Landfall Review Online

New Zealand books in review

In the Footsteps of Robin Hyde

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Sally Blundell

Shining Land: Looking for Robin Hyde by Paula Morris and Haru Sameshima (Massey University Press, 2020), 95pp, $45 

The ghost of Robin Hyde shifts in the shadows of our history: poet, novelist, journalist; invalid, mother, drug addict; lady editor at the Wanganui Chronicle, war correspondent during the early months of the Sino-Japanese War in China. A dreamer, she wrote of herself, ‘and a lover’. Hyde, the pen name of Iris Guiver Wilkinson, stands tall in the New Zealand literary canon, but Wilkinson herself, Cape Town-born and immigrating to New Zealand when she was a baby, appears only dimly in the male-led literary world of the 1930s—a ‘trying thing’, wrote the acerbic Frank Sargeson, a ‘silly bitch’.1 [Read more…]

A Unique Point of View

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Helen Watson White

The Girl from Revolution Road by Ghazaleh Golbakhsh (Allen & Unwin, 2020), 240pp., $36.99

What seems at first to be a book about difference—cultural, religious, social—is actually, in the end, about what holds people together. At every point where these real-life stories of Iranian-born filmmaker Ghazaleh Golbakhsh find resonance with a reader, a bond is formed that comes from the sense of a shared humanity. While I’m aware that that generalisation can be used to override the particular, or the individual, in The Girl from Revolution Road there is no danger of our not recognising difference as a positive value. This is a varied and accessible set of human stories, told from a unique point of view, and the effectiveness of the writing is all in the detail. [Read more…]

The Air Up Here

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Sally Blundell

High Wire by Lloyd Jones and Euan Macleod (Massey University Press, 2020), 96pp., $45

The air up here is clear. High above the clamour of the city and the rush and roar of the ocean, above the islands, the headlands and the setting sun, a solitary figure slouches towards Australia on the single drawn line of a high-wire cable. 

In James Marsh’s 2008 documentary Man on Wire, a New York bystander, anchored to the footpath by a heavy coat and bags of shopping, wept as she watched the impossibly frail figure of French high-wire artist Philippe Petit walk, kneel and wheel on a cable drawn 411 metres above ground between the Twin Towers of the World Trade Center. [Read more…]

Devastating Losses and Creative Reparation

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Penelope Todd

Paper Nautilus: A trilogy by Michael Jackson (Otago University Press, 2019), 272pp., $35

‘I create so I can leave some trace of my existence.’ So wrote master watercolourist Xu Min. I open this review with a quotation from one of the author’s exemplars, since Michael Jackson argues that we are indistinct in ourselves, and more or less created from interactions with our ‘significant others’.

For an author with an avowedly nebulous sense of self, Michael Jackson has produced an impressively concrete body of work. An internationally renowned anthropologist, he has published more than thirty volumes of poetry, ethnography, fiction and memoir. With The Paper Nautilus he has wavered and created a threefold hybrid. The nautilus—paper-thin egg-case of the pelagic octopus—might represent the fragile self or the book covers themselves, inviting the question of whether the life or the pages can safeguard all they are asked to contain. The book, as Jackson writes, ‘begins discursively with … loosely connected essays and gradually morphs into a memoir of a marriage and a friendship, only to be reinvented as a work of fiction’ (p.12). [Read more…]

‘All art comes from the depths of one’s feelings’

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Michael Dunn

Louise Henderson: From life, edited by Felicity Milburn, Lara Strongman and Julia Waite (Auckland City Art Gallery/Christchurch City Art Gallery, 2019), 256pp., $65

At one time, in the mid-1950s, Louise Henderson was a prominent figure among painters based in Auckland. In fact, she was seen as a modernist; she had associated with John Weeks in Auckland and later studied in Paris with Jean Metzinger (1883–1956), a Cubist painter, teacher and writer. Henderson had changed her earlier style, learnt in Christchurch, for a more abstract and Cubist-influenced approach. She exhibited at the Auckland Art Gallery alongside Colin McCahon and Milan Mrkusich, both of whom were some twenty years her junior. She was highly regarded by collectors and critics, such as Charles Brasch and Eric McCormick. But by the 1970s her star had waned, and although she continued to paint and exhibit into the 1980s she was no longer seen as a leading contemporary painter. Auckland Art Gallery staged an important show of her work called Louise Henderson: The Cubist years, curated by Christina Barton in 1992, and in 1993 Henderson was made a Dame. Henderson has, however, still not been accorded her full due as a painter and teacher. Louise Henderson: From life and the accompanying exhibition aim to redress the situation. [Read more…]