Francophone Oceania Today: Literature, Visual Arts, Music and Cinema is a compilation of essays that breaks new ground in the exploration of recent and contemporary cultural expressions emerging from Francophone Oceania. This books explores Francophone Oceania today: a region rich in literary, artistic, and cultural productions, which nonetheless remains a marginalised space within Francophone Studies and disconnected from the mostly Anglophone cultural networks currently deployed in the South Pacific.

Francophone Oceania Today: Literature, Visual Arts, Music and Cinema establishes an état présent of recent and contemporary Francophone Oceanian literature, visual arts, music and cinema. It measures the local and global diffusion of Francophone Oceanian culture today and examines its key thematic and critical approaches, including ecocritical perspectives on art, literature, and cinema, while proposing new directions for research in the region.

Francophone Oceania Today opens a much-needed critical conversation between scholarly disciplines, between French-speaking and English-speaking academics, and between university researchers, museum professionals, and artistic voices. Our book contains hitherto unpublished contributions by Mā'ohi Nui/French Polynesian writer Chantal T. Spitz and by New Caledonian writer Nicolas Kurtovitch (in English translations by Jean Anderson).

Our book aims to draw interdisciplinary bridges among literature, cinema, music and the visual arts, and to account for the various cross-fertilisations currently happening in the region. Ultimately, what emerges from our volume is a multifaceted reflexion on the contemporary existence of Francophone Oceania, showcasing the diversity of views, artforms, critical perspectives and artistic voices that are gathered across its islands and the sea that surrounds them.

In the 1960s and 1970s, the staff and students of two newly founded universities in the Pacific Islands helped foster a golden age of Oceanian literature. At the University of Papua New Guinea and the University of the South Pacific, bold experiments in curriculum design recentered literary studies around a Pacific modernity. Rejecting the established British colonial model, writer-scholars placed Pacific oratory and a growing body of Oceanian writing at the heart of the syllabus. From this local core, students ventured outward to contemporary postcolonial literatures, where they saw modernist techniques repurposed for a decolonizing world. Only then did they turn to foundational modernist texts, encountered at last as a set of creative tools rather than a canon to be copied or learned by rote.

The Rise of Pacific Literature reveals the transformative role and radical adaptations of global modernisms in this golden age. Maebh Long and Matthew Hayward examine the reading and teaching of Pacific oral narratives, European and American modernisms, and African, Caribbean, and Indian literature, tracing how Oceanian writers appropriated and reworked key texts and techniques. They identify the local innovations and international networks that spurred Pacific literature's golden age by reading crucial works against the poetry, prose, and plays on the syllabi of the new universities. Placing internationally recognized writers such as Albert Wendt, Subramani, Konai Helu Thaman, Marjorie Crocombe, and John Kasaipwalova alongside lesser-known authors of works published in Oceanian little magazines, this book offers a wide-ranging new account of Pacific literary history that tells a fresh story about modernism's global itineraries and transformations.

In the 1960s and 1970s, the staff and students of two newly founded universities in the Pacific Islands helped foster a golden age of Oceanian literature. At the University of Papua New Guinea and the University of the South Pacific, bold experiments in curriculum design recentered literary studies around a Pacific modernity. Rejecting the established British colonial model, writer-scholars placed Pacific oratory and a growing body of Oceanian writing at the heart of the syllabus. From this local core, students ventured outward to contemporary postcolonial literatures, where they saw modernist techniques repurposed for a decolonizing world. Only then did they turn to foundational modernist texts, encountered at last as a set of creative tools rather than a canon to be copied or learned by rote.

The Rise of Pacific Literature reveals the transformative role and radical adaptations of global modernisms in this golden age. Maebh Long and Matthew Hayward examine the reading and teaching of Pacific oral narratives, European and American modernisms, and African, Caribbean, and Indian literature, tracing how Oceanian writers appropriated and reworked key texts and techniques. They identify the local innovations and international networks that spurred Pacific literature's golden age by reading crucial works against the poetry, prose, and plays on the syllabi of the new universities. Placing internationally recognized writers such as Albert Wendt, Subramani, Konai Helu Thaman, Marjorie Crocombe, and John Kasaipwalova alongside lesser-known authors of works published in Oceanian little magazines, this book offers a wide-ranging new account of Pacific literary history that tells a fresh story about modernism's global itineraries and transformations.

In the first days of spring in his eighty-second year, Gerald Murnane - perhaps the greatest living writer of English prose - began a project that would round off his strange career as a novelist. He would read all of his books in turn and prepare a report on each. His original intention was to lodge the reports in two of his legendary filing cabinets: in the Chronological Archive, which documents his life as a whole, and the Literary Archive, which is devoted to everything he has written.

As the reports grew, however, they themselves took on the form of a book, a book as beguiling and hallucinatory, in its way, as the works on which they were meant to report. These miniature memoirs or stories lead the reader through the capacious territory Murnane refers to as his mind: they dwell on the circumstances that gave rise to his writing, on images and associations, on Murnane's own theories of fiction, and then memories of a deeply personal kind. The final essay is, of course, on Last Letter to a Reader itself: it considers the elation and exhilaration that accompany the act of writing, and offers a moving finale to what must surely be Murnane's last work, as death approaches.

Haina ia mai ana ka puana. This familiar refrain, sometimes translated Let the echo of our song be heard, appears among the closing lines in many nineteenth-century chants and poems. From earliest times, the chanting of poetry served the Hawaiians as a form of ritual celebration of the things they cherished--the beauty of their islands, the abundance of wild creatures that inhabited their sea and air, the majesty of their rulers, and the prowess of their gods. Commoners as well as highborn chiefs and poet-priests shared in the creation of the chants. These haku mele, or composers, the commoners especially, wove living threads from their own histoic circumstances and everyday experiences into the ongoing oral tradition, as handed down from expert to pupil, or from elder to descendant, generation after generation.

This anthology embraces a wide variety of compositions: it ranges from song-poems of the Pele and Hiiaka cycle and the pre-Christian Shark Hula for Ka-lani-opuu to postmissionary chants and gospel hymns. These later selections date from the reign of Ka-mehameha III (1825-1854) to that of Queen Liliu-o-ka-lani (1891-1893) and comprise the major portion of the book. They include, along with heroic chants celebrating nineteenth-century Hawaiian monarchs, a number of works composed by commoners for commoners, such as Bill the Ice Skater, Mr. Thurston's Water-Drinking Brigade, and The Song of the Chanter Kaehu. Kaehu was a distinguished leper-poet who ended his days at the settlement-hospital on Molokai.

Young Léna's quest is to gain an awareness of a repressed childhood trauma. It is, she says, like the excitement of a detective sensing he's about to uncover the clue that will open the gates of truth. Naked, cruel, indecent -- whatever. I must have the truth. And I will track it down until it blows up in my face. Set against the fight for independence in New Caledonia, The Wreck is the first Kanak novel and a turbulent examination of inter-generational abuse. Déwé Gorodé is a poet, feminist and a prominent independence activist.

Avant-garde poetry in the Antipodes causes all sorts of trouble for literary history. It is an avant-garde that seems to arrive too late and yet right on time. In 1897, Christopher Brennan made his own version of Un Coup de Dés, the same year Mallarmé published it in Cosmopolis. In the 1940s, the same period avant-gardism was declared dead or fatally injured due to the Ern Malley affair, Harry Hooton began writing a significant body of experimental poetry. From the 1950s to the 1970s, Australian Dada emerged 'belatedly' through figures like Jas H. Duke (Tristan Tzara had previously sung Aboriginal songs at the Cabaret Voltaire in 1916). First Nations and Migrant poets then began reinventing avant-garde poetry in the twentieth and early twenty-first centuries. This book maintains that such a confounding literary history poses a distinct challenge to the theories of the avant-gardes we have become accustomed to and changes our perspective of avant-garde time.

Volume 87 of Reviews in Mineralogy and Geochemistry covers fundamental aspects of the nature of silicate melts and the implications for the systems in which they participate, both technological and natural. The contents of this volume may perhaps best be summarized as structure - properties - dynamics. The volume contains syntheses of short and medium range order, structure-property relationships, and computation-based simulations of melt structure.

It continues with analyses of the properties (mechanical, diffusive, thermochemical, redox, nucleation, rheological) of melts. The dynamic behavior of melts in magmatic and volcanic systems, is then treated in the context of their behavior in magma mixing, strain localization, frictional melting, magmatic fragmentation, and hot sintering. Finally, the non-magmatic, extraterrestrial and prehistoric roles of melt and glass are presented in their respective contexts.

This international collection of eleven original essays on Australian Aboriginal literature provides a comprehensive critical companion that contextualizes the Aboriginal canon for scholars, researchers, students, and general readers.

Australian Aboriginal literature, once relegated to the margins of Australian literary studies, now receives both national and international attention. Not only has the number of published texts by contemporary Australian Aboriginals risen sharply, but scholars and publishers have also recently begun recovering earlier published and unpublished Indigenous works. Writing by Australian Aboriginals is making a decisive impression in fiction, autobiography, biography, poetry, film, drama, and music, and has recently been anthologized in Oceania and North America.
Until now, however, there has been no comprehensive critical companion that contextualizes the Aboriginal canon for scholars, researchers, students, and general readers. This international collection of eleven original essays fills this gap by discussing crucial aspects of Australian Aboriginal literature and tracing the development of Aboriginalliteracy from the oral tradition up until today, contextualizing the work of Aboriginal artists and writers and exploring aspects of Aboriginal life writing such as obstacles toward publishing, questions of editorial control (orthe lack thereof), intergenerational and interracial collaborations combining oral history and life writing, and the pros and cons of translation into European languages.

Contributors: Katrin Althans, Maryrose Casey, Danica Cerce, Stuart Cooke, Paula Anca Farca, Michael R. Griffiths, Oliver Haag, Martina Horakova, Jennifer Jones, Nicholas Jose, Andrew King, Jeanine Leane, Theodore F. Sheckels, Belinda Wheeler.

Belinda Wheeler is Associate Professor of English at Claflin University, Orangeburg, SC.

Transitions and Transformations encapsulates emerging issues on literature, culture, and politics in Papua New Guinea. The essays capture my reflections on the literature and culture of Papua New Guinea. Literature is a window into a society. Through novels, poetry, plays, and short stories writers present an imagined community to readers. The discussions here are by no means the only way of reading Papua New Guinea literature. I do make one statement at the outset, though: this book is a reflection of the transitions and transformations I made in my life as a writer-scholar in Papua New Guinea. In the process I met many friends, students, readers, and mentors, whose creative and intellectual influences rubbed off on me as well. It is a process that helped me understand literature and the kinds of scholarship on cultural-knowledge productions that I deal with in Papua New Guinea. Transitions and Transformations maps the study of Papua New Guinean writers and their writings. It is also a book demonstrating the development of personal scholarship in the field of literary and cultural studies in Papua New Guinea.

This book explores the work and career of Michael Wilding, one of the most significant literary figures in modern Australia. His oeuvre includes eleven volumes of short stories, several novels and memoirs, important editions of both Australian and English authors, and critical works on writers ranging from John Milton to Christina Stead. Through a close study of Wilding's short stories, novels, and memoirs this book traces the development of a complex aesthetic of instant experience or immediate experience. . After moving from England to Australia as a young man, Wilding abandoned the high formalism of Henry James, an early influence, for a more fluid, informal, immediate, vernacular prose more in line with Jack Kerouac. The Jamesian influence was strongest in his first volume of fiction, Aspects of the Dying Process (1972). The Kerouacian influence dominated in some of the stories in The West Midland Underground (1975) and in novels such as Scenic Drive (1976). During those years Wilding produced fiction about the contemporary scene as it was happening around him, in the lively protest/counter culture environment of Sydney in the Sixties and Seventies. That meant writing, in part, about sexual relations in frank, open terms, and Wilding and his circle opened up Australian fiction, moving it away from the wide brown land tradition to a more urban, contemporary, experimental scene. Many of Wilding's stories were either written for someone or at someone. Those written at someone were often directed at a recurring figure such as a character named variously Joe, Wendell, or Holmes, Wilding's names for his friend and fellow writer, Frank Moorhouse. Wilding also wrote stories at Vicki Viidikas, another friend and talented writer from the counterculture. Wilding's contribution to the creation of modern Australian writing can also be seen in the formation of a small press, Wild & Woolley, in 1972. Wilding and his partner, Pat Woolley, published numerous poets and fiction writers, thus furthering the production and circulation of new writing. Wilding has continued his three-fold career into the present. Since 2000 he has produced a number of novels and two memoirs; he has also written studies of Australian literary traditions; and finally, he is active in a new publishing venture, Press On. Wilding has been a major force in Australian letters for half a century, a true man of letters in every sense. . By looking at Wilding's long and distinguished career, this book brings to the attention of a new generation of readers the quality and scope of his accomplishments in imaginative writing, scholarship, and publishing. Throughout this study the author draws upon extensive email exchanges with Wilding regarding his memories of those days and the stories and novels that resulted. His comments shed a unique perspective on his works and ideas from the beginning of his career until the present.

This first systematic study of the controversial Austrian feminist writer, Elfriede Jelinek, offers an extensive survey and analysis of Jelinek's major texts and a discussion of the literary techniques which characterise her writing. Background contextual information on historical and literary developments is provided to help the reader gain a better understanding of Jelinek's writing and her place within current international debates on feminism and literary theory.

A study of the relationship between writing, place, and the history of the Pakeha/European settlement in New Zealand, this book explores the most frequently chosen settings in classic New Zealand literature--the beach, the farm, the bush, and the suburb--and reflects on the plots and storylines that go with them. Through fascinating and unpredictable readings of some of the country's greatest works, writers such as Curnow, Frame, Mansfield, and Sargeson are viewed from new angles, while neglected masterpieces by Guthrie-Smith and Maning are deemed central to New Zealand tradition. Topics include identity, cross-culturalism, the settling and unsettling of land, suburbanization, and the role of distance.

Albert Wendt is the leading writer and exponent of Pacific literature. His work is consistently different in style, politically challenging, and ranges across essays, plays, poems, stories and novels, two of which have been filmed. This book is the first full-length study of his work. There is an introduction to Pacific literature as a whole and Wendt's Samoan background. Chapters offer readings of all Wendt's major texts in chronological sequence, relating them to his essays, to literary movements of the time and to key motifs from Polynesian culture. There is an extensive bibliography of works by and about Wendt.

Chapter 1 Prologue or, Where does this book come from?
Part 2 (In)scribing body/landscape relations: Australia
Chapter 3 Landscapes and Bodies
Chapter 4 Writing stories of (be)longing
Chapter 5 Australian men talk about becoming environmentalists [with Hilary Whitehouse]
Part 6 (In)scribing body/landscape relations: Japan
Chapter 7 Remembering Japanese childhoods
Chapter 8 Traveling in Japan
Chapter 9 Japanese environmentalists talk about Japanese body/landscape relations
Part 10 Subjection and the eclipsing of the constitutive power of discourse through fictional texts
Chapter 11 An exploration of body/landscape relations in Kawabata's Yama no Oto [with Takeshi Osanai]
Chapter 12 Reading and writing The Kadaithcha Sung: A novel by Sam Watson [with Sam Watson]
Chapter 13 The Second Bridegroom: A Narrative of captivity in Australian landscapes
Chapter 14 (Be)longing in the writing of Janette Turner Hospital: Eclipsing the constitutive force of discourse
Chapter 15 Conclusion: The ways and the song of the boo

Providing a snapshot of a lost time, this record utilizes the Victorian library on Brancepeth Station in the Wairarapa, its staff, and its customers to reflect upon the significance of books, reading, and intellectual life in colonial New Zealand. The station records, library archives, and the books themselves--based on borrowing histories, physical conditions, and marginalia--offer a compelling interpretation of the social and cultural implications of reading at that time. Examining characters such as the Beetham family, Wairarapa Maori, and especially librarian John Vaughn Miller, this intriguing account exemplifies the class cleavages, social anxieties, and uncertainties that were at the heart of both Brancepeth and popular Victorian fiction.

Henry Handel Richardson has been celebrated for her classic Australian novels: The Getting of Wisdom and The Fortunes of Richard Mahony. However, her own life story remains to be told. This book, accordingly, provides the first complete biography of the enigmatic Australian literary icon, shedding new light on her eventful life.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.