This review was first published in the print edition of Landfall 242
Tina Shaw
Sista, Stanap Strong! A Vanuatu women’s anthology, edited by Mikaela Nyman and Rebecca Tobo Olul-Hossen (Victoria University Press, 2021), 192pp, $30
If ever one has viewed Vanuatu as an idyllic paradise where life is easy, Sista, Stanap Strong! will soon dispel the myth. This anthology of writing by Vanuatu women—the first of its kind—shines a light on women’s lives in the archipelago. In poems, non-fiction pieces, stories and song, themes emerge of violence towards women, a misogynistic and patriarchal society, colonialism, the importance of education, and concern for the kind of world children will one day inherit. [Read more…]
Vaughan Rapatahana
Until relatively recently, Alice Te Punga Somerville (Te Āti Awa, Taranaki) seemed like one of literary and academic Aotearoa’s best-kept secrets. Whether parsing the poetry of Robert Sullivan, tracing the genealogical and creative connections between Māori and Pacific peoples, reformulating methodologies for Indigenous biography, history and literary scholarship, or dissecting the alienation of not-quite-belonging in either the English Department or Māori Studies, she is some kind of genius. And then she was awarded a Marsden Fund grant, published Two Hundred and Fifty Ways to Start an Essay about Captain Cook, contributed a heartrending chapter to Ngā Kete Mātauranga: Māori scholars at the research interface (Otago University Press, 2021) and delivered the 2021 Michael King Memorial Lecture. Irrepressible. With the publication of this accessible BWB Text alongside her other projects, Te Punga Somerville will be recognised as an invaluable public intellectual for so-called ‘post-colonial’ Aotearoa. 
Among those who care about poetry in Aotearoa, Vaughan Rapatahana should be known particularly for two things. First, he is the most daring poet we have when it comes to seasoning his work with sesquipedalian lingo (that is, million-dollar words). Second, he has a more developed practice than anyone else when it comes to writing translingual poems in te reo Māori and English. His new collection, ināianei/now, offers plenty of examples of both modes, in poems that explore our fractured geopolitics, the dispossession and cultural losses of Māori, and the experience of dividing a life between different countries, as Rapatahana does. 
Emma Espiner