Landfall

Landfall Review Online: Aotearoa New Zealand books in review

Writing Decolonisation, Rewriting Sovereignty

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This review was first published in the print edition of Landfall 242

Emma Gattey

Two Hundred and Fifty Ways to Start an Essay about Captain Cook by Alice Te Punga Somerville (Bridget Williams Books, 2020), 120pp, $14.99; Imagining Decolonisation by Bianca Elkington, Moana Jackson, Rebecca Kiddle, Ocean Ripeka Mercier, Mike Ross, Jennie Smeaton and Amanda Thomas (Bridget Williams Books, 2020), 184pp, $14.99

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. [Read more…]

The Enchantments of Uncertainty

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Emma Gattey

Tranquillity and Ruin by Danyl McLauchlan (Victoria University Press, 2020), 176pp., $30; Love America: On the trail of writers & artists in New Mexico by Jenny Robin Jones (Calico Publishing, 2020), 211pp., $36.95

Having read Danyl McLauchlan’s Tranquillity and Ruin, I more completely understand why Kim Hill is such a fan; he’s erudite (verging on the polymathic), darkly hilarious, self-deprecating, supremely uncertain—and willing to excavate the depths of those uncertainties. These winning traits feature not only in his frequent Saturday Morning appearances, but also in his comic noir novels and now this essay collection. He’s a superb thinker and writer. [Read more…]

I Am Here

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Shana Chandra 

Times Like These by Michelle Langstone (Allen & Unwin, 2021), 256pp, $36.99; The Commercial Hotel by John Summers (Victoria University of Wellington Press, 2021), 192pp, $30

I read to find my own hand in the pages of books. In the future, I want to keep holding books. To touch myself on each page saying, I am here, I am here, I am here. —Ocean Vuong

Just when I was trying to compose sentences to write about Michelle Langstone’s Times Like These and John Summers’ The Commercial Hotel, I happened upon this quote, from American poet Ocean Vuong. With words far better than mine, Vuong was able to encapsulate what it was like for me to read these two collections of non-fiction essays. Like him, in reading these authors’ words I too touched myself on their pages. Vuong reminded me of the exact alchemy of why we read and love books: it’s the magic of not finding ourselves alone. [Read more…]

Artist-Writers Gift Their Sight

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Angela Trolove

A Bathful of Kawakawa and Hot Water by Hana Pera Aoake (Compound Press, 2020), 88pp, $25; Piripai by Leila Lees (99% Press, an imprint of Lasavia Publishing, 2021), 108pp, $25; Party Legend by Sam Duckor-Jones (Victoria University Press, 2021), 96pp, $25

If you did not know that Hana Pera Aoake, Sam Duckor-Jones and Leila Lees are practising artists as well as writers, you’d sense it in the way they each write their books. Here we have three writers who juxtapose trivia with life-and-death matters, resulting in engaging collections. Aoake works with textiles and natural materials, Duckor-Jones sculpts and Lees paints—and their writing is imagistic. Colours and textures are precise, and they prioritise experimentation. Just flip to any page of Party Legend. Or see how Aoake brings together poems, social theory, an all caps-lock piece and a paragraph written exclusively in questions. And observe how Lees experiments with anonymity—subjects are referred to simply as the girl, the man, etc. But let’s start with Aoake. [Read more…]

Cartography for the Soul

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Tim Saunders

Map for the Heart: Ida Valley essays by Jillian Sullivan (Otago University Press, 2020), 280pp., $35

The last time I visited the Ida Valley in Central Otago I stopped on the road beside the Idaburn, the river that cuts diagonally across the plains between mountain ranges. The sun was slung low in the sky and the moon was already rising, as if caught in some cosmic game of chase across the heavens. It would soon be dark, and I still had an hour’s drive to where I wanted to be.

I watched a hawk slice the thick evening air as water flowed over river-smooth stones, its dark shape flicking over sheep scattered across brown grass. Magpies sat upright in trees, turning their backs to the sun to catch the last of the warmth. As I looked at these creatures that had made a home here, among the tussock and in the shadows of hills, I had the sudden desire to stay just where I was. There was something there in that limitless landscape that beckoned me to put down roots. [Read more…]

He Whakarite Ataahua/A Beautiful Arrangement

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Gina Cole

Ko Aotearoa Tātou | We Are New Zealand: An anthology edited by Michelle Elvy, Paula Morris and James Norcliffe with art editor David Eggleton (Otago University Press, 2020) 250pp, $39.95

In the aftermath of the Christchurch massacre of 15 March 2019 and Prime Minister Jacinda Ardern’s declaration that ‘We are all New Zealanders’, the editors of this anthology called for creative work that responded to life in contemporary New Zealand. The response wonderfully displayed in this collection was wide ranging and diverse. And after all, portraying range and diversity is the job of anthologies. In an article from a 2020 issue of the New Yorker, writer Clare Bucknell states:

Etymologically, ‘anthology’ refers to a collection of flowers, varied species of blooms selected and arranged so that they look like they belong together. Since the term’s origins in the seventeenth century, multiplicity has always been the form’s selling point: the provision of very different voices and concerns that nonetheless have some kind of collective force.1 [Read more…]