Integrating both Maori myth and New Zealand reality, The Bone People became the most successful novel in New Zealand publishing history when it appeared in 1984. Set on the South Island beaches of New Zealand, a harsh environment, the novel chronicles the complicated relationships between three emotional outcasts of mixed European and Maori heritage. Kerewin Holmes is a painter and a loner, convinced that "to care for anything is to invite disaster." Her isolation is disrupted one day when a six-year-old mute boy, Simon, breaks into her house. The sole survivor of a mysterious shipwreck, Simon has been adopted by a widower Maori factory worker, Joe Gillayley, who is both tender and horribly brutal toward the boy. Through shifting points of view, the novel reveals each character's thoughts and feelings as they struggle with the desire to connect and the fear of attachment. Compared to the works of James Joyce in its use of indigenous language and portrayal of consciousness, The Bone People captures the soul of New Zealand. After twenty years, it continues to astonish and enrich readers around the world.
Imagination and the Creative Impulse in the New Literatures in English brings together the proceedings of a symposium organised by the editors at the University of Trento in 1990. At a time when the study of the post-colonial literatures is gaining more widespread recognition, scholars based mainly at universities in Italy and Germany were invited to address the manner in which writers are giving literary expression to the complexity of contemporary post-colonial and multicultural societies and to consider, from their differing perspectives on the new literatures, central questions of formal experimentation, linguistic innovation, social and political commitment, textual theory and cross-culturality. Focusing on such major writers such as Achebe, Soyinka and Walcott, as well as on lesser-known figures such as Jack Davis, Witi Ihimaera, Rohinton Mistry and Manohar Malgonkar, the contributors take up many themes characteristic of the new literatures: the challenge posed to traditional authority, the expression of national identity, the role of literature in the liberation struggle, modes of literary practice in multicultural societies; the relationship of the new literatures in English to that of the former metropolitan centre; and the complex intertextuality characterizing much of the literary production of post-colonial societies.
In Aboriginal and Maori literature, the circle and the spiral are the symbolic metaphors for a never-ending journey of discovery and rediscovery. The journey itself, with its indigenous perspectives and sense of orientation, is the most significant act of cultural recuperation. The present study outlines the fields of indigenous writing in Australia and New Zealand in the crucial period between the mid-1980s and the early 1990s – particularly eventful years in which postcolonial theory attempted to 'centre the margins' and indigenous writers were keen to escape the particular centering offered in search of other positions more in tune with their creative sensibilities. Indigenous writing relinquished its narrative preference for social realism in favour of traversing old territory in new spiritual ways; roots converted into routes.Standard postcolonial readings of indigenous texts often overwrite the 'difference' they seek to locate because critical orthodoxy predetermines what 'difference' can be. Critical evaluations still tend to eclipse the ontological grounds of Aboriginal and Maori traditions and specific ways of moving through and behaving in cultural landscapes and social contexts. Hence the corrective applied in Circles and Spirals – to look for locally and culturally specific tracks and traces that lead in other directions than those catalogued by postcolonial convention.This agenda is pursued by means of searching enquiries into the historical, anthropological, political and cultural determinants of the present state of Aboriginal and Maori writing (principally fiction). Independent yet interrelated exemplary analyses of works by Keri Hulme and Patricia Grace and Mudrooroo and Sam Watson (Australia) provided the 'thick description' that illuminates the author's central theses, with comparative side-glances at Witi Ihimaera, Heretaunga Pat Baker and Alan Duff (New Zealand) and Archie Weller and Sally Morgan (Australia).
Aotearoa New Zealand, "a tiny Pacific country," is of great interest to those engaged in postcolonial and literary studies throughout the world. In all former colonies, myths of national identity are vested with various interests. Shifts in collective Pakeha (or New Zealand-European) identity have been marked by the phenomenal popularity of three novels, each at a time of massive social change. Late-colonialism, anti-imperialism, and the collapse of the idea of a singular 'nation' can be traced through the reception of John Mulgan's "Man Alone "(1939), Keri Hulme's "the bone people "(1983), and Alan Duff's "Once Were Warriors "(1990). Yet close analysis of these three novels also reveals marginalization and silencing in claims to singular Pakeha identity and a linear development of settler acculturation. Such a dynamic resonates with that of other 'settler' cultures - the similarities and differences telling in comparison. Specifically, "Reading Pakeha? Fiction and Identity in Aotearoa New Zealand "explores how concepts of race and ethnicity intersect with those of gender, sex, and sexuality. This book also asks whether 'Pakeha' is still a meaningful term.
Author: Robin Truth Goodman
Release Date: 2004-02-16
World, Class, Women begins the extraordinarily important task of bringing a postcolonial, feminist voice to critical pedagogy and, by extension explores how current debates about education could make a contribution to feminist thought. Robin Truth Goodman deftly weaves together the disciplines of literature, postcolonialism, feminism, and education in order to theorize how the shrinking of the public sphere and the rise of globalization influence access to learning, what counts as knowledge, and the possibilities of a radical feminism.
The triumphant seventh novel in the bestselling phenomenon that is the Outlander series. The year is 1777. The place, North Carolina. And as the American rebellion grows in intensity, Highlander Jamie Fraser and his wife Claire need to decide which side their family is going to be on. The choice should be an easy one, given that Claire was born in the twentieth century and has already seen the future - in history books. But things are never simple where the Frasers are concerned, as father and son unwittingly come face to face on the battlefield, and an old adversary reaches forward in time to threaten the next generation. Up to now, Claire and Jamie's love has survived every danger history has put in their path, but in the chaos of war, with families bitterly divided against each other, is the future finally going to catch up with them?
Author: David Mitchell
Publisher: Hachette UK
Release Date: 2014-09-02
LONGLISTED FOR THE MAN BOOKER PRIZE 2014 One drowsy summer's day in 1984, teenage runaway Holly Sykes encounters a strange woman who offers a small kindness in exchange for 'asylum'. Decades will pass before Holly understands exactly what sort of asylum the woman was seeking . . . The Bone Clocks follows the twists and turns of Holly's life from a scarred adolescence in Gravesend to old age on Ireland's Atlantic coast as Europe's oil supply dries up - a life not so far out of the ordinary, yet punctuated by flashes of precognition, visits from people who emerge from thin air and brief lapses in the laws of reality. For Holly Sykes - daughter, sister, mother, guardian - is also an unwitting player in a murderous feud played out in the shadows and margins of our world, and may prove to be its decisive weapon. Metaphysical thriller, meditation on mortality and chronicle of our self-devouring times, this kaleidoscopic novel crackles with the invention and wit that have made David Mitchell one of the most celebrated writers of his generation. Here is fiction at its most spellbinding and memorable best.
Author: Robin Truth Goodman
Publisher: Rowman & Littlefield
Release Date: 2002
Genre: Business & Economics
As Junk Bond felon Michael Milken attempts to transform public education on the model of the HMO, he is hailed in the mainstream press as having "done more to help mankind than Mother Theresa." Even as BP Amoco, a notorious U.S. polluter, is charged with funding and arming paramilitaries in Colombia, it freely distributes science curricula that portrays itself as a loving protector of citizens from a dangerous and 'out of control' nature. These as well as many other examples abound as Professors Robin Truth Goodman and Kenneth J. Saltman take on the corporate educators, media monopolies, and oil companies in their new book Strange Love: How We Learn to Stop Worrying and Love the Market. Saltman and Goodman show how corporate-produced curricula, films, and corporate-promoted books often use depictions of family love, childhood innocence, and compassion in order to sell the public on policies that ironically put the profit of multinational corporations over the well-being of people. In doing so Goodman and Saltman reveal the extent to which globalization depends upon education and also show how battles over culture, language, and the control of information are matters of life, death, and democracy.
Author: Morowa Yejide
Publisher: Simon and Schuster
Release Date: 2014-06-10
A deeply imaginative debut novel about a family in crisis, Time of the Locust “deftly brings together the fantastic and the realistic, and touches on a variety of issues, from politics, race, and murder to disability, domestic tragedy, and myth…[and] spins them with gold and possibility” (The Washington Post). Sephiri is an autistic boy who lives in a world of his own making, where he dwells among imagined sea creatures that help him process information in the “real world” in which he is forced to live. But lately he has been having dreams of a mysterious place, and he starts creating fantastical sketches of this strange, inner world. Brenda, Sephiri’s mother, struggles with raising her challenged child alone. Her only wish is to connect with him—a smile on his face would be a triumph. Sephiri’s father, Horus, is serving a life sentence in prison, making the days even lonelier for Brenda and Sephiri. Yet prison is still not enough to separate father and son. In the seventh year of his imprisonment and at the height of his isolation, Horus develops extraordinary mental abilities that allow him to reach his son. Memory and yearning carry him outside his body, and through the realities of their ordeals and dreamscape, Horus and Sephiri find each other—and find hope in ways never imagined. Deftly portrayed by the remarkably talented Morowa Yejidé, this “unique and astounding debut” (New York Times bestselling author Lalita Tademy) is a harrowing, mystical, and redemptive journey toward the union of a family.
Author: Elizabeth Heffelfinger
Publisher: Peter Lang
Release Date: 2011
Genre: Performing Arts
To date, no text exists that focuses exclusively on the concept of postcolonial film as a framework for identifying films produced within and outside of various formerly colonized nations, nor is there a scholarly text that addresses pedagogical issues about and frameworks for teaching such films. This book borrows from and respects various forms of categorization – intercultural, global, third, and accented – while simultaneously seeking to make manifest an alternate space of signification. What feels like a mainstream approach is pedagogically necessary in terms of access, both financial and physical, to the films discussed herein, given that this text proposes models for teaching these works at the university and secondary levels. The focus of this work is therefore twofold: to provide the methodology to read and teach postcolonial film, and also to provide analyses in which scholars and teachers can explore the ways that the films examined herein work to further and complicate our understanding of «postcolonial» as a fraught and evolving theoretical stance.
Author: Louise DeSalvo
Publisher: The Feminist Press at CUNY
Release Date: 2002-08-01
Genre: Social Science
Born to immigrant parents during World War II and coming of age during the 1950s, DeSalvo finds herself rebelling against a script written by parental and societal expectations. In her revealing family memoir, DeSalvo sifts through painful memories to give voice to all that remained unspoken and unresolved in her life: a mother's psychotic depression, a father's rage and violent rigidity, a sister's early depression and eventual suicide, and emerging memories of childhood incest. At times humorous and often brutally candid, DeSalvo also delves through the more recent conflicts posed by marriage, motherhood, and the crisis that started her on the path of her life's work: becoming a writer in order to excavate the meaning of her life and community.In Vertigo, Louise DeSalvo paints a striking picture of the easy freedom of the husband and fatherless world of working-class Hoboken, New Jersey, the neighborhood of her early childhood, where mothers and children had an unaccustomed say in the running of their lives while men were off defending their country, but were jolted back into submission when World War II ended. Hoboken was not a place where girls were encouraged to develop their minds, or their independent spirits, yet it is that tenement-dotted city with its pulse and energy, wonderful Italian pastry, and sidewalk roller-skating contests, and not suburban Ridgefield, where the family moves when Louise is seven, that claims Louises heart.Written with an honesty that is as rare as it is unsettling, Vertigo also speaks to broader truths about the impact of ethnicity, class, and gender in American life. Offering inspiration and a healthy dose of subversion, this personal story of a writers life is also a study of the alchemy between lived experience and creativity, and the life-transforming possibilities of this process.