Anna Jackson

Thomas Murray

Virginia Soensksen

From rugged Japanese firemen's ceremonial robes and austere rural work-wear to colorful, delicately-patterned cotton kimonos, this lavishly illustrated volume explores Japan's rich tradition of textiles. Textiles are an eloquent form of cultural expression and of great importance in the daily life of a people, as well as in their rituals and ceremonies. The traditional clothing and fabrics featured in this book were made and used in the islands of the Japanese archipelago between the late 18th and the mid 20th century. The Thomas Murray collection featured in this book includes daily dress, work-wear, and festival garb and follows the Arts and Crafts philosophy of the Mingei Movement, which saw that modernization would leave behind traditional art forms such as the hand-made textiles used by country people, farmers, and fisherman. It presents subtly patterned cotton fabrics, often indigo dyed from the main islands of Honshu and Kyushu, along with garments of the more remote islands: the graphic bark cloth, nettle fiber, and fish skin robes of the aboriginal Ainu in Hokkaido and Sakhalin to the north, and the brilliantly colored cotton kimonos of Okinawa to the far south. Numerous examples of these fabrics, photographed in exquisite detail, offer insight into Japan's complex textile history as well as inspiration for today's designers and artists. This volume explores the range and artistry of the country's tradition of fiber arts and is an essential resource for anyone captivated by the Japanese aesthetic.

The Thomas Murray Collection

Textiles of Japan

The Art and Evolution of Japanese Fashion

Kimono

The Gas Leak

I, Clodia, and Other Portraits

A brilliant introduction to how poetry works through one hundred poems.Through illuminating readings of one hundred poems - from Catullus to Alice Oswald, Shakespeare to Hera Lindsay Bird - Actions & Travels is an engaging introduction to how poetry works. Ten chapters look at simplicity and resonance, imagery and form, letters and odes, and much more. In Actions & Travels Anna Jackson explains how we can all read (and even write) poetry.

How Poetry Works

Actions & Travels

Robert Sullivan

Dougal McNeill

In journals and pubs, on TikTok and the bestseller lists, the current generation of New Zealand poets is finding new voices, new platforms and new readers. It is a poetry of now: of emojis and hashtags, of bodies and flesh, of identity and aspiration. How to take the measure of this new rush of poetic energy, invention and disruption? What new aesthetics emerge alongside these new voices? How might old forms and old questions take the pulse of the new? Te Whariki provides a first reading of this exciting moment by weaving together the work of ten contemporary poets from Aotearoa with new critical writing that makes sense of these poets and their poems. Pulling these strands together in one volume, Te Whariki is as dynamic, various and engaging as New Zealand poetry is today. Featuring poets Sam Duckor-Jones, Tayi Tibble, Claudia Jardine, essa may ranapiri, Rebecca Hawkes, Chris Tse, Oscar Upperton, Joanna Cho, Ruby Solly and Nafanua Purcell Kersel, with new critical writing by Amy Marguerite, Tru Paraha, Anna Jackson, Robert Sullivan, Mark Masterson, Stephanie Burt, Dani Yourukova, Dougal McNeill, Sophie van Waardenberg, Brigid Quirke, Robin Peters and David Eggleton.

Reading Ten New Poets from Aotearoa

Te Whariki

Jane Stafford

"The ground-breaking New Zealand fiction of the last fifteen years has not attracted critical commentary beyond initial reviews, despite its success with readers both local and international, and despite its attracting major awards both local and international. Floating Worlds contains stimulating and insightful essays on eight of the best novels of recent years. These are novels in which there is no longer one authoritative way to tell a story. In contrast to Allen Curnows stricture that New Zealand writers should conform to the disciplines of an uncompromising fidelity to experience, of an unqualified responsibility to the truths of themselves, in this place and that time, these novels invite us into what Paula Morris calls a floating world, where identities are negotiable and performative. Floating Worlds illuminates the distinctive ways in which contemporary New Zealand writing approaches the relationship between the real and the imaginary, and the different kinds of challenging, edgy authenticities that operate in the space between them: the familiar and the foreign; the copy and the original; the fake and the genuine; the intention and the act, including the act of writing."--Publisher's website.

Essays on Contemporary New Zealand Fiction

Floating Worlds

In Anna Jackson's fifth collection of poetry Thicket, a rich and leafy life is closing in on the poet. But a thicket is also something to walk out of, and Jackson offers us fairytale breadcrumb tracks to follow, through poems that consider badminton at dusk, Virgil at bedtime, theory over wine; shimmering, multi-faceted poems of swans and puppets, sons and brothers, a woman who has become a tree. Thicket is an accomplished book from a poet of unease, who constantly turns her attention to the brambled path, the track less-followed, the subterranean presences in everyday life.

Thicket

Karen Coats

Roderick McGillis

From creepy picture books to Harry Potter, Lemony Snicket, the Spiderwick Chronicles, and countless vampire series for young adult readers, fear has become a dominant mode of entertainment for young readers. The last two decades have seen an enormous growth in the critical study of two very different genres, the Gothic and children’s literature. The Gothic, concerned with the perverse and the forbidden, with adult sexuality and religious or metaphysical doubts and heresies, seems to represent everything that children’s literature, as a genre, was designed to keep out. Indeed, this does seem to be very much the way that children’s literature was marketed in the late eighteenth century, at exactly the same time that the Gothic was really taking off, written by the same women novelists who were responsible for the promotion of a safe and segregated children’s literature. This collection examines the early intersection of the Gothic and children’s literature and the contemporary manifestations of the gothic impulse, revealing that Gothic elements can, in fact, be traced in children’s literature for as long as children have been reading.

Haunting the Borders

The Gothic in Children's Literature

Winner of the 2018 Viva La Novella Prize From teenage rebellion to the most painful of goodbyes, The Bed-making Competition chronicles the coming of age of Hillary and Bridgid. Told over five sections, each separated by years and kilometres, we follow the sisters as they manage abandonment, motherhood, illness and the ineffable connections of the families that we are born into and those that we create. Spiked with dark humour and bracingly familiar depictions of the overwhelming ambivalence of filial love, Anna Jackson's novella is a book of riotous energy and great heart.

The Bed-Making Competition

Uneasy nights out with dead Russian poets, dalliances with German gasfitters and emotionally fraught games of badminton are brought together for the first time, along with a brand new body of work, in this time-spanning selection of Anna Jackson’s poetry. Local gothic, suburban pastoral and answerings-back to literary icons are all enhanced by Jackson’s light hand and sly humour. Pastoral yet gritty, intellectual and witty, sweet but with stings in their tails, the poems and sequences collected in Pasture and Flock are essential reading for both long term and new admirers of Jackson’s slanted approach to lyric poetry.

New and Selected Poems

Pasture and Flock

The diary is a genre that is often thought of as virtually formless, a "capacious hold-all" for the writerâe(tm)s thoughts, and as offering unmediated access to the diaristâe(tm)s true self. Focusing on the diaries of Katherine Mansfield, Virginia Woolf, Antonia White, Joe Orton, John Cheever, and Sylvia Plath, this book looks at how six very different professional writers have approached the diary form with its particular demands and literary potential. As a sequence of separate entries the diary is made up of both gaps and continuities, and the different ways diarists negotiate these aspects of the diary form has radical effects on how their diaries represent both the world and the biographical self. The different published editions of the diaries by Katherine Mansfield, Virginia Woolf and Sylvia Plath show how editorial decisions can construct sometimes startlingly different biographical portraits. Yet all diaries are constructed, and all diary constructions depend on how the writer works with the diary form.

Form and Style in Writers' Diaries, 1915-1962

Diary Poetics

From creepy picture books to Harry Potter to Lemony Snicket, fear has become a dominant mode of entertainment for young readers. This collection examines the early intersection of the Gothic and children's literature and the contemporary manifestations of the gothic impulse.

Harry Ricketts

Geoffrey Miles

Tatjana Schaefer

Kathryn Walls

"Most New Zealand writing for young adults is designed to appeal to adolescents everywhere. Is there anything, then, that is characteristically 'New Zealand' about it? To what extent does it derive from local experience, or address a local audience? Focusing on a series of overlapping topics (race, sport, money, history, Englishness, future fictions, utopias and dystopias, religion and the 'Māori Gothic'), the contributors to this volume suggest that 'New Zealandness' is a sutble, at time almost invisible, but nevertheless pervasive concern in New Zealand young adult fiction"--Back cover.

New Zealand in Young Adult Fiction

A Made-Up Place

A thoughtful, disturbing and darkly funny new collection by Anna Jackson, The Gas Leak offers a glimpse of the gaps and cracks that can exist between family members in everyday life. In the first section, a gas-fitter slips in and out of his own and other people's lives with his 'master key', concerned by his strained marriage and his adulterous feelings for his wife's sister. In the second, the 'gothic comedy' and 'epic tragedy' of his daughter's teenage life is deftly and humorously handled, as she deals with friends, boyfriends, her alienated parents. The third section follows the gas-fitter's wife as she copes with her own problems - including the Russian coursing hounds stealthily left in her basement - and deploys memory, poetry and dialogue with God in reaction to her 'unrecognisable' family and the everyday life she 'can only continue'. Wry, absorbing, fully human, these poems show Jackson turning her poetic talents to fruitful new ground, pioneering an offbeat and insistent use of italic and a deliciously uneasy sonnet form.

Children’s literature today is dominated by the gothic mode, and it is in children’s gothic fictions that we find the implications of cultural change most radically questioned and explored. This collection of essays looks at what is happening in the children’s Gothic now when traditional monsters have become the heroes, when new monsters have come into play, when globalisation brings Harry Potter into China and yaoguai into the children’s Gothic, and when childhood itself and children’s literature as a genre can no longer be thought of as an uncontested space apart from the debates and power struggles of an adult domain. We look in detail at series such as The Mortal Instruments, Twilight, Chaos Walking, The Power of Five, Skulduggery Pleasant, and Cirque du Freak; at novels about witches and novels about changelings; at the Gothic in China, Japan and Oceania; and at authors including Celia Rees, Frances Hardinge, Alan Garner and Laini Taylor amongst many others. At a time when the energies and anxieties of children’s novels can barely be contained anymore within the genre of children’s literature, spilling over into YA and adult literature, we need to pay attention. Weird things are happening and they matter.

Debatable Lands

New Directions in Children’s Gothic

The diary is a genre that is often thought of as virtually formless, a "capacious hold-all" for the writer’s thoughts, and as offering unmediated access to the diarist’s true self. Focusing on the diaries of Katherine Mansfield, Virginia Woolf, Antonia White, Joe Orton, John Cheever, and Sylvia Plath, this book looks at how six very different professional writers have approached the diary form with its particular demands and literary potential. As a sequence of separate entries the diary is made up of both gaps and continuities, and the different ways diarists negotiate these aspects of the diary form has radical effects on how their diaries represent both the world and the biographical self. The different published editions of the diaries by Katherine Mansfield, Virginia Woolf and Sylvia Plath show how editorial decisions can construct sometimes startlingly different biographical portraits. Yet all diaries are constructed, and all diary constructions depend on how the writer works with the diary form.

Form and Style in Writers Diaries, 1915-1962

The diary is a genre that is often thought of as virtually formless, a "capacious hold-all" for the writer¿s thoughts, and as offering unmediated access to the diarist¿s true self. Focusing on the diaries of Katherine Mansfield, Virginia Woolf, Antonia White, Joe Orton, John Cheever, and Sylvia Plath, this book looks at how six very different professional writers have approached the diary form with its particular demands and literary potential. As a sequence of separate entries the diary is made up of both gaps and continuities, and the different ways diarists negotiate these aspects of the diary form has radical effects on how their diaries represent both the world and the biographical self. The different published editions of the diaries by Katherine Mansfield, Virginia Woolf and Sylvia Plath show how editorial decisions can construct sometimes startlingly different biographical portraits. Yet all diaries are constructed, and all diary constructions depend on how the writer works with the diary form.

Anna Jackson

Books

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