Book Review: Poetry New Zealand Yearbook 2019, edited by Jack Ross

Available in bookshops nationwide. 

I look forward to The Poetry New Zealand Yearbook each year, because it’s so wonderfully filled with all things poetry. It’s also a great way to see the current landscape of New Zealand poetry, with familiar names making an appearance alongside newer poets.

The Featured Poet for this year’s volume is Stephanie Christie. Her poetry carries a strong voice that is raw and metallic. This voice runs through stanzas and lines that are proud to be unconventional; some lines run onwards while other lines are chopped, and then the words within those lines can be chopped again. The chopped lines and great pauses give the sense that the characters in Christie’s poems are languishing, while the use of sentences that run on through multiple lines brings a feeling of desperation. What forms is a unique mix that captures a dystopia-like setting. These are not safe places. In Microchasm,

Physical things leak aphorisms. Wash the hair again
for the second time this week
and all the weeks till we’re dead.

There is also the beautiful addition of an interview with Stephanie Christie, and this is where Christie also talks about how she crafts her art. In answer to a question about her writing style, she comments that she’s ‘magnetised towards words that are impossible to say, where the meaning multiples and gets out of control… mimicking the true ambivalence of the sure statements we shelter behind’. Considering the multiplicities in Christie’s work and how they form can also act as a writing prompt, a sparking point to inspire any poet to experiment with their own work. Christie wonderfully states that her creative practice includes ‘collaborations, poetry in theatre, sound poetry, visual poetry, songs… On a good day, I have no idea what I’m doing and am 100 percent committed to doing it. This is exactly where I need to be.”’

The winners of the Poetry Prize for 2019 are especially enthralling. Wes Lee’s first prize poem The Things She Remembers #1 is a swoon of images that shout and burst. Lee’s images also bring a sense that things are not quite right without actively stating it. She writes from moments that feel a little discomforting—

… A stranger sitting behind me
at the cinema leaning forward and
tugging a lock of my hair /

—to ones that are more stomach wrenching—

The patient who screamed like
a bird / her mouth wide as the abyss /

The New Poems are abound with strong pieces as well. Such as essa may ranapiri’s Gallows, which is full of sturdy images that are so clearly and satisfyingly described:

But you don’t seem to hear focused as you are on
trimming your fingernails. The plink of your ends hitting
the glass. And when I try to tell you in the morning
that the roof isn’t fixed; that I could see the streetlights
and blurred stars seep ghostly through the flimsy remains
of the ceiling, you just change the subject; put on your shoes and
leave through the open door.

I also appreciate the addition of reviews and essays in Poetry New Zealand, since creating discussions about poetry is also a rewarding process that brings new ideas to life. As well as being an important space for the work of New Zealand poets, this new instalment will inspire writers to continue writing and to introduce new methods in their craft.

Reviewed by Emma Shi

Poetry New Zealand Yearbook 2019
edited by Jack Ross
Published by Massey University Press
ISBN 9780995102965

Book Review: Finding Frances Hodgkins, by Mary Kisler

Available in bookshops nationwide.

This year marks 150 years since the birth of artist, Frances Hodgkins. Mary Kisler, Senior Curator, Mackelvie Collection, International Art at Auckland Art Gallery has written a remarkable book on the life and works of Frances Hodgkins. Her decision to travel to Europe and visit as many of the places where Hodgkins painted has resulted in a travelogue of Hodgkins’ work and the landscapes that inspired her. Kisler also uses Hodgkins’ diary to give us an understanding of the people and events which were so important in the paintings.

Arriving in 1901, Hodgkins was to spend most of her life in Europe with only two brief visits home to New Zealand. During these years she moved on average six times each year, only pausing during the wars when she could not visit her favourite places in France, North Africa, Holland and Spain. She enjoyed the company of others on her travels and accepted offers from friends and acquaintances to stay in new places. Kisler makes wonderful use of Hodgkins’ diaries to describe not only the landscapes, but also the social events that influence her life. Armed with photographs of Hodgkins’ paintings and her diaries and letters, it was a mammoth task to try to match each work to a specific place. While sometimes, this is achieved, a growing awareness of Hodgkins’ clever manipulation of form and space, helps Kisler to understand the way works are often composed of various elements rearranged by the artist.

I was impressed by the gentle patience of Kisler, who also chose companions for her travels. Language, lack of signage and the ravages of time, made her task daunting. The colour plates that sit alongside the text help the reader to follow the development of Hodgkins’ art. Her fascination with shapes and light, and the way she reduces a scene to blocks of colour, helped me better appreciate her work.

Here is a tribute to a truly great New Zealand artist. By melding her diaries, artworks and the actual landscape together, we arrive in awe of the output and quality of work that Frances Hodgkins produced. This was her life, and she worked hard at her craft, which was not always easy. My hope is that the touring exhibition of her work allows us a chance to truly stand in wonder at her works.

Reviewed by Kathy Watson

Finding Frances Hodgkins
by Mary Kisler
Published by Massey University Press
ISBN 9780995102972

Book Review: With Them Through Hell: New Zealand Medical Services in WW1, by Anna Rogers

Available in bookshops nationwide. 

Alongside the New Zealand soldiers who fought in World War I, there was a large team of dedicated medical (and veterinary – New Zealand also sent about 10,000 horses) personnel who did everything they could to save lives and treat the injured. Anna Rogers has painstakingly researched the history of the medical services and tells their story in all its gory detail, right from the early days when female doctors, nurses and volunteers had a battle on their hands just to be allowed to serve overseas.

With Them Through Hell is an extremely comprehensive book on the medical services, more of a history textbook than a book you would sit down and read in one sitting. It certainly isn’t a jolly hockey-sticks tale of what went on – it’s a far more sobering and factual account, and anyone reading it will be shocked at the challenges they dealt with on a daily basis, both in the lead-up to their dispatch to the war zones and also during the conflicts.

Divided into four sections – Feeling the Heat; From Chaos to Care; Unexpected and Unsung; and Maimed and Mended, which are then further divided into a total of 16 chapters – the book goes into great detail about the part these medical personnel played in the war. There are numerous photographs (predominantly black and white, apart from reproductions of oil paintings) and also copies of letters and cartoons. The photographs illustrate the conditions they worked under, but the text carries far more detail about the hardships they endured during the war.

It must be hard to tell the story of so many people over many years without using quotes from both published and unpublished sources, but I found the quoted material tended to slow my reading of much of the book. This was particularly noticeable in some sentences that contained more than one partial quote, as there was no attribution alongside. The book is substantial, so flicking to the footnotes at the back was not something I wanted to keep doing, and often the source would just be given as a newspaper article.

I read the introduction and then dipped in and out of the book, reading chapters that particularly interested me rather than reading from start to finish in sequence. As each chapter is comprehensive in itself, this is a reasonable way to proceed.

It is great that the medical services’ dedication to duty has been recognised and given its own tribute in With Them Through Hell. For historians and those who work in the medical services today, this book will be a fascinating history of the work carried out by medical personnel and the pioneering advances in treatment they made under extremely difficult and dangerous circumstances.

With Them Through Hell: New Zealand Medical Services in the First World War
by Anna Rogers
Published by Massey University Press
ISBN 9780995100190

 

Book Review: Heartland Strong, ed Margaret Brown, Bill Kaye-Blake and Penny Payne

Available in bookshops nationwide.

While I am a dyed-in-the-wool ‘townie’, it would be hard to travel around New Zealand over the last 20 or 30 years as I have, and not notice how farming has changed. I also think television and the media in general have had huge influence on what a lot of New Zealanders now think of farming in New Zealand. Once upon a time, the countryside was littered with family farms which were in those days handed down to the eldest son. This has been one of the biggest changes in farming. Increasingly, farms are not owned by families but by a corporate and syndicate form of ownership.

From Wairoa to Southland, the book’s team of 14 writers found great examples of resilience and ways in which it was built by different communities. ‘It came up repeatedly that relationships, connectedness and support networks were what made each town,’ the book editors say.

20 years ago, the landscape in rural communities would there would have been farming of sheep and beef but now farms with hard to farm hill country have sheep. Dairy expansion has bought increased total numbers of herds, as well as increasing the size of the herds.

Land management has changed, with storage ponds and a higher number of irrigators which enables farmers to intensify their production systems to grow crops that 20 years ago couldn’t have been grown. All of these changes have affected rural communities. A lot of the farms now need more people to work on them, and to retain good people is increasingly difficult. Less New Zealanders want to work on forms with possible ownership of farms becoming less achievable, so farmers are having to use transient labour. Some rural communities are struggling as a result.

The effect of these changes is not all negative. Some towns are flourishing through the expansion and diversification of agriculture in the area.

The increase in regulation compliance has led to attention grabbing signs on farm gates alerting visitors to all kinds of hazards. There is also an increased monitoring of health and safety regulations, animal welfare regulations; chemical and prescription medicine handling regulations, water quality requirements- fencing and planting of riparian strips on some streams. They are now recording animal movements so they can trace their movements, allowing them to create strategies to lowering the environment impact.

There are also case studies located in a range of New Zealand settings. Only around 20 percent of the population lives in the countryside and while decisions are being made by people that live mainly in urban areas, many do not fully understand or have empathy with their rural neighbours.

While I found this book fascinating, I confess to finding myself out of my depth. This book, in my opinion, has been written for people in the farming industry or on the fringes of it.

Reviewed by Christine Frayling

Heartland Strong – How rural New Zealand can change and thrive
Edited by Margaret Brown, Bill Kaye-Blake and Penny Payne
Published by Massey University Press
ISBN 9780995109599

 

Book Review: Wanted: The search for the modernist murals of E. Meryvn Taylor, by Bronwyn Holloway-Smith

Available in bookshops nationwide.
Shortlisted for the 2019 Ockham Book Awards.  

This beautifully produced book is both a delight and a cause for a bit of national soul-searching.

If you do a quick Google search on ‘forgotten public art’ it’s clear to see that NZ has a poor track record of maintaining and caring for its public art works, never mind keeping a registry of what we have.

The title should give you a clue. What happened to them? The large murals which Taylor produced as commissioned work were partly his own idea, as shown in this quote by Kennedy Warne from NZ Geographic October 2007: ‘Taylor came to regard architecture as “the mother of the arts”, recalled one of his friends, the eminent Wellington architect Maurice Patience. “[He] loved our profession, and one could guarantee that if he were in architectural company discussion would soon turn to the artist’s role in buildings.” Every contract for a major new building, Taylor argued, should include a sum of money allocated to a commissioned work of art to be associated with the building. There was a degree of self-interest here, of course: Taylor hoped he would be one of the commissionees.’

In 1945, Taylor was appointed as art editor for the New Zealand School Journal. Many of us will recognise and remember his brilliant woodcut illustrations. Bryan James in his excellent book about Taylor says ‘Above all, he wanted his art to be accessible to the everyday New Zealander. He believed art should be for the common man as well as the cultured elite.’

As with nature, Taylor felt it was his role as an artist to make Māori culture accessible to his countrymen. He saw himself as an artist-craftsman or artist-designer, writes James, someone rooted in the community and whose duty was to improve the lot of his fellow man. ‘He had little time for art that did not have a direct function of purpose, that could not be part of everyday living.’

By the early 1960s, murals were Taylor’s major form of work, produced in ceramic tiles, carved in wood or painted. James notes of Taylor’s work in this period that a distinguishing feature was his incorporation of Māori elements. ‘It was something he consciously set out to do, because he saw Māori as an essential part of the natural order of life in New Zealand, who could no more be excluded from his art than could the bush, the landscape, or the individual creatures he featured.’ Few other non-Māori artists of the time cared to feature Māori culture so prominently in their work.

So, back to the book itself. Bronwyn Holloway-Smith chanced upon some of Taylor’s work in three dusty boxes in storage in Auckland. This began her passionate journey to find out what happened to the eleven other murals and I think she’s probably in line for a National Treasure award!

The very first pages are photos of the original works, with single word titles: Found, Missing, Hidden, Lost. 7 have been found. 2 are missing, 2 are hidden, one is lost. Holloway-Smith’s work in locating and documenting these murals has been a massive undertaking, and this wonderful book is the culmination of that work.

Each mural has an essay written by someone with an interest in, or connection to, the work or the place in which it was originally installed, and they are accordingly very different and intriguing to read.

The generous illustrations throughout, and the quality of this book make it a real treasure.

Let’s hope that public art work in Aotearoa, from now on, is more carefully documented and preserved so that we never again lose work by artists of such high calibre and brilliance.

Reviewed by Sue Esterman

Wanted: The search for the modernist murals of E. Meryvn Taylor
by Bronwyn Holloway-Smith
Published by Massey University Press
ISBN 9780994141552

You can see a sample here on the Massey University Press website. 

Book Review: The Writing Life – Twelve New Zealand Authors, by Deborah Shepard

Available in bookshops nationwide.

There are so many things to like about this book, The Writing Life Twelve New Zealand Authors. Deborah Shepard has interviewed the twelve authors and produced a book incorporating the very personal interviews, accompanying photographs and extra information. The book itself is well made, with a soft cover beneath a matching dust cover, and with pleasingly thick paper reminiscent of the days when new books arrived with uncut pages. It has a heft which promises a feast of good things and it doesn’t disappoint.

The twelve authors are men and women who have written in various genres throughout the years 1959 to 2018, on topics addressing such themes as death and loss, the joy they have found in writing and much more. For aspiring authors there is also advice on writing itself, which, given the depth of talent and length of time these ones have been engaged in their craft, is an invaluable treasure.

Distinguished photographer, John McDermott, was commissioned to take photographs of each of the authors, and the setting each one has chosen to be presented in gives further insight into their personality, as do the photos of the rooms in which a particular writer produces his or her work. I enjoyed examining those photos, searching for a further glimpse into each life. As an older person myself, who has read and admired much of the work of these twelve, I know that this beautiful tribute to them will be a book that I will delve into time and time again over the years ahead. It will be an asset, too, to teachers of literature as well as those who desire to write.

These twelve men and women have laid down a huge body of work for those who are coming on behind them and we owe them a debt of gratitude both for the work they have done throughout their life and for their willingness to tell us their stories. The Writing Life is more than a book, it is a treasure.

Reviewed by Lesley Vlietstra

The Writing Life – Twelve New Zealand Authors
by Deborah Shepard
Published by Massey University Press
ISBN 9780995109537

Book Review: Fearless: The extraordinary untold story of New Zealand’s Great War airmen, by Adam Claasen

Available in bookshops nationwide. 

The Ministry for Culture and Heritage commissioned a number of works on the Centenary of the Great War. Fearless is an amazing collection and distillation of the vast amount of information on the part played by New Zealand airmen.

The whole story of aviation in New Zealand has never been told previously. Here we have the background which looks at aviation development in New Zealand; we see the vision of Henry Wigram who was asking for support from the Government as early as 1909. Funding was always going to be a problem as there was no navy, and sea was seen as more important to New Zealand’s defenses than air. The whole idea of military aviation was in its early stages, but already there were some who saw the advantages.

Fearless is not a dry history about the planes and their parts. Rather, it combines the military and political scene with the stories of individuals. We learn the stories of the early pioneers, the political activists, the daring adventurers. It is here – in the stories of the passion and persistence of some of these young men who were determined to fly into war -that I found the greatest interest. Their stories are detailed, lively and often humorous.

The illustrations bring the text to life and add faces to the names, the planes and the events. The photograph of RAF officers paying tribute at the burial of Manfred von Richthofen (The Red Baron), taken at Keith Park’s Bertangle airfield, summed up the depth of this book. Park’s leadership in the Great War gave him a superb platform for his important role in World War 2. His is one of the many stories covered in this wonderful book.

New Zealanders played a very important part in the Great War on land and sea. After reading Fearless, I also appreciate their role in the air. It has taken 100 years for this publication to emerge. But it was worth the wait.

Reviewed by Kathy Watson

Fearless: The extraordinary untold story of New Zealand’s Great War airmen
by Adam R. A. Claasen
Published by Massey University Bookshop
ISBN 9780994140784

Book Review: How to Mend a Kea + other fabulous fix-it tales from Wildbase Hospital, by Janet Hunt

Available in bookshops nationwide.

I am in the odd position of having to deliver yet another rave review of a NZ non-fiction title. Odd, simply because it has been years since there has been such a wonderful range of high-quality NZ non-fiction titles being published!

And this one made it all the way to the cover of the Booksellers NZ Summer Reading Catalogue, thanks to patient #78129 on the front cover & the high quality graphics and design throughout. The ultra-talented Janet Hunt did the design of the book, as well as choosing the case-studies and writing it. It is the first children’s book that Massey University Press has published, and it is based around the happenings at Wildbase Hospital, which is on the Massey campus in Palmerston North.

Once she has introduced Wildbase and what it exists for, Hunt takes us through what happens when a patient is admitted. The book has a pleasing shape, from the broad strokes about how the hospital runs, right through to the specific case studies, and finishing with simple snapshots showing the range of reasons that see animals admitted to Wildbase.

Throughout the book, it is made clear that the birds (and other animals) admitted to Wildbase are wild, and they are treated as such. This means allowing them their own space, where they can hide when they need to. It also means they don’t have names, just numbers for the sake of tracking them through their processes. The brief moments where Hunt enters the birds’ skin to tell a piece of their story are done with respect and a deep understanding of the behaviour of birds.

Another aspect I was impressed with in this book was the ability that Hunt has to write young, without writing down. A break-out box explains the way in which wild animals must feel upon going to hospital as like ‘being abducted by aliens.’ Perfect! And the use of illustrations and x-rays to explain the goings-on during processes are well-judged and perfectly placed.

In the third section, which takes you through ‘how to de-oil a penguin’ – telling the story of the Rena disaster – ‘how to repair kiwi’, ‘how to medicate mollymawk’ and more, Hunt tells the story of each of these incidents without sparing the details or medical language, but without putting it out of reach of a child who wishes to understand.

The final section of snapshots is a great reminder to kids and adults alike, about the simple things we could do to reduce the likelihood of wildlife being admitted to Wildbase. These included putting special stickers on windows so that birds know they are there, collaring your cat, keeping your dog on a lead, and stopping the use of plastic bags.

I’d recommend this wonderful book for kids and adults to share from age 7 up – some of the language will be unfamiliar, but it is a fascinating read for all future eco-warriors. I remember joining Greenpeace at around that age, so it’s the perfect time to start them.

Reviewed by Sarah Forster

How to Mend a Kea
by Janet Hunt
Published by Massey University Press
ISBN 9780994140715

 

Book Review: Home, edited by Thom Conroy

Available now in bookshops nationwide.

There was a flood of excitement when this collection came out, and understandably so. It’s beautiful and thick with a classy list of contributors and a solid concept; personal essays from NZ writers on what home means to them. It’s also from a new publisher, Massy University Press. The theme is topical, and timeless; intensely personal, and universal – it’s everything we want a personal essay to be. Mostly this collection is all of those things, but occasionally it meanders off into upper-middle-class small talk slush.  The theme might be too personal for some writers. A few got caught up in describing their household furniture.

Some of the pieces are absolute literature, particularly those that ruminate on home, and something else. Ashleigh Young, in my new favourite Ashleigh Young essay – Matrices, writes about home and secrets, specifically those of other people. With the accuracy and honesty that characterise her writing, she writes of her childhood self, ‘The truth is, whenever I flagrantly invaded someone’s privacy, I felt that somehow I’d won. It was as if we were always playing a game but others kept forgetting we were playing it.’

Gina Cole’s Grandma instructs her on how to dive for turtles and they watch TV together, among many other things. She’s hard to quote without typing out the whole thing (I like this essay, the turtles are worth knowing about!) so I’ll stick with a very brilliant metaphor for Muldoon’s hair: ‘His left cheek is pulled into a rictus of a smile. He looks bald although there are thin strips of hair combed straight back from a neat receding hairline and running down the middle of his head and on each side of his ears… like tiny tentacles gripping on to an egg.’

Martin Edmond writes a biography of Mollie, a circus elephant now buried in Ohakune. Sarah Jane Barnett is marvellous on running as a way to find a home in your own body, a point past pain where you can be in solitude and peace with yourself.

I felt very at home with Helen Lehndorf, who writes with power and honesty about her son’s autism, and about love. ‘All the good fights I fought, I fought for him.’

In Bonnie Etherington’s essay, ‘Never Coming Home,’ a village elder in West Papua tells her father, ‘In the past we knew who the enemy was. It was Suharto, so we could fight him. But now, we know we are being destroyed, but we don’t know who by. How do you fight something when you don’t know what or who it is?’ and she continues, ‘Suharto’s fall was meant to solve many things. And people can move now without feeling his eyes on them. But the scars in Papua’s dirt grow and the trees keep falling, squeezing people from their gardens and their homes as they watch people from elsewhere in Indonesia move in on the ‘empty’ land.’

I have more favourites, but I don’t want to simply quote and praise things I liked, because as I said it often felt a lot like small talk. There are a lot of middle-aged, daddish sentences like, ‘In our family we all saw sport as a stimulating challenge, physically, mentally and technically. That’s why we liked it so much.’

I don’t want to single anyone out because it happens right across the board, including in some of my favourites. Halfway through the collection I started wondering what I would submit if commissioned to write a personal essay about home? My essay would be terribly self-indulgent and tedious. It would be about how glad I am that the Karori Countdown have widened their selection of teas, but how I still think that, actually, it would lovely to have a few more options. So, when I think about how bad things might have been, this collection is exceptionally good.

Not that Home is an uninteresting or irrelevant topic, far from it. But it’s a subject that can bring out the most dreary in anyone if they’re not careful.

Home is fun to read, relevant, compassionate and frequently sharp. It’s a big book, and not too expensive, so I’d recommend it to anyone on the condition that they make sure not to beat themselves up if they end up skipping the odd page, or even a few whole essays.

Reviewed by Annaleese Jochems

Home: New Writing
by Thom Conroy
Published by Massey University PRess
ISBN 9780994140753

Book Review: Precarity: Uncertain, Insecure and Unequal Lives in Aotearoa New Zealand

Available in bookshops nationwide.

This book is from the newest university publisher in New Zealand, Massey University Press, and presents some new research from post-graduate students and academics, mostly from Massey and Waikato Universities. It is a reminder that there is substantive research being done in social science in a multi-disciplinary context, and this is a valid attempt to get a wider audience than that within the ivory towers. The term ‘Precarity’ is derived from the work of an English academic, Guy Standing, who has written about the ‘Precariat’ as an international phenomenon. Standing provides a brief foreword to the book which explains his version of the concept, and relates it to the idea of a ‘denizen’, being those people who are marginal in the labour market, and are therefore no longer treated as full citizens. In fact, Standing’s concept of a ‘precariat’ and this book do not highlight the labour market much at all, other than in how it relates to the welfare system. This inevitably means that most chapters look at the effect of welfare policies.

Precarity is a collection of mostly very specific chapters about aspects of the welfare system, and the specific experience of certain people within it. This highlights some rather difficult material based on marginalised ‘denizens’, often from particular ethnic groups or cultural perspectives. The troubling content is presented as sensitively as possible, and most of the substantive chapters are quite brief. In fact, given that most chapters have two or more authors it seems that there has been a form of cherry-picking of the potential content from much more in-depth research. Only the chapter on media depictions of precarious work provides a lengthy contextual positioning.

Indeed, the book does not really need to focus on one particular concept like ‘precarity’ at all. It is really a very focussed critique of welfare and social policy practice. All of the theoretical framing is stated early in the chapters by referring to the now familiar concept of ‘neo-liberalism’, and the position that sweeping new policies were imposed based on an economic theory that had inevitable consequences for vulnerable individuals in the labour market, or on the fringes of it. This works at a very general level, or is presented as an inevitable international trend, and creates a large gap between theory and practice. There is a chapter called ‘From working poverty to sustainable livelihood’, in which a group of psychologists refer to the United Nations ‘Sustainable Development Goals’ (SDGs). The SDGs are intended to address the poverty trap within specific countries, and focus the use of international aid. The authors refer to critics of international aid, but reduce it to a binary choice.

Since there is effectively a consensus within the book, in which all of the social scientists accept the idea of neo-liberalism as the prevailing policy paradigm, the chapters examine its deleterious effects. There are important empirical critiques of policy here, and the sheer callousness of the Work & Income staff. One especially topical point refers to the so-called ‘social investment’ approach that the National Party has claimed is the answer to welfare dependency. The chapter on young Maori mothers on the Youth Parent Payment benefit highlights the way that the beneficiaries are obliged to undertake education and training. This is based on the financialisation of lifetime benefit costs, and utilises a Net Present Value calculation by officials that is obviously inappropriate, since there are no ‘investment returns’ to be made as an interest rate.

So there is some significant work here, but it is not an easy read, and the lack of an index does not help the reader look for specific concepts being discussed.

Reviewed by Simon Boyce

Precarity: Uncertain, Insecure and Unequal Lives in Aotearoa New Zealand
Edited by, Shiloh Groot, Natasha Tassell-Matamua, Clifford Van Ommen, and Bridgette Masters-Awatere
Published by Massey Texts
ISBN: 9780994141514