Every morning, so far, I’m alive is about what it’s like to live in a world where shaking a stranger’s hand, catching a taxi or touching a door handle are fraught with fear and dread. This memoir charts the author’s breakdown after migrating from New Zealand to England: what begins as homesickness and career burn-out develops into depression, contamination phobia and OCD. Increasingly alienated from all the things that previously gave her life meaning and purpose – family, work, nature, literature – the author is forced to confront a question once posed by the young Virginia Woolf: ‘How is one to live in such a world?’ In this fiercely honest memoir Wendy Parkins, a former English professor, explores what it means to belong and feel at home, and how we are shaped by our first environments, both familial and physical. Describing the gradual process of recovery – as well as its reversals – it shows that returning to health can be about rediscovering how we came to be who we are, without becoming trapped by our narratives of origin. Like coming home, recovery is never quite what we expect it to be, however much we long for it. Beautifully written, intensely moving and threaded with self-deprecating humour, Every morning, so far, I’m alive is about claiming the right to tell our own story and learning to embrace the risks that the messy unpredictability of life always entails.

Bind: paperback

Pages: 220

Dimensions: 150 x 230 mm

One of New Zealand’s most versatile writers, Fiona Farrell has published four collections of poetry over 25 years, from Cutting Out (1987) to The Broken Book (2011). Noun, verbs, etc. collects the best work from these books, and intersperses them with other poems thus far ‘uncollected’. The themes are wide ranging: political and personal, regional and global, including love and birth and death, war and emigration, history and landscape. The poems mix lyricism with the flat and plainspoken mode of Kiwi vernacular; they channel voices infrequently heard in poetry in traditional song and ballad forms. They are well crafted but unpretentious, jokey yet illuminating, self-deprecating but wise, sad and funny and deeply human. Fiona Farrell’s poems look light and lyrical and tidy on the page, which is the way they manage the storms of feeling that race along their lines. These are poems that know how much we yearn for terra firma yet how often we must deal with broken things. They care about family. They speak against injustice. They also know how to rescue the heart and let it sing. – Bill Manhire

Bind: hardback

Pages: 212

Dimensions: 130 x 198 mm

Publication Date: 29-10-2020

Diana Bridge’s subjects are reflected through a range of cultural lenses. To engagement with Western and New Zealand literature should be added her immersion in the great Asian cultures of China and India. Her poetry is an intricate meshing of realities and possesses a remarkable depth and richness of perspective. These are poised, elegantly wrought poems, full of lively intelligence and verbal deftness. Since Baxter, most New Zealand poets have shied away from the use of myth in their poetry. In this collection, Bridge mines this vein for its deeply traditional and personal resonances. She knows, as firmly as did Jung, that ‘myths give us pictures for our emotions’. Here, the poems that openly glance off myth are brief, fresh takes that centre on the heroines of Western Classical legend. They begin in an irony that is needed to cope with the sometimes shocking stories, then range through time to alight with radical brevity on Shakespeare and English history. The refrain of the past narrows down to the notion of the family, No one of us today is of the House of Atreus – Just meet the Family, I say. The book concludes with ‘The Way a Stone Falls’, 22 poems set in Southeast Asia. The sequence takes on board the Cambodian tragedy of last century by way of headless statues – taking a sideswipe at French colonialism. It confronts the hardest decision in the whole Hindu tradition, that of Arjuna in the Bhagavad Gita. This is how Bridge finds her way in the world – a place of trees and people and noise and contingency – with the assurance that myth tells her story as well as its own.

Bind: paperback

Pages: 80

Publication Date: 01-06-2019

This is my story of the man, Rewi Alley – family member, writer, humanitarian, activist and unwitting myth-maker. It is also the story of his relationship with a country, China, about which I now know enough to acknowledge how little I know. A Communist in the Family: Searching for Rewi Alley is a beautifully written multi-layered narrative centred on New Zealander Rewi Alley and his part in the momentous political events of mid-twentieth-century China. Part-biography, part-travel journal, part-literary commentary, A Communist in the Family brings together Alley’s story and that of his author cousin, Elspeth Sandys. In 2017, Sandys travelled to China with other family members to mark the ninetieth anniversary of Rewi’s arrival in Shanghai in 1927. One strand of this book follows that journey and charts Sandys’ impressions of modern China. Another tells the story of Rewi’s early life, in an insightful meditation on the complex and always elusive relationship between memory and writing. By placing the man, Rewi, and his work in the context of his time, Sandys is able to illuminate the life of this extraordinary New Zealander in a way that is both historically vivid and relevant to the world of today. Her focus on the role poetry played in his life – both his own and that of the Chinese poets he translated so prolifically – provides moving glimpses of the man behind the myth. Threaded through A Communist in the Family are Sandys’ evolving insights into a nation that looms ever larger in the day-to-day realities of New Zealand and the world. The strange – and strangely intimate – link between the two countries Rewi regarded as home is one in which he played, and continues to play, a crucial role.

Bind: paperback

Pages: 324

Dimensions: 150 x 230 mm

Publication Date: 12-07-2019

Queer lives give rise to a vast array of objects: the things we fill our houses with, the gifts we share with our friends, the commodities we consume at work and at play, the clothes and accessories we wear, various reminders of state power, as well as the analogue and digital technologies we use to communicate with one another. But what makes an object queer? The 63 chapters in Queer Objects consider this question in relation to lesbian, gay and trans­gender communities across time, cultures and space. In this unique international collaboration, well­known and newer writers traverse world history to write about items ranging from ancient Egyptian tomb paintings and Roman artefacts to political placards, snapshots, sex toys and the smartphone. Fabulous, captivating, transgressive.

Bind: paperback

Pages: 400

Dimensions: 210 x 250 mm

Publication Date: 11-10-2019

In this original second collection, Lynley Edmeades turns her attention to ideas of sound, listening and speech. Listening In is full of the verbal play and linguistic experimentation that characterised her first collection, but it also shows the poet pushing the form into new territories. Her poems show, often sardonically, how language can be undermined: linguistic registers are rife with uncertainties, ambiguities and accidental comedy. She shuffles and reshuffles statements and texts, and assumes multiple perspectives with the skill of a ventriloquist. These poems probe political rhetoric and linguistic slippages with a sceptical eye, and highlight the role of listening – or the errors of listening – in everyday communication. Edmeades’ poems are terrifically accomplished – they show confidence and a sure, skilful handling of language, even when expressing tentative, slippery ideas and emotions. Her work is full of verbal play, celebration, pleasure and despair. This is a book where you know the poet is intensely alive to language and its possibilities – she’s always looking for another angle, another way. Edmeades’ voice is an essential one in the ‘now’ of NZ poetry. – Jenny Bornholdt This book confirms Edmeades as both a wily and witty writer with a sure grasp of the potential for shifts of linguistic register to create telling shifts of perspective. Extracting poetry from noise with cool measured techniques, Edmeades emerges in this collection as a precise observer of the human comedy as well as a careful listener. Edmeades’ poems are alert to the phenomena of the real world, delivered with a fidelity and assurance that indicate a significant writer. Every poem in this collection is rewarding. – David Eggleton

Bind: paperback

Pages: 74

Dimensions: 165 x 235 mm

Publication Date: 20-09-2019

when life gives you spoons, demand a refund, an inquiry when life gives you spoons, scoop the innards, carve a heart when life gives you spoons, collect a set Alzheimer’s and a Spoon takes its readers on a tangled trip. Public stories – a conversation at the Castle of the Insane, online quizzes to determine if you’re mostly meercat or Hufflepuff. #stainlessteelkudos. Personal tales, of Liz’s babcia, a devout Catholic and a soldier in the Warsaw Uprising, who spent her last years with Alzheimer’s disease. There is much to remember that she so badly wanted to forget. What do you do when life gives you spoons?

Bind: paperback

Pages: 100

Dimensions: 155 x 235 mm

Publication Date: 28-06-2017

Seabirds Beyond the Mountain Crest tells the fascinating story of New Zealand’s endemic Hutton’s shearwater, a species that breeds only at two remote locations, high in the Kaikoura Mountains. Amateur ornithologist Geoff Harrow is the person most closely associated with the story of Hutton’s shearwater, for it was Geoff who discovered the two remaining nesting sites in the 1960s. For five decades he visited the mountains whenever he could to observe and record the birds, and to encourage the Department of Conservation and its predecessors to take steps to conserve this endangered species. As a result, scientist Richard Cuthbert was to spend three years living with 200,000 Hutton’s shearwaters and their neighbours, studying their behaviour, observing their interactions, measuring and recording facts and figures to build a detailed picture of why and how these birds had survived. The discoveries over time of Richard and his co-workers turned received wisdom on its head and revealed a whole new predator story. Richard’s beautifully written, witty account – of the challenge and exasperation, the heartbreak and hardship, and the sheer joy of conservation fieldwork in a remote environment – is beautifully interwoven with other fascinating stories – of the ‘discovery’ of the species by nineteenth-century scientists and collectors, and Geoff Harrow’s discovery of the nesting grounds and subsequent long involvement with this species. Seabirds Beyond the Mountain Crest is a delightful and highly entertaining read.

Bind: paperback

Pages: 220

Dimensions: 170 x 240 mm

Publication Date: 14-08-2017

From Sean Macgregor's lounge occupied by stoned youths, to three bank robbers en route to the Penrose ANZ, Michael Steven's second collection presents his clear, clean vision of 'the lifers' who inhabit these islands and beyond.A generation's subterranean memories of post-Rogernomics New Zealand are a linking thread, in the decades straddling the millennium, while other poems echo with the ghostly voices of the dead, disappeared and forgotten. Steven's writing neither patronises nor romanticises in its intricate depictions of small worlds of violence, despair, love and struggle. Always it refers back to the redemption of human connection as its magnetic pole.Dawn is a fire show of gold and hot white, blasting the darkness off the isthmus.In two hours, I will land in your city.I am made of atoms and they are dancing.

Pages: 92

Dimensions: 150 x 230 mm

Publication Date: 01-03-2020

In 1966 Michael Illingworth, whose oil painting Adam and Eve appears on the front cover of this book, was awarded the inaugural Frances Hodgkins Fellowship. For the first time in New Zealand a practising artist was given a studio and paid a salary to make art for a whole year. Such support, as Frances Hodgkins herself wrote from her own experience, was capable of ‘yielding up riches – undreamed of’. Poet and critic David Eggleton has described the fellowship as ‘an emblem of cultural endeavour which … holds a legendary status in the public imagination’. The initiative and much of the early funding for the fellowship is thought to have come from poet, editor and arts patron Charles Brasch, and it was set up by the University of Otago Council. Fifty years later, the Frances Hodgkins is still going strong, one of five arts fellowships offered through the University of Otago’s Humanities Division. This sumptuous book brings together the art and the stories of half a century of Frances Hodgkins fellows. Arts commentator Priscilla Pitts writes about their work, while journalist Andrea Hotere interviews the artists about their lives and sources of inspiration. The result is a vibrant celebration of a wealth of talent fostered through New Zealand’s foremost visual arts residency, showing how the artistic wealth created has flowed back into the culture of the small country that nurtured it.

Bind: hardback

Pages: 224

Dimensions: 220 x 280 mm

Publication Date: 11-09-2017