and envy. The venture paid off: from small beginnings, the university grew into a large institution with local, national and international significance. Like any organisation, the University of Otago has had its good times and its bad times. It has been at some periods and in some ways deeply conservative, and in other ways boldly entrepreneurial. A good history is a critical assessment rather than a public relations exercise, and Alison Clarke has consulted and researched widely to produce a forthright and fascinating account. While traditional institutional histories focus on the achievements of the most senior staff, she has been at pains to write an inclusive history painted on a much broader canvas. This history is arranged thematically, looking at the universitys foundation and administration; the evolving student body; the staff; the changing academic structure and the development of research; the Christchurch and Wellington campuses and the universitys presence in Auckland and Invercargill; key support services libraries, press, student health and counselling, disability services, Måaori Centre and Pacific Islands Centre; the changing styles of teaching; the universitys built environment; and finally, the universitys place in the world its relationship with the city of Dunedin, its interaction with mana whenua and its importance to New Zealand and to the Pacific"--Inside front flap.

"Published in association with the Hocken Collections, Uare Taoka o Håakena, University of Otago, with thanks to the Estate of Charles Brasch"--title page verso.

"As one of eight writers, poet Janet Charman was invited in 2009 to take part in a hectic, immersive literary residency in Hong Kong. Written out of this time of stimulating buzz, 仁 surrender chronicles the tensions, translations and literary crushes that ensue, with ever-present comedy. From this intense hothouse and these privileged constraints flow narrative poems that capture the creative and cultural dislocation of travel, with its petty irritants and constant surprises. "

An out-of-the-way corner of the South Island, the Catlins is a beautiful and relatively unspoilt area with many natural attractions, including that rare thing on the east coast, native forest. Neville Peat introduces the region - its flora, wildlife, bush walks, caves and waterfalls - before tracing the journey along the stunning Southern Scenic Route linking Otago, Southland and Fiordland.

New Zealanders started hearing things in different ways when new audio technologies arrived from overseas in the late 19th century. In The World's Din, Peter Hoar documents the arrival of the first such "e;talking machines"e; and their growing place in New Zealanders' public and private lives, through the years of radio to the dawn of television. In so doing, he chronicles a sonic revolution-the radical change in the way New Zealanders heard the world. Audio technology, since its advent in the late 19th century, has been a continued refinement of the original innovation, even in the contemporary era of digital sound, with iPods, streaming audio, and Spotify. The World's Din is a beautifully written account of this refinement in New Zealand that will delight music-lovers and technophiles everywhere.

Walking to Jutland Street is the impressive first book-length collection by up-and-coming Auckland-based poet Michael Steven. The title refers to Dunedin's industrial wharf precinct where some of the poet's friends shared a flat in 2010. A poem about friendship in the face of the other, "Walking to Jutland Street" vividly recreates their evening "constitutional" from the flat via the bridge over train tracks to the city and back, with its inebriated, surreal, sometimes nightmarish inhabitants. Other poems deliver snapshots of the human condition through bizarre personalities such as the subject of "Dropped Pin: Jollie Street," "a man who proclaimed to function / best in a state close to coma." Still others are tender love poems, travel poems, poems about family or childhood memory. A poet of gritty, day-to-day urban New Zealand reality (whether depicting teenage drug dealing, alcoholics, or the night shelter), Steven is equally a writer steeped in literary tradition, Buddhist mysticism, and world-historical narrative. His is a voice that aspires to capture quotidian experience or personality as a phenomenon implicitly of all times and places. In this pursuit, his literary cousins are Olds, Orr, Mitchell, Dickson, Johnson, and Baxter.

Many New Zealand writers in the late nineteenth and early twentieth century traveled extensively or lived overseas for a time. In The Expatriate Myth, Helen Bones presents a challenge to this conventional understanding that writers had to leave in order to find literary inspiration and publishing opportunities. Was it actually necessary for them to leave to find success? How prevalent was expatriatism among New Zealand writers? Did their experiences fit the usual tropes about expatriatism and exile? Were they fleeing an oppressive society lacking in literary opportunity? In the field of literary studies, scholars are often consumed with questions about ‘national' literature and ‘what it means to be a New Zealander'. And yet many of New Zealand's writers living overseas operated in a transnational way, taking advantage of colonial networks in a way that belies any notion of a single national allegiance. Most who left New Zealand continued to write about and interact with their homeland, and in many cases came back. In this fascinating and clear-sighted book, Helen Bones offers a fresh perspective on some hoary New Zealand literary chestnuts.