Fossicking around in the archives of little magazines, Reina Whaitiri and Robert Sullivan have found a number of poems that remain alive, while the core of the book is made up of literary establishment poets: Hinemoana Baker, Rangi Faith, Keri Hulme, J. Sturm, Robert Sullivan, Apirana Taylor, and of course Hone Tuwhare, whose brilliantly burnished imagist verses would soar effortlessly into the heavens in any company:.
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This implies a certain amount of structuring and arranging since, as Robert Sullivan has pointed out, the notion of one united tribe of Aotearoa is a recent artificial construct. Formerly, this archipelago was made up of tribal lands controlled by a variety of autonomous iwi, often warring or competing with each other. These poets are by and large a stroppy bunch; not always loud or rowdy, indeed frequently they are subdued and subtle, but if gladness and self-affirmation are dominant motifs, so are iterations of historical and contemporary grievances — and a sense of previously suppressed voices busting out, bringing the news that stays news.
Colonialism and neo-colonialism are addressed with emotional directness as evils — necessary or otherwise — and shifting power relations and the emergence of the born-again sensibility are explored, not always with blanket approval. Some disown, or seek to disabuse, the fancy-pants literati conjuring theories of pre-Modernist, Modernist and post-Modernist New Zealand literature, while others embrace these academic causes, and indeed proselytise for them as middle-class academics themselves. Their hybridities are sensorily infused with the mythopoeic and reverberate as confessional, cathartic, redemptive.
Occasionally some poets employ cloying New Age idioms, or even imitate a kind of computerese gobbledygook, as if overly impressed by the possibilities of randomly generated phrasing, smearing dollops of language like a piquant sauce across the page. But most in this by-and-large shrewdly chosen and apposite anthology reward rereading.
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Apirana Taylor delineates the landscape as a netherworld populated by ghosts, demons, gods and monsters. She executes a sophisticated and musical use of global English, turning it into a kind of performative magic:. David Eggleton is the editor of Landfall Review Online. Enter your email address to subscribe to Landfall Review Online and receive notifications of new Reviews by email. Email Address. Your email address will not be published.
Notify me of follow-up comments by email. This is the true story of Stellina. Stellina, a baby finch, who found herself stranded on a busy city sidewalk in Manhattan after falling from her nest.
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Stellina, who waited and waited for her mother to return, while cars roared past. Stellina, who found a new home — and a family — in a surprising way. What is a line? And so he sets out to look for it. Or there, in the antenna of the car? Il nostro pensiero — la nostra esistenza — quanto ne sono influenzati? Secondo il New Yorker i disegni di Matteo Pericoli hanno saputo far vedere New York ai suoi abitanti quasi fosse la prima volta.
Ma se pensare significa collocarsi si potrebbe allora dire che Pericoli pensa disegnando. Many thanks to EggersLab for their invaluable help in designing this website.
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Previous Next. See All. Matteo is a Milan-born architect, illustrator, writer and teacher. Photo by Michael Bowles. Read More. The Laboratory of Literary Architecture A cross-disciplinary exploration of literature as architecture The joy of cardboard, glue, and storytelling. Visit Site.
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Buy from the Book Depository. Manhattan Unfurled Random House London Unfurled Picador UK Manhattan Within Random House Buy from the Strand NYC. World Unfurled Chronicle Books He leaves people out of his drawings precisely because he knows that they will eventually walk themselves in. A gem. A new edition of the Italo Calvino classic, with original illustrations by Matteo Pericoli.